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Day
6
Month
May
Year
1993
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Rights Held By
University Musical Society
OCR Text

Of The University Of Michigan Ann Arbor

University Musical Society of the University of Michigan
Ann Arbor May 69, 1993
Underwritten by a generous grant from Ford Motor Company
Kenneth C. Fischer
i i cuiivt Director 3I3I747U74
AdminiitralionBusincM
31319361459
Artist Administration
3U747II73
Box Office
Gen .vl Informalion
3137642538
Development Office
3I3I764S489
Promotion
SI317630611
Chorus Management
J1317646199
FAX: 3137471171 Board of Director
Norman G. Herbert
President
Herbert S. Amster
Vice President
Carol S. Smokier
Secretary
Cv' A. Brmuer, Jr.
Treasurer
Maunce S. Binkow
tul C. Boy Ian
Leon Cohan
Jon Cosovich
Ronald M. Cress we II
James J. Dudersladt
Walter L. Harmon
Thomas E. Kauper
Judythe R. Maugh
Rebecca McGowan
Richard H. Rogei
George I. Shirley
Herbert Sloan
Edward D. Surovell
Eileen L. Weiser
Iva M. Wilson
Advisor) Committw
Agnes Reading
Chair
Gregg AIT
Mi Hi Bannowski
Gail Davis Barnes
Sue Bonfield
Charles Borgsdorf
Janice Stevens Botsford
Jeannme Buchanan
Margo Halsted
Lorna Hildcbandt
ChenOiHsieh
Jo Anne Hulce
AJice Davis Irani
Perry Irish
Frances Jelinek
Leah Kileny
Howard King
Beatrice Kueng
Nat Lacy
Judy Lucu
Kathleen Maly
Chartot'c McGeoch
Maya Savarino
Janet Stulmky
AJizaShcvrin
Helen Sicdcl
Ellen Strtm
James Tclfcr
Jerry Weidenbach
Shelly William
l;ii. "i.[h Yhouse
University Musical Society
The University of Michigan Burton Memorial Tower Ann Arbor. Michigan 481091270
May 6, 1993
Dear Patrons and Friends,
It is both a humbling experience and a great privilege to be the steward of the University Musical Society at this point in its history. From the vision and boldness of Albert Stanley who in 1894 announced the "first annual" Ann Arbor May Festival through the inspired leadership of past presidents Charles Sink and Gail Rector, it has been the goal of the Musical Society to bring the best of the performing arts to the people of Ann Arbor and the state of Michigan.
With this year's 100 May Festival, we have sought not only to honor the great traditions of the past but to try out some new programs that we believe will widen our circle of friends. So in addition to the great orchestras, soloists, and composers that you'll hear in Hill Auditorium on Thursday, Friday, and Sunday, you can gather with your friends on Saturday for the Gala Centennial Dinner in the Reading Room of the Rackham Building and then stroll over to the Michigan League for cabaret performances, dessert, dancing, conversation, and viewing the special film produced for this anniversary celebration. We don't want you to miss a thing, so read the daily schedule carefully and come join us for the myriad of events.
There are some special people and organizations who have made extraordinary contributions to this 100Ih May Festival. I want to give personal thanks to:
Ford Motor Company for their generous underwriting gift of the entire 100 May Festival;
Handleman Company for their support of the Sunday concert with the Detroit Symphony Orchestra and the University Choral Union;
University Musical Society Board of Directors for their service, advice, and support;
UMS staff for their imagination, dedication, and highquality work;
UMS Advisory Committee May Festival Chair Liz Yhouse, her event committee chairs, and all of the committee members for their splendid work on the Prelude Picnic Buffet, Gala Centennial Dinner, Cabaret Ball, and Ingalls Mall Birthday Celebration;
University Choral Union members for their dedicated service and for their cooperation in enabling us to present the Verdi Requiem and conductor Thomas Hilbish for three years of outstanding leadership of the chorus.
Thank you for your participation in the 100 May Festival. Enjoy this program book, enjoy the Festival, and come join us again in the fall when we begin our 115 season.
With appreciation.
Kerrieth C. Fischer Executive Director
The University Of Michigan Office Of The President
2074 FLEMING ADMINISTRATION BUILDING ANN ARBOR. MICHIGAN 481091340 313 7644270 FAX. 93MJ775
May, 1993
It has been quite a year for the University of Michigan. We are celebrating the 175th anniversary of our founding; the launching of our $1 billion Campaign for Michigan; a Rose Bowl victory; participation in the national basketball championship game; and now the 100th year of our most distinguished annual cultural event, the Ann Arbor May Festival of the University Musical Society.
It gives me great pleasure to welcome you to the University and to the remarkable facilities where this year's events take place: Hill Auditorium, the Rackham Building, the Michigan League, and the Mendelssohn Theatre. It was eighty years ago on May 14,1913, that we held our first event in Hill Auditorium. It was the opening night of the twentieth May Festival featuring the Chicago Symphony Orchestra. The architectural genius of Albert Kahn and the political acumen of Charles Sink combined to make Hill Auditorium one of the great concert halls of the worldan opinion shared by such distinguished musicians as Leonard Bernstein, Ignace Paderewski, James Galway, and YoYo Ma.
As I think of the significant role that the arts play here at the University, I am reminded of the curriculum of ancient youths. It included gymnastics, mathematics, and music. Gymnastics was to prepare the body for the journey through life. Mathematics was to help define the way. But it was music that would give them a reason for taking the journey. I believe we can take comfort in knowing that for a century the May Festival has provided profound experiences for hundreds of thousands of people and has deeply enriched their lives.
I congratulate the University Musical Society on this special anniversary, and I thank you, the patrons, for your participation and support.
James J. Duderstadt
Patron Information
University Musical Society
Hill Auditorium Directory and Information
Drinking Fountains Drinking Fountains are located throughout the main floor lobby, as well as on ihe east and west sides of the first and second balcony lobbies.
Lost and Found
Call the Musical Society Box Office
at (313) 7642538
Public Telephones A wheelchairaccessible public telephone is located at the west side oflhe outer lobby.
Restrooms
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.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Displays
The lobby of the first balcony level is devoted to displays of artists who have appeared under the auspices of the University Musical Society. A case on the east side of the lobby features "100 Years of May Festivals" with memorabilia from the past century.
UIYISEncore Information Table A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the main lobby. Volunteers and UMS staff can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Ticket Services
Phone Orders and Information: University Musical Society Burton Memorial Tower Ann Arbor, M1481091270 on the University of Michigan campus (313) 7642538 Weekdays 10 a.m. to 6 p.m., Saturday 10 a.m. to 1 p.m.
Fax Orders
(313)7471171
Visit Our Box Office in Person At our Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before perfor?mance time.
Gift Certificates
Tickets make great gifts for any occasion. The Musical Society offers gift certificates available in any
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain lime. You will be given a receipt for an income tax deduction as refunds are not available. Please call (313) 7642538, 10 a.m. to 6 p.m. MondayFriday, 10 a.m. to 1 p.m. Saturday, and 90 minutes before concert lime.
A free brochure wilh complete information is available upon request.
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 lime. Please allow ample time for parking. Ushers will seal latecomers at a predetermined lime in ihe program so as not to disturb performers or other patrons. House lights will be dimmed lo indicate that the concert is about to begin or resume.
Children
We welcome children, but very young children can be disruptive to a performance. Children must be three years of age and be able to sit quietly in their own seals throughout a performance. Children unable to do so, along wilh the adult accompanying them, may be asked by an usher lo leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
Cameras and Recorders
Cameras and recording devices are strictly prohibited in the auditorium.
Applause
Traditionally, applause is held until the end of a piece of music. Each composer creates a work as a whole, which is often made up of several parts or movements. It is best not to disrupt the continuity of the music by applauding between movements, saving your appreciation until the end. The performers enjoy the audience's attention when performing, and the applause at the end. It is courteous to those on stage and to the other audience members to remain at your seats through the final ovation.
University Musical Society of the University of Michigan
The University Musical Society is one of the oldest continu?ing performing arts presenters ranking with Carnegie Hall, Lincoln Center, Boston's Celebrity Series, and the Washing?ton Performing Arts Society at the Kennedy Center as among the finest presenters in the county.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as "The Choral Union" and gave its first concert in December 1879.
The Choral Union then led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affiliated with the University of Michigan. Professor Frieze, who at one time served as acting president of the University, became the first president of the Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, of course, the Choral Union refers not only to the chorus but to the Musical Society's acclaimed tenconcert series in Hill Auditorium.
The Musical Society now hosts approximately 50 concerts each season of the world's most acclaimed dance companies, chamber ensembles, recitalists, symphony orchestras, opera, popular attractions, and presentations from diverse cultures.
The Musical Society has flourished these 114 years with the support of a generous music and artsloving community, which has gathered in Hill and Rackham Auditoria and Power Center to experience the artistry of such extraordinary talents as Leonard Bernstein, Vienna Philharmonic Orches?tra, Martha Graham, Enrico Caruso, Jessye Norman, James Levine, Philadelphia Orchestra, Benny Goodman, Andres Segovia, Beaux Arts Trio, Alvin Ailey, and Chicago Symphony Qrchestra.
Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strengthened through educational endeavors, commissioning of new works, programs for young people, new concert offerings, and collaborative projects.
Although it is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, the Musical Society is a separate, notforprofit organization, which supports itself from ticket sales, other earned income, income from endowments, and contributions.
100th May Festival
Honorary Chairs
Anne and Jim Duderstadt Sally and Robben Fleming Anne and Harlan Hatcher Vivian and Harold Shapiro Alene and Allan Smith
Honorary Committee
Judith Dow Alexander Betty and John Barfield Betts and Don Chisholm Connie and George Cress Sheila and Ronnie Cresswell Dennis Dahlmann Sue and Robert Delonis Lucia and Doug Freeth Henrietta and Roger Fridholm Erica Ward and Ralph Gerson Ruth and Al Glancy Marian and David Handleman Doreen and David Hermelin Tiny and Howard Holmes Rachel B. Keith, M.D. and The Honorable Damon J. Keith
May Festival Committee
Elizabeth Yhouse, Chair
Janice Stevens Botsford, Cabaret Gala Chair
Maya Savarino, Prelude Picnic Buffet Chair
Joanne Hulce, Sunday Commu?nity Birthday Party Chair
Katherine and Robert Aldrich
Gregg Alf
Carol and Herb Amster
Milli Baranowski
Gail Davis Barnes
Richard S. Berger
Linda and Maurice Binkow
Linda and Charles Borgsdorf
Janice Stevens Botsford and
James Botsford
Paul Boylan
Isabelle and Carl Brauer.Jr.
Veronica and Allen Britton
Jeannine and Robert Buchanan
Heidi and Leon Cohan
Katharine and Jon Cosovich
Margaret and Douglas Crary
Theresa and John D'Arms
Judy and Richard Fry
Margo Halsted
Dianne and Walter Harrison
Debbie and Norman G. Herbert
Loma and Mark Hildebrandt
ChenOi Hsieh
Joanne Hulce
Alice Davis and Keki Irani
Perry Irish
Frances and Jerome Jelinek
Shirley and Thomas Kauper
Sally and David Kennedy
Ann and Richard Kennedy
Leah and Paul Kileny
Elizabeth Kennedy Linda and Richard Kughn Sue Lee
Sally and William Martin Mrs. Lester McCoy Karen and Clyde Metzger Karen and Joe O'Neal Mrs. Eugene Ormandy Mary Kay and John Pearson Marian and Harold Poling Eugene B. Power Kathleen and Philip Power Louise Raphael Beth and Gail Rector Susan and Richard Rogel Joanne and Mark Rosenfeld Maryann and Alan Schwartz Mrs. Charles A. Sink Martha and Frank Stella Candy and Helmut Stern Edward Surovell and Nat Lacy Margaret Towsley Eileen and Ron Weiser
Elizabeth Sayre King and Howard King
Connie and Thomas Kinnear Beatrice and Bernard Kueng Nat Lacy and Ed Surovell Kathleen and Patrick Long Judy and Charles Lucas Kathleen and Frank Maly Judythe and Roger Maugh Ruth and Paul McCracken Mrs. Glenn D. McGeoch Rebecca McGowan and Michael
Staebler
Sally and Alan Merten Maxine and Wilbur Pierpont John Psarouthakis Agnes and Stephen Reading Dot and John W. Reed Maya Savarino and Raymond
Tanter
Ann S. and Tom Schriber Daniel Schurz
Janet and Michael Shatusky Aliza and Howard Shevrin Ethel and George Shirley Helen and George Siedel Herbert Sloan Carol and Irving Smokier Lois and John Stegeman Ellen and Jeoffrey Stross Ann and James Telfer Betty and E. Thurston Thieme Jerry and John Weidenbach Elise and Jerry Weisbach Ruth and Gilbert Whitaker Shelly Williams Iva and Tom Wilson Elizabeth and Paul Yhouse
100th
Table of Contents
Corporate Angels 12
Proclamations 17
May Festival Features 40
May Festival Greetings 24
May Festival Memories 63,132
Prelude Picnic 71
Program for May 6, 1993 73
Program for May 7, 1993 85
Gala Centennial Dinner 95
Cabaret Ball 95
100th May Festival Birthday Party 99
Program for May 8, 1993 101
Encore Acknowledgements 117
Special Thanks 127
199394 U MS Season of Events 93
100 years of May Festival Artists 113
100 years of May Festival Repertoire 133
Advertisers' Index 148
Thank You
Corporate
Underwriters
On behalf ofthe University Musical Society, I am privileged to recognize the companies whose support oj UMS through their major 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 significant participation in our underwriting program strength?ens the increasingly 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
Richard L. Walker
General Manager AT&T College and University Systems
"AT&T has a long histoty of supporting the arts by sponsoring music, dance and dramatic presentations. AT&T is proud to support the University Musical Society and its commitment to bringing quality programs to the community."
Carl A. Brauer, Jr.
Owner
Brauer Investment
Company
"One of the most exciting assets of our culturallyrich community . .. University Musical Societv."
Musical Society
John E. Lobbia
Chairman and Chief Executive Officer Detroit Edison Foundation
"The University Musical Society is one of the organizations that make the Ann Arbor community a worldrenowned center for the arts. The entire community shares in the countless benefits of the excellence of these programs."
Douglas D. Frccth
President
Firsl of America BankAnn Arbor
"We are proud to help sponsor this major cultural group in our community which perpetuates the wonderful May Festival."
Harold A. Poling
Chairman,
Chief Executive Officer
Ford Motor Company
"Ford Motor Company is proud of its longstanding association with the University Musical Society. The Society is a vital part of our artistic community, each year attracting outstanding orchestras and performers from through?out 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."
William E. Odom
Chairman
Ford Motor Credil
Company
"Ford Credit believes that music and the arts are a valuable part of a well rounded education. H is for that reason that we are proud of our association with the University Musical Society."
Robert J. Dclonis
President and Chief Executive Officer Great Lakes Bancorp
"As longstanding 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 with IMS and our support of Ann Arbor's fine arts show?case."
David Handleman
Chairman of the Board Handleman Company
"The University Musical Society has created a niche in the performing arts of qualify and excellence. We at the Handleman Company are proud of our association."
Mark K. Rosenfeld
Presidenl Jacobson Stores Inc.
"We are pleased to share a pleasant relationship with (he University Musical Society. Business and the arts have a natural affinity for community commit?ment."
John Psarouthakis Ph.D.
Director
Paidcia Foundalion
Chairman and Chief
Executive Officer
JPEinc.
"Our community is enriched by the lnivcrsity Musical Society. We warmly support it's 100th Anniversary Program and the cultural events it brings to our area."
Clyde M. Metzger Principal Kitch, Saurbier, Drulchas, Wagner & Kenney, P. C.
"Having formalized our law firm's presence in Ann Arbor with a local office, we are committed to supporting our community and arc very proud to contribute to the cultural enrichment provided by the University Musical Society."
Dennis Serras
President
Mainstreei Ventures, Inc.
"As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing high level talent to the Ann Arbor community."
Ronald Wciser
Chairman and Chief Executive Officer McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community."
Joe E. O'Neal
President
O'Neal Construction
"A commitment to quality 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."
Ronald M. Crcsswcll, Ph. D.
Vice President and Chairman
Pharmaceutical Division Warner Lamben 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 ParkeDavis Research Division employees in Ann Arbor."
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."
Sue S. Lee,
President Regency Travel Agency,Inc.
"Itis our pleasure to work with such an outstanding organization as the Univer?sity Musical Society at the University oj Michigan."
Edward Surovcll
President
The Edward Surovell
Co.Rcaliors
"Our support of the University Musical Society is based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Board oj Directors Qejt to right): George Shirley, Ed Surovell, Rebecca McGowan, Norm Herbert, Leon Cohan, Eileen Weiser, Herb Amster, Walt Harrison, Jon Cosovich, Herb Sloan, Judy Maugh, Carl Brauer, Richard Rogel, Paul Boylan, Maury Binkow. Not pictured: Ronald M. Cressvvell, James J. Duderstadt, Carol S. Smokier, lva M. Wilson.
Advisory Committee sitting Qejt to right): Milli Baranowski, Lorna Hildebrandt, Agnes Reading, Alice Irani, Gregg AIJ, Janet Shatusky. Standing: Aliza Shcviin, Beatrice Kueng, Janice Stevens Botsjord, Margo Hoisted, Shelly Williams, ChenOi Hsieh, Jerry Weidenbach, Jeannine Buchanan, Liz 1iouse, Franjelinck, Ellen Stross. Not Pictured: Gail Davis Barnes, Charles Borgsdorj, JoAnne Hulce, Perry Irish, Leah Kilcny, Howard King, Nat Lacy, Judy Lucas, Kathleen Maly, Charlotte McGeoch, Maya Savarino, Helen Sicdel, James Teljer.
VMS Staff (front row, left to right): Liz Gbula, Sam Billmann, April Smilh, Robin Stephenson; middle: Judy Fry, Debbie Halinski; back: Cathy Arcure, Phil Chuang, Steve Pierce, Eileen Mclntosh, John Kennard, Ken Fischer, Michael Kondziolka, Michael Cowing, Joan Sussfcind. Not pictured: Sally Cushing, Jane Stanlon, Tom Hilbish, Millicenl Jones, Phil Guire,Jean SchneiderCla_ylor or Student Assistants.
Board of Directors
Norman G. Herbert, President Herbert S. Amster, Vice President Carol S. Smokier, Secretary Carl A. Brauer, Jr., Treasurer
Maurice S. Binkow Paul C. Boylan Leon Cohan Jon Cosovich Ronald M. Cresswell James J. Duderstadt
Advisory Committee
The Advisor)' Commute is a group of musicloving, communityminded, multitalented individuals who donate their time, ideas, and energy to help the University Musical Society. Activities in which members participate include the educational programs, fundraising efforts, and many other volunteer projects of the UMS. Many of the special activities of the 100th May Festival -the Prelude Picnic, Gala Dinner, Cabaret Ball, and Birthday Party are the results of many, many hours of work by Advisor)' Committee members.
Agnes Re.ading, Chair Gregg Alf Milli Baranowski Gail Davis Barnes Sue Bonfield Charles Borgsdorf Janice Stevens Botsford Jeannine Buchanan Margo Halsted Lorna Hildebrandl ChenOi Hsieh JoAnne Hulce Alice Davis Irani Perry Irish Frances Jelinek Leah Kileny Howard King Beatrice Kueng Nat Lacy Judy Lucas Kathleen Maly Charlotte McGeoch Maya Savarino Janet Shatusky Aliza Shevrin Helen Siedel Ellen Stross James Telfer Jerry Weidenbach Shelly Williams Elizabeth Yhouse
Walter L. Harrison Thomas E. Kauper Judylhe R. Maugh Rebecca McGowan Richard H. Rogel George 1. Shirley Herbert Sloan Edward D. Surovell Eileen L. Weiser Iva M. Wilson
Gail W. Rector President Emeritus
UMS Staff
Administration
Executive Director, Kenneth C.
Fischer Business and Administrative
Manager, John B. Kennard, Jr. Secretary, Sally A. Cushing Systems Analyst, Philip Chuang
Artistic Administration and Concert
Production
Director, Michael J. Kondziolka
Coordinator, April Smith
Usher Coordinator, Jane Stanton
Box Office
Manager, Michael Gowing Assistant, Philip Guire Assistant, Deborah Halinski Assistant, Millicent Jones Work Study Student Assistants,
Marya Smith and Amy
Wallington
Development and External
Relations
Director, Catherine S. Arcure
Events Coordinator and Donor
Relations, Judy Johnson Fry Gift Processing, Elizabeth Cibula Secretary, Joan Susskind CEW Intern, Eileen Mclntosh Work Study Student Assistants, Kim
Coggan, Jonathan Whitney
Marketing and Promotion Educational Programs
Director, Robin Stephenson Associate Director, Sara Billmann Promotion and Group Sales
Coordinator, Steven C. Pierce Program Editor, Jeffrey Magee Work Study Student Assistants,
Jonathan Choe, April Rassa,
Michael Samuelson
University Choral Union
Director, Thomas Hilbish Accompianist, Jean Schneider
Claytor Manager, Sara Billmann
THE WHITE HOUSE
WASHINGTON
April 19, 1993
Greetings to everyone celebrating the 100th Ann Arbor May Festival, sponsored by the University Musical Society of the University of Michigan.
As you commemorate this significant milestone with four evenings of musical events and celebra?tions, you can take pride in the contributions the University Musical Society and its May Festival have made to the performing arts and to the cultural heritage of the Ann Arbor community. I commend the musicians, directors, teachers, and sponsors participating in this festival for their dedication and hard work. Their efforts exemplify a deep commitment to music and to the pursuit of excellence,
Best wishes for an enjoyable festival.
JOHN ENGLER GOVERNOR
State of Michigan
OFFICE OF THE GOVERNOR LANSING
April 14,1993
Dear Friends:
As Governor of the State of Michigan, it is my pleasure to recognize the University Musical Society of the University of Michigan as it celebrates its 100th Ann Arbor May Festival.
During the past 100 years, the University Musical Society has showcased concerts which exemplify an uncompromising commitment to the highest quality in the performing arts. Through numerous programs to help educate our communities on the importance of the performing arts, the University Musical Society has provided us with the necessary resources to help preserve this vital form of entertainment in our state for many years to come. As in the past, I am sure this year's Ann Arbor May Festival will be a similar success.
Once again, on behalf of the citizens of the State of Michigan, I would like to congratulate the University Musical Society of the University of Michigan as you celebrate the centennial Ann Arbor May Festival. My best wishes for an enjoyable event.
John Engler Governor
JEsk
Senate Concurrent Resolution No. 95
Offered by Senators Pollack, Faxon, Smith, Vaughn, Kelly, Holme, Conroy,
Dingell, Geake, Schwarz, Stabenow, Hart, Pridnia, Gast, Ehlers, Honigman and Welbom
(Representatives Agee, Anthony, Barns, Berman, Bodem, Brown, Billiard, Byrum, Crissman,
Cropsey, Dalman, DeMan, Dobronski, Dolan, Freeman, Gemaat, Gilmer, Gire, Gubow, Harder,
Harrison, HUlegonda, Jacobetti, Jersevic, Leland, McNutt, Murphy, Pitoniak, Points, Porreca, Profit,
Rivera, Rocca, Saunders, Schroer, Scott, Stallworth, Varga, Wetten and Yokkh named cosponsors)
A CONCURRENT RESOLUTION COMMEMORATING THE 100TH ANN ARBOR MAY FESTIVAL, MAY 69, 1993
WHEREAS, From May 6 to May 9, 1993, the people of Michigan will again have the opportunity to enjoy one of the state's premiere music events, the Ann Arbor May Festival. This year marks a special milestone--the 100th May Festival--and it promises to continue a tradition of excellence that began in 1894. We are delighted to commemorate this centennial celebration and to commend the people of the University Musical Society (UMS) of the University of Michigan and the many performers for making this festival possible this year and every year; and
WHEREAS, In 1894, the May Musical Festival of the UMS was billed as "... one of the greatest musical events in the history of the state ... the beginning of a series of such events.' Clearly, there was much truth in the words written nearly a century ago. The festival is anxiously awaited each spring and a highlight of every year. It is a time to listen to a variety of concerts performed by diverse musicians, but all share impressive qualities--outstanding talent, the ability to move audiences, and an obvious love of music; and
WHEREAS, The 100th May Festival will certainly carry on the proud and successful history of this gathering. The audiences will hear such musicians as the Metropolitan Opera Orchestra with Itzhak Perlman and Renee Fleming, the Jimmy Dorsey Orchestra with Jim Miller, Eartha Kitt, the Detroit Symphony Orchestra, and many others. The four days and nights of celebration will also include a prelude picnic buffet, gala centennial dinner, and the 100th May Festival Birthday Celebration. It will, again, be an unforgettable festival; and
WHEREAS, While much has changed in the world since the birth of the May Festival, this rite of spring" has never failed to offer the pleasure of beautiiul music to the fortunate audiences. Bringing the joy of excellent concerts to the people of Michigan for 100 festivals is a praiseworthy accomplishment indeed. We thank all of the musicians and organizers, past and present; now, therefore, be it
RESOLVED BY THE SENATE (the House of Representatives concurring), That we commemorate the 100th Ann Arbor May Festival; and be it further
RESOLVED, That a copy of this resolution be transmitted to the members of the UMS as a reflection of our gratitude.
Adopted by the Senate, March 24, 1993.
Adopted by the House of Representatives, March 30, 1993.
IiflC HOUSE OF
( lil1' ----------:--!:----
REPRESENTATIVES
House Resolution No. 125
Offered by Representative Lynn Riven
A RESOLUTION COMMEMORATING THE 100TH MAY FESTIVAL IN ANN ARBOR
WHEREAS, It is a great pleasure to join with the Ann Arbor community in commemorating the 100th May Festival in Ann Arbor. On May 69, 1993, the University of Michigan's University Musical Society will sponsor a weekend of events and programs that celebrate the inspiring impact of music on our lives. From the First Annual Musical Festival held in 1894 to this year's Centennial May Festival, this "rite of spring" has been an important part of the lives of countless music lovers in southeastern Michigan and beyond. Participation in the festival has maintained a link across nearly a century of time to kindred spirits in music of the late nineteenth century; and
WHEREAS, The rich tradition of the May Festival will be ably continued with the participation of many noteworthy singers and musicians as well as the presentation of unique and innovative pieces that challenge us anew to appreciate the diversity of music. From the opening Prelude Picnic Buffet (sans ants) that launches the celebration on Thursday, to the 100th May Festival Birthday Celebration on Sunday, veritable tonics to the ears and soul will be available to all. Truly, auch a festival helps to usher in a new season by lifting us from the doldrums of winter; and
WHEREAS, Such musical artistry as is performed by the Metropolitan Opera Orchestra and the Detroit Symphony Orchestra, which has served as the orchestra in residence since 1992, will complement the works of the Jimmy Dorsey Orchestra with Jim Miller, Barbara Cook with Walley Harper, Eartha Kitt, and the Bess Bonnier Trio who will play at the Cabaret Ball. Classical music, opera, piano jazz, and a children's chorus all combine to perpetuate an amazing musical tradition. As Ann Arbor once again hosts the University Musical Society's May Festival on May 69, 1993, we honor our musical past while looking towards the future with innovations that may themselves one day be part of the rich tradition of the May Festival; now, therefore, be it
RESOLVED BY THE HOUSE OF REPRESENTATIVES, That we join with the Ann Arbor community in commemorating the Centennial May Festival to be held May 69, 1993; and be it further
RESOLVED, That a copy of this resolution be transmitted to the members of the University Musical Society as a token of our highest regards.
Adopted by the House of Representatives, March 31, 1993
J.
CoClerk of Ihe Houm of Representatives
CITY OF ANN ARBOR, MICHIGAN
Ingrid B. Sheldon Mayor
May 6, 1993
On behalf of the citizens of Ann Arbor, I extend best wishes and congratulations to the University Musical Society of the University of Michigan as it celebrates its 100th Ann Arbor May Festival.
The long success of the May Festival is a tribute to the dedicated and committed leadership provided by the University Musical Society and the appreciation of the Ann Arbor community to be able to celebrate the work of successful performing artists. What better way to welcome spring than to stroll on the Ingalls Mall and revel at the performance of a world class symphony or an inspired soloist.
Thank you for bringing the sound of music to Ann Arbor each spring, and may we continue to be your appreciative audience forayother 100 years.
Very sin
Ingrid Sheldon Mayo;
i
=K55?
Chrislopher Parkening
1002 Riverside Orive
Burbank, California 91506
May 6, 1993
Mr. Kenneth C. Fischer University Music Society University of Michigan ourton Memorial Tower Ann Arbor, Michigan
Dear Mr. Fischer,
cerest
I wish to offer you and the University Musical Society my sin t congratulations in celebrating your lOOth Ann Arbor May Fes?tival in 1993, and applaud you for your continued commitment to the highest quality in the performing arts.
I have many fond memories of my concerts under the auspices of the Musical Society at the University of Michigan, and I look for?ward to my upcoming concert in November, 1994.
With all good wishes and
congratulations.
nnstopher Parkening CPsd
24
Andre Previn
Six Sherwood Lane
Bedford Hills, New York 10507
(914)2420234
April 1,1993
Mr. Kenneth C Fischer University Musical Society The University of Michigan Burton Memorial Tower Ann Arbor, Michigan 481091270
Dear Ken,
It's an amazing thought that the University Musical Society is celebrating its 100th May Festival. Going through the archives of the past years is truly impressive, because the list of participating artists includes just about every important name in the world of music My own personal experiences in Ann Arbor have involved many happy visits to the festival. I have conducted the London Symphony Orchestra, the Pittsburgh Symphony and the Los Angeles Philharmonic My experiences with the chorus have been extremely happy. The unifying factor in all these various activities has been the unfailing bndness and hospitality shown us, the extraordinary enthusiasm of the audiences, and the meticulous attention to preparation and detail which you have lavished on all your visitors.
I send you my warmest congratulations as well as my gratitude, and I'm sure the May Festival williretehinto infinity!
"R
Afldre Previn
n:
1993

W. Guinn
INN ARBOR MICHIGAN 46105
April 5, 1993
Mr. Kenneth C. Fischer Executive Director University Musical Society Burton Memorial Tower Ann Arbor, MI 481091270
Dear Ken:
Thanks in large part to the May Festival, my family and I have been a happy part of the University and Ann Arbor community for 22 years. While living in Westchester County, NY, I came to Ann Arbor to sing with the Philadelphia Orchestra in the 1970 May Festival. The chair of the School of Music voice depart?ment asked if I would be interested in joining their faculty. Months later, after completing the interview process, I became a very happy Michigander. So, heartfelt congratulations to the University Musical Society on the occasion of its 100th Ann Arbor May Festival! My happiness in Ann Arbor has been augmented by the many wonderful offerings the May Festival affords. I have been honored to be a participant in several of those Festivals, and extend the heartiest of best wishes to you, Ken, for future May Festivals, and gratitude to those responsible for the Festivals of the past.
Sincerely,
119 Rosalie Road Newton Centre, MA 14 April, 1993
Mr. Kenneth C. Fischer
Executive Director
Ann Arbor May Festival
Burton Memorial Tower
Ann Arbor, Michigan 481091270
Dear Mr. Fischer:
My warmest congratulations to the University Musical Society on the occasion of the 100th Anniversary of the Ann Arbor May Festival.
Early in my career in 1968 I had the honor of perform?ing the 2nd Bartok Piano Concerto with Eugene Ormandy and the Philadelphia Orchestra at the May Festival, the memory of which still remains as one of the most rewarding musical events I have ever experienced.
During subsequent years I also performed in recital for the University Musical society, and among the programmed works was the World Premiere of Alberto Ginastera's 2nd Piano Sonata.
In the history of musical sponsorship in this country the University Musical society stands as the paradigm of excellence to be emulated by all others.
My heartiest congratulations and very best wishes for the next hundred years!
Leon Fleislicr
April 12, 1993
Kenneth C. Fischer
Executive Director
100th Ann Arbor May Festival
University Musical Society
The University of Michigan
Burton Memorial Tower
Ann Arbor, MI 481091270
Dear Ken,
What a pleasure for you it must be to preside over this imposing milestone in the University Musical Society's history. The May Festival has always represented for me a pinnacle in the musical life in this country.
My congratulations and best wishes,
Sincerely,
LF.ka
Inc.
April 4, 1993 W. Kenneth C
DearMr.Rscner
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April
15,1993
shyouaU century
Best regards
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JeanPierre Rampal
15 avenue Mozart
75016 Paris
France
FELTSMAK
April 6, 1993 FAX TRANSMISSION
TO: Kr. Kenneth Fisher 313 747 1171
FROM: Vladimir Feltsman
Ret: Kay Festival. University Musical Society
Happy Birthday to the May Festival! I wish that the next two hundred years vill be as exciting and brilliant as the first one hundred. I am vary proud to be a part ot this history.
Fondly,
Vladimir Faltsman
ZUKERMAtt
April 5, 1993
Mr. Kenneth C. Fischer
Executive Director
Ann Arbor May Festival
Musical Society University of Michigan
Burton Memorial Tower
Ann Arbor MI 48109
Dear Xen:
It gives me great pleasure to send congratulations to you all on the Centenary of your Musical Society. I have had many wonderful experiences in Ann Arbor and I look forward to sharing the next 100 years with you.'.'
wishes,
man
MET
Metropolitan Opera Association, Lincoln Center, New Yor James Levine, Artistic Director
April 5, 1993
Mr. Kenneth C. Fischer Executive Director University Musical Society The University of Michigan Burton Memorial Tower Ann Arbor, Michigan 481091270
Dear Ken:
It is a great pleasure for me to extend my most sincere congratulations on the occasion of the 100th Anniversary of the University Musical Society's May Festival.
The May Festival has a special meaning for me and the Metropolitan Opera Orchestra, for it was in your magnificent Hill Auditorium just two years ago that we, together with Jessye Norman, inaugurated the annual tour of concerts by the Met Orchestra. It is a great joy to perform in Ann Arbor, not only because of the enthusiastic and knowledgeable audiences, but because of the sense that the whole University of Michigan community is such an active participant.
Again, my heartiest congratulations on your Centennial, and I look forward to sharing many more evenings of great music with all the friends of the University Musical Society.
e Address: Metopera. New York Telex: 237107
SYM MUMC COMPANY I 110 Gloucester Avenue, Lor
1 April 1993
Mr Kenneth C. Fischer
Executive Director
University Musical Society
The University of Michigan
Burton Memorial Tower
Ann Arbor, Michigan 481091270
U.S.A.
Dear Mr Fischer,
Thank you for your letter of 8 March, letting me know of the 100th Ann Arbor May Festival.
My career has been continuously marked by concerts from my earliest years at the University of Michigan. It was there I performed for the first time the great Sonata for Violin and Piano by Bartok; it was there I played on my first tour of the U.S.A.; it was there I played with innumerable great orchestras and gave innumerable recitals to one of the best audiences in the U.S.A. I, therefore, congratulate the University Musical Society wholeheartedly on its 100th Ann Arbor May Festival and all those associated over sixty years with my own visits and with the achievements of the Society.
With all good wishes, Yours sincerely,
ATLANTA SYMPHONY ORCHESTRA
Voel Levi. Music Director
RobenShaw
Music Direnur Emcniu
March 31, 1993
Mr. Kenneth C. Fischer Executive Director University Musical Society The University of Michigan Burton Memorial Tower Ann Arbor, Michigan 181091270
Dear Mr. Fischer:
Please extend to the University Musical Society, its administrators and sponsors, congratulations upon the occasion of its 100th Ann Arbor May Festival.
Surely this is one of the most distinguished series of concerts in the history of American music.
Greetings and all good wishes.
4
Robert Shaw
Detr
25 March 1993
Mr. Kenneth C. Fischer Executive Director University Musical Society Burton Memorial Tower Ann Arbor, Ml 481091270
Dear Ken:
I take great pleasure in wishing you and the University Musical Society a most heartfelt congratulations on the occasion of the centenary of the Ann Arbor May Festival.
We treasure the wonderful relationship that has developed between the Detroit Symphony Orchestra and the ITMS. Our concerts at Hill Auditorium have been among the highlights of my years in Detroit as Music Director.
We look forward to joining you in making the 100th May Festival exciting and memorable, and wish the UMS many more years of great music making.
With warmest regards"
Music Diretor
NJ.jcl
I Neeme Jarvi, Music Director ? Alfred ? Orchestra Hall ? 3 ? Phone: (315)
Mr. Kenneth C. Fischer Executive Director The University Musical Society of the University of Michigan Bunon Memorial Tower Ann Arbor, MI 481091270
Dear Mr. Fischer:
It gives me great pleasure to congratulate the University Musical Society of the University of Michigan on the occasion of the 100th anniversary of its Ann Arbor May Festival.
This festival has become one of the most important musical events in the United States and its contribution to the musical scene is among the greatest. The continued high level of excellence of performances has set a standard for others.
I personally remember with greatest pleasure my participation on several occasions and feel very proud to be a part of the great tradition. Every aspect of my performing experience at Ann Arbor was stimulating and memorable thanks to the highly cultured musical audiences and, last but not least, to the beautiful hall.
With best wishes for continued success and with warm regards.
Rudolf FirkuSny
Prof. Giorgio Tozzi Indiana University School of Music MA 16; Eloomington, IN 47405 March 26, 1993
Mr. Kenneth C. Fischer, Exec. Eir.
May Festival
University of Michigan
Burton Memorial Tower
Ann Arbor, Michigan 481091270
Dear Mr. Fischer:
Please extend my heartfelt congratulations to all involved with making the Ann Arbor May Festival an ever continuing highlight in our nation's cultural heritage. On the occasion of its one hundredth anniversary, all of us whc love music, feel a debt of gratitude to all of you who celebrate this sublime art each year at the Festival.
One of my warmest memories is of my appearance with the Philadelphia Orchestra under the baton of Maestro Eugene Ormandy at the May Festival, many years ago. The beauty of the setting, the magnificent sound of the orchestra, the fabulously inspiring conducting of Maestro Ormandy and the enthusiasm and warmth of the audience was a musical magic carpet ride for me, and the Ann Arbor May Festival wove the fabric.
Here's to the next Century of May Festivals!
Sincerely,
Giorgio Tozzi
The Curtis Institute of Music 1726 1_ocust street
Philadelphia. Pen nstlvania ltO3
(219) 8935232 FAX (2151 B93O19
May 6, 1993
OFFICE OF THE OlfECTO
Mr. Kenneth C. Fischer Executive Director, May Festival University Musical Society Burton Memorial Tower The University of Michigan Ann Arbor, Michigan
Dear Mr. Fischer:
Congratulations to the University Musical Society on the Centenary of its Ann Arbor May Festival.
The Festival's continuing commitment to presenting events of the highest quality make this occasion particularly significant as well as joyous.
I am proud to have participated in what is surely one of our country's most distinguished musical endeavors.
Sincerely yours
GARY
N j ,j
I9BL
1993
Dear Ken:
It is a special pleasure and honor to be participating in the Centennial Celebration of the May Festival. The artistic reputation of the May Festival is recognized throughout America and internationally. I am delighted to be returning to hilt Auditorium with one of my favorite works, the Verdi Requiem. My congratulations to the University Musical Society and the May Festival on this festive occasion.
Sincerely,
David Zinman
?pischer
Society
22,
1993
hav been congratulations.
Sincerely lAdori
PETER SERKIN 7X1 West End Avenue New YorX, N.Y. 10025
April 2, 1993
Mr. Kenneth C Fischer,
Executive Director
ANN ARBOR MAY FESTIVAL
Musical Society University of Michigan
Burton Memorial Tower
Ann Arbor, MI 481091270
Dear Ken:
Congratulations on 100 years of great music making 1 I have only delightful memories of past concerts at the Musical Society of the University of Michigan. May the legacy and tradition continue into the twentyfirst century.
legacy and With warm
Peter Serkin
Ten Decades of May Festivals
18941903
It was a decade that saw many firsts: the first motion picture camera, the first Xray, the first airplane flown by the Wright Brothers, the first World Series, and the first safety razor developed by Gillette. And Henry Ford founded the Ford Motor Company. After William McKinley's assassination in 1901, a vigorous new president voiced America's growing sense of power with the blunt motto "Speak softly and carry a big stick."
Meanwhile, there was new music to accompany the new era. The publication of Joplin's popular "Maple Leaf Rag" in 1899 marked the dawn of ragtime. Dvorak's "New World" Symphony, composed in Iowa, had received its world premiere in 1893. And a young Yale graduate named Charles Ives began to compose some extraordinary music. While Europe mourned the death of Brahms, Bruckner, and Verdi, and saw the dusk of the Gilbert and Sullivan collaboration, it also heard the seductive new sounds of Debussy, the brilliant tone poems of Richard Strauss, and the heartwrenching operas of Puccini.
A new musical era also dawned in Ann Arbor with the first May Festival. It began by "necessity" (see "Sketch I: The First Festival"). From a modest pair of concerts in 1894, the Festival soon grew to five concerts over three days by 1896, a standard that would last for many years. The annual program book also grew rapidly. It soon became a thick and handsome tome featuring photos of the artists and analyses (complete with excerpts from the scores), probably written by the industrious Albert A. Stanley, Director of the University Musical Society and the School of Music. A strange announcement appears in each program: "All concerts begin on local lime, which is twentyfive minutes faster than standard time."
From the beginning, the Festival billed topflight soloists. The American soprano Emma Juch, well known in the U.S. and England at the time, was one of the featured soloists in Verdi's "Manzoni" Requiem, performed at that first May
Festival. There were even bigger names to come. The famous French soprano Emma Calve, whose signature role was Carmen, sang the famous "Habanera" at the "Calve Concert" of 1897 Festival. American soprano Louise Homer, who had just begun her long association with the Metropolitan Opera in New York, sang the role with which she made her Met debut, Amneris in Verdi's Alda, in a concert performance of the opera that
capped the 1903 May Festival. Renowned Wagnerian contralto Ernestine SchumannHeink--fresh frqm her Met debut--made the first of many May Festival appearances in 1900. Italian baritone Giuseppe Campanari, another Met regular, returned several times to sing in the Festival. Evidently, musical excellence wasn't the only thing he enjoyed here (see "Sketch II: 19051907").
Stanley
Boston Festival Orchestra rehearse Verdi's Requiem in University Hall
Emil Molknhauer
First May Festival concert, University Hall (razed in 1950)
University Hall, Ann Arbor,
aid
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FRIDAY EVENING, MAY 18, 1894.
SOLOISTS.
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CHORAL UNION SERIES
19021903
FOURTEENTH SEASON, TENTH CONCERT
pkflBe
FIFTH MAY FESTIVAL CONCERT
Saturday Evening, May i5, 7.30 o'clock
"AIDA "
An Opera in Four Acts by Verdi
CAST
Alda . M.. Anil Rio Amonairo , Sic. Emilio da Gocoraa
Aaatria . Mad.i d Lot ile Homer RimpbU . Mr. Pradcrk llartla
Hih PricaU as, MUs Fraae EJ r ,; i t The Klaf Mr. WUUajn HowUad
Rdmes . . Ho r Aodi Ml Dippcl The M,,. tarcr Mr. Joseph T. Barrj
ACT II.
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Choral Union Mr. Albert A. Staoltj Conductor
SYNOPSIS
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UNIVERSITY MUSICAL SOCIETY
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MAY FESTIVAL
University Hall, Saturday, Hay 19, 1894,
AT TlSO . M.
GRAND CONCERT BY THE CHORAL UNION . . .
The "Manzoni" Requiem,
a V.rdl.
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And Ihc Boston Festival Okchstiu.
A. Btamt. Oocdaclor.
19041913
In the Festival's second decade, new frontiers were opening up in the world of ideas, in music, and in the Festival itself. Einstein and Freud had begun to undermine old certainties. At the same time, in Freud's Vienna, Schoenberg and his disciples Berg and Webern began exploring the expressive possi?bilities of atonality. Meanwhile, Stravinsky and the Ballet Russes brought modern ballet to Paris with The Firebird, Petrouchka, and The Rile oj Spring. New geographical frontiers also opened up, as Robert Peary and Roald Amundsen reached the North and South Poles.
Several developments in this period would shape the May Festival for years to come. First, a recent University of Michigan graduate named Charles Sink was hired as the Musical Society's
business manager in 1904, thus begin?ning more than a halfcentury of service. (He would become UMS president in 1927.) Though not a musician, Sink brought enormous enthusiasm to the job of booking concert artists, as the many photos of them on his office walls attested. Second, the Chicago Symphony Orchestra--then known as the Theodore Thomas Orchestra (named after its recently deceased founder) _ began its thirtyoneyear residency under the baton of Frederick Stock. The Chicago orchestra was in many ways ideally suited for the job, although at first Ann Arbor audiences weren't so sure (see "Sketch II"). It was only a fourhour train ride away, and many of its musicians came from German stock and enjoyed the hospitality of some of Ann Arbor's old German families. (Toward the end of their Festival tenure, they also enjoyed the authentic cuisine at Metzger's Restaurant.) Stock shared conducting duties with Albert Stanley, who directed the Choral Union and whose affinity for the Germanic tradition had been nurtured at the Leipzig Conservatory. A third key development in this period was the completion of Hill Auditorium in 1913. Now the May Festival could entertain almost twice as many concertgoers as atUniversity Hall, and all the orchestra's musicians could fit on stage. (See "Sketch 111: 1913.") With the new hall, the Festival was regularly expanded to six concerts in four days, including a concert featuring a children's chorus made up of students from the Ann Arbor public schools. The Children's Chorus concert would be a Festival tradition for the next fortyfive years.
Among other notable artists, Sink enticed Ernestine SchumannHeink to return three more times. SchumannHeink had just scored another major achievement by creating the role of Klytemnestra in Strauss' Elektra. Sink also brought in the renowned soprano Alma Gluck and repeatedly engaged Metropolitan Opera bassbaritone
Herbert Witherspoon. (A recording of SchumannHeink and Witherspoon singing a brief scene from Wagner's Das Rheingold survives from July 1907, some twelve weeks after they both performed in the May Festival.)
Ernestine SchumannHeink
CHORAL UNION SERIES, 19 09
THIRTYFIRST SEASON NIKT
No. CCXXXIX COMPLETE SERIES
Fourth May Festival (
FRIDAY EVENING. HAY M. I M O
Miscellaneous Cone..
tOLOtST
Mu Jam OsboimHahkah, Sofrono
MlM MaICAKT KtYES, Co'tTCllo
Mb. Dakiil BtDDot, Ttnpr
Sic Ciuiuti Camtanaii, Bariloi
PROGRAM
OVERTURE, "To a Shakespeare Comedy," Op. 15 Schuxitluc
PROLOGUE, to "I Paglucti" Liokcavallo
Sic Giusefti Cahtaxa
SUITE, "lmpressiom d'lulic" CiuirrsTin
"Serenade;" "At the Fountain;" "On Mutebtck;"
"On Ihe Summit:" "Naples." BALLATELLA. There on hifh they cry," from "I Pagliacci"
LlONCAVALLO
Mu. Jane OsboiviIIancaii
OVERTURE, "La Baruffc Cluoiottc" SiNigaclia
ARIA, "Fipro," from "Barber of Seville" Romini
Sic. Givitrri CAurANAii
PRELUDE to "L'Apres Midi cun Faune" Dkbuuiy
(Afterrron of a Faun) RECITATIVE AND ARIA, ?ttean. Thoo Mighty MonMer."
from "Obcron" vox Wirn
Utl C ?BOIH.NMAH
RHAPSODY. ?Noi.vcgn Lalo
QUARTETTE, "Belli figlu. ieil'Amore" ("Rijolelto") Vnoi
Mis OtwttMEIlANNAii. U:fl Km, Mr. Deodoc. Sic. Caupanam.
CHORAL UNION SERIES 19061907
EIGHTEENTH SEASON TENTH CONCERT
Ko CUE, COUPIETE SERIES
Fifth May Festival Concert
SATURDAY EVENING. MAY 11. 7JO O'CLOCK
" Samson and Delilah "
Am Otth id Taut Am, iv Ciuilu SktSai
Cast
Drill m M'ir EaNESTIffE SCIH'UA.IKHuNX
Saums Mh. Tiiukxui'k Vam Yoax
Tim Htca Pbiest Sic Gtuicrri Ckr.sn
t?o5 Hoim 1 Mfc lbm W
Fittr PmusTisc Mm Ftn Kill
PkitutSnc Hen and ll'mim. Ptitittutt of Dogon. Hebrew
Men and Women The Ciioal Uki
Mi. Aliot A. Stanley, Condiuiw
SYNOPSIS
ACT I
(A fMk Mtic in Can. Plu; Tcomlc M Osi in tack (round )
Semt I. Hebrew Mm and Women--
. _. Scut I. Delilah alone
Buuot Sol smrill. DdiUh td the Hifh P.
Iliah Pr,i. Cuid. F.rl and S
ol Philxintn. ACT III
Sent IV. tlmrn. Hiffc Prim and
] ,'ii:,hj, Scutt I. (A rntoo at Cui.)
Sai V. Hebrew Old Hn; Sum Sami J Oti Htbti
tnH Vioo?i Itcbrrwa.
(Tht Cam ol 0m' Tnk
Sct'vVtlSam?. Dtl.lth. the Old
lirtrr. PMiMinn. and HtUrw III. Hi(li P..,it. Dtlilah
Uuht ( is, prwMfun of Oaioo. ton, Philminc Urn and Won
Youth Chorus at first May Festival in Hill Auditorium with Ernestine SchumannHeink (in center)
Hill Auditorium today
Grandscale repertoire was the order of the day, and May Festivals of this era often included a fulllength Romantic opera (such as Carmen, Aida, and Lohengrin) presented in concert form, in addition to a major oratorio. Among the most frequently performed of the latter was The Damnation of Faust, which somehow always seemed to get sabotaged by a sick, stagefrightened, or unprepared singer-much to Stanley's dismay. He later recalled one Faust performance in which a singer "mixed things up so inextricably that, although I sang the melody directly into his face -etiquette forbidding the use of my fists--I was forced to stop the orchestra..."
Arthur Hill
19141923
Woodrow Wilson was President of the United States, and the war was the prevailing fact of life, touching everyone in the country, including Ann Arborites (see "Sketch IV: 19171918"). But much else happened in this, the third decade of the May Festival. Two snowballing movements--Prohibition and Women's Suffrage--culminated in the 18th and 19th constitutional amendments. Massive migrations brought more than ten million Europe?ans to American shores in the decade before the war. Many AfricanAmeri?cans, separated from slavery by a generation, cut their ties to the south and came north looking for a new life in cities such as Chicago, Detroit, and New York, where jazz and blues now replaced ragtime as the new craze in popular music.
While the tremors of the Jazz Age could hardly be felt in Hill Auditorium, the effects of the war may be detected in the Festival program books. The first piece listed on several programs during this period is either "The Star Spangled Banner" or "America." Stanley and Stock contributed to the cause with their own pieces entitled "Hymnus: Fair Land of Freedom" and "March and Hymn to Democracy," both performed at the 1919 Festival. Perhaps reflecting the widespread suspicion of things German, the 19181919 period also saw a decrease in German works, which had always been the backbone of the May Festival repertoire.
Albert Stanley's retirement in 1921 had notable effects on the Festival. For one, an important new contributor emerges on the pages of the program: Earl V. Moore. Another University of Michigan product, Moore became an organ and music theory professor in 1914 and then, two years after Stanley's retirement, rose to director of the School of Music, whose current home on North Campus is named after him. Moore's promise and stature may be measured against two other serious
candidates for the post: Archibald T. Davison of Harvard and the English composer and conductor Gustav Hoist. Hoist must have been interested in the job, for he came to the May Festival in 1923 as a special guest conductor and composer. Several of his works appear on the programs that year, including the American premiere of his Hymn of Jesus.
Several other notables graced the Festival's third decade. Italian tenor Beniamino Gigli, then at the height of his career, joined Hoist in the 1923 Festival. Irish tenor John McCormack, German coloratura soprano Frieda
Hempel, Italian soprano Amelia GalliCurci, and Hungarianborn mezzo Margarete Matzenauer all visited at least once. In what must have been a particularly thrilling coup for Charles Sink, soprano Rosa Ponselle came to the Festival just months after her celebrated Met debut opposite the legendary Enrico Caruso. More instrumentalists begin to appear as soloists, most notably pianists Harold Bauer, Wilhelm Backhaus, and Josef Lhevinne. In the 1920 Festival, Lhevinne accomplished the rare feat of playing two concertos in one concert.
Rosa Ponsellc
Charles Sink greets new Choral Union conductor Earl V. Moore
Gustav Hoist
CHORAL UNION SERIES -1922 1923
FORTYFOURTH SEASON SEVENTH CONCEIT
Na CCCXC1 COMPLETE SEJUES
First May Festival Concert
WEDNESDAY EVENING. MAT 10. S.OO O'CLOCK OtOIST
Ml. Bcxiauino GlCU, 7wr
The Umvcmity Cmosal Umiox
The Chicago Symphomt Otcstm
M. Cuktav Holst (Guest). Mr. Fubolicx Stock, Cmdtutn
PROGRAM
UARCH FROM THE QUEEN OF SHEBA" .... Citoavi CHcniirm
KI t .rl.. r n,,; i,,.,,, U CiwU"..... IVre
Mi Cku
SYUPHONV IN II UINUK.........Ft
l.?l!rc.o ,m tmnw: Allrrrtlo; Alktr cot brio
ARIA (inn I. R., iI'Vi'...........
U: Ctca
OKIKNTAI. SUI rii tWni Man.' Omi 3 No. i.....
Fii DmOTI Stcl Dhr; 1 (h Sum ol Ik Oltd Ncli
?D1K UF.ISTr.RSINCER".......?
(t) W.IK.!, Priw Sof
Mi Cicu (b) Chonlc, "AmIm," Md Choral FmuW
CHCaUl IM OtCKUHA
CHORAL UNION SERIES. 19161917
THIRTYEIGHTH SEASON EIGHTH CONCERT
NO. CCCIV COUPLETE SERIES
Third May Festival Concert
FRIDAY AFTERNOON. HAY 4. 3:30 O CLOCK
SOLOIST
Miss Ethel Lecikska, Pimiit
Chiumin's Cuoiui Tut Chicago Svmphokv 0chuti
M. Albeit A. St.suv a so Fusoicx Stock, Conductors
PROGRAM NATIONAL ANTHEM, "My Cmuy T of TW
"THE WALRUS AND THE CARPENTER"
SYMPHONY. C MAJOR. "Jupiltr" (Kochd 551) Allfjro ftvani Andanle cantabilc;
Menuetto; Mollo mlktre
CONCERTO FOR PIANOFORTE, No. 4. D minor. Opui 70. R Modrraio; Modcrato nui; Allejro uui
STtlSWAV riASO USED

CHORAL UNION SERIES -19201921
FORTYSECOND SEASON TENTH CONCERT
N CCCLXI COMPLETE 5ERIES
Fourth May Festival Concert
FRIDAY EVENING. HAY BO. B:OO O'CLOCK
1
MISCELLANEOUS CONCERT
SOLOrST
Mmil Luckkzia Bow. Soprano
Tut Chicago Sympiiokv OiCiicvr
Mr. Fbcdcbicx Stock, Conductor
PROGRAM
CHORAL AND FUGUE. C minor
to. Iron
Mm Lv
SYMPHONIC POEM"Atln" Opui 16 (by pteul ri) Auw A. Stut
iMTBHIttMN
MEPH1STO WALTZ Uht
Chmotmi
SUITEWodUd. A minor. Opo 41 McDwtU.
n, HiMnl FortU": II. 'Soimtr Illr, III. 'T IV. Tomt Sfr.tr
ARIA'Ui thiin
PRELUDE TO THE UaSTERSINCERS
19241933
From the soaring wail that opened Gershwin's Rhapsody in Blue at Paul Whiteman's landmark Aeolian Hall concert of 1924 to the resounding thud of the stock market and its severe aftershocks into the 1930s, the May Festival held a strong, steady course, unruffled by major upheavals in music and the world. Gandhi fasted for three weeks to protest the religious feud in India. Radio became a fixture in many American homes. Hitler and FDR assumed power in their respective countries. The first concentration camps were built. In 1927, Charles Lindbergh completed his famous transatlantic flight on the day of the third May Festival concert, and the Ann Arbor Times News marked the two events by devoting half of the front page to each.
In music, Schoenberg unveiled the twelvetone system in his landmark Piano Suite. Stravinsky shifted into a cooler, objective neoclassical style. Meanwhile, classic jazz recordings by
"Jelly Roll" Morton, Louis Armstrong, Fletcher Henderson, and Duke Ellington were streaming out of Chicago and New York. Kem and Hammerstein's Showboat launched a new era of American musical theater.
Among the highlights of the May Festival's fourth decade were the three appearances by composer and conductor Howard Hanson in 1926, 1927, and 1933. Hanson had begun to gain prominence as America's leading heir to the German Romantic tradition, with his largescale symphonies, symphonic poems and choral works. (For decades, he would also exert much influence on American musical life as the Director of the Eastman School of Music and its orchestra.) In this period, three of Hanson's large works received their world premieres under his baton at the May Festival: the choral works The Lament for Beowulf and Heroic Elegy and the opera Merry Mount.
As usual, many internationallyknown soloists also came. Gigli, Matzenauer, and Ponselle returned, as did the sixtysixyearold SchumannHeink one last time (her sixth appear?ance since 1900). New to the May Festival were violin soloists: Mischa Elman, Efrem Zimbalist, and Jascha Heifetz. Also appearing were soprano Lily Pons, baritone Nelson Eddy (before becoming a popular singer on radio), and pianist Ignace Jan Paderewski, who performed his own Concerto in A minor at the 1931 Festival.
On May 19,1933, an allWagner Festival concert was dedicated to the memory of Albert A. Stanley, who had passed away exactly a year earlier --on the anniversary of the first May Festi?val--just before his eightyfirst birthday. Closing with "Siegfried's Death and Funeral March" from Gotterddmmemng, the concert was certainly a fitting tribute to the Festival's Germanophile founder, who had been bom and died in the month of May.
Glenn McGeoch stands behind UM President Alexander Ruthven and Frederick Stock
lgnaccjan Paderewski
Lawrence Tibbctt
CHORAL UNION SERIES-19261927
KUKTYEICllTil SEASON TENTH CONCERT
NO. CCCCUtlV COMPLETE SERIES
Fourth May Festival Concert miiuv wrwmm, mat m. in oclocx
Tilt USRBMT1 DNM( I"mo Ti Chicago SrurHO OKRttTui
Fumiick Stock, Fut Umowcei (Cool) am Eau. V. Woo Stuit Roll. Altmmfuniil
rROCRAM
FASTASIE--OVERTURE. Yh" ...........................
(Contacted by the Comtmtt)
ARIA. "Etnani ifwoUmi." from "ErwiU"........................
RoiA Poucxi
ODE on Cretan Urn." (torn F.r.i Owril Snphcmr...........
RC1IF.K7.O--"Fjiitj" m 'l'.Jlj't Sent. from FuM Ckoral
(Firit inrlofmincc in Amtrki) AKIA. TSK. (c. Un Dw. from 'U Fu del DtMmo".
KUm, TlireBsh ihc Lookinc CU .......................................Tjlr
Dnbotion: The CirJcn of Liv Fkurwt: JWocki; Lookc CU Iniwu; The Whit. Knijht.
SOSXS:
[) Wine nl N't ................................................ITII
ii.) Eret ...........................................................Crirt
(r) Ulbby .........................................................5w
(d) Piper cl Low .................................................Cm
RMt i ??11' t
SCENES UE OALLET" ..............................................
Vtnmttt: MarioMtlrt. Scheriina; Pu (TAtlio: Vc 7 J.f ?? ud fa ? (Ml
CHORAL UNION SERIES--19241925
FORTY SIXTH SEASON TENTH CONCERT
No CCCCXXIN COMPLETE SERIES
Fourth May Festival Concert
FRIDAY EVENING. MAY OS. B 00 O'CLOCK
Lawkcncc Tiiictt, BaHtoiu The Chicago SrumoNY Oichkstia-Mi. Fidiuck Stock, Conductor
PROGRAM
PRELUDE. Art III. "A Dun Porto".......SnvtUJ
SYMPHONY. No i. F mio. Op. go.......Biasmi
Aitctro con bno;
ARIA. "E.i Tu lr Tlw Mwtad Biir.......Vbm
Lawuhcs Timctt
?UrwiitM
ARIA. "Vnion Ffiti" Iraat "HuoJaiJt".....UamutR
Ul Timctt
SUITE, "From FmUwT. Op. ........Pmt
Sprinc Drm"
Unit in PopQltr Siyk" "Dtnct of th F
Mgh
ARIA, FonTi "MJort" from TahuK".......Van
Ut. Tihctt
ASCENT OF BRUNHILDFS ROCK AND FINALE
from SIEGFRIED".........Wum
CHORAL UNION SERIES--19251926
FORTYSEVENTH SEASON TWELFTH CONCEIT
No. CCCCXXXXIX COMPLETE SERIES
Sixth May Festival Concert
SATURDAY E7eN1NG. MAY 02. B 00 O'CLOCK
"LOHENGRIN"
A Rouaktic Omia ix Thih Acti
CAST
LOHENGRIN, (Knight of the Grail) . R:ciiad Ciooxi
HENRY 1. {King of Germany) Jawcs W'oun
FREDERICK TELRAMUND (a NoUe of Uralani) . Riccakoo Boxelu
THE HERALD . .....Bauk Hiu
ELSA OF BRABANT . Flmckck Alitxal
ORTRUD (wife of Tclnmund) . Auclita Lixsea
CHORUS OF SAXON AND BRARANTtAN N'nm.RS. LADIES. PACES, ETC. . . . U.xiretsrrv Cmoal L'mox
Tin Chicago Bmratatv Uichlstia--Eail V. Mootc, Conducts
ACT I
A mtadou en Ike Bmki el the StktUt

till The fnorffcv i.j Ufanf 4ICCTIOS ? Oct.ili.
I'm ...... i 11 rid.I Ui.u. oi NeUtt am)
ACT II L:1
, ,. .1 A,,t LUi Sell KlB .! lhot.
19341943
While Europe moved toward the brink of selfdestruction, the May Festival continued to celebrate the best of its cultural legacy. By the end of the Festival's fourth decade, the war came home in the form of rationing--of sugar, gasoline, coffee, shoes, meat, cheese, and canned foods. Yet the Festival's written record--its sturdy, thick programs and the stunning lists of guest artists--betrays no sign of hardship.
"The May Festival was an anchor in people's lives," recalls former UMS President Gail Rector. Rector, whose forty years of professional service with the UMS would begin after the war, was a University of Michigan music student and Choral Union singer during this decade. He recalls the May Festival, at this and later times, as "a respite from the troubles of the world, an island of peace." Maintaining the Festival's "traditional values," Rector recalls, became especially important during wartime.
The tradition, however, would have to be maintained by another orchestra. Frederick Stock and the Chicago Symphony, who had been the backbone of the Festival since early in the century, gave their final May Festival concert in 1935. Any fears that the Festival's quality would lapse were
quelled when the Philadelphia Orches?tra was contracted for the 1936 season, thus beginning a new, nearly halfcentury May Festival tradition. But there was no mistaking the change.
The Philadelphia Orchestra, under the flamboyant Leopold Stokowski since 1912, had developed a unique sound by the time of its early years at the May Festival, a sound described by composercritic Virgil Thomson as "warm and moist and alive." (Eugene Ormandy succeeded Stokowski after the Philadelphia's inaugural May Festival, and returned every year into the 1980s.) This must have struck local audiences as quite a departure from the Chicago Symphony under the sturdy, sober leadership of Frederick Stock, with its emphasis on precision, clarity, and distinction--and its "thin as a wedge" string sound, as Thomson once wrote.
From Philadelphia also came a new conception of programming. From now on, the May Festival included a generous offering of "topical" or "thematic" programs devoted to the music of one composer or one nation. Five concerts over its first two decades, for example, were allBrahms programs. There were also AllWagner, AllSibelius, and AllMozart programs, as well as several AllRussian and one AilAmerican programs. (Typically, AllGerman programs were never labelled as such.) The 1942 May Festival featured an AllRachmaninoff pro?gram--with the composer himself at the piano for his Concerto No. 2.
From 1934, a new voice of learning emerges from the program pages: that of Glenn McGeoch. Like Sink and Moore, McGeoch was a University of Michigan graduate (B.A., 1927; M.A., 1928). After a couple years of study in Europe, he returned to Ann Arbor to become Professor of Music Literature in 1931 and played an important role in establishing the music history program at the School of Music. He would continue to write the May Festival program notes into the 1970s.
The Philadelphia Orchestra's early years here saw several other firsts. The first AfricanAmerican soloist to participate in a May Festival was
Fritz Kreisler
contralto Marion Anderson, who performed Mozart and Verdi as well as black spirituals here in May 1938. Anderson returned for three other Festivals (1939, 1942, and 1950). Pianist Artur Rubinstein made his first of three May Festival appearances in 1938. It was truly an allstar decade, with an especially impressive lineup of instrumentalists: pianists Vladimir Horowitz, Artur Schnabel, and Rudolf Serkin (in addition to Rachmaninoff and Rubinstein), violinists Jascha Heifetz, Fritz Kreisler, and Josef Szigeti, and cellists Gregor Piatigorsky and Emanuel Feuermann. Piatigorsky performed in three May Festivals in the 1940s. No wonder. The Russian cellist had already sown fond memories in Ann Arbor: he was married here (in the Sink's living room) in 1939. Feuermann, on the other hand, left another legacy here. His performance in the 1942 May Festival turned out to be his last; he died within the month.
In 1943, the May Festival cel?ebrated its "Golden Jubilee" by honoring key elements of its tradition. The second concert, for example, featured works by Stanley and Stock (who had recently died) and closed with Strauss' Death and Transfiguration, which according to the program book, was "played in memory of Albert A. Stanley and Frederick A. Stock"--two figures who had domi?nated the Festival's first halfcentury. The whole Festival was framed by the two works that had opened and closed the inaugural May Festival in 1894: Beethoven's Leonore Overture 3 and Verdi's Requiem.
Eugene Ormandy, stage door Hill
Jascha Heifitz (second Jrom left) leaves Jrom the back door oj Hill ajter rehearsal wilh Alexander Hilsberg -student Gail Rector (Jar right) watches
Thor Johnson, Charles Sink
Alva Sink, Albert Spalding, Mrs Spalding, Rubenstcin
Charles Sink, Uly Pons, Leopold Stowkowski in back of Hill
Sergei Rachmaninoff
FIRST MAY FESTIVAL CONCERT
Wednesday Evenino, May 9, at 8:15
toLoirr Roia Pohielli, Sofrno
Chicago Symphony Okchestka
Frederick Stock, Conductor
PROGRAM Preludt and Fufw ("Si. AnntV), EBM major .... BaciiStock
Am, "thl RKm LninBhifr" ("Stowim")......Rowm
Rom Tokiille
"U Mer" (The Sei)..............Diiww
From Dawn 10 Noon it Sea
Gimboli of the Wavn
Dialogue Bttwttn the Wind and Sea
Ariw, "Addw del Pauaio" ("La Trarwia")........Vewi
"Ohm fcW ("Carm.n").........Burr
Mm PONltLLl
INTUMWION
Ripwdi. CipasnoU...............A
Prtludcala Nurt) Mabfutn; Habancrt) F(ria
Sonp with Piano:
Frtvhi Luoghi Prari Aultnri.......Stxfamo Domaudy
Miricru'sLinr ("DTolf SiaJi").....EmiCH Ko.woou)
RbpcMo t ...........E. WOLFFtMARI
Si Tu L Vouliit...........F P0"1 T(wn
Mr Ur He Com on ? Ski......ClouchLiiomtm
MtM PoNIILLt
M. Stuakt Rm at the Pmm
?MM "?' '? '' (.'"" ' ' ft"m
SECOND MAY FESTIVAL CONCERT
Thursday Evening, May It, at 8:JO
MMR1
ACMtl DaTH, Svfrtno CtiAlI BaKOMIO, Bau
AtTHlR HACKtTT, Ttner ARTUR RuiINITKK, PUnilt
The Philadelphia Orchotka
Omrtumr Choral Union EuciNt Omakuv uttt Earl V. Moore, Conductor
Madcl RutAD, Piama PaLE Cxfclfmil, Orgmiit
r k ocra m
Entr'acte from "Kowamchins" . . .....MouMOtUKT
The Bciu..............RACHMAKDtorr
(Ftom die poem by Edgar Albn Pot) I. IV SiKer U.iU--Alltfro ru non Untu
AftTHl'R HACKtTT AND CH0RU1 II. The Goldtn BdtLento
Acvri Datii and Chorui III. The Braun folk--PrriM
Ckorui
IV. The Iron BtU--Lento lupibn Chau Baromeo and Ckmui
Concerto No. i in 8Sat minor. Op. 33, for Puno mU
Orchejtra...............Tcmaikotikt
Anduw noa irappo t molto mimata, Alir(ro at. fitiit) AmUm Kplic--AJUfra riwt uu,, AllC" ? t?
Artvr RuRiNmtH Mr. RuWiMtcm uks the Steinwar Piano.
I _ _
THIRD MAY FESTIVAL CONCERT
Fuoay Aftxrmoon, Mat 12, at :jo
EliO Pinxa, Bail ! Youwc People' Futival Cmou The Philadelphia OftCMtmu
Et.XIHt OlLMANDT AWD JtTA HlCIH,
??)?
riOOlAM
Andante lor Sirinp, Harp, and Organ Fintuy No. I in 0 mijor for Five Strop
Truucnbcd for Urgt erchntr by Lucicn Caillct .... JtMKOM Arut: "Non piu andrii" from "The Marrtap of Fipro
"Qui vitfno non t'scccnat" from "The Mafic Flute" . Mosakt "S uol halUrt" from "Th Marriap of TVnr
Euo PiwtA Group o( Sonp:
Tlw Nui Tre...........
Cnit Sonf
Htdgt Row Whiihcr
Vouxc PtoPLi'i Fettttal Choui
? Arm: '"Si U Rijeuf" (rom "La Jui"........HALirr J
"II bcerato f no' from "Simon Boctaftejr." .... VeiM I Mi. Pihia
I Symphonr No. 5 in C minor..........BltTMOTtM
t AJItfra
194453
The map of Europe was being redrawn, India achieved independence (only to suffer Gandhi's assassination soon after), and a Jewish state was established. With the deaths of Schoenberg and Webem, the European musical tradition witnessed a changing of the avantgarde, now led by such composers as Messiaen, Boulez, Stockhausen, and Cage. The world as it existed during the May Festival's first decade had changed dramatically.
Yet the Festival forged ahead into its second halfcentury with an unwavering commitment to its tradi?tions. And according to Gail Rector, who served as Charles Sink's assistant during this period, the postwar May Festival enjoyed better student attendence than ever, thanks in part to the G.I. Bill, which brought veterans and their wives to campus. Six Festival concerts--including two each on Saturday and Sunday--would remain the rule well into the 1960s.
Major soloists, whose engage?ment could never be taken for granted, also remained the rule at the May Festival. There was more than just musical incentive to make the trip. According to Gail Rector, the conve?nience afforded by the socalled "Wolverine Special"--an overnight train from New York to Ann Arbor that left at 4:30 p.m. and arrived here at 8:30 a.m.--was "a big factor in artists deciding to come." Nathan Milstein, for example, regularly appeared here in the 1940s and 1950s and performed at four Festivals in this period. Even after the advent of commercial air travel, however, Milstein refused to fly. But the old "Wolverine Special" still made it easy for him. Another incentive was that the Russianbom violinist had a long history with the Philadelphia Orchestra: he had made his American debut with it in 1929.
Among many others, the following appearances are worthy of note. Pianist
Oscar Levant highlighted the AUAmerican concert of the 1945 Festival, where he performed his signature pieces: Gershwin's Concerto in F and Rhapsody in Blue. A young violinist named Isaac Stern made his first of many Ann Arbor appearances at the 1947 May Festival, just before embark?ing on a tour that would establish his international reputation. In 1950 Scottish violist William Primrose performed the Bartok Viola Concerto, which he had commissioned and which he had premiered only a few months earlier. The 29yearold pianist William Kapell made his last of three Festival appearances in 1951 with a perfor?mance of Prokofiev's bravura Piano Concerto No. 3. Two years later the young virtuoso died in a plane crash.
Nathan Milstein
Marguerite Hood, conductor, Youth Festival Chorus
Soprano Ljuba Welilch in rehearsal with Eugene Ormandy
11KST MAY FESTIVAL CONCERT
Thursday Evening, May +, at 8:30
THE PHILADELPHIA ORCHESTRA EUGENE ORMANOY, CUiuur
!?!?!
LJUBA WELITCH,
PR OCR A M
Overture and Allegro (mm the Suire, "La Sullanc" . CounUNMlLHAUO
Uller Aria from fum Ontp.........TcWAIKonKY
LjUIA WlLITCH
Symphonr No. 7 in C major. Op. 105 (in on. lawmen.) . . . SiBBUUi
ClounC Stenr from Siltmt, Op. $4..........Stiaum
MmiWiutch
'Symphonic Pom. "Draih and TTanifigurition," Op. 34 SlA(m
Colvfnb.i Htnn.it
THOU) MAY FESTIVAL CONCERT
Saturday Afternoon, May io, at 2:30
THE PHILADELPHIA ORCHESTRA ALEXANDER HILSBERG.
THE FESTIVAL YOUTH CHORUS
MARGUERITE HOOD, Conductor
? mi
ISAAC STERN,
PROGRAM
Symphony No 4 in A rnajur, Op. 90 ("lulun") .... Ml AlhfWftw
Aadutt con mott
C ikni. StlunlU: pnM
Sonf Cycle from the Muic
d by Rimtu )?
PipiCtM't Song, Iran "Th Mc He"..........Mfl
Tfc BlMfcawdt....................B14
TW T....................Scxvi
TV Km Traa...................tcMUM
TV H.rdfCirti, Hu................loroi
Hull Hukf tfc'tHt' .' .' .' .' .' .' .' ." .' .' .' .' .' ." .' .' am
Futtval Youth Crinui
Coaaaxo in D major. Op. 77, (or Violin and Orchn .... Buhm
Albrro paw, M bm mfp. lna IlAAC StT K
THIRD MAY FESTIVAL CONCERT
Satliday Atttjnoon, May 3, at 2:30
the philadelphia orchestra
ALEXANDER HILSBERG, AtiocUit Cedtot
THE FESTTVAUYOUTH CHORUS MARGUERITE HOOD, Conductor
?M NATHAN MILSTEIN. Vitliwl
PIOCIAU
'(KcdiiTrto fiuulcr, end LudmMi............GUMS
Song Cycle from iht Mutcn........An. Rusuu. Horuuc
'"'??'I TOUTH CMMUI
Synnoy No. S in BfUl i)w............SCKUSOT
Conetno in A minor, Op. S3, for Violin tad Orcfadtn
Ntam Miutum
195463
Few incidents so vividly reveal the paranoid temper of the times as the summons of Aaron Copland to testify before the infamous UnAmerican Activities Committee. For years, the composer had been engaged in the most American activities imaginable, writing such works as "Appalachian Spring," "Billy the Kid," and his arrangements of "Old American Songs." Suspected of Communist sympathies, however, Copland was a marked man. As a result one of his most overtly Americanist works, "A Lincoln Portrait," was slashed from the program of music for Eisenhower's inaugural.
Copland survived the inquistion, although many were not so lucky. (Three University of Michigan profes?sors were dismissed from their posts for failure to swear an oath of allegiance.) At the 1961 May Festival, Copland appeared as the guest conductor of two works he had completed within the last decade--Orchestral Variations (1957) and a suite from his opera The Tender Land (1954). Composer Virgil Thomson had also made a guest appearance in 1959, conducting three of his own works, including the world premiere of excerpts from his score for the United Nations film Power Among Men. Also receiving its premiere at the May Festival was University of Michigan composer Ross Lee Finney's Still Are New Worlds (1963).
The Choral Union, still over 300 strong, continued to sing traditional choral works and operas. Yet under the leadership of guest conductor Thor Johnson and chorusmaster Lester McCoy the group also performed more 20thcentury works. Two highlights of this period included a complete performance of Schoenberg's Gurrelieder and the U.S. premiere of Poulenc's Secheresses.
Major performers to grace the May Festival in this period were soprano Lily Pons, who had been performing in Ann Arbor since 1931. At her 1958 Festival appearance, her last here, she was 60yearsold and still active at the Metro?politan Opera. Among a younger generation of performers were American soprano Rise Stevens, who sang excerpts from her signature role of Carmen. (In her career, she sang it 75 times at the Met.) Soprano Leontyne Price--who, like Pons, would continue to perform here into her sixties--made her first Ann Arbor appearances at the 1957 and 1960 May Festivals, singing Verdi (Aida and the Requiem) both times. Also making his first local appearance was Glenn Gould. His 1958 concert was made possible only after Gail Rector (who had succeeded Sink as Executive Director in 1957) persuaded Eugene Ormandy that the volatile pianist would cooperate with the orchestra and not pull any of his "tricks." After six months of negotiation, Rector's persistence paid off and Ormandy consented. According to Rector, Ormandy was so impressed with
their May Festival collaboration on Beethoven's Concerto No. 4 that he invited Gould to perform with the orchestra in Philadelphia. The concert was scheduled, but the pianist never showed up.
SECOND MAY FESTIVAL CONCERT Fsiday Evening, May 6, at 8:30
THE PHILADELPHIA ORCHESTRA
THE UNIVERSITY CHORAL UNION
THOR JOHNSON, Cuett Conduct
teuton
ANDRES SEGOVIA, Gmttrut PEOORAH
Corrido de "El Sol" (or Cbonu and OKbestrm.......CbAvzx
Uhtvkuttt Chojuu. Union
Concerto In D major (or Guitar and
Orchestra, Op. 99..........CunuruovoTisKsco
AJkjitlto
Aadiatlao ill rtmtma
Rilmko t utlDtrtKO
Aksui Secovu
Cboroi No. 10--"Raifa o concto"........ViluLobm
UnivxMairv Ciiokal Ukion
Sytnphonie de puumes.............SnuvrNtxv
t'Nivusm Choral Union
Fantuia pars un ftntilhombre, (or GulUr and Orcbatra . . . Roouoo Me. Skoovu
Ti JlmwT U 111 tfiti fUm tkt fryt U Tht Lutw Hmt it Hi fUU fUm O, rHIUdp
Charles Sink, Lily Pons
FIFTH MAY FESTIVAL CONCERT Sunday Afternoon, May 6, at 2:30
THE PHILADELPHIA ORCHESTRA
THE UNIVERSITY CHORAL UNION
THOR JOHNSON, Cuttl Condwier
LOIS MARSHALL, Sefrtna..........Text
MARTHA UPTON, Contralto.......Watdtaube
RUDOLF PETRAK, Tenor........Waldtmv
HAROLD HAUCH, Ttnef........KUut Nvr
LAWRENCE WINTERS, Ban........Btmtr
ER1KA vo WAGNER ST1EURV......Senator
PROGRAM
'.vrt'Uedtr, a CuiUU..........Avoio Satounoo
Part I. Wtldemar, Tovc, WaldUubt, and Orchestra Part II. Waldciw and Orchestra
Part III. Waldemar, Bauer, and Kliui Narr; Time Mea'i Cbonaes, aad
Orchestra Part IV. Da Sommeiwlodes ilde Jijd, Narrator, Chorus, and Orchestra
Glenn Glould, basement ojHill
Uontyne Price, Eugene Ormandy, and Philadelphia Orchestra
SIXTH MAY FESTIVAL CONCERT
Sunday Evening. May 6, at 8:30
THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Ctmdmclw
1OLOIITS
GYORGY SANDOR. PUmiit ANSHEL BRUSILOW. VitUmitt
FROCEAH
Coupositioss or Richako Stxauu
Tom roetn, "Don Juan," Op. 10 'Burinfce" In D minor for Piano and Orthcstra Coov Sakom
Tone Poftn, "FJn HrMctOcbra," Op. 40 TV Ut
TU Htrai
Tfc. IW. __
Tkt Hrg Wwki al Pan
TW Htn'i Krina Iraa taa Wsrid tad Uw FalUwM 4 :tk LU
Anikil biviiiow, 5ol KMia
19641973
The May Festival somehow held a steady course through a decade that spanned from Kennedy's assassination to the Watergate hearings, and in which a distant, dubious war shadowed everyday existence. Social upheaval was much closer than the war itself, due in part to the influential first teachin on the Vietnam War, held at The Univer?sity of Michigan in March 1965, and to riots triggered by racial injustice in Detroit and other major cities. Less than three weeks before the 1968 May Festival (which took place in April), Martin Luther King was assassinated in Memphis. Soon after the 1973 Festival, the Watergate hearings began.
In short, concert audiences in the May Festival's eighth decade had a lot on their minds. Perhaps better than ever, the Festival served its function as "an island of peace," as Rector called it. The island, however, became smaller. In 1967, for the first time in over fifty years, the May Festival offered five concerts instead of six. By 1973, the current standard of four concerts was established.
Yet a reduction in quantity brought no corresponding loss in quality.
In 1964, an aging Igor Stravinsky honored the Festival by conducting the orchestra and Choral Union in a performance of his own Persephone. Cellist Mstislav Rostropovich and soprano Galina Vishnevskaya already husband and wife, and still Soviet citizens--performed at the 1967 Festival. That year the Choral Union was featured in Ross Lee Finney's new work, The Martyr's Elegy, which had been commissioned for the University's sesquicentennial. Another School of Music professor, intemationallyknown Hungarianbom pianist Gyorgy Sandor,
had performed Bartok's First Concerto under the baton of his compatriot Eugene Ormandy in an AllHungarian program of the 1966 Festival. On four consecutive nights at the 1970 Festival, the featured soloists included pianist Alicia de Larrocha, pianist Van Cliburn, violinist Itzhak Perlman, and pianist Rudolf Serkin--as well as baritone and future University of Michigan professor Leslie Guinn making his Ann Arbor debut.
In 1972, Charles Sink died; but under the continuing stewardship of his protege, Gail Rector, the May Festival moved on toward the completion of its first century.
Hzhak Perlman
Eugene Ormandy, Marilyn Home, Gail Rector
The University Musical Society
He I'nivenily if Hichifu
ANN ARBOR
THE PHILADELPHIA ORCHESTRA
EUGENE ORHA.VDY.
FISCHMDIESIAU, J
Evxmimg, Mat 4, 1972, 0 1:10 Htu. Adoctouum, Akm Ann, M
PtOCtAM
FOURTH MAY FESTIVAL C
SUKMf An iknuon. Am 16, at i:So
THE PHILADELPHIA ORCHESTRA SMALL CHORUS OF THE UNIVERSITY CHORAL UNI WOMEN'S CHORUS OF THE UNIVERSITY CHORAL LM(i
DONALO BlVAKT. Chetal Dvtitor
THOR JOHNSON. CmAkmt
BENITA VALENTE, Soprano MARY BURGESS. M
JON HUMPHREY, T LESLIE GUlNNtod
ITZHAK PERLMAN. VMniti
moatAM
"Magnificat" in D major for Orchestra.
ChoruiandSoloisu.............................................J.S B
5"?uui LVpo,
yuu inpnn Ewnrnm
Own jtntfionrt Sun? litjri
On rK mihi iMni Sicui (ocuiui m
Small Chosus or The UNivuumr Choral Union ako Soli
Donald Bryant, Harpstckordut Maiv McCau. 5tuIni. Organist
" TBIened Diimoicl") for i Vuket. Soprano, and Contralto....................
BCNITA V'ALENTI. BlXCIT FlKMLA. AMD
Women's Chorus or The University Chokal L v
ffidoaitHil Mi liinin"ii ll I I'lH.....?? HlnHfriuri
lk I L UkN
occno Ha 2 in C minor Tor Violin and OrthMtra. Op. 62
AUffto mmJttaio AJ i
Jessye Norman and Cail Rector in a dressing room, Hill
FIFTH MAY FESTIVAL CONCERT
Sunday Aftditoom, May 3, at 2:30
THE PHILADELPHIA ORCHESTRA
IGOR STRAVINSKY, Gutti Cmdmtm
ROBERT CRAFT, Cwtf Cmdmrtw
VERA ZORINA, NamUr JOHN HcCOLLUM, Tr
Symphony In C UlmU iB b
Un
Roiur Cuirr, Cmdnctmt Five Pieces for Orchestra .............................Sew6nc
Dm 060,11. It aiiitlv (TKi OfcfcfW
ROIHT CXATT,
IHTUUIUION
Penifktmt (Melodranu to woids by Andre Cide).........Snwvismr
Vim Zouna vtd John HcColluu UfrviBsrrY Citoua Ukn Ico SnuvnrsxY,
SIXTH MAY FESTIVAL CONCERT
Sunday Evening, Mat 3, at 8:30
THE PHILADELPHIA ORCHESTRA EUGENE ORMAKD Y, C
VAN CUBUKN, ft--Ut
Compositions of Sergei Rachmaninoff
Voealiie.Op. J4, No. 14
Concerto No. J inD minor, for Piano and Orcaestn, Op. JO
?Symphony No. 2 in E minor, Op. 27 AJk
RudoljSerkin, Van Clibum, Gail Rector at 1970 May Festival
19741983
A University of Michigan man rose, almost by default, to the presi?dency; the Vietnam War ended; the price of gasoline rose as the lines to get it grew longer; and while Jimmy Carter took crucial steps toward ensuring peace between Israel and Egypt, a new, nettlesome crisis rose up in the Middle East when Americans were taken hostage in Iran. Yet all told, the age of pet rocks, bell bottoms, leisure suits, and disco seems to have made no mark on the traditions of the May Festival.
One national event did shape the Festival: the Bicentennial. In 1976, more American works were performed at the May Festival than ever before. Works by Barber, Copland, Gershwin, MacDowell, and Persichetti were featured, as was the world premiere of Echoes from an Invisible World, a piece by UM Professor and Pulitzer Prizewinning composer Leslie Bassett. The highlight of the Festival was an AilAmerican concert with 76yearold Aaron Copland conducting several of his own works.
The previous year's Festival had had a more sober theme. One of its programs was dedicated to the memory of Thor Johnson, who had conducted 57 May Festival concerts from 1940 to 1973, usually with the Choral Union. A University of Michigan graduate (like so many of the other important shapers of the Musical Society's traditions), Johnson held the distinction of being the first Americanbom, Americantrained conductor to direct a major orchestra (the Cincinnati Symphony, which he had joined in 1947). The 76yearold Eugene Ormandy, who had never missed a May Festival concert in almost four decades, became ill during the
performance and couldn't continue after intermission. The next night he was back on the podium. An aging Rudolf Serkin also appeared at the 1975 May Festival, 36 years after making his local debut under Ormandy s baton. Among the younger generation of soloists to perform in the May Festival's ninth decade was the 27yearold ChineseAmerican cellist Yo Yo Ma, in his first Ann Arbor appearance.
Ormandy rarely conducted all of the Festival concerts any more. Several guests shared the podium with him, including his young assistant Riccardo Muti, the former Detroit Symphony conductor Aldo Ceccato, and for one concert, the legendary choral conductor Robert Shaw. But Ormandy continued to come here into his eighties. The 1982 Festival closed with an encore of Louis Elbel's "The Victors," which had become an informal tradition for the Philadelphia Orchestra. It was the last piece Ormandy conducted here after almost a halfcentury of performances in May.
Ricardo Muti
Vladimir Horowitz with the Philadelphia on stage
The University Musical Society
Tte University o[ Ilirhigai
ANN ARBOR
THE PHILADELPHIA ORCHESTRA Eixim Ouuxt), Umk Drnitw ml f f ire
EUGENE ORMAVDV.
Evutmc. Artu II, 1976, T I:JO Hill Aumtmium. Ann Aims, Micmkam
PKOCkAM
IMil.l1 -Itw l)unr IIL
THE PHILADEUHIA ORCHESTRA nKruno Win, t
WUIU S.T. 'A
THE UNIVERSrTY CHORAL UNIOH Dauu iif, PI irur
ALDO CECCATO, Cemimat
SHEKRIU. MILNES. Mm
LOUISE RUSSELU Sfm LOKMA MYCU. We
(TV Widow. An An(L SoftMM Set) (Aa Aatf. Ohm Ml HENRY niKX, Taw
F.id.. DtMtt Apiil 3a 1912. at 1:30 M. Ann Aioa. Mjooga

Gail Rector and Ormandy stand by the Hill kiosk heralding May Festival, 1977
Aaron Copland, Eugene Ormandy, and Leslie Bassett backstage at Hill
Ormandy and YoYo Ma backstage at Hill
19841993
In 1984, the Philadelphia Orchestra played its last May Festival, under the batons of Aldo Ceccato and the Orchestra's Associate Conductor William Smith. The last concert, conducted by Smith, closed with an encore of "The Victors." Then the University Brass Players--who had just joined the Orchestra in a performance of Tchaikovsky's 1812 Overture--began the strains of "Auld Lang Syne" as the entire audience joined in. It was an apt farewell. At least two dozen of the Orchestra's musicians had been coming to Ann Arbor for thirty years or more. One of them, cellist Harry Gorodetzer, had joined the ensemble in 1936, the year of its inaugural May Festival. Old acquaintance indeed.
Since the Philadelphia Orchestra's swan song, many different orchestras and conductors have been invited to share in the May Festival tradition. The comfort of continuity has been lost, but at the same time, the opening up of the tradition has allowed Ann Arbor audiences to get to know other orchestras more intimately, especially the Pittsburgh Symphony (in 1985, 1986, and 1988), and the Leipzig Gewandhaus Orchestra (1987, 1989, and 1991). Other recent visitors have been the Los Angeles Philharmonic (1990) and the Detroit Symphony (1992).
In 1985, the Pittsburgh Symphony Orchestra became only the fourth
orchestra to play at the May Festival. The series, "dedicated to the memory of Eugene Ormandy, 18991985," featured soloists Itzhak Perlman and Kin Te Kanawa, singing Strauss' Four Last Songs in her Ann Arbor debut. The Pittsburgh, having just lost Andre Previn to Los Angeles, brought a wealth of guest conductors from almost as many countries Sixten Ehrling, Philippe Entremont, Sir Alexander Gibson, Zdenek Macal, Christoph Eschenbach, JeanPierre Rampal, and Michael Tilson Thomas.
In contrast, the Gewandhaus Orchestra brought a single leader, the commanding Kurt Masur. Its first appearance in 1987 marked the first time a foreign orchestra had taken up residence to perform at the May Festival. With its Leipzig roots and almost exclusively German and Austrian repertoire, the Gewandhaus' presence seemed to hark back to the days of Stanley, with his decidedly Teutonic tastes and Leipzig training. The 1987 Festival also honored another tradition. It was dedicated to Gail Rector, who was retiring after thirty years as Executive Director of the UMS. He was succeeded by the current Director, Ken Fischer.
In 1993, the University Musical Society both preserves and extends the May Festival's traditions. Following a centuryold tradition, it brings to Ann Arbor one of the great orchestras in the
world today, the Metropolitan Opera Orchestra conducted by James Levine, and one of the most celebrated virtuosos, Itzhak Perlman, and an emerging young soprano, Renee Fleming. Like the first and the fiftieth May Festivals, this one opens with Beethoven's Leonore
Overture No. 3 and closes with Verdi's Requiem, performed by the Choral Union and Detroit Symphony Orchestra under David Zinman. To enhance the celebration, a Cabaret Ball featuring jazz, dance, and cabaret performances provides an interlude between the traditional concerts. Such an event might surprise Albert A. Stanley, but he can rest assured that as the May Festival moves toward the 21st century, it does so in full view of its 19thcentury roots.
Kurt Masur thanks UM President Duderstadt
Neeme Jdrvi conducting the Detroit Sympony Orchestra
Pittsburgh Symphony Orchestra
The Festival Chorus
ZUENEK MACAL
Cumin Lavam, Stftamt Situ McCoy. Thm
Jamci Tio, MmipM John Chiik. fefe
TROCRAM
UHHfH
Gewandhaus Orchestra of Leipzig
KURTMASUK
fl AadMriM. AM Alter. Mtdupn
PROGRAM
Lktfcr (Four Lw Soqp)
Ben SchUferrixn (Vtulc Coint w Serp} !m Abmdroi (In ihc Qu of
f Xotmm, Sopnoo Inicimoston
ADctni modtrtW (ihr frwiiich. Khr nihl
Adu (wtv frittiKh nod ithr Urcmi
kbmo (idv Khnril). Tno Ims bnpunrr)
Finite (bnL doch iuchl jchnHJI
Own Ihrt Umi tti i w li
Univeniry Muikol Society
DETROrT SYMPHONY ORCHESTRA
WOMIN Of TNI niWU t
Sources
Richard Crawford, "Music at Michigan: A Historical Perpsective," in 100 Years ojMusic at Michigan, 18801980 (Ann Arbor: University of Michigan, 1979).
Bernard Grun, The Timetables oj History (New York: Simon andSchuster, 1979).
Ramon Hernandez, "Bun, Kurt, and Rector: The Boys of May (or is it April)" Address to the Ann Arbor Rotary Club, April 1987.
Ramon Hernandez, "The May Festival: A Slice of Human History," Address to the Ann Arbor Rotary Club (April 1986).
May Festival Program Books, 18941993. Interview with Gail Rector, 26 March 1993.
Gail Rector, "One Hundred Years in Review," in Barbara Ferguson, ed., 100 Years of Great Performances (Ann Arbor: University Musical Society, 1980).
Nicolas Slonimsky, Baker's Biographical Dictionary of Musicians, 7th ed. (New York: Schirmer, 1984).
Virgil Thomson, A Virgil Thomson Reader (Boston: Houghton Mifflin, 1981).
Ken Fischer greeting Kurt Masur
Andre Previn, soprano HeiKyung Hong, and the Los Angeles Philharmonic
Ken Fischer and pianist Vladimir Feltsman
The May Festival -Sketches of Ann Arbor History
by Ramon R. Hernandez Director, Ann Arbor Public Library Member, University Musical Society Choral Union Chorus
Sketch I: The First Festival
'n Ann Arbor, 1893 was an important year. In 1888, Albert A. Stanley, whose portrait adorns a lobby wall on the main floor of Hill Auditorium, had come to teach courses in the Literary Department for the University of Michigan in the theory of music and related subjects, and also to assume the leadership of the University Musical Society. For about five years, Stanley had booked the Boston Symphony Orchestra to come to Ann Arbor to perform. But, by the end of 1893, the Orchestra notified Stanley that it could no longer afford to tour and cancelled its 1894 concert here.
Stanley was able to engage the wellthoughtof Boston Festival Orchestra, which, with 50 members, a more than adequate size for University Hall, was designed to tour and appear for festivals throughout the eastern half of the country. But, there was a hitch. In order to meet the Orchestra's ex?penses, including a whopping $2,000 for eight soloists, Stanley estimated that there had to be a minimum of three concerts.
Thus, necessity was again the mother of invention. A more than one day arrangement was made for the Ann Arbor appearance, and the idea of calling this arrangement a "festival" seemed to hit the minds of several people. Alas, in 1894, out of necessity, the May Festival was created.
Well, now you got it. What do you do with it Obviously, if you have committed a bundle of money, you must sell it. And sell it they did. The sheer number of press clippings from newspapers around Michigan and beyond, testifies to the media blitz of the day. Special trains were arranged. The Musical Society advised persons to check with its offices on Maynard Street for overnight accommodations.
The Michigan Daily called its readers' attention to the potential conflict between the Festival and some sporting events, chastising "those female coeds who won't attend a baseball game or the May Festival unless some male student invites them." The Daily also admonished the athletic authori?ties "for scheduling the freshmensophomore track and field meet on the same afternoon as a May Festival concert."
All that did not deter a great event. On May 18, 1894, a Friday evening, the Boston Festival Orchestra gave a full program of orchestral music, opening this, the first May Festival with Beethoven's Leonore Overture No. 3. There was a matinee on Saturday afternoon, the 19th, and on Saturday evening, under the direction of Stanley himself, the Festival Chorus, with guest soloists, performed the work we hear on Sunday, May 9, the beautiful Requiem by Verdi. In a review of that perfor?mance, the Chicago Herald wrote, "The soloists were superb. The chorus under the leadership of Stanley and in excellent manner especially rendered in a brilliant way, 'The Sanctus' [a double chorus fugue]."
60
There were some problems at the first Festival, in spite of its smashing success. Hundreds of persons jammed special trains, but most of them had neglected to buy tickets to the concerts ahead of time, and upon arriving all the tickets were sold out. As a result, they found themselves jamming corridors and passageways of University Hall. Although the concert was superb, the people emerged tired and hungry from standing in the hallways, and anxious to get home. But, their troubles did not end there. When those who attended the first night flocked back to the New York Central station, they found that their trains had been sent on to Detroit and no one had remembered to have them sent back. The trains did not arrive back in Ann Arbor until 3 a.m.
Nonetheless, the cheerful promise that things usually come out all right in the long run, seemed to ring true from an article in the May 23, 1894 Ann Arbor Democrat: "The officers of the Choral Union who put on the May Festival last week are still speaking to each other." Such was the first Festival.
Sketch II: 19051907
was making the headlines on the national scene during this time. Of serious consequence was the national furor over college football. It was to require the close attention of UM President James B. Angell after the 1905 season. In 1905, nationwide, 18 college players died of footballrelated injuries.
President Theodore Roosevelt threatened to abolish the sport. The old plagues of over emphasis, unnecessary rough?ness, and professionalism reoccurred. UM President Angell called a meeting of the Western Conference faculty in Chicago to take control of athletics. The universities of Chicago and Wisconsin even suggested abolishing football for two years to cool the fever. Adopted were eight restrictions on participa?tion; among them were:
(1) no student could play until he had been in residence a year (trying to halt the recruiting of professionals and luring of star players from other colleges);
(2) players must be doing satisfactory academic work in full course of studies;
(3) no more than five intercollegiate games should be scheduled each season; and
(4) no coaching except by regularly appointed staff, whose salaries should not be more than other faculty members of the same rank.
In part, the furor raised on the Ann Arbor campus over the new rules regulating football and the greater issues of who controls athletics on a college campus, led to a series of events that contributed to the Western Conference dropping the University of Michigan from the Conference in January 1908.
For ten years, UM stubbornly remained outside the Confer?ence, but finally, a change in its authority of control of athletics led to its readmittance in November 1917.
The University was growing, and by the turn of the century, it was one of the largest in the country, numbering about 3,500 students.
Charles A. Sink arrived at the University in 1904 to begin a distinguished career spanning six decades of service to the University. Although originally holding the title of Secretary for the University Musical Society, it fell to Sink to handle the wealth of details and diplomacy in putting forth the extensive yearround UMS program.
One of the first duties befalling him was handling the announcement by the Boston Festival Orchestra that, after 11 seasons of May Festivals, it could no longer afford to tour. The Society then contacted the Theodore Thomas Orchestra of Chicago conducted by Frederick Stock, and it expressed its willingness to play at the 1905 Festival.
It seems that Ann Arbor was a bit slow in warming up to the new orchestra; but then, after all, the popular Boston Festival Orchestra had been around since the Festival's beginning.
Following the 1906 Festival, which was down in revenue, but not all that bad in attendance, there was a lot of finger pointing in Ann Arbor.
The Ann Arbor News reported: "A resounding success, but financially a failure. The burden of deficit laid with the people of Ann Arbor themselves. The businessmen of the city, it is said, have not supported the Festival generously this year. The Festival will not meet expenses by any means, and while a festival for next year is assured, a new plan will be adopted, introducing concerts of a more popular nature into the series." Townsfolk knew the News had the Sousa band in mind.
Something must have happened in the intervening year. The Theodore Thomas Orchestra did come back and the program was not "watereddown" with a more popular or Sousatype program. The 1907 Festival was a great financial success, with much business support in terms of advertising, and the Orchestra played to great reviews.
It is said that Ann Arbor always seems to have something to complain about. The 1907 Festival featured a commentary on Festival conduct, bringing to mind occasional articles and letters on concert etiquette. The Ann Arbor News, on May 7, wrote: "All should come early so that the ushers may seat the audience before the concert is to begin. All concerts need to begin at the hour announced so that those who so desire may leave on the late trains. The placing of chairs in the aisles or the carrying of chairs of any description is forbidden. The Ladies are respectfully requested to remove their hats. Only two other things need to be added: do not take children who are too young to appreciate the concerts and who annoy others, and if you cannot appreciate the concerts enough to stop talking yourself, then go out on the campus to talk instead of the Hall."
Three other interesting items of note in the 1907 Festival:
First, after the first night, renowned baritone soloist Giuseppe Campanari, along with the Thomas Orchestra's harpist and librarian, were found as patrons of the Bijou, a cheap downtown vaudeville theater, singing and drinking
along with the local customers and watching a moving picture on the Bijou's large screen.
Second, on May 11, the Detroit News reported that for the first time in Festival history, the audience arrived in the midst of a snow storm.
And third, at the May 9 concert, the Bell Phone Company put on a "Televent" as an experiment. With two boxes (one might call a telephone version of a microphone) suspended above conductor Stock's head, the concert was sent along the telephone lines to persons with phones in Detroit. Although the experiment was described as somewhat successful, for reasons unknown, it was not repeated in subsequent years.
With the closing of the 1907 season, two things became readily apparent: (1) the permanence of the Festival itself, and (2) the use of the Theodore Thomas Orchestra for some years to come (through the 1935 Festival).
Sketch III 1913
year stands out above the rest in the early days of the Festival, it would be 1913. Through the gift of Arthur Hill and some matching university funds, an auditorium, billed as one of the best in the country, was built and opened in time for the 1913 May Festival. With the moving into Hill Audito?rium, the Festival expanded to four days, including a children's chorus from the Ann Arbor Public Schools (a tradition that lasted five decades). The orchestra expanded to about 80 members, taking advantage of the larger hall.
At the same time, national and international events were capturing the attention of the Ann Arborite. With the split in the Republican Party, between the Regulars and the Bull Moose, Democrat Woodrow Wilson, who was once considered for the post of UM president, was elected president of the United States, and took office two months before the May Festival.
On the sports scene, Ty Cobb held out and refused to sign a contract with the Detroit Tigers. The Tiger president only offered $10,000, Cobb's 1912 salary. Cobb wanted $15,000. On April 19, he was suspended for not reporting. On April 22, an Illinois Congressman called for an investigation of professional baseball, and finally on April 25, the same day that the Theodore Thomas Orchestra changed its name to the Chicago Symphony Orchestra, Ty Cobb signed for a reported $10,500 or $11,000.
Meanwhile, back at the May Festival, Stanley and Sink made the transition to the big, beautiful and highlyacclaimed new Hill Auditorium without a hitch. With almost 4,500 seats, attendance doubled, and on the opening night, the concert featured the everpopular Fifth Symphony of Beethoven. On the second night, again under the direction of Stanley, and in honor of the 100th anniversary of Verdi's birth, the Festival Chorus sang Verdi's "Manzoni" Requiem.
The local review read: "The Requiem was sung with splendid effect last evening. The concert is a triumph for the Festival Chorus. Although it rained steadily throughout the evening, Hill Auditorium was filled almost to overflowing. The chorus maintained always a perfect degree of balance, and a
61
tone constantly distinguished by deep resonance and purity. Attacks were even and sharply marked, and in many places the volume of tone was strong and well sustained. In the Tuba Mirum,' the male voices came out in unison passages with magnificent effect."
The Festival was not without its interesting sidelights, not the least of which was a gossipcolumnist's inside look into the private life of one of the soloists, Marie Rappold. The local paper reported that Mrs. Rappold was "surprised and dis?tressed when told this morning, May 16, that her husband, Dr. Julius Rappold, had been giving some interviews in New York City regarding her fight for a divorce. She would not admit this when contacted in her hotel this morning. She said, 'This is terrible. Why can't the papers leave such private matters alone I refuse to make any statement.' Dr. Rappold declared he would prevent his wife from getting a divorce 'for her own good.' Mrs. Rappold said sometime ago, 'He does not love me or our daughter. I married him when 1 was too young to know what I was doing. He is as cold as science itself.' Dr. Rappold said at that time, 'A man who is married to a professional woman is really not married at all. Marrying a genius is like going to war. Conjugal happiness seldom can endure when the wife is a genius and her husband is not.'"
Sketch IV: 19171918
n 1914, war broke out in Europe and almost immediately its consequences came home to Chicago and Ann Arbor. In April 1917, President Wilson asked Congress for a declaration of war against Germany, saying that "The world must be made safe for democracy." Already, the country had been preparing, including several mobilization actions on the UM campus.
But one issue that hit both UM and the Chicago Symphony Orchestra, and hit them hard, was the issue of loyalty. At UM, the German Department was suspect.
At a farewell meeting for recruits at Hill Auditorium on September 4,1917, responding for the draftees was Fred Wahr, instructor in the UM German Department, and a member of an old Ann Arbor German family. He left no doubt where he stood: "In justice to our great cause and to ourselves who are now called into service, we demand that those seditious and treasonable utterances which now and then find their way about in our community be silenced, and that those making such statements, whoever it may be -we demand that they be treated with the contempt which they deserve. You are either for us or against us." His words hit hard and had influence.
In October 1917, an assistant professor in the German Department was dismissed by the Board of Regents. However, at the same time the Regents tabled a request from the National Security League for an official inquiry to be made into the loyalty of ALL professors and university officials.
By Spring, the Regents were petitioned to remove the study of German from the curriculum, which it declined to do. However, enrollment in all German courses plummeted from about 1,300 to only 150. One professor, a German national, feeling under suspicion by his colleagues, asked for
a leave for the duration of the war, and it was granted "indefinitely." When he asked for the reinstatement in 1919, he was turned down. Bitterly, he returned to Germany. The Regents also notified three other nontenured German faculty members that they would not be reappointed. But, in balance, two German citizens on the faculty were stoutly defended.
Meanwhile, in Chicago, the issue of loyalty was raised regarding some of the orchestra members. Flutist Albert Quensel and premier cellist, Bruno Steindel, who rode the "L" together to rehearsal each day, speaking German and reading the Deutsche Abendpost, were investigated by authorities.
The issue reached such a pitch that, in unprecedented action, Charles Hamill, First VicePresident of The Orchestral Association, addressed the audience at Chicago's Orchestra Hall after the intermission of the programs on April 5 and 6, 1918 regarding the loyalty of the members of the CSO. In reply to the newspaper charges that some of the men were outandout proGerman in their war views, Mr. Hamill declared that the entire Orchestra was faithful to America. In support of this statement, he read a resolution adopted at a recent meeting of the members of the Orchestra resolving "that we pledge our moral and material support to the Government in its conduct of the war."
Then, in the summer, the issue resurfaced and hit a boiling point. Frederick Stock, Conductor of the CSO, it was reported, took out his first citizenship papers on his arrival in 1895 in America, but in consequence of his absorbing duties in connection with the Orchestra, neglected to apply for second papers until 1916, when he found his first papers had lapsed and it was necessary to take out new ones. Before they arrived, the United States had entered the war against Ger?many. In order to relieve the Trustees from possible embar?rassment, Stock decided to tender his resignation in a formal letter of August 17, 1918. In October, the Board of Trustees reluctantly accepted Stock's request to resign, but only until such time as he could get his citizenship papers in order.
At the same meeting, Bruno Steindel's resignation from the orchestra was accepted. Steindel had been a giant in his field, serving as first cellist for the Berlin Philharmonic in the 1880s, playing under Brahms, Tschaikovsky, and Dvorak, and having been a member of the CSO for the 27 years since its founding, in 1891. No where is it reported that there was any proGerman sentiments to Steindel's views, and so the following year, 1919, the CSO trustees placed him on the pension roll.
In February 1919, Stock's papers were all in order and he was reappointed conductor by a unanimous vote of the trustees. Stock appeared on stage at the concert on Friday, February 28. Cheers came from the galleries; the men in the Orchestra gave him a prolonged "fanfare" while the vast audience rose to utter its gladness in shouts and applause for their popular conductor. When all was quiet, Stock thanked the people for the cordial support given to the Orchestra. The concert closed with Stock's own work, entitled "March and Hymn to Democracy."
In spite of the trauma, Stock never missed a May Festival.
May Festival Memories
1 was in the 5th grade at Eberwhite School when it was announced in 1958 that there would be tryouts for the May Festival Children's Chorus. None of us knew exactly what that was, but we were very excited about singing with a big orchestra in Hill Auditorium. 1 was sick with the chicken pox during the tryouts, but much to my relief was given a place in the chorus. Much credit belongs to Miss Nelson, our choral teacher, Ethel Hedrick, the principal and Mrs. Marion Maddock, our teacher, for making this possible.
Mr. Robert Muehlig (father of Carol Muehlig) transported all the kids from Eberwhite to and from rehearsals -often in Muehlig Funeral Chapel vehicles, which was great fun. My parents were thrilled -my mother stayed up until all hours sewing a white dress.
In the beginning, it was unclear how this would even come together, but by the time we rehearsed with Mr. Ormandy, it was clear we were all participants in something very special.
While many childhood memories have faded, the experiences of singing in this chorus are still quite sharp. It was transfor?mational to work hard and produce music of that caliber and to experience the musician?ship of Miss Hood and, of course, Mr. Ormandy.
Deborah Ward VandenBroek Ann Arbor
As a child some forty years ago, I remember the awesome feeling of being on stage at Hill Auditorium. We were part of the annual tradition of singing in the allschoolcity children's chorus during May Festival.
Back in the carefree days of the 1950s, it was an honor for a 5th or 6th grader to be selected to perform at the May Festival.
Who would orchestrate this melodious symphony of cherubic voices year after year None other than the incomparable "Miss Hood!" She was the legendary music teacher who, with her silver white hair tied in a bun, was a local institution. The May Festival was not complete without Miss Hood directing the massive chorus of 500 schoolchildren at Hill.
For decades until her death Miss Hood graced our community and the May Festival. Generations of Ann Arborites have vivid childhood memories at the thrill of performing with Eugene Ormandy at the May Festival because of her. Thanks for the memories, Miss Hood!
Evy Eugene Mavrellis Ann Arbor
1 attended my first May Festival Concert in 1956.1 was a sophomore in high school, a tuba player in the Milford High School Band and just learning the string bass. 1 came to the concert with my school music teacher. 1 have carried with me those tonal images of the Philadelphia Orchestra under the director of Eugene Ormandy to this day, especially a performance they gave of "Pictures at an Exhibition" one year.
After graduation from high school, 1 attended the University of Michigan School of Music, majored in string bass and have for the past 29 years been the Orchestra Director at Plymouth (Michigan) High School.
Throughout all the years since 1956,1 have attended at least one (some years all) May Festival concert. It is by far the longest tradition in my life. Now, I bring my high school students to the May Festival with me.
1 remember one year (about 1960) when I snuck in and sat in about the third row, in front of the elevated stage, right in front of Leontyne Price and watched her sing during the Verdi Requiem. During the performance she looked down at me and smiled, and 1 was thrilled.
When 1 was a music student, many classes were cancelled during May Festival so we could attend rehearsals of the Philadelphia Orchestra, and frequently Orchestra members would hold informal clinics for us. Occasionally we ate dinner with the musicians.
As you can see, I have many fond memories of the May Festival.
H. Michael Endres Ann Arbor
1 sang in the Children's Chorus when 1 was in the fourth grade (1954) and remember singing Brahms lieder. One of the other little girls in the chorus was wearing a string of beads, and at one point, the string broke. Since we were above the orchestra in the bleachers, the beads showered the orchestra. We were dissolving into giggles when Eugene Ormandy fixed us with a look that would kill, and we suddenly were reminded that making music was serious business
Linda McCracken hanger New York Gty
During World War II travel was uncertain because of troop and material movements. One night during that period the Chicago Symphony was scheduled to perform at the usual time of 8:30 p.m. Shortly after 8:30 had come and gone, a Musical Society official came onto the stage and announced that the train carrying the orchestra had been shunted onto a siding due to military necessity.
The audience stirred and buzzed with comments, of course, but people settled down for the most part and waited ... and waited ... Perhaps an hour or more later a man appeared on the stage, distributing music on the music stands. Greeted with cheers and applause, he acknowledged our joy at seeing him with a slight bow and continued his work.
Soon the musicians, carrying their instruments, came on stage, accompanied by a tumultuous cheer and standing ovation. They played a rousing National Anthem and a thrilling and exciting program.
Jane R Gleason Ann Arbor
The first year the Philadelphia Orchestra came to May Festival, 1 was singing in the Choral Union. We sat in those high bleachers that used to be built up at the center and sides of the stage -we could sit there during the concerts and rehearsals if we kept quiet! We were to sing the Verdi Requiem. At the first rehearsal with the Orchestra, Leopold Stokowski came into the hall and was introduced to the choir. He was wearing white cotton gloves to protect his long graceful tapering hands -of which he was quite conscious! The quartet consisted of Jeannette Vreeland, soprano; Rose Bampton, mezzosoprano; Giovanni Martinelli, tenor; and Ezio Pinza, bass. What a quartet!
After I graduated from the University and got a teaching position in a Detroit suburb, my mother and I came to May Festival for many years. Then my sister and 1 came and now a friend and 1 attend. 1 have probably come to about 50 May Festivals and consider myself very lucky to have been able to hear so many of the finest musicians of the century!
Jane Lombard Dearborn
My fond memories of the May Festival were as a child growing up in Ann Arbor, and the highlight of our school year was being in the Children's Chorus. Picking out a white dress at Kline's and getting new white shoes. What a thrill it was!
Dorothy Laughlin Ann Arbor
The News of the Day May 1894
ffla
ANN :ARBOR'S
?iMytufn;.
FKStj
It Was a Great andGlorIot!MusIi Success.; "r'i.!CTrs
th
The first My F and concnnct .the fl ivn a mijrn'.fUen. :snceew.ijSrti fjreatfst mnstenl. success,'iwithdiatjesj ception. that hnev'er been known irf". Michigan,' nmlwe, ilonbt" n6t.{lnth ?went, reopw wore present fronvalT parts ol thytate and a number from1 other stores, and the ,cnpnsit2rj".b( tho great hnll was Insufficient, to aecommauate nil with.
to see and hear If .'Ateach ot ree concerts there:Was hot.even: ding room, proving,that "theagate attendance .musthave been nearly 10,000. ; ' . l';:i ;..;?
:Thc concert Friday evening 'was largely an Introduction of the orches?tra, and It was a favorable one. .'AK though an Ann Arbor audience bnd listened to the Boston Syiriphbny Or?chestra, to Theodore Thoimu' Orchee' tro; Mid to Sldl'H, yet the, execution of these c.rtlBt.1 was bo admirable that It elicited the warmest praises.'. .....
The ballads of Miss Bose Stewart, fiertrude May Stein, ftxid ,Mr.
Max HeJnrlch plcnfted tho 'audience very much.. lt!ns Stewart,.'especially," wjui wamily roci.lv.ed, her nwjeet voice,: petlttc Hkutc uU Bi'ace.'ul manner. cnptlvntUitr tlie henrta of her hearers.; Mr. FreliUielm nlw won lor Him. Hclf a firm place oniony the lovers of pUuvo mtul. Ono' lady remarketl: .Whv 1 Iwllevo I like him .better Hum Pmlwewnkl." And then too, he hat) n mucJi more civilized head.
At Ilia afternoon concert Miss Stcwart ngaln ict tjio audience wild and ngnln rcKponded to an encore. Felix Vibitotnltz, the young vlollntat, did llkewlae, his skill wlnnlns for him much praise. Sir. Gkse, the "celloUt gnw evidMccth:vt.hU fame canie.from merit, nnul i 1 tJirce of those nrtlstg cn rent asiiured tbat a grand receptloii nirnlti. thu slionlil they over npixwir hern nK'Un.
'Hie (trnml culanlnatlng event of the FcMtlil. wns tho rendition of Verdi's Requiem; hy tho Choral Union with 2S0 trained voice, .assisted hy .Miss ]nma Jmh. Moprnno ; MIhs Gertruile May HtMm. .noiio xoprnno; Mr. E. C. Tiimii'i trniir; and Max Ildiv rleh, Imrltone, n solotnw, and the lUvtion Festival OrvJiewtra.
Ann Arbor Courier "It Was A Great and Glorious Musical Success"
ChafingT
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The Coming Festival.
On Friday and Saturday of this week occurs the greatest musical treat in the history of Ann Arbor, or of the state. No person who nas the price of admission, or can borrow it, should fail to see the musical event. It is the opportunity of a life time.
Read what an Ann Arbor musical critic says in the Detroit Free Press about the.coming festival:
"Ann Arbor is on the threshold of a great musical event. The first May festival is fixed for the 18th and 19th instant, and the galaxy of vocal stars engaged, the presence of a pianist whose playing is marked b'y much individuality as well j great finish, the services of the Hoston festival orchestra as accompan?ists, added to the fine singing of the choral union, lend a significance to the occasion that cannot fail to be widely and generously appreciated. Verdi's requiem -his great master?piece--will be given at this festival, and at the rehearsal at which 1 was present last evening it was surpris?ing how admirably it has been pre?pared. This great work abounds in passages of the sublimest character, dramatic and inspiring to a remark?able degree; and the way in which Mr. A. A. Stanley has brought to the surface its transcendent beauties speaks volumes for his own pains?taking efforts and the assidious man?ner in which the choral union has directed itself to the study of this sublime creation.
University hall will accommodate over 3,000 persons, and special rail?road rates and the fact that Verdi's requiem will receive its initial per formance in this state at this festi?val conspire to create an interest that cannot faiHo bring a good many musicloving Detroiters to the Uni?versity to drink in the sweet delights of a festival at once so attractive and varied in the gdod things offered its votaries."
Ann Anno, Vn 13,l4
Ann Arbor Argus "The Coming Festival"
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1 An orroncout impression seems to have gone abroad in regard to the May Musical Festival. 'An innoJcent paragraph in the city papers has given rise tn this impression. This article stated that an effort is to be made to make it a distinctly society affair--that people lire ex?pected to come in full dress. Peo?ple are expected to come prepared to listen to some firstclass music, to concerts of the highest grade,1 and no attempt is to lie made to make it anything more. In other words, says Prof. Stanley, bring receptive minds and enthusiasm, and do just as you wunlil at any ordin?ary Chor.il Union concert.
Spe Icing of the sewer ?hi s drafted I"
Ann Arbor Argus "An Erroneous Impression'
I
THE SOLOISTS AND ON A SPEC
And ilio 8uoci4o May Festival la Kl'olcJnK at the II
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'An Itel'.
E. C. Towne.
Emma Juch nnd 10th
Rose Stewart.
Gertrude May Std n.
Qeo. W. Steward .
Felix Wlnternltz.j
These are the navies t 1st on the Cook house noon, which list lo)k 01
f the register und caua able bodied kick frofn M Rooma had been lnce for 60 people if th val Orchestra, sole Ists' ' no arrangements hi d bei care of them. Th arr been mado with E. T. M cen at St. Joseph for and he forgot'to ricnti who is now manai Ingr I
In consequence ro preparations ' had
been made and thero was live!
ling for an hour
change In the weather was source of trouble ou the
In the Cook housi
on. Singers are known aeiiBltlve to cold t nd t artists Who registered houue are no excel tloo
The special trul bearing the
Festival Orchestrt the great: May Fe Arbor over the nn little nfter noon ind,
people,'about 60 I at once to the Coqk tra were In In
It was here and the hu like a trip into tie pb
Times can assure the that It would hai they had stayed cold wave la wl change here of ribou't
brought down . tiree
Howell and will take them back o'clock tonight. I ber of visitors in
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and the soloists for tlva: arrived in Ann ' irbbr rcud at n. ls aforesaid jthe nuriber. were taken
llana polls ysterday, where It was if a rjyttlng;wamer tian ldein chi ngBoaa or'regie ns. JThe
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Every thing poHts'ji 9 the gjeat cew of the feath rived in Ann Arltr j the past 24 houri and thla nfternoon. The
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Washtenaw Evening Times "They Arrived At Noon"
Ived In Ann Arlwr oh every .train1 tu. he paat 24 houn andl more will arrive
hi afternoon.
The
irought down t tiree ilowell arid will ruii ake them bach, i 'clock tonight. fudg
r of visitors In
tickets out b
ing room will tomorrow night The following the three oceasl
k, Htjande ocirce toi Ightj and In Uilv'erBlt Halj.
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is.i, M I I
.,..1.. Verdi nei Oortrude Choral Union
ral i :
May Festival.
"What's going on in Aon Ar?bor" "Nothing very exciting, but we must all take hold and push the May Festival."
"Why what's that, I never heard of Hi"
The above conversation was held recently between one of Ann Arbor'i most prominent and patriotic citizens, and the Argus. It only shows the truth of the assertion that too'much cannot be said with reference to coining events. The May festival will be given May 8ih and 19th, by the University musical spciety.and will be the greatest mus?ical event ever givjn in the State of Michigan. Director A. A. Stanley has the record of making everything he undertakes a success and there?fore his many friends believe the May festival will surpass all former efforts of the University musical society. To begin with the trained chorus of jSo voices cunnot be found in half a dozen cities in the United Stales. They will be as?sisted by the lioston Festival chorus and Mmma Juch and Rose Stewart, sorpanos; Gertrude May Stein, con?tralto: Kdward C. Town', tenor; Max Heinrich, baritone, Arthur Fricdheim, pianist; Fritz Giese, Violoncelloist.
The citizens should wak up to what is in store for them, and talk and think.May Festival. If a spe?cial effort is made by each one the great expense and outlay ?vill be covered. The time is short in which to sell the remaining tickets and I therefore let everyone be up and 1 doing.
Ann Arbor Argus 'May Festival'
University Musical Society
in association with Ford Motor Company
Metropolitan Opera Orchestra
James Levine, Artistic Director and Conductor Itzhak Perlman, Violin
Thursday Evening, May 6, 1993 at 8:00 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
BEETHOVEN Leonore Overture No. 3, Op. 72a BERG Violin Concerto
AndanteAllegretto
AllegroAdagio Itzhak Perlman, Violin
INTERMISSION
STRAVINSKY The Rite of Spring
Part One: The Kiss of the Earth Introduction Augurs of Spring Dances of the Adolescent Girls Ritual of Abduction Rounds of Spring Ritual of the Rival Tribes Procession of the Sage The Kiss of the Earth The Dance of the Earth Part Two: The Great Sacrifice Introduction
Mystic Circles of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance
This performance by the Metropolitan Opera Orchestra is made possible by a generous gift to the Metropolitan Opera Association from Ms. Cynthia Wood.
Yamaha is the official piano of the Metropolitan Opera. Mr. Perlman records for AngelEM.1, CBSSony Classical, Deutsche Grammophon, LondonDecca,
and RCABMG Classics.
Mr. Perlman appears by arrangement with IMG Anists, 22 East 71st Street, New York, NY 10021. The 100th May Festival is underwritten by a generous grant from Ford Motor Company
FortyFifth Concert of the 114th Season 100th Annual May Festival
Program Notes
by David Hamilton
Ludwig Van Beethoven
Baptized December 16, 1770, in Bonn, Germany Died March 26, 1827, in Vienna
Overture, Leonore No. 3, in C major, Op. 72a
Beethoven wrote Jour overtures for the opera that he originally composed in 180405 and called Leonore, though it was billed as Fidelio at the first performance, at Vienna's Theater an der Wien on November 20, 1805, when it was preceded by the overture known as Leonore No. 2. Leonore No. 3 was written Jor the somewhat revised version of the opera introduced at the same theater on March 29, 1806. When Fidelio was next revived, in 1814, Beethoven composed a more concise overture, now known as the Fidelio Overture. The Metropolitan Opera first presented Fidelio on November 19,1884, under Leopold Damrosch; since then, it has been led by, among others, Anton Seidl, Gustav Mahler, Alfred Hertz, Artur Bodanzky, Bruno Walter, Karl Bohm, Erich Leinsdorf Klaus Tennstedt, and Bernard Haitink, most of whom interpolated Leonore No. 3 between the two scenes of the second act.
The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.
Fidelio, the only opera Beethoven brought to fruition, certainly cost its composer more trouble than any ten operas of Donizetti cost their maker. The libretto, based on a "rescue opera" set during the French Revolution, celebrated two themes dear to the composer, political freedom and conjugal devotion: to free Florestan, a nobleman imprisoned for political reasons, his wife Leonore disguises herself as a boy ("Fidelio") and is hired by the jailer Rocco. When a visit of inspection by a royal minister is announced, the prison governor Don Pizarro plans to kill Florestan to prevent discovery of his arbitrary incarceration. "Fidelio" and Rocco dig a grave in the dungeon, but when Pizarro arrives and is about to kill the prisoner, Leonore intervenes with a pistol, crying "First kill his wife!" At this moment of maximum tension, an offstage trumpet call signals the arrival of the minister, who in the opera's final scene grants Leonore the privilege of releasing her husband from his chains, as the populace praises her exalted example of wifely love.
Some of the opera's troubles stemmed from a lightweight subplot involving the jailer's daughter, who falls in love with "Fidelio," and the turnkey, who in turn loves the daughter; in the opera's first versions, exposition of this material excessively delayed the unfolding of the central plot line, a problem compounded by the expansiveness of Beethoven's music. Another problem was the overtures (Leonore No. 2 in 1805, Leonore No. 3 in 1806), which incorporated the opera's musicodramatic climax--the offstage trumpet call--anticipating and therefore detracting from its impact
later on. So Beethoven abandoned both these overtures. In 1807, for a projected Prague staging, Beethoven composed still another overture, which confusingly became known as Leonore No. 1; in this less monumental work, he replaced the trumpetcall with an episode based on the melody of Florestan's aria (in which he relates how his insistence on speaking truth has brought him chains), used in the introduc?tions to the earlier overtures. But the Prague performance never materialized, and in 1814, when the opera's opening scenes were more drastically overhauled and curtailed, the key structure required an overture in E major (all the Leonores are in C major), and Beethoven wrote the one now familiar as the Fidelio overture, which quotes no material from the opera.
Despite Beethoven's rejection of it as an overture, Leonore No. 3 has remained closely associated with the opera, for conduc?tors have understandably been unable to resist the temptation to play it. The custom of playing it between the two scenes of the opera's second act--that is, after the scene in which the trumpet call saves Florestan's life--dates back at least to the turn of the century, perhaps even further. For certain, it was a standard practice in Mahler's celebrated Vienna and New York productions. (It has the incidental advantage of allowing plenty of time for a change of scenery). Though no longer an anticipation of the opera's climax, Leonore No. 3, with its extensive and explosive celebration of C major, now immedi?ately precedes a scene itself devoted to similar celebrations of the same key and sonorities, which the overture can easily render anticlimactic ( not least because the finale, almost superhuman in its demands on the two principal singers, is rarely realized as effectively as the overture).
But Leonore No. 3 soon acquired an independent life in the concert hall as well, where the features that are defects in its original context were transformed into virtues. Its powerful, concise tonal drama, as well as its high energy, enabled it to stand alone with great success, and it became a model for the new genres of concert overture and symphonic poem culti?vated by the later Romantics, from Liszt and Wagner to Richard Strauss.
The overture begins with a massive G six octaves deep, from which a scale descends to a distant region. From this emerges the opening phrases of Florestan's aria in Aflat, a key that becomes the locus of s brief, massive climax that subsides and returns us to the threshold of C major. Pianissimo violins and cellos commence the aspiring, arpeggiobased Allegro theme. The second theme, also based on the melody of Florestan's aria (begun by the horns and handed over to flute and violins), arrives in the unusual key of E major (as distant from C as was Aflat, in the other direction). The stormy develop?ment is interrupted by the offstage trumpet call and the music of astonished, relieved reaction that follows it in the opera, after which flute and bassoon, using the first theme,
lead back to the recapitulation, now fortissimo. The flute is again prominent at the end of the recapitulation, suspensefully preparing for the Presto coda, which is introduced by a string cadenza--begun by "two or three violins," then adding the lower instruments. Syncopated sforzando accents add to the dynamism of the coda, which embodies Beethoven's un?equalled mastery at deploying repetitions of the most common chords in patterns governed by an acute sense of rhythm, proportion, and harmonic tension.
Alban Berg
Bom February 9, 1885, in Vienna Died December 24, 1935, in Vienna
Violin Concerto
Berg's Violin Concerto was commissioned in January 1935 by Louis Krasner and completed on August 12 of that year. Krasner gave the first performance in Barcelona on April 19,1936, with Scherchen conducting. The orchestra includes twofultes (both doubling piccolo), two oboes (one doubling English horn), two clarinets, one alto saxophone (doubling a third clarinet), one bass clarinet, two bassoons, one contrabassoon, four horns, two trumpets, two trombones, one contrabass tuba, two pairs of kettledrums, bass drum, cymbals, snare drum, large tamtam, tringle, gong, and strings.
Among those "overwhelmed" at the New York premiere of Alban Berg's opera Wozzeck in 1931 under Leopold Stokowski was a young Russianborn violinist, Louis Krasner (b. 1903). In Vienna in January 1935, after hearing a private performance of Berg's Lyric Suite for string quartet, Krasner resolved to commission a concerto from Berg. The com?poser, at first reluctant, finally agreed, warning that it would take time; the previous spring, he had finished the short score of his new opera Lulu and, despite uncertain performance prospects, he was in the process of orchestrating the opera. However, on April 22, 1935, Manon Gropius, eighteenyearold daughter of Alma Mahler and the architect Walter Gropius, died from infantile paralysis. Alma Mahler was one of Berg's oldest friends, and the beautiful Manon was much admired by the many artists in Alma's circle. Obtaining Alma's permission to dedicate his new violin concerto "to the memory of an angel," Berg put Lulu aside and he set to work at an uncom?monly rapid pace: the concerto was completed in short score in three months and orchestrated by August 12.
Both its movements are divided into two principal sections. The first movement, a portrait of Manon, comprises a lyrical Andante and a Scherzo (Allegretto); the second, representing her illness, death, and transfiguration, begins with an Allegro containing strong elements of a cadenza, followed by an Adagio. Berg's Mahlerian penchant for the use of genuine andor composed material in vernacular styles, conspicuous
in Wozzeck, figures prominently in the concerto as well, in the form of quotations suggesting several layers of extramusical reference. Recent scholarship has also uncovered a numerological dimension in the work, involving the numbers Berg associated with himself and Hanna FuchsRobettin, a married sisterinlaw of Alma Mahler, with whom he was in love in his later years.
The bare fifths with which violin and orchestra begin the Andante are filled in with thirds to create ascending interlocking triads when the violin states the principal theme (the work's twelvetone set), which concludes with four ascending steps, the intervals that will begin the Bach chorale introduced in the final movement. At first the violin is set in high relief, accompanied principally by winds, the orchestral strings mainly playing unobtrusive pizzicatos.
The Scherzo material has a Viennese character, framing an energetic first Trio that recurs after a more static second Trio. Near the end of the movement, horn and then solo violin quote a Carinthian folk melody--a song whose risque original text refers to "oversleeping in Mizzi's bed." This might refer to Manon Gropius (whose nickname was "Mutzi"), but there had much earlier been a "Mizzi" in Berg's life, a servant girl in his family's house in Carinthia named Marie Scheuchl, by whom he fathered an illegitimate daughter in early 1902.
The second movement begins ominously, and is soon dominated by an obsessive rhythm that dogs some very complex virtuoso music for the soloist, including widespaced multiple stops that at one point set forth a fourpart canon. Eventually, the rhythm drives to a climax of clearly catastrophic import, then fades to near stillness.
At this point the violin begins a Bach chorale, the text of which Berg inscribes in the concerto score (as he did not do with the folksong text). This chorale begins with a remark?able phrase that leaves the home key.already with its fourth note, and Bach's harmonization (from his Cantata No. 60), which Berg quotes in alternating phrases with his own, is strangely compatible with the concerto's own tonal idiom. The chorale's text is obviously germane to a requiem:
Es ist genug!
Herr, wenn es Dir gefallt,
so spanne mich doch aus!
Mein Jesu kommt:
nun gute Nacht, o Welt!
Ich fahr' in's Himmelhaus.
Ich fahre sicher hin mit
Frieden,
mein groSer Jammer bleibt
darnieden.
Es ist genug.
Es ist genug.
It is enough!
Lord, when it pleases thee,
then relieve me of my
burden.
My Jesus comes:
now good night, oh world!
I go to my home in heaven.
1 surely go there in peace,
my great suffering remains
below.
It is enough.
It is enough.
Two variations on the chorale follow. During the first, the solo violin begins an ascending lament that is gradually joined by the orchestral strings, while winds and brass continue to occupy themselves with transformations of Bach's melody. The Carinthian folksong returns in the violin, and a brief coda ends with an "addedsixth" chord that evokes both popular music of the perrod and the final chord of Mahler's Das Lied von der Erde, that most potent musical embodiment of leavetaking from the world.
If, as the various biographical references suggest, Berg may have conceived the concerto as a portrait of--and requiem for--himself as well as for Manon Gropius, it proved all too prescient. His normally shaky health was not improved by his feverish work on the concerto, and, after the piece was finished, a waspsting brought on a serious abscess, followed other painful and debilitating complications. Berg attended the Vienna premiere of the Symphonic Pieces from Lulu on December 11, but his condition steadily worsened, and he died on December 24, without ever hearing a performance of the Violin Concerto, or of any other music from Lulu.
Igor Stravinsky
Bom June 5 (old style) or June 17 (new style), 1882, in Oranienbaum (Lomonosov), near St. Petersburg.
Died April 6. 1971, New York City
The Rite of Spring
The initial idea for The Rite of Spring came to Stravinsky in 1910, and, after working out a scenario with the painter Nicholas Roerich in the summer of 1911, he began the music, completing the sketch score on November 27,1912: "Today...with an unbearable toothache I finished the music of the Sacre. I. Stravinsky, Clarens [Switzerland], Chatelard Hotel." The end of the full score was reached on 8 March 1913, with further additions and corrections during the next few weeks. Subtitled "Pictures from pagan Russia in two parts," the ballet was first performed by Serge Diaghilev's Ballets Russes at the The&tre des Champs Elysees in Paris on May 29, 1913; Pierre Monteux conducted, the choreography was by Vaslav Nijinsky, the scenery and costumes by Roerich, and Marie Piltz danced the Chosen One. The Metropolitan Opera first performed the ballet, as part of a Stravinsky triple bill, on December 3, 1981, conducted by James Levine.
The score calls for piccolo, three flutes (one doubling second piccolo), alto flute, four oboes (one doubling second English horn), English horn, one high clarinet, three clarinets (one doubling second bass clarinet), bass clarinet, four bassoons (one doubling second contrabassoon), contrabassoon, eight horns (two doubling Wagner tubas), high trumpet, four trumpets (one doubling bass trumpet), three trombones, two bass tubas, timpani (two players),
bass drum, tamtam, triangle, tambourine, guero (a scraped gourd), antique cymbals, and strings.
In December 1912, Stravinsky wrote to a journalist in Russia: "My first thoughts about my new choreodrama Vesna Sviashchennaia (Le Sacre du Printemps, Friihling der Heilige) came to me as 1 was finishing The Firebird, spring 1910.1 wanted to compose the libretto together with N. K. Roerich, because who could help me if not Roerich; who if not he is privy to the whole secret of our forefathers' closeness to the earth" The collaborator in question, Nicholas Roerich (18741947), was a leading figure in the "World of Art" movement, the central impulse behind Diaghilev's Ballets Russes, for which he had designed the "Polovtsian Dances" from Prince Igor. An artist but also a student of ethnology, Roerich was, in the words of Alexander Benois (another Ballets Russes artist), "utterly absorbed in dreams of prehis?toric, patriarchal, and religious life."
In his later autobiography, Stravinsky described more precisely his initial idea--not musical, but rather "a fleeting vision": "I saw in imagination a solemn pagan rite: sage elders, seated in a circle, Watched a young girl dance herself to death. They were sacrificing her to propitiate the god of spring." This "vision" was very possibly suggested by lar a 1907 volume of poems by Sergei Mitrofanovich Gorodetsky (18841967), two of which Stravinsky had set to music in 190708; another, from a group entitled "larila," describes the sacrifice of a maiden by an ancient wizard during the carving of an idol to the Slavic sun god larilo. At any rate, according to musicologist Richard Taruskin, the anthropological literature Roerich would have known reports no Slavic rituals of human sacrifice, so this central feature of the ballet may well have been planted in Stravinsky's mind by Gorodetzky's poem. Otherwise, Taruskin testifies, "virtually everything in the work's scenario" can be found in sources probably familiar to Roerich, including the medieval Primary Chronicle compiled by Kievan monks, and Book IV of Herodotus' The Persian Wars, describing the Scythians of antiquity.
A preliminary scenario appears to have been developed in 1910. At this point, the collaborators referred to their work as Velikaia Zhertva--"Great Sacrifice." (Mikhail Fokine, choreogra?pher of Firebird and Petrushka, was originally part of the team, but he was later replaced by Vaslav Nijinsky.) By July 1911, when Stravinsky visited Roerich at Princess Tenichev's country estate near Smolensk and evolved a more detailed plan for the action, the "Great Sacrifice" had become the second part of a work called Vesna Sviashchennaia--literally, "Holy Spring." Eventually, the imprecise French title, Le Sacre du Printemps, and its English translation, "The Rite of Spring", became sanctified by usage in the Western world.
Beyond that notquitecorrect title and the bare bones of Stravinsky's initial "vision," the Rite's theatrical substance fell into something like obscurity soon after the premiere indeed, for years most music listeners knew more about
what went on in the auditorium on that first night, one of history's most notorious theatrical scandals, than about the action of the ballet on stage. In retrospect that seems surprising, for if the scandal had a cause more significant than factionalism in the Parisian artistic world, that cause must have been the action on stage, since all accounts agree that the audience can hardly have heard much of the music, let alone grasped its revolutionary character. According to Stravinsky's various recountings, "heavy noise" began when the curtain rose, about three minutes into the music, never to cease; soon thereafter, he went backstage and "for the rest of the performance I stood in the wings behind Nijinsky holding the tails of hisrac, while he stood on a chair shouting numbers to the dancers, like a coxswain."
All told, the original StravinskyRoerichNijinsky Rite had just seven performances: three more in Paris, and three in London in July. When Diaghilev revived the ballet in 1920, there was new choreography by Leonid Massine, who was also responsible for important subsequent mountings, including the American stage premiere in Philadelphia on April 11, 1930, with Martha Graham as the Chosen One. More than forty further choreographic settings have followed (one of them by Graham herself), paying more or less homage to the general idea of a sacrifice but also, by their sheer number and variety, still further diluting public awareness of the original conception and its strong ethno?logical roots.
It must be added that for some decades Stravinsky cheer?fully acquiesced in this collective amnesia, even helped it along. To him, the rejection of the original Rite on the first night was a rude humiliation, unassuaged by the tranquil reception of the subsequent performances (ill with typhus, he attended none of them). Far more pleasurable was the first Western concert performance, nearly a year later: "At the end of the Danse sacrale the entire audience jumped to its feet and cheered....A crowd swept backstage. I was hoisted to anonymous shoulders and carried into the street and up to the Place de la Trinite."
Forced by the Russian Revolution to choose between his homeland and the West, Stravinsky elected the side of his bread that Diaghilev buttered; like the Ballets Russes itself, he became part of the Parisian artistic world in its heyday of antiRomanticism and neoclassicism, where ethnic roots had no place. In 1920 and later, he praised Massine's more abstract choreography of the Rite at the expense of Nijinsky's original, and, instead of invoking "the sublime uprising of Nature renewing herself--the whole pantheistic uprising of the universal harvest" (as in a 1913 interview), he preferred to characterize the score as an "objective construction," an "architectonic work." In the absence of Russian scholarship or sources, Stravinsky became the prime authority on his early masterpiece, tailoring his
testimony to the image he now wished to project of his beliefs and development. (As Maynard Solomon wrote recently, "The autobiographical act is often a medium for reconciling conflicting aspects of the self; it is a creative process, and thus lends itself to revisionist pursuits.")
The urRi(e began to resurface some twentyfive years ago, with the facsimile publication of the sketchbook in which most of the score was composed, accompanied by a tran?script of Stravinsky's handwritten choreographic annota?tions from a newly rediscovered score. Related letters and documents have confirmed the importance Stravinsky, as much as Roerich, ascribed to anthropological authenticity. Scholarly digging has challenged the composer's later assertion about his melodic sources: "The opening bassoon melody in Le Sacre du Printemps is the only folk melody in that work. It came from an anthology of Lithuanian folk music..." Examining the anthology in question, the late Lawrence Morton identified antecedents for several more melodies in the Rite, and Taruskin has since uncovered others. (The point is more important historically and esthetically than musically: a "starting point in reality" was a major tenet of the "World of Art" credo, observed here by Stravinsky as in his earlier ballets--but he later preferred to represent the Rite as the beginning of his new, "abstract" style.) Mapping the jungle of Stravinsky's revisions and corrections of his musical score, the Canadian musicologist Louis Cyr has argued the validity of some first thoughts over later, possibly expedient simplifications. And in 1987 the Joffrey Ballet staged Nijinsky's Rite as reconstructed by Millicent Hodson (choreography) and Kenneth Archer (sets and costumes)--a controversial effort that has at least reestablished the original theatrical conception in public consciousness.
Several versions of the scenario were published. Perhaps most appropriate for a concert audience is the one Stravinsky furnished for Serge Koussevitzky's 1914 performance:'
Holy Spring is a musicalchoreographic work. It represents pagan Russia and is unified by a single idea: the mystery and great surge of the creative power of Spring. The piece has no plot, but the choreographic succession is as follows:
First Part: The Kiss of the Earth: The spring celebration. It takes place in the hills. The pipers pipe and young men tell fortunes. The old woman enters. She knows the mystery of nature and how to predict the future. Young girls with painted faces come in from the river in single file. They dance the spring dance. Games start. The Spring Khovorod [a round dance]. The people divide into two groups, opposing each other. The holy procession of the wise old men. The Oldest and Wisest interrupts the spring games, which come to a stop. The people pause trembling before the great action. The old men bless the spring earth. The Kiss
77
of the Earth. The people dance passionately on the earth, sanctifying it and becoming one with it.
Second Part: The Great Sacrifice: At night the virgins hold mysterious games, walking in circles. One of the virgins is consecrated as the victim and is twice pointed to by fate, being twice caught in the perpetual circle. The virgins honor her, the Chosen One. They invoke the ancestors and entrust the Chosen One to the old wise men. She sacrifices herself in the presence of the old men in the great holy dance, the great sacrifice.
Having thus insisted upon the ballet's origins, we must equally recognize that its status in history and in the repertory is due to the score, which on its own has far outstripped any and all choreographic versions in familiarity and frequency of performance--and continues to do so. (Dance companies stage the Rite, in part, to capitalize on the music's fame.) Stravinsky's starting point was similar to those for Firebird and Petrushka, and many stylistic elements were already at hand in those earlier scores: the combina?tion of conflicting harmonies (as in the famous "Petrushka chord"), the use of irregular andor frequently changing meters, the cinematic "crosscutting" between contrasting materials (sometimes climaxed by their superposition). But this time the chemistry of creation carried him much further, to a work of epochmaking originality.
The Rite's most celebrated innovations are rhythmic. Although in the First Part and the beginning of the Second the music is still founded upon steady pulses, the rhythmic stresses irregularly confound our expectations of regularity (after feeling steadily offbalance through several cycles, finding oneself back on the right foot can be equally disorienting). This is exemplified right after the piping of the Introduction, in the "Augurs of Spring": chugging string chords mark a pulse, horn chords and subsequent materials offer a variety of conflicting testimony about strong beats. In the "Ritual of Abduction," themes are repeated with stresses shifted, phrases are restated with beats added or subtracted. In "Rounds of Spring," flute trills and a high clarinet melody frame slow and then fast music. "Ritual of the Rival Tribes" begins by stating three distinct, compact materials, the first two (low trombones with timpani, chugging horns) respec?tively assigned to the two tribes, the third (tutti) to their clash; later, trumpets add a melody that circles back and forth across four notes. Soon the trombones cut through with a broader melody that leads into the "Procession of the Sage," as various orchestral voices stack up repeating phrases of different lengths (the bass drum's beats most prominently at odds with everyone else). This breaks off for the solemn moment when the Oldest and Wisest kisses the earth. In the "Dance of the Earth," the orchestra hammers out irregular chords over a threebeat pattern in the basses.
Tension relaxes in the Second Part's astringently chromatic Introduction and opening scene ("Mystic Circles of the Young Girls"), but is restored by the only gradual tempo transition in the Rite, an accelerando to a hard chord struck elevenfold to introduce the "Glorification of the Chosen One." Here, at first, we can't comfortably feel the underlying pulse (there is one, but it's superrapid and unevenly expressed)--and, if we ever think we've found it, it never persists for long. The "Evocation of the Ancestors" restores pulse, but not predictable regularity, though the "Ritual Action of the Ancestors" hews predominantly to quadruple meter. A bassclarinet descent to the depths introduces the "Sacrificial Dance"--"which 1 could play, but did not, at first, know how to write," reported Stravinsky. The jagged opening material of this dance recurs as a refrain around other matter more apparently stable: the first contrasting section, centered around a repeated chord, restores pulse but not regularity of phrase length, and later episodes feature intricate timpani patterns. The dance lurches to a climax: with an upward flute run, the Chosen One col?lapses, followed by a final crash (one of the mostrevised sonorities in the whole score).
This note first appeared, in a slightly different form, in the program book of the San Francisco Symphony c 1988, and is used by kind permission.
NOTES
Based on the translation in Vera Stravinsky & Robert Craft, Stravinsky in Pictures and Documents (Simon and Schuster, 1978), p. 75. (Characteristi?cally for this infuriating and fascinating grabbag book, a different translation of the same synopsis is given on p. 526.) Stravinsky's longest and most detailed account of the action is also there (pp. 52426), part of an interview published in Paris on the morning of the premiere, so verbally extravagant that the composer quickly disavowed it.
Ab out the Artists
In the 22 years since his debut, artistic director JAMES LEVINE has developed a relationship with the Metropolitan Opera that is unparalleled in its history and unique in the musical world today. He has conducted an astounding range of repertoire there, from Mozart to Berlioz to Wagner to Verdi; Bellini, Rossini, Tchaikovsky, Puccini; from Strauss and Debussy to Berg, Schoenberg, and Stravinsky (including Met nremieres of
Idomeneo, La Clemenza di Tito, Porgy and Bess, Oedipus Rex, I Vespri Siciliani, Rise and Fall of the City of Mahagonny, Erwartung, and Lulu, and the world premiere last season of John Corigliano and William Hoffman's The Ghosts oj Versailles) -more than 60 operas in all, in well over 1000 performances (more than any other conductor in the history of the Metropolitan).
In addition, Mr. Levine inaugurated the "Metropolitan Opera Presents" television series for PBS, founded the Met's Young Artist Development Program, returned Wagner's complete Ring cycle to the repertoire (the first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house -a former Metropolitan tradition. Expand?ing on that tradition, the Metropolitan Opera Orchestra has begun annual concert touring, to such diverse locales as the American midwest, Canada, Seville's Expo '92, Tokyo, and Carnegie Hall. Next season they will make their German debut in four concerts in Frankfurt to mark that city's 1200th anniversary. By then the tours will incorporate the chorus as well, giving the Met's performing forces an identity separate from, but complementary to, their roles in the opera house.
In addition to his responsibilities at the Met, James Levine is a distinguished pianist and an active and avid recital collabo?rator, not surprisingly, most especially, in Lieder recitals. He began accompanying song recitalists such as Jennie Tourel, Hans Hotter, and Eleanor Steber more than 30 years ago, and since that time has performed as pianist with many of the great singers of his lifetime, among them Jan Peerce, Adele Addison, Regine Crespin, Nicolai Gedda, Leontyne Price, Christa Ludwig, Placido Domingo, Birgit Nilsson, Cornell MacNeil, Kathleen Battle, Kiri Te Kanawa, Hermann Prey, Jessye Norman, Bryn Terfel, Luciano Pavarotti, Elisabeth Soderstrom, Renata Scotto, Martti Talvela, Tatiana Troyanos, Marilyn Home, Maria Ewing, Uwe Heilmann, Margaret Price, Dawn Upshaw, and Frederica von Stade.
For the past 20 years, Maestro Levine has also been Music Director of the Ravinia Festival, summer home to the
Chicago Symphony Orchestra, where he has demonstrated his uniquely diverse stylistic affinities conducting an immense repertoire of symphonic master?pieces, operas, major works for chorus and orchestra, works for unusual combinations of instruments, onecomposer marathons, oratorios, concerti, and performing as piano soloist in concerti, chamber music, and song recitals as well. He has been an integral part of the
Salzburg Festival since 1975, collaborating with the Vienna Philharmonic and the late director JeanPierre Ponnelle in some of the most memorable productions of opera the Festival has witnessed, including the longestrunning production in its history, Die Zauberflote, and the Salzburg Festival premieres of Offenbach's Les Contes d'Hoffmann and Schoenberg's Moses und Awn. Mr. Levine was chosen to conduct the 1982 Centennial Production of Parsifal in Bayreuth, and found the work in that special theatre so artistically satisfying that he has returned each summer to conduct its revival, and indeed, has even stayed on to conduct a second new production of the same opera. Beginning in 1994 he will lead Alfred Kirchner's new production of the Ring cycle there. Over the past twenty years, he has performed and recorded with most of the major orchestras in America and Europe, most notably the Vienna Philharmonic, Berlin Philharmonic, Chicago Symphony, Philadelphia Orchestra, London Symphony, and Dresden Staatskapelle.
James Levine holds honorary doctorates from the University of Cincinnati and the New England Conservatory, has been presented with the key to his native city of Cincinnati, and was unanimously elected the first recipient of the Annual Cultural Award of the City of New York, given for outstand?ing contributions to the cultural life of the city. For five years he was Music Director of the Cincinnati May Festival, the oldest continuing festival of choralorchestral music in the world. He has won ten Grammy Awards (including Best Opera Recording in 1,989, 1990, and 1991 for the first three releases in the Metropolitan Opera's recording of the Ring cycle, Das Rheingold, Die Walkure, and Golterdammerung), an Emmy for the telecast of the Met Centennial Gala, and has conducted three other Emmywinning telecasts for the "Metropolitan Opera Presents" series -La Boheme, "LookIn at the Met" with Danny Kaye, and Aida. He has been the "Musician of the Year" for Musical America, the subject of a cover story for Time magazine, and the subject of a fulllength documentary for public television.
ITZHAK PERLMAN S uniqueness in the rarefied ranks of superstar musi?cians stems from something more than his supreme artistic credentials. The combination of talent, charm, and humanity in this Israeliborn artist is unrivaled in our time and has come to be recognized by audiences all over the world who respond not only to his flawless technique, but to the irrepress?ible joy of making music that he communicates. President Reagan recognized these qualities when he honored Mr. Perlman with a "Medal of Liberty" in 1986.
Bom in Israel in 1945, Mr. Perlman comnleted his initial training at the
Academy of Music in Tel Aviv. He came to New York and soon was propelled into the international arena with an appearance on the Ed Sullivan Show in 1958. Following his studies at the Juilliard School with Ivan Galamian and Dorothy DeLay, Mr. Perlman won the prestigious Leventritt Competition in 1964, which led to a burgeoning worldwide career.
Since then, Itzhak Perlman has appeared with every major orchestra and in recitals and festivals throughout the world. In November 1987 he joined the Israel Philharmonic for historymaking concerts in Warsaw and Budapest, representing the first performances by this orchestra and soloist in Eastern bloc countries. He again made history as he joined the Israel Philharmonic for its first visit to the Soviet Union in April and May 1990 and was cheered by audiences in Moscow and Leningrad who thronged to hear his recital and orchestral performances. In December 1990, he returned to Leningrad to perform in a gala performance celebrating the 150th anniversary of Tchaikovsky's birth. This concert, which also featured YoYo Ma , Jessye Norman, and Yuri Temirkanov conducting the Leningrad Philharmonic, was televised live in Europe and then broadcast in the United States and the rest of the world in the spring of 1991.
Mr. Perlman's recordings on the AngelEMI, Deutsche Grammophon, LondonDecca, CBS MasterworksSony Classical, and RCABMG Classics labels regularly appear on the bestseller charts and have won numerous Grammy Awards.
He garnered two Grammys at the 1991 awards presentation for his recordings of the Shostakovich First and Glazunov Concertos (with Zubin Mehta and the Israel Philharmonic) on AngelEMI, and the complete Brahms Sonatas for Violin and Piano, with Daniel Barenboim, on Sony Classical. Mr. Perlman's latest releases feature collaborations with other worldclass artists such as Barenboim and the Berlin Philharmonic, performing the Brahms Violin Concerto; Pinchas Zukerman and Lynn Harrell, in a live recording of Beethoven String Trios (both on AngelEMI); again with Mr. Zukerman, playing string duos by Mozart and Leclair (BMG Classics); Kathleen
Battle, performing Bach arias (Deutsche Grammophon); and Placido Domingo, in an album called Together (AngelEMI).
Numerous publications and institutions have paid tribute to Itzhak Perlman for his unique artistic and humanitarian contributions. Newsweek magazine featured him with a cover story in April 1980, and in 1981 Musical America pictured him as Musician of the Year on the cover of its "Directory of Music and Musicians." Several universities--including Harvard, Yale, Brandeis, Yeshiva, and Hebrew University in Jerusalem--have awarded him honorary degrees.
Mr. Perlman has entertained and enlightened millions of viewers of all ages, on television shows as diverse as "Sesame Street," the PBS series "The Frugal Gourmet," the "Tonight" show, the Grammy awards telecasts, several "Live From Lincoln Center" broadcasts, and the PBS specials "A Musical Toast" and "Mozart by the Masters," both of which he hosted. Most recently, the PBS documentary of his historic trip to the Soviet Union with the Israel Philharmonic, entitled Perlman in Russia (AngelEMI video), was honored with an Emmy award as best music documentary. His presence on stage, on camera and in personal appearances of all kinds speaks eloquently on behalf of the handicapped and disabled, and his devotion to their cause is an integral part of his life.
Itzhak Perlman lives in New York with his wife Toby and their five children. He has performed many times in Ann Arbor since his local debut in 1970.
Metropolitan Opera Association, Inc.
Joseph Volpe, General Director James Levine, Artistic Director
Administration
Stewart Pearce
Planning ami Operations Administrator
Jonathan Friend Artistic Administrator
Thomas Martin Director of Finance David M. Reuben Director of Press and Public Relations
Pamela Rasp Director of Labor Operations
Charles Bonheur
Tour Operations Director
Raymond Menard Stage Manager Stephen A. Diaz Tour Carpenter
James Blumenfeld Tour Property Master James Connolly Tour Electrician John Grande ChieJ Librarian
Metropolitan Opera Orchestra
James Levine, Artistic Director Robert Sirinek, Orchestra Manager Tom Brennand, Scott
Stevens, Assistant Personnel
Managers
Violins
Raymond Gniewek, Concertmaster Laura Hamilton, Associate Concertmaster Elmira Darvarova, Associate Concertmaster
Nancy Wu Myers, Associate Concertmaster Judith Yanchus Vladimir Baranov lvey Bemhardt Sandor Balint Doris Allen Samuel Cohen Kathryn Caswell Canonico Erica Miner Tukelturk Seymour Wakschal Edmund Jacobson Shirien Taylor, Principal Leslie Dreyer, Associate Principal Toni Rapport, Assistant Principal Raphael Feinstein Amy Hiraga Wyrick Karen Marx Magdalena Golczewski Laura McGinnis Joseph Malfitano
Violas
Michael Ouzounian, Principal Craig Mumm, Associate Principal Caroline Levine, Assistant Principal Marilyn Stroh Midhat Serbagi Desiree Elsevier Vincent Lionti Ira Weller Mary Hammann Katherine Anderson
Cellos
Jascha Silberstein, Principal Jerry Grossman, Principal Samuel Magill, Associate Principal Gerald Kagan, Assistanl Principal Marian Heller Leshek Zavistovski James Kreger Philip Cherry Richard Kay
Double Basses
Laurence Glazener, Principal Timothy Cobb, Associate Principal Marvin Topolsky Tom Brennand Jeremy McCoy Louis Kosma
Flutes
Trudy Kane, Principal Michael Parloff, Principal Mary Ann Archer Nadine Asin
Piccolos
Nadine Asin Mary Ann Archer
Oboes
Elaine Douvas, Principal John Ferrillo, Principal Susan Laney Richard Nass
English Horn
Richard Nass
Clarinets
Roger Hiller, Principal Joseph Rabbai, Principal Sean Osborn James Ognibene
Bassoons
Richard Hebert, Principal Patricia Rogers, Principal Paul Cammarota Toni Lipton
Contrabassoon
Toni Lipton
Horns
Howard T. Howard, Principal
Julie Landsman, Principal E. Scott Brubaker Richard Reissig Lawrence Wechsler Michelle Baker Joseph Anderer Carmelo Barranco Leon Kuntz
Wagner Tubas
Richard Reissig, Leader E. Scott Brubaker Leon Kuntz Lawrence Wechsler
Trumpets
Melvyn Broiles, Principal Mark Gould, Principal Lynn Berman Peter Bond James Pandolfi
Trombones
Per Brevig, Principal David Langlitz, Principal Douglas Edelman, Associate Principal Haljanks Steve Norrell
Bass Trombones
Haljanks Steve Norrell
Tuba
Herbert Wekselblatt
Timpani
Richard Horowitz,
Prinicpal
Duncan Patton, Principal
Scott Stevens
Percussion
Herbert Baker, Principal Gregory Zuber, Principal Scott Stevens
Harp
Deborah Hoffman Principal
MariePierre Langlamet Associate Principal
Associate Musicians
Violins
Leszek Bamat Shem Guibbory Arthur Shtilman William Stone Narciso Figueroa Annamae Goldstein Alfred Hart JinKyung Koo Patmore Lewis Michael Levin Mary Ann Mumm Violas
Deborah Holtz Elis Ronbeck Cellos
Stephen Ballou Judith Currier David Heiss Chaim Zemach Double Basses Jacqui Danilow Marji Danilow Patricia Dougherty Charles Urbont
Flute
Katherine Fink
Karen Griffen
Diva GoodfriendKoven
Oboe
Sharon Meekins
Clarinet
Mitchell Weiss
Alto Saxophone
Albert Regni
Bassoon
Andrew Schwartz
Contrabassoon
Thomas Sefcovic
French Horn
Peter Reit
Bass Trumpet
Kenn Finn
Tuba
Stephen M. Johns
Percussion
Lynn R. Bemhardt
Celeste
Cecilia Brauer
New Artist
THE METROPOLITAN OPERA ORCHESTRA
The Metropolitan Opera Orchestra is today regarded as one of the world's finest orchestras. From the time of the company's inception in 1883, the ensemble has worked with leading conductors both in opera and concert perfor?mances and has developed into an orchestra of enormous technical polish and style.
The Met Orchestra maintains a demanding schedule of performances and rehearsals during the thirtyweek New York season, when the company performs seven times a week in a repertory that normally encompasses approxi?mately twentyfive operas. Following the New York season, there are frequently tours, both in the United States and abroad, which in turn, are followed by a series of free concert opera performances in the parks of New York City and New Jersey.
The Orchestra has a distinguished history of performances as a concert orchestra, in addition to its opera schedule. Arturo Toscanini, who conducted almost 500 performances at the Met, made his American debut as a symphonic conductor with the Met Orchestra in 1913. Gustav Mahler, during the few years he was in New York, conducted fiftyfour Met performances. More recently, many of the world's great conductors have led the orchestra: Walter, Beecham, Reiner, Mitropoulos, Kempe, Szell, Bohm, Solti, Maazel, Bernstein, Mehta, Abbado, Karajan, Dohnanyi, Haitink, Tennstedt, and Ozawa. Carlos Kleiber's only United States performances of opera have been with the Met Orchestra.
The impressive list of instrumental soloists who have appeared with the Orchestra includes Efrem Zimbalist, Leopold Godowsky, Sergei Rachmaninoff, Josef Lhevinne, Arthur Rubinstein, Pablo Casals, Benno Moiseiwitsch, Josef Hofmann, Ferruccio Busoni, Jascha Heifetz, Wilhelm Backhaus, Moritz Rosenthal, and Fritz Kreisler. During the
Metropolitan's 198081 season the Met's artistic director, James Levine, conducted the orchestra in two performances of Mahler's Second Symphony.
The Orchestra's current high standing led to its first commercial recordings in nearly 20 years, Wagner's complete Ring cycle, conducted by James Levine. Recorded by Deutsche Grammophon over a period of three years, Das Rheingold, Die Walkure, and Gotterddmmerung axe. winners of an unprecedented three consecutive Grammy Awards in 1989, 1990 and 1991 for Best Opera Recording. Siegfried was nominated for the 1992 Grammy. Now in great demand for recording, Maestro Levine and the Met Orches?tra are involved with a series of complete operas for DG, as well as for Sony Classical, Philips Classics and Decca. Recent recordings by the Orchestra and Mr. Levine also include Donizetti's L'Elisir d'Amore, Verdi's Alda, Luisa Miller, and La Traviata, and Mozart's Le Nozze di Figaro. Forthcoming releases include Verdi's Don Carlo and ! Trovatorc, Wagner's Parsifal, Schoenberg's Erwartung, and Puccini's Manon Lescaut. Also awaiting release are a collection of Wagner overtures, Verdi ballet music, and the Orchestra's first symphonic recording: a pairing of Mussorgsky's "Pictures at an Exhibition" and Stravinsky's "Rite of Spring."
In the spring of 1991 the Orchestra under the leadership of Maestro Levine began annual concert touring, which has since taken them to such diverse locales as Toronto, Ann Arbor, Seville's Expo '92, and Carnegie Hall. In addition to these two concerts as part of the Ann Arbor May Festival's centennial celebration, the Orchestra's 1993 tour includes two concerts in Carnegie Hall, and two concerts in Tokyo. In 1994 they will make their German debut, along with soloists and the Metropolitan Opera Chorus, in four concerts in Frankfurt to mark that city's 1200th anniversary.
University Musical Society
in association with Ford Motor Company
Metropolitan Opera Orchestra
James Levine, Artistic Director and Conductor Renee Fleming, Soprano
Friday Evening, May 7, 1993, at 8:00 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
BERG Three Excerpts from Wozzeck
Renee Fleming, soprano
BERG Symphonic Pieces from Lulu
Rondo Ostinato Lulu's Song Variations Adagio Renee Fleming, soprano
INTERMISSION
BEETHOVEN Symphony No. 3 in Eflat Major, Op. 55
Eroica
Allegro con brio
Marcia funebre: Adagio assai
Scherzo: Allegro vivace
Finale: Allegro moltoPoco andantePresto
This performance by the Metropolitan Opera Orchestra is made possible by a generous gift to the Metropolitan Opera Association from Ms. Cynthia Wood.
Yamaha is the official piano of the Metropolitan Opera. Special ihanks to Mr. Jim Leonard, manager of SKR Classical, for this evening's Philips Preconcert Presentation.
The 100th May Festival is underwritten by a generous grant from Ford Motor Company. The preconcert carillon recital was performed by TinShi Tarn, a UM doctoral student in organ.
Fortysixth Concert of the 114th Season 100th Annual May Festival
Program Notes
by David Hamilton
Alban Berg
Bom February 9, 1885, in Vienna Died December 24, 1935, in Vienna
Three Excerpts from Wozzeck
Berg's opera Wozzeck, composed between 1917 and 1922, was first performed at the Berlin State Opera under Erich Kleiber on December 14, 1925; the Metropolitan Opera first presented it on March 5,1959, under Karl Bohm. The Three Excerpts that Berg extracted for concert use were introduced in Frankfurt on June 11,1924, conducted by Hermann Scherchen, with soprano Beatrice SutterKotlar. In addition to the soloist, the scoring calls for four flutes (two doubling piccolo), four oboes (one doubling English horn), four clarinets in Bflat (two doubling clarinet in Eflat), one bass clarinet, two bassoons, one contrabassoon, four horns, four trumpets, four trombones, one contrabass tuba, two pairs of kettledrums, cymbals, bass drum (with cymbal attached), rute (a bunch of birch twigs used as a drumstick), snare drum, large and small tamtams, triangle, gong, xylophone, celesta, harp, and strings.
On May 5, 1914, the 29yearold composer Alban Berg was in the audience for the local premiere of Wozzeck, a play left in fragmentary form by Georg Buchner (18131837). Buchner, a young Hessian doctor and protosocialist who died at the age of 24, based his play on a true event: on June 21, 1821, a 41yearold Leipzig barber named Johann Christian Woyzeck mur?dered his unfaithful mistress, claiming that supernatural powers had ordered him to kill her. (The editor of Buchner's fragments misread the name as "Wozzeck," and so it remained until the rediscovery of the historical background.) When finally performed, in 1913, the play made an enormous impression, both for its quasicinematic form and for its focus on the lowest levels of society.
Implementation of Berg's immediate resolve to make an opera of Wozzeck was impeded by the completion of his Three Orchestra Pieces, and then by World War I service in the Austrian army; even after illness brought reassignment to Vienna and eventually a desk job, he found it difficult to compose. In August 1918, writing to Anton Webem, Berg reported that he had managed "to finish something" of the opera:
It is not only the fate of this poor man, exploited and tormented by all the world, that touches me so closely, but also the unheardof intensity of mood of the individual scenes. The combining of four or five scenes into one act through orchestral interludes tempts me also, of course...! have also given thought to a great variety of musical forms to correspond to the diversity in the character of the individual scenes. For example, normal operatic scenes with thematic development, then others without any thematic material,...song forms, variations, etc.
The opera was completed in October 1921 and orchestrated by the following spring, but its unconventional subject and musical difficulty daunted most opera directors. At the suggestion of the conductor Hermann Scherchen, Berg in 1923 extracted the Three Excerpts for concert use; however, even before these were performed, Erich Kleiber, music director of the Berlin State Opera, had resolved to present the opera. After many intrigues and delays--not to mention 34 orchestral rehearsals--the premiere on December 14, 1925, proved a genuine if controversial success. Wozzeck was soon widely performed, and its royalties made Berg the most prosperous member of the Schoenberg circle.
The concert excerpts focus, not on the hallucinationridden soldier Wozzeck, but on his commonlaw wife Marie and their son, whom Wozzeck supports with the money a sadistic doctor pays him for submitting to bizarre medical experiments. The excerpts illustrate some of the features Berg mentioned in his letter to Webern--in particular, the orchestral interludes that connect the short scenes and the formal individuality of each episode. The prevalent har?monic idiom is atonal, although at various places Berg incorporates aspects of traditional tonality into the writing.
I. The first excerpt begins with the interlude that follows the opera's second scene, during which Wozzeck, gathering sticks at twilight with his fellow soldier Andres, has seen and heard strange things. A mood of eerie stillness is sustained by slow string harmonies, over which solo winds offer suggestions of military music and of a folksong Andres had sung. A march approaches as the curtain rises on Marie's room; at the window she and her child are watching the soldiers, led by a handsome drum major. The noisy march music alternates with a songlike trio, which occurs twice in the concert version; the second time, Marie sings along. When the march proper returns, she slams the window shut (in the opera, she is upset by a neighbor's insinuations that she lusts for the Drum Major) and then sings a cradle song to the boy.
Marie soon begins an affair with the Drum Major, and Wozzeck is tormented by his commanding officer and the doctor about this, further agitating him. In a tavern garden he sees Marie dancing with the Drum Major, who returns drunk to the barracks and thrashes Wozzeck.
II. The second excerpt begins Act III; in her room, the guiltridden Marie reads the Bible. Berg described this scene as an "Invention on a Theme"--in fact, a theme and seven variations followed by a fugue. Marie reads the story of Christ and the woman taken in adultery (theme, variations 12). Upset by the child (variations 34), she tells him the most desolate of fairy tales (variations 56, in F minor). Returning to the Bible, she seeks (variation 7) and finds the story of Mary Magdalene (fugue). When reading (and telling
the fairy tale), Marie uses Sprechstimme (speechsong); her direct speech to the child is sung normally.
In the opera's next scene, Wozzeck takes the unsuspecting Marie for a walk in a forest, cuts her throat, and throws the knife into a pond. Later he fearfully returns to the spot; searching for the weapon, he walks into the pool and drowns himself.
III. The third excerpt begins at this point, as ascending, overlapping, gradually slower scales in the orchestra suggest the waters closing over Wozzeck's body, followed by the croaking of toads. The subsequent interlude, according to Berg, is to "be understood from the dramatist's point of view as the epilogue which follows Wozzeck's suicide; it should also be appreciated as the composer's confession, breaking through the framework of the dramatic plot and, likewise, even as an appeal to the audience, which is here meant to represent humanity itself." Motives associated with Wozzeck are recalled, in the harmonic context of D minor--the opera's most extended passage with a traditional key center (the fairy tale in the second excerpt is in F minor).
Texts and Translations
I. Soldaten, Soldaten sind scheme Burschen! Komm, mein Bub. Was die Leute wollen!
Bist nur ein arm' Hurenkind und machst Deiner Mutter doch so viel Freud' mit Deinem unehrlichen Gesicht! Eia popeia...
Madel, was fangst du jetzt an Hast ein klein Kind und kein Mann! Ei, was frag' ich darnach, Sing' ich die ganze Nacht: Eia popeia, mein suSer Bu', Gibt mir kein Mensch nix dazu!
Hansel, spann' Deine sechs Schimmel an,
Gib sie zu fressen auCs neu,
Kein Haber fresse sie,
Kein Wasser saufe sie,
Lauter kuhle Wein mufi es sein!
Lauter kuhle Wein muS es sein!
II. "Und ist kein Betrug in seinem Munde erfunden worden"... HerrGott! HerrGott! Sieh mich nicht an!
"Aber die Pharisaer brachten ein Weib zu ihm,
so im Ehebruch lebte.
Jesus aber sprach: 'So verdamme ich
dich auch nicht, geh' hin und siindige
hinfort nicht mehr.'" HerrGott!
The curtain rises on a street, where children, among them Marie's son, are playing and singing a round. When other children arrive and report the discovery of Marie's body, they tell the boy, "Hey! Your mother is dead!" As they run off to see, the uncomprehending boy continues to ride his hobby horse; the bleak stasis of slowly alternating chords persists after the fall of the curtain.
With Hitler's ascent to power in Germany in February 1933, Berg's world was shaken. Dismissed from the Prussian Academy of Arts in Berlin, Schoenberg went into exile, first in Paris and then in America; the music of his school was branded as "degenerate." Kleiber had been expected to introduce Lulu, Berg's opera in progress, but in December 1934 the conductor resigned his position. Berg's income was drastically reduced; except for a London broadcast and an improbable 1942 production in Rome, Wozzeck was not again performed until after World War II.
Soldiers, soldiers, there's a splendid sight Come, my child. Some people! You're just a poor little son of a whore, yet your bastard face brings untold joy to your mother. Hushabye, baby...
Girl, what are you going to do A child but no husband have you! Ah, what do I care, Though 1 sing the night through, Hushabye, baby, cradle will fall, Nobody gives me anything at all!
Johnnie, ride on your horses so fine, And give them the best that you can, Mere oats are too rough, Water's not good enough, So give them cool, sparkling wine! So give them cool, sparkling wine!
"And out of His mouth there came forth neither deceit nor falsehood"...Lord, Lord, don't look at me.
"And the scribes and Pharisees brought unto him a woman taken in adultery. And Jesus said unto her, 'Neither do I condemn thee: go, and sin no more.'" Lord
Der Bub' gibt mir einen Stich in's Herz. Fort! Das brust' sich in der Sonne! Nein, komm, komm her! Komm zu mir!
"Es war einmal ein armes Kind und hatt' keinen Vater und keine Mutter, War alles tot und war Niemand auf der Welt, und es hat gehungert und geweint Tag und Nacht.
Und weil es Niemand mehr hatt'auf der Welt..." Der Franz ist nit kommen, gestern nit heut nit... Wie steht es geschrieben von der Magdalena
"Und kniete hin zu seinen FuSen und weinte und kuSte seine FuSe und netzte sie mit Tranen und salbte sie mit Salben."
Heiland! Ich mochte Dir die FuSe salben! Heiland! Du hast Dich ihrer erbarmt, erbarme Dich auch meiner!
III. Ringel, Ringel, Rosenkranz, Ringelreih'n! Ringel, Ringel, Rosenkranz, Rin...
Kommt, anschauen!
Hopp, hopp! Hopp, hopp! Hopp, hopp!
English translations reprinted courtesy of London Records, a division of PolyGramClassics and Jazz
Symphonic Pieces from the opera Lulu
Berg began his opera Lulu in 1929 and completed it in short score in June 1934, but interrupted the orchestration of Act III to compose his Violin Concerto; the opera remained incomplete at his death. A truncated version was performed in Zurich on June 2,1937; the complete score, with Act 111 edited by Friedrich Cerha, was first heard at the Paris Opera on February 24,1979, conducted by Pierre Boulez. the Metropolitan Opera presented the incomplete version in 1977, the completed form in 1980, both conducted by James Levine. Berg arranged five Symphonic Pieces from the score, finishing them in July 1934; Erich Kleiber introduced them in Berlin the following November 30, with the soprano Lii Claus as soloist. The orchestra includes three flutes (doubling piccolos), three oboes (one doubling English horn), three clarinets in Bjlat (two doubling Eflat clarinet), one alto saxophone, one bass clarinet, two bassoons, one contrabassoon, four horns, three trumpets, three trombones, one contrabass tuba, two pairs of kettledrums, bass drum, cymbals, snare drum, large tamtam, triangle, gong, vibraphone, piano, and harp, and strings.
88
It pierces my heart to see the boy. Go away! Pushing himself forward like that! No, come; come here. Come to me.
"Once upon a time there was a poor little child,
and he had no father and no mother.
Everybody was dead and there was nobody left in
the world, and he was hungry and crying, day and night.
And because he had nobody left in the world..." Franz didn't come, not yesterday, not today... What is it that it says about Mary Magdalene
"And began to wash his feet with tears, and did wipe them with the hairs of her head, and kissed his feet, and anointed them with the ointment."
Savior, 1 should like to anoint your feet! Savior, you had mercy on her, have mercy on me, too!
Ringaringaroses, Ringaringaroses,
Come and have a look!
Hop hop! Hop hop! Hop hop!
After failing in 1928 to clear the operatic rights for a play by Gerhart Hauptmann, Berg turned to a subject he had first encountered years earlier, the Lulu plays of Frank Wedekind (18641918), a writer and actor who strikingly prefigured the work of the expressionists. Earth Spirit (1895) and Pandora's Box (1902) show the effects of Lulu, a personification of demonic erotic power, upon society and its artificialities. Earth Spirit was not performed until 1898, but by the time Max Reinhardt staged it in Berlin in 1902, Wedekind was recognized as a serious artist. In 1905, when Karl Kraus presented Pandora's Box in Vienna, Berg, who had read and admired Earth Spirit, was in the audience.
As with Wozzeck, Berg.made his own libretto from the original dramatic text. And, as with Wozzeck, he prepared a concert sequence, even before the orchestration of the opera was completed. Indeed, we owe the orchestration of important passages in the third act to the concert version, for Berg scored the Variations and Adagio out of sequence to complete the suite; when the death of Alma Mahler's daughter Manon Gropius stimulated him to compose his
Violin Concerto, more than nine hundred measures of Lulu remained unscored. The history of the opera's subsequent vicissitudes is long and sad, including the suppression of the third act by the composer's widow, perhaps because she came to associate the opera with Hanna FuchsRobettin, the sisterinlaw of Alma Mahler with whom Berg was in love in his last years (Hanna's name is in fact encoded in the score). After her death in 1976, a completion by the Austrian composer Friedrich Cerha was made available, which has since become standard.
In the theater, Lulu's effect depends on the irony achieved by presenting its explosive subject matter in the form of tumofthecentury bourgeois drama (Oscar Wilde used campy wit to subvert the same framework), complete with such hoary conventions as letters and hurriedly concealed lovers. Lulu is the mistress of Dr. Ludwig Schon, a newspaper editor, who found her in sordid surroundings and brought her up, making her his mistress but marrying her to other men. When Schon decides to marry, Lulu uses her sexual hold over him to force him to marry her, but continues to carry on with various old friends, among them Schigolch, an old swindler who may be her father, the lesbian Countess Geschwitz, and Schon's own son Aiwa. Finally the desperate Schon gives her a gun to kill herself, but she uses it on him instead. A film shows Lulu's trial and conviction for murder and her escape from prison with the help of Geschwitz. Lulu escapes with Aiwa to Paris, and then to London where, penniless, she, Aiwa, and Schigolch live in an attic, supported by her earnings as a prostitute. Geschwitz arrives from Paris, and the two women are killed by Lulu's last client, Jack the Ripper.
Texts and Translations
3. Lulu's Song
Wenn sich die Menschen
um meinetwillen umgebracht haben,
so seizt das meinen Wert nicht herab.
Du hast so gut gewuSt,
weswegen Du mich zur Frau nahmst,
wie ich gewuSt habe,
weswegen ich Dich zum Mann nahm.
Du hattest Deine besten Freunde
mit mir betrogen, Du konntest nicht gut auch noch Dich
selber mit mir betrugen
Wenn Du mir Deinen Lebensabend zum Opfer bringst, so hast Du meine ganze Jugend dafur gehabt.
Ich habe nie in der Welt etwas anderes scheinen wollen, als wofur man mich genommen hat
Und man hat mich nie in der Welt fur etwas anderes genommen, als was ich bin.
I. Rondo (Andante and Hymn). Unlike the Wozzeck excerpts, the Symphonic Pieces from Lulu involved significant alter?ations of the operatic score, which is even more complexly structured than the earlier work. The first Symphonic Piece gathers together the elements of an interrupted rondo form in which Aiwa makes love to Lulu, beginning in the scene before she shoots Schon, resuming after she returns from prison.
II. Ostinato (Allegro). The film showing Lulu's conviction and escape is accompanied by an interlude whose second half is a retrograde of the first half, mirroring the reversal of Lulu's fortunes thanks to the selfsacrificing Geschwitz.
III. Lulu's Song (Comodo). After Schon has given Lulu the revolver, she sings an aria of selfjustification: she has never pretended to be anything other than she is. (This aria was dedicated to Berg's colleague Anton Webem for his fiftieth birthday.)
IV. Variations (Moderato). The interlude between the two scenes of Act III. The theme, a cabaret song by Wedekind, is heard in its simplest form, with a barrelorgan orchestration, only at the end of the movement and only in part. The first variation is in a blatant C major, the second bitonal, the third atonal, the fourth twelvetone.
V. Adagio (Sostenuto--Lento--Grave). Again, Berg combines several passages, from the opera's final scene. The opening section is the soliloquy in which the Countess Geschwitz considers suicide, followed by music originally heard in the interlude between Scenes 2 and 3 of Act 1, associated with the attraction between Schon and Lulu. A fierce dissonant chord breaks in: Lulu's scream as Jack the Ripper stabs her. On his way out, Jack knifes Geschwitz, whose last phrases of love for Lulu constitute her Liebestod.
If men have killed themselves for my sake, that does not make me worthless.
You knew very well why you took me as your wife, just as I knew why I married you.
You betrayed your best friends with me; you could hardly betray yourself with me.
If you have brought me your old age as a sacrifice, you have had all my youth in return.
1 have never in the world
pretended to be anything other than what I appeared to be.
And no one has ever taken me for anything other than what I am.
89
5. Adagio
Countess Geschwitz
Lulu! Mein Engel!
LaS dich noch einmal sehen!
Ich bin dir nah!...
Bleibe dir nah!...
in Ewigkeit!
Lulu! My angel!
Let me see you once more!
I am near you!...
I will stay near you!...
Forever!
Ludwig van Beethoven
Baptized December 16, 1770, in Bonn, Germany Died in March 26, 1827, in Vienna
Symphony No. 3 in Eflat major, Opus 55, Eroica
Beethoven's earliest sketches for the Symphony in Eflat were probably written down in the summer or autumn of 1802, though the principal composition took place the following summer and fall, with possibly some finishing touches added in early 1804. Beginning in the second half of 1804, the symphony was heard in private performances at the palace of Prince Franz Joseph von Lobkowitz, to whom it was dedicated, and early the next year it was played in a semipublic Sunday morning concert series conducted by Franz Clement (who would later be soloist in the premiere of Beethoven's Violin Concerto). Beethoven himself conducted the Eroica'sirst public performance on 7 April 1805 at the TheateranderWien.
The score calls for two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, timpani, and strings.
Unquestionably, the world's favorite fact about Beethoven's Third Symphony is that it originally bore the name of Napoleon Bonaparte. Like many historical facts, this one has missing pieces and fuzzy edges. The principal authority is Beethoven's friend Ferdinand Ries:
"In this symphony Beethoven had Buonaparte in his mind, but as he was when he was First Consul. Beethoven es?teemed him greatly at the time and likened him to the greatest Roman consuls. 1 as well as several of his more intimate friends saw a copy of the score lying upon his table, with the word 'Buonaparte' at the extreme top of the title page, and at the extreme bottom 'Luigi van Beethoven,' but not another word. Whether, and with what the space between was to be filled out, I do not know. I was the first to bring him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he flew into a rage and cried out: 'Is he then, too, nothing more than an ordinary human being Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others, become a tyrant!' Beethoven went to the table, took hold of the title page by the top, tore it in two and threw it
on the floor. The first page was rewritten and only then did the symphony receive the title Sinjonia eroica."
This must have taken place in the latter half of May 1804; Napoleon assumed the title of Emperor on 18 May, and the news would have taken some days to reach Vienna. The copy of the score that Ries describes is among history's missing pieces, as is also Beethoven's autograph, and another copy made "early in the spring" of 1804 "to be forwarded to Paris through the French embassy," as reported by Count Moritz Lichnowsky to the often unreli?able Anton Schindler. What we do have is yet another copy, retained by Beethoven to the end of his life and originally labelled, in the copyist's hand, "Sinfonia Grande Intitulata Bonaparte de Sigr Louis van Beethoven." On undateable later occasions, "Intitulata Bonaparte" (Entitled Bonaparte) was crossed out, the words "Geschrieben auf Bonaparte" (Written about Bonaparte) added in pencil by Beethoven himself (and never deleted).
Letters provide some chronological markers. On 22 October 1803, perhaps even before the symphony was completed, Ries had written to the Bonn publisher Simrock that Beethoven "wants very much to dedicate it to Bonaparte; if not, since [Prince] Lobkowitz wants it [that is, the perform?ing rights] for half a year and is willing to give 400 ducats for it, he will title it Bonaparte" (and dedicate it to Lobkowitz). As late as 26 August 1804, three months after tearing up that titlepage, Beethoven wrote to the publisher Breitkopf & Hartel that "The title of the symphony is really Bonaparte." The new title, Sinjonia Eroica, cannot be traced earlier than October 1806, when it appears on the symphony's first publication, by the Kunst und IndustrieComptoir in Vienna; along with the phrase "composed to celebrate the memory of a great man."
Maynard Solomon plausibly suggests that the apparent backandforth was rooted not only in ethical and ideologi?cal concerns, but also in Beethoven's ambivalence towards Vienna (around this time, he was considering a visit to Paris, where a Bonaparte Symphony would have made a potent calling card). Still, it was basically the impulse to create a musical corollary to Napoleon--not the historical man, but the image he generated, especially in Germanspeaking lands, of a beneficent, allpowerful hero promising revolu?tionary freedom to all Europe--that inspired Beethoven to mightily expand his musical style. (That the scheme of his symphony made room, for the ambivalentlyregarded hero's funeral music surely did not decrease the psychological intricacy of the operation.) The new, "heroic" metamorpho?sis of the established classical musical language, foreshad?owed in the first movement of the "Kreutzer" Violin Sonata and first deployed over an entire work in the Eroica, would dominate Beethoven's music for the next decade, proving fruitful not only for the tragic and triumphant accents of the Fifth Symphony, but also for purposes as diverse as the Violin Concerto's broad lyricism and the Seventh Symphony's galvanic high spirits.
One of the "newest" facts about the Eroica (first pointed out in 1962 by the Soviet musicologist Natan Fishman) is that Beethoven drafted his first plan for a symphony in Eflat major as early as the summer or autumn of 1802. That plan, in the socalled "Wielhorsky Sketchbook," immediately follows the sketches for the Fifteen Variations and Fugue in Eflat major for piano, Opus 35. (The world's secondfavorite fact about the Eroica is, of course, that its finale is based on a theme already thrice used by Beethoven: in a contradance, in the finale of the ballet The Creatures of Prometheus, and as the theme of those piano variations.') The Wielhorsky sketch embraces only three movements; Beethoven scholar Lewis Lockwood describes them as "a slow introduction and an Allegro first movement, in Eflat major; a 68 slow movement in C major; and a Menuetto serioso in Eflat with Trio in G minor," and adds: "The absence of any thematic notation for a last movement is not owing to uncertainty about the Finale, as might be immediately thought; but rather, the content and location of the material invite the conclusion that the Opus 35 Variations were in some way to form the basis for the symphonic finale."
In other words, the initial impetus for the symphony may well have come from the potential these variations suggested for a symphonic finale. Among the evidence for Lockwood's case is the shape of the first movement's main theme in the sketch, an explicit relative of the Prometheus theme's bass line, which in both Variations and Eroica finale is presented and varied prior to the appearance of the tune itself. The Wielhorsky sketch also shows how far, at this point, Beethoven was from the symphony he eventually wrote: by stages, the slow introduction vanished, the 68 slow move?ment gave way to a funeral march, the "serious minuet" became a scherzo, and all the themes were much altered (though retaining the basis of broken chords that is a charac?teristic Gestalt of both sketch and final work). Most impor?tantly, as Lockwood says, "the colossal size and length of the work, which both Beethoven and later commentators have repeatedly emphasized as its greatest departure from earlier norms of symphonic composition, was probably not an integral aspect of the work in its earliest stage, but grew as a consequence of later phases of elaboration."
The Eroica's first listeners were not unaware of the novelty of its dimensions. The reviewer of the Allgemeine musikalische Zeitung, writing in February 1805 of the semipublic perfor?mance, declared that "This long composition, extremely difficult of performance, is in reality a tremendously ex?panded, daring, and wild fantasia." The report in the Ereymuthige of the official premiere divides the listeners into three categories: Beethoven's friends consider the Eroica his masterpiece and expect the still uncultured public to come around eventually; others deny the work any artistic value; and a small group occupying the middle ground "admits that the symphony contains many beauties, but concedes that the connection is often disrupted entirely, and that the inordinate length of this longest, and perhaps most difficult of all
symphonies, wearies even the cognoscenti, and is unendurable to the mere musiclover." More coarsely, a chap in the gallery is said to have shouted, "I'll give another kreutzer if the thing will only stop!"
At this distance, we are hard put to imagine what a sensory overload the piece constituted to its first listeners; you listen to a piece differently if you have some idea of how long it will last, and no single movement known in 1805 was as long as the Eroica's first (including the exposition repeat that is more often heard today than thirty years ago). Two generations and less ago, Mahler's and Bruckner's sympho?nies still presented similar problems on first hearing, while perhaps the closest contemporary approximation to such betrayed expectations has been the shocking sensory underload that early minimalist works of Reich and Glass offered to audiences accustomed to the density, the rate of speed of events, in the music of Bach, Beethoven, Brahms, and Schoenberg.
In the Eroica, Beethoven does away with the slow introduc?tion used in his first two symphonies (the two intempo tonic chords that begin the first movement might be viewed as an "antislowintroduction," defining key, stress, and pace with maximum economy). The brave Eflat major stride of the opening theme very shortly slides into a chromatic shadow that is evaded in one direction at this point, in another, more serene way at the beginning of the recapitula?tion. The opening theme's second try runs up against a clot of syncopations--twobeat chords slicing across the basic meter of three, which will recurrently generate tension throughout the movement. A third, fortissimo presentation of the theme lands in a new key of the dominant (not until the end of the movement will it achieve the symmetry of a fullyrounded statement), with a varied series of new themes--a further cause of befuddlement to early listeners, as was the apparently "new" theme in the development section (first heard in the oboes, it's really a counterpoint to the string melody underneath, which is a filledin version of the main theme). The development is comparably extensive, ending with a suspenseful passage, basses striding duply against dialoguing fragments of the triplemeter main theme in upper voices--and then we are on the edge of the liome key, whose return is prematurely (and famously) anticipated by the first horn. The recapitulation is succeeded by a coda nearly as long, rising to renewed suspense that brings the main theme to celebratory fulfillment.
The accepted course of marches, funerary or otherwise, was along ternary (ABA) lines, and Beethoven's Marcia Junebre sets out observing this convention, along with such others as muffled drum rolls (usually imitated by the strings) and doleful dotted rhythms. The contrasting majormode Trio distills a vision of hope and triumph, and then the opening grief returns--only to be seized up in a turbulent fugal development that attains expressive regions inaccessible to the march conventions unaided. A second attempt to
91
Ab out the Artist
resume is answered by a further cataclysm, and when the main material returns definitively, it is over a restlessly striding texture. Mournful solace follows and, in the end, disintegration.
The thrumming background of the Scherzo's beginning-alternating two notes in a triple meter--embodies a jocular variant of the first movement's wrenching twoagainstthree, recalled more brutally near the end of the repeat when a formerly loping downward line suddenly becomes slashing even notes. The Trio features a virtuoso turn for the horns--one more than the standard comple?ment. (To Breitkopf, Beethoven wrote that "besides the regularly used instruments there are in particular three horns obbligato--I believe this will interest
the musical public." Though he found ample use for them throughout the symphony, this passage is clearly their raiscm d'etre).
The Finale embarks with a string cadenza beginning in a strange key (G minor, which will return later in a galvanic dance variation). As mentioned, we don't meet the Prometheus theme until we have made the full acquaintance of its bass line. Subsequent variations are less clearly demarcated, for the cumulative effect Beethoven desires in a symphonic finale will not tolerate the compartmentalization of traditional variation sets. The theme itself is succeeded by (1) a fugato variation; (2) a flute showpiece; (3) the Gminor dance; (4) a variation that begins as a simple flute statement but turns into another fugato and eventually builds to an enormous dominant; (5) a slow, spaciously lyrical expan?sion; and (6) a stately version with the theme in the bass register. The three repeated notes prominent in the theme then begin a harmonic quest, leading us again to the region of G minor, but this only renders still grander the surprise devolution into Eflat and home, celebrated with bursts of rejoicing from the horns.
This note first appeared, in a slightly different form, in the program book of the San Francisco Symphony c 1988, and is used by kind permission.
NOTES
"Beethoven wanted them titled Prometheus Variations, but the publisher forgot, and they have, ex post facto, acquired the nickname of "Eroica Variations."
In the last few seasons, RENEE FLEMING has emerged as one of our leading operatic artists, singing with distinction in theaters around the world. A winner of the 1988 Metropolitan Opera National Auditions and the 1990 Richard Tucker
Award, Ms. Fleming made her Metropolitan Opera debut two years ago, singing the Countess in Mozart's Le Nozze di Figaro, a role that has served as her introduction to many opera houses, including the Houston Grand Opera, the Metropolitan Opera, the Opera Bastille in Paris, the Spoleto Festivals of both Charleston, South Carolina, and Italy, the San Francisco Opera and the Teatro Colon in Buenos Aires. In the following season, Ms. Fleming appeared as Rosina in the world premiere of John Corigliano's The Ghosts of Versailles at the Metropolitan Opera, the last performance of which was televised for public television. She has performed many other leading operatic roles and has sung as an oratorio and concert soloist in the U.S. and abroad. A graduate of the Eastman School of
Music, Ms. Fleming won a Fulbright grant that enabled her to study in Germany. On her return, she attended the American Opera Center at the Juilliard School in New York and contin?ues her studies there with Beverley Johnson. In addition to the Metropolitan, New York City Opera, and Tucker awards, Ms. Fleming won a Career Grant from the Tucker Foundation in 1989, a George London Prize from N1MT and the Grand Prix at the International Singing Competition in Belgium. She is the recipient of an NIMT grant awarded by the Sullivan Founda?tion and the Shoshana Foundation's Richard F. Gold Career Grant.
Renee Fleming has appeared on national television twice in the past season: with Luciano Pavarotti on "Live from Lincoln Center: Pavarotti Plus" and on PBS' telecast of the Richard Tucker Gala taped in November at Avery Fisher Hall and aired in March 1992, with a second Richard Tucker Gala, taped in 1991, which was a Salute to American Music, aired in late 1992.
Among the recent highlights of Ms. Fleming's career are her debut at Milan's La Scala as Donna Elvira in Don Giovanni under Riccardo Mutiand her New York recital debut in Alice Tully Hall.
Brought up in Rochester, New York, Ms. Fleming is married to actor Richard Ross, and now makes her home in New York City. Tonight marks her Ann Arbor debut.
19931994 Season
Have
University Musical
Society
of the University
of Michigan
Ann Arbor
Betty Carter
Jessye Norman
Feld BalletsNY
Andre Watts and Friends
Les Ballets Africains of Guinea St. Petersburg Philharmonic
Mariss Jansons, conductor
Dmitri Alexeev, pianist Boston Musica Viva
Claire Bloom, narrator Leipzig Gewandhaus Orchestra
Kurt Masur, conductor Christopher Parkening Thomas Hampson Albert McNeil Jubiliee Singers Uptown String Quartet Stratford Festival
The Importance of Being Earnest
A Midsummer Night's Dream Nusrat Fateh AN Khan Handel's Messiah Canadian Brass Trio Tchaikovsky
Shostakovich String Quartet Cycle
Borodin String Quartet Moscow Virtuosi
Vladimir Spivakov, conductor Hungarian State Folk Ensemble Pilar Rioja and Company James Galway, flutist
Christopher O'Riley, pianist Lincoln Center Jazz Orchestra New York City Opera
National Company
Puccini's Madama Butterfly Chicago Symphony Orchestra
Kenneth Jean, conductor
Philip Sabransky, pianist Urban Bush Women Kronos String Quartet with
Hermeto Pascoal Orchestre de Paris
Semyon Bychkov, conductor
Electric Phoenix, vocal ensemble
Guitar Summit
Pepe Romero, Leo Kottke,
Joe Pass, Paco Pefia Murray Perahia, pianist Emerson String Quartet Joshua Bell, violinist Detroit Symphony Orchestra
Neeme JSrvi, conductor
University Choral Union Beaux Arts Trio Dresden Staatskapelie
Giuseppe Sinopoli, conductor
AH Series On Sale Now Renewals Due June 1
For more information, call or write:
University Musical Society
Burton Memorial Tower Ann Arbor, Ml 481091270 (313) 7642538
University Musical Society
in association with Ford Motor Company
Gala Centennial Dinner
Saturday Evening, May 8, 1993, at 6:00 Horace C. Rackham Building, Ann Arbor, Michigan
HOSTS:
Anne and James Duderstadt, Sally and Robben Fleming, Anne and Harlan Hatcher, Vivian and Harold Shapiro, and Alene and Allen Smith.
This elegant dinner, served in the Reading Room of the magnificent Rackham Building, is a very special 100th May Festival event.
At the Maestro level, the evening begins with a Presidents' Reception in the carillon room of Burton Memorial Tower. Then, all join together
for a cocktail party in the Rackham lobby. Dinner follows and all Gala Centennial Dinner guests recieve a special memento.
Cabaret Ball
Saturday Evening, May 8, 1993, at 8:30 Michigan League, Ann Arbor, Michigan
An Evening of Celebration
FEATURING: Barbara Cook with Wally Harper in Lydia Mendelssohn Theatre
Eartha Kitt in Lydia Mendelssohn Theatre The Jimmy Dorsey Orchestra with Jim Miller in the Ballroom
The Bess Bonnier Trio in the Hussey Room
The Michele Ramo LatinJazz Trio in the Vandenberg Room
The 100th May Festival Film in the Kalamazoo Room
An evening of entertainment, dancing, and socializing bring
the 100th May Festival celebration to new levels of fun.
Throughout the evening guests may move from room to room
to experience the many different sights and sounds of the Cabaret Ball.
The 100th May Festival is underwritten by a generous grant from Ford Motor Company Special thanks to Hammell Music Inc., Livonia, for the piano used in tonight's event.
Saturday Events Chair: Janice Stevens Bolsford
. Committee:
Gregg Alf, Gail Davis Bames, Jeannine Buchanan, Margo Halsted, Loma HildebrandtJoAnne Hulce, Alice Davis Irani,
Perry Irish, Frances Jelinek, Howard King, Beatrice Kueng, Nat Lacy, Judy Lucas, Kathleen Maly, Charlotte McGeoch,
Maya Savarino, Ann Schriber, Janet Shatusky, Aliza Shevrin, Ellen Stross, Jerry Weidenbach, Shelly Williams.
100th Annual May Festival
About the Artists
A native of Atlanta, Georgia, BARBARA COOK made her Broadway debut as the ingenue lead in the music Flahooky and subsequently played Ado Annie in the national company
of Oklahoma! During the first season of musical theater at New York's City Center, she appeared as Carrie in Carousel, a perfor?mance that was followed by the role of Hilda in the original production of Plain and Fancy. Ms. Cook went on to create the roles of Cunegonde in Candide and Marian in The Music Man, the latter portrayal earning her a Tony Award. She has played starring roles in many other productions.
In 1985 Barbara Cook made her Carnegie Hall debut and appeared as soloist with the Los Angeles Philharmonic. She was the first popular artist to perform at San Francisco's Davies Sym?phony Hall. Ms. Cook has also performed at the Kennedy Center, the Cafe Carlyle in New York, the Carre Theater in Amsterdam, La
Fenice Opera House in Venice, and Espace Cardin and The Rond Point Theatres in Paris. She has appeared as special guest artist with the symphony orchestras of Atlanta and Phoenix.
Barbara Cook's recordings include eight original cast albums; two Ben Bagley albums of songs by Jerome Kem and George Gershwin; an album entitled Songs of Perfect Propriety, a collection of poems by Dorothy Parker set to music by Seymour Barab; and two recordings on the Columbia label, Barbara Cook at Carnegie Hall and As of Today. Her triumphant return engagement at Carnegie Hall, in September 1981, was captured on an album entitled It's Better With A Band, which was named a "Best of the Year" in the pop category by Stereo Review maga?zine. In September 1985 she appeared with the New York Philharmonic as Sally in the concert version of Follies, the RCA recording of which received a Grammy award. More recently, she recorded Carousel and the Disney album for the MCA label. Nominated in 1986 for an Olivier Award for her onewoman show at London's Albery Theatre, Ms. Cook received the Drama Desk Award in 1987 for her Broadway show A Concert for the Theatre, culminating a thirteenyear collaboration with her friend Wally Harper. Concerts with the Boston Pops, the Royal Philharmonic of London, the National Symphony at Wolf Trap, and the
London Symphony are some of Ms. Cook's recent engagements.
WALLY HARPER has had a varied career in popular music. A graduate of the New England Conservatory and the Juilliard School of Music, Mr. Harper has worked as musical
director, composer, dance arranger and conductor for many Broadway productions, including: Company, Irene, Peter Pan, The Grand Tour, A Day in HollywoodA Night in the Ukraine, Brigadoon, Nine, My One and Only, Barbara Cook A Concert for the Theatre, and Grand Hotel. He composed the offBroadway musical Sensations and several songs for Irene, as well as the dance music for the film The Best Little Whorehouse in Texas. Mr. Harper produced the original cast recordings of A Day in HollywoodA Night in the Ukraine and My One and Only. He performs frequently with Barbara Cook, for whom he has produced and arranged four albums
including It's Better With A Band, for which he wrote the title song. The Disney aibum, arranged for symphony orchestra and Miss Cook, is their latest collaboration.
EARTHA KITT is
one of the few entertainers today whose career spans theater, film, nightclubs, television, and recordings--all with equal distinc?tion. Broadway stardom led to a recording contract and a succession of bestselling records, a Grammy nomination, as well as her first autobi?ography, Thursday's Child. She appeared
at the Persian Room, the Empire Room, the Latin Quarter, and London's Talk of the Town, where she holds the record for the longest run. Ms. Kitt made her return to Broadway in the straight dramatic play Mrs. Patterson, for which she received a Tony award nomination. During this period her other stage appearances included Shinbone Alley, The Skin of Our Teeth, The Owl and the Pussycat, and two London stage successes, Bunny and The High Bid. Besides New Faces, Ms. Kitt graced the films The Mark of the Hawk, opposite Sidney Poitier, St. Louis Blues with the late Nat King Cole, and Anna Lucasta with the late Sammy Davis Jr. Her television appearances include an episode of "Miami Vice," "Omnibus," guest appearances on several series
including "Mission Impossible," "I Spy" (for which she received an Emmy nomination), and "Batman," in which Ms. Kitt was the infamous Cat Woman.
Concert tours have taken her through Australia, Europe, and have included several Command Performances before Queen Elizabeth in London. In all, she has performed in over 100 countries. She was invited to the White House in 1978 by President Jimmy Carter and received her second Tony award nomination for her starring role in the musical Timbuktu, in which she appeared for over two years on Broadway and on national tour. A second autobiography, Alone With Me, was published in 1978, and a critically acclaimed featurelength documentary on her life entitled All By Myself was made by filmmaker Christian Blackwood in 1982.
Ms. Kitt lives in her 1773 farmhouse in Connecticut. She has a daughter, Kitt McDonald, married, who works as a fashion model.
"Green Eyes," "Amapola," "Yours," "Tangerine," "1 Under?stand," "I'm Glad There Is You," "1 Get Along Without You Very Well" and "Maria Elena"--all great songs and all hits of the fabulous JIMMY DORSEY ORCHESTRA.
In the spring of 1934 the Dorsey Brothers Orchestra was born at NuttingsontheCharles, in Waltham, Massachusetts. Jimmy and Tommy Dorsey thought they were on the scene to stay. But unfortunately, this was not to be: in 1935 at the Glen Island Casino, Jimmy and Tommy had an argument over the tempo of a tune and Tommy walked off the bandstand. Jimmy would lead his orchestra until he and Tommy were reunited as
coleaders of the Dorsey Brothers Orchestra in 1953. Jimmy Dorsey was one of the finest clarinet and alto saxophone players of his day and played solos that amazed his fellow musicians as well as his audiences. For eighteen years after Tommy departed, the Jimmy Dorsey Orchestra had hit after hit after hit. Jimmy's greatest hits, and one of the last instrumental hits by any artist, was "So Rare." He received a gold record for it just two days before his death on June 12, 1957.
Trombonist JAMES ROBERT MILLER began his musical life in the heyday of the Big Band Era. With the rich, mellow sound of Tommy Dorsey (he uses one of Tommy's mutes), Jim continues today a career of over 40
years playing with and leading some of America's great big bands.
As a 15yearold Phoenix, Arizona, teenager, Jim got his first break with a local Latin group. Then he joined the U.S. Navy in 1955 and spent the next 24 years playing in and leading Navy bands before audiences that included five U.S. presidents and leaders of every South American country.
In 1970 Jim was selected to lead the NORAD Commanders, the only multiservice, binational band ever formed in the U.S., with band members from the U.S. Army, Navy, and Air Force and the Canadian Armed Forces. This incredible 18piece band was featured on the Johnny Carson "Tonight" show and per?formed at Carnegie Hall.
Jim has written music for and performed with the Glenn Miller, Tex Beneke, Les and Larry Elgart, and Guy Lombardo bands and with such performers as Bob Hope, the Modemaires, the Pied Pipers, Mimi Hynes, Red Skelton and Liberace. In 1980 Jim became the Assistant Leader of his dear friend Lee Castle's Fabulous Jimmy Dorsey Orchestra. On December 1, 1990, following Lee's death, Jim became leader of his beloved Jimmy Dorsey Orchestra.
One of the most important jazz musicians in Detroit, BESS BONNIER is one jazz artist who chose to stay home. Some of her contemporary jazz friends--Barry Harris, Tommy Flanagan, Thad Jones, and Sir Roland Hanna--left Detroit and found success in the wider world of jazz.
Miss Bonnier has found her own success in the Motor City with a wide array of activities that has made her name synony?mous with fine jazz piano.
Detroitbom, Miss Bonnier (pronounced BONNyer) came of age in the same 1950s Detroit that produced a veritable "Who's Who" of jazz. After graduating from Northern High School with Tommy Flanagan, she studied music and English at Wayne State University before striking off on her own as a pianist. She first gained a measure of national attention in the late 1950s when Argo Records released her album entitled Theme for the Tall One. That record, long out of print, has become a collector's item.
In the 1960s, Miss Bonnier was the house pianist in the Jack Brokensha quartet in the latter's Detroit nightclub. During the 1970s she served as artistinresidence at Detroit's presti?gious Cass Technical High School and her video "Jazz History" course, created for Wayne State University's Adult Education Program, has been used over and over again since it was originally recorded.
From 1977 to 1980, she was the artistic coordinator for
the Detroit Institute of Art's popular Jazz at the Institute series that featured both local Detroiters and internationallyknown jazz musicians. Her own performances in the series have been broadcast over National Public Radio jazz stations.
Since 1982, Miss Bonnier, who has been called a "great jazz pianist" by Leonard Feather and a "jazz player of great feeling" by Ira Gitler, has been the regular solo pianist in the Detroit Institute of Art's Crystal Gallery (a recreation of New York's Plaza Hotel Palm Court) each Sunday afternoon. By popular demand, her artistry sets the mood for the After Glow at the DIA's fabulous Elizabethan Wassail Feast each December.
In addition to a nonstop schedule of private engagements and teaching workshops, Miss Bonnier has performed in several Montreux Detroit Jazz Festivals, played in the 1982 Kool Jazz Festival in Purchase, New York, and was one of the featured pianists, along with Barry Harris, Sir Roland Hanna and Tommy Flanagan, in the New York City program called the
"Detroit Piano Summit."
Miss Bonnier's newly released fourth recording, Bess Bonnier and Other Jazz Birds, on the Noteworks Records label, includes her latest composition and has guest artist appear?ances by Pepper Adams (baritone sax), Sir Roland Hanna (piano), Carol Sloane (vocal), and Larry Nozero (alto sax and flute). Her earlier recordings include Duet to Quartet (released on Noteworks Records in 1984), Theme for the Tall One, and The 26th Floor.
In tonight's appearance, Miss Bonnier is joined by bassist Jack Brokensha and guitarist Paul Keller.
Michele Ramo, guitarist, violinist, mandolinist, and com?poser is the leader of the MICHELE RAMO LATINJAZZ
TRIO, also featuring Jamie Rusling, percussionist, and Ken Kellett, bassist. Born in Italy, Mr. Ramo began his musical studies at the age of 13 and earned his Master's Degree in violin from the Conservatory of Caltanissetta in Italy in 1985. He has toured extensively in Europe as a recitalist and more recently has centered his career in the United States and Canada. He released five recordings and has appeared, earning great accolades, in prestigious clubs as a soloist and with the Marcus Belgrave Quintet and his own Latin ensemble. His programs feature his innovative works that the critics characterize as "music from the heart and soul of a true artist." Recently, Mr. Ramo received the "Best Acous?tic Guitar Award" and was winner of the "Jazz Hall of Fame Award" presented by the Metropolitan Music Cafe and Record Time during the First Annual Jazz Awards of Metropolitan Detroit. Mr. Ramo is a professor at the Royal Music Center in Royal Oak, Michigan.
University Musical Society
in association with Ford Motor Company
100th May Festival Birthday Celebration
Sunday Afternoon, May 9, 1993, at 2:00 Ingalls Mall and Rackham Auditorium, Ann Arbor, Michigan
FEATURING:
The Ann Arbor Youth Chorale, Richard Ingram, director University Carillonneur Margo Halsted and Today's Brass Quintet
Families, friends, former Youth Festival Chorus members -all music lovers -are invited to wish the May Festival a very happy birthday. Celebrants gather on Ingalls Mall then proceed to the Youth Chorale concert in Rackham, which commemorates the 45 years of Youth Festival Chorus performances at May Festival. Following the concert, former Youth Chorus members are photo?graphed, speeches honor this 100th May Festival, then traditional birthday cake, balloons and clowns round out the party. A carillon and brass recital ring out to pay tribute to the festival, prior to the afternoon's performance of Verdi's Requiem.
All Ingalls Mall and Rackham events are free to the public. Children are especially welcomed.
Ann Arbor Youth Chorale
Miss Ruth E. Datz, music director
Dr. Richard Ingram, music director
Dr. Donald Williams, music director
Mrs. Shayla Powell, associate music director
Carol Muehlig, accompanist
The Ann Arbor Youth Chorale was founded by Ruth E. Datz, Richard Ingram, and
Donald Williams in 1987 to provide a choral musical experience for Ann Arbor area young people
that complements existing vocal programs. Approximately 100 children from ages nine to fourteen
rehearse weekly for two choirs (Descant Choir and Concert Choir), studying a variety ofmusic
from simple unison folk songs to more challenging Romantic and contemporary literature.
The repertoire includes the music of Bach, Handel, Haydn, Schubert, Britten, Kodaly, Ralph
Vaughan Williams, and Aaron Copland, among others.
Myrl Beam Jessica Behnke Jackie Borders Johanna Bowman Heather Boyd Amalia Brassfield Carol Brown Jenny Busch Grace Chee Renee Desrochers
lyobosa Ekhato Jimmy Flowers Catey Fraelich Jessie Fragner Alexis Garland Maya Genson Abiola George Erica Gregory Adam Haab Annahita Haghgooie
Ramin Haghgooie Andrew Harrington Anne Hanmann Marissa Heath Alexis Hill Sarah Hullo Leah Ingram Portia Krieger Joe Lee Jennifer Lindquist
Chair: JoAnne Hulce
Eve Malan Brook McCloud Chimo Mogbo Marie Mourou Krisanu Mukherjee Briana Murphy Maurella Murphy Emily Nobis Nell Orscheln Ellen Putney Moore
Emily Rose Laurie Shulman Nicole Skylis Katie Soper Adrienne Standbridge Eddie Toon Kaihryn Vaitkevicius Maria Woike
Committee: Leah Kileny and Ellen Slross
100th Annual May Festival
University Musical Society
in association with Ford Motor Company and the Handleman Company
Detroit Symphony Orchestra
Neeme Jarvi, Music Director Leslie B. Dunner, Associate Conductor
Sunday Afternoon, May 9, 1993, at 4:0.0 Hill Auditorium, Ann Arbor, Michigan
David Zinman, conductor
Kallen Esperian, soprano
Florence Quivar, mezzosoprano
Jonathan Welch, tenor
James Morris, bass
The University Choral Union
Thomas Hilbish, director
PROGRAM
VERDI "Manzoni" Requiem
Requiem and Kyrie
Dies irae
Offertorium
Sanctus
Agnus Dei
Lux aeterna
Libera me
Please note: Photographing or taping of DSO concerts is prohibited. The DSO can be heard on Chandos, London, RCA, Columbia, and Mercury Records.
The performance of Verdi's Requiem in this final concert of ihe 199293 season is dedicated to the memory
of Dr. Harry A. Towsley -Ann Arbor resident, scholar, philanthropist, caregiver, counselor,
and friend of the University Musical Society of the University of Michigan.
Fortysixth concert of the 114th Season 114th Choral Union Series 100th May Festival
Program Notes
by Michael Fleming
Giuseppe Verdi
Bom October 10, 1813, 'Roncole, near Busseto Died January 27, 1901, Milan
Requiem
Verdi's Requiem was first performed at the church of San Marco in Milan on May 22, 1874. The score calls for soprano, mezzosoprano, tenor, and bass soloists; mixed chorus; and an orchestra of three flutes and piccolo, two oboes, two clarinets, four bassoons, four horns, eight trumpets, three trombones, tuba, timpani, bass drum, and strings.
To the listener who insists that sacred music should be one thing and secular music another, Verdi's Requiem will always be an enigma. Hans von Bulow made this mistake when he traveled to Milan to hear the first performance of the Requiem and wrote a scathing denunciation of it as "[Verdi's] latest opera, in ecclesiastical vestments." His comment was not so much wrong as irrelevant, and at least he had the good sense to apologize 18 years later for having made "a great journalistic howler."
Bulow misspoke himself while under the spell of Wagner. But even more, he reflected the tastes of the Protestant northern Europe, where sacred and secular music had concluded a stormy divorce not long before.
Verdi's wife of 40 years, Giuseppina, had a more sensible attitude when she defended the Requiem against such assaults. "They talk a lot about the more or less religious spirit of Mozart, Cherubini, and others," she wrote. "I say that a man like Verdi must write like Verdi, that is according to his own way of feeling and interpreting his text. The religious spirit and the way in which it is given expression must bear the stamp of its period and its author's personality. I would deny the authorship of a Mass by Verdi that was modeled upon the manner of A, B or C."
The Requiem, then, grew out of Verdi's own life and work. That there is plenty of opera in it is undeniable: the resetting of a discarded duet from Don Carlos as the "Lacrymosa" in the Requiem was only the most obvious borrowing from the secular to the sacred. In fact, there was little difference between the two for Verdi. For him, there was no contradiction between depicting the Catholic Church in the most unflattering light in Don Carlos and in requesting "one priest, a candle, a cross" for his funeral. "He knew that faith is a solace to men's hearts," wrote his librettist Boito, who knew him well. "To the laborer in the fields, the unhappy, the afflicted who surrounded him, he offered himself, without ostentation, humbly, austerely, as an example to their bur?dened consciences."
The Requiem had its beginnings as a tribute to another master of Italian music, Gioacchino Rossini. When the old
master died in 1868, Verdi proposed that a dozen of his countrymen join in composing a Requiem in his memory, each contributing a section. The plan foundered, but not before Verdi had written a "Libera me"--a setting of the part of the funeral liturgy that accompanies the blessing of the body before it is taken from the church.
Five years later, Italy lost another of its guiding lights, Alessandro Manzoni, whose novel I promessi sposi (The Betrothed) had given a new country what it had never had before: a common language. Verdi was too stricken by Manzoni's death to attend the funeral, but a few day later, he visited the grave, alone, to pay his homage.
"What can I say [about Manzoni]," Verdi had written when they met in 1848. "How to describe the extraordinary, indefinable sensation the presence of the saint, as you call him, produced in me. I would have gone down on my knees before him if we were allowed to worship men. They say it is wrong to do so and it may be, although we raise up on altars many that have neither the talent nor the virtue of Manzoni."
All this admiration was poured into the Requiem. This time, there would be no collaborators; Verdi wrote to the city fathers in Milan to offer to compose a Mass for their native son, on the anniversary of his death. Although a performance was scheduled for a church, chosen for its acoustics, the Requiem was not a liturgical work, but a tribute to a secular hero. Verdi reserved the premiere for himself, and afterwards, made a triumphant tour of Europe with the piece, performing it to acclaim in Vienna, Paris, and London.
Verdi had many models to follow: the plainsong requiem, the polyphonic requiems of the Renaissance, and the settings by Mozart, Cherubini, and Berlioz that had been written within the past 100 years. He owed something to each of them, but at this point in his career, he was confident enough of his own style to go his own way, even when setting such a venerable text.
The "Libera me" written for Rossini provided a starting point, but scholars disagree over just how much Verdi kept from this setting, since the manuscript is lost. The composer hinted that the recapitulations of the themes for the "Requiem" and "Dies irae" sections in the "Libera me" provided him with the outlines of a complete work, but surely this preliminary setting provided little more than a hint of the whole.
In the Requiem, no less than in his operas, Verdi sought out the parola scenka--the scenic word--in each text he set. Echoes of many of his stage works resound in the Requiem, especially hints of the angelic music of Elizabeth in Don Carlos in the soprano role of the Requiem and of the grand Inquisitor's sinister persona in the music allotted to the bass. Not to be overlooked is the skill Verdi acquired in writing for chorus in Aida, which he completed not long before beginning the Requiem.
Close attention to the words will tell the listener most of what he or she needs to know about the music, but a few special remarks are in order:
In the first movement, which embraces both the "Introit" and "Kyrie" of the Mass, Verdi uses a technique to which he will return again and again, letting the orchestra set the mood, while the singers declaim the text. Also typical of his method here is the fact that the last words heard in this section are "Christe eleison" (Christ, have mercy). This contradicts the letter of liturgical tradition but underlines the human, nondogmatic aspects of the Requiem that will turn up again and again.
The "Dies irae," a horrific picture of the last judgment, put into verse by the 13thcentury monk Thomas of Celano, has challenged every composer who set this text. Verdi set the poem as a grand operatic scena, with the chorus providing a recurring refrain, and the soloists, singly and in groups, filling in the outlines. Again, he departed from liturgical tradition, but he knew best how to paint a grand picture in music, having worked on a massive scale in Don Carlos and Aida.
The Requiem is nearly half over by the time we reach the "Offertorium," which in the ritual of the church comes nearer the beginning. Otherwise, Verdi follows the form of the Gregorian chant closely, beginning the contrasting middle section with a passage for the solo tenor and bringing back the chorus for the repeat of "Quam olim Abrahae," just as the Missal requires.
Texts and Translations
Requiem and Kyrie
Requiem aeternam dona eis, Domine;
et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem;
exaudi orationem meam,
ad et omnis caro veniet.
Requiem aeternam...
Kyrie eleison. Christe eleison. Kyrie eleison.
Dies irae
Dies irae, dies ilia,
Solvet saeclum in favilla: Teste David cum Sybilla.
Quantus tremor est futurus, Quando judex est venturus, Cuncta striae discussurus!
Tuba, mirum spargens sonum Per sepulcra regionum, Coget omnes ante thronum.
Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.
The "Sanctus" prescribed for the chant version of the Requiem is one of the simplest in the repertoire. Verdi follows this tradition, keeping the movement very short and overlapping the text.
It is difficult to hear the "Agnus Dei" and not think of the choruses invoking an Egyptian god in Alda. Soprano and mezzosoprano soloists outline each of the verses, the chorus chiming in with a repetition that fills out, but does not overembellish, their simple prayer.
The "Lux aeterna" is a setting of the Communion verse in the liturgy, one of the few survivals in the chant books of an extended setting written at a time when the congregation still came forward to take communion at Mass. Again, Verdi bends the official text to end with a setting of the words pleading for "eternal light" to shine on the departed souls.
The Requiem ends where it had begun, with recollec?tions of the "day of wrath" and of the prayers for "eternal rest." Here, too, Verdi dips his pen into the operatic inkwell, for the soprano's dramatic recitation of the text "Libera me," and if he casts a look back at the requiem for Rossini in the final fugue, he also casts a glance forward at Falstajj, which likewise ends in a display of contrapuntal ingenuity, the Italian master taking the most Germanic of musical forms and bending it to his own purpose.
Requiem and Kyrie
Rest eternal grant to them, O Lord,
and may light perpetual shine upon them.
Thou, O God, art praised in Zion:
and unto thee shall the vow be performed in Jerusalem;
Hear my prayer,
Unto Thee all flesh shall come.
Rest eternal...
Lord, have mercy. Christ, have mercy. Lord, have mercy.
Dies irae
Day of wrath and doom impending, David's word and Sibyl's blending; Heaven and earth in ashes ending!
O, what fear man's bosom rendeth, When from heav'n the judge descendeth, On whose sentence all dependeth.
Wondrous sound the trumpet flingeth, Through earth's sepulchres it ringeth; All before the throne it bringeth.
Death is struck and nature quaking,
All creation is awaking,
To its judge an answer making.
Liber scriptus proferetur, Unde totum continetur, Ex quo mundus judicetur.
Judex ergo cum sedebit, Quidquid latet apparebit; Nil inultum remanebit.
Quid sum miser tune dicturus Quern patronum rogaturus, Cum vix Justus sit securus
Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.
Recordarejesu pie, Quod sum causa tuae viae; Ne me perdas ilia die.
Quaerens me, sedisti lassus, Redemisti Crucem passus; Tantus labor non sit cassus.
Juste judex ultionis, Donum fac remissionis Ante diem rationis.
Ingemisco, tanquam reus; Culpa rubet vultus meus; Supplicanti parce, Deus.
Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.
Preces meae non sum dignae; Sed tu bonus fac benigne, Ne perenni cremer igne.
Inter oves locum praesta, Et ab hoedis me sequestra, Statuens in pane dextra.
Confutatis maledictis, Flammis acribus addictis; Voca me cum benedictis.
Oro supplex et acclinis, Cor contritum quasi cinis; Gere curam mei finis.
Lacrymosa dies ilia, Qua resurget ex favilla, Judicandus homo reus. Huic ergo parce, Deus.
Piejesu Domine,
Dona eis requiem. Amen.
Offer tori urn
Domine Jesu Christe, Rex gloriae,
libera animas omnium fidelium defunctorum
de poenis inferni et de profundo lacu:
libera eas de ore leonis,
ne absorbeat eas tartarus,
Lo! The book exactly worded, Wherein all hath been recorded; Thence shall judgment be awarded.
When the Judge his seat attaineth, And each hidden deed arraigneth, Nothing unaveng'd remaineth.
What shall I, frail man, be pleading Who for me be interceding, When the just are mercy needing
King of majesty tremendous, Who dost free salvation send us, Fount of pity then befriend us!
Think, kind Jesus! My Salvation Caused thy wondrous incarnation; Leave me not to reprobation.
Faint and weary thou hast sought me, On the Cross of suff ring bought me; Shall such grace be vainly brought me
Righteous judge! For sin's pollution, Grant thy gift of absolution, Ere that day of retribution.
Guilty, now I pour my moaning, All my shame with anguish owning; Spare, O God, thy suppliant groaning!
Through the sinful woman shriven, Through the dying thief forgiven, Thou to me a hope hast given.
Worthless are my prayers and sighing, Yet, good Lord, in grace complying, Rescue me from fires undying.
With thy sheep a place provide me,
From the goats afar divide me,
To thy right hand do thou guide me.
When the wicked are confounded, Doom'd to shame and woe unbounded, Call me, with thy Saints surrounded.
Low 1 kneel, with heart submission; See, like ashes my contrition! Help me in my last condition.
Ah! That day of tears and mourning! From the dust of earth returning, Man for judgment must prepare him: Spare, O God, in mercy spare him!
Lord all pitying, Jesus blest,
Grant them thine eternal rest. Amen.
Offertorium
O Lord Jesus Christ, King of Majesty,
deliver the souls of all the faithful departed
from the hand of hell, and from the pit of destruction:
deliver them from the lion's mouth,
that the grave devour them not;
ne cadant in obscurum: Sed signifer sanctus Michael repraesentet eas in lucem Sanctam, Quam olim Abrahae promisisti, et semini ejus.
Hostias et preces tibi, Domine, laudis offerimus;
tu suscipe pro animabus illis,
quarum hodie memoriam facimus:
fac eas, Domine, de morte transire ad vitam.
Quam olim Abrahae...
Sanctus
Sanctus, Sanctus, Sanctus Dominus, Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.
Benedictus qui venit in nomine Domini. Hosanna in excelsis.
Agnus Dei
Agnus Dei, qui tollis peccata mundi:
dona eis requiem.
Agnus Dei, qui tollis peccata mundi:
dona eis requiem.
Agnus Dei, qui tollis peccata mundi:
dona eis requiem sempitemam.
Lux actcrna
Lux aeterna luceat eis, Domine:
Cum sanctis tuis in aeternum, quia pius es.
Requiem aeternam dona eis, Domine:
Et lux perpetua luceat eis.
Cum sanctis tuis...
Libera me
Libera me, Domine, de morte aeterna in die ilia tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem.
Tremens factus sum ego et timeo
Dum discussio venerit
atque ventura ira;
quando coeli movendi sunt et terra.
Dies irae, dies ilia,
calamitatis et miseriae,
dies magna et amare valde,
dum veneris judicare saeculum per ignem.
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
that they go down not to the realms of darkness:
but let Michael, the holy standardbearer,
lead them into the light
which once Thou didst promise to Abraham forever
and to his seed.
Sacrifice and prayer do we offer thee, O Lord: do thou accept them for those souls departed of whom we make memorial. Make them, O Lord, pass from death unto life: which thou didst promise...
Sanctus
Holy, holy, holy,
Lord God of Hosts.
Heaven and earth are full of thy glory.
Hosanna in the highest.
Blessed is he that cometh in the name of the Lord. Hosanna in the highest.
Agnus Dei
O Lamb of God, that takest away the sins of the world: grant them rest.
O Lamb of God, that takest away the sins of the world: grant them rest.
0 Lamb of God, that takest away the sins of the world: grant them rest everlasting.
Lux aeterna
May light eternal shine, O Lord, upon them, with thy saints forever, for thou art gracious. Rest eternal grant to them, O Lord, and may light perpetual shine upon them: with thy saints...
Libera me
Deliver me, O Lord from death everlasting
on that awful day
when heaven and earth shall be moved,
when Thou shalt come to judge the world by fire.
1 am made to tremble and fear until the trial comes
and the wrath to arrive,
when heaven and earth shall be moved.
Day of wrath, O that day
of calamity and misery;
that great and very bitter day
when Thou shalt come to judge the world by fire.
Rest eternal grant unto them, O Lord, And may light perpetual shine upon them.
About the Artists
DAVID ZINMAN has emerged as one of the most admired conductors in America, both for his extraordinary success in building the artistic level and national reputation of the
Baltimore Sym?phony, of which he serves as Music Director, and for his highly praised guest performances with orchestras in Europe and North America.
His stature was enhanced in 1990 by winning three Grammy Awards: for a Nonesuch record?ing of vocal orchestral music with soprano Dawn
Upshaw and the Orchestra of St. Luke's, for a Sony Classical disc of cello concertos with the Baltimore Symphony and YoYo Ma, and for a Telarc P.D.Q. Bach disc (for which he used the pseudonym "Walter Bruno") Currently, his recording of Heinryk Gorecki's Third Symphony is enjoying phenomenal success, having reached No. 1 on the classical and No. 6 on the pop music charts in England and No. 5 in this country. The recording has also earned him two Grammy nominations.
Mr. Zinman's extensive discography of more than 45 releases has also earned him two Grand Prix du Disque awards and two Edison Prizes. He has also recorded in Europe with such orchestras as the Royal Concertgebouw, Dresden Staatskapelle, English Chamber Orchestra, and the Bavarian Radio Symphony for the Philips and AngelEMl labels. This afternoon marks his second Ann Arbor appearance.
In the few years since her debut in Puccini's La boheme with the Opera Company of Philadelphia in the spring of 1986,
KALLEN ESPERIAN has appeared on the world's major opera stages, including New York's Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Deutsche Oper in Berlin, Vienna State Opera, Opera de la Bastille in Paris, Buenos Aires' famed Teatro Colon, and Milan's La Scala. Her debut with the Deutsche Oper in West Berlin was with Luciano Pavarotti in La boheme. This success led to an immediate invitation for her to star as Mimi in a new Goetz Friedrich production of the opera in the 198889 season.
In 1989 she performed in the "Pavarotti Plus" concert at Avery Fisher Hall in New York, which was televised on the "Live from Lincoln Center" series on PBS. This, and a special appearance at a benefit concert for the Armenian Earthquake Relief at Camegie Hall, brought her to the special attention of the New York public before she made her debut with the Metropolitan Opera as Mimi, opposite Placido Domingo. She now makes her Ann Arbor debut.
Renowned for her rich mezzosoprano voice, FLORENCE QUIVAR is a regular guest of the world's leading orchestras and opera companies. She has appeared with the Metropolitan Opera for the last 10 consecutive seasons in numerous leading roles. Last season she appeared at the Met in The Masked Ball, which was internationally broadcast on the radio and taken on tour to Seville, Spain.
As a concert soloist, she has appeared with such ensembles as the New York Philhar?monic, Detroit Symphony, Boston Symphony, Cleveland Orches?tra, Chicago Symphony, Berlin Philharmonic, Bavarian Sym?phony, BBC Symphony, and London Philhar?monic. This season she made an
extensive tour of Spain, Munich, and Vienna with Zubin Mehta and the Israel Philharmonic. She also appeared on a concert with Kathleen Battle as part of the Great Performers Series at
Alice Tully Hall and was a guest on a nationally televised PBS "Gala of Stars" broadcast.
Ms. Quivar recently recorded her debut solo album of spirituals for Angel EMI entitled Ride on Kingjesus. Her discography also includes releases with the Vienna and Berlin Philharmonics, Cleve?land Orchestra, and the Boston, Toronto, Cincinnati, and Montreal Symphonies. These appear on the Deutsche Grammophon, Vox, Philips, Telarc, Nonesuch, Erato, and Sony CBS labels. This afternoon, Ms. Quivar performs in Ann Arbor for the first time.
American tenor JONATHAN WELCH has emerged as one of today's most distinctive vocalists. Dividing his time
between Europe and the United States, he appears in a broad range of opera, concert, and recital engage?ments each season and has earned particular acclaim for his interpretations of many of the most famous lyric tenor roles.
He has appeared with such distinguished companies as the Lyric Opera of Chicago, Vienna Staatsoper, Scottish Opera, Opera de la Bastille in Paris, Zurich
Opera, Hamburg Staatsoper, and the opera houses of Berlin, Dusseldorf, and Frankfurt, among others. During the 198990 season he made his Salzburg Festival debut in Strauss' Capriccio and appeared at the Munich Opera Festival. That same season he made his New York debut at Carnegie Hall with the Collegiate Chorale in Mendelssohn's Elijah. The following season he joined the Metropolitan Opera, which engaged him for the role of Tamino in The Magic Flute.
Mr. Welch has recorded for Naxos Records, singing the role of Rodolfo in La boheme. This performance marks his Ann Arbor debut.
One of the most versatile singers today, JAMES MORRIS has appeared on the world's great operatic and concert stages. In addition to his regular appearances at the Metro?politan Opera, Mr. Morris has appeared with the Lyric Opera of Chicago, Canadian Opera Company, Houston Grand Opera, Vienna Staatsoper, Salzburg Festival in Munich, Milan's La Scala,
Florence's Teatro Communale, Glyndebourne Festival, and the Australian Opera in Sydney and Melbourne. His orchestral engagements have included the Chicago Sym?phony, New York Philharmonic, and the National, Atlanta, San Francisco, and St. Louis Symphonies.
Morris has been featured in many gala performances in recent seasons, including the Met's internationally televised Centennial Birthday Celebration and a "Live from Lincoln Center" gala concert broadcast with Zubin Mehta and the New York Philharmonic. He was also featured in the roles of Wotan
and the Wanderer in the Met's Ring performances, telecast nationwide in 1990.
Mr. Morris recently recorded the complete Ring cycle twice; he is the WotanWanderer in both AngelEMI and Deutsche Grammophon recordings of Wagner's monumental masterpiece. In addition, he can be heard on other operatic and orchestral recordings on the Deutsche Grammophon, Sony Classical, and Angel labels. Mr. Morris now makes his Ann Arbor debut.
THOMAS HILBISH is
Professor Emeritus of Music and Director Emeritus of University Choirs at the University of Michigan and has served as conductor of the Choral Union and Festival Chorus for the past three seasons. Following 16 years as supervisor of music in the Princeton public schools, he joined the UM faculty in 1965. He soon formed the UM
Chamber Choir, which became internationally recognized for its excellence as it toured under his direction through Europe and the Soviet Union. The Chamber Choir made several recordings under Mr. Hilbish's leadership, one receiving a 1981 Grammy nomination
The UNIVERSITY CHORAL UNION has performed with distinguished orchestras and conductors throughout the past 114 years, including last season's highly acclaimed performances of Carmina Burana with the Detroit Symphony Orchestra and Neeme Jarvi in both Detroit's Orchestral Hall and Ann Arbor's Hill Auditorium. In addition to sharing the Hill Auditorium stage with worldclass musicians in Ann Arbor's prestigious May Festival, members of the Choral Union and the smaller Festival Chorus have performed in seven countries on three concert tours under the leadership of Donald T. Bryant, who directed the chorus from 1969 to 1989. During the 199394 season the Choral Union will perform several works with the Detroit Symphony Orches?tra at Orchestral Hall.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Strengthening this centuryold spirit of community collaboration, chorus membership remains open to all by audition, with a resulting mix of townspeople, students, and faculty with one common denominator--a love of music and singing.
University Choral Union
Thomas Hilbish, conductor Jean SchneiderClaytor, rehearsal accompanist
Sara Billmann, manager Donald Bryant, conductor emeritus
Soprano 1
Joan M. Bell
Edith Leavis Bookstein
Ann Burke
LetitiaJ. Byrd
Susan Campbell
Young Cho
Tracey Conrad
Gerry Conti
Elaine Cox
Marie Ankenbruck Davis
Kathryn Foster Elliott
Laurie Erickson
Katherine Gardner
Lori Kathleen Gould
Doreen Jessen
Grace Jones
Carolyn Leyh
Kim Mackenzie
Beth Macnee
Julie Mansell
Amy K. McGee
Loretta I. Meissner
Amy Pennington
Carole Lynch Pennington
Sarah Pollard
Robina Quale
JoAnne Ripley
Virginia Smith
Helen M. Thomas
Susan E. Topol
Lisa Warren
Margaret Warrick
Linda Kaye Woodman
Soprano 2
Debra Joy Allen Cassandra Cooper Doris Datsko Patricia ForsbergSmith Marci Gilchrist M. Janice Gutfreund Judy Lehmann Loretta Lovalvo Marilyn Meeker Christina Miller Valerie Miller Audrey Murray Sara Jane Peth Virginia Reese Mary A. Schieve Patricia Tompkins Jody Tull Catherine Wadhams
Barbara Hertz Wallgren June M. Warren Dr. Rachelle Barcus
Warren
Karen Woollams Susan J. Wortman
Alto 1
Yvonne Allen Carol A. Beardmore Margaret Counihan Lynne de Benedette Laura A. Clausen Deborah A. Dowson Anna Egert Anne FacioneRussell Marilyn Finkbeiner Andrea Foote Martha Friedlander Sin Gottlieb Jacqueline Hinckley Carol Hurwitz Gretchen Jackson Carolyn King Jeannette Luton Patricia Kaiser McCloud Mary C. Morse Carrie O'Neill Marianne Page Sarah Piper Jari Smith Patricia Steiss Jean Storms Anna Vakil Marianne Webster Amy White Ann F. Woodward Janet Yoakam
Alto 2
Leslie Austin Loree Chalfant Anne C. Davis Laura Graedel Robin Gross Nancy Heaton Carol Kraemer Hohnke Dana Hull Wendy Jerome Katherine Klykylo Sally A. Kope Frances Lyman Cheryl Melby MacKrell Anna E. Millard
Lois P. Nelson Anne Ormand Irene Peterson Julie Ann Ritter Carol Ann Roseman Joan M. Roth Carren Sandall Beverly Slater Cynthia J. Sorensen Nancy Swauger
Tenor 1
Charles R. Cowley Fr. Timothy J.
Dombrowski Robert C. Douglas John W. Etsweiler, III Marshall Franke Marshall J. Grimm Arthur W. Gulick, M.D. Forrest G. Hooper Thomas Jameson Alec C. M. Jeong Joseph J. Kubis Robert E. Lewis Paul Lowry Robert K. MacGregor Steven Pierce Timothy Ryntz Helen F. Welford
Tenor 2
Steve Billcheck Stephen Erickson Carl T. Gies Albert P. Girodjr. Ted Hefley Alfred O. Hero Joe Hickey Martin G. Kope David M. Rumford Henry Schuman Carl R. Smith Micheal Smith Daniel A. Sonntag
Baritone 1
John R. Alexander Chris Bartlett Ronald C. Bishop
Donald J. Bord Michael Brand John M. Brueger JohnJ. Dryden Don Faber Jon Fliegel David A. Jaeger Tom Litow Charles Lovelace John MacKrell Robert Markley Joseph D. McCadden Sol Metz Thomas Morrow Mark Nelson William Ribbens David Sandusky James Schneider John Sepp Jeff Spindler Vincent Zuellig
Bass 2
James David Anderson Howard Bond Daniel Bums Howard Cash Kee Man Chang Philip Gorman Howard Grodman Timothy Haggerty Ramon R. Hernandez Marc Hertlein Charles T. Hudson Steve Jones Donald Kenney Charles F. Lehmann Mark Lindley William P. McAdoo Gerald Miller Marshall S. Schuster David A. Scott William A. Simpson Robert Stawski Robert D. Strozier Kevin M. Taylor Merrill D. Thomas Terril O. Tompkins John VanBolt
The DETROIT SYMPHONY ORCHESTRA, heard live by over 350,000 people annually, performs yearround concerts which include 26 weeks of classical subscription concerts, the Pops Series, the annual Christmas Festival featuring The Nutcracker ballet at the Fox Theatre, The Detroit News Young People's Concerts, a diverse summer season, and annual tours in the state of Michigan. Among the educational activities the Orchestra offers are the free Educational Concert Series, Detroit Symphony Civic Orchestra concerts, a Docent and Student Ticket Distribu?tion Program, the DSO Fellowship Program, and the annual Unisys AfricanAmerican Composers Forum and Sympo?sium.
In September 1990, internationally acclaimed conduc?tor Neeme Jarvi became the eleventh Music Director of the DSO. One of today's most recorded conductors, Mr. Jarvi has embarked on an extensive recording project with the DSO for Chandos Records for distribution on six continents. Released in June 1991, the first disc, containing American music, was critically acclaimed and appeared on the Billboard magazine Top Classical Albums chart for 14 weeks. Their second American disc was Neeme Jarvi's 100th release for Chandos. Receiving international critical acclaim, this disc also climbed the Billboard charts, and Mr. Jarvi and the DSO were featured on the cover of numerous international record magazines, including Gramophone, CD Review, Fanfare, Luister, and Diapason.
The DSO's latest recording with Neeme Jarvi was
released in January 1993 and contains works by two of this century's most important AfricanAmerican composers: Duke Ellington and William Grant Still. The disc is dedi?cated to the memory of slain civil rights leader Martin Luther King, Jr., and is the best seller in this series so far.
With a distinguished history of recording dating back to 1928, the Orchestra has also made awardwinning discs on the London, Columbia, RCA, and Mercury Records labels.
The DSO also continues its long history of national radio broadcasts, which began with its participation in the first complete symphonic radio broadcast in 1922. That same year it became the first official radio broadcast orchestra in the nation. Through the generous support of General Motors Corporation, the DSO was heard this season on over 439 radio stations nationwide.
On October 11, 1992, Neeme Jarvi and the DSO were heard by over 25 million Europeans during a live radio broadcast concert. Commemorating the 5OOth anniversary of Columbus' voyage, this performance allowed the Old World the opportunity to hear what American audiences experience week to week over the air waves: the excitement of Neeme Jarvi and the DSO performing live in
Orchestra Hall. This was a great honor for the DSO, which was selected as the only American orchestra to be heard for this event.
The DSO has performed over 70 concerts in Ann Arbor since 1919.
NEEME jARVl began his post as eleventh Music Director of the Detroit Symphony Orchestra on September 1, 1990, his first such position with an American symphony orchestra. Internationally acclaimed for his performances with orchestras and opera houses throughout the world, Mr. Jarvi is also one of today's most recorded conductors.
Born in Tallinn, Estonia, in 1937, he graduated from the Tallinn Music School with degrees in percussion and choral conducting and later completed his studies in opera and symphonic conducting at the St. Petersburg Conserva?tory. He made his conducting debut at the age of 18 with a concert performance of Strauss' Night in Venice and his operatic debut with Carmen at the Kirov Theater. In 1963 he became Director of the Estonian Radio and Television Orchestra, and began a 13year tenure as Chief Conductor at the Tallinn Opera.
International acclaim came in 1971 when Mr. Jarvi won first prize in the Conductors Competition at the Accademia Nazionale di Santa Cecilia in Rome. This triumph led to invitations to conduct major orchestras throughout Eastern Europe, Great Britain, Germany, Sweden, Japan, Mexico, and Canada. In the Soviet Union he became Chief Conductor and Artistic Director of the Estonian State Symphony and also conducted the Soviet premiere performances of Der Rosenkavalier, Porgy and Bess, and ll turco in Italia.
In January 1980 Mr. Jarvi immigrated to the United States, and in the following month made his American orchestral debut with the New York Philharmonic. Since then he has conducted the major orchestras in North America and Europe, and has served as Principal Guest Conductor of the City of Birmingham (England) Symphony (198183). He has also served as Music Director of the Royal Scottish Orchestra (198188), of which he presently serves as Conductor Laureate, and he holds the post of
Principal Conductor of the Gothenburg Symphony of Sweden.
Equally renowned for his opera conducting, Mr. Jarvi made his Metropolitan Opera debut with Eugene Onegin during the 197879 season and returned during 198586 to conduct a new production of Khovanshchina. His first performances in Detroit were on tour with the Metropolitan Opera, conducting performances of Samson et Dalila.
Mr. Jarvi has recorded many awardwinning discs for Chandos, BIS, Orfeo, and Deutsche Grammophon, including releases with the Chicago Symphony, Royal Concertgebouw Orchestra, Royal Scottish Orchestra, London Symphony, London Philharmonic, Philharmonia Orchestra, Bamberg Symphony, Gothenburg Symphony, and Bavarian Radio Symphony Orchestra. With the Detroit Symphony Orches?tra, Mr. Jarvi is in the process of recording nine discs for Chandos. He recently released his 100th recording on the Chandos label, which was also the DSO's third release with him, featuring the music of American composers Samuel Barber and Charles Ives. This release was cause for significant international celebration, with Mr. Jarvi and the DSO featured on numerous international magazine covers, including Gramophone, Fanfare, CD Review, and Diapason.
In November 1991 the DSO traveled to New York City to perform at Carnegie Hall for the first time under the music directorship of Neeme Jarvi. The Detroit Symphony Orches?tra has a long history of performing at Carnegie Hall, and this most recent soldout performance received great critical acclaim.
Awards received by Mr. Jarvi include honorary doctor?ates from the University of Aberdeen in Scotland and the Music Conservatory of Tallinn, Estonia. An honorary member of the Swedish Academy of Music, Neeme Jarvi was dubbed a Knight Commander of the North Star Order by the King of Sweden in September of 1990.
Detroit Symphony
L
NEEMEjARVI, Music Director
Music directorship endowed by the Kresge Foundation
LESLIE B. DUNNER, Associate Conductor
ERICH KUNZEL, Pops Music Advisor
First Violins
Emmanuelle Boisvert Concertmaster Katherine Tuck Chair John Hughes Associate Concertmaster Joseph Goldman Assistant Concertmaster Walker L CislerDetroit
Edison Foundation
Chair
Laurie Landers Acting Assistant
Concertmaster Beatriz Budinszky Marguerite Deslippe Derek Francis Alan Gerstel Elias Friedenzohn Malvern Kaufman Richard Margitza Bogos Mortchikian Linda SneddenSmith Ann Strubler LeAnn Toth Margaret Tundo
Second Violins
Geoffrey Applegate+ Felix Resnick++o Adam Stepniewski Alvin Score Lillian Fenstermacher Ronald Fischer Lenore Sjoberg Walter Maddox Roy Bengtsson Thomas Downs Yien Hung Robert Murphy Bruce Smith Joseph Striplin James Waring
Violas
Alexander Mishnaevski+
James VanValkenburg++
Philip Porbe
LeRoy Fenstermacher
Hart Hollman
Walter Evich
Gary Schnerer
Catherine Compton
David Ireland
Glenn Mellow
Darryl Jeffers
Regina L. Calloway oo
Violoncellos
halo Babini+ James C. Cordon Chair Marcy Chanteaux++ John Thurman Mario DiFiore Robert A. Bergman Barbara Hassan Debra Fayroian Carole Gatwood Haden McKay Paul Wingert
Basses
Robert Gladstone Stephen Molina++ Maxim Janowsky Linton Bodwin Stephen Edwards Craig Rifel Donald Pennington Marshall Hutchinson Richard Robinson
Harp
Patricia MasriFletcher+ Winifred E. Polk Chair
Flutes
Ervin Monroe+ Women's Association for
the DSO Chair Shaul BenJvleir Philip Dikeman++ Jeffery Zook
Piccolo
Jeffery Zook
Oboes
Donald Baker+ Shelley Heron Brian Ventura++ Treva Womble
English Horn
Treva Womble
Clarinets
Theodore Oien+ Robert B. Semple Chair Douglas Comelsen Laurence Liberson++ Oliver Green
EFlat Clarinet
Laurence Liberson
Bass Clarinet
Oliver Green
Bassoons
Robert Williams+ Victoria King Paul Ganson++ Marcus Schoon
Contrabassoon
Marcus Schoon
French Horns
Eugene Wade+ Bryan Kennedy Corbin Wagner Willard Darling Mark Abbott++ Keith Vemon
Trumpets
Ramon Parcells+ Kevin Good Stephen Anderson++ William Lucas
Trombones
Nathaniel Gurin Joseph Skrzynski Randall Hawes Kenneth Thompkins oo
Bass Trombone
Randall Hawes
Tuba
Wesley Jacobs
Timpani
Salvatore Rabbio+ Robert Pangbom++
Percussion
Robert Pangbom+ Norman Fickett++ Raymond Makowski Sam Tundo
Librarians
Elkhonon Yoffe Charles Weaver, Assistant
Personnel Managers
Oliver Green Stephen Molina, Associate
Chairman of the Board
Alfred R. Glancy 111
Executive Director
Mark Volpe
+ Principal
++ Assistant Principal
Acting Principal Acting Assistant
Principal
o Leave of Absence oo Orchestra Fellow
These members may
voluntarily revolve seating within the section on a regular basis.
100 Years of May Festival Artists
Orchestras, Conductors, Soloists, Choral Groups
Orchestras
Boston Festival Orchestra
1894--1904 inclusive
Emil Mollenhauer,
Conductor
1894--1904 inclusive
Chicago Symphony
Orchestra
1905--1935 inclusive
Frederick Stock, Conductor
1905--1935 inclusive
The Philadelphia
Orchestra
1936--1984 inclusive
Leopold Stokowski,
Conductor, 1936
Eugene Ormandy,
Conductor
1937--1982 inclusive,
1984
Riccardo Muti, Conductor
1979,1983
Guest Conductors (jor at least
one entire concert): Theo
Alcantara (1983); Aldo
Ceccato (1981,1982,1984);
Aaron Copland (1976); Thor
Johnson (1973);John
Pritchard (1975);Jindrich
Rohan (1974, 1977); Robert
Shaw (1978); William Smith
(1984)
The Pittsburgh Symphony Orchestra
1985, 1986, 1988 Michael Tilson Thomas, Conductor, 1988 Conductors (jor at least one entire concert): Sixten Ehrling (1985); Philippe Entremont (1985); Sir Alexander Gibson (1985); Zdenek Macal (1986,1988); Chrisloph Eschenbach (1986); JeanPierre Rampal (1986)
The Gewandhaus Orchestra Of Leipzig
1987, 1989, 1991 Kurt Masur, Conductor 1987, 1989, 1991
The Los Angeles
Philharmonic
1990
Andrt Previn, Conductor
1990
The Detroit Symphony Orchestra
1992, 1993
Neemejarvi, Conductor
1992
David Zinman, Conductor
1993
The Metropolitan Opera Orchestra
1993
James Levine, conductor
1993
Participating Conductors
Theo Alcantara Felix Borowski George Bowen Russell Carter Saul Caslon Aldo Ceccalo Aaron Copland
Igor Stravinsky
Roxy Cowin Robert Craft Eric De Lamarter Sixlen Ehrling Georges Enesco Philippe Entremont Christoph Eschenbach Sir Alexander Gibson Percy Grainger Howard Hanson Juva Higbee Alexander Hilsberg Gustav Hoist Marguerite Hood Jose Iturbi ThorJohnson
Frederick Stock
Zdenek Macal Joseph Maddy Harl McDonald Emil Mollenhauer Earl V. Moore Riccardo Muli Geneva Nelson Charles O'Connell Eugene Ormandy John Pritchard JeanPierre Rampal Jindrich Rohan Robert Shaw Stanislaw Skrowaczewski
Aldo Ceccalo
William Smith Albert A. Stanley Frederick Stock Leopold Stokowski Igor Stravinsky Michael Tilson Thomas Virgil Thomson Hardin Van Deursen Hermann Zeitt Sopranos Leonora Allen Perceval Allen
Louise Homer
Selma Amansky Sara Anderson Victoria de los Angeles Martina Arroyo Arleen Auger Florence Austral Rose Bamplon Inez Barbour Frances Bible Lillian Blauvelt Judith Blegen Alice Bliton Anne Bollinger Lucrezia Bori Inge Borkh Anne Brown
Marilyn Home
(Master) Gerald Brown (Master) Leslie Brown Grace Bumbry Mary Burgess Hilda Burke Clara Henley Bussing Montserrat Caballe Emma Calv6 Frances Caspary Leonora Corona Regine Crespin Shanna Cumming Phyllis Curtin
Jessye Norman
Agnes Davis Lisa Delia Casa Ruth Diehl Claire Dux Florence Easton Kallen Esperian Eileen Farrell Maude Fay Anna Fitziu Kirsten Flagsiad Renee Fleming Olive Ffemstad Johanna Gadski Mabel Garrison Lucy Gates Dusolina Giannini
Rosa Ponselle
Alma Gluck Frances Greer Hilde Gueden Naneue Guilford Emily Stokes Hagar Janice Harsanyi Ethyl Hayden Cynthia Haymon Judith Hellwig Frieda Hempel Norma Heyde Florence Hinkle Jane Hobson HeiKyung Hong
Beverly Silk
Marilyn Home Fredericka S. Hull Helen Jepson Grace JohnsonKonold Lois JohnstonGilchrisi Emmajuch Suzanne Keener Linda Kelm Evta Kileski Dorothy Kirsten Maud C. Kleyn Olive Kline Ilona Kombrink
Rise Stevens
Nina Koshetz Emmy Krueger Leone Kruse Carmen Lavani Marjorie Lawrence Thelma Lewis Juliette Lippe Goeta Ljungberg Anna Lohbiller Kathrina LohseKlafsky Florence Macbeth Charlotte Maconda Virginia MacWatlers Evelyn Mandac Lois Marshall Doris Marvin
Joan Sutherland
Edilh Mason Dorothy Maynor Marjorie McClung Ruth McCormick (Master) Bejun Mehta Zinka Milanov Marie Montana Mary Moore Nina Morgana Patrice Munsel Claudia Muzio Patricia Neway Birgit Nilsson Maralin Niska Lillian Nordica Jessye Norman Jarmila Novolna Mildred Olson Jane OsbomeHannah Dorothy Park Adele Parkhurst
Bemice de Pasquali
Frances Peralta
Gwendolyn Pike
Lily Pons
Rosa Ponselle
Leontyne Price
Marie Rappold Judith Raskin
Lillian French Read
Regina Resnik
Elisabeth Rethberg
Corrine RiderReedKelsey
Anita Rio
Faye Robinson
Ruth Rodgers
Noelle Rogers
Stella Roman
Louise Russell
Shirley Russell
Sibyl SammisMacDermid
Ernestine SchumannHcmk
Bidu Sayao
Geraldine Schlemmer
Jean Seeley
Marcella Sembrich
Myma Sharlow
Betsy Lane Shepard
Beverly Sills
Alma Jean Smith
Lenora Sparkes
Mrs. W. E. Spitzkey
Maria Stader
Bumelle Bradley Slaebler
Eleanor Steber
Suzanne Sten
Rise Stevens
Rose Stewart
Grete Stueckgold
Marie Sundelius
Joan Sutherland Pia Tassinari Kiri Te Kanawa Rosa Temoni Helen Traubel Veronica Tyler Benila Valente Jeannette van der Vepen Reaume Aslrid Vamay Galina Vishnevskaya Thelma von Eisenhauer Jeaneue Vreeland Jennifer Vyvyan Jennie Patrick Walker Dorothy Warenskjold Ljuba Weliisch Frances Dunton Wood Marie Kunkel Zimmerman
Marion Anderson
Mezzosopranos & Contraltos
Mabelle Addison Merle Alcock Marian Anderson Elsie Baker Katherine Bloodgood (Master) John Bogart Isabelle Bouion Sophie Braslau Claudine Carlson Margaret Calvert Bruna Castagna Lili Chookasian Katherine Ciesinski Loretta Degnan Gail Dubinbaum Hope Bauer Eddy Cloe Elmo Eleanor Felver Birgit Finnila Maureen Forrester Coe Glade Hertha Glaz Jeanne Gordon Mina Hager Barbara Hilbish Louise Homer Marilyn Home Doris Howe Nora Crane Hunt Clara J.Jacobs Josephine Jacoby Anna Kaskas Margaret Keyes Minerva Komenarski Jeanne Laval Carolina Lazzari Augusta Lenska Myrtle Leonard Martha Lipton Mary MacKenzie Elizabeth Mannion
Nina Morgana Margaret Matzenauer Kathryn Meisle ,
Susanne Mentzer Alexandrina Milcheva Christine Miller Mildred Miller Janice Moudry Florence Mulford Grace Munson Loma Myers Rosalind Nadell Margarete Ober Myra Paris Florence Quivar Nell Rankin Eleanor Reynolds Emma Roberts Fielding Roselle Jean Sanders Anna Schramlmig Ernestine SchumannHeink Daisy Force Scott Bessie Sickles Joanna Simon Janet Spencer Gertrude May Stein Gladys Swarthout Enid Szantho Janice Taylor Nell Tangeman Marion Telva Blanche Thebom Kerstin Thorborg Blanche Towle Claramae Turner Nevada Vander Veer Cyrena Van Gordon Jean Watson Tann Williams Rosalie Wirthlin Elizabeth Wysor
Tenors
Paul Althouse Waldie Anderson Jacques Bars Kurt Baum Daniel Beddoe Joseph T. Berry Barron Berthald Jussi Bjoerling Rockwell Blake Giuseppe Campora Fernando Carpi Arthur Carron Giuseppe Cavadore Leslie Chabay Mario Chamlee Vinson Cole Holmes Cowper Richard Crooks Albert Da Costa Tudor Davies Horace L. Davis Coloman de Pataky Murray Dickie Andreas Dippel . Craig Estep Warren Foster Maurice Gerow Beniamino Gigli John Gilmore Dan Gridley Arthur Hackett William Hain
Glenn P. Hall James Hamilton George J. Hamlin Orville Harrold Harold Haugh Jon Humphrey Frederick Jagel Howard Jarratl Siegfried Jerusalem Edward Johnson Fred Killeen Morgan Kingston Felix Knighl Stanley Kolk Arthur Kraft Charles Kullman Forrest Lamonl William J. Lavin Hipolito Lazaro Emmell Leib Richard Lewis David Lloyd Charles Marshall Riccardo Martin Giovanni Martinelli Nino Martini John McCollum John McCormack Seth McCoy J. H. McKinley Lauritz Melchior Reed Miller
Dietrich FischerDieskau
G. Leon Moore James Moore Rhys Morgan Lambert Murphy Ouis Odra Patlon Marshall Pease Jan Peerce Rudolf Petrak Henry Price Kenneth Riegel William H. Rieger Frank Ryan, Jr. Tito Schipa Alfred D. Shaw Clarence Shirley Leopold Simoneau Zurab Sotkilava John Stewart Sidney Straight Charles Stralion Brian Sullivan Royden Susumago Set Svanholm Ferruccio Tagliavini Armand Tokalyan Edward C. Towne Richard Tucker Ellison van Hoose
George London
Theodore Van Yorx William Wegener Jonathan Welch Jon Fredric West William Wheeler Walter Widdop Evan Williams
Baritones & Basses
W. Roy Alvord Pasquale Amato Salvalore Baccaloni Vicente Ballester Chase Baromeo Mario Basiola Donald Bell Ara Berberian Joseph T. Berry Sidney Biden Mark Bills David Bispham Richard Bonelli Kim Borg John Brownlee Stephen Bryant Giuseppe Campanari John Cheek William H. Clarke Louis Cogswell Horatio Connell Norman Cordon James Courtney Claude Cunningham Royal Dadmun Giuseppe Danise Vemon D'Arnalle Giuseppe Del Puente Giuseppe de Luca Michael Devlin Robert Richard Dieterle Allen A. Dudley Philip Duey Nelson Eddy Aurelio Estanislsb Wilbur Evans Keith Falkner Bernard Ferguson
Shcrri1 Milnes
Dietrich FischerDieskau Ezio Flagello George Galvani Emilio de Gogorza Donald Gramm Marion Green Leslie Guinn John Gurney William Gustafson Mack Harrell Theodore Harrison Max Heinrich Henry Herford Ralph Herbert Barre Hill Jerome Hines William Wade Hinshaw Gustaf Holmquist William A. Howland Julius Huehn Earle G. Killeen Alexander Kipnis Gardner S. Lamson Carl Lindegren George London Frederic Martin Robert J. McCandliss
William Warfield
Robert McFerrin Kevin McMillan Morley Meredith Robert Merrill Heinrich Meyn Arthur Middleton Gwylim Miles Sherrill Milnes Carlo Morelli James Morris Nicola Moscona Frederick A. Munson David Nash Oscar Natzka John Oslendorf
Van Cliburn
Maxim Pameleieff Willis Patterson Fred Pallon James Pease Rollin Pease
Ezio Pinza J. Patrick Raftery Leon Rothier Titta Ruffo Carl Schlegel Henri Scou Andres de Segurola Frederic Shaffmaster Cesare Siepi William Simmons Martial Singher Kenneth Smith Richard Stilwell YiKwei Sze
Ossip Gabrilowitsch
Martli Talvela John Charles Thomas Lawrence Tibbelt Charles Tiumann Giorgio Tozzi Theodore Uppman Hardin Van Deursen William Warfield Leonard Warren Theodore Webb Robert Weede Reinald Werrenrath John White Clarence E. Whitehill Myron W. Whitney, Jr. Lawrence Winters
Arthur Rubcnstein
Herbert Witherspoon
James Wolfe
F. Howland Woodward
Renaio Zanelli
Otto Z. Zelner
Pianists
Victor Babin Gina Bachauer William Bachaus Harold Bauer Fannie BloomfieldZeisler Jorge Bolel Alexander Brailowsky Joseph Brinkman John Browning Robert Casadesus Van Clibum Bella Davidovich Elizabeth Davies
Anthony Di Bonaventura Jeaneue DurnoCollins Philippe Entremom Christoph Eschenbach Vladimir Fellsman Rudolf Firkusny Leon Fleisher Malcolm Frager Claude Frank Dalies Frantz Arthur Friedheim Ossip Gabrilowitsch Rudolf Ganz Glenn Gould Gilta Gradova Gary Graffman Percy Grainger Ethel Hauser Josef Hofmann Vladimir Horowitz Emesl Hutcheson Eugene Istomin Jose lturbi Byron Janis Grant Johannesen Alberto Jonas William Kapell Alicia de Larrocha Ethel Leginska Elisabeth Leonskaja Tina Lemer Oscar Levant Mischa Levitzki Josef Lhevinne Eugene List Albert Lockwood Pierre Luboshutz Guy Maier Benno Moiseiwitsch Genia Nemenoff Barbara Nissman Ignacejan Paderewski Lee Pattison Andre Previn Sergei Rachmaninoff Sviatoslav Richler Hans RichterHaaser Peter Rosel Arthur Rubinstein Gyorgy Sandor Emesl Schelling Annerose Schmidt Artur Schnabel Peter Serkin Rudolf Serkin
Isaac Stern
Martinus Sieveking Susan Slarr Brahm van der Berg Elsa von Grave Vitya Vronsky Andre Wans
James Wolfe Krystian Zimerman
Organists
E. Power Biggs Richard Keys Biggs M. Joseph Bonnet Palmer Christian Charles M. Courboin Clarence Eddy David Han Ralph Kinder Edwin Arthur Kraft Earl V. Moore
Ruggiem Rkci
Robert Noehren Llewellyn L. Renwick Leopold Stokowski
Violinists
Ruth Breton
Anshel Brusilow
Guila Bustabo
Norman Carol
Mischa Elman
Georges Enesco
Henri Ern
Zino Francescalti
Mayumi Fujikawa
Christian Funke
Carroll Glenn
Sidney Harth
Jascha Heifetz
Alexander Hilsberg
Ani Kavafian
Joseph Knitzer
Jacob Krachmalnick
Leopold Kramer
Fritz Kreisler
Gidon Kremer
Sylvia Lent
Lea Luboshutz
Yehudi Menuhin
Midori
Nathan Milstein
Mischa Mischakoff
Jeanne Mitchell
Erica Morini
AnneSophie Mutter
Itzhak Perlman
Ruth Possell
Michael Rabin
Benno Rabinof
Ruggiero Ricci
Ema Rubinstein
Nadja SalemoSonnenberg
Albert Spalding
Tossy Spivakovsky
Isaac Stern
Marian Struble
Bernard Strum
Joseph Szigeti
Charles Treger
Andre Watts
Uto Ughi
Anthony Whitmire Felix Wintemitz Hermann Zeitz Efrem Zimbalisi Pinchas Zukerman
Cellists
Emanuel Feuermann Fritz Giese Arthur Hadley Alex Heindl
Hermann Baumann
Alfred Hoffmann
YoYo Ma
Lome Munroe
Zara Nelsova
Gregor Piatigorsky
Leonard Rose
Mstislav Rostropovich
Bruno Steindcl
William Stokking
JumjakobTimm
Carl Websler
Anne Martindale Williams
Flutists
William Kincaid John Krell (piccolo) Emest Liegl Charles North
Jascha Heifilz
Murray Panitz JeanPierre Rampal Frank Versaci
Violists
Robert Courte Joseph de Pasquale William Primrose
Guitarists
Carlos Montoya Christopher Parkening Andres Segovia
Andres Segovia
Other Solo Instuments
Alfred Barthel (oboe) Marilyn Costello (harp) John De Lancie (oboe) Leopold de Mare
(French hom) Bernard Garfield (bassoon) Anthony Gigliotli (clarinet) Gilbert Johnson (trumpet) Mason Jones
(French hom) Van Veachton Rogers
(harp)
Alberto Salvi (harp) Michael Webster (clarinet) Hermann Baumann
(French hom)
Choral Groups
Battle Creek Boychoir Ann Arbor Boy Choir
Pinchas Zukerman
Ann Arbor Youth Chorale Children's Choir (Clague
School) Congregational Church
Choir
Festival Youth Chorus Lyra Male Chorus St. Andrew's Church Choir Stanley Women's Chorus University Choral Union
and Festival Chorus University Girls Glee Club University Glee Club
Narrators
(Rabbi) Bamett Brickner Edwin Burrows Marvin Diskin Richard Hale William Halstead Nancy Heusel Richard Hollister Paul Leyssac Hugh Norton Jerrold Sandier Erica von Wagner Stiedry Thomas C. Trueblood Theodor Uppman Vera Zorina
May Festival Premieres (All are choral works except the 1959 Virgil Thomson piece.) 1921--Earl V.Moore: Voyage of Arion
1923-Gustav Hoist: The Hymn of Jesus (2)
1924-Frederick Delius: Sea Drift
1924-Otlorino Respighi: La Primavera
1926-Howard Hanson: Lament for Beowulf (1) (2)
1927-Howard Hanson: Heroic Elegy (1) (2)
1927-Gustav Hoist: First Choral Symphony (excerpts)
1932-Gustav Hoist: A Choral Fantasia (2)
1932-Nikolai RimskyKorsakov: The Legend of Kitesh
1933-Howard Hanson: Merry Mount (1) (2)
1934-Robert Heger: Ein Friedenslied, Op. 19
1935-Howard Hanson: Drum Taps (1) (2)
1935-Dorothy James: Jumblies(l)
1937-Eric Fogg: The Seasons
1938-Dorothy James: Paul Bunyan (1)
1949-Llywelyn Gomer: Gloria inExcelsis(l)
1951-Constant Lambert: Summer's Last Will and Testament
1953-Normand Lockwood: Prairie (1) (3)
1954-Carlos Chavez: Corrido de "El Sol"
1959-Francis Poulenc:
Secheresses 1959-Virgil Thompson:
Fugues and Cantilenas
from the UN film Power
Among Men (orchestral)
(1) 1963-Ross Lee Finney:
Still Are New Worlds
(1)(3) 1967-Ross Lee Finney:
The Martyr's Elegy (1)
(3) 1980-Gian Carlo
Menolti: A Song of Hope (DO)
(1) World premiere (remainder United States premieres)
(2) Composer conducting
(3) Commissioned by the University Musical Society
Miscellaneous Groups
Bess Bonnier Trio Jimmy Dorsey Orchestra
with Jim Miller Barbara Cook Eartha Kitt Michele Ramo Latin Jazz
Band
Choral Union Conductors
Calvin B. Cady (1879
1888) Albert A. Stanley (1888
1921)
Earl V.Moore (19221939) ThorJohnson (19391942) Hardin Van Duersen
(19421947)
Lester McCoy (19471969) Donald Bryant (1969
1989)
Laura Rosenberg (1990) Thomas Hilbish (19901993)
Jerome Hines
Gregor Piatigorsky
Thank You Encore!
Great music happens through the University Musical Society because of the much needed and greatly appreciated gifts of Encore members.
The list below represents names of donors from March 1992 through March 1993. If an error or omission is noted, we sincerely apologize and would appreciate a call at your earliest convenience (7471178).
The University Musical Society would also like to thank those generous donors who wish to remain anonymous
Individuals
Bravo Society Members
Carl and Isabelle Brauer
Dennis Dahlmann
Dr. and Mrs. Edwin Deer
Richard and Susan Rogel
Mary Romig de Young
Dr. and Mrs. Harry A. Towsley
Concert Masters
Herb and Carol Amster Bowles Family Trust --
George Bowles Peter and Rita Heydon John and Mary Kay Pearson John Psarouthakis Herbert Sloan Carol and Irving Smokier Maya Savarino and Raymond
Tanter
Edward Surovell Ron and Eileen Weiser
Leaders
Dr. and Mrs. Robert G. Aldrich Mr. and Mrs. Guido A. Binda Maurice and Linda Binkow Sue and Bob Bonfield Janice Stevens Botsford and
Jim Botsford
Katharine and Jon Cosovich Margaret and Douglas Crary Joe Curtin and Gregg Alf
Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Mr. and Mrs. Robben Fleming Dale and Marilyn Fosdick Mr. and Mrs. Edward P.
Frohlich
Rosemary and Wood Geist Carl and Sue Gingles Mrs. Robert Hamilton Walter and Dianne Harrison Keki and Alice Irani Estate of William R. Kinney Mr. and Mrs. Roger Maugh Rebecca McGowan and
Michael Staebler Dr. and Mrs. Joe D. Morris Mr. and Mrs. William B. Palmer Maxine and Wilbur K. Pierpont Mrs. Richard C. Schneider Elizabeth L. Stranahan Mary and Ron Vanden Belt Robert Winfield and Lynn
Chandler
Guarantors
Dr. and Mrs. Gerald D. Abrams Mr. Jerry Albrecht Bob and Martha Ause Charles and Liz Avsharian Michael Avsharian John and Betty Barfield Bradford and Lydia Bates P.E. Bennett Richard S. Berger Dr. and Mrs. George L. Blum Allen and Veronica Britton The Honorable Barbara Everitt
and John H. Bryant Dr. James P. Byrne Jean W. Campbell Jean M. and Kenneth L. Casey Mr. Donald Chisholm Mr. and Mrs. David S. Clyde Leon and Heidi Cohan Mr. and Mrs. Ralph Conger George and Constance Cress Dr. and Mrs. Ronald Cresswell Jack and Alice Dobson William T. Dobson and Mary
Hunter Dobson David and Lynn Engelbert Charles and Mary Jane Fisher John and Esther Floyd Walter and Heidi Gage Victor and Marilyn Gallatin Drs. Sid Gilman & Carol
Barbour Miss Dorothy Greenwald
Mr. and Mrs. Elmer F. Hamel Harold and Anne Haugh Mrs. Judith M. Heekin Debbie and Norman Herbert Mr. and Mrs. Howard S.
Holmes
Robert and Joan Howe Jim and Millie Irwin Thomas E. and Shirley Y.
Kauper
John and Janet Kosta Mr. Alex Kraski Mr. and Mrs. David G. Loesel Paul and Ruth McCracken H. Dean and Dolores H. Millard Ginny and Cruse Moss Mrs. Charles Overberger Dory and John Paul John and Lois Porter Tom and Mary Princing Mr. and Mrs. Gail W. Rector John and Dorothy Reed Elisabeth J. Rees Glenda Renwick Alan and Maryanne Schwartz Ms. Ruth Siegel Mrs. Charles A. Sink Allan and Alene Smith Dr. Hildreth H. Spencer James L. and Ann S. Telfer Marilyn Twining Dr. and Mrs. Francis V. Viola 111 Mr. and Mrs. Marc von Wyss Dr. and Mrs. Andrew S. Watson Brymer and Ruth Williams Paul and Elizabeth Yhouse R. Roger and Bette F. Zauel
Sponsors
Gardner and Bonnie Ackley Bernard and Raquel Agranoff James R. and Lisa Baker M. A. Baranowski Mr. Hilbert Beyer Elizabeth S. Bishop Charles and Linda Borgsdorf Jeanne and David Bostian Mr. & Mrs. Robert S. Bradley Mr. and Mrs. Carl A. Brauer, Jr. David and Sharon Brooks Jeannine and Robert Buchanan Frederick and Marion Buckman Ian R.N. and Sally L. Bund John and Mary Caldwell H. D. Cameron Bruce and Jean Carlson Daniel Carroll and Julie Virgo Dr. and Mrs. George Chatas C. F. Clippert
Roland J. and Elsa Kircher Cole Cynthia and Jeffrey Colton
H. Richard Crane Martin and Rosalie Edwards Julia and Charles Eisendrath Mark and Patricia Enns Dr. Stewart Epstein Roger and Mary Fechner James W. and Anne F. Ford Mrs. George H. Forsyth Dr. and Mrs. William L. Fox Judy and Richard Fry William and Ruth Gilkey Vivian Sosna Gottlieb and Norm
Gottlieb
Dr. and Mrs. William Grade Seymour D. Greenstone John R. and Helen K. Griffith H.L. Harsha
Harlan and Anne Hatcher Dr. Bertram Herzog Mrs. W.A. Hiltner Julian and Diane Hoff Claudette Stem and Michael Hogan Mr. and Mrs. William B. Holmes Frederick G. L. Huetwell Joanne W. Hulce Pat and John Huntington Gretchen and John Jackson Ms. Diane P. Johnson Dr. and Mrs. Richard D. Judge Dr. and Mrs. Stevo Julius Robert L. and Beatrice H. Kahn David and Sally Kennedy Charles and Barbara Krause Lisa Krueger
Mr. and Mrs. Bernard Kueng Bud and Justine Kulka Lee and Suzanne Landes Jack and Roberta Lapides Olya K. Lash Carolyn and Paul Lichter Dr. Robert G. Lovell Mr. and Mrs. CarlJ. Lutkehaus.Jr. Brigitte and Paul J. Maassen Madalyn B. MacNaughton Geraldine and Sheldon Markel Jack and Joanne Martin Marie R. McCullough Charlotte McGeoch Joseph McCune and Georgiana
Sanders
Richard and Elizabeth McLeary Mr. and Mrs. Edwin E. M'eader Mr. and Mrs. Warren A. Merchant Ann and Robert Meredith Dr. and Mrs. LeoJ. Miedler Dr. Barry Miller Myma and Newell Miller Mr. Chris Mistopoulos Mrs. Alison T. Myers M. Haskell and Jan Bamey Newman Bill and Marguerite Oliver Dr. and Mrs. Mark B. Orringer Barbara and Fred Outwater Mr. Harold M. Patrick Ms. Kathleen Ann Phillips Mr. and Mrs. William J. Pierce Eleanor and Peter Pollack
Philip and Kathleen Power
William H. and Christine Price
Frances B. Quarton
Jim and Bonnie Reece
Dr. and Mrs. Rudolph E. Reichert
William and Mary Revelli
William and Katherine Ribbens
Jack and Margaret Ricketts
Amnon and Prudence Rosenthal
Dr. Nathaniel H. Rowe
Mr. and Mrs. Harold Y. Sakoda
Mr. Peter C. Schaberg
Mr. and Mrs. Mark Schmidt
Professor Thomas J. and Ann
Sneed Schriber Mr. Sandro D. Segalini Julianne and Michael Shea Edward and Marilyn Sichler Paul and Betty Snearline Mr. and Mrs. Richard Snyder Mrs. Ralph Steffek Mr. and Mrs. John C. Stegeman Victor and Marlene Stoeffler Dr. and Mrs. Jeoffrey K. Stross Mr. and Mrs. Robert M. Teeter Dr. and Mrs. E. Thurston Thieme Dr. and Mrs. John F. Ullrich Mr. and Mrs. Herbert H. Upton, Jr. Jerrold G. Utsler Jack and Marilyn van der Velde Dennis and Joyce Wahr Martha Wallace and Dennis White Mr. and Mrs. Craig Warburton Dr. and Mrs. Philip C. Warren Angela and Lyndon Welch Thomas and Iva Wilson Len and Maggie Wolin John B. and Ann F. Woodward Dr. and Mrs. Clyde Wu Carl and Mary Ida Yost Martin and Nancy Zimmerman
Benefactors
Victor Adamo and Michelle Smith
Anne and George Amendt
Joan and David Anderson
David Andrea
Tim Andresen
Harlene and Henry Appelman
The Auiler Family
Mr. and Mrs. Max K. Aupperle
Barbara and Daniel Balbach
Emily W. Bandera
Andrea and Simon Bare
Mr. and Mrs. Cyril H. Barnes, Jr.
Dr. and Mrs. Mason Barr, Jr.
Leslie and Anita Bassett
Mr. and Mrs. Raymond O. Bassler
Dr. and Mrs. Jere M. Bauer
Neal Bedford and Gerlinda Melchiori
Dr. and Mrs. Gerald Berlin
Raymond and Janet Bemreuter
Mr. and Mrs. Philip C. Berry
Suzanne A. and Frederick J.
Beutler
Drs. John Billi and Sheryl Hirsch Carl and Pauline Binder Visvaldis and Elvira Biss
Bob and Liz Bitterman
C. John Blankley and Maureen
Foley
H. Harlan Bloomer Mr. and Mrs. Milford Boersma Howard and Margaret Bond Ruth Bordin
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Mr. and Mrs. Myron Hayden
William F. Hayden
Mr. and Mrs. E. J. Hayes
Wendel and Nancy Heers
Mr. and Mrs. Jeffrey J. Helmick
Mr. and Mrs. William Hendershot
Norma and Richard Henderson
Karl P. Henkel
Ewa and Michael Hepner
Mr. and Mrs. Albert Hermalin
Mr. and Mrs. Ramon R. Hernandez
Ron Herrema
Dr. and Mrs. Clark Herrington
Mrs. Emily F. Hicks
Ms. Sandra L. Higgins
Mr. and Mrs. Stu Hilbert
Brian and Anne Hill
Ceilon Hill and Marjorie Graessle
David and Barbara Hill
Ms. Yoshiko Hill
Peter Hinman and Elizabeth Young
Dr. and Mrs. Laurence Ho
Jane and Dick Hoemer
Suzanne Hogg
Carol and Dieter Hohnke
Jeanette Holtman
Eugene and Joan Homeister
Nina Homel
Mr. and Mrs. Harry H. Hopkins
Jack and Davetta Homer
Dr. Nancy Houk
James S. House and Wendy Fisher
House
Helga C. Hover Kenneth Hulsing Ronald R. and Gail H. Humphrey Raymon and Sylvia Hunt Roger and Audrey Hunt Lew and June Hutchings Mr. and Mrs. S. A. Imredy Robert and Virginia Ingling Ken lto and Elizabeth Hokada Mr. and Mrs. Jeff Jackson Mrs. Nancy Bird Jacobson Eric and Mary Ann Jaeger James and Baiba Jensen Elizabeth Johnson James S. Johnson Judith and Joseph E. Johnson Ms. Thelma JohnsonElizabeth M. Jones Mrs. Ernest A. Jones Mr. and Mrs. Franklin H. Kasle Alex and Phyllis Kato Ralph and Deborah Katz Ms. Elizabeth Kaufman Mr. and Mrs. Martin Kaufman Suzanne Kaufman Leverett and Eva Kelly Mary Kemme Raynette and Dan Kempf Mr. James Kent Martha Stockard Kerrick and
Merlin Kerrick Mr. Joosang Kim William and JoAnn Kimbrough Jeanne M. Kin
Mr and Mrs. William H. Kincaid John S. King Ms. Martha Kinney Drs. Susan A. Kirkpatrick and W.
Foster Thompson . Klair H. Kissel Mr. Loren Klevering Mr. and Mrs. Henry J. Klose Glenn and Shirley Knudsvig Seymour Koenigsberg LaiCheng Kong Mr. and Mrs. Dirk F. Kooiman Linda and Melvyn Korobkin Mr. Chris Korow Alan and Sandra Kortesoja Jerome and Geraldine Koupal Ms. Karen M. Koupal Jean and Dick Kraft Syma and Phil Kroll John A. and Justine Krsul Mr. Robert La Zebnik James and Karen Lahey" Alice and Henry Landau Dr. Stephen G. Landau Janet Landman Guy and Taffy Larcom Richard and Neva Larson Edward W. Lauer George and Beth Lavoie Ted and Wendy Lawrence Elaine and David Lebenbom Paul and Ruth Lehman
Richard E. LeSueur Ms. Deborah Lewis Professor Donald J. and Carolyn
Dana Lewis
Ms. Carolyn LewisStone Dr. David J. Lieberman Dr. and Mrs. Frederick S. Lim George and Mary Lindquist Dr. and Mrs. Richard Lineback R. Fraser and Joan E. Linklater Dr. and Mrs. F. A. Locke Mr. and Mrs. Richard S. Lord James and Frances Lorenz Lawrence and Susan Loucka Bruce and Pat Loughry Lynn Bennett Luckenbach JohnJ. Lynch, 111 Dr. and Mrs. James C. MacBain James and Susan MacBride Mr. and Mrs. Alan B. Macnee Sally Maggio Gertrude Maglott Ella A. Mahnken Ronald Majewski Deborah Malamud Dr. Karl Malcolm Hedy K. Malki Mikhail Malkin Dr. John H. Malone Armena Marderosian and Ronald
Suny
Nancy and Philip Margolis Mr. and Mrs. Greg Marks Mr. W. Harry Marsden and Erica
Weiss Marsden Yasuo and Motoko Manila Cmdr. and Mrs. Timothy H.
Marvin H.L. Mason Yasuko Matsudo Larry and Rowena Matthews Debra Mattison Robert and Betsy Maxwell Josephine C. Mazzolini Emest and Adele McCarus Kenneth and Martha McClatch David G. McConnell Mr. and Mrs. McConville Ronald G. and Cathryn S.
McCready
Mr. Thomas McDonald Steve McKenny
Mr. and Mrs. Edw. G. McKinley Margaret McKinley Suzanne V. McKinley Donald and Elizabeth McNair Dr. and Mrs. Donald A. Meier Rev. Harold L. Merchant, D.D. Henry D. Messer and Carl A.
House Lisa A. Mets
Charles and Helen Metzner Victor L. Meyers ChyiChang Miao William and Joan Mikkelsen Florence H. Miller Dr. and Mrs. Josef M. Miller Mr. and Mrs. Murray H. Miller
Kristine MillerPinti
Ms. Tonia Millstcin
Mr. Daniel J. Misteravich
William G. and Edith Moller
Ruth M. Monahan
Elaine and Karl Mono
Molly D. Moore
Marvin and Karen Moran
Kittie Berger Morelock
Mrs. Rosemarie Morgan
Dr. and Mrs. Richard A. Morin
Brian and Jacqueline Morton
Sophia J. Mrozinski
Trevor Mudge and Janet Van
Valkenburg Mrs. Erwin Muehlig Janet Muhleman Dr. and Mrs. Bemhard Muller John W. and Ruth A. Munger Tom Murtha and Stefanie Lenway Lora G. Myers Louis and Julie Nagel Ruth Nagler Elizabeth R. Neidhardt Philip and Wanda Nelson Mr. and Mrs. Cecil Nesbitt Susan 1. and Richard E. Nisbett Dr. and Mrs. John C. Nixon Mr. C. C. Noordhoom Mr. &r Mrs. Dennis Norton Mr. Atsushi Nozoe Ms. Patricia O'Connor Jan and Mike O'Donnell Maury Okun Mr. and Mrs. J. L. Oncley Prof. Fred Ormand Lillian G. Ostrand David Owens and Ruth Mohr Mr, and Mrs. James R. Packard William and Janet Paige John Palmer
George and Martha P. Palty Mr. Michael P. Parin Janet Parkes Mary Parsons
Mr. and Mrs. William A. Paton, Jr. Mr. and Mrs. Allen Patrick Mr. William R. Paulson Anita H. Payne Nancy and Bradford Perkins Susan A. Perry Doris and Maurice Persyn Mr. Ellsworth M. Peterson Susan Pierson
Dr. and Mrs. James F. Pikulslti Dr. Paul Pintrich Jaine and Barry Pitt Meryl D. and Richard A. Place Merrill Lougheed Poliner and
Robert Lougheed Marc and Nancy Possley Mr. and Mrs. Gerald Powrozek Mr. Jerry Preston John and Nancy Prince Julian and Evelyn Prince Ruth S. Putnam Rhoda Rankin
Alfred and Jacqueline Raphelson La Vonne and Gary Reed
Russell and Nancy Reed
Anthony L. Reffells
Caroline Rehberg
Walter A. Reichan
Mr. and Mrs. Frederick Remleyjr.
Dr. and Mrs. Edwin Rennell
Mr. and Mrs. Warren Rentschler
Alice Rhodes
Samuel and Janice Richards
Mr. Timothy F. Richards
Kurt and Lori Riegger
Ms. Judy Ripple
Mr. Jerry Robbins
Marjorie and Don Robinson
Janet K. Robinson
Jay and Machree Robinson
Mary K. Roeser
Mr. and Mrs. Joseph E. Rogers
Dr. and Mrs. Leslie W. Rogers
John H. Romani
Dr. and Mrs. Raymond Rose
Bernard and Barbara Rosen
Milton and Marlene Rosenbaum
Larry and Abby Rosenthal
Edward and Christina Rourke
George and Matilda Rubin
Grace Ruggles
Edward and Lenore Rupke
John Paul Rutherford
James and Ellen Saalberg
Arnold Sameroff and Susan
McDonough
Sandra and Doyle Samons Miriam Samson Ina and Terry Sandalow Marjorie and William Sandy Gary R. and Arlene W. Saxonhouse Jochen and Helga Schacht Bonnie R. Schafer Mr. and Mrs. Alan Schall Mr. and Mrs. F. Allan Schenck Suzanne Schluederberg Elizabeth and Gerald Schmitt Drs. Robert J. and Franziska 1.
Schoenfeld Sue Schroeder Janice Schuette Mary L. Schuette Aileen and Earl Schulze Mr. and Mrs. Edward Schwartz Leonard and Sylvia Segel Gerda Seligson
Mr. and Mrs. George H. Sexton Richard Shackson Dr. and Mrs. Earl W. Shaffer Mr. Fred Shapiro Matthew D. Shapiro and Susan L.
Garetz
David and Elvera Shappirio Larry Shear and George Killoran Ivan and Judith Sherick Joan L. Shillis Mr. and Mrs. Jack Shipman Janet E. Shultz Ray and Marylin Shuster Dr. Bruce M. Siegan Mr. and Mrs. Robert Sims Donald and Sharyn Sivyer Irmaj. Sklenar and Robert John
Sklenar
Mrs. Beverly N. Slater Mr. Richard J. Smalling Stephanie Smit Virginia B. Smith Mr. Robert Smuts Barbara B. Snyder Richard and JoAnn Socha Ms. Barbara Spencer Lesile Bruch and Jim Spevak Mr. and Mrs. Ralph Stahman David and Ann Staiger Julie and Charles Steedman Dr. Steven M. Stein Dr. Michael and Helene Steinberg Ms. Jan Stephens Joan Starkweather Stern Thomas O. and Jeanne D. Stock Mr. and Mrs. E. F. Stoermer Mr. and Mrs. Willis Stoick Dr. and Mrs. Robert Stoler Leslie D. and Nancy Yakes Stone Phillip and Roberta SlormontSmith Mr. James Robert Stout, Sr. Katherine and Ralph Stribe Dr. and Mrs. Samuel Stulberg Drs. Eugene Su and Chrislin
CarterSu
Mr. and Mrs. Robert Suliman Mr. and Mrs. Robert H. Super Mr. and Mrs. John Swigart Suzanne Tainter and Ken Boyer Maria K. Tendero Lois A. Theis
Brian and Mary Ann Thelen Mr. and Mrs. Marcel Thirman Carol and Jim Thiry Patricia and Gene Thomas Jean Thomburg Charles and Peggy Tieman George and Helen Timmons Connie and John Toigo Samuel S. and Betty J. Tomion Edna W. Townsend James Toy Bob and Mary Trask Santa and Michael Traugott Sarah Trinkaus Mr. and Mrs. Louis Trubshaw Irene Truesdell Bingrung Tsai Merling and Luke Tsai Irving and Barbara Tukel Lisa and Jeffrey TulinSilver James and Julianne Turner William H. and Gerilyn K. Turner Paul and Fredda Unangst Mr. and Mrs. William L. Upton Mr. Robert Valk The Van Appledoms Lia and Bram Van Leer Mr. Dik van Meerten Barbara and Henry Vanderploeg Joseph and Alice Vining Mr. Dale Walch Margaret E. Walter Joseph C. Walters Eric and Sherry Warden Dr. Max Warren
Lorraine and Sidney Warschausky
Alice and Marty Warshaw
John and Marianne Webster
Mr. and Mrs. Gerald Weisman
Lisa and Steve Weiss
Jack and Mary Welch
Elizabeth Wentzien
Dr. Steven Wems
Evie and Vem Wheat
Cindy White
James Boyd and Mary F. White
Nicholas and Patricia White
Mr. Carl Widmann
Mr. Wayne Wiitanen
Mr. and Mrs. Peter H. Wilcox
Helen M. Wilkinson
Carroll and Dorothy Williams
Edwyn Williams
Raymond C. Williams
Ms. Barbara Windsor
Mr. James H. Winter
Dr. and Mrs. Lawrence D. Wise
David and Lia Wiss
Dr. Joyce Guior Wolf
Patricia and Rodger Wolff
Richard E. and Muriel Wong
Leonard and Sharon Woodcock
Barbara H. Wooding
Ms. Susan Wooding
Israel and Fay Woronoff
Ernst Wuckert
Theophile and Barbara M. Wybrecht
Ben and Fran Wylie
Mr. Jeff Yeargain
Sandra and Jonathan Yobbagy
Mr. Frank Youkstetter
Mrs. Antonette Zadrozny
Ms. Donna Benson Zajonc
Robert and Charlene R. Zand
Mr. and Mrs. F. L. Zeisler
Paul and Yvonne Zenian
Robert Zimmerman, M.D.
Dr. and Mrs. George Zissis
David S. and Susan H. Zurvalec
Sustaining Members
Ms. Sarah K. Albright
Mrs.. John Alexander
Ms. Kelly Allen
Ms. Anne Alwin
Mr. James M. Andersen
Carl and Judy Andersop
Mr. James Anderson and Ms. lisa
Walsh
Ms. Angela Andresen Jill B. and Thomas J. Archambeau,
M.D.
Catherine S. Arcure The Aronson Family David and Susan Asplin Ronald and Anna Marie Austin Henry and Grace Bachofer John W. H. Bartholomew Mrs. T. Howe Bartholomew Mr. Brian Batley Margarete Baum Allan and Dorothy Beaudoin Jim Beck and Katie Home Mary T. Beckerman
Mr. Lawrence S. Berlin
George and Virginia Bigelow
Mr. and Mrs. William L. Black
Mr. Bruce P. Block
Mr. Joseph Blotner
Maurice and Jean Bohm
Mr. Donald Bord
James and Linda Bowman
Dean Paul C. Boylan
Kathryn L. Bradley
Thomas W. Brandt
Dennis M. Briggs
Mr. Charles C. Brown
Linda Brown and Joel Goldberg
Ms. Ronnie Brown
Donald R. and Ann D. Brundage
Catherine R. Buhrman
Mr. and Mrs. Jonathan Bulkley
Robert and Carolyn Burack
Mrs. Sally Burden
Michele Bushaw
Dan and Virginia Butler
Thomas E. Butts
Shelly Calfin
Ms. Kimberly Carlisle
Mr. Blair Carlson
Mrs. Mildred F. Carron
Mr. and Mrs. Ezra Cassel
Cynthia Caviani
Jack Cederquist
Stephen E. and Linda Frye Chaikin
Mr. Chihming Chiang
Mr. JongWang Chow
Miss Sallie Churchill
Ms. Janice A. Clark
Ms. Jennifer Coble
Ms. Katherine Coffey
Dean and Carolyn Cole
Arthur and Margaret Collins
Fernando and Lois Colon
Mr. Ralph and Gerry Conti
Ms. Judith Cox
Diane and Arthur Coxford
Ms. Carol Wood Cramer
Dr. and Mrs. Orlo L. Crissey
David and Audrey Curtis
Ms. Ruth Datz
Ms. Marie Davis
Margaret Davis Kellogg
Ms. DustiJ. Demarest
William and Susan Dergis
Corbin and Dixie Detgen
Mr. Gil Diesendruck
Prudence and Larry Dittmar
Jerry and Patti Dobbs
Dorothy K. Donahue
Dan and Linda Dubay
Mr. and Mrs. Harold Dunn
Mr. Jerry Dyer and Ms. Elaine Chin
Elsie J. Dyke
Herb and Hildegard Ebell
Doris J. Eberlein
Ruth Eckstein
Mr. and Mrs. Ralph E. Edwards
Mr. Edward V. Egert
Stephen and Pamela Ernst
Ms. Toni Estrellado
Sheila Feld
Barbara L. Ferguson
James and Patricia Fienup
Mr. Ernesto Figueroa
Carol and Aaron Finerman
Linda J. Firnhaber
Mr. Ken W. Fischer
Ms. Deborah Flanagan
Mr. Donald R. Frabutt
Martha and Thomas Friedlander
Mr. Craig Frisch
Martha and James Froseth
Jan Fyall
An and liana Gafni
Robert and Susan Galardi
Mr. and Mrs. Robert C. Gatzke
Michael J. Geha
Mr. Eberhard Gerlach
Mr. Richard B. Gilbertsen
Ms. Teresa Glowacki
Mr. Albert L. Goldberg
Ms. Catherine GradyBenson
Lidija and Jure Grahovac
Dr. and Mrs. Serge Gratch
Robert and Eileen Greenberger
Mr. and Mrs. Roger Grekin
David and June Griffenhagen
Henry and Barbara Griffin
Harry E. and Mary E. Griffith
Mr. and Mrs. Atlee L. Grillot
Ms. Susan Groat
Dr. and Mrs. H. Barton Grossman
Lawrence and Esta Grossman
Ms. Carol Guregian
Ms. Debra Haas
Mr. and Mrs.J.A. Haas
Roger F. and Caroline Hackett
Mr. William Hall
Chaplain and Mrs. Louis Halsey
Mr. and Mrs. Walter F. Hamilton,
Jr.
Mrs. Oliver Hanninen Hazel Grace Harper Carlos D. Hansen N. Holcomb Mr. and Mrs. George W. Harms Susan K. Harris Mr. Todd Hayes Mr. Ted Hefley Mr. and Mrs. W. J. Heider Mrs. William Heldreth William Heifer Carol and Karl Hellman Mr. Len Henry Virginia R. Henry Mr. Alfred O. Hero Mr. Donald Hes Mr. and Mrs. Elmer E. Hieber Ms. Kathleen Higman Mark and Debbie Hildebrandt Dr. Ena Hobelaid Ms. Pamela Holmes Mr. Rick Homan Ulrich Homel and Petra Reimer
Hommel
Susan and David Horvath Mr. and Mrs. Phillip Horwitz Kenneth and Carol Hovey R. W. and Denise Tanguay Hoyer Mr. Charles T. Hudson
Ms. Ling Hung Wendy Stalo Huntoon Mr. and Mrs. MacArthur
Hutchins
Edward C. Ingraham Mr. Ralph Insinger Ms. Barbara H. Inwood Mr. Yasufumi Iseki Jerold and Tanya Israel Shelly and Larry Jackier Dr. and Mrs. Jackson Marilyn and J. Dale Jeffs Dr. and Mrs. James M. Johnson Randall H. Johnson Helen Johnstone Nathan and Christina Judson Nancy S. Karp Mrs. Barbara R. Kasle Marilee and Kurt Kaufman Philip and Julia Kearney Walter R. Kemnitz Sr. Esther and William KenMr, and Mrs. Robert Ketrow Mr. and Mrs. Robert N. Kienle Raymond Kilmanas Ms. Sucha Kim Peter and Susan Klaas Charles E. and Jacqueline Kay
Klein
Alex and Beverly Klooster Mr. Gregory Knapp Mrs. R.J. Knight Ann Marie Kotre A.R. and Brenda Krachenberg Darlene Rae Krato Mr. and Mrs. Ted Krauss Edward and Lois Kraynak Janet Kreiling and William J. Bucci Mr. and Mrs. Bert Kruse Emest and Linda Kurtz Mr. and Mrs. Sol G. Kurtzman Ms. Christine M. Laitner Mr. Robert Lancelot Mr. and Mrs. Richard Landgraff Janet Landsberg Mr. and Mrs. Thomas R. Larson Dr. and Mrs. Daniel E. Leb Mr. Michael Lee Ms. Dawn Leimstoll Dr. and Mrs. Morton B. Lesser Sheldon G. and Mary Lois Levy Ms. Carolyn Leyh Deborah A. Lloyd Mr. George Lowrie Ms. Mary L Lowther Sandra Maconochie Ms. Barbara J. Madsen Dr. and Mrs. Duncan Magoon Ms. Doris Malfese Allen Malinoff
Robert S. and Margaret R. Martin John and Nancy Mason Renate Mass and MatthewJ. Mason Ms. Sara Mathews Warren and Suzanne Matthews James Mclntosh and Elaine Gazda Samuel and Alice Meisels Mr. and Mrs. John Merrifield
Valerie D. Meyer
Delores and Gerald Michael
Mr. and Mrs. Charles R. Mitchell
Mr. Hirotaka Miyoshi
Kent and Roni Moncur
Constance Moore
Ms. Pamela Moore
Virginia Moshier
J. Herbert Mueller and Patricia
Runyon
Elizabeth B. Mustard Carrol and Sandra Nadig Ms. Aiko Nakatani Mr. and Mrs. James W. Nawrocki Mr. and Mrs. Milton Netter Alan and Barbara Nichols Ms. Madelyn Nichols Ms. Diane L. Nixon Mrs. A. Geoffrey Norman Marcy North
Mr. and Mrs. Ronald C. O'Neill Ms. Margaret Ogden Seymour and Faye Okun John and Penny Owen Marianne E. Page Dr. and Mrs. Thomas D. Palella Howard and Dorothy Parker Mr. and Mrs. Donald M. Parrish Ms. Louise Pauli Mr. William A. Penner Ms. Harriet A. Perry Ruth and James Persons George and Adele Peruski Mr. Eldon Peters, Sr. Dr. and Mrs. J. Thomas Peterson Mr. and Mrs. Albert F. Petrosky Mr. Steven Pflieger Carol Phillips Mr. Albert M. Pollmar William and Marjorie Pope Mr. Gregory J. Poterala Mr. and Mrs. Nicholas Preketes Ms. Tracy Primich Ms. Dorothea Pullen Mr. Robert E. Pyke David and Stephanie Pyne G. Robina Quale Mr. and Mrs. S. Rabinovitz Ms. Elisabeth Radcliff Norman and Norma Radin Steve and Ellen Ramsburgh Dr. and Mrs. Mark Rayport Maxwell and Marjorie Reade Robert Redmond and Family Jim and Linda Reinhardt Ms. Geraldine L. Reizen Deanna Relyea Mr. and Mrs. Robert Rich Mr. Bill Roberts
Drs. Dietrich and MaryAnn Roloff Carol Ann Roseman Edie W. and Richard Z. Rosenfeld Julia Rosenwald Charles W. Ross Dr. and Mrs. Walter S. Rothwell Mr. and Mrs. John P. Rowe Robert M. Rubin James and Adrienne Rudolph
Mr. Donald W. Runde
Mr. and Mrs. Robert J. Rups
Ms. Irene P. Ryan
Mr. Peter Schappach
Mr. Thomas Schlaff
Brian and Mary Crum Scholtens
Mr. and Mrs. Anthony Schork
Yizhak Schotten and Katherine
Collier Schotten Shirley Schreidell Mr. Daniel S. Schultz Mr. Ralph E. Schweitzer Dr. and Mrs. John Segall Mary Ann Sellers Mr. and Mrs. Laurence Shalit L.J. and Nancy Sharkey Lawrence and Gail Sharley Kathleen A. Sheehy Stuart E. Sheill
Mr. and Mrs. Robert O. Shelley Maurice and Lorraine Sheppard Mr. Dan Sherrick Mr. David Sickels Mr. and Mrs. Robert Silva Scott and Joan Singer Glenn P. and Marie A. Smith Lt. Col. and Mrs. Gordon V. Smith Joanee and Dick Smith Mary and Charles Snyder Ms. Irene Solomon Mr. James A. Somers Robert M. and Lydia Soroosh Elsa Adamson Stafford Mr. and Mrs. Augustus Stager, Jr. Mr. and Mrs. Irving M. Stahl Ms. Meroe Stanley Robert J. Starring Ms. Ann Sterling Mr. and Mrs. Patrick Suchy Nicholas Sudia and Nancy Bielby
Sudia
John and Ida Swigart Mr. Takeshi Tachibana Thomas and Leslie Tentler Mr. and Mrs. James B. Terrill Mr. Eugene J. Thomas Donald and Denice Thompson Mr. Greg Thompson Mrs. Dolph L. Thome Ms. Catherine Thorpe Ms. Cindy Tollis Egons and Suzanne Tons Mr. and Mrs. Franz Topol Ms. Susan Topol Ms. Alice Train Mr. Glenn A. Trapp Mr. and Mrs. Willis E. Tupper Mr. and Mrs. Warren Turski Kay Tuttle
Lyle and Helene Uhlmann Sheryl Ulin Ms. Barbara Urbanski Ms. Ann B. Utter Frantisek and Jarmila Vaculik Virginia O. Vass Mr. and Mrs. Albert Vegter Vincent A. Vis Isabel M. Vitale
Ms. Tiffany Wagner
Leigh and Robert Waldman
Mr. and Mrs. David C. Walker
Mr. and Mrs. Walton
Marguerite E. Ward
Ms. Margaret Warrick
Ms. Alice Warsinski
Christine Weatherford
Ms. Debrah Webb
Richard and Madelon Weber
Wendell and LaDonna Weber
Dr. and Mrs. Myron E. Wegman
Joanne Weintraub
Donna G. Weisman
Dr. Bernard Weiss
Mr. and Mrs. Jack C. Westman
John and Jan Westman
Mr. and Mrs. John Westmoreland
Clark and Carol Weymouth
William W. White
Ms. Nancy Whitmire
Mr. and Mrs. Michael S. Wilhelm
James and Mary Ann Wilkes
Dr. and Mrs. Francis S. Williams
Ms. Marie Williams
Ms. Shari Williams
Cean Williamson
Ms. Barbara Wilson
Mr. David Wilson
Mr. and Mrs. John C. Winans
Dr. and Mrs. John R. Wiseman
Mr. Peter Witte
Ms. Irma Won
Fred and Mary Lee Woodhams
Stewart and Carolyn Work
Frances A. Wright
Frances L Young
Mary Young
Mr. and Mrs. William S. Zaharee
Ms. Janice L Zimmerman
Business, Corporation, and Foundation Support
Bravo Society Members
Ann Arbor Area Community
Foundation
Brauer Investment Company Dahlmann Properties Detroit Edison Foundation Dobson McOmber Agency, Inc. Ford Motor Company The Handleman Company Jacobson Stores Inc. Benard L Maas Foundation Michigan Council for Arts
and Cultural Affairs Regency Travel, Inc. ParkeDavis Pharmaceutical
Research of Warner Lambert
Concert Masters
Arts Midwest
AT&T
Blue Cross and Blue Shield of
Michigan Ervin Industries First of America Ford Motor Credit Company Great Lakes Bancorp Kitch, Saurbier, Drutchas,
Wagner, & Kenney, P.C. McKinley Associates Mosaic Foundation O'Neal Construction Paideia Foundation Philips Display Components
Company
The Power Foundation The Edward Surovell Co.
Realtors
Leaders
Comerica Bank
Curtin & Alf, Violinmakers
Environmental Research
Institute of Michigan JPE IncPaideia Foundation Manufacturers Bank Michigan National Bank National Endowment for the
Arts
Northwest Airlines Pepper, Hamilton, & Scheetz Washington Street Station
Guarantors
Association of Performing
Arts Presenters Huron Valley Travel Imtech Printing, Inc. Michigan Multisport
Productions, Inc. Michigan Vocal Jazz Society Oyster Bar & Spahetti
MachineKerrytown Bistro Society Bank Michigan
Sponsors
AWTEC
Brandeis University Women's
Committee
Clark Professional Pharmacy Lear Seating Corporation Malloy Lithographing NBD Ann Arbor The Old German Restaurant OtsonKulka Foundation Charles Reinhart Company Sams, Inc.
Benefactors
Domino's Pizza IncChristmas
Celebration Edwards Brothers, Inc. Erb Lumber Gelman Sciences, Inc. King's Keyboard House Kiosk Information Systems Organizational Designs, Inc.
Patrons
AllenBradley Company
Arthur Andersen & Company
Arbor Farms Market
Austin Diamond Company
Catherine McAuley Health System
Dough Boys Bakery
Gale Research, Inc.
Garris, Garris, Garris, & Garris, PC.
Robert Sheets Greenhouse
Seva Restaurant and Market
SKR Classical
University Microfilms International
Donors
Beta Pi Beta of Alpha Chi Omega Casey's Tavem Community Foundation for
Southeastern Michigan Dawn Cooper and the Southern
Zone of the Michigan Education Association Fingerle Lumber Company H.S. Landau Inc. Michigan School Band and
Orchestra Association Theta Corporation of Alpha Chi
Omega
Sustaining Members
Marty's Menswear Milan High School Class of 1943 Milan High School Class of 1944 Periphorol, Publications and
Support Go like the Wind School
Memorials
Gigi Andresen
Rachel and Sara Bencuya
Hope H. Bloomer
Dean Bodley
Pauline M. Conger
Horace W. Dewey
Milton J. Doner
Alice Kelsey Dunn
Robert S. Feldman
Charles W. Hills
George R. Hunsche
Hazel Hill Hunt
Carol Lighthall
Alfred, Grace, and Betty Lovell
Frederick C. Matthaei, Sr.
Arthur Mayday, Jr.
Gwen and Emerson Powrie
Mrs. Arthur W. Smith
Cornelia M. Spencer
Ralph L. Steffek
Charlene Parker Stem Jewel Beard Stockard Peter Holdemess Woods
Matching Gift Companies
Aal Fraternal Benefits and Financial
Security for Lutherans A.D.P. Foundation AT&T Foundation Aon Foundation Arthur Andersen &r Company
Foundation Bechtel Foundation Chrysler Corporation Fund Comerica, Incorporated Consumer's Power Cummins Engine Company, Inc. Dana Corporation Foundation Dean Witter Reynolds, Inc. Detroit Edison Foundation Dow Chemical U.S.A. Eli Lilly & Company Foundation The Equitable Foundation Equitable Life of Iowa Ford Motor Company Fund General Motors Foundation, Inc. Houghton Mifflin Company Household International International Business Machines
Corporation
Johnson Controls Foundation Manufacturers National Bank of
Detroit Mazda Motor Manufacturing
(USA) Corp. McGrawHill Foundation,
Incorporated Merrill Lynch & Company
Foundation, Inc. Metropolitan Life Foundation Michigan Bell Telephone Minnesota Mining & Manufacturing
Foundation NBD Bank Northern Telecom, Inc.--Digital
Switching Division Paramount Communications
Foundation Pioneer HiBred International,
Incorporated
The Procter & Gamble Fund Scientific Brake and Equipment
Company
Smithkline Beecham Foundation Society Management Company The Upjohn Company WarnerLambert Company Whirlpool Foundation Xerox Corporation
InKind Contributors
Ann Arbor School for the
Performing Arts Jennifer L. Arcure Gail Davis Bames Chelsea Flower Shop Dr. John Collins ConlinFaber Travel
Cousin's Heritage Inn
Curtin & Alf
Sally A. Cushing
Dr. and Mrs. Edwin Deer
Deloof Limited
Escoffier
Ford Motor Company
Judy Fry
Montana Griffin
Robert Grijalva
Jeffrey Michael Powers Beauty Spa
Howard King
Letty's Limited
Marco's Pizza
Marty's Menswear
Matthew Hoffman Jewelry Design
Roger and Judythe Maugh
Kerry McNulty and Matthew
Hoffman Ronald Miller Northwest Airlines Perfectly Seasoned Caterers Regency Travel, Inc. Mary Romig de Young SKR Classical
George Smillie and Marysia Ostafin The Song Sisters Raymond Tanter and Maya
Savarino University of Michigan Athletic
Department University of Michigan Marching
Band
Molly Walsh, Northwest Airlines Elizabeth Yhouse
Burton Tower Society
Neil P. Anderson Mr. and Mrs. John Alden Clark Graham H. Conger Michael and Sara Frank Vera Goldring William R. Kinney Michael and Helen Radock Dr. Herbert Sloan
Century Club
Dr. and Mrs. Robert Aldrich John and Betty Barfield MaryMartha and William
Beierwaltes Janice Stevens Botsford and James
Botsford
Dean Paul C. Boylan Mr. and Mrs. Carl A.Brauer, Jr. Dr. James P. Byrne Mr. Donald Chisholm Leon and Heidi Cohan Mr. and Mrs. John Cosovich Ronnie and Sheila Cresswell Dean and Mrs. John H. D'Arms David and Lynn Engelbert Ray and Patricia Fitzgerald Dale and Marilyn Fosdick Seymour D. Greenstone Harlan and Anne Hatcher Debbie and Norman Herbert Louise Hodgson Donald and Lynn Hupe Jean and Harold Jacobson
Cynthia Kabza and Robert
Vercruysse
Mr. and Mrs. Tom Kauper Thomas and Constance Kinnear Kitch, Saurbier, Drutchas,
Wagner, & Kenney, P.C. Leo A. Legatski Alan and Carla Mandel Mr. and Mrs. Roger Maugh Dr. and Mrs. Frederick O'Dell Kathleen and Philip Power John Psarouthakis Frances B. Quarton Dorothy R. and Stanislav Rehak Dave and Joan Robinson Richard and Susan Rogel Dolores and Thomas E. Ryan Mr. and Mrs. Markus Schmidt Alan and Maryanne Schwartz Janet C. Sell Constance Sherman Herbert Sloan Carol and Irving Smokier Mr. and Mrs. John C. Stegeman Raymond Tanter and Maya
Savarino
Elizabeth Lamb Stranahan Mr. and Mrs. John F. Ullrich Mr. and Mrs. Marc von Wyss Dr. and Mrs. Philip C. Warren Dr. and Mrs. Andrew Watson Ron and Eileen Weiser Liz and Paul Yhouse
Encore
University Musical Society Membership Support
For over twenty years, members' contributions have supported the University Musical Society, helping to make possible this 114th 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 member?ship such as priority seating, your contribution offers you the opportunity to become more involved through volunteer activities and social events.
For more information or to become a supporter, please call (313)7471178.
University Musical Society of the University of Michigan Burton Memorial Tower Ann Arbor, Michigan 481091270
Special Thanks
Our deepest appreciation to the 275 members of the allvolunteer corps of UMS ushers who provide reliable service and assistance to concertgoers throughout the season -Bravi Ushers!
Special thanks to Ron Miller, Joseph Wizaner and Hon's Flowers of Ypsilanti, for the lovely decorations in Hill Auditorium
So many individuals and businesses offer help and support to the Musical Society throughout the year. We offer our sincere thanks and gratitude to all of you.
Adams Outdoor Advertising
David Aderente
Frank Albinder
Judy Dow Alexander
GregAlf
Barry Ambrose
Jennifer Arcure
Arditti String Quartet
Martha Ause
Ricardo Averbach
Milli Baranowski
Poage Baxter
Bell Tower Hotel
Ralph Beebe
Paul Bierley
William Boggs and the Ypsilanti
High School Concert Choir Suzanne Bong Janice Botsford John Briggs and Alternative
Lighting Keith Brion Paul Bruno Peggy Burch David Bury Dora Hampel Margot Campos Lael Cappaert Simon Carrington Emie Caviani Center for Evolution and Human
Behavior Rhoda Cerritelli Anne Charles, Consul General of
Canada, Detroit Bob Chilcott Don Chisholm Russ Collins and the Michigan
Theatre Community Newscenter
Community School of Ballet Penny Crawford Richard Crawford Ronnie Cresswell Joe Curtin Katherine Curtiss The Dance Gallery Michael Dashner and the
University of Michigan Native
American Dance Troupe Ruih Datz and the Huron High
School Choir Robert Aubry Davis Charlotte Dersham Larry Ditmar Sarah Doolittle Stan Drall
Kathryn Foster Elliot Emerson String Quartet Philippe Entremont Linda Fitzgerald Erik Fredricksen Xiang Gao Montana Griffin Bob Grijalva Leslie Guinn Margo Halsted James Haven Cal Hazelbaker and 1ATSE Local
No. 395 Sandie Hehr Esther Heitler William Hennessey and the
University Museum of Art Fred Herbert Ramon Hernandez Heidi Herst
Lorna Young Hildebrandt George Hinman Matthew Hoffmann Julie Tanguay Hoover Elaine Hopkins Jo Hulce Alastair Hume John Husarchik Alice Irani Andrea Jablonski Fran Jaede Jerome Jelinek Andrew Jennings Neeva Jordan Deborah Katz Martin Katz Don Kiel Kindred Souls
Korean Society of Ann Arbor Jeffrey Kuras Joseph Laibman Barry LaRue Jessica LeDonne Michael Lee Jim Leonard Claire Levacher Jim lillie and Aeriel Sound Susan Lipschutz Maggie Long Martha Cook Residence
John Martin of Ford Motor
Company
Michael and Alina Makin Bill Malm and the Steams
Collection Mary Ann and Bernard
McCullough Charlotte McGeoch John McKeighan and While Pine
Printer
Margaret McKinley Marilyn Meeker Amanda Mengden Metzger's Giuseppe Mistretta, Consul of
Italy, Detroit Nelson Moe Ed Moore Paula Morning Mutsumi Moteki Tim Nasso Anton Nel Lois Nelson Susan Isaacs Nisbett Roger Norrington Maury Okun Fred Ormand
Marysia Ostafin and George Smillie Lisa Palm Nan Plummer Agnes Reading Lawrence Rhodes Gail and Beth Rector Regency Campus Inn Deanna Relyea William Revelli Henry Reynolds H. Robert Reynolds Ruth Richards Kay Rowe Rosemary Russell Stuart Sankey Harry Sargous Maya Savarino John Schneider Nina Scott and Renaissance High
School Varsity Singers Andrew Scupelli Joel Seguine, Marian Stolar, Steve
Graham and WUOM Helen Seidel Ellie and Dennis Serras Helen Siedel Dave Singer Alva Sink David Shifrin Stephen Shipps George Shirley Herb Sloan David Smith of David Smith
Photography Peter Smith Peter Sparling Maeve Sullivan David Sutherland Sweet Honey in the Rock Don Swikerath
Scott Terrill and Oxford
Conference Center Tom Thompson John Tomaszewski Kayla Tomsic Rodney Toneye Julie Truettner Michael Udow Sue and John Ullrich Van Boven Molly Walsh and Northwest
Airlines
Linda Warrington Grant Wenaus Jerry Weidenbach Larry Weis Ken Westerman and the Pioneer
High School Choir Steven Moore Whiting Shelley E. Williams Tommy York liz Yhouse Frank Zimmerman
Acknowledgements
The Ford Motor Company for the use of a 1993 Lincoln Town Car to provide transportation for visiting artists.
In an effort to help reduce distracting noises and enhance the concertgoing experience, the WarnerLambert Company is providing complimentary Halls MenthoLyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
The Bell Tower Hotel, 300 South Thayer, Ann Arbor, (313) 7693010, and the Campus Regency Inn, 615 East Huron, Ann Arbor, (31.3) 7692200, are the official hotels of the University Musical Society.
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.
The University Musical Society is supported by
the Michigan Council for Arts and Cultural Affairs
May Festival Memories
In May of 1943,1 was an eighteenyearold freshman at Michigan. To help with tuition costs, I worked as a chambermaid at the Michigan Union. Mrs. Stanley Walz, who was then the housekeeper, took me under her wing, and carried it all in stride when visiting performing artists invariably left me dumbstruck.
My most memorable occasion concerned the time Eugene Ormandy asked to have a radio brought to his rooms. Seeing the yearning expression on my face, Mrs. Walz allowed me to deliver it, with stern admoni?tions not to tarry, swoon, or execute any other foolishness.
Mr. Ormandy was graciousness itself during the pluggingin process (amused, too, I'm sure.) He found out that 1 spoke German well, and we chatted pleasantly for a few moments, as to my interests and goals in life. The pinnacle of the visit was an autographed picture, which I cherish to this day.
Needless to say, Mrs. Walz got no more work out of me that day. Mundane, domestic duties are almost impossible when your feet don't touch the ground! Happy 100th!
Joharmah E Lemble Ann Arbor
It's easy to pick my favorite May Festival -it was in 1945. My husbandtobe and 1 sat in the top row of the 2nd balcony, holding hands tightly, in my effort not to burst into tears. Music Lit. 11 & 12 with McGeoch had been a revelation to me, and we had been studying these very masterpieces. By the 6th concert 1 was folding my coat under me to soften the hard seat, but still thrilled. Monday, May 7 was VE day, but that paled (in memory) by comparison. It was 20 years before 1 could afford to attend regularly and I've been to almost every once since 1965, but none can compare with the first.
Enid M. Gosling (Mrs. John R Q.) Ann Arbor
1 began attending May Festival as an eager undergraduate music student and have continued to enjoy the concerts and festivities throughout the years. During that time the campus sparkles with life, activities, and music.
Welcoming and spending time with Philadelphia Orchestra friends was a highlight many Ann Arborites shared.
Rosalie Edwards Ann Arbor
My memories go back to about 1913 when, as a small child, 1 played on the campus "lawn" in front of the old Law Building as Hill Auditorium "went up" across the street. My sister sang "The Walrus and the Carpenter" in the Festival Youth Chorus. Then, she in the 1920s and I in the 1930s went to the May Festivals as students. Together we attended all May Festivals from 1941 until her death in 1986 except for a few in the 1950s when my three children were very young.
My story, however, is not about the music we heard but about the graciousness of a music maker and his wife. My sister (Florence Fuller) and 1 stayed at the Michigan League and were aware that Mr. and Mrs. Ormandy did too and were housed just a few rooms down the hall on the fourth floor. But, as far as 1 could tell, League guests always respected their privacy -that is, until the Festival of 1976. Trie year before, on a rainy postFestival Sunday morning my sister and I pried off the poster on the Kiosk (or was it still the Elm) in front of Hill Auditorium advertising the May Festival in the 75th anniversary year of the Philadelphia Orchestra itself. 1 dried it out and smoothed the edges and thought all year how nice Mr. Ormandy's signature would look when 1 framed it and hung it in my home. I took the poster with me in 1976 "just in case." My best opportunity came when Mrs. Ormandy and 1 happened to be more or less alone in the first floor League shop. I, very hesitantly, asked for her help. She came up to my room, got the poster and said she would slip it under my door later that day which she did. The signed poster is now one of my favorite "pictures", and 1 often stand in the hall looking at it and remembering all the wonderful hours of listening we have enjoyed.
Other memorable programs for me were Thursday, May 3, 1973, with the Brahms 4th and Richard Strauss' "Ein Heldenleben" with the lovely solo violin work of the Philadelphia's Concertmaster Norman Carol. And then there was the Sunday afternoon concert of April 30, 1978 when the Philadelphia with Ormandy played the Beethoven 7th and the Rachmaninoff Piano Concerto No. 3 with Horowitz. No one could ever forget that one! My son, also a U of M graduate, shared it with me and now his high schoolage son comes to the Festival. Four generations! Not unusual in Ann Arbor, probably, except that only the first generation (my parents) did their concertgoing as residents of Ann Arbor!
Margaret Fuller Smith Flint
My earliest memory was about 1932 when 1 sang in the children's chorus. As 1 recall we sang wo pan harmony, soprano, and alto. As fifth graders, our voices had not yet changed. We were taken to different rooms and were taught our parts separately. Juva Higbee must have had the patience of a saint to go around to the different schools all day long to teach the 5th and 6th graders two songs. (Although 1 do remember her breaking her baton on a music stand...) One year, when we learned "The Ugly Duckling" and "The Blue Danube", I remember telling my parents what a sissy thing this singing business was while really enjoying it immensely. After all, how many people are able to have the Philadelphia Orchestra accompany them
1 must have been in the 7th or 8th grade when I found out that if 1 went to the back door of the Hill and told them 1 was there to pass out programs I could get in free, which I did many times. 1 would put on my blue suit with the knickers and ride my bike there and back. 1 can recall watching, among others, Lauritz Melchior, Robert Benchly, and Will Rogers almost always from the front row. In those days the University fertilized the campus using what is known as "natural" fertilizer. Will Rogers, after walking from the Union to Hill, opened his program with the observation that "Ann Arbor certainly isn't a onehorse town." 1 don't think I ever had a ticket to any function there in those days. My twentyfive cent allowance just wasn't big enough.
5am Sturgis Ypsilanti
I remember so very well the excitement of participating in the May Festival during the 1930s. We went to rural schools in the county. All during the school year we learned songs and folk dances. About three times throughout the year a lady, I believe her name was Miss Collinge, came around to our school and listened to us perform. She would "weed out" the really poor singers and it was such a thrill to "make it" to go to Ann Arbor to Hill Auditorium to sing and dance with other boys and girls from all over the county. Everyone would be dressed in their finest clothes -white shirts and ties for boys and pretty spring dresses for girls. We would be so very nervous and proud to be up on the stage at the Hill singing with boys and girls from other schools.
Hidda M. Stevenson Saiine
100 Years of May Festival Repertoire
ABT, FRANZ
Evening Bells, 1922 D'ALBERT, EUGENE
Overture to The Improvisators 1909, 1933 ALFVEN, HUGO
Midsummer Wake, 1922
Swedish Rhapsody, 1916
Symphony No. 3 in E major, 1917 ALVARS, PARISH
Morceau Caracteristique (harp solo), 1896 ANDREA, VOLKMAR
Serenade for Strings, Flules, Harp, and Bells,
1901 ANONYMOUS
Birds in the Grove, 1921 ARD1T1, LU1G1
Bolero, 1925 ARNE, THOMAS AUGUSTINE
Ariel's Song, 1920
The Lass with the Delicate Air, 1937 ASLANOFF
Spinning Song, 1940 AULD LANG SYNE (salute from audience to
Philadelphia as encore at end of 1984) BACHJOHANN CHRISTIAN
Sinfonia for Double Orchestra, 1943
(transcribed by Ormandy) BACHJOHANN SEBASTIAN
"While Bagpipes Sound"6 from The Peasant Cantata 1947, 1952
Adagio and Gavotte from Suite, 1894
Allegro from Brandenberg Concerto No. 2 for Trumpet and Strings, 1934
Aria, 1936
Brandenburg Concerto No. 5 in D major, for Piano, Violin, Flute and Strings, 1950
Cantata No. 140 ("Wachet auf, ruft uns die Stimme"), 1964
Chaconne, 1959
Choral and Fugue in G minor1 1921, 1923
Come, Sweet Death, 1936, 1975
Concerto in C major for Flute and Orchestra, BWV 1055, 1986
Concerto No. 1 in C minor for Two Pianos and Strings, 1933
Concerto No. 3 in G major for String Orchestra, 1935
Concerto No. 4 for Solo Violin, Two Flutes, and Orchestra, 1930
Concerto No. 5 in D major for Solo Piano, Violin, Flute, and Orchestra, 1932
Fantasia in C minor, 1917
Fantasie and Fugue in G minor, 1914, 1918
Fugue a la Gigue, 1916, 19322
Fugue in C minor (organ solo), 1931
Fugue in G minor, 1936
Jesu, Joy of Man's Desiring, 1937
Magnificat in D major, 1930, 1950, 1970
Mass in B minor, 1953
Excerpts:
"Agnus Dei" from B minor Mass, 1923
"Benedictus" from B minor Mass, 1925
"Crucifixus" from B minor Mass, 1924, 1925
"Domine Deus" from B minor Mass, 1925
"Et In Spiritum" from B minor Mass, 1925
"Et Resurrexit" from B minor Mass, 1924, 1925
"Gratias agimus" from B minor Mass, 1925
"Hosanna" from B minor Mass, 1923
"Kyrie Eleison: from B minor Mass, 1925
"Qui Tollis" from B minor Mass, 1924, 1925
"Quoniam Tu" from B minor Mass, 1925
"Sanctus" from B minor Mass, 1923, 1924,
1925
My Heart ever Faithful, 1919 O Mensch, bewein' dein' Sunde gross1, 1940,
1945, 1970 Passacaglia and Fugue in C minor, 1930
1947, 1967, 1971" Passacaglia in C minor, 1919, 1936 Praeludium, Choral and Fugue1, 1897 Prelude and Fugue in B minor, 1938 Prelude and Fugue in C minor, 1955 Prelude and Fugue in Eflat major ("St.
Anne's")5, 1934
Prelude and Fugue in F minor, 1937 Recitative and Rondo, 1939 Siciliano and Finale from Concerto in D
minor for Three Pianos and Orchestra, 1927 Suite No. 3 in D, 1900, 1906, 1919, 1925 Overture from Suite No. 3 in D Major, 1929 Toccata, Intermezzo, and Fugue in C major,
1942 Toccata, Adagio, and Fugue in C major 1948,
19724 Toccata and Fugue in D minor, 1936, 1948,
1951, 1954, 1960, 1966 Vater Unser im Himmelreich3, 1938 Wachet auf, ruft uns die Stimme'1, 1940,
1970 BACHELET, ALFRED
Chere nuit, 1954 BA1RSTOW, SIR EDWARD CUTHBERT
Evening Song 1915 BALAKIREV, M1LY
blarney7, 1943 BALDWIN, SAMUEL ATKINSON
Burlesca e Melodia, 1916 BANTOCK, SIR GRANV1LLE
The Pierrot of the Minute, 1911 BARBER, SAMUEL
Adagio for Strings, Op. 11, 1949, 1957 Andromache's Farewell, Op. 39, 1977 Essay No. 1 for Orchestra, Op. 12, 1992 Essay No. 2 for Orchestra, Op. 17, 1953,
1975, 1981
Overture to The School for Scandal, 1976 Toccata Festiva for Organ and Orchestra,
1961 BARRATT, A.
Philomel with Melody, 1924 BARTOK, BELA
Concerto for Orchestra, 1955, 1967, 1975,
1981
Concerto for Viola and Orchestra, 1950 Concerto No. 1 for Piano and Orchestra,
1966 Concerto No. 2 for Piano and Orchestra,
1958, 1968 Concerto No. 3 for Piano and Orchestra,
1981
Portrait No. l,Op. 5, 1957 Two Portraits, Op. 5, 1971 BASSETT, LESLIE
Concerto for Orchestra, 1992 Echoes from an Invisible World, 1976 BAX, SIR ARNOLD
In the Faery Hills, 1933 BEETHOVEN, LUDW1G VAN
"Ah, perfido!" Op. 65, 1920, 1937, 1953,
1969
"An die Hoffnung", 1924 "The heavens are telling the Lord's endless
glory", 1919, 1925
Choral Fantasy, Op. 80, 1970 Concerto in D major, for Violin and
Orchestra, Op. 61. 1930, 1939, 1948,
1953, 1980, 1987 Concerto No. 1 in C major for Piano and
Orchestra, Op. 15, 1920, 1975 Concerto No. 3 in C minor for Piano and
Orchestra, Op. 37, 1949, 1957, 1962. 1979 Concerto No. 4 in G major for Piano and
Orchestra, Op. 58, 1922, 1940, 1952,
1958, 1963, 1973, 1989 Concerto No. 5 in Eflat major for Piano and
Orchestra, Op. 73 ("Emperor"), 1896,
1924, 1927, 1936, 1939, 1947, 1960,
1970, 1984 Coriolanus Overture, Op. 62, 1905, 1912,
1934, 1962,1976
Overture to The Creatures of Prometheus, 1949 Egmont Overture, Op. 84, 1901, 1930,
1939, 1954, 1958, 1965, 1968, 1978,
1982, 1984 Incidental Music to Goethe's Tragedy,
Egmont, 1940 Excerpts from Fidelio:
"Abscheulicher, wo eilst du hin",
1903, 1956
Overture to Fidelio, Op. 72c, 1916 Quartet, "Mir ist so wunderbar",
1895, 1927 Fantasia in C minor for Piano, Chorus, and
Orchestra, Op. 80, 1987 Leonore Overture, Op. 72b, No. 3, 1894,
1900, 1906, 1915, 1918, 1925, 1927,
1937, 1939, 1943, 1952, 1957, 1960,
1964, 1973, 1979, 1980, 1989, 1993 Leonore Ovenure Op. 72a, No. 2, 1900,
1935 Missa Solemnis in D major, Op. 123, 1927,
1947, 1955 "In My Soul Dread Thoughts Awaken" from
Mounl oj Olives, 1915 A Prayer, 1923 Romance in F major for Violin and
Orchestra, Op. 50, 1973 Symphony No. 1 in C major. Op. 21, 1936,
1945, 1970 Symphony No. 2 in D major. Op. 36, 1931,
1937 1977, 1986 Symphony No. 3 in Eflat, Op. 55 ("Eroica"),
1919,1973, 1993 Symphony No. 4 in Bflat major. Op. 60,
1905, 1965, 1974, 1990 Symphony No. 5 in C minor, Op. 67, 1902,
1913, 1925, 1939, 1955, 1966, 1980,
1984, 1987, 1992 Symphony No. 6 in F major. Op. 68
("Pastorale"), 1900, 1962, 1979, 1988 "Scene by the Brook" from
Symphony
No. 6 ("Pastoral"), 1930 Symphony No. 7 in A major. Op. 92, 1904,
1907, 1916, 1927, 1941, 1944, 1954,
1960, 1964, 1978 Symphony No. 8 in F major. Op. 93, 1909,
1957 Symphony No. 9 in D minor. Op. 125
("Choral"), 1934, 1942, 1945, 1966, 1987 BELLINI, VINCENZO
"Casta diva" from Norma, 1899, 1914, 1928 Finale from 11 Pirala, 1966 Polacca from Purilani, 1895
"Ah, non credea mirarti" from La Sonnambula,
1946
BEMBERG, HERMAN A Toi (with piano), 1904 Aria from Jeanne d'Arc, 1896 BENEDICT, SIR JULIUS
Sweet Repose is Reigning Now, 1921 BENOIT, PETER
Into the World, 1914, 1918 BERG, ALBAN
Suite from Lulu, 1963, 1993
Violin Concerto, "Dem Andenken eines Engels"
(To the memory of an angel), 1993 Suite from Wozzeck, 1993 BERLIOZ, HECTOR
Overture to Benvenuto Cellini, Op. 23, 1899,
1908, 1914, 1922, 1950, 1984, 1986 Overture to Le Corsaire, Op. 21, 1960 La Damnation de Faust, Op. 24, 1895, 1909,
1920, 1952 Dance of the Sylphs from La Damnation de
Faust, 1898, 1908
InvocationMenuel of the Wilto'the
Wisps from La Damnation de Faust, 1908
March Hongroise from La Damnation
de Faust, 1898
Rakoczy March from La Damnation de
Faust, 1908 Shepherd's Farewell to the Holy Family from
The Infancy of Jesus (organ), 1895 Overture to Les FrancsJuges, Op. 3, 1975 Requiem, Op. 5, 1978 Roman Carnival Overture, Op. 9, 1894, 1916,
1926, 1928, 1944, 1985 Ball Scene from Symphony Dramalique, Romeo
etjuliette, 1907 Symphonie fantastique. Op. 14a, 1951, 1963,
1972,1980
Te Deum, Op. 22, 1965 Recitative and Aria from Les Troyens, 1898,
1905 BERNSTEIN, LEONARD
Chichester Psalms for Boy Solo and Chorus,
1966 Symphony No. 2 for Piano and Orchestra
("The Age of Anxiety"), 1982 BISHOP, SIR HENRY ROWLEY
Lo! Here the Gentle Lark, 1954, 1958 Love Has Eyes, 1923, 1950 BIZET, GEORGES
Agnus Dei, 1915, 1923 Ballet Music from Carmen, 1898 Carmen, 1904, 1918, 1927, 1938 "Chanson Boheme" from Carmen, 1934 Flower Song from Carmen ("Le fleur que tu
m'avaisjetee"), 1915, 1929, 1946 Habanera, "L'Amour est un oiseau rebelle" from
Carmen, 1897, 1951, 1955 Micaela's Aria from Carmen ("Je dis que rien
m'epouvante"), 1912 Seguidilla, "Pres des ramparts de Seville" from
Carmen, 1951, 1955
Children's Games, Op. 22, 1901, 1927, 1932 L'Arlesienne Suite for Orchestra, 1895 Les Adieux de 1'hdtesse Arabe, 1941 Patrie Overture, Op. 19, 1920 "Je crois entendre encore" from Les picheurs de
perles, 1929, 1938 "Me voila seule" from Les picheurs de perles,
1924,1928
Symphony No. 1 in C major, 1956, 1974 BLACHER, BORIS
Variations on a Theme of Paganini, Op. 26,
1956
BLOCH, ERNEST America, 1929 Concerto Grosso No. 2 for String Orchestra,
1955
Sacred Service, 1958
"Schelomo," Hebrew Rhapsody for Violon?cello, 1965, 1985 BOELLMANN, LEON
Variations Symphonique for Violoncello and
Orchestra, Op. 23, 1903, 1905 BOHM, KARL
Calm is the Night, 1925 BO1LDIEU, FRANCO1SADR1EN
Aria from Jean de Paris, 1897 BO1TO, ARR1GO
"L'Altra notte in fondo al mare" from
MefisLofele, 1949 Prologue to Mefistojek, 1977 BONNET, JOSEPH Ariel, 1918
Chant de Printemps, 1917 Elfes, 1917
Rhapsodie Catalane, 1918 BORODIN, ALEXANDER
In the Steppes of Central Asia, 1931 Arioso of jaroslavna from Prince Igor, 1933 Polovetzian Dances from Prince Igor, 1926,
1942, 1964 Prince Galitzky's Aria from Prince Igor, Act 1,
1940
Symphony No. 2 in B minor, 1911 BOROWSK1, FELIX
Youth, 1927 BOSS1, ENRICO
Paradise Lost, 1916 BOYDJEAN
The Hunting of the Snark, 1929 BRAHMS, JOHANNES
"O Tod, wie bitter bist du" from Vier emsle
Gesange, Op. 121, 1955 "Wenn ich mil Menschen" from Vier enisle
Gesange, Op. 121, 1955 Academic Festival Overture, Op. 80, 1898,
1905, 1913, 1915, 1922, 1937, 1939, 1944,
1946, 1953, 1954, 1957, 1959, 1967, 1982 Bird in the Pine Tree, 1954 The Blacksmith8, 1947, 1952, 1954 Concerto in A minor for Violin, Violoncello,
and Orchestra, Op. 102, 1940, 1944, 1961,
1954,1991 Concerto in D major for Violin and Orchestra,
Op. 77, 1929, 1933, 1938, 1947, 1950,
1956, 1960, 1972, 1974, 1984, 1986, 1989 Concerto No. 1 in D minor for Piano and
Orchestra, Op. 15, 1946, 1959, 1987 Concerto No. 2 in Bflal major for Piano and
Orchestra, Op. 83, 1919, 1945, 1955, 1957,
1967, 1971
Dein blaues Auge, 1939 Der Schmied, 1939 Ein Deutsches Requiem, Op. 45, 1929, 1968,
1990
"Behold, All Flesh is as the Grass" from Ein Deutsches Requiem, 1899, 1941, 1949 "Here on Earth, We Have No Continuing
Place" from Ein Deutsches Requiem, 1941,
1949 "How Lovely is Thy Dwelling Place" from Ein
Deutsches Requiem, 1941, 1949 "Ye That Now Are Sorrowful" from Ein
Deulsches Requiem, 1941, 1949 Feldeinsamkeit (with piano), 1904 Flying Birds", 1949, 1954 The Gypsy Dance, 1954 Gypsy Songs, 1929 Hungarian Dances, Nos. 1721 (arr. Dvorak),
1913,1923
Hungarian Dances (arr. Dvorak), 1932 The Hunter in the Forest, 1954 Immer leiser wird mein Schlummer, 1939 O liebliche Wangen (with piano), 1905 The Little Drummer's Boy, 1954 The Little Dust Man, 1933 The Little Sandman", 1947, 1952, 1954 The Lost Hen9, 1949, 1954 Lullaby, 1931 Pussywillow, 1954 Rhapsodie for Alto Solo, Men's Chorus, and
Orchestra, Op. 53, 1939 Sapphische Ode, 1900 (with piano), 1928 Song of Destiny (Schicksalslied), Op. 54, 1950 Symphony No. 1 in C minor. Op. 68, 1915,
1929, 1936, 1939, 1943, 1944, 1967, 1968 Symphony No. 2 in D major, Op. 73, 1906,
1909, 1940, 1945, 1947, 1963, 1966,
1975, 1982, 1983, 1986, 1991 Symphony No. 3 in F major. Op. 90, 1917,
1925, 1948, 1959, 1967, 1972 Symphony No. 4 in E minor, Op. 98, 1912,
1926, 1934, 1937, 1946, 1956, 1973, 1978 Tragic Overture, Op. 81, 1900, 1972, 1990 Tnumphlied 1953
Variations on a Theme by Haydn (Chorale Si.
Antonii), Op. 56a, 1940, 1954, 1959, 1963 Vergebliches Slandchen, 1899 Von Ewiger Liebe, 1928, 1939 Waltz in A major (violin solo), 1927 A Warning, 1954 The Wasted Serenade' 1949, 1954 Wiegenlied, 1927 BRANSCOMBE, GENA
Camaval (with piano), 1918 Dear Lad o' Mine (with piano), 1918 BRIDGE, FRANK
Love Went a Riding, 1928 BRITTEN, LORD BENJAMIN Cuckoo!10 1953 Eeoh!10 (orchestrated by Marion E.
McArtor), 1953 Fishing Song10 1953 Four Sea Interludes from Peter Grimes, Op.
33a, 1985 JazzMan l0 1953 O Waly, Waly10 1953 Old Abram Brown10 1953 Oliver Cromwel10 1953 Spring Symphony, 1965 The Miller of Dee10 1953 There was a Man of Newington10 1953 BRUCH, MAX April Folk, 1922 Arminius, 1897, 1905 Conceno No. 1 in G minor for Violin for
Orchestra, Op. 26, 1900, 1924, 1977, 1981 Adagio and Finale from Concerto No. 1 in G
Minor for Violin and Orchestra, 1927 Concerto No. 2 in D minor for Violin and
Orchestra, Op. 44, 1907 Aria from Cross of Fire, 1913 Fair Ellen, Op. 24, 1904, 1910 Prelude to Loreley, 1923 Odysseus, 1910
"Penelope am Gewand wirkend" from Odysseus, 1909, 1915
Scottish Fantasy for Violin and Orchestra,
1964 BRUCKNER, ANTON
Mass No. 3 in F minor ("The Great"), 1971
Symphony No. 4 in Eflat major ("Roman?tic"), 1987
Symphony No. 7 in E major, 1989
Symphony No. 9 in D minor (unfinished), 1931
Te Deum laudamus, 1945 BURMESTERGOSSEC
Gavotte, 1923 BUSCH, CARL
The Song of Spring, 1922 BUXTEHUDE, DIETRICH
Passacaglio, 1963 CADMAN, CHARLES WAKEF1ELD
Call Me No More (with piano), 1920 CANTELOUBE, JOSEPH
"Bailero" from Songs of the Auvergne, 1949
"Brezairola" from Songs of the Auvergne, 1949
"Malurous qu'o uno fenno" from Songs of the
Auvergne, 1949 CAPOCC1, GAETANO
Sonata No. 6, 1915 CARACC1OLO, LUIG1
A Streamlet Full of Flowers, 1923
Nearest and Dearest, 1923 CAREW
Piper of Love, 1927 CAREY, HENRY
My Country Tis of Thee ("America"), 1913, 1915, 1917, 1918, 1919, 1920
Note: "America" opened many festivals; those listed reflect the festivals in which "America" was published in the programs. CARPENTER, JOHN ALDEN
Concertino for Piano and Orchestra, 1938
A Pilgrim Vision, 1924
Water Colors, 1932 CASELLA, ALFREDO
Paganiniana, Op. 65, 1959, 1968
Italia, Op. 11, 1915, 1926 CASTELNUOVOTEDESCO, MARIO
Concerto in D major for Guitar and
Orchestra, Op. 99, 1960 CHABR1ER, EMMANUEL
Entr'acte from Gwendoline, 1895
Overture to Gwendoline, 1898
Espafla, 1898, 1906, 1943
"Fete polonaise," from Le Roi malgri lux, 1959
Waltz Scherzo (violin solo), 1928 CHADWICK, GEORGE WHITEF1ELD
Ballad for Baritone and Orchestra from Lochinvar, 1896
The Lily Nymph, 1900
Melpomene Overture, 1895
Symphonic Sketches, 1896
Tarn O'Shanter, 1922
Young Lochinvar, 1900, 1910 CHARPENT1ER, GUSTAVE
Impressions of Italy, 1910, 1914
"Depuis la jour" from Louise, 1912, 1918,
1921, 1929, 1934, 1940, 1959, 1974 CHAUSSON, ERNEST
Poeme de l'amour et de la mer, 1965
Poeme for Violin and Orchestra, Op. 25, 1940
Symphony in Bflat major. Op. 20, 1919,
1926, 1931 CHAVEZ, CARLOS
Corrido de "El Sol" (Ballad of the Sun), 1954, 1960
CHERUBINI, LUIGI
Overture to Anacreon, 1895
Overture to Der Wassertrager, 1902 CHOPIN, FREDERIC
Concerto No. 1 in E minor for Piano and Orchestra, Op. 11, 1953, 1969
Concerto No. 2 in F minor, Op. 21, for Piano and Orchestra, 1910, 1921, 1935, 1951
Elude in A minor. Op. 25 (piano solo), 1931
Etude in Csharp minor. Op. 10 No. 4 (organ), 1895
Fantasie Impromptu, 1924
The Maiden's Wish, 1931
Mazurka in Fsharp minor, Op. 59 (piano solo), 1931
Meine Freuden (piano solo, arr. Liszt), 1910
Nocture in Dflal major (piano solo), 1931
Nocture in G (violin solo), 1926
Scherzo in Bflal minor (piano solo), 1931 CILEA, FRANCESCA
"Io son l'umile ancella" from Adriana
Lecouvreur, 1949 C1MAROSA, DOMEN1CO
"Le ragazze che son" from Le astuzk Jemminili, 1946
"Udite, tutti, udile" from 11 matrimonio segreto,
1946 CLERAMBAULT, LOUIS NICHOLAS
Prelude, 1918 CLOUGHLE1GHTER, HENRY
My Lover He Comes on a Ski (with piano),
1934 COLE, ROSSETTER G.
Rhapsody, 1920 COLERIDGETAYLOR, SAMUEL
Willow Song, 1951, 1952
Viking Song, 1924 COPLAND, AARON
A Long Time Ago", 1955
Suite from Billy (he Kid, 1976
The Boatman's Dance", 1955
Concerto for Clarinet and String Orchestra, 1976
The Dodger", 1955
Fanfare for the Common Man, 1976
I Bought Me a Cat", 1955
Orchestral Variations, 1961
Quiet City for Trumpet, English Horn, and Strings, 1958, 1966
Simple Gifts", 1955
Suite from The Tender Land, 1961, 1976 CORELL1, ARCANGELO
La Folia (Variations for Violin and Orches?tra), 1957
Suite for Strings, from Op. 5, 1940, 1951 CORIGL1ANOJOHN
Fern Hill, 1969 CORNELIUS, CARL AUGUST PETER
Overture to The Barber of Bagdad, 1908 COUPER1N, FRANCOIS
Overture and Allegro from the Suite La
Sultanc (arr. Milhaud), 1950, 1955, 1974 CRESTON, PAUL
Symphony No. 3, Op. 48 ("Three Myster?ies"), 1951
Chant of 1942, 1945
Symphony, Op. 20, 1943
Symphony No. 2, Op. 35, 1947 DAVID, FEL1CIEN
Charming Bird Aria from La Perk du Brisil,
1897, 1923 DE BOECK,AUGUSTE
Allegretto, 1919 DE SABATA, VICTOR
Juventus, 1921
DEBUSSY, CLAUDE AirdeDanse, 1911 Canope, 1936 Clouds, 1924 Cortege, 1911, 1918
La Damoiselle elue (Blessed Damozel) 1970 Lia'sAria from L'Enfant prodigue, 1919, 1934,
1951, 1957 Festivals, 1924 Fetes, 1964 The Founiain, 1924 Iberia, No. 2, 1929, 1969, 1974 March, "Ecossaise", 1911 La Mer (The Sea), 1934, 1937, 1969, 1971,
1978
Minstrels, 1936 Nuages, 1964
Prelude to "L'Apres Midi d'un Faune" (The Afternoon of a Faun), 1907, 1910, 1918, 1938, 1944, 1957 Reflets dans l'eau4, 1941 DE LAMARTER, ERIC
Suite from The Betrothal, 1930 Concerto No. 1 for Organ and Orchestra,
1924,1928 DEL1BES, LEO
Ballet Music from Coppelia, 1899 Bell Song ("De la fille du paria") from Lakme, 1917, 1923, 1931, 1935, 1936, 1940, 1958 "Pourquoi," from Lakme, 1941 Intermezzo from Naila, 1894 Suite from Sylvia, 1919 DEL1US, FREDERICK A Dance Rhapsody, 1917 Life's Dance, 1915 Requiem, 1966 Sea Drift, 1924 DELLACQUA, EVA
Villanelle, 1899 DELLOJO1O, NORMAN
Epigraph, 1955 DENSMOREJOHNH.
Roadways, 1921 DETHIER, EDUOARD Scherzo, 1917
Caprice ("The Brook"), 1920 DOHNANY1, ERNO
Romanza from Suite, Op. 19, 1932
Suite in Fsharp minor for Orchestra, Op. 19,
1916, 1922, 1928, 1935, 1958 DONAUDY, STEFANO
Freschi Luoghi Prali Aulenti (with piano),
1934 DONIZETTI, GAETANO
Final Scene from Anna Bolena, 1974
"Udite, Udite, O rustici" from L'Elisii d'amore,
1943 "Una furtiva lagrima," from L'Elisir d'amore,
1921, 1922,1938 "O mio Fernando" from La Favorita, 1902,
1948 "Chacun le sait" from La fille du rtgiment, 1951,
1952
"11 faut partir" from La fille du regiment, 1946 "II dolce suono, Ardon gl'incensi" (Mad Scene) from Lucia di Lammermoor, 1894, 1916, 1964 Tomb Scene from Lucia di Lammermoor, 1950 "Come bello quale incamo" from Lucrezia
Borgia, 1966
"Tranquillo ei posa" from Lucrezia Borgia, 1966 "E Sara in quest orribili momenti" from Roberto
Devereux, 1966 "Prendi l'anel li dono" from La Sonnambula,
1947 "Vivi ingralo" from Roberto Devereux, 1966
DUBOIS, THEODORE
Fanlasie Triomphale, 1901 Fiat Lux (organ), 1895 In Paradisum (organ), 1895 Trois Petites Pieces pour Orchestra, 1897 DUKAS, PAUL
L'Apprenti Sorcier (The Sorcerer's Appren?tice), 1910, 1918, 1923, 1935, 1938 LePeri, 1923 DVORAK, ANTON1N
Als dir die alte Mutter (with piano), 1901 Carnival Overture Op. 92, 1905, 1919 Concerto in A minor for Violin and
Orchestra, Op. 53, 1952 Concerto in B minor for Violoncello and
Orchestra, Op. 104, 1942, 1949, 1954,
1967
Husitzka Overture, Op. 67, 1921, 1931 InderNatur, Op. 91, 1900 Othello Overture, Op. 93, 1917 Requiem Mass, Op. 89, 1962, 1974 Scherzo Capriccioso, Op. 66, 1911 Slavonic Dance in Aflat, 1929 Two Slavonic Dances, 1924 Stabat Mater, Op. 58, 1906 Symphony No. 6 in D major, Op. 60, 1959,
1992
Symphony No. 7 in D minor. Op. 70, 1984 Symphony No. 8 in G major. Op. 88, 1965,
1981, 1988 Symphony No. 9 in E minor, Op. 95 ("New
World"), 1901, 1987 Largo from the "New World" Symphony, Op.
95, 1905, 1915 EINEM, GOTTFRIED VON
Concerto for Orchestra, 1956 ELBEL, LOUIS The Victors "The Victors" was frequently performed as an
encore following the final concert of each May
Festival; the Musical Society does not have an
exact record of the years it was performed. ELERT, KARG
Impression 1928 ELGAR, SIR EDWARD
Caractacus 1903, 1914, 1936
Cockaigne, Op. 40 1924
Concerto in E minor for Violoncello and
Orchestra, Op. 85 1969 The Dream of Gerontius, Op. 38 1904,
1912,1917 Incidental Music and Funeral March from
Grania and Diarmid, Op. 42 1917 In the South (Allessio), Op. 50 1907, 1910,
1985
Pleading (with piano) 1920 Pomp and Circumstance, Op. 39, No. 1
1914,1918,1923
Sea Pictures, Op. 37, Nos. 2, 4, and 5 1907 The Wand of Youth, Op. IB 1913,1918 Variations on an Original Theme ("Enigma"),
Op. 36 1908, 1971 ENESCO, GEORGES
Rumanian Rhapsody, No. 1, 1939 Symphony No. 1 in Eflat major. Op. 13,
1939 ENGLISH, GRANV1LLE
The Ugly Duckling 1934 ERNST, HEINRICH W1LHELM
Concertino 1894 DE FALLA, MANUEL
Suite from The ThreeCornered Hat, 1937,
1943 Interlude and Dance from La Vida Breve,
1938, 1944
FARLEY, ROLAND The Nighl Wind 1923
FARWELL, ARTHUR Morning 1924
FAULKES, WILLIAM Toccata 1915
FAURE, GABRIEL Pa vane, 1944 Les Roses d'Ispahan, 1943
FINNEY, ROSS LEE
The Martyr's Elegy 1967 Still Are New Worlds, 1963 Symphony No. 2, 1960
FLETCHER, GRANT
The Walrus and the Carpenter 1913, 1917, 1926, 1942, 1950, 1957
FLOR1DIA, P1ETRO Madrigal 1907
FLOTOW, FRIEDR1CH
"M'appari" from Martha 1924, 1932
FOGG, ERIC
The Seasons, 1937
FOLK SONGS
Adelita" 1946, 1951
ArrurruCradle Song12 (Colombian) 1944,
1948
The Blackbirds (Italian) 1921 Blow the Man Down9 1946, 1951 Buy My Tortillas12 (Chilean) 1944, 1948 Caller Herrin (Scotch) 1920 Came aRiding'? (Czechoslovakian) 1943 Cape Cod Chanty10 (American sailor chanty)
1943
Chinese Evening Song10 1943 Cradle Song9 (Viennese) 1955 De Boatman9 1946,1951 Down the Stream" 1946, 1951 Ef I Had a Ribbon Bow9 1946, 1951 Engenho Novo (Brazilian) 1948 Frohe Botschaft9 (Viennese) 1955 Green grow the lilacs9 1946, 1951 Hungarian Folk Songs (miscellaneous) 1958 In the Plaza10 (Mexican) 1943 In Vossevangen10 (Norwegian) 1943 John Peel10 (EnglishBorder Ballad) 1943 Laughing Lisa12 (FrenchCanadian) 1944,
1948
Lonesome Valley9 1946,1951 May Day Carol10 (EnglishCornish) 1943 My Pretty Cabocla12 (Brazilian) 1944, 1948 Night Herding Song12 (American cowboy
song) 1944, 1948 O Kinimba (Brazilian) 1948 Pat on the Railway9 1946, 1951 Praise of Islay (Old Scotch) 1921 RosaBeckaLina9 1946, 1951 Sleep, Little Child (Italian), 1921 Somebody's Knocking at Your Door9 1946,
1951 Sourwood Mountain12 (Appalachian
Mountain folksong) 1944, 1948 Still, Still, Still9 (Viennese) 1955 Sweet Betsy from Pike10 (American pioneer
song) 1943
The Bold Soldier9 1946, 1951 The Erie Canal12 (American river ballad)
1944, 1948
The Fisher Maiden10 (French) 1943 The Indian Flute12 (Peruvian Indian song)
1944,1948
The Pedlar10 (Russian) 1943 The Pinzgauer Song9 (Viennese) 1955 The Question9 (Viennese) 1955 Tutu Maramba10 (Brazilian) 1943 Uy! Tara La La12 (Mexican) 1944, 1948
Westward1 (Chippewa Indian song) 1944, 1948
When Your Potato's Done' 1946,1951 FOOTE, ARTHUR
Theme and Variations and Finale, from Suite
in D minor. Op. 36 1900 FOSTER, STEPHEN
Jeanie with the Light Brown Hair, 1940 FRANCA1XJEAN
L'Horloge de (lore for Solo Oboe and
Orchestra, 1962 FRANCK, CESAR
The Beatitudes 1918
Le Chasseur Maudit 1912,1920
LesEolides 1901
Grande Piece Symphonique 1919
Piece Herolque 1919
La Procession, 1965
Symphony in D minor 1910, 1914, 1923, 1940,1958
Variations Symphoniques for Pianoforte and
Orchestra 1930 FRANZ, ROBERT
1m Herbsl (with piano) 1904
Marie (with piano) 1903 FRICKER, HERBERT AUSTIN
Concert Overture in C minor 1916 GABRIELI, GIOVANNI
In Ecclesiis 1958 GALLONE, CARLO
Lungi 1915 GAUL, HARVEY
Old Johnny Appleseed 1931
Spring Rapture 1933, 1937 GEMINIANI, FRANCESCO
Andante for Strings, Harp, and Organ, 1939 GERMAN, SIR EDWARD
Ballet Music from Henry VJ 1895 GERSHWIN, GEORGE
An American in Paris 1975
Concerto in F major for Piano and Orchestra 1945,1990
"My Man's Gone Now" from Porgy and Bess 1946
"Summertime" from Porgy and Bess, 1946
Rhapsody in Blue 1945, 1961, 1976 G1ANNINI, VITTORIO
Canticle of the Martyrs 1958 GILARDI, GILARDO
Gaucha con Bolas Nuevas, 1937 GILBERT & SULLIVAN
"Carefully on Tiptoe Stealing" from H.M.S. Pinafore 1932
"TitWillow" from The Mikado 1932
"The Magnet and the Churn" from Patience 1932
"When Foeman Bares His Steel" from The
Pirates of Penzance 1932 G1LLETT, ME.
The Cricket 1941
To a Crocus 1941
A Mouse in the Clock 1941 GINASTERA, ALBERTO
Pantasilea's aria from Bomarzo 1969
Psalm 150 for Mixed Chorus and Orchestra, Op. 5 1969
Variaciones concertanles, 1960 GIORDANO, UMBERTO
"Nemico della patria," from Andrea Chtnier 1906,1914,1957
"Un di' all'azzuro spazio" from Andrea Chtnier
1932,1935 GLAZUNOV, ALEXANDER
Camaval Overture, Op. 45, 1911, 1932
Concert Waltz No. 1, Op. 47 1908
Concert Waltz No. 2 in F major 1922, 1929 Concerto for Violin in A minor. Op. 82 1931 Ruses d'Amour, Op. 61 1907, 1935 Scenes de Ballet 1927 Ovenure, "Solonelle," Op. 73 1905 Symphony No. 4 in Eflat major. Op. 48
1928
Symphony No. 6 in C minor, Op. 58 1903 GLIERE, REINHOLD
Sailor's Dance ("Pavot Rouge"), 1934 The Sirens 1915, 1932 GLINKA, MIKHAIL Kamarinskaya 1945 Overture to Ruslan and Ludmila 1920, 1933,
1936, 1942, 1947, 1952, 1991 GLUCK, CHRISTOPH W1LL1BALD "Vieni che poi sereno" 1897 "Divinites du Styx" from Alceste 1948, 1955 Melody (violin solo) 1927 Orfeo ed Euridice 1902 "Che faro senza Euridice" from Orjeo ed
Euridice 1897, 1914, 1917, 1933, 1951 "O del mio dolce ardor" from Paride ed Elena
1949 GOETZ, HERMANN
Katharine's Aria from The Taming ojthe Shrew
1915 GOLDMARK, KARL
In Spring Time 1911, 1915, 1926, 1931
March from The Queen oJSheba 1923
Three Movements from the "Rustic Wedding"
Symphony, Op. 26 1899 Wedding March and Variations from the "Rustic Wedding" Symphony, Op. 26 1905, 1916
Sakuntala Overture 1896, 1917 GOMER, LLYWELYN
Gloria in Excelsis 1949 GOMES, ANTONIO CARLOS
Recitative and Aria from II Guarany 1911 "Come serenamente" from Lo Schiavo, 1944 "Di sposo di padre le gioie serene" from SahatorRosa 1953 GORINGTHOMAS
Night Hymn at Sea 1924 Printaniere (with piano) 1902 GOUNOD, CHARLES Fausi 1902, 1908, 1919 Jewel Song ("Je ris de me voir") from Faust,
1948 King of Thule aria from Faust ("II itait un Roi
deThule) 1948 "Salut! demeure chaste et pure," from Fausi
1898, 1916, 1921 Waltz Song ("Ainsi que la brise legere) from
Fausi 1924 Gallia 1899
Hymn to St. Cecilia 1899 "Lend me your Aid" from The Queen oJSheba
1895, 1897, 1910 "Plus gTand dans son obscurity" from The
Queen of Sheba 1930 "L'Amour," from Romeo el Juliette 1900 Duet, "Va! je t'ai pardonne" from Romeo e( Juliellc 1905, 1912 "O ma Lyre Immortelle" from Sapho 1908,
1912
GRAINGER, PERCY Country Gardens 1933 Marching Song of Democracy 1928 Molly on the Shore 1924 Three Pieces for Orchestra 1917 GRANADOS, ENRIQUE
Intermezzo from Goyescas 1937 GRANDVAAL, MARIE DE
Concerto for Oboe in D minor, Op. 7 1909 GRAUN, CARL HE1NRICH
Aria from Der Todjesu 1895 GRETCHANINOV, ALEXANDER
The Snow Drop, 1938 GRETRYMOTTL
Overture to Ctphak el Procris, 1962
Suite from Ctphak and Procris 1910 GRIEG, EDVARD
Berceuse 1923
Concerto for Pianoforte in A minor. Op. 16 1906, 1928, 1954, 1965
Eros 1927
Herzwunden 1898
lm Fnihling 1898
In a Boat8 1947, 1952
Land Sighting 1925
Lyric Suite, Op 54 1908 GRIFFES, CHARLES T.
By a Lonely Forest Pathway 1922 GR1GNY, NICOLAS DE
Recit, de tierce en laille 1918 GRUBER, FRANZ
Silent Night 1916 GUILMANT, ALEXANDRE
Berceuse 1916
Concert Piece, Op. 24 (organ) 1895
MarcheFantasie, Op. 44 1912
Noel Languedocien (Old French carol) 1918
Symphony in D minor, Op. 42 for Organ and
Orchestra 1903 HADLEY, HENRY
Festival March 1900
In Bohemia 1924
Music, an Ode for Mixed Chorus, Solo, and
Orchestra, Op. 75 1919 HAGG, GUSTAV
Marche Triomphale 1920 HAHN, REYNALDO
The Rain Song 1925 HALEVY, JACQUES
"Si la Rigeur" from Lajuive, 1895, 1939
"When thou by Heaven's grace" from Lajuive,
1935 HANDEL, GEORGE FRIEDRICH
"From the Rage of the Tempest" 1921
"Honor and Arms" 1898
"Enjoy the Sweet Elysian Grove" from Alceste 1950
Suite of Dances from Alcina (arr. Smith) 1965
"Ah, spietato" from Amadigi 1949
Arioso 1931
"Care selve" from Atalanta 1959
"Come, Beloved," from Atalanta (with piano) 1920
"No, O Dio" from Calphumia 1950
Concerto in B minor for Viola and Orchestra 1966
Concerto in D major for Orchestra4 1941, 1956
Fantasia in C major, 1938
"Waft Her Angels Through the Skies" from Jephthah 1916
Judas Maccabacus 1911
"Arm, Arm, Ye Brave" from Judas Maccabaeus'1 1941
"Sound an Alarm," from Judas Maccabaeus 1969
"Vadoro pupille" from Julius Caesar, 1956
Messiah 1907, 1914
"He Shall Feed His Flock" from Messiah 1929
Overture in D 1927, 1942
Overture in D minor (arr. Elgar) 1985
"L'ascia chio pianga" from Rinaldo 1931, 1985
"Art Thou Troubled" from Rodelinda 1949
Suite from "The Royal Fireworks Music"15
1963 "Thy Glorious Deeds Inspired My Tongue"
from Samson 1955
"Lei the bright seraphim" from Samson 1985 "Awake, Salumia" from Semele, 1920 "O Sleep, Why Dost Thou Leave Me" from
Semele 1923, 1940 Solomon 1959
"Ombra mai fu" from Xerxes 1917 Suite from "The Water Music" 1941",
1944", 1947 HANSON, HOWARD Heroic Elegy 1927 The Lament for Beowulf 1926 Merry Mount 1933 Songs from "Drum Taps" (Walt Whitman),
1935 HARBISON, JOHN
Concerto for Double Brass Choir and
Orchestra 1990 HARRIS, ROY
Symphony No. 3 1957,1972,1981 HAUG, HANS
Passacaglia 1952 HAYDN, FRANZ JOSEPH
The Creation 1908, 1932, 1963
"In Native Worth" from The Creation 1896
The Seasons 1909, 1934
Symphony No. 1 in Eflat 1901
Symphony No. 7 in C major ("Le Midi")
1935,1953 Symphony No. 31 in D major, ("Homsignal")
1976 Symphony No. 88 in G major 1945, 1957,
1974 Symphony No. 92 in G major ("Oxford")
1933 Symphony No. 101 in D major ("The
Clock"), 1948 Variations on the Austrian National Hymn
1900 HEGER, ROBERT
A Song of Peace ("Ein Friedenslied"), Op. 19,
1934 HENSELT, ADOLPH VON
Piano Concerto in F minor 1894 HENZE, HANS WERNER
Seven Love Songs for Cello and Orchestra
1991
HERBERT, VICTOR Irish Rhapsody 1918 Prelude to Act III of Natoma 1914 H1LLER
The Sentinel 1897 H1NDEMITH, PAUL
Concert Music for Siring Orchestra and Brass
Instruments, Op. 50 1954 Concerto for Clarinet and Orchestra, Op. 21
1978 Symphony, "Mathis der Maler" 1941, 1949,
1953, 1979 HOLLINS. ALFRED
Scherzo 1920 HOLMES, AUGUSTA
Kypris (with piano) 1902 HOLST, GUSTAV
Beni Mora, No. 1, Op. 29 1923
A Choral Fantasia 1932
A Dirge for Two Veterans 1923
"Fancy" and "Folly's Song," from First Choral
Symphony 1927 "Ode on a Grecian Um," from First Choral
Symphony 1927 The Hymn of Jesus 1923
Suite from The Perfect Fool 1923, 1932, 1946
The Planets 1992 HOMER, SIDNEY
Song of the Shin 1926 HONEGGER, ARTHUR
King David 1930,1935,1942,1968
Pacific 231 1978
Pastorale d'Ele 1924
Joan of Arc at the Stake 1961 HORSMAN
The Bird of the Wilderness 1917 HUMPERD1NCK, ENGELBERT
"Brother, Come and Dance with Me" from Act I of Hansel and Gretel 1923, 1931
"Crosspatch, Away" from Hdnsel and Grelel 1923
Overture to Hansel and Gretel 1899
The Prayer from Hansel and Gretel 1923
The Sandman's Song from Act II Hansel and Gretel 1923, 1931
"Susy, Pray What is the News" from Act 1 of Hansel and Gretel 1923, 1931
Vorspiel to Hansel and Gretel 1912
"We're Saved" from Hansel and Gretel 1923
Entre Acts II and III from Die Koenigskinder, 1898
Prelude to Die Koenigskinder 1923
Suite from Die Koenigskinder 1912 HYDE, WALTER
The Quest of the Queer Prince 1928 IBERT, JACQUES
Divertissement Suite, 1960
Escales (Ports of Call) 1926 D'INDY, VINCENT
The Enchanted Forest, Op. 8 1919
Introduction to Act I of Fervaal 1908
Overture to Fervaal 1929
Saint Mary Magdalene, 1941
Symphony No. 2 in Bflat 1932
Wallenstein's Camp 1932 IVES, CHARLES
Decoration Day from Symphony, ("Holidays") 1976
Symphony No. 1 1992
Symphony No. 3, ("The Camp Meeting") 1969
Three Places in New England 1975 JAMES, DOROTHY
Jumblies, 1935
Paul Bunyan, 1938 JANACEK, LEOS
Glagolitic Mass 1988
Sinfonietta 1971 JENKINSJOHN
Fantasy No. 1 in D major for Five Strings,
1939 JOHNSON, BERNARD
Pavane 1915 JOHNSON,HORACE
Dirge 1922 JOLIVET, ANDRE
Les Amants magnifiques, 1965 JUON, PAUL
Suite for Siring Orchestra, Op. 16 1904 KABALEVSKY, DMITRI
Overture to Colas Breugnon 1961
Concerto No. 1 in G minor for Cello and
Orchestra, Op. 49 1982 KAUN,HUGO
Daheim (with piano) 1905 KELLEY, EDGAR STILLMAN
Alice in Wonderland 1925 KHACHATURIAN, ARAM
Four Dances from the Ballet Gayne, 1948 K1NCAID, WILLIAM M.
Suite in B minor for Flute and Strings, 1945
KINDER, RALPH
At Evening 1916
In Moonlight 1916
Jour de Priniemps (Spring Day) 1916 KJERULF, HALFDAN
Barcarolle 1920 KODALY, ZOLTAN
Concerto for Orchestra 1966
Dances from Galanta 1958
Psalmus Hungaricus, Op. 13, 1939
Te Deum 1966 KORNGOLD, ERICH
Marietta's Lied from Die Tole Stadt 1934
(with piano), 1944, 1952 KREBSJOHANN LUDWIG
Concert Fugue in G major (organ) 1895 KRE1SLER, FRITZ
Gypsy Caprice (violin solo) 1928 KUCKEN, FRIEDRICH WILHELM
Goodnight, Farewell 1925 LAMONTAINE.JOHN
Songs of the Rose of Sharon 1973 LA FORGE, FRANK
Before the Crucifix (with piano) 1918
Supplication 1925
Where the West Begins 1922 LALO, EDOUARD
Concerto in D minor for Violoncello and Orchestra 1962, 1978
Aria from L'Roi dYs 1923
Norwegian Rhapsody 1910, 1919
Andante and RondoAllegro from "Symphonie Espagnole" for Violin and Orchestra, Op. 21, 1934 LAMBERT, CONSTANT
Summer's Last Will and Testament 1951 LANDRE, GU1LLAUME
Symphony No. 3 1954 LATANN
Pizzicato 1895 LEGRENZI, GIOVANNI
Che fiero Costume 1915 LEHMANN, LIZA
Spinning Song 1905
There Are Fairies at the Bottom of Our
Garden 1923 LEMARE, EDWIN
Summer Sketches, Op. 73 1914
Arcadian Idyll 1915
Toccata di Concert 1920 LENDVAI, ERWIN
Praeludium 1915 LEONCAVALLO, RUGGERO
Birds' Song ("Stridono lassu") from Pagliacci 1910,1918
Prologue, Pagliacci 1896, 1899, 1910, 1913,1948
"Qual fiammia avea nel guardo" from Pagliacci, 1935
"Zaza, You Wild Little Gypsy," from Zaza
1920 LIADOV, ANATOLI
Baba Yaga, Op. 56, 1935
Eight Russian Folk Dances, 1937
Fuga Cromatica 1915
Two Legends 1912 LIE, SIGURD
The SoftFooted Snow 1928 LINDNER, AUGUST
Concerto for Cello and Orchestra in E major
1898 LISZT, FRANZ
Andante (Marguerite) from a Faust Symphony 1912
Concerto No. 1 in Eflat major for Piano and Orchestra 1894, 1920, 1937, 1941
Concerto No. 2 in A major for Piano and Orchestra 1898, 1983
Fantasie and Fugue on the Chorale "Ad nos ad salularem undam" 1918
Hungarian Fanlasie 1899
If 1 Were King 1916
Jeanne d'Arc au bucher 1950
Die Lorelei 1903
Mephisto Waltz 1921
Polonaise 1931
Polonaise in E major (piano solo) 1899, 1910
Les Preludes 1897, 1905, 1912, 1983
Rakoczy March 1958
Tasso, Lamento e Trionfo 1920, 1922 LITOLFF, HENRY CHARLES
Robespierre Overture ("The Last Day of Terror") 1899 LOCKWOOD, NORMAND
Prairie, for Chorus and Orchestra 1953
Odysseus 1929 LOEFFLER, CHARLES MARTIN
By the Rivers of Babylon, 1934 LULLYJEANBAPT1STE
"Revenez, revenez, amour" from Thiste,
1944 LUTOSLAWSK1, WITOLD
Livre pour orchestre 1974 LUZZ1, LU1G1
Ave Maria 1923 MAC DOWELL, EDWARD ALEXANDER
Concerto No. 2 in D minor for Piano and Orchestra, Op. 23 1961, 1976
Suite, Op. 48 ("Indian") 1900, 1918
Suite in A minor. Op. 42 ("Woodland") 1894, 1913, 1921
Thy Beaming Eyes (with piano) 1901 MACFARLANE, WILLIAM CHARLES
Evening Bells and Cradle Song 1915
Scherzo 1915 MACKENZIE, SIR ALEXANDER CAMPBELL
Benedictus 1897 MADSEN
Shepherds on the Hills 1920, 1922 MAHLER, GUSTAV
Kindertotenlieder 1950, 1972
Das Lied von der Erde 1944
Lieder eines fahrenden Gesellen 1957
Ruckert Lieder 1992
Symphony No. 1 in D major, ("The Titan") 1969,1975
Symphony No. 2 in C minor ("Resurrection") 1970,1984
Symphony No. 3 in D minor 1988
Symphony No. 4 in G major 1990 MARCHETTI, FIL1PPO
Ave Maria 1896 MARSCHNER, HEINR1CH
"An jenem Tag" from Hans Heiling 1905 MARTINU, BOHUSLAV
Concerto No. 2 for Piano and Orchestra
1953 MASCAGN1, PIETRO
Introduction and "Hymn to the Sun" from Iris 1924
"Voi lo sapete" from Cavalkria Rusticana 1946,1954,1968
Duet, "Tu qui Santuzza" from Cavalkria
Rusticana 1954 MASSENET, JULES
"Pleurez, mes yeux" from Le Gd, 1899, 1935, 1942
Suite, "Esclarmonde" 1904
"Voir GriseJidis" from Griselidis 1905
Prelude to Act III of Herodiade 1899
"11 est doux, il est bon" from Hirodiade 1900,
1907, 1933, 1951 "Vision Fugitive" from Herodiade 1899,
1925, 1930, 1932 "Ah! fuyez, douce image," from Manon 1921,
1922,1946 Le Reve ("En fermant les yeux") from Manon,
1947 "O Promise of a Joy Divine" from Le Roi de
Lahore 1904, 1913, 1920 "Oh, casto fior del mio sospir" from Le Roi de
Lahore 1918 Letter Aria ("Je vous ?cris de ma petite
chambre") from Werther 1948 Ossian's Song ("Pourquoi me reveiller, 0
souffle du printemps") from Werther 1924 Angelus from Scenes Pitloresques 1925 Alexandria's Aria from Thais 1915 MC DONALD, HARL
Symphony No. 3, "Lamentations of Fu
Hsuan" 1939
San Juan Capistrano Nocturnes, 1942 Two Hispanic Pieces 1950 Concerto for Two Pianos and Orchestra,
1944
Santa Fe Trail Symphony, No. 1, 1940 MENDELSSOHN, FELIX
"Es ist genug" from Elijah, 1965
"Hear ye, Israel" 1914
Overture, Calm Sea and Prosperous Voyage,
Op. 27 1983 Concerto in E minor for Violin and
Orchestra, Op. 64 1905, 1923, 1928,
1943, 1963, 1988
"Thanks Be to God" from Elijah 1896 Elijah, Op. 70 1901, 1921, 1926, 1944,
1954, 1961, 1982 Die erste Walpurgisnacht 1989 The Fair Melusina 1912 Fingal's Cave, Op. 26 1909, 1917, 1930,
1951 Intermezzo from A Midsummer Night's Dream
1897 Nocturne from A Midsummer Night's Dream
1897, 1914, 1946 Overture to A Midsummer Night's Dream
1897 Scherzo from A Midsummer Night's Dream
1896, 1897, 1914, 1930, 1946 Wedding March from A Midsummer Night's
Dream 1897, 1914 Overture to Ruy Bias, 1896, 1989 Spring Song 1924 St. Paul 1905
"Be thou faithful unto death," from
St. Paul 1897 Symphony No. 3 in A minor, Op. 56
("Scottish"), 1894, 1979, 1991 Symphony No. 4 in A major, Op. 90
("Italian") 1947, 1957 Symphony No. 5 in D major, Op. 107
("Reformation"), 1945 On Wings of Song, 1934 MENNIN, PETER
Symphony No. 4 "The Cycle" 1950 MENOTT1, G1AN CARLO
Lucy's Arietta from The Telephone 1951,
1952
A Song of Hope 1980 MERCADANTE, SAVER1O
Recitative and Scene from Donna Caritea
1897 MEYERBEER, G1ACOMO
"Adamasiro, Roi des vagues profondes," from
L'Ajricaine 1957
"O Paradiso" from L'AJricaine 1894, 1926,
1932, 1935, 1947, 1950, 1969 "Sei vendicata" from Dinorah 1914 "Leile Signor" from Les Huguenots 1909 "Ah mon fils" from Le Prophele 1925, 1928 "Nobil Signor" from Le Prophele 1917 Aria of Fides (Prison Scene) from Le Prophele
1908,1915 MIASKOVSKY, NICOLA1
Symphony No. 12 in G minor. Op. 35 1933 M1LHAUD, DARIUS
Selections from Suite No. 2 1924 Suite franchise, 1962
Symphony No. 1 ("Le Printemps"), 1934 MONTEVERDI, CLAUD1O
"11 Lamento d'Arianna" from Arianna, 1942 MONTOYA, CARLOS
Suite Flamenca for Guitar and Orchestra
1983 MOORE, EARLE V.
The Voyage of Arion 1921,1927 Hymn of Pan (organ solo) 1928 MORLEY, THOMAS
It Was a Lover and His Lass 1921, 1938 Now is the Month of Maying, 1935 MOSZKOWSK1, MOR1TZ Suite for Orchestra 1896 Two Movements from the Suite d'Orchestre
1899 MOZART, WOLFGANG AMADEUS
"A vous diraije, Mamam," interpolated in La
jilledu regimen! 1922 Concert aria: "Bella mia fiamma, addio",
1965 Concert recitative and aria: "Ch'io mi scordi
di te...Non temer, amato bene" 1975 Concert aria: "Mentre ti lascio, o figlia," K.
513 1953 Concert aria and recitative: "Misero! o sogno,
o son desto," K. 431 1969 Concert aria: "Per questa bella mano", 1965 Concerto for Violin and Orchestra in D
major, K. 218 1926 Concerto in C major for Flute, Harp, and
Orchestra, K. 299 1960 Concerto in F major for Two Pianos and
Orchestra, K. 242 ("Lodron"), 1956 Concerto No. 1 in Bflal major for Violin and
Orchestra, K. 207 1973 Concerto No. 1 in G major for Flute and
Orchestra, K. 313 1948, 1986 Concerto No. 5 in A major for Violin and
Orchestra, K. 219 1937, 1955 Concerto No. 10 in Eflat major for Two
Pianos and Orchestra, K. 365 1930, 1963 Concerto No. 17 in G major for Piano and
Orchestra, K. 453 1985 Concerto No. 18 in Bflai for Piano and
Orchestra, K. 456 1968 Concerto No. 19 in F major for Piano and
Orchestra, K. 459 1970 Concerto No. 24 in C minor for Piano and
Orchestra, K. 491 1986 Concerto No. 25 in C major for Piano and
Orchestra, K. 503 1980 Cradle Song 1930 Davidde penitente, K. 469 1956 Divertimento No. 15 in Bflal major, K. 287
1975 "Ach ich lieble, war so glucklich" from Die
Entfuhrung aus dem Serail 1958 "Durch Zartlichkett und schmeichein" from
Die Enlfuhrung aus dem Serail 1958 "Hier soil ich dich denn sehen" from Die
Entjurung aus dem Serail 1929
"Martem aller Artcn," from Die Entiihrung aus
dem Serai! 1922, 1940 "O wie angstlich, o wie feurig" from Die
Entfurung aus dem Serail 1929 Overture to Die Enluhrung aus dem Serail
1935, 1965
"Exsultate, jubilate," K. 165 1952, 1968, 1974, 1981, 1987
"Alleluia" from Exsultate, jubilate
1936, 1938
"Batti, batti, O bel Masetto" from Don
Giovanni, 1929, 1946 "Deh vieni alia finestra," from Don Giovanni
1957 "Madamina, il catalogo e queslo" from Don
Giovanni 1943, 1945, 1946, 1958, 1959 "Mi tradi" from Don Giovanni 1960 "Non mi dir" from Don Giovanni, 1941 Overture to Don Giovanni, 1948 Hunting Song 1955 "Non temer amato bene" from Idomeneo,
1956
Overture to The Impresario 1926, 1928 The Magician' 1955 Great Mass in C minor, K. 427, 1948 Minuet 1922 "Deh vieni, non tardar" from Le Nozze di
Figaro 1924, 1929, 1944, 1949 "Dove sono" from Le Nozze di Figaro 1902,
1943,1960,1971 "E Susanna non vien" from Le Nozze di Figaro
1930 "Giunse alfin il momento," from Le Nozze di
Figaro 1921
"La Vendetta" from Le Nozze di Figaro, 1943 "Non piu andrai" from Le Nozze di Figaro
1906, 1937, 1939, 1947
"Non so piu, cosa son" from Le Nozze di
Figaro, 1945, 1948 "Se vuol ballare" from Le Nozze di Figaro
1937, 1939, 1959
"Voi che sapete" from Le Nozze di Figaro
1907, 1934, 1945, 1948, 1951, 1979 Duet, "Crudel! perche finora," from Le Nozze
di Figaro, 1937 Letter Duet ("Che soave zeffireuo") from Le
Nozze di Figaro 1896 Overture to Le Nozze di Figaro, K. 492 1900,
1907, 1929, 1933, 1936, 1943, 1956, 1975 "Dein bin ich" from (I re paslore 1912 "L'amerd sard costanie" from 11 re paslore
1916, 1940, 1956
Requiem Mass in D minor, K. 626, 1946 Rondo (violin solo) 1927 Overture to DerSchauspieldirefelor 1915 Sinfonia Concertante in Eflat major, K.
297b, for Oboe, Clarinet, Bassoon, Horn,
and Orchestra 1955 Sinfonia Concenante in Eflat major for
Violin, Viola, and Orchestra, K. 364, 1965 Short Symphony in G 1900 Symphonyin G minor, K. 550 1919 Symphony in G minor, K. 183 1932 Symphony No. 23 in D major, K. 181 1987 Symphony No. 29 in A major, K. 201 1972 Symphony No. 30 in D major, K. 202, 1965 Symphony No. 31 in D major, K. 297
("Paris") 1969 Symphony No. 35 in D major, K. 385
("Harfner") 1938, 1944, 1963, 1967 Symphony No. 39 in Eflat major, K. 543
1959 Symphony No. 40 in G minor, K. 550 1910,
1946, 1949, 1985 Symphony No. 41 in C major, K. 551
("Jupiter") 1917, 1968, 1981 "Non piu di fiori" from Titus 1900, 1908,
1913,1926 Vesperae solemnes de confessore in C major,
K. 339 1972
Variations (arr. LaForge) 1943 "In diesen Heiligen Hallen" from Die
Zauberflote 1904, 1939, 1945, 1947 Duel, "Bei Mannem, welche Liebe fuhlen"
from Die Zauberflote 1937 Overture to Die Zauberflote, K. 620 1896,
1904, 1906, 1921,1956 Pamina's Aria ("Ach, ich fuhl's, es isl verschwunden') from Die Zauberflote, 1936, 1941 Papageno's Song from Die Zauberflote 1947,
1949,1955
Queen of the Night Aria ("Der Hdlle Rache kocht in meinem Herzen") from Die Zauberflote 1906, 1915, 1917, 1931, 1943 MULET, HENRI
Thou Art the Rock 1928 MUSSORGSKY, MODEST The Banks of the Don 1924 Boris Godunov 1931, 1935
Boris' Monologue from Boris Godunov 1940, 1945, 1947, 1962, 1977
Clock Scene from Boris Godunov 1977
Coronation Scene from Boris Godunov, 1962, 1977
Farewell and Death of Boris from Boris Godunov 1945, 1947, 1962, 1977
Hallucination Scene from Boris Godunov 1940, 1962
Polonaise from Boris Godunov, 1977 Prologue from Boris Godunov 1977 The Siege of Kazan from Boris Godunov 1943, 1962
The Simpleton's Lament from Boris Godunov 1977
Symphonic Suite from Boris Godunov 1958
The Classicist 1929 Reverie and Dance from The Fair of
Sorotchinsk 1933 Fisherman's Prayer 1922 Entr'acte from Khovanshchina 1938, 1940 Prelude to Khovanshchina 1950 A Night on Bald Mountain 1925, 1934 On the Dnieper 1924, 1929 Pictures at an Exhibition 1937, 1958,
1965M, 1980M Serenade of Death 1924 NATIONAL ANTHEM
The National Anthem traditionally opens the first May Festival concert each year; there is no written record of what years it has been performed.
NEGRO SPIRITUALS Deep River 1938
Lord, 1 Want to Be a Christian12 1944, 1948 My Soul is Anchored in the Lord 1938 Sometimes 1 Feel Like a Motherless Child
1938
Swing Low, Sweet Chariot, 1940 NEVIN, ETHELBERT
O, That We Two Were Maying 1896 N1COLAI, OTTO
"Frohsinn und Laune" from Die lustigen
Weiber von Windsor 1952 Overture to Die lustigen Weiber von Windsor
(The Merry Wives of Windsor) 1913 NIELSEN, CARL
Overture to Maskarade 1985
Symphony No. 5, Op. 50 1985 NOVACKE
Etude 1897 OBRADORS, FERNANDO
Dos caniares populares, 1946
ElVito 1949 ORFF, CARL
Carmina Burana 1955, 1983, 1992 PADEREWSK1,1GNACEJAN
Concerto in A minor for Piano and
Orchestra, Op. 17 1897, 1931 PAGAN1N1, NICCOLO
Concerto for Violin No. 1 in D major. Op. 6 (arr. by Zino Francescatti) 1945
Palpiti (violin solo) 1926
Perpetual Motion 1895, 1938
Witches' Dance (violin solo) 1928 PAINE, JOHN KNOWLES
Three Moorish Dances from Azara 1902
Overture to Oedipus Tyrannus, Op. 35 1900 PALMGREN, SELIM
"From Finland," Op. 24 1925 PARAD1ES, P1ETRO DOMENICO
Quel Ruscelleno 1923 PARKER, HORATIO WILLIAM
Hora Novissima, Op. 30 1900 PECC1A, BUZZI
Gloria a Te 1901 PENDERECK1, KRZYTOF
To the Victims of Hiroshima 1970 PERGOLESI, GIOVANNI BATISTA
"Salve Regina"' 1932
"Son imbroglialo" from La Serva Padrona, 1946
"Stizzoso, o mio stizzoso" from La Serva
Padrona 1944, 1949 PERS1CHETTI, VINCENT
Fourth Symphony, Op. 51 1976 P1ERNE, GABRIEL
Saint Francis of Assisi 1928,1931
The Children at Bethlehem 1916, 1936
The Children's Crusade 1915 PISTON, WALTER
Symphony No. 7 1961
Toccata for Orchestra 1966 P1UTTI, KARL
Sonata in G minor 1917 PLANQUETTE, JEANROBERT
Invitation of the Bells from The Chimes of
Normandy 1924 PONCH1ELL1, AM1LCARE
La Gioconda 1925
"Cielo e mar" from La Gioconda 1899, 1923, 1926,1954
"Danza dell'Or" from La Gioconda 1904
"Suicidio" from La Gioconda 1918, 1928, 1932
"Voce di donna" from La Gioconda 1928 POULENC, FRANCIS
Concerto in G minor for Organ, Strings, and Timpani, 1963
Gloria 1964
Sgcheresses for Chorus and Orchestra 1959
Stabat Mater 1970 POWELL, JOHN
NatchezontheHill (Three Virginian
Country Dances), Op. 30 1933 PROCH, HEINRICH
Faded (with piano) 1903 PROKOFIEV, SERGEI
Alexander Nevsky, Op. 78 1946, 1991
Concerto No. 1 in D major for Violin and Orchestra, Op. 19, 1963
Concerto No. 2 in G minor for Violin and Orchestra, Op. 63 1959, 1970
Concerto No. 3 in C major for Piano and
Orchestra, Op. 26 1951, 1955, 1966 "Lieutenant Kije" Suite, Op. 60 1940, 1966 Suite from Love for Three Oranges, Op. 33a
1980
Peter and the Wolf, Op. 67, 1945 Excerpts from Romeo and Juliet 1983, 1991 Suite No. 2 from Romeo and Juliet, Op. 64
1980
Scythian Suite, Op. 20 1979 Symphony No. 1 in D major, Op. 25
("Classical) 1942, 1950, 1962, 1969, 1980,
1984,1992 Symphony No. 5 in Bflat major. Op. 100
1971
Symphony No. 7, Op. 131 1953, 1959 PROTHEROE, DANIEL
The Spider and the Fly 1932 PUCCINI, G1ACOMO
"Che gelida manina" from La Boheme 1926,
1946 "Mi chiamano Mimi" from La Boheme 1921,
1951, 1952
Fantasie from La Boheme 1901 Musetta's Waltz Song from La Boheme, 1935 Rudolfo's Narrative from La Boheme, 1938 "O mio babbino caro" from Gianni Schicchi
1935, 1951, 1952
Entrance Song from Madama Butterfly 1929 "Un bel di vedremo" from Madama Butterfly
1919, 1929, 1954,1968 "In Quelle Trine Morbide" from Manon 1928 "No! pazzo son! guardate" from Manon
Lescaut 1969 "Sola, perduta, abbandonata" from Manon
Lescaut 1967
"Vissi d'arte" from Tosca 1928, 1959, 1968 "E lucevan le stelle," from Tosca 1922, 1938,
1946,1947
"Nessun dorma" from Turandot 1954 PUGNAN1, GAETANO
Praeludium et Allegro (violin solo, arr.
Paganini) 1927 ? PURCELL, HENRY
Dido's Lament from Dido and Aeneas, 1939 In These Delightful, Pleasant Groves, 1938 Trumpet Voluntary, 1963 RACHMANINOFF, SERGEI The Bells 1925, 1938, 1948 Concerto No. 1 in Fsharp minor for Piano
and Orchestra, Op. 1 1982 Concerto No. 2 in C minor for Piano and
Orchestra, Op. 18 1932, 1942, 1948,
1961, 1973, 1977, 1992 Concerto No. 3 in D minor, for Piano and
Orchestra, Op. 30 1950, 1956, 1964,
1978,1988 Fate 1929
In the Silence of the Night 1928 The Isle of the Dead, Op. 29 1942, 1977 Oh! Thou billowy harvest field 1915 Peasant Song 1914 Rhapsody on a Theme of Paganini for Piano
and Orchestra, Op. 43 1954, 1971 Serenade 1920 Sorrow in Springtime (in Russian, with
piano) 1918
Symphonic Dances, Op. 45 1942, 1977 Symphony No. 2 in E minor, Op. 27 1922,
1930, 1961, 1964, 1982, 1990 Symphony No. 3 in A minor, Op. 44 1968 Vocalise, Op. 34, No. 14 1954, 1958, 1961,
1964, 1981 When Night Descends 1916
RAFF, JOSEPH JOACHIM
Symphony No. 3 ("Im Walde") 1899 RAVEL, MAURICE
Bolero 1930, 1986
Orchestral Fragments from the Ballet, Daphnis et Chloi, 1942
Suite No. 1 from Daphnis et Qxloi 1988
Suite No. 2 from Daphnis el QAot 1946, 1952, 1959, 1961, 1967, 1970, 1977, 1988
Don Quichotte a Dulcinie (song cycle) 1950, 1965
Piece in the form of Habanera 1981
Rapsodie espagnole 1934, 1947, 1951, 1985
Shetarazade 1969, 1976, 1979
"Tzigane" for Violin and Orchestra, 1937
LaValse 1924, 1941, 1948, 1953, 1962,
1976, 1984, 1986 RAVENELLO
"Christus Resurrexit" from Tuno di Glorai
1919 REGER, MAX
Ave Maria (organ solo) 1931
The Virgin's Slumber Song, 1938 RE1NECKE, CARL
In Life If Love We Know Not 1921
O Beautiful Violet 1924 RENNER, JOSEPH
Second Sonata in C minor, Op. 44 1920 RESP1GH1, OTTOR1NO
"E se un giorno tomasse" 1949
The Pines of Rome 1946, 1950, 1954, 1969, 1984
LaPrimavera 1924
Roman Festivals 1948, 1974 REZNICEK, EMIL NIKOLAUS VON
Overture to Donna Diana 1910, 1955 RHE1NBERGER. JOSEPH
Concerto No. 2 in G minor for Organ and
Orchestra, Op. 177 1908 RIEGGER, WALL1NGFORD
Variations for Piano and Orchestra, 1963 R1MSKYKORSAKOV, NICOLAI
Capnccio Espagnol, Op. 34 1911, 1920
Chanson Indoue 1914
The Legend of the Invisible City of Kitesh and the Maiden Fevronia 1932
The Nightingale and the Rose 1959
"Russian Easter" Overture, Op. 36 1919, 1957,1985
Scheherazade, Op. 35 1918
Song of India 1920
Song of the Shepherd Lehl 1914 R1TTER, ALEXANDER
Overture to Der Fade Hans 1908 RODRl'GO.JOAQUiN
Fantasia para un genlilhombre for Guitar and
Orchestra 1960, 1971 ROGERS, BERNARD
Soliloquy for Flute and Siring Orchestra,
1946 RONALD, LANDON
Southern Song 1959 ROSS
Dawn in the Desert 1925 ROSSI, LU1GI
"Ah! rendimi" from Mitrane 1900, 1906 ROSSINI, GIOACH1NO
"La Calumnia" from H Barbicre di Siviglia, 1943
"Largo al factotum" from 11 Barbicre di Siviglia 1910,1918
"Una voce poco fa" from Barbiere di Siviglia 1894, 1905, 1922, 1939, 1943, 1944, 1976, 1979
Overture to L'Haliana in Algcri 1953
"Cruda sorte, amor tiranno" from L'ltaliana in Algeri 1972 "Per lui che adoro" from L'ltaliana in Algcri
1949
Willow Song and Prayer from Otello 1972 Overture to La Scala d Seta 1957, 1986 Overture to Semiramide 1981,1992 Aria from Semiramide 1898 Stabat Mater 1897, 1981 "Di tanti palpiti" from Tancredi 1972 Romanza from William Tell 1923 ROUSSEL, ALBERT
Suite No. 2 from Bacchus el Ariane, Op. 43
1959 Ballet Suite from Le Feslin d I'araignte, Op. 17
1952 ROWLEY, ALEC
Fun of the Fair 1945 RUBINSTEIN, ANTON
Concerto No. 4 in D minor for Piano and
Orchestra, Op. 70 1907, 1917, 1929, Es blinkt der Thau (with piano) 1900 Longings (with piano) 1901 Thou'rt Like Unto a Flower 1931 Wanderer's Night Song 1923 SADERO, GEN1
Fa la nana bambin, 1935 SA1NTSAENS, CAM1LLE
Air du rossignol, from Parysalis 1943
Carnival of the Animals
Concerto for Cello and Orchestra in A minor,
Op. 33 1901
Concerto No. 2 in G minor for Piano and Orchestra, Op. 22 1895, 1905, 1926, 1934, 1964
Concerto No. 5 in F major for Piano and Orchestra, Op. 103 1974 Introduction and Rondo Capriccioso for Violin and Orchestra, Op. 28 1926, 1934 Marche Heroique 1897 A Night in Lisbon 1898 Phaeton 1914
Rondo Capriccioso (violin solo) 1896 Le Rouet d'Omphale 1922 Samson et Dalila 1896, 1899, 1907, 1912,
1916, 1923, 1929, 1940, 1958 "Amour, viens aider" from Samson el Dalila
1957 "Mon coeur s'ouvre a ta voix" from Samson et
Dalila 1913, 1955 "Printemps qui commence" from Samson el
Dalila 1902 (with piano), 1939 Symphony No. 3 in C minor, Op. 78
("Organ"), 1963 Two Preludes 1919 SALOME, THEODORE
Sonata in C minor, Op. 25 (organ) 1895 SALTER, MARY ELIZABETH TURNER
The Cry or Rachel 1917 SALVI, MATTEO
Italian Serenade 1924 Scherzo 1924 SARASATE, PABLO DE
Gipsy Airs, Op. 20 1921 SAT1E, ERIK
Trois gymnopedies 1964 SCARLATTITOMMAS1N1
Ballet Suite from The GoodHumored Ladies (based on music of Domenico Scarlatti) 1947, 1964 SCARLATTI, ALLESANDRO
Gia 11 Sole Dal Gange 1925 SCHE1NPFLUG, PAUL
Overture, "To a Shakespeare Comedy," Op. 15 1910
SCHELLING, ERNEST
Victory Ball 1927 SCHILLINGS, MAX VON
The Harvest Festival from Moloch 1911 SCHONBERG. ARNOLD
Five Pieces for Orchestra, 1964
GurreLieder 1956
Theme and Variations in G minor for Orchestra, Op. 43b 1949
Verklarte Nacht, Op. 4 1926 SCHUBERT, FRANZ
DieAUmacht 1900
Ave Maria 1915
Cradle Song 1924, 1939, 1949"
DerErlkdnig 1908, 1928
Fantasia for Piano and Orchestra in C major. Op. 15 ("Wanderer," arr. Liszt) 1963
Farewell 1916
DieForelle 1899
Hark, Hark, the Lark 1926 (violin solo, arr. Spalding), 1930, 19478. 1952s
HedgeRoses 1934, 1939, 19478, 19528
The HurdyGurdy Man8 1947, 1952
DieJungeNonne 1908,1927
The Linden Tree 1923, 1935, 1955'
Mass in Aflat major. No. 5 1969
Der Neugierige 1915
Overture in the Italian Style, in C major. Op. 170 1953
Sanctus9 1955
Serenade in D minor, 1939
Standchen 1924
Symphony No. 2 in Bflat major 1950
Symphony No. 5 in Bflai major 1952
Symphony No. 8 in B minor, "Unfinished" 1895, 1902, 1904, 1906, 1914, 1937, 1955,1971
Symphony No. 9 in C major ("The Great") 1980, 1983,1989
Symphony No. 10 in C major 1911,1921, 1927
Der Tod und Das Madchen 1908, 1924
The Trout 1937, 19478, 19528
Dem Unendlichen 1924
Der Wanderer 1927, 1949'
Whither, 1939
Who is Sylvia 1920
Wohin 1900 (with piano), 1927 SCHUECKER, EDMUND
Impromptu 1924 SCHUMAN, WILLIAM
A Free Song, (Secular Cantata No. 2, adapted from the poems of Walt Whitman), 1945
New England Triptych 1967, 1976 SCHUMANN, GEORG
"Liebesfruhling" Overture 1906, 1922, 1930
Good Night, Pretty Stars 1924 SCHUMANN, ROBERT
Beautiful Flowers' 1949
Birds' 1956
Canon in B minor (organ) 1895
Concerto in A minor for Piano and Orchestra, Op. 54 1902, 1903, 1915, 1972
Concerto in D minor for Violin and Orchestra 1983
Credendum 1958
Evening Song (violin solo) 1926
The Evening Star9 1949,1956
The First Green' 1956
Genoveva Overture 1907
Ladybird 19478, 1952M956
The Little Owl' 1949
The Lotus Flower 1930, 1949", 1956'
Manfred Overture 1910,1951
A May Song' 1956
141
Message of Spring" 1956
The Nut Tree" 1939, 1956
The Rose Tree" 1947, 1952
The Sandman" 1956
Singer's Consolation 1915
Sketch in F minor 1918
Sketch No. 3 1919
The Soldier 1916
The Song of the Smith" 1956
Spring's Messenger 1929
Symphony No. 1 in Bflat, Op. 38 1908, 1920,
1925 Symphony No. 3 in E flat. Op. 97 ("Rhenish")
1923 Symphony No. 4 in D minor, Op. 120 1918,
1983
The TellTales" 1956 Widmung 1904 (with piano), 1928 SCOTT, CYRIL
Lullaby 1927, 1937 The False Prophet 1923 SCR1AB1N, ALEXANDER
Symphony No. 3 in C minor ("The Divine
Poem"), Op. 43 1932 SECCH1
Lungi Dal Caro Bene 1925 SERVA1S, FRANCOIS
OCaraMemoria 1894 SHELLING
Fantastic Suite, for Piano and Orchestra 1923 SHOSTAKOVICH, DMITRI
Concerto in Eflat major for Violoncello and
Orchestra, Op. 107 1960 Five Pieces for Small Orchestra, Op. 42 1974 Symphony No. l.Op. 10 1951 Symphony No. 4 in C minor, Op. 43 1990 Symphony No. 5, Op. 47 1943, 1965, 1968,
1977 SIBELIUS, JEAN
Concerto in D minor for Violin and Orchestra,
Op. 47 1936, 1941, 1951, 1991 Finlandia, Op. 26, No. 7 1917, 1920, 1946 "Lemminkainen Turns Homeward" from the
Kakvala 1908, 1940 Onward, Ye Peoples 1939 En Saga, Op. 9 1911 "The Swan of Tuonela" from the Kalevala, Op.
22, No. 3 1908, 1948 Symphony No. 1 in E minor, Op. 39 1933,
1941,1978 Symphony No. 2 in D major, Op. 43 1939,
1948,1966 Symphony No. 5 in Eflat major, Op. 82 1938,
1946,1952 Symphony No. 7 in C major, Op. 105 1941,
1950, 1956, 1960, 1976 S1NIGAGL1A, LEONE
Le Baruffe Chiozzotte, Op. 32 1910,1928 "Piemontesi" Suite 1915 SMETANA, BEDR1CH
Overture to The Bartered Bride 1906, 1914,
1938,1946,1949 "From Bohemia's Meadows and Groves" from
Ma Wast (My Country) 1977 The Moldau from Ma Vlasl (My Country),
1907, 1911, 1920, 1927, 1935, 1951 Vysehrad from Ma Vlasl (My Country) 1911,
1920 SOWERBY, LEO
"King Estmere" for Two Pianos and Orchestra
1933
The Irish Waterman 1924 Passacaglia (organ solo) 1931 Prairie, 1935
SPINELLI, NICOLA
Prelude to Acl HI from A Basso Porto 1925 SPOHR, LUDWIG
"Liebe ist die zarte Bluelhe," from Faust 1900 Symphony, "Consecration of Tones" 1897 STANLEY, ALBERT A. Attis 1898, 1909, 1921 Chorus Triomphalis 1897,1912,1921 Fair Land of Freedom 1919 Hymn of Consecralion 1918 Laus Deo 1913, 1943 A Psalm of Victory, Op. 8 1906 Scherzo from Symphony in F 1897 Symphony in F major, "The Awakening of
the Soul" 1896 STECK, PAUL
Liebesgefluester 1899 STOCK, FREDERICK
Festival March and Hymn to Liberty 1914 March and Hymn to Democracy 1919 A Psalmodic Rhapsody 1922, 1943 Al Sundown 1909 Symphonic Waltz 1909 STOUT, ALAN
Prologue, Op. 75, No. 1 1970 STRAUSS, JOHANN
Blue Danube Waltz, 1934
Emperor Waltzes 1932
Csardas from Die Fkdermaus 1952
The Laughing Song from Die Fkdermaus
1951
Suite from Die Fkdermaus 1952 Waltz: Tales from the Vienna Woods, 1944 Waltz: "Voce di Primavera" 1899, 1923 STRAUSS, RICHARD Also Sprach Zaralhustra, Op. 30 1933 Zerbinetta's aria from Ariadne aufNaxos,
1956 Burleske in D minor for Piano and Orchestra,
1962
Caecilie 1915
Monologue from Capriccio 1960 Concerto No. 1 in Eflal major for Horn and
Orchestra, Op. 11 1908, 1964, 1989 Death and Transfiguration, Op. 24 1905,
1910, 1922, 1943, 1950, 1976 Don Juan, Op. 20 1904, 1913, 1925, 1929,
1939, 1953, 1958, 1962, 1970, 1978, 1984 Don Quixote (Variations for Violoncello and
Orchestra) 1941 DuelConcertante for Clarinet and Bassoon,
with Harp and Strings, 1963 "Allein, allein" from Ekhtra 1956 Love Scene from Feuersnot, Op. 50 1909,
1916,1952
Four Last Songs 1971, 1985, 1989 Freundliche Vision 1930 Ein Heldenleben, Op. 40, 1934, 1962, 1964,
1973
Hymnus, Op. 33, No. 3 1905 Morgen 1930 On the Shores of Sorrento, Op. 16 1907,
1915, 1926
Serenade for Wind Choir, Op. 7 1906 Standchen 1930 Suite from Der Rosenkavalier, Op. 59 1945,
1951, 1960, 1964 Waltzes from Der Rosenkavalier 1942, 1949,
1968, 1976
Closing Scene from Salome, Op. 54 1950 Till Eulenspiegel's Merry Pranks, Op. 28
1908, 1914, 1938, 1946, 1960, 1964,
1971, 1991 Zueignung, 1917
STRAVINSKY, IGOR
Fireworks, a Fantasy for Orchestra, Op. 4,
1962,1968 Pastorale 1965, 1981 Persephone, 1964 Le Rossignol 1958 Le sacre du printemps (The Rite of Spring)
1993 Suite from L'Oiseau de Feu (The Firebird)
1928,1936, 1941, 1947, 1965, 1975 Symphonie de Psaumes 1932, 1960 Symphony in C 1964 STRONG, GEORGE TEMPLETON
A Symphony of Song 1930 STYX
Flitterwochen 1899 SUD1SSE
Petit Pas 1898 SUK, JOSEF
"Ein Maerchen" Suite, Op. 16 1903 SULLIVAN, SIR ARTHUR
The Golden Legend 1901 SVENDSEN.JOHAN
Allegretto Scherzando from Symphony, Op.
4 1905
Kronungs Marsch 1900 Fantasie for Orchestra, "Romeo and Juliet"
1896,1899 Zorahayda 1912 SWANSON, HOWARD
Short Symphony 1952 SZYMANOWSK1, KAROL
Stabat Mater, Op. 53 1972 TARTIN1, GIUSEPPE
Concerto in D minor, for Violin and
Orchestra, 1957 TAYLOR, DEEMS
Circus Day, Op. 18, 1935 Through the Looking Glass 1927 TCHAIKOVSKY, P1OTR ILYICH
"1812" Overture, Op. 49 1897, 1903, 1984 Andante from Quartet in Bflat 1900 Saltarello, from Capriccio (alien 1926 Concert Scene 1895 Concerto in D major for Violin and
Orchestra, Op. 35 1925, 1935, 1942,
1946,1958,1985 Concerto No. 1 in Bflat minor for Piano and
Orchestra, Op. 23 1901, 1918, 1925,
1938, 1943, 1970 Concerto No. 2 in G major for Piano and
Orchestra, Op. 44 1991 Eugene Onegin 1911 Tenor Recitative and Aria ("What will the
coming day disclose") from Eugene Onegin
1901, 1906
Episodes from Eugene Onegin 1941 Letter Aria from Eugene Onegin 1920, 1933,
1950, 1967 OvertureFantasia from Francesco da Rimini
1916, 1930
OvertureFantasia from Hamlet, Op. 67 1915 "Adieu, forets," from Jeanne d'Arc 1928,
1955 "Farewell ye Hills" from Jeanne d'Arc 1899,
1904
MarcheSlav 1901 Pilgrim Song 1959 Pauline's Aria from Pique Dame, 1942 OvertureFantasia from Romeo and Juliet
1904,1942,1953 Serenade for Strings, Op. 48 1902 Elegy and Waltz from Serenade for Strings,
1933 Two Movements from Serenade, Op. 48
1897
Symphony No. 2 in C minor, Op. 17, 1921
Symphony No. 4 in F minor, Op. 36 1920, 1949, 1955, 1973, 1982, 1989
Pizzicato Ostinalo from Symphony in F minor, Op. 36 1905
Finale from Symphony No. 4, 1927
Symphony No. 5 in E minor, Op. 64 1912, 1928, 1940, 1943, 1950, 1966, 1979, 1981
Andante Cantabile, from Symphony in E minor, Op. 64 1905
Symphony No. 6 in B minor, Op. 72 ("Pathelique") 1898, 1906, 1935, 1944, 1962
Theme and Variations, and Finale Polonaise,
from Suite, Op. 35 1914 TEDESCH1, LUIG1
Spanish Dance 1924 THE STARSPANGLED BANNER 1920 THOMAS, AMBRO1SE
Air du TambourMajor from Lc Caid 1907
Ophelia's Scene (Mad Scene) and Aria from Hamlet, 1897, 1911
"O Wine, Dispel the Heavy Sadness," from Hamlet, 1920
Vorspiel to Act 11, lngwelde 1911
"lo son Tilania," from Mignon 1922, 1935
"Tis I! all is now broken" from Mignon 1919
"Connaislu le Pays" from Mignon 1930, 1957
Overture to Mignon, 1894 THOME, FRANCIS
Les Filles di Cadiz, 1896 THOMPSON, RANDALL
Alleluia, 1941 THOMSON, VIRGIL
Concerto for Flute, Strings, and Percussion, 1959
"Louisiana Story," Suite for Orchestra, 1958
Fugues and Cantilenas from the United Nations film Power Among Men 1959
The Seine at Night 1959 THRANE, WALDEMAR
Kom Kjyra (Norwegian Echo Song) 1951 T1ERSOT.JUL1EN
En passant par la Lorraine, 1940 T1PTON, CAMPBELL
The Crying of Waters 1928 T1RCUIT, HEUWELL
Concerto No. 3 for Orchestra 1972 TOSTI, SIR FRANCESCO PAOLO
Serenade 1933
Si Tu Le Voulais (with piano), 1934 TREHAME, BRYCESON (ARR.)
Star Lullaby (Polish folk song), 1940 TSCHETSCHULIN
Alia Zingaresca, 1923 VAN DER STUCKEN, FRANK
Serenade (with piano), 1903
At the Window, 1920 VAN WESTERHOUT, NICCOLO
Ronde d'Amour 1899 VARDELL, CHARLES
The Inimitable Lovers, 1940 VAUGHAN WILLIAMS, RALPH
Dona nobis pacem 1962
Fantasia on a Theme of Thomas Tallis 1975
Flos Campi, Suite for Solo Viola, Chorus and Orchestra 1959
Five Tudor Portraits 1957
A London Symphony 1924
A Sea Symphony 1971 VERDI, GIUSEPPE
Aida 1903, 1906, 1917, 1921, 1928, 1937, 1957
"Celeste Aida" from Aida 1914, 1924
Duel, "Ciel! mio padre" from Aida, 1924
"Ah Patria Mia," from AXda 1897, 1919 Duet, "O terra, addio" from Axda 1954 "Ritoma vincitor," from Aida 1924, 1931,
1944, 1946, 1953, 1967, 1968, 1971 Triumphal March from Aida, 1914, 1924 "Eri tu che macchiavi" from Un Ballo in
Maschera 1898, 1911, 1913, 1918, 1925,
1929, 1941, 1957 "Morro Ma Prima in Grazia" from Un Ballo in
Maschera 1944 Farewell and Death of Roderigo from Don
Carlos 1957 "O don fatale" from Don Carlos 1899. 1917,
1919, 1922, 1926, 1938
"Ella giammai m'amo," from Don Carlos
1899, 1953 "Emani, involami" from Ernani 1915, 1927,
1965, 1975 Ford's Monologue from Falstaff 1897, 1901,
1925, 1929, 1958
Finale, Act 11, from La Forza del Deslino 1924 "Pace, pace, mio Dio!" from La Forza del
Deslino 1927, 1944, 1953, 1968, 1971,
1977
"Vieni, t'affretta" from Macbeth 1977 "Manzoni" Requiem 1894,1898,1913,
1920, 1930, 1936, 1943, 1951, 1960, 1967, 1979, 1986, 1993
"Confulatis Malediclis" from the
"Manzoni" Requiem 1933 Otello, 1939
"Ave Maria" from Otello 1904 Cassio's Dream ("Era la none") from Olello,
1941 "Credo," from Olello 1914, 1923, 1930,
1941, 1948 "Dio! mi potevi scagliar tulti i mali della
misera" from Otello, 1904 "Tu! lndietro" from Olello, 1907 Quartet, "Bella figlia, dell'amore" from
Rigolctlo 1896, 1907, 1910 "Caro nome" from Rigoledo 1911, 1914,
1916, 1917, 1931, 1935, 1940, 1954 "Conigiani, vil razza dannata" from Rigoledo,
1948
"Pan siamo" from Rigoledo, 1948 Duet, "Vendetta," from Rigolello 1923 "11 lacerato spirito" from Simon Boccanegra
1939,1959
"Addio del Passato" from La Traviata, 1934 "Ah, fors' e lui" from La Traviata 1906, 1964 "Di Provenza" from La Traviala 1932 "Sempre libera" from La Traviata 1964 "Condolla ell'era in ceppi" from II Trovalore
1948
"D'amor sull'ali rosee" from I Trovatore 1919 Overture to Vcspri Sicilian! 1983 "Stabat Mater" from Four Sacred Pieces 1973 "Te Deum" from Four Sacred Pieces 1947,
1963,1973 Stabal Mater 1899 VIERNE, LOUIS
Finale in D major from Symphony No. 1
1916 V1LLALOBOS, HE1TOR
Bachianas Brasileiras No. 5 for Soprano and
Violoncellos, 1944 Choros No. 10, "Rasga o coracao" 1949,
1960
Lundu da Marchese de Santos, 1946 Nhapope, 1948 VIVALDI, ANTONIO
Concerto in A minor for Piccolo and
Orchestra, 1957 Gloria (arr. Casella), 1954 Magnificat in G minor, 1967
VOLBACH, FRITZ
Es waren Zwei KoenigsKinder, Op. 21 1903 VOLKMANN, ROBERT
Overture lo Shakespeare's Richard HI, Op. 68
1902
Serenade for Strings, Op. 69 1900 WAGNER, RICHARD
A Faust Overture 1896, 1899
Diefliegende Hollander 1898
Overture to Diefliegende Hollander 1913,
1926, 1928, 1929, 1933, 1941, 1952 Senta's Ballad from Diefliegende Hollander,
1933 Spinning Chorus from Diefliegende Hollander
1924,1925 Brunnhilde's Immolation and Closing Scene
from Cdtterdammerung 1911, 1933, 1937,
1938, 1942, 1947, 1961, 1972 Funeral March from GoUerdammerung 1900,
1913 Siegfried's Death and Funeral March from
Gdtterdammerung 1933, 1938, 1942, 1947,
1949, 1961, 1972 Siegfried's Rhine Journey from
Gdtterddmmerung 1909, 1917, 1938, 1942,
1947, 1961, 1972 Song of the Rhein Maidens from
GoUerdammerung 1903, 1913, 1933 Wakraute's Narrative from Act I of
GoUerdammerung 1927 Huldigungsmarsch 1906, 1913 Kaisermarsch 1898, 1907 Lohengrin 1926 Lohengrin's Narrative ("In fernem Land")
from Lohengrin 1903, 1949 Act 1 from Lohengrin 1896, 1913 Elsa's Traume ("Einsam in truben Tagen")
from Lohengrin, Act I 1942, 1961 Introduction to Act HI of Lohengrin 1899,
1903, 1936
Prelude to Lohengrin 1903, 1936 "Am Slillen Herd" from Die Meistcrsinger von
Numberg, 1898 "Awake!" and Choral Finale from Die
Meislersinger von Nurnberg 1923, 1941 Dance of the Apprentices from Die
Meislersinger von Numberg, Act 111 1941,
1949 Entrance of the Mastersingers from Die
Mcistersinger von Nurnberg, Act 111 1941,
1949 Finale from DieMeislersinger von Nurnberg,
1903, 1913 Pogner's Address from Die Meislersinger von
Numberg, 1896, 1897 Prelude lo Act 111, Die Meislersinger wn
Numberg 1941, 1949 Walter's Prize Song from Die Meistersingcr von
Numberg 1895, 1923, 1937 Vorspiel (Prelude) to Die Meislersinger von
Numberg 1896, 1897, 1899, 1903, 1905.
1908, 1913, 1921, 1936, 1944, 1947,
1954, 1957, 1961, 1969, 1977, 1988 "Amfortas! The spear wound" from Act II of
Parsifal 1937
"Forever more" from Act II of Parsifal 1937 "Now by this sign" from Act II of Parsifal
1937 "Only this weapon serves" from Act III of
Parsifal 1937 Communion Service from Act 1 of Parsifal,
1937
Glorification from Parsifal, 1909 Good Friday Spell from Parsifal 1904, 1909,
1923
In the Caslle of the Grail from Act I of Parsifal
1937
Kundry's Solicitations from Parsifal 1909 Prelude to Parsifal 1949, 1973 Procession of the Knights lo the Caslle of the
Grail from Parsifal 1909, 1922, 1937 The Miracle of the Grail from Act HI of
Parsifal 1937 Transformation Scene from Parsifal 1909,
1937
Overture, "Polonia" 1909 Alberich's Invocation of the Nibelungs from
DosRhcingold 1938, 1949 Entrance of the Gods into Valhalla from Das
Rheingold 1933, 1938, 1949 Erda's Warning from Act 111 of Das Rheingold,
1927
Overture to Rienzi 1903, 1908, 1983 Adriano's Aria ("Gerechier Gott") from Rienzi
1894, 1901, 1903, 1908, 1924, 1928 Schmerzen 1896, 1917, 1942 Siegfried Ascends the Flaming Mountain
Where Brunnhilde Sleeps and Finale ("Ewig
war ich") from Siegfried 1925, 1938, 1943 First Forging Song from Siegfried 1937, 1949 Siegfried in the Forest ("Waldweben") from
Siegfried 1903, 1915, 1933, 1938 "Waldweben" from Siegfried 1903 Tannhauser 1902, 1922 "Blick ich Umher" from Tannhauser 1911 "Dich, leure Halle" from Tannhauser 1909,
1913, 1924, 1943, 1973, 1979 "O, du mein holder Abendstem" from
Tannhauser 1895 (for organ), 1958 Bacchanale (Paris Version) and Finale from
Overture to Tannhauser 1909, 1930, 1933 Elizabeth's Prayer from Tannhauser 1933 March and Chorus from Tannhauser 1895 Overture to Tannhauser 1907, 1913, 1942,
1946 Pilgrim's Chorus from Tannhauser (organ),
1895
Rome Narrative from Tannhauser 1949 Venusberg Music from Tannhauser, 1946 Traume 1896, 1904 (with piano), 1909,
1942 Arrival of the Ships from Act III of Tristan und
Isolde 1924, 1933 Introduction from Act III of Tristan und Isolde
1933 Liebestod from Tristan und Isolde 1896,
1901, 1909, 1917, 1924, 1932, 1933,
1936, 1942, 1947, 1961 Love Scene and Brangaene's Warning from
Tristan und Isolde 1911 Night Scene, Act II, Scene 11, from Tristan und
Isolde 1952 Tristan's Vision from Act III of Tristan und
Isolde 1924, 1933 Vorspiel (Prelude) from Tristan und Isolde
1895, 1896, 1901, 1909, 1924, 1942, 1947, 1952, 1961
"Du bist der Lenz" from Die Walfeure, Act I
1932, 1933, 1938, 1943, 1973 "Sleep'st thou. Guest" from Die Walkure,
1933 "War es so schmahlich" from Die Walfeure,
1947 "Wintersturme wichen dem Wonnemond"
from Die Walfeure, 1949 Act I, Scene III from Die Walkure, 1952 "Hoi yo to ho te" (Brunnhilde's Battle Cry)
from Die Walkure 1938 Magic Fire Scene from Die Walkure 1894,
1901, 1907, 1914, 1915, 1938 Selections from Die Walfeure, 1900
Siegmund's Love Song from Die Walkure
1896, 1897, 1914 Siegmund's Monologue from Die Walkure
1949 Wotan's Farewell from Die Walkure 1894,
1901, 1907, 1915, 1938 WAHLSTEDT
GayLiesel 1922 WALTON, SIR WILLIAM
Belshazzar's Feast 1933, 1952, 1975, 1985
Partita for Orchestra, 1962
Excerpts from the Opera Troilus and Cressida,
1962 WATTS, WINTTER
Wings or Night 1927 WEBER, CARL MARIA VON
Concerto No. 2 in Eflat major. Op. 32, for
Piano and Orchestra 1972 Overture to Euryanthe 1906, 1920, 1951 "I fain would hide," from Euryanthe 1900 OFatima 1898 Overture to Der Freischutz 1937, 1945, 1948,
1965 "Leise, Leise" from Der Freischutz 1920,
1937, 1940 "Wie nah't mir die Schlummer" from Der
Freischutz 1910, 1912 Invitation to the Dance, Op. 65 (transcribed
byOrmandy) 1976 Overture lojubel 1898 Overture to Oberon 1897, 1915, 1943, 1956 "Ocean, Thou Mighty Monster" from Oberon,
1910
Tenor Aria from Oberon 1898 Voice of Evening, 1924 WEINBERGER, JAROM1R
Polka and Fugue from Schwanda, the
BagpipePlayer 1933, 1951, 1953 WEINGARTNER, FELIX Hunnold Singruf, 1905 Schifferliedchen, 1905 WELSH, THOMAS
Dear Harp of My Country, 1920 WHITHORNE, EMERSON
The Babe in the Garden, 1922 WHITING, GEORGE
Religious Melody and Variations from the
Sonata in A minor 1916 W1DOR, CHARLES
Meditation from 1st Symphony 1917 Symphony for Organ, No. 6 1914 WIEN1AWSKI, JOSEPH
Concerto No. 2 in D minor for Violin and
Orchestra 1897, 1901, 1949 Romance and Allegro from Concerto No. 2 in
D minor for Violin, Op. 22 1921 WOLFFERRARI, ERMANNO
The New Life (La Vita Nuova), Op. 9 1910,
1915, 1922, 1929 Rispetto (with piano) 1934 Overture to The Secret ofSusanne 1918, 1924,
1927, 1931 WOLF, HUGO
The Gardener 1949 Gesang Weyla's (with piano) 1905 Italian Serenade 1906 ZurRuh 1917 WOODBURY, ISAAC BAKER
Stars of the Summer Night 1925 WOODMAN, RAYMOND HUNTINGTON
1 Am Thy Harp 1917 YARDUM1AN, RICHARD Armenian Suite 1954 "Cantus animae et cordis" for String
Orchestra, 1956 YON, PIETRO ALESSANDRO
Echo 1919
The Primitive Organ, 1919 ZADOR, EUGEN
Suite from the Ballet, The Machine Man, 1940 ZEMACHSON
Choral and Fugue, 1936 ZUN1 INDIAN MELODY
The Sun Worshippers, 1924
' arranged by Johann Joseph Abert 2 arranged by Gustav Hoist 'arranged by Zoltan Kodaly 1 arranged by Eugene Ormandy
5 arranged by Frederick Stock
6 orchestrated by Russell Howland
7 arranged by Alfredo Casella
8 orchestrated by Russell Howland
9 orchestrated by Dorothy James
10 orchestrated by Marion E. McArtor
1' folk songs arranged by Aaron Copland 12 orchestrated by Eric De Lamarter " arranged by Harty H orchestrated by Ravel
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University Productions.....................................................69
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University Choral Union at 1974 Festival with the Philadelphia

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