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UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --

UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image 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UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image 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UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image UMS Concert Program, May 12-14, 1994: 101st Ann Arbor May Festival --  image
Day
12
Month
May
Year
1994
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Rights Held By
University Musical Society
OCR Text

Season: 115th-
Concert: Fifty-seventh
Of The University Of Michigan Ann Arbor

J
May 1214, 1994
J
May 1214, 1994
Greetings!
Greetings, and welcome to the 101st Ann Arbor May Festival.
It is always a special occasion to witness the beginning of something extraordinary. As we look to our next century of May Festivals, we are delighted to bring to the Hill Auditorium stage the remarkable Orchestra of St. Luke's and some of the most acclaimed young artists performing today. We are particularly pleased to present the Ann Arbor debut of a conductor held in many eyes as the premier maestro of the future -Robert Spano.
This is indeed a Festival of splendor, and it is a pleasure to have you with us for this exciting celebration of the performing arts. We extend our heartfelt thanks to you for being with us throughout this season and during this 101st May Festival, and we look forward to sharing many more memorable performances with you in the seasons to come.
Enjoy!
Kenneth C. Fischer Executive Director University Musical Society of the University of Michigan
Tools of the trade ready and waiting for a performance of the Leipzig Gewandhaus Orchestra last October.
Table of Contents
19 Prelude Picnic (without ants!)
21 May Festival Program for Thursday, May 12
31 May Festival Program for Friday, May 13
38 199495 University Musical Society Concert Season Announcement
47 May Festival Program for the Cabaret Ball
54 UMS Members Acknowledgements
66 199394 University Musical Society Concert Season Retrospective
77
Advertiser's Index
Thank You Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support of UMS through their major corporate underwriting reflects their position as leaders in the South?eastern Michigan business community.
Their generous support provides a solid base from which we are better able to present outstanding perfor?mances 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 strengthens 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 ...
Carl A. Brauer. Jr..
Owner
Brauer Investment
Company
"One of the most exciting assets of our culturallyrich community. .. University Musical Society."
Howard S. Holmes President Chelsea Milling Company
"The Ann Arbor area is very fortunate to have the most enjoyable and outstanding musical entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Curtin&Alf
Joseph I in I in and Greg Alt Owners, Curtin & Alf
"We support the University Musical Society because the innovative programming and worldclass artists they bring to Ann Arbor are vital to our professional and cultural life. Without the UMS, we would not be here.
George H. Cress
Chairman. Presidenl, and Chief Executive Officer Society Bank. Michigan
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organi?zation that continually displays such a commitment to excellence."
I . Thomas Conlin
Chairman of the Board and Chief Executive OfficerConlinFaber Travel
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continually displays such a commitment to excellence."
A Salute To Our Corporate Angels . ..
Stephen B.
Hubs,hi
President, DobsonMcOmber Agency
"; honor of our shared centennial year, DobsonMcOmber Agency is pleased to express its appreciation for the vital cultural contri?bution UMS makes to the city of Ann Arbor."
Douglas D. Freeth
President
First of America
BankAnn Arbor
"We are proud to help sponsor this major cultural group in our community which perpetuates the wonderful May Festival."
Alex Trotman Chairman. Chief Executive Officer Ford Motor Company
"Ford takes particular pride in our longstanding associa?tion with the University Musical Society, its con?certs, and the educational programs that contribute so much to Southeastern Michigan. The Society's May Festival, now entering its second century, has become one of our region's major assets, and last year, we were pleased to under?write its centenary."
William E. Odom
Chairman
Ford Motor Credit
Company
"The people of Ford Credit are very proud of our continuing association with the University Musical Society. The Society's longestablished commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accom?plishments. "
Robert J. Delonis President and Chief Executive Officer Great Lakes Bancorp
"As a longstanding member 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 support of Ann Arbor's finest art showcase."
Dr. James R. Irwin
Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporary Staffing Services
"Wolverine Staffing began its support of the Universitiy Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
Mark K. Rosenfeld PresidenI, Jacobson Slores Inc.
"We are pleased to share a pleasant relationship with the University Musical Society. Business and the arts have a natural affinity for community commit?ment."
John Psarouthakis Ph.D.
Chairman and Chief Executive Officer JPEinc.
"Our community is enriched by the University Musical Society. We warmly support the cultural events it brings to our area."
Dennis Serras Presideni Mainslreet 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 it's continuing success in bringing high level talent to the Ann Arbor community."
Ronald Weiser
Chairman and Chief Executive Officer. McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribu?tion it makes to the commu?nity."
Erik H. Serr
Partner
Miller. Canfield,
Paddock and Stone
"Miller, Canfield, Paddock and Stone's support of the University Musical Society is based on our belief that partnerships between business and the arts provide immeasurable benefits to the community and enhance our quality of life."
Michael Staebler Managing Partner Pepper, Hamiltion & Sheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Joe E. O'Neal Presidenl, 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."
Iva M. Wilson President, Philips Display Components
"Philips
nents 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.
"It is our pleasure to work with such an outstanding organization as the Musical Society at the University of Michigan."
Edward Surovell President The Edward Surovell Co. Realtors
"Our support of the Univeristy Musical Society is based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Ronald M. Cresswell, Ph.D.
Vice President and
Chairman
Pharmaceutical
Division.
Warner Lambert
Company
"WarnerLambert 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 employ?ees in Ann Arbor."
The University Musical Society
of the University of Michigan
Board of Directors
Herbert S. Amsler President
Norman G. Herbert Vice President Carol S. Smokier Secretary Richard H. Rogel Treasurer
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan Carl A. Brauer. Jr. Letitia J. Byrd Leon Cohan
Advisory Committee
Alice Davis Irani Chair
Gregg Alf Paulelt Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan Letitia Byrd Betty Byrne Pat Chatas Phil Cole Peter H. deLoof Rosanne Duncan Don Faber Penny Fischer Barbara Gelehrter Margo Halsted Esther Heitler I inn.i Hildebrandt Kathleen Hill Matthew Hoffmann Chen Oi Chin Hsieh JoAnne Hulce Perry Irish
Staff
Kenneth C. Fischer Executive Director
Catherine Arcure Ingrid E. Baily Edith Leavis Bookstein Sally Cushing Judy Fry Adam Glaser Michael Gowing PhiKp Guire Deborah Halinski Nathan Hesselink Jonathan Walts Hull
Jon Cosovich Ronald M. Cresswell James J. Dudersladt Waller L. Harrison Thomas E. Kauper F. Bruce Kulp Rebecca McGowan George I. Shirley Herbert E. Sloan Edward D. Surovell Eileen L. Weiser Iva M. Wilson
Gail W. Rector President Emeritus
Frances Jelinek Heidi Kerst Leah Kileny Nat Lacy Maxine Larrouy Doni Lystra Kathleen Maly Charlotte McGeoch Margaret McKinley Clyde M. Meizger Ron Miller
Karen Koykka O'Neal Marysia (Kt.it m Maya Savarino Janet Shatusky Aliza Shevrin Ellen Stross James Telfer Susan B. Ullrich Jerry Weidenbach Jane Wilkinson Shelly F. Williams Elizabeth Yhouse
Agnes Reading. ExOfiicio
Erva Jackson John B. Kennard Jr. Michael Kondziolka Thomas Mull Scott Russell Thomas Sheets Helen Siedel Marya Smith Jane Stanton Joan Susskind
Donald Bryant. Conductor Emeritus
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 and Arts Midwest and Friends in Partnership with the National Endowment for the Arts.
General Information
University Musical Society Hill Auditorium Information
Coat Rooms
Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months.
Drinking Fountains Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies.
Handicapped Facilities All University of Michigan auditoria now have barrierfree entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at
313.764.2538.
Parking
Parking is available in the Thayer and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Public Telephones
A wheelchairaccessible public telephone is
located at the west side of the 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.
UMSMember Information Table A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. Volunteers and UMS staff can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children
We welcome children, but very young children can be disruptive to a performance. Children should be able to sit quietly in their own seats throughout a performance. Children unable to do so. along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction
Please turn off or suppress electronic beeping
and chiming digital watches or pagers during
performances.
Cameras and Recorders
Cameras and recording devices are strictly
prohibited in the auditoria.
Odds and Ends
A silent auditorium with an expectant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of program pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
University Musical Society
of the University of Michigan
Now concluding its 115th season, the University Musical Society is one of the oldest continuing performing arts presenters ranking with Carnegie Hall, Lincoln Center, Boston Celebrity Series, and the Washington Performing Arts Society at the Kennedy Center as among the finest presenters in the country.
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. This tradition continues today. The University Choral Union performs this beloved oratorio each December.
The Choral Union 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 the Musical Society's acclaimed tenconcert series in Hill Auditorium.
Through the acclaimed Choice Series, Chamber Arts Series, Choral Union Series, and the annual May Festival celebration, the Musical Society now hosts approximately 60 concerts each season of the world's most acclaimed dance companies, chamber ensembles, recitalists, symphony orchestras, opera, theater, popular attractions and presentations from diverse cultures.
The Musical Society has flourished these 115 years with the support of a generous musicand artsloving community, which has gathered in Hill and Rackham Auditoria and Power Center to experience the artistry of such outstanding talents as Leonard Bernstein, the Vienna Philharmonic Orchestra, Sweet Honey in the Rock, Enrico
Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, Betty Carter, Beaux Arts Trio, Alvin Ailey, Cecilia Bartoli, and the Chicago Symphony Orchestra.
In May of 1993, the Musical Society celebrated its 100th Ann Arbor May Festival with perfor?mances by the Metropolitan Opera Orchestra led by Maestro James Levine, Itzhak Perlman, Eartha Kitt, the Detroit Symphony Orchestra, the University Choral Union, and other artists.
Under the leadership of only five directors in its history, the Musical Society has built a reputa?tion of quality and tradition that is maintained and strengthened through educational endeavors, commissioning of new works, programs for young people, and collaborative projects.
While 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, corporate and private contribu?tions, and endowment income.
University Choral Union
One hundred fifteen years ago, a group of Ann Arbor church choir members met to sing choruses from Handel's Messiah. The singers called themselves the University Choral Union, and from their efforts the University Musical Society was created.
The University Choral Union remains best known for its annual performances of Messiah each December. This year, the Choral Union will enhance this tradition, adding performances with the Detroit Symphony Orchestra in Orchestra Hall as well. The chorus also has a new music director and conductor, Dr. Thomas Sheets.
The University Choral Union is open to all university and community singers by audition. Auditions are held throughout the concert season. In addition to Messiah, this year the University Choral Union joined the Detroit Symphony Orchestra in performances of Beethoven's Ninth Symphony, Tchaikovsky's incidental music from the Snow Maiden, and a program of "Great Opera Choruses" in Ann Arbor and Detroit. For audition information, call (313) 7638997.
Hill Auditorium
Completed in 1913, this renowned concert hall was inaugurated by the 20th Annual Ann Arbor May Festival and has since been home to thousands of Musical Society concerts, including the annual Choral Union series, throughout its distinguished 81 year history.
Former UM regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings, and, with his bequest of $200,000, construction of the 4,169seat hall commenced. Charles Sink, then UMS president, raised an additional $150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial Organ above the stage. UMS obtained this organ in 1894 from the Chicago Columbian Exposition and installed it in old University Hall (which stood behind the present Angell Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes of appearance, but were restored to their original stenciling, coloring, and layout in 1986.
Currently, Hill Auditorium is part of the UM's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
UNIVERSITY MUSICAL SOCIETY
The Orchestra of St. Luke's
Robert Spano, conductor Yo-Yo Ma, cello
Thursday Evening, May 12, 1994 at 8:00 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
Some Aspects of Peltoniemi Hintrik's Funeral March (1969)......AULIS SALLINEN
Marcia Funebre Variation I Variation II Intermezzo Variation III Variation IV Variation V
Symphony No. 6 in D minor. Op. 104........................................................SIBELIUS
Allegro molto moderato Allegretto moderato Poco vivace Allegro molto
INTERMISSION
Cello Concerto in B minor, Op. 104.............................................................DVORAK
Allegro
Adagio ma non tropo
Finale: Allegro moderato
Yo-Yo Ma, Cello
The University Musical Society extends a special note of gratitude to Mrs. Elizabeth Kennedy for her support of these May Festival Concerts.
The pre-concert carillon recital was performed by Judy Ogden. U-M Lecturer in Public Health Law.
Large print programs are available from an usher.
Fifty-sixth concert of the 115th season 101 st Annual Ann Arbor May Festival
Program Notes
Some Aspects of Peltoniemi Hintrik's Funeral March
{Marche Funebre with five Variations for String Orchestra)
Aulis Sallinen
Born in Salmi, Finland, on April 9, 1935.
Sallinen was a student of Merikanto and Kokkonen in his native Finland. He began composing with a free serial style, but as the 1960s progressed he found his individual voice in a fusion of tonal and atonal elements. Sallinen's great achievement lies in the vitality of his solution: the new and the old co-exist.
Notable among his output are Sallinen's operas -Ratsumies {The Horseman), and Punainen viiva {The Rod Line).
The present work's original form was for string quartet (No. 3, Op. 19), and was completed in 1969. Sallinen adapted the piece for string orchestra in 1981; yet he has asked that the opening remain with four solo instruments, with the orchestra joining later. The theme itself is an old Finnish folk tune that was not put into written form until the 1950s, and even its original tempo may have been very different. This music was composed with the young listener in mind, and hence the theme is never too hard to find. Sallinen's opposition of the utter tonality of the folk tune against harmonies that pull us away from that tonal center is remarkable. Particularly telling is the use of at-the-bridge bowing for an otherworldly effect of color.
The sections: Marcia Funebre Variation I -Variation II Intermezzo Variation III -Intermezzo Variation IV Variation V. The work lasts approximately 13 minutes.
Symphony No. 6 in D minor, Op. 104
Jean Sibelius
Born in Hameenlinna, Finland, on December 8, 1865. Died in Jarvenpaa, Finland, on September 20, 1957.
A mood of simplicity and serenity hovers about Sibelius' last two symphonies, and perhaps this has kept them from ever reaching the popularity of his earlier works. Yet they must be ranked among his most perfect creations.
This symphony's refined detachment is all the more remarkable when we review the hardships in the composer's life just prior to its conception. Sibelius underwent 14 major operations before a malignant tumor of the throat was removed; and had to give up smoking and drinking. The Bolsheviks came to Jarvenpaa (Sibelius' home), with the Germans in pursuit. Many of the composer's neighbors were murdered, and Sibelius was placed under house arrest. After Red Guards searched his house twice in February of 1918, Sibelius managed to get his family to Helsinki where his brother was senior physician at a mental hospital. The worst was yet to come: after Dr. Sibelius insulted the Communists, the hospital's rations were cut to nothing, and the composer lost 40 pounds in the fast that followed.
Yet, the Sixth Symphony was finished in February of 1923, and was first performed in Helsinki that year. It sometimes carries the subtitle "Dorian", as the use of the note B-natural gives its D minor harmonies a modal shading. Analysts have not had an easy time with this piece, with disagreement as to such essentials as whether the first movement is in sonata
form. At times it isn't clear just where an introduction has ended and an initial theme begun, since Sibelius' development follows a compelling organic logic of its own.
But understanding the symphony's formal structure is only a beginning; a participation in this symphony's world of feeling is essential. As Sibelius said of Beethoven: "I am affected as powerfully by the human side of the man as by his music. He is a revelation. A titan. Everything was against him, and yet he triumphed."
The movements: I Allegro molto moderato; II Allegretto moderato; III -Poco vivace: IV Allegro molto. The composition calls for 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 homs, 3 trumpets, timpani, harp, and strings. The playing time is approximately 24 minutes.
INTERMISSION
Concerto for Cello and Orchestra in B minor, Op. 104
Antonin Dvorak
Born in Miihlhausen, on September 8, 1841. Died in Prague, on May 1, 1904.
This glorious piece dates from the end of Dvorak's period of office as Director of the American National Conservatory of Music in New York (1892-95), and has virtually eclipsed all other cello concertos, even his own earlier effort of 1865, in popularity. Possibly the concert given in March 1894 at which Dvorak heard the premiere of Victor Herbert's Second Cello Concerto spurred the composition of this work; Dvorak praised it highly. The composer's friend Hans Wihan suggested that Dvorak write such a piece (Wihan
ultimately got the dedication), and Alwyn Schroeder of the Boston Symphony Orchestra offered advice on some of the solo passages and made some revisions in the finished part.
Brahms once said that Dvorak's leavings would keep other composers going for years, and though the concerto begins with what seems a long formal orchestral introduction, it has tunes to spare. In fact, some themes are used only once. Are we reading too much into the piece by detecting a great nostalgia for his homeland
The concerto was performed for the first time at a concert of the London Philharmonic Society at Queen's Hall on March 19, 1896 with the cellist Leo Stern under Dvorak's baton. The American premiere was with Schroeder and the Boston Symphony on December 19, 1896.
There is an intriguing quote in the central section of the second movement: Dvorak based this on his song "Leave Me Alone", Op. 82, written in 1887. This had been a particular favorite of his wife's sister, Josefina Kaunitzove, whose early death had caused the composer much grief. By way of contrast, the finale is rather bumptious, a sort of free rondo -but listen closely to Dvorak's masterly ending.
The movements are I Allegro; II Adagio ma non tropo; III Finale: Allegro moderate The running time is approxiamately 39 minutes. Dvorak calls for a fairly small orchestra of woodwinds in pairs, 2 trumpets, 3 horns, 3 trombones, tuba timpani, percussion, and strings.
Notes by Joseph Laibman
Orchestra of St. Luke's
The Orchestra of St. Luke's evolved from the St. Luke's Chamber Ensemble founded by Artistic Director Michael Feldman in 1974 at the historic Church of St. Luke-in-the-Fields, in New York's Greenwich Village. The Orchestra was first organized for the Caramoor Music Festival in the summer of 1979, with Ensemble members forming the Orchestra's core as principal chairs and section leaders. Since its inception, the Orchestra of St. Luke's has become one of the most highly visible and critically acclaimed ensembles in New York, recognized for its mastery of a diverse repertoire spanning the Baroque to contemporary periods.
Roger Norrington was appointed the Orchestra's first music director in March 1990 and led his inaugural concert in that position in December of 1990. Recent highlights of Maestro Norrington's collaboration with the Orchestra of St. Luke's include conducting a nationally televised gala concert celebrating the 200th birthday of Rossini and featuring several distinguished opera artists including Marilyn Home, Samuel Ramey, Frederica von Stade and Thomas Hampson; leading the world premieres of a flute concerto by Krzysztof Penderecki and a violin concerto by Nicholas Maw, performed by Jean-Pierre Rampal and Joshua Bell respectively; and completing a successful tour of the midwest United States. Last summer, Roger Norrington conducted the Orchestra in its debut at the Tanglewood Music Festival and, in December, at Boston's Symphony Hall.
The Orchestra achieved major recognition in 1984 for its performances in the Handel Opera and Bach festivals at Carnegie Hall, and for the world premiere of Andrew Lloyd Webber's Requiem, broadcast on PBS. During the next few years prominent engagements included the New York premiere of John Adams' opera
Nixon in China; the world premiere of John Adams' Fearful Symmetries, commissioned by St. Luke's; a concert version of Gershwin's Of Thee I SingLet 'Em Eat Cake at the Brooklyn Academy of Music; and the Broadway production of The Threepenny Opera. In subsequent seasons, the Orchestra appeared regularly at Carnegie Hall, both in its own series and as a special guest. As part of Carnegie Hall's Centennial Season, it appeared in concerts with Placido Domingo, Grace Bumbry and Robert Shaw. The Orchestra returns regularly for special concerts and events and appears each year with Robert Shaw as part of the Carnegie Hall choral project.
Next season, the Orchestra of St. Luke's will perform its four-concert subscription season at Carnegie Hall. The series features soloists Marilyn Home, Jon Kimura Parker, Alicia de Larrocha and James Morris, and conductors Andre Previn, Roger Norrington, Raymond Leppard, and Julius Rugel. In addition, the Orchestra will tour Europe and the U.S. in November of 1994 with the Chapelle Royale Choir, Philippe Herreweghe, conducting. In April of 1995, it will undertake a three-week, thirteen-city American tour with Andre Previn.
In addition to its subscription series, the Orchestra was heard this season at Avery Fisher Hall on Lincoln Center's "Great Singers in Recital" series. A concert with soprano Mirella Freni, bass Nicolai Ghiaurov and conductor Roberto Abbado opened the series in February. A gala performance by Jessye Norman and the Orchestra was telecast on PBS as a Live from Lincoln Center program. A recital by Dame Kiri Te Kanawa with conductor Juilius Rudel concluded this month.
The Orchestra made its debut on the nationally televised Live From Lincoln Center series in 1990 in a concert with Frederica von Stade, Samuel Ramey and
Jerry Hadley. It has also appeared on several PBS specials, including A Carnegie Hall Christmas with Andre Previn, Kathleen Battle, Frederica von Stade, and Wynton Marsalis. A recording and video of this concert has been released by Sony Classical. In October 1992, the Orchestra made its first international tour to Japan, performing with guest soloist and conductor Jaime Laredo.
The Orchestra's discography of over 50 recordings includes two Grammy-award winning releases from Nonesuch: John Adams' Nixon in China and Samuel Barber's Knoxville: Summer of 1915 with Dawn Upshaw. Also on Nonesuch are Adam's Fearful Symmetries and American Elegies. Musicmasters has released Kurt Weill's Lost in the Stars, conducted by Julius Rudel and the first five volumes of a major Stravinsky recording project conducted by Robert Craft. Other releases include Vivaldi's Four Seasons led by Nadja Salerno-Sonnnenberg on AngelEMI, The Bach Album with Kathleen Battle and Itzhak Perlman on Deutsche Grammophon, Handel's Water Music and Haydn symphonies conducted by Sir Charles Mackerras on Telarc, Beethoven's Eroica Symphony with Michael Tilson Thomas and Baroque Duet with Kathleen Battle and Wynton Marsalis both on Sony Classical. This past summer, Andre Previn and Alicia de Larrocha recorded Mozart's double piano concerto for RCA. Later this year, Deutsche Grammophon will release Andre Previn's Honey and Rue, a song cycle commissioned by Carnegie Hall and premiered and recorded by the Orchestra and Kathleen Battle.
This 101st May Festival marks the Orchestra of St. Luke's second appearance under UMS auspices.
Robert Spano
Conductor
Robert Spano concluded a three year appointment as Assistant Conductor of the Boston Symphony Orchestra at the end of the 1992-93 season. This 1993-94 season has included appearances with the Cleveland Orchestra, the Los Angeles Philharmonic, the National Symphony in Washington, D.C., the Zurich Tonhalle Orchestra, the Atlanta Symphony, the Dallas Symphony, the Rochester Philharmonic, the Orchestre National du Capitole du Toulouse, the Honolulu Symphony, the Orchestre de Quebec, the City of Taipei Symphony, and the Sydney Symphony in Australia.
He conducted his first subscription concert in Boston in February, 1991. The Boston Globe called it: "not another honorable assistant conductor concert; this was in a different league, the league of the real thing." In November of 1991 he made his Philadelphia Orchestra debut, substituting on short notice for the ailing Klaus Tennstedt. In that same year he made debut appearances with the Toronto Symphony, the Chicago Symphony Orchestra, the Baltimore and Columbus
Symphonies and the Opera Theater of Saint Louis where he was re-engaged to conduct Benjamin Britten's Billy Budd after critical acclaim for his 1992 performance of Britten's A Midsummer Night's Dream. He has also appeared with the Boston Lyric Opera, the Utah and New Jersey Symphonies, the Louisiana Philharmonic, and the Saint Louis Symphony.
Mr. Spano is a graduate of the Oberlin Conservatory where he studied conducting with Robert Baustian, as well as violin, piano, and composition. He continued his conducting studies at the Curtis Institute of Music with Max Rudolf. He remains on the faculty at Oberlin where he has been Music Director of the Opera Theater since 1989. He is also an accomplished pianist. He has performed as soloist with the Saint Louis Symphony and has partnered many of his Oberlin and Boston Symphony colleagues in chamber music concerts.
These performances mark Mr. Spano's UMS debut.
Yo-Yo Ma
Cello
Yo-Yo Ma gave his first public recital at age 5 and by the time he was 19 was being compared with such masters as Rostropovich and Casals. One of the most sought-after cellists of our time. Mr. Ma has appeared with eminent conductors and orchestras in all the music capitals of the world. He has also earned a distinguished international reputation as an ambassador for classical music and its vital role in society.
Highly acclaimed for his ensemble playing. Mr. Ma takes special pleasure in performing chamber music with a wide circle of colleagues. Over the past several seasons, he has joined Emanuel Ax. Isaac Stern and Jaime Laredo for performances and recordings of the piano quartet repertoire, including the complete works of Brahms and Faure. which are available on Sony Classical. During the 1993-94 season, these artists will again come together for concerts and a recording, featuring the two Mozart Piano Quartets. They will also tour in Europe for the first time as an ensemble in May of 1994. Mr. Ma's long-standing partnership with Emanuel Ax is one of the music world's most successful collaborations. Together they regularly perform duo-recitals and have produced many recordings, including the complete cello sonatas of Beethoven and Brahms as well as works of Britten. Rachmaninoff. Prokofiev, and Strauss. In addition to appearing with Mr. Ax during the 1993-94 season. Mr. Ma also gives recitals with three other favorite collaborators, pianists Jeffrey Kahane. Peter Serkin and Kathryn Stott.
An exclusive Sony Classical recording artist. Yo-Yo Ma is an eight-time Grammy award winner. He earned two of these Grammies in 1993. for his recording of the Brahms Cello Sonatas with Mr. Ax and his coupling of Prokofiev's Sinfonia Concertante and Tchaikovsky's Rococo Variations with the Pittsburgh Symphony under Lorin
Maazel. His latest release is an all-American album, featuring the Ives Piano Trio and works by Bernstein, Kirchner and Gershwin. His other recent projects in the studio have included a program of string quintets, with Mr. Stern, Cho-Liang Lin, Mr. Laredo, Michael Tree and Sharon Robinson; an album of clarinet trios by Beethoven, Brahms and Mozart with Mr. Ax and Richard Stoltzman; and a disc of three works with orchestra -Stephen Albert's recent Concerto, Bartok's Viola Concerto and Bloch's Schelomo -with the Baltimore Symphony led by David Zinman.
Contemporary music, particularly by American composers, has for many years been an important part of Mr. Ma's repertoire. In recent season, he has premiered works by William Bolcom, Ezra Laderman. David Diamond, Peter Lieberson, Tod Machover, Stephen Albert and Leon Kirchner. many of which have been written for him and with his active participation in their creation. During the 1992-93 season, he gave the world premiere of the Kirchner Cello Concerto with the Philadelphia Orchestra, and at Tanglewood gave the American premiere of Lieberson s King Gesar. which was also recorded, with a
chamber ensemble including Emanuel Ax and Peter Serkin. Mr. Ma's plans for 1993-94 have included premieres of concertos by John Harbison, with the Boston Symphony under Seiji Ozawa, and Christopher Rouse, with the Los Angeles Philharmonic under David Zinman. His future commissions will include works by Richard Danielpour and Ivan Tcherepnin.
Additional highlights of Yo-Yo Ma's schedule for 1993-94 have included concerts with the Chicago Symphony, the Houston Symphony, the Montreal Symphony, the Leipzig Gewandhaus Orchestra, the London Philharmonic and the Orchestre National de Paris. Last September, he gave two performances at the Berlin Festival: an unaccompanied Bach program and a piano trio concert with Peter Serkin and Pamela Frank. This past December he traveled to Prague for a televised, all-Dvorak gala concert with Itzhak Perlman, Frederica von Stade, Seiji Ozawa and the Boston Symphony.
Alongside his extensive performing and recording. Yo-Yo Ma devotes time each season to work with young musicians. He seeks to include educational outreach activities in his touring schedule, through both master classes and more informal interaction with
student audiences. He also spends part of every summer at Tanglewood, where in addition to playing with the Boston Symphony and in chamber ensembles, he works closely with students at the Tanglewood Music Center. His experiences at Tanglewood during the summer of 1989, as both teacher and performer, were chronicled in a documentary seen on the Arts & Entertainment Network and BBC Television, now available on laser disc and video cassette from Sony.
Bom in Paris in 1955 of Chinese parents, Yo-Yo Ma began his cello studies with his father at age 4. Later, he studied with Janos Scholz and in 1962 he began his studies with Leonard Rose at The Juilliard School. A graduate of Harvard University, he was accorded by his alma mater the special distinction of an honorary doctorate in music in 1991. Mr. Ma and his wife, Jill, have two children, Nicholas and Emily.
He currently plays a Montagnana cello from Venice made in 1733 and a Davidoff Stradivarius made in 1712.
Tonight marks Yo-Yo Ma's seventh UMS performance.
The Orchestra of St. Luke's
Roger Norrington, Music Director Michael Feldman. Artistic Director
Violin
Kiista Bennion Feeney Mayuki Fukuhara Mitsuru Tsubota Robin Bushman Karl Kawahara Anca Nicolau FJIen Payne Marilyn Reynolds Robert Shaw Susan Shumway Mineko Yajima Adam Abeshouse Chrisoph Franzgrotc Aloysia Friedmann Hanne-Beril Hahnemann Hong-Ying Ho Naomi Katz Frilz Krakowtki Rebecca Muh" Sara Parkins Laura Sealon Leonid Yanovsky
Viola
Louise Schulman Ronald Carbone David Cerulti Stephanie Fricker Ronald Lawrence Eufrosina Raileanu Ann Roggen Liuh-Wen Ting
Cello
Myron Lutzke
Rosalyn Clarke
Dairc Fitzgerald
Karl Bennion
Lorctta O'Sullivan
UiIzRath
Bass
John Feeney Lewis Pacr Mclanie Punier John Carbone Anthony Falanga
Flute
Elizabeth Mann Sheryl Henze
Oboe
Melanie Feld Richard Dallessio
Clarinet
William Blount Gerhardt Koch Laura Flax
Bassoon
Dennis Godbum Thomas Sefcovic
Horn
William Purvis Daniel Grabois Scon Temple David Wakcfield
Trumpet Chris Gekker Carl Albach Susan Radcliff
Trombone Michael Powell Michael Hosford John Rojak
Tuba Marcus Rojas
Timpani Maya Gunji
Percussion Barry Centanni
Harp
Slacy Shames
Organ
James David Christie
'Member of Si. Lukes Chamber Ensemble
Louise Schulman Associate Music Director
Jeffery Cotton
Composer-in-Residence
St. Luke's Chamber Ensemble
UNIVERSITY MUSICAL SOCIETY
The Orchestra of St. Luke's
Robert Spano, conductor University Choral Union Thomas Sheets, director
Christiane Oelze, soprano Richard Clement, tenor Susanne Mentzer, mezzo-soprano James Patterson, bass
Friday Evening, May 13, 1994 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Works of Wolfgang Amadeus Mozart PROGRAM
Divertimento in D Major, No. 2, K. 131
for Flute, Oboe, Bassoon, Four Horns, and Strings
[Allegro]
Adagio
Menuetto
Allegretto
Menuetto
Adagio; Allegro molto
INTERMISSION
Mass in C minor, K. 427
I. Kyrie
II. Gloria
Gloria
Laudamus te
Gratias
Domine
Qui tollis
Quoniam
Jesu Christe
Cum Sancto Spiritu
III. Credo
Credo
Et incarnatus est
IV. Sanctus
V. Benedictus
The University Musical Society extends a special note of gratitude to Mrs. Elizabeth Kennedy
for her support of these May Festival Concerts. The pre-concert carillon recital was performed by Erven Thoma, a U-M Physics Dept. staff member.
Large print programs are available from an usher.
Fifty-seventh concert of the 115th season
101st Annual Ann Arbor May Festival
Program Notes
Divertimento in D Major, No. 2, K. 131
Wolfgang Amadeus Mozart
Born in Salzburg on January 27, 1756. Died in Vienna on December 5, 1791.
In Mozart's day, Muzak? did not exist. Instead, the upper classes and well-to-do private citizens of Europe commissioned their own background music. The thirty-odd Divertimenti, Serenades, and Cassations by Mozart are examples. These multi-movement works were usually written for some specific social occasion such as a garden party, a wedding celebration, a reception, or a banquet. The musicians played while people moved about, talked, ate, and drank. It was considered "wallpaper music" and usually earned little notice.
Some of Mozart's compositions for social functions are appropriately bland, though they always show impeccable technique. Others, on the other hand, could easily have drawn the attention of their first hearers, for they are distinctive and artistically attractive. The Divertimento in D, written in June 1772, is such a work. One feature that immediately captures the ear is the concertante (soloistic) use of woodwinds and horns, in contrast with the string orchestra. This divertimento is a blend of symphonic and concerto forms, involving a flute, oboe, and bassoon, and no fewer than four horns--rare in Mozart's day.
This festive instrumentation is effectively displayed in the three Trios to the first Menuetto. The first of these features the horns, the second the woodwinds, and in the third both groups play in dialogue. Just before the Menuetto's close, the concertante instruments insert one
further comment. The surrounding movements are complementary. The "Adagio" features a long violin cantilena, the instrumental counterpart to an operatic aria. The "Allegretto" is a witty march in the best serenading tradition. In the final movement, Mozart devotes a slow introduction entirely to the concertante instruments by themselves, and they appear again just before the unexpected "street song" tune (Alfred Einstein calls it) of the final "Allegro assai."
Notes by Dr. Michael Fink
INTERMISSION
Mass in C minor, K. 427
In 1782 Mozart was in Vienna, eager for an opportunity to serve his Emperor and country. Ignored and neglected by both,1 he wrote serenades, piano concerti, sonatas, and other incidental works. Discouraged with the lack of opportunity afforded him in his own country, and hurt by his Emperor's neglect, he addressed the following letter to his father, August 17, 1782:
.. .In regard to Gluck, my ideas are precisely the same as yours, my dearest father. But I should like to add something. The Viennese gentry, and in particular the Emperor, must not imagine that I am on this earth solely for the sake of Vienna. There is no monarch in the world whom I should be more glad to serve than the Emperor, but I refuse to beg for any post. I believe that I am capable of doing credit to any court. If Germany, my beloved fatherland, of which, as you know, I am proud, will not accept me, then in God's name let France of England become the richer by another talented German, to the disgrace of the German nation. You know well that it is the Germans who have always excelled in almost all the arts. But where did they make their fortune and reputation Certainly not in Germany! Take
1. Although the Emperor had named him chamber composer, he gave him no commissions to write either for the palace chapel or St. Stephen's Cathedral.
even the case of Gluck. Has Germany made him the great man he is Alas no! Countess Thun, Count Zichy, Baron von Swieten, even Prince Kaunitz, are all very much displeased with the Emperor, because he does not value men of talent more, and allows them to leave his dominions. . .1 cannot afford to wait indefinitely, and indeed 1 refuse to remain hanging on here at their mercy. . .
In this mood of discouragement and hurt, he began the composition of the C-minor Mass. It was not because he was commissioned to do so, or that he had any official connection with a church that he turned to this work; it was the fulfillment of a vow he made to his betrothed, Constanze Weber, that brought it into being. He had promised her before their marriage, that when she became his wife and they had returned to Salzburg, he would have a newly composed Mass performed for her. They were married, however, before the Mass was completed. The inception of the work came then not from an outside stimulus, but form an inner need and a sense of moral obligation. In a letter of January 4, 1783, he wrote to his father:
It is quite true about my moral obligation and indeed I let the word flow from my pen on purpose. I made the promise in my heart of hearts and hope to be able to keep it. When I made it, my wife was not yet married; yet, as I was absolutely determined to marry her after her recovery, it was easy for me to make it -but, as you yourself are aware, time and other circumstances made our journey impossible. The score of half a mass, which is still lying here waiting to be finished, is the best proof that I really made the promise.
When Mozart returned to Salzburg with his new wife at the end of July, 1783, he brought with him for performance, the parts he had completed.2 On August 25, the Mass
was performed in St. Peterskirche. Constanze, it is believed, sang the soprano solos. It is assumed that for this occasion, Mozart borrowed the missing parts from one or more of his fifteen previously composed masses. Einstein wrote:
For its unfinished state, several reasons can be advanced. It owed its origin to a solemn vow by Mozart that he would write a mass when he had led his Constanze to the altar -and Mozart already had his Constanze. It was composed at a time when Mozart was beginning to take an interest in Freemasonry; and at a time of crisis in Mozart's creative activity -the years between 1782 and 1784. At no other time did fragments accumulate to such an extent -beginnings of fugues and fugati, and of other contrapuntal experiments.3
This "time of crisis" was brought about when Mozart under the influence of Baron von Swieten4 began to study the scores of Bach and Handel and to experiment in contrapuntal and fugal writing. In a letter to his father, April 10, 1782, he writes:
I have said nothing to you about the rumour you mention of my being certainly taken into the Emperor's service, because I myself know nothing about it. It is true that here too the whole town is ringing with it and that a number of people have already congratulated me. I am quite ready to believe that it has been discussed with the Emperor and that perhaps he is contemplating it. But up to this moment I have no definite information....A propos, I have been intending to ask you, when you return the rondo, to enclose with it Handel's six fugues and Eberlin's toccatas and fugues. I go every Sunday at twelve o' clock to Baron von Swieten, where nothing is played but Handel and Bach. I am collecting at the moment the fugues of Bach --not only of Sebastian, but also of Emanuel and Friedemann. I am also collecting Handel's and should like to have the six I mentioned.
2. In the original Mozart score, only ihe Kyrie, Gloria, Sanctus and Benedictus were completed; these are auihentic down to the smallest detail. Only two parts of the Credo were sketched out -the first section ending with the words descendil de coelis and the El incarnams est. In 1840, J.A. Andrt prepared an edition in which he reamined close to the original work. In 1901, Alois Schmitt published another which he had reconstructed for the Mozartvercin of Dresden. He filled in the gaps of the Credo from other Mozart masses, and for the Agnus Dei (omitted by Mozart) he brought back the music of the opening Kyrie. The Agnus Dei is omitted from tonight's performance.
3. Einstein, op. cit., p. 30.
4. To this Director of the Imperial Court Library in Vienna we owe Haydn's Creation and Seasons. It was through him also that Beethoven became familiar with the oratorios of Handel. Beethoven dedicated the Fifth Symphony to von Swieten.
The music of Bach absorbed Mozart's interest throughout 1782, and in the unfinished C minor Mass, the first major work written as a direct result of his studies, is to be found the most eloquent traces of its influence.5 Mozart's sudden discovery and intense interest in the polyphonic heritage of Baroque Germany caused him great mental and spiritual concern. He had by temperament, taste, and training followed the rococo "gallant" manner of his great Italian predecessors, Alessandro Scarlatti, Caldara, Porpora, Durante, and others. Now aware of the superhuman grandeur of the contrapuntal Baroque masters, and shaken by his contact with Bach, he had temporary misgivings about his own style. Out of this conflict, however, came a synthesis in which he more or less reconciled the stylistic dualism of his period. Just as he had harmonized in Don Giovanni the "opera seria" and "opera buffa," so in the C-minor Mass he reconciled the conflicting idioms and transformed the musical language of his century. In the Kyrie, Gratias, and especially in the incredibly beautiful Qui tollis with its eight-part double chorus, in the extended fugue of the Cum sanctu spiritu, in the vast form of the Sanctus and in the ecstatic double fugue of the Osanna, Bach's spirit is felt. But behind them all is the transparence and charm of the Italian style. The brilliant Gloria contains a reference to Handel's "Hallelujah" chorus on the words in excelsis, and is, in general, written in the broad Handelian idiom. The very essence of the Neopolitan operatic aria, however, is to be heard in the mezzo-soprano solo Laudamus te, with its long ornate vocal runs, and in the soprano aria Et incarnatus est with is siciliano6 rhythm and extreme bravura vocal cadenza.
To the purist, these passages indicate a lack of religious sincerity in Mozart -a degradation of ecclesiastical composition and a vulgar mixture of styles. A large part of the church music of the seventeenthand eighteenth-centuries was thus censured and condemned by nineteenth-century critics. Pergolesi's Stabat Mater, the masses, litanies, and motets of the Italians, as well as the religious works of Haydn and Mozart, were considered to be inappropriate and unliturgical.7 Absence of austerity was taken for lack of respect, by these critics who in their incredible seriousness failed to sense the childlike piety, the humanity and directness of these works, or to realize that these artist were writing in the style and reflecting the taste of their period. They failed to recognize that in such artists, religious feeling and artistic impulse were one and the same thing. If music like Mozart's C minor Mass, Pergolesi's Stabat Mater and Haydn's Creation are to be excluded from the church, then, as Einstein points out, so should the circular panels of Botticelli depicting the Infant Christ surrounded by Florentine angels:
This work is his entirely personal coming to terms with God and with his art, with what he conceived to be true church music. It has rightly been said that his torso is the only work that stands between the B minor Mass of Bach and the D Major Mass of Beethoven. The name of Bach is not used here thoughtlessly for if it had not been for the crisis that the acquaintance with Bach caused in Mozart's creative career, and the surmounting of this crisis, the C minor Mass would never have taken the shape it did.
Notes by Glenn McGeoch
5. Mozart had previously made attempts at writing in the so-called "strict" or "learned" style: 1765, a short four-pan chorus (K. 20); 1766, the final figure of the Galimalhius Musicum (K. 32); 1767, fugues for clavier (lost); 1769, Cassation in G major (K. 63); 1776, studies with Padre Martini in Bologna.
6. A seventeenth-and eighteenth-century dance type of Sicilian origin in moderate 68 or 128 meter, with a flowing dotted rhythm melody. It is often found in the slow instrumental movements of Corelli, Bach, and Padre Martini (Mozart's teacher) and in the pastorale scenes from opera of the time.
7. The mixture of the "galanl" and "learned" styles, as evidenced in such works as Pergolesi's Slabat Mater remained a guiding principle for the entire eighteenth-century, especially in church music.
I. KYRIE
Kyrie eleison Christ eleison. Kyrie eleison.
II. GLORIA
Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Laudamus te
Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.
Gratias
Gratias agimus tibi propter magnam gloriam tuam.
Domine
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite Jesu Christe,
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis
Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, Miserere nobis.
Quoniam
Quoniam tu solus Sanctus, tu solus
Dominus,
tu solus, Altissimus.
Jesu Christe Jesu Christe
I. KYRIE
Lord, have mercy upon us. Christ have mercy upon us. Lord have mercy upon us.
II. GLORIA
Glory be to God on high,
and in earth peace, good will towards men.
Laudamus te
We praise Thee. We bless Thee. We worship Thee. We glorify Thee.
Gratias
We give thanks to Thee for Thy great glory.
Domine
O lord God, heavenly King,
God the Father Almighty;
the only begotten Son, Jesus Christ,
Lord God, Lamb of God, Son of the Father.
Qui tollis
Thou that takest away the sins of the world, have mercy upon us.
Thou that takest away the sins of the world, receive our prayer.
Thou that sittest at the right hand of God the Father, have mercy upon us.
Quoniam
For Thou only art holy; Thou only art the
Lord;
Thou only art most high.
Jesu Christe Jesus Christ.
Cum Sancto Spiritu
Cum Sancto Spiritu in gloria Dei Patris, amen.
III. CREDO
Credo in unum Deum, Patrem omnipotentem, factorum coeli et terrae, visibilium omnium et invisibilium.
Credo, et in unum Dominum, Jesum
Christum, Filium,
Filium Dei unigenitum,
et ex Patre natum ante omnia saecula,
Deum de Deo, lumen de lumine,
Deum verum de Deo vero, genitum, non
factum,
consubstantialem Patri, per quern omnia
facta sunt.
Credo, qui propter nos homines et propter nostram salutem descendit de coelis.
Et incarnatus est
Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est.
IV. SANCTUS
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.
V. BENEDICTUS
Benedictus qui venit in nomine Domini. Osanna in excelsis.
Cum Sancto Spiritu
With the Holy Ghost in the glory of God the Father, Amen.
III. CREDO
I believe in one God, the Father Almighty, Maker of heaven and earth, and of all things
visible and invisible.
I believe in one Lord, Jesus Christ,
the only begotten of His Father before all
worlds,
God of God, Light of Light,
very God of very God, begotten, not made,
being of one substance with the Father, by
whom all things were made.
Who for us men, and for our salvation, came down from heaven.
Et incarnatus est
And was incarnate be the Holy Ghost of the Virgin Mary, and was made man.
IV. SANCTUS
Holy, Holy, Holy,
Lord God of Sabaoth!
Heaven and earth are full of Thy glory.
Hosanna in the highest.
V. BENEDICTUS
Blessed is He who cometh in the name of the
Lord.
Hosanna in the highest.
Christiane Oelze
Soprano
A native of Cologne, Germany, Christiane Oelze attended the Musikhochschule in her native city, where she had the opportunity to participate in master classes held by Elisabeth Schwarzkopf, Mitsuko Shirai and Hartmut Holl, which gave her a strong foundation in oratorio and in the lieder literature. Christiane Oelze has won several lieder competitions since, including the Hugo Wolf Competition in 1987. Soon afterwards invitations to a number of international festivals began to appear: Schleswig-Holstein, Bodensee, Wurzburger Mozartfest, Schubertiade Hohenems and the Berlin Festwochen, as well as tours to Japan, South America and the USA.
Her concert work brought her collaborations with many of the important conductors of our time, among them Sir Colin Davis, Sir Neville Marriner, Vaclav Neumann, Frans Briiggen, Helmuth Rilling. Roger Norrington, Horst Stein and Christoph Eschenbach.
Miss Oelze's operatic career has developed very quickly. She made her operatic debut in 1990 as Euridice in Oifeo ed Euridice (with Jochen Kawalski) at the Komische Oper Berlin in a production by Harry Kupfer, and later in the same year she appeared as Despina in Cosifan tutte at the National Arts Centre in Ottawa. A highlight in the summer of 1991 was her debut in the role of Constanze in Die Entfuhrung a us dem Serail at the Salzburg Festival in the SchaafStein production. She later repeated this role in Zurich under the baton of Nikolaus Harnoncourt. She sang her first
Pamina to great acclaim in Leipzig under the baton of Yehudi Menuhin.
Her recordings to date include a Webern cycle with the Ensemble Intercontemporain and Pierre Boulez for DG, a lieder recording and Handel's Jeptha for Berlin Classics, Mozart's C minor Mass for Harmonia Mundi, Ulmann's Kaiser von Atlanta for Decca, and Mozart concert arias for EMI.
Tonight's performance marks Ms. Oelze's UMS debut.
116th Annual
Choral Union Series
The Philadelphia Orchestra
Wolfgang Sawallisch, conductor Frederica von Stade, mezzo-soprano Oslo Philharmonic
Marissjansons, conductor
Yefim Bronfman, piano Jean-Pierre Rampal, flute The Cleveland Orchestra
Christoph von Dohnnyi, conductor Anne-Sophie Mutter, violin Warsaw Sinfonia
Krzysztof Penderecki, conductor
Allison Eldredge, cello Maurizio Pollini, piano Royal Concertgebouw Orchestra of
Amsterdam
Riccardo Chailly, conductor Detroit Symphony Orchestra
Jerzy Semkov, conductor
UMS Choral Union
Thomas Sheets, music director Special Concert! The Cleveland Orchestra
Christoph von Dohnanyi, conductor
Emanuel Ax, piano
32nd Annual
Chamber Arts Series
Guarneri String Quartet
Uptown String Quartet
Academy of St. Martin-in-the-Fields
Iona Brown, conductor and violin
featuring Vivaldi's The Four Seasons Chamber Music with Members of
The Cleveland Orchestra Freiburger Barockorchester Hagen String Quartet Berlin Philharmonic Woodwind Quintet Cleveland String Quartet
Giora Feidman, clarinet
Emanuel Ax
Choice Events
Chick Corea Quartet
Michael Nyman Band
The Martha Graham Dance Company
Whirling Dervishes of Turkey
A Celebration of the Spiritual
Dr. Jester Hairston, conductor
UMS Choral Union Tnuatron Dance Troupe Ute Lemper, vocalist Roberto Aussel, guitar Handel's Messiah Sweet Honey in the Rock The Complete Chopin Piano Cycle,
Parti
Garrick Ohlsson, piano Ruth Brown, blues vocalist Spiritual Ensemble of Harlem The Romeros, guitar family Noa and Gil Dor Kodo Drummers New York City Opera National
Company
Rossini's The Barber oj Seville Lincoln Center Jazz Orchestra Bill T. JonesArnie Zane
Dance Co, StillHere Anonymous 4, vocal quartet Julian Bream, guitar
The Shaw festival
The 2nd Annual UMS Theatre Residency Arms and the Man The Front Page
The Philadelphia Orchestra
Anne-Sophie Mutter
Bill T. JonesArnie Zane Dance Co.
313.764.2538
University Musical Society
of the University of Michigan, Burton Memorial Tower Ann Arbor, MI 48109-1270
All Series On Sale Now! Renewals Due June 3.
Susanne Mentzer
Mezzo-soprano
Susanne Mentzer is today an international star who appears regularly at any of the following opera houses -the Metropolitan, the Chicago Lyric Opera, Milan's La Scala, London's Covent Garden, the Vienna State Opera, the Paris Opera, the San Francisco Opera, the Canadian Opera, in addition to Barcelona's Liceo, and the companies of Washington, Bonn, Cologne, Dallas, Houston, Munich, and San Diego. She is also a frequent guest at such festivals as the Salzburg Festival, the Rossini Festival in Pesaro, the Santa Fe Opera, Tanglewood, Ravinia, and various Mostly Mozart Festivals, including that of New York's Lincoln Center.
Ms. Mentzer has collaborated with the majority of today's celebrated conductors including James Levine, Riccardo Muti, Neville Marriner, Wolfgang Sawallisch, Pierre Boulez, Daniel Barenboim, Kurt Masur, Sir Georg Solti, Sir Colin Davis, Zubin Mehta, Kent Nagano, Jeffrey Tate, Giuseppe Sinopoli, Bernard Haitink, Michel Plasson, Giinther Herbig, Richard Bonynge, John Nelson and Seiji Ozawa. She has also worked with several of the most acclaimed stage directors, including the late Jean Pierre Ponnelle, Luc Bondy and Giogio Strehler.
This past season, Ms. Mentzer has been seen in such roles as Dulcinee in Don Quichotte at the Chicago Lyric Opera (opposite Samuel Ramey), both Rosina and Cherubino at the Metropolitan Opera, Octavian at the Hamburg Opera, Adalgisa in Seattle. Among her many other concert appearances, Ms. Mentzer performed Berg's Seven Early Songs with the Vienna Philharmonic.
On recording, Ms. Mentzer can be heard as Jane Seymour (opposite Joan Sutherland), Zerlina in Don Giovanni (conducted by Muti), and Rosina in Barbiere di Siviglia.
Born in Philadelphia, she studied at New York's Juilliard School of Music.
Tonight's performance marks Ms. Mentzer's second UMS appearance
Richard Clement
Tenor
For Richard Clement, the 1993-94 performance season has held a rich and exciting variety of musical experiences. Operatic engagements have included Bruno in the Naples version of Bellini's Puritani with Boston Lyric Opera and Don Ottavio in Don Giovanni with Vancouver Opera. His orchestral engagements have included performances of the Mozart Requiem with the Long Island Philharmonic and Marin Alsop, Handel's Messiah with Robert Shaw and the Atlanta Symphony and Britten's War Requiem in New York's Carnegie Hall with the Orchestra of St. Luke's, also with Robert Shaw.
Last summer Mr. Clement sang the role of Tamino in Die Zauberflote with the Opera Festival of New Jersey. In the 1992-93 season he appeared in the title role of Britten's Albert Herring with the Atlanta Opera, and sang Brighella in Ariadne auf Naxos with Houston Grand Opera, Lockwood in Carlisle Floyd's Wuthering Heights with Boston Lyric Opera Company (directed by the composer) and the roles of Ariel and Pater Extaticus in Schumann's Scenes from Goethe's Faust with the Cincinnati Symphony and Jesus Lopez-Cobos. In the summer of 1992 Mr. Clement returned to the Tanglewood Festival for a performance of Rossini's Petite Messe Solennelle.
Other past engagements include Bach's B minor Mass with the Atlanta Symphony and Robert Shaw (recorded for Telarc), several appearances with the Boston Symphony and Seiji Ozawa, including Tchaikovsky's Pique Dame (recently released on BMG Classics), appearances
with the Cincinnati Symphony, including the Mozart Requiem with Jesus Lopez. Cobos conducting and Bruckner's Tota pulchra es with James Conlon conducting, Bach's Magnificat with the Atlanta Bach Society, both Handel's Messiah and Bach's St. John Passion with the Pittsburgh Bach Choir and Bach's St. Matthew Passion and the Mozart Requiem with the Cincinnati Philharmonic Orchestra.
Richard Clement studied voice at Georgia State University and at the Cincinnati Conservatory, where he received his Master of Music degree. He was a Tanglewood Music Festival Fellow in the summers of 1990 and 1991, and a member of the Houston Grand Opera Studio during the 1991-92 season.
Tonight'sperformance marks Mr. Clement's UMS debut.
James Patterson
Bass
A native of Toronto, James Patterson is widely recognized as one of North America's most brilliant operatic basses. Highlights of the 1993-94 season include his return to the Canadian Opera Company for performances in Carmen, Ramfis in Aida with the Greensboro Opera, and Balthazar in Amahl and the Night Visitors with the Atlanta Opera. His concert appearances will include Beethoven's Ninth Symphony with the Seattle Symphony.
In the 1992-93 season Mr. Patterson returned to Canadian Opera for performances as Le Bailli in Werther and made his debut with De Nederlandse Opera as the Doctor in Birtwistle's Punch and Judy. He also appeared with Opera Hamilton as Alidoro in La Cenerentola and with Michigan Opera Theatre as Colline in La Boheme and the King in Aida.
Other opera performances include Sarastro in Mozart's Die Zauberflote (Opera Lyra, Ottawa), Nettuno in Monteverdi's Ritorno d' Ulisse in Patria (San Francisco Opera), Commendatore in Don Giovanni, Basilio in Barbiere di Siviglia, and Lodovico in Otello. In the 1988-89 and 1989--90 season, Mr. Patterson was seen as the Commendatore in the Peter Sellers production of Don Giovanni in Paris and on videotape (Plaza Media) in Vienna.
The San Francisco Opera has been James Patterson's home company since he joined the Merola program in 1981 and became an Adler Fellow with the company shortly thereafter. With Western Opera Theatre, the touring wing of the San Francisco Opera, he toured the U.S. as Sparafucile in Rigoletto. He made his San Francisco Opera debut in La Boheme. He has been heard there in many roles since,
including Auniga in Aida, Trulove in The Rake's Progress, The Old Convict in Lady Macbeth, and Fafner in the celebrated 1985 production of Wagner's Ring, as well as roles in Lear, Der Rosenkavalier, Werther and Un Ballo in Maschera.
Mr. Patterson is also acclaimed as a soloist with orchestra, and has appeared in the Verdi Requiem and the Bach St. Matthew Passion with Robert Shaw; as Hunding in Act I of Die Walkure with the Montreal Symphony under Edo de Waart; as well as with the Minnesota Orchestra, the Pacific Symphony and the San Jose Symphony.
James Patterson received both his baccalaureate and Master's Degrees from the University of Michigan.
Tonight'sperformance marks Mr. Patterson's VMS debut.
Thomas Sheets
Director, University Choral Union
An accomplished and versatile conductor whose achievements in community chorus leadership, academic instruction, and opera place him in the forefront of all areas of choral artistry, Thomas Sheets was appointed Music Director of the University Choral Union in 1993. He is the tenth conductor to hold this position in the ensemble's 115-year history. Since this past September, he has prepared the Choral Union for last month's Opera Choruses concert, performances of Beethoven's Symphony No. 9, and a recording of Tchaikovsky's The Snow Maiden all with the Detroit Symphony Orchestra under the direction of Neemi Jarvi, as well as preparing and conducting his first Ann Arbor performance of Handel's Messiah for the University Musical Society.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California
choruses,
the William Hall Chorale and the Master Chorale of Orange County, both conducted by his mentor, the distinguished choral conductor William Hall. During that time, he assisted in preparing all the choral orchestral works in the current repertoire, in some instances for performances led by Robert Shaw, Jorge Mester, Joann Faletta, and Michael Tilson-Thomas. In 1988, he served as chorusmaster for Long Beach Opera's highly-acclaimed American premiere of
Szymanowski's King Roger, where his efforts on behalf of the chorus received accolades from critics on four continents. He was engaged in the same role in 1992 for that company's avant-garde staging of Simon Boccanegra, where the chorus again received singular plaudits.
Thomas Sheets received the degree Doctor of Musical Arts from the University of Eichenberger; he has also studied voice with Michael Sells, Jonathan Mack, and Thomas Cleveland. Dr. Sheets has held appointments as Director of Choral Activities at several colleges and universities, and is a frequent conference leader and clinician. His editions of choral music are published by Augsburg-Fortess, and he is the author of articles on choral music performance.
University Musical Society
Choral Union
The University Choral Union has performed throughout its 115-year history with many of the world's distinguished orchestras and conductors.
In recent years, the chorus has sung under the direction of Kurt Masur, Eugene Ormandy, Robert Shaw, Neeme Jarvi, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa and David Zinman in performances with the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Detroit Symphony Orchestra and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society, the University Choral Union remains best known for its annual performances of Handel's Messiah each December. This year, the Choral Union has further enriched that tradition through its appointment as resident large chorus of the Detroit Symphony Orchestra. In addition, the Choral Union recently collaborated with Maestro Jarvi and the DSO in the chorus' first major commercial recording, Tchaikovsky's Snow Maiden, scheduled for release by Chandos Records early next fall.
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. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
UNIVERSITY MUSICAL SOCIETY
May Festival Dinner
Saturday Evening, May 14, 1994 at 6:00 Horace C. Rackham Building, Ann Arbor, Michigan
This elegant dinner, served in the Reading Room of the magnificent Rackham
Building, is a very special event commemorating the second century of May
Festivals. At the Maestro level, the evening begins with a Presidents' Reception on
the Hill Auditorium stage. Then, all join together for a cocktail party in the Rackham
lobby. Dinner follows and all May Festival Dinner guests receive a special memento
with special thanks to Ford Audio and Sony Classical.
Cabaret Ball
Saturday Evening, May 14, 1994 at 8:30 Michigan League, Ann Arbor, Michigan
An Evening of Celebration
FEATURING
Julie Wilson in the Lydia Mendelssohn Theatre
The Jimmy Dorsey Orchestra with Jim Miller in the Ballroom
The Michele Ramo Jazz Quartet in the Vandenberg Room
Motor City Beat in the Hussey Room John Utterback, harpsichordist, in the Kalamazoo Room
An evening of entertainment, dancing, and socializing bring
the 101st May Festival to its close. Throughout the evening guests
may move from room to room to partake in the many different sights
and sounds of the Cabaret Ball.
Saturday Events Chair: Maya Savarino May Festival Committee Chair: Janice Stevens Botsford
Committee:
Gregg Alf, Milli Baranowski, Jeannine Buchanan, Letitia Byrd, Betty Byrne, Peter de Loef, Don Faber,
Margo Halsted, Lorna Hildebrandt, Kathleen Hill, Chen Oi Chin Hsieh, JoAnne Hulce,
Alice Davis Irani, Perry Irish, Frances Jelinel, Heidi Kerst, Leah Kileny, Nat Lacy.
Kathleen Maly, Charlotte McGeoch, Clyde Metzger, Janet Shatusky. Aliza Shevrin,
Ellen Stross, James Telfer, Jerry Weidenbach, Shelly Williams.
101 st Annual Ann Arbor May Festival
Julie Wilson
Last seen on Broadway in the Peter Allen musical Legs Diamond, Ms. Wilson is currently performing at Michael's Pub in New York. She returned to the New York theatre after a 15-year absence when she appeared at the Kaufman Theatre in From Weill to Sondheim. She made her Broadway debut in the chorus of Three to Make Ready, which was followed by starring as Bianca in Kiss Me Kate on Broadway, in London and in the national tour. Then came another starring role, both on Broadway and on tour -that of Lalume in Kismet. Miss Wilson turned down the initial offer to play the lead in The Pajama Game, but eventually went into the part on Broadway, succeeding Janis Paige. In London. Julie had many triumphs starring in such shows as Bells Are Ringing. South Pacific, and Bet Your Life. During the sixties and seventies. Julie starred in national tours of Company, Follies and A Little Night Music. Regional theatres have been witness to Julie's performances in almost every great American musical, from Show Boat to Dames at Sea, from Gypsy to Pal Joey. In 1970 alone Julie appeared on Broadway in both Jimmy and Park; both performances garnered her outstanding personal acclaim.
Julie Wilson began her career in her native state, where she was crowned Miss Nebraska at the age of 17. When the Earl Carroll Vanities came to Omaha, she auditioned and suddenly found herself in the chorus, and six months later arrived in New York City. There she began what would be a life-long love affair with the nightclub scene. Over the years, she has sung in every major club in America, including the Latin Quarter, the Mocambo in Hollywood (she won a gig there on a Mickey Rooney radio show), the Maisonette at the St. Regis, the Copacabana, Basin Street East, the Persian Room at the Plaza and the Palmer House in Chicago. In the seventies, she enjoyed a huge success at Brothers and Sisters and recorded two "live" albums there. She starred on television in Kiss Me Kate and for 19 weeks was Brook
Lawrence in Secret Storm. Among scores of television variety and interview programs, she was visited by Edward R. Murrow on Person to Person and guested frequently on the Ed Sullivan Show. In films, she was seen in The Strange One with Ben Gazarra and in lias Could Be the Night starring Jean Simmons and Paul Douglas.
In 1976, Julie decided to quit working to raise her two teen-age sons, Holt and Michael, and help her ailing mother and father. Back in Nebraska, she became a nurses aide in order to properly care for her parents, and found herself living back in the home in which she grew up. Manhattan was a long way away, but its allure was strong. By 1984. both her parents had died and her children were grown up, so when she received an offer to return to New York for a starring engagement at Michael's Pub singing Cole Porter songs, she accepted. It became such a triumph that she stayed 10 weeks and followed that with a Stephen Sondheim show. Since then she has been the unquestioned queen of the New York composers. Julie Wilson is a sensation wherever she goes. Whether in London, San Francisco, Los Angeles or Dallas, or when appearing at Camegie Hall under the auspices of the Newport Jazz Festival.
Tonight's performance marks Ms. Wilson's UMS debut.
Jim Miller & the Jimmy Dorsey Orchestra
When The Dorsey Brothers Orchestra first began in the spring of 1934 at Nuttings-On-The-Charles in the small town called Waltham, Massachusetts, most people speculated that these two brothers would be around for a while. But few people would have guessed that sixty years later Jimmy Dorsey's name would still be on music stands in ballrooms and concert theatres throughout the country. Still fewer would have guessed that the Orchestra would be playing to sell-out crowds of devoted followers.
Today, alongside the familiar name of "The Jimmy Dorsey Orchestra," is a face and name that has become increasingly familiar throughout the years, that of the Orchestra's director, Jim Miller.
Jim Miller, a 43-year veteran of the music industry, injects his warm and enthusiastic personality into every note of the standards The Jimmy Dorsey Orchestra has been associated with during nearly six decades of performance. He has written
music for and performed as a trombonist with the Glenn Miller, Tex Beneke, Les and Larry Elgart and Guy Lombardo Bands. He has also worked with entertainers such as Bob Hope, Liberace, Red Skelton and the Pied Pipers.
A native of Hollywood, California, Miller got his first break with a latin band in Phoenix, Arizona. In 1953, Jim got the call to join The Dorsey Brothers Orchestra. Thus began a relationship that has continued through some forty years. In 1955, he joined the U.S. Navy and spent the next twenty-four years playing in and leading Navy bands before audiences that included five United States Presidents and leaders from every South American country.
In 1970, Miller was selected to lead the NORAD Commanders, the only multi?service, bi-national band ever formed in America, with band members from the U.S. Army, Navy and Air Force, as well as the Canadian Armed Forces. Miller led this incredible 18-piece band during featured performances on The Tonight Show and at Carnegie Hall.
In March of 1992, Jim Miller added another hat to those of band leader and Lead Trombonist; he became the new owner of The Jimmy Dorsey Orchestra as well. As owner, Jim decided to create a vehicle which allowed the country to hear the new sound of The Jimmy Dorsey Orchestra, and recorded the band's first album since the 1970's, entitled, "On Tour -Down Memory Lane."
On June 2, 1992, Nancy Knorr, formerly the lead singer with The Pied Pipers, become the featured singer with the Jimmy Dorsey Orchestra, uniting the sounds of two of the most popular groups of an era that is still going strong today.
Tonight's performance marks the second consecutive appearance by the Jimmy Dorsey Orchestra at the UMS Cabaret Ball
Michele Ramo
Jazz Quartet
Michele Ramo, guitarist, violinist, mandolinist and composer, is one of the most versatile musicians performing for the public today. He was born in Mazara del Vallo, Italy in 1964, At the age of 13, he began his musical studies and earned his Masters Degree in violin with the highest honors in 1985 from the Conservatory of Caltanissetta in Italy. In 1982 he recorded for R.A.I., The Italian Ragio Network, and toured most of Europe with The National Philharmonic of Tirreno, Le Juness du Meditarrane, The Lyric Symphonic Orchestra of Teatro Massimo and The Sicilian Symphonic Orchestra. He also has toured broadly in Europe as a recitalist.
Michele Ramo's career is now centered in the United States and Canada. His advanced studies were with the world's top guitarists, among them Joe Pass, Alirio Diaz and Carlos Barbosa-Lima. He has released five albums under his own MRG Records Label -Tina, a
compilation of American show tunes, Neapolitan songs and Brazilian classics, Essence of Romance, a showcase of Michele's "specialty" of ingenious compositions in the Classical and Latin styles, Jealousy a compilation of singular arrangements of popular and original songs, Live at Kenytown, a one-of a kind live performance of the Michele Ramo Latin Jazz Quartet and Earth and Sun, a duo performance with Canadian percussionist Jamie Rusling. His own Ramo Music Publishing has
recently published The Art ofBossa Nova, a collection of eight inventive compositions for all instruments.
Lately, Michele appeared with great accolades in prestigious clubs as a soloist, with the Marcus Belgrave Quintet, and with his own Latin Quartet. His programs feature his innovative works which the critics characterize as "Music from the heart and soul of a true artists." Since 1989 Michele has performed with "Omniarts in Education, Inc. On February 23, 1993, Michele received Best Acoustic Guitar Award and was winner of the Jazz Hall of Fame Award, presented by Metropolitan Music Cage and Record Time during the 1st Annual Jazz Award of Metropolitan Detroit. Currently, he is a professor of guitar, mandolin and violin at the Royal Music Center in Royal Oak, Michigan and continues to perform and write.
Tonight's performance marks Michele Ramo's second consecutive UMS Cabaret Ball performance.
Thank You!
Great music, theater and dance is presented by the University Musical Society because of the much needed and greatly appreciated gifts of UMS supporters.
The list below represents names of contributors from April 1, 1993 through March 31, 1994. If there has been an error or omission, we sincerely apologize and would appreciate a call at your earliest convenience. (747-1178).
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Individuals
Burton Tower Society
Neil P. Anderson
Pal and Maria Borondy
Mr. and Mrs. John Alden Clark
Graham H. Conger
Michael and Sara Frank
Vera Goldring
Seymour D. Greenstone
William R. Kinney
Dennis and Jeanette Powers
Michael and Helen Radock
Marie Schlesinger
Herbert Sloan
Mr. and Mrs. Ronald G. Zollars
Bravo Society Members
Richard S. Berger
Mr. and Mrs. Carl A. Brauer, Jr.
Brian and Mary Campbell
Mr. Ralph Conger
James and Millie Irwin
Joe and Karen O'Neal
Mr. and Mrs. William B. Palmer
Richard and Susan Rogel
Dennis and Ellie Serras
Herbert Sloan
Margaret D. Towsley
Ronald and Eileen Weiser
Concert Masters
Herb and Carol Amster Gregg Alf and Joseph Curtin Rita and Peter Heydon John and Mary Kay Pearson John Psarouthakis Carol and Irving Smokier Maya Savarino and Raymond Tanter
Edward Surovell and Nat Lacy Mrs. Mischa Titiev
Leaders
Mr. and Mrs. Guido A. Binda Maurice and Linda Binkow Mary Steffek Blaske and Thomas
Blaske
Dr. and Mrs. James P. Byrne Leon and Heidi Cohan Margaret and Douglas Crary Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Charles and Mary Jane Fisher Dale and Marilyn Fosdick Mr. and Mrs. Edward P. Frohlich Carl and Sue Gingles Walter and Dianne Harrison Judythe and Roger Maugh Paul and Ruth McCracken Dr. and Mrs. Joe D. Morris Ginny and Cruse Moss John and Dorothy Reed Elisabeth J. Rees Dr. and Mrs. John F. Ullrich Mary and Ron Vanden Belt Paul and Elizabeth Yhouse
Guarantors
Dr. and Mrs. Gerald D. Abrams
Jerry and Barbara Albrecht
Dr. And Mrs. Robert G. Aldrich
Bob and Martha Ause
Mr. and Mrs. John W. Barfield
Bradford and Lydia Bates
P.E. Bennett
Nancy D. Bishop
Dr. and Mrs. George L. Blum
Bob and Sue Bonfield
Jim Botsford and Janice Stevens
Botsford
Mr. Jerry D. Campbell Jean M. and Kenneth L. Casey Don and Betts Chisholm Mr. and Mrs. John Alden Clark Mr. and Mrs. David S. Clyde Katharine and Jon Cosovich Ronnie and Sheila Cresswell Jack and Alice Dobson Molly and Bill Dobson Dr. Stewart Epstein Mr. and Mrs. Robben Fleming John and Esther Floyd Lourdes and Otto Gago Drs. Sid Gilman and Carol
Barbour Vivian Sosna Gottlieb and Norman
Gottlieb
Mr. and Mrs. Robert C. Graham Mrs. Robert Hamilton Harlan and Anne Hatcher Harold and Anne Haugh Dr. Bertram Herzog Robert and Joan Howe Keki and Alice Irani Mr. and Mrs. Stuart A. Isaac
Thomas E. and Shirley Y. Kauper
Leo A. Legatski
Mr. David G. E. and Mrs. Tina M.
Loesel Joseph McCune and Georgiana
Sanders Rebecca McGowan and Michael B.
Staebler
H. Dean and Dolores H. Millard Mrs. Charles Overberger Dory and John Paul John Paulson
Maxine and Wilbur K. Pierpont Philip and Kathleen Power Tom and Mary Princing Jim and Bonnie Reece Ginny and Ray Reilly Glenda Renwick Katherine and William Ribbens Amnon and Prudence Rosenthal Richard and Norma Sams Michael and Janet Shatusky George and Helen Siedel Mrs. Charles A. Sink George and Mary Elizabeth Smith Dr. Hildreth H. Spencer Victor and Marlene Stoeffler James L. and Ann S. Telfer E. L. Stranahan Trust Jerrold G. Utsler Dr. and Mrs. Francis V. Viola III Mrs. Marc von Wyss John Wagner
Martha Wallace and Dennis White Dr. Emil A. Weddige Elise and Jerry Weisbach Ronald and Eileen Weiser Marina and Robert Whitman Brymer and Ruth Williams
Sponsors
Gardner and Bonnie Ackley
Bernard and Raquel Agranoff
Tim Andresen
Catherine S. Arcure
Linda Bennett and Sara and Bob
Bagramian Lisa and Jim Baker M. A. Baranowski Raymond and Janet Bemreuter Mr. and Mrs. Philip C. Berry Robert Hunt Berry Mr. Hilbert Beyer Howard and Margaret Bond Charles and Linda Borgsdorf Mr. and Mrs. Carl A. Brauer, Jr. David and Sharon Brooks Drs. Susan S. and Wesley M. Brown Drs. Barbara Everitt and John H. Bryant Jeannine and Robert Buchanan Lawrence and Valerie Bullen Sally and Ian Bund Jean W. Campbell Bruce and Jean Carlson Daniel Carroll and Julie Virgo Mr. and Mrs. Raymond S. Chase Pat and George Chatas Roland J. and Elsa Kircher Cole H. Richard Crane
Mr. and Mrs. David Dornbusch
Martin and Rosalie Edwards
Julia and Charles Eisendralh
Dr. and Mrs. William L. Fox
Judy and Richard Fry
Henry and Beverly Gershowitz
Margaret G. Gilbert
William and Ruth Gilkey
Dr. and Mrs. William Gracie
Seymour D. Greenstone
John and Helen Griffith
Mr. and Mrs. Elmer F. Hamel
Mr. and Mrs. Steven Hamp
H.L. Harsha
Debbie and Norman Herbert
Mrs. W.A. Hiltner
Dr. and Mrs. Julian Hoff
Mr. and Mrs. William B. Holmes
Che C. Huang and Teresa Dar-Kuan L.
Huang
Pat and John Huntington Gretchen and John Jackson Dr. and Mrs. Stevo Julius Mr. and Mrs. Jacob Kellman Drs. Dana and Paul Kissner Bethany and William Klinke Carolyn and Jim Knake Mr. and Mrs. Bernard Kueng Bud and Justine Kulka Lee E. and Suzanne Landes Jack Lapides Olya K. Lash Ann Leidy
Mr. and Mrs. Fernando S. Leon Carolyn and Paul Lichter Harold J. Lockett. M.D. Mr. and Mrs. Carl J. Lutkehaus, Jr. Kathleen Beck and Frank Maly Jack and Joanne Martin Marilyn Mason Charlotte McGeoch Margaret McKinley Richard and Elizabeth McLeary Mr. and Mrs. F.N. McOmber Mr. and Mrs. Warren A. Merchant Robert and Ann Meredith Barry Miller and Gloria Garcia Myma and Newell Miller M. Haskell and Jan Barney Newman William A. Newman William R. and Joan J. Olsen Mr. and Mrs. William J. Pierce Eleanor and Peter Pollack William and Christine Price Jerry and Millard Pryor Mrs. Gardner Quarton Mrs. Joseph S. Radom Stephen and Agnes Reading Dr. and Mrs. Rudolph E. Reichert Charles and Betty Reinhart Jack and Margaret Ricketts Mrs. Bernard J. Rowan Mr. and Mrs. Charles H. Rubin Mr. Peter C. Schaberg Norma J.
Amrhein
Mr. and Mrs. Mark Schmidt Mrs. Richard C. Schneider Professor Thomas J. and Ann Sneed
Schriber
Alan and Maryanne Schwartz Julianne and Michael Shea Edward and Marilyn Sichlcr E. Lloyd and Theodore J. St. Antoine Mr. and Mrs. John C. Stegeman Dr. and Mrs. Jeoffrey K. Stress
Joan C. Susskind
Mr. and Mrs. Robert M. Teeter
Dr. and Mrs. E. Thurston Thieme
Herbert and Anne Upton
Warren H. and Florence S. Wagner
Dr. and Mrs. Philip C. Warren
Dr. and Mrs. Andrew S. Watson
Darragh H. and Robert O. Weisman
Angela and Lyndon Welch
Roy and JoAn Wetzel
Thomas and Iva Wilson
Len and Maggie Wolin
John B. and Ann F. Woodward
Martin and Nancy Zimmerman
BENEFACTORS
Marilyn and Armand Abramson
Dr. and Mrs. Peter Aliferis
Joan and David Anderson
Catherine M. Andrea
David Andrea
Harlene and Henry Appelman
Dr. and Mrs. Wallace A. Ameson. Jr.
Mr. and Mrs. Arthur J. Ashe
Eric M. and Nancy Aupperle
Mr. and Mrs. Max K. Aupperle
Robert L. Baird
Barbara and Daniel Balbach
Dr. Emily W. Bandera
Andrea and Simon Bare
Mr. and Mrs. Cyril H. Barnes, Jr.
Gail Davis Barnes
Dr. and Mrs. Mason Barr, Jr.
Dr. and Mrs. Robert Bartlett
Karen and Karl Bartscht
Leslie and Anita Bassett
Mr. and Mrs. Raymond O. Bassler
Florence N. Beach
Dr. Astrid Beck
Neal Bedford and Gerlinda Melchiori
Henry J. Bednarz
Mr. Ralph Beebe
Harry and Betty Benford
Mr. and Mrs. S.E. Berki
Abraham and Thelma Berman
Andrew H. Berry. D.O.
Suzanne A. and Frederick J. Beutler
Drs. Billi and Hirsch
Carl and Pauline Binder
Joan and Howard Binkow
Elizabeth S. Bishop
Biss, Visvaldis and Elvira
Bob and Liz Bitterman
Marshall J. Blondy. M.D.
Mr. and Mrs. H. Harlan Bloomer
Mr. and Mrs. Milford Boersma
Rulh Bordin
Dr. and Mrs. Ralph R. Bozell
Mr. and Mrs. Robert S. Bradley
William R. Brashear
Emest F. and Belsy B. Brater
Dr. and Mrs. Don Briggs
Professor and Mrs. Dale E. Briggs
Allen and Veronica Briiton
Mrs. Marvin Brode
Patrick Broderick
Morton B. and Raya Brown
Mr. and Mrs. John M. Brueger
Arthur and Alice Burks
Robert A. Sloan and Ellen M. Byerlein
Mrs. Theodore Cage
Richard and Freddie Caldwell
H. D. Cameron
Mr. and Mrs. Robert Campbell
Charles and Martha Cannell
Edwin F. Carlson
Andrew F. Caughey, M.D.
Mr. and Mrs. Tsun Chang
J. Wehrley and Patricia Chapman
Dr. Kyung and Mrs. Young Cho
Nancy Cilley
John and Carole Clark
Vivian Cole
John and Penelope Collins
Wayne and Melinda Colquitt
Mr. and Mrs. Edward Comeau
Gordon and Marjorie Comfort
M.C. Conroy
Maria and Carl Constant
James and Constance Cook
William P. Cooke
Lolagene C. Coombs
Gage R. Cooper
Merle and Mary Ann Crawford
Mr. and Mrs. James I. Crump
Pedro and Carol Cuatrecasas
John and Teresa D'Arms
Peter and Susan Darrow
Mr. and Mrs. H. W. Davenport
Jean and John Debbink
Laurence and Penny Deitch
Elena and Nicholas Delbanco
Kenneth and Judith DeWoskin
Benning and Elizabeth Dexter
Dr. and Mrs. Edward F. Domino
Dr. and Mrs. Steven Donn
Prof, and Mrs. William G. Dow
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UMS 1993-94: Moments to Remember...
Photos by David Smith
Soprano Jessye Norman taking one of many curtain calls following her Hill Auditorium recital on September 29, 1993. Three encores later, the enchanted audience finally allowed the singer to leave the stage.
Stratford Festival Residency
November 16-21,1993
At a post-performance chat following the opening night performance, Stratford Festival Artistic Director David William and Acting Company member Barbara Bryne answer audience questions from the set of The Importance of Being Earnest, while UMS Executive Director Ken Fischer looks on.
Stratford Actress Lucy Peacock cheers on the home team from the pressbox at the MichiganOhio State football game shortly before being whisked back to the Power Center at halftime for a matinee performance of A Midsummer Night's Dream.
Shakespeare's befuddled lovers wander through the night, lost in a forest bewitched by mischievous faeries in the Stratford Festival production of A Midsummer Night's Dream. Pictured left to right are Acting Company members Sean Power, Stephanie Morgenstern, Marc Ruel, and Sheila McCarthy.
UMS 1993-94: Moments to Remember...
A Day in the Life of a Recital
November 7, 1993
3:00 pm Baritone Thomas Hampson begins his Musical Society day by speaking to a capacity crowd at a Philips Pre-Concert presentation immediately preceding his recital. The topic of the singer's speech was new research he had recently com?pleted on the Schumann-Heine song cycle Dichterliebe.
6:30 pm Hampson greets audience members and signs autographs in the Hill Auditorium Lobby immediately following his recital. The light to the left is from a camera crew for the CBS Sunday Morning program, which accompanied the singer to Ann Arbor for a feature story on his career.
4:15 pm Hampson performs Dichterliebe on stage in Hill Auditorium.
7:45 pm Hampson confers with his youngest fan. Margot McGowan, at a reception at Margot's home following his recital. Also pictured is Margot's mother, UMS Board Member Becky McGowan.
UMS 1993-94: Moments to Remember...
The Borodin String QuartetShostakovich cycle
Violist Dmitri Shebalin (r) makes a point to second violinist Andre Abramenkov (.) as the Borodin String Quartet rehearses before the first performance of the Shostakovich cycle in Rackham Auditorium.
After fifteen string quartets in five nights, the Quartet finally gets a well-earned chance to relax at the home of UMS Board Member and Shostakovich Cycle underwriter Ed Surovell. Pictured left to right are: UMS Executive Director Ken Fischer, original Borodin String Quartet first violinist Rostislav Dubinsky, Mrs. (Luba) Dubinsky, violinist Andre Abramenkov, cellist Valentin Berlinsky, violist Dmitri Shebalin, Surovell, and violinist Mikhail Kopelman.
On the second night of the Shostakovich cycle, the Quartet takes the stage for their first performance at the University Museum of Art.
Choral Union Director Thomas Sheets leads the Ann Arbor Symphony Orchestra, the Choral Union, soloists and audience through the "Hallelujah Chorus" during his first UMS performance of Handel's Messiah.
Acknowledgements
In an effort to help reduce distracting noises and enhance the concertgoing experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1994 Lincoln Town Car to provide transportation for visiting artists.
The University Musical Society would like to give special thanks to all who have helped to make the 1993-94 season a great success. Special appreciation goes to:
A-l Rental
Aerial Sound
Advisory Committee Greg
Alf
S;u d.ii Ansari Tivador Balough Rosamund Bartlett Dr. Judith Becker Ralph Beebe Bill Boggs and the Ypsilanti
High School Chamber
Singers Jim Botsford Jane Burbank Margot Campos Maria del Carmen Center for Russian
and East European
Studies
Shannon Culver Joe Curtin Michael Daugherty Herb David Leilani Denison Department of Russian
Language and Literature Charlotte Dersham Jim Dulzo
Espresso Royale Caffe Feld BalletsNY Erika Fischer Penelope Fischer Bob Grijalva Hammell Music, Livonia Thomas Hampson James Haven Bill Hennessey George Hinman I.A.T.S.E. DebKatz Nat Lacy
Joe Laibman
James Leonard
Barry Lame
Richard LeSueur
Clare Levacher
Jeffrey Magee
Josh Major
Michael Makin
Amanda Mengden
Nusya Milman
Anna Montero
Julie Jaffee Nagel
Louis Nagel
Susan Isaacs Nisbett
Emmanuela Noce
North Campus Commons
Marysia Ostafin
Rackham School of Graduate
Studies
Janet Shatusky Stephen Shipps Sue Sinta Peter Sparling Perfectly Seasoned Catering The Stratford Acting
Company Mark Sullivan Ed Surovell Scott Terrill and the Oxford
Conference Center Tom Thompson University Museum of Art UMS Usher Corps UMS Volunteer Corps Carla Maria Verdino-
SUIlwold
Eileen and Ron Weisner Grant Wenaus Steven Moore Whiting Frank Zimmerman
Advertising with the University Musical Society
Three years ago, UMS began publishing expanded program books that included advertising and detailed information about UMS programs and service. As a result, advertising revenue now pays for all printing and design costs.
UMS advertisers have written to tell us how much they appreciate advertising in the UMS program books to reach you, our world-class audience. We hope that you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general information that illuminates each UMS presentation.
For information about how your business can become a UMS advertiser, call (313) 764-6199.
Volunteers
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educational materials for teachers, greeting and escorting students to seats at performances, and serving as good-will representatives for UMS as a whole.
If you would like to become part of the Univer?sity Musical Society volunteer corps, please call (313) 747-1175 or pick up a volunteer applica?tion form from the Information Table in the lobby. We look forward to hearing from you!
UMSCard
UMS Subscribers and supporters at the $100 level and above receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases at many fine stores and restaurants.
College Work-Study
Students working for the University Musical Society as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538, 763-0611, or 747-1175.
Youth Program
More than 25,000 school children have attended UMS concerts as part of the UMS Youth Program, which began in 1990 with special one-hour performances for local fourth graders of Puccini's La Boheme by the New York City Opera National Company. Now in its fifth year under the Education Department, the UMS Youth Program continues to expand, with a performance by the Stratford Festival for high school students, two fourth-grade opera performances, a dance program tailored for sixththrough eighth-graders and discounted tickets to virtually every concert in the UMS season.
The Stratford Festival residency included many workshops and seminars on the U-M campus, as well as a special full-length performance of Shakespeare's A Midsummer Night's Dream for high school students on Friday, November 19,1993.
The New York City Opera National Company's one-hour performance of Puccini's Madama Butterfly for fourth graders was held Thursday, March 3, 1994.
The African-American Dance Troupe, Urban Bush Women, presented a performance for sixththrough eighth-graders combining elements of the African origins of popular social dance with the African-American singing traditions and vocalization styles, followed by a question and answer session. The Youth Dance Performance was held in the Power Center on Thursday, March 10, 1994.
Discounted tickets are also available as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance.
Although only in its fifth year, the UMS Youth Program has been widely praised for its innova?tive programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call 313.936.0430.
Underwriters of the Youth Program for the 199394 season are ERIM, the Benard L. Maas Foundation, and McKinley Associates, Inc.
Advertisers' Index
9 Advance Interiors
69 Ann Arbor Commerce Bank
45 Ann Arbor Summer Festival
74 ATYS
78 Austin Diamond Co.
8 Beacon Investments 26 BenefuSource
75 Blue Care Network
11 Bodman, Longley &
Dahling 13 Border's 11 Brookwood Studio 13 Busch's Valu Land 74 Butzel, Long
46 Charles Reinhart Co
9 Chelsea Community Hospital
16 Chris Triola Gallery
79 Comerica
9 Companion Care 46 Concordia College 48 Dearborn Music
71 Dobson-McOmber Agency, Inc.
13 Dough Boys Bakery 30 EdSurovell 13 Emerson School 4 Encore Entertainment
72 Environmental Research Institute of Michigan
76 Espresso Royale Caffe 48 First of America Bank
70 Ford Motor Credit Co.
15 Garris. Gams. Garris, & Garris, PC
17 George Houchens Associates
18 Great Lakes Bancorp 26 Harmony House 73 Harris, Guenzel. Meier & Nichols
15 Housing & Conference Services
25 John Shultz Photogra?phy
12 Karen Dekoning Associates
76 Katherine's Catering
14 Kerry town Shops
76 King's Keyboard House
77 Maude's
80 Matthew C. Hoffman
Jewelry Design 17 Michigan Group
16 Miller, Canfield. Paddock, and Stone
10 Northwestern Mutual Life
73 Oak Arbor Company 14 Overture Audio
70 Persian House of
Imports
46 Prudential Services 44 Red Hawk Bar & Grill 20 SKR Classical 72 Society Bank 44 Sweet Lorraine's
69 Sweetwaters Cafe 2 Terrafirma
70 The Brown Jug
74 The Earle 44 Top Drawer
71 WQRS
72 WUOM
14 Zingermans
SUMMER SINGS
1 he UMS Choral Union invites you to sing some great music this summer.
For three Monday nights in July, 7:00 pm to 9:30 pm.
No audition is required! $5 per session and we'll provide a score.
Just bring your voice and come as you are to the University of Michigan
Modem Language Building, Auditorium 4. For more information 763-8997.
July 11Haydn: The Creation
Kimcherie Lloyd, conductor
Jllly 18Mozart: Requiem
Jerry Blackstone. conductor
July 25Carl Orff: Carmina Burana
Thomas Sheets, conductor
ana
University Choral Union
Thomas Sheets
Director
Edith Leavis Bookstein Manager
First Sopranos
Edith Leavis Bookstein Ann K. Burke Letitia Byrd Susan F. Campbell Young Cho Cassandra Cooper Brilta Hudson Lori Kathleen Gould Mary Kahn Carolyn Leyh Elizabeth Macnee Julie L. Mansell Margaret Nesse Amy C.L. Pennington Carole Lynch Pennington
Sarah Severson Pollard Margaret Warrick Mary Wigton Linda Kaye Woodman
Second Sopranos
Debra Joy Allen Cheryl D. Clarkson Kristin De Koster Kathy Neufeld Dunn Patricia Forsberg-Smith Eleanor Hammett Doreen J. Jessen Stephanie Kosarin Ann Kathryn Kuelbs Loretta Lovalvo Marilyn Meeker Audrey Murray Sara Peth Robina Quale Virginia Reese Mary A. Schieve Patricia Tompkins Catherine Wadhams Barbara Hertz Wallgren Rachelle Barcus Warren Rita Whitcomb
First Altos
Carol A. Beardmore Nancy Wilson Celebi Alice Cerniglia Mary Crichton Laura A. Clausen
Margaret Counihan Lynne De Benedette Deborah A. Dowson Anna Egert Anne Facione-Russell Marilyn Finkbeiner Siri Gottlieb Nancy Houk Carol Hurwitz Carolyn King Jessica Lind Jeannette Luton Patricia Kaiser McCloud Carol Milstein Joan L. Morrison Holly Muenchow Lotta Olvegard Marianne Page Jari Smith Patricia Steiss Jane Van Bolt Marianne Webster Susan West Amy White Janet Yoakam
Second Altos
Martha K. Ause Loree Chalfant Anne C. Davis Andrea Foote Nancy Heaton Carol Kraemer Hohnke Carolyn King Katherine Klykylo Sally A. Kope Peggy Lin Frances Lyman Cheryl MacKrell Elizabeth Morgan Anne Ormand Irene Peterson Julie Ann Ritter Carren Sandall
Beverly Slater Cynthia Sorenson Suzanne Stepich Nancy A. Swauger
First Tenors
Charles Cowley Fr. Timothy J. Dombrowski Michael J. Dunn Peter Flintoft Arthur Gulick Alfred Hero Forrest Hooper Thomas Jameson Robert E. Lewis Paul Lowry Robert MacGregor Daniel Ringrose Timothy Ryntz Charles Spargur
Second Tenors
Steve Billcheck Robert Douglas John Etsweiler III Albert P. Girod, Jr. Theodore Hefley David A. Jaeger Henry Johnson Martin G. Kope Dean Parrott David M. Rumford Henry C. Schuman Scott Silveira Carl Smith David Tang Richard Ward
First Basses
Chris Bartlett Fred L. Bookstein Michael Brand Thomas Bress
John M. Brueger John Dryden C. William Ferguson K. John Jarrett Donald Kenney Joseph J. Kubis Lawrence Lohr Charles Lovelace John MacKrell Robert A. Markley Joseph D. McCadden James Melby Sol Metz Thomas Morrow John Gordon Ogden William Ribbens Sheldon Sandweiss John T. Sepp Robert Warner
Second Basses
James David Anderson William Guy Barast Howard Bond Mark R. Bonnell Jonathan Burdette Daniel M. Burns, Jr. Kee Man Chang Don Faber Philip J. Gorman Donald Haworth Ramon Hernandez Charles T. Hudson Stephen Jones Mark K. Lindley Thomas Litow Gerald Miller Mark C. Persiko Marc C. Ricard John P. Schauble Marshall S. Schuster William A. Simpson Jeff Spindler Robert Stawski Robert D. Strozier Kevin M. Taylor Terril O. Tompkins John Van Bolt C. Peter Younie

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