UMS Concert Program, Saturday Oct. 01 To 21: University Musical Society: 1994-1995 Fall - Saturday Oct. 01 To 21 --
Season: 1994-1995 Fall
The University Of Michigan, Ann Arbor
University of Michigan
University Mush A Society
The Vnivmitj of Michigan Burton Memorial Tower Ann Arbor. Miilunan 48109-1270
Dear UMS Patrons,
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 1994-95 season comes to a close in May. the UMS will have brought to the community 65 performances featuring many of the world's Finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understanding and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed ai how a midwest community of
110.000 can support the number and quality of performances that the UMS brings to Ann Arbor. They
want to know how we do it. and I'm proud to tell them. Here's what I say:
First, and most important, the people of Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And. according to out artists, they are among the most informed, engaged, and appreciative audiences in the country.
It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
Many years ago enlightened leaders of both the University of Michigan and the University Musical Society determined thai the UMS could best serve the community if the UMS had a measure of artistic and financial independence from the UniversityWhile the UMS is proudly affiliated with the University, is housed on the campus, and collaborates regularly with many University units, it is a separate not-for-profit organization with its own Board of Directors and supports itself solely from ticket sales, other earned income, and grants and contributions. This kind of relationship between a presenting organization and its host institution is highly unusual, but it has contributed significantly to our being able to be creative, bold, and entrepreneurial in bringing the best to Ann Arbor.
The quality of our concert halls means that artists love to perform here and are eager to accept return engagements. Where else in the U.S. can Yo-Yo Ma. James Galway. Kathleen Battle. Itzhak Periman, or Cecilia Bartoli perform a recital before 4,300 people and know that their pianissimos can be heard unamplified by everyone
Our talented, diverse, and dedicated Board of Directors, drawn from both the University and the regional community, provides outstanding leadership for the UMS. The 200-voice Choral Union, 35-member Advisory Committee, 275-member usher corps, and hundreds of other volunteers contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
Finally. I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks again for coming. And let me hear from you if you have any complaints, suggestions, etc. Look for me in the lobby or give me a call at (313) 747-1174.
Thank You Corporate Underwriters
On behalf of the
University Musical Society. I am privileged to recognize the companies whose support nfUMS through their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business community.
Their generous support provides a solid base from which we are better able to present 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 vole of confidence in the Musical Society and for the help they provide to serve you, our audience, belter.
Kenneth C. Fischer Executive Director
University Musical Society
A Salute To Our Corporate Angels .
James W. Anderson, Jr. President, The Anderson Associates Realtors
"The arts represent the bountiful fruits of our many rich cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commended for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Carl A. Brauer, Jr.,
"Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
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."
Joseph Curtin and Greg Alf
Owners, Curtin & Alf
"Curtin & Alfs support of the University Musical Society is both a privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
Donald M. Vuchetich, President
Detroit & Canada Tunnel Corporation
"The Detroit and Canada Tunnel Corporation is proud to be a partner with the University of Michigan Musical Society in their success of bringing such high quality performances to the Southeast Michigan region."
Douglas D. Freeth
First of America
"We are proud to help sponsor this major cultural group in our community which perpetuates the wonderful May Festival."
A Salute To Our Corporate Angels...
L. Thomas Conlin
Chairman of the Board and Chief Executive OfficerConlin-Faber 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 continu?ally displays such a commitment to excellence."
William E. Odom
Ford Motor Credit
"The people of Ford Credit are very proud of our continuing association with the University Musical Society. The Society's long-established commit?ment to Artistic Excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
Chairman, Chief Executive Officer Ford Motor Company
"Ford takes particular pride in our longstanding associa?tion with the University Musical Society, its concerts, 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 underwrite its centenary."
Robert J. Delonis President and Chief Executive Officer Great Lakes Bancorp
"As a long-standing 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."
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."
Mark K. Rosenfeld
President, Jacobson Stores Inc.
"We are pleased to share a pleasant relationship with the University Musical Society. Business and the arts have a natural affinity for community commitment."
President Mainstreet Ventures, Inc.
"As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing high level talent to the Ann Arbor community."
John E. Lobbia
Chairman and Chiel Executive Officer Detroit Edison
"The University Musical Society is one of the organizations that make the Ann Arbor community a world-renowned center for the arts. The entire commu?nity shares in the countless benefits of the excellence of these programs."
Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community."
Joe E. O'Neal
President, O'Neal Construction
"A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Michael Staebler Managing Partner Pepper, Hamilton & Scheetz
"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 plea?sure to be among your supporters."
Iva M. Wilson President, Philips
"Philips Display Components Company is proud to support the University Musical Society and the artistic value it adds to the community."
George H. Cress
Chairman, President, 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 organization that continu?ally displays such a commit?ment to excellence."
Edward Surovell President The Edward Surovell Co. Realtors
"Our support of the University Musical Society is based on the belief that the quality of the arts in the community reflects the quality of life in that community."
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."
Ronald M. Cresswell, Ph.D.
Vice President and
"Warner-Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employ?ees in Ann Arbor."
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."
The University Musical Society
of the University of Michigan
Board of Directors
Herbert S. Amster President
Norman G. Herbert Vice President Carol Smokier Secretary Richard H. Rogel Treasurer
Maurice S. Binkow Paul C. Boylan Carl A. Brauer, Jr. Letitia J. Byrd Leon Cohan Jon Cosovich
Elizabeth Yhouse Chair
Gregg Alf Paulett Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan Letitia Byrd Betty Byrne Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter H. deLoof Rosanne Duncan Don Faber Penny Fischer Barbara Gelehrter Margo HaLslcd Esther Heitler I urn.i Hildebrandt Kathleen Treciak Hill Matthew Hoffman JoAnne Hulce
Kenneth C. Fischer Executive Director
Catherine S. Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Sally A. Cushing Erika Fischer Judy Johnson Fry Adam Glaser Michael L. Gowing Philip Guire Deborah Halinski Jonathan Watts Hull
Ronald M. Cresswell James J. Duderstadt Walter L. Harrison Thomas E. Kauper F. Bruce Kulp Rebecca McGowan George I. Shirley Herbert E. Sloan Edward D. Surovell Eileen L. Weiser Iva Wilson
Gail W. Rector President Emeritus
Alice Davis Irani Perry Irish Heidi Kerst Leah Kileny Nat Lacy Maxine Larrouy Doni Lystra Kathleen Beck Maly Charlotte McGeoch Margaret McKinley Clyde Metzger Ronald G. Miller Karen Koykka O'Neal Marysia Ostafin Maya Savarino Janet Shatusky Aliza Shevrin Ellen Stross James Telfer, M.D. Susan B. Ullrich Jerry Weidenbach Jane Wilkinson
Judy Fry, Staff Liaison
Erva Jackson John B. Kennard, Jr. Michael J. Kondziolka Thomas Mull R. Scott Russell Thomas Sheets Helen Siedel Jane Stanton
Arts Midwest Minority Arts
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.
University Musical Society Auditoria Directory and Information
Hill Auditorium: Coat rooms are located on the east
and west sides of the main lobby and are open only
during the winter months.
Rackham Auditorium: Coat rooms are located on
each side of the main lobby.
Power Center: Lockers are available on both levels
for a minimal charge. Free self-serve coat racks may
be found on both levels.
Michigan Theater: Coat check is available
in the lobby.
Hill Auditorium: Drinking fountains are located
throughout the main floor lobby, as well as on the
east and west sides of the first and second balcony
Rackham Auditorium: Drinking fountains are
located at the sides of the inner lobby.
Power Center: Drinking fountains are located on the
north side of the main lobby and on the lower level,
next to the restrooms.
Michigan Theater: Drinking fountains are located
in the center of the main floor lobby.
Handicapped Facilities All auditoria now have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, 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.
Hill Auditorium: A wheelchair-accessible public
telephone is located at the west side of the outer
Rackham Auditorium: Pay telephones are located
on each side of the main lobby. A campus phone is
located on the east side of the main lobby.
Power Center: Pay phones are available in the
ticket office lobby.
Michigan Theater: Pay phones are located in
Refreshments are served in the lobby during intermis-sioas of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby. Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level. Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
University of Michigan policy forbids smoking
in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call (313) 763-3100 for details.
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.
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.
We welcome children, but very young children can be disruptive to a performance. Children under three years of age will not be admitted to any 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
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 in its 116th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts 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 UMS Choral Union performs this beloved oratorio each December.
The UMS 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 ten-concert series in Hill Auditorium.
Through the Chamber Arts Series, Choral Union Series, Choice Events, and the annual May Festival celebration, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring the world's finest dance companies, chamber ensembles, recitalists, symphony orchestras, opera, theater, popular attractions and presenta?tions from diverse cultures. The Musical Society has flourished these 116 years with the support of a generous musicand arts-loving commu?nity, which has gathered in Hill and Rackham Auditoria and Power Center to experience the artistry of such outstanding talents as Leonard Bernstein, Vienna Philharmonic Orchestra, Sweet Honey in the Rock, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, the Stratford Festival, 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 performances by the Metropoliatan 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 reputation 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, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 116-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orches?tras and conductors.
The chorus has sung under the direction of Neeme Jarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andr6 Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano, and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles. In 1993, the UMS Choral Union was appointed the resident large chorus of the Detroit Symphony Orchestra.
A highlight of the UMS Choral Union's 1993 1994 season was the performance and recording of Tchaikovsky's Snow Maiden with the Detroit
Symphony Orchestra conducted by Neeme Jarvi, to be released this November by Chandos International.
During this season the UMS Choral Union will join the Detroit Symphony Orchestra and conductor Neeme Jarvi in performances of Ravel's Daphnis et Chloe, present A Celebration of the Spiritual with Dr. Jester Hairston, and perform the Mahler Symphony 2 (Resurrec?tion), again with the DSO, under conductor Jerzy Semkow. In April 1995, the Choral Union will join the Toledo Symphony Orchestra in commemorating the 50th Anniversary of V-E Day, performing Britten's War Requiem in Toledo under the direction of Andrew Massey.
Established in 1879 when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, the ambitious founders of the Choral Union went on to form the University Musical Societythe following year. Representing a mixture of townspeople, students, and faculty, members of the UMS Choral Union share one common passion -a love of the choral art.
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 80-year history.
Former U-M Regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings, and, with his bequest of $200,000, construction of the 4,169-seat hall commenced. Charles Sink, then UMS president, raised an additional $150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial
Organ above the stage. 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 U-M'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.
Power Center for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation --Marcel Marceau.
The fall of 1991 marked the twentieth anniversary of the Power Center. The Power Family -Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip -contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,414 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS now hosts its annual week-long theater residency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20,1994.
For over 50 years, this intimate and unique concert hall has been the setting for hundreds of world-acclaimed chamber music ensembles presented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and presented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
of the University of Michigan Fall Season ,
Event Program Book
Saturday, October 1, 10,94
Friday, October, 21, 1994
116th Annual Choral Union Series Hill Auditorium
32nd Annual Chamber Arts Series Rackham Auditorium
24th Annual Choice Events Series
Chick Corea Quartet 3
Saturday, October i, 1994 Power Center
Guarneri String Quartet 9
Sunday, October 2, 1994 Rackham Auditorium
Michael Nyman Band i 5
Saturday, October 8, 1994 Michigan Theatre
The Philadelphia Orchestra 23
Tuesday, October 18, 1994 Hill Auditorium
Uptown String Quartet 35
Friday, October 211, 1994 Rackham Auditorium
We welcome children, but very young children can be disruptive to some performances. When required; 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 discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While, in the Auditorium
Every attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "super information highway" while you are enjoying a UMS event (!):
Electronic beeping or chiming digital watclies, beeping pagers, ringing cellular ,phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call Universit)' Security at 763-1131.
In the interest of saving both dollars and the environment, please keep this program book and bring it with you when you attend other UMS per?formances included in this edition. Thank you for your help. I
University Musical Society presents
Sal unlay Evening, October , 1994 at 8:00
Ann Arbor, Michigan
The Chick Corea Quartet
Chick Corea, piano Bob Berg, saxophone Gary Novak, drums John Patitucci, bass
llli K COREA
of the 116th Season
24th Annual Choice Series Jazz Directions
Thank you to Linda Yohn, Music Director, WEMU, speaker for this evening's Philips Educational Presentation.
Thanks also to King's Keyboard, Ann Arbor, for the Yamaha piano used in tonight's performance.
The UMSJazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio . from Eastern Michigan University.
Chick Corea's three-decade career is the stuff of jazz lore, an amalgamation of influential limit-stretching musical experiences which have filled many a page in twentieth-century music history encyclopedias. Born Armando Anthony Corea in Chelsea, Massachusetts on June 12, 1941, Chick was studying piaiio by age four and enjoyed a childhood home .filled with the sounds of Charlie Parker, Dizzy Gillespie, Bud Powell, Lester Young and Horace Silver --' not to mention the,' likes of Beethoven and Mozart, who inspired Chick's compositional instincts.
Chick's earliest compositions were recorded during one of his first professional stints: diree years with trumpeter Blue Mitchell ("64-'66). Early gigs with the likes of Willie Bobo, Cal Tjader, Herbie Mann and Mongo Santamaria instilled a love of Latin music still prevalent in much of Chick's work. After a year accompanying Sarah Vaughan, he rose to true prominence in the jazz world by joining Miles Davis' band playing electric piano. In the few years with Miles, Chick played on the ground?breaking classic fusion recordings Bitches Brew and In a Silent Way. From there. Chick formed his own avant-garde improvisational group, Circle, with bassist Dave Holland, drummer Barry Altschul and saxman Anthony Braxton.
In 1971, after three years of Circle, Chick changed his focus, and jazz has never been quite the same: the birth of Return To Forever (RTF). The early edition of that group (which featured the young Stanley Clark on bass) was a softer, samba-flavored ?ensemble featuring Flora Purim on vocals, her husband Airto on drums and reedman Joe Farrell. After two albums with this line?up (and a few solo piano albums released on the side), Chick plugged in and went the electronic fusion route, incorporating into RTF the firepower of drummer'Lenny
White and guitarist Bill Connors.
While Corea was forging a unique style on the Mo6g synthesizer, RTF (with Al Di Meola replacing Connors) spearheaded the mid-7os fusion movement with such innova?tive albums as Where Have I Knoion You Before, the Grammy-winning No Mystery and Romantic Warrior. When RTF disbanded in 975 Corea delved into a diverse series of recordings -electronic ensembles, solo piano, classical music, high-powered acoustic duos -with artists like Herbie Hancock and Gary Burton.
Other Chick projects leading up to his mid-8os formation of the Elektric Band were the Grammy winning Ieprechaun, My Spanish Heart and Musicvwgic, the latter of which was a new RTF project with vocalist Gayle Moran. Then: Mad Hatter, RTF Live, and work with Joe Henderson, Freddie Hubbard, Hubert Laws, Chaka Khan and Nancy Wilson, among countless others.
In 1992, Chick realized a lifelong goal. Along with manager Ron Moss, Corea formed the GRP subsidiary Stretch Records, a label committed to stretching musical boundaries (like its founder) and focus more on freshness and creativity than musi?cal style. Among its early releases have been projects by Bob Berg, John Patitucci, Eddie Gomez and Robben Ford.
"My interests change and vary as die years go along, with different emphases all die time," Chick muses. 'The more I play in different situations, die more possibilities I discover for what I can d6. But rather than think in terms of my music developing, I choose to bask in the glow of one diing for a few minutes, then let it go." The solo' piano project Expressions is die most recent product of Chick's fertile imagination.
Chick Corea makes his UMS debut toith tonight's performance.
On his Stretch Record debut, Enter The Spirit, saxophonist Bob Berg returns to his acoustic jazz roots with renewed conviction. Supported by a stellar cast including drum?mer Dennis Chambers, Bassist James'Genus, pianist Dave Kikoski, keyboardist Jim Beard and special guest Chick Corea, Berg lives up to the label's name by stretching to new heights on die album's ten tracks.
"For years I shied away from doing a straight ahead record," says the saxophonist, who put in three years with Miles Davis before going on to form die powerhouse Mike SternBob Berg band. 'The four records I did for Denpn were more eclectic in terms of the grooves and moods-they went dirough (one of them, Back Roads, was nominated for,a 1992 Grammy Award.) But I feel like my personality comes dirough a little fbit more on'this record. I felt like I just wanted to make a blowing record, and now I'm basically planning to pursue diis type of music for a while. At this time in my life, I feel like for me it's die truest mirror of my spirit." 1
Produced by Jim Beard, Enter The Spirit presents Berg in a swinging context sparked by Chambers' supple stickwork and Genus' insistent walking on upright bass. Bob responds widi some of his most urgent tenor playing on record, particularly on die two Corea compositions, "Snapshots" and "Promise," the Berg original, "Blues for Bela"
and the Sonny Rollins vehicle, "No Moe."
Berg says he was inspired to return to this swinging acoustic jazz direction, after a recent rediscovery. "I took my record player out of the closet and started listening to some of the old Blue Note records that I have. And they made me feel so good it made me'want to go that way. At its best, "that's what music should do. That's what it "did to me when I first heard jazz at die age of 13 or 14. It just made me want to do that because it felt so good. So that's where diis record is at and that's where I'm at now."
Another impetus for this project came from touring last year with Corea's Akoustic Quartet. As he recalls, "Last summer Chick called me to do a tour with Steve Gadd and Eddie Gomez. And something clicked inside me. I felt really good going back to the music diat I came up playing with Horace Silver and Cedar Walton and all the music diat I always loved to listen to ten years ago before I got into Miles' band."
Subsequent tours with Chick and differ?ent rhydim sections (either Peter Erskine or Vinnie Colaiuta on drums and John Patitucci on bass) whetted Bob's appetite for acoustic jazz. The seeds for diis musical rela?tionship between Corea and Berg were actu?ally planted as long as eight years ago. As Bob recalls, 'Chick was playing a gig in Montpelier, France, and I was diere doing a clinic. Chick saw that I was in town and told me to bring my horn to the show and sit in. We played about three or four tunes togeth?er at a big concert hall and at die end of it ' Chick whispered in my ear, 'To be conu'n-ued.' Eight years-down die line he called me for a six-week tour with diis Akousuc Quartet. Now here it is almost a year later "and I'm still working widi Chick. And it's been a lot of fun. Musically, it's very open and spontaneous, and I like that quality. I think one of my strengdis as a player is to fit into these kinds of situations."
Born in Brooklyn in 1951, Bob Berg attended the prestigious High School of the Performing Arts in Manhattan before ' enrolling at The Juilliard School. In 1969, he went on the road with organist Jack McDuff, playing Gene Ammons-styled tenor while shedding on his own time with John Coltrane records. For the next three years he worked steady day gigs driving cab and truckj then in 1973 he replaced Michael Brecker in Horace Silver's band. Berg remained a key part of Horace's front line (alongside trumpeter Tom Harrell) for the next three years. In 1976, he replaced George Coleman in Cedar Walton's band and remained in the group for the next five years alongside one of the great straight ahea"d rhythm sections in bassist Sam Jones and drummer Billy Higgins.
From 1981 to 1983, Berg lived in Europe. Through Al Foster's recommenda?tion, he got a chance to audition for Miles Davis as a replacement for saxophonist Bill Evans. Bob was hired in early 1984 and stayed with Miles through 1987, appearing on You 're Under Arrest. His solo debut as a leader came in 1987 with Short Stories on the Denon label. He followed that up with Cycles, In the Shadows and Back Roads while also touring extensively in the hard-hitting SternBerg fusion band, featuring Dennis Chambers on drums and Lincoln Goines on electric bass. The switch to Stretch Records marks Bob's new commitment to an age-old concept.
"Now, if it swings, I'm happy. I like to listen for that quality in music. Obviously, there are other intellectual aspects to the music -harmonic and melodic develop?ment and all that. But number one to me is if it feels good. All the records that I grew up loving --John Coltrane, Sonny Rollins, Stanley Turrentine, Cannonball Adderley, Charlie Parker --all feel good. That music always swings. That's my main thing."
As for the album title, Bob says, 'To me,
music in general has such a spiritual quality. And I think the more you get away frm the tricks and the synthesizers and overdubs and manipulations, the closer you get to the spir?it of things. When I go back and listen to those old jazz recordings, there's such a spir?itual quality to their playing. I find that's a kind of goal that I want to pursue now . . . to get to die essence of what the music is about and what we're about."
With Enter The Spirit, Bob Berg takes one giant step on that long journey to self-discovery.
Bob Berg makes his UMS debut with tonight's performance.
Born and raised in Chicago, Gary Novak was practically born with drum sticks in hand. Coming from parents of great musical talent, it is no wonder that Gary began play?ing the piano at the tender age of eight. While most musicians find their musical -inspiration outside the home, Novak's Lnfluence came from his parents. His mother, Carol Novak, also a pianist, played with her trio at the London House. His father, Larry Novak, the famous Chicago pianist, not only encouraged the career of his son, but also put him to work. From the age of 10 to 12, Novak would work with his father's trio in
all the Chicago clubs, including Mr. Kelly's, gaining the insight and experience that would lead to several musical milestones obtained at a very young age.
During high school, Novak worked with the jazz clarinet master Buddy Defranco as well as such notables as Joe Williams, Milt Hinton, Kenny Burrell, Barney Kessel and the great Louis Bellson. Novak's blossoming reputation lead to the opportunity to repre?sent Yamaha drums and Zildjian cymbals through endorsements at the age of 17.
At 19 years old, Novak moved to Los Angeles -an important step forward for Novak bringing many opportunities most could only dream of getting. Not only did Los Angeles bring him his first road job with Maynard Ferguson, but it marked a year of great exposure. Novak would come to work with Brandon Fields and record on his latest LP. He worked with such musical greats as Michael McDonald, Natalie Cole, David Sanborn and Anita Baker.
He teamed up with(guitarist Lee Ritenour who employed him for his solo tour and the GRP All-Star tour in 1991. Novak continued to tour throughout '92, but this time with George Benson. Although Novak has been working for the greater part of his life, he is not about to slow down now. At 23, he is joining Chick Corea's newest band. One must wonder what will be left for Gary Novak to do having accomplished so much in such little time.
Gary Novak makes his UMS debut with tonight's performance.
It's been a whirlwind year for John Patitucci, who is widely regarded as one of the premier electric and acoustic bassists of his generation. Within the last year, Patitucci left Chick Corea's Elektric Band (in which he held the bass chair since the band's inception in 1985), toured the U.S. and Europe for the first time as a leader, continued to tour with Corea's Akoustic Band, and played on select film and record dates.
It is also the year the Patitucci is poised to expand his own legacy as a soloist and leader with Heart of the Bass, his fourth solo release and the first release on Corea's new label, Stretch Records, a subsidiary of GRP. While Patitucci's earlier albums explored a wide variety of styles, this new release forges an adventurous path, bridging the jazz and classical idioms -from collaborations with Corea, as composer and player, to a compo?sition byJ.S. Bach.
In what Patitucci calls "the most chal?lenging record I've made to date," short improvised pieces are interspersed with longer works -all of which feature the bass as a lead melodic voice. The centerpiece of Heart of the Bass is the "Concerto for Jazz Bass and Orchestra," a showcase of the col?ors of bodi the six-string and acoustic bass, in a chamber orchestra setting, written in three movements by trumpet-composer Jeff Beal. Patitucci credits the influence of renowned orchestrator Claus Ogerman's
orchestraljazz compositions as a key impe?tus to his working on such a project. Cityscapes was an important record to me," he notes, citing Ogerman's renowned work, which featured Michael Brecker's saxophone as the solo voice.
After Corea heard the concerto, he not only offered to record it on his new label, but he composed a set of six new miniatures for Patitucci, piano and string quartet.
"I think the bass functions well as a solo instrument within an orchestra," Patitucci mused, "hopefully the listener will enjoy the bass in this solo setting as they might enjoy a cello -with the added richness and sonori?ty which only the bass can provide. My intention is to have the bass serve the music and not have the music be subject to the instrument."
Fittingly, the tide cut is a lyrical and vir-tuosic tour-de-force; while the solo acoustic bass performance, "Mullagh," is a jig-like piece titled after the Irish town where Patitucci's wife's grandmother is from. He also found a spot for Bach's Prelude in G Major, from the beloved cello suites. Says Patitucci, "The suites lay as nicely on die six string as if it were a classical guitar; the instrument just seems to sing."
It all began in Brooklyn,,New York, where Patitucci was born on December 22, 1959. He grew up listening to Motown and The Beades, then played in a band with his older brother, Thomas, after picking up the bass at age 11. Eight years later, after moving with his family to California, Patitucci was headlong into jazz, gigging with Freddie Hubbard, The Crusaders, Hubert Laws, Larry Carlton and Stan Getz. Corea then , heard Patitucci and asked him to join his newest project --The Elektric Band.
With Corea, he has recorded The Chick Corea Elektric Band, Light Years, Eye of the Beholder, Inside Out, and last year's Beneath the Mask, as well as the acoustic Chick Coxea Akoustic Band and Alive. Patitucci's solo out, put for GRP includes John Patilucci, On the Corner and Sketchbook. And now, for Stretch Records, Heart of the Bass.
Patitucci is already at work on the next chapter, a GRP project with African influ?ences. "I don't want the listener to kYiow what my records are going to sound like before hearing them. I want the listener to be challenged, and hopefully inspired by the sound of, the instrument which has so influenced my life -die bass."
John Patitucci makes his UMS debut with tonight's performance.
The Gijarneri String Quartet
Arnold Steinhardt, Violin John Dalley, Violin Michael Tree, Viola David Spyer, Cello
Sunday Afternoon, October 2, 1994 at 4:00
Rachham Auditorium Ann Arbor, Michigan
Franz Joseph Haydn (1J32-18og)
Quartet in G Major, Op. 77, No. 1
' (HOB III: 81) ,
Allegro moderato Adagio
Menuetto: Presto Finale: Presto
Beta Bartok (1881-1945)
Quartet No. 4
Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto
Claude-Achille Debussy (1862-1918)
Quartet in G mikor, Op. 10
Anime et tres decide Assez vif et bien rythme Andantino, doucement expressif . Tres modere; Tres mouvement
Second Concert of the 116th Season
32nd Annual Chamber Arts Series
Herbert Barrett Management RCA Victor, Philips Classics
Special thanks to Miduiel Tree, speaker for this evening's Philips Educational Presentation. '
Thank you to Ed Surovell for helping to make this concert possible.
Large print programs are available upon request from an usher.
String Quartet in G Major, Op. 77, No. 1 (hob ill: 81)
Franz Joseph Haydn
Born c. March 31, 1732 in Rohrau, Lower Austria
Died May 37, 1809 in Vienna
Haydn had .composed his first string quar?tets some 40 years before his Op. 77, and tradition favored six of them in a set. The Op. 71 and 74 quartets (1793) were dedi-'cated to Count Apponyi, and the Op. 76 from around 1797 were for Count Erdody. The writing of his oratorio The Creation (1796-98) had drained the composer's energy, and he managed to finish only two of this Op. 77 set for Prince Lobkowiu ---Haydn's last completed quartets. Though there may have been a decline in the phe?nomenal rate at which Haydn composed, one can find no sign of a falling off in his creative powers. In fact, the 67-year-old'com?poser was exploring new paths of composi?tional development. .
Following his years of triumph in England, Haydn was living in his own house in the Viennese suburb of Gumpendorf and was at the summit of his career. The Creation had met with a tumultuous reception on February 20, 1979, in a performance with an orchestra of 180 players and a chorus of more than 2oo(!) The Op. 77 quartets of the same year show a surprisingly full sonori?ty, with forte chords worked into the themat?ic material in much the same way as in his London piano sonatas.
Haydn's somewhat uneasy teacher-stu?dent relationship with Beethoven was under?way at this time, and their mutual influence proved even more pronounced than that of the Haydn and Mozart mentorship often years earlier. Haydn's creativity as far as the?matic construction, his use of canon, the appearance of variation instead of sonata form in first movements, and above all his use of extended tonal relationships point to Beethoven and even to Schubert.
In the perfectly balanced fprmal units of the opening. "Allegro moderato" we hear crystallized everything that Haydn had achieved in sonata form. He treats us to a recapitulation of his modest themes that goes beyond merely re-stating the exposi?tion, and is actually a re-composition. The ideas are most cogently worked out with dot?ted rhythms and triplets.
The second movement "Adagio alia breve" is a three part fantasy, and illustrates the expanding tonal horizons mentioned ' before: instead of the closely related domi?nant key one would have expected in a x G Major piece, this movement lies in the strongly contrasting E-flat. These relation?ships of keys separated by the interval of a third (called mediant relationships) reaches their apogee more than half a century later in the person of one Richard Wagner . . .
The Menuet is marked "Presto" and is clearly to be played as a one-in-the-bar dance movement (i.e., a true Scherzo!) Here it is evident that Beethoven had influ?enced Haydn just as much as the other way around. Again, the Trio goes off into E-flat Major, and resembles a fast Austrian folk dance. Instead of the standard repeats Haydn wrote out the sections to be repeated in varied form.
Griesinger, Haydn's first biographer, mentions as one of the composer's lovable traits "A harmless roguery, or what the British call humour, was one of Haydn's out?standing characteristics. He easily and by preference discovered the comic side of any?thing, and anyone who had spent even an hour with him must have noticed that die very spirit of Austrian cheerfulness breathed in him." This feeling is certainly evident in the last movement, a playful "Presto" in ? time.
The Op. 77 string quartets were the only quartet manuscripts found among Haydn's scores upon hjs death; both have the Italian title Qiiartetto. The manuscripts
are highly valuable in that they contain a large number of precise indications as to performance. The G Major quartet was pub?lished in 1802 by Artatia in Vienna and pos?sibly a year later by Clemenu in London. This work of about 24 minutes stands out even against Haydn's dazzling accomplish?ments in sonata, symphony, mass and orato?rio. Haydn's motto -"Vixi, Scripsi, Dixi!" (I lived, I wrote, I spoke!) was fully realized, and every music lover owes him thanks for hours of enjoyment.
Quartet No. 4
Born March 25, 1881 in Nagyszentmiklos (now
Stnnicolau Mare, Romania) Died September 26, 1945 'n New York City
Bela Bartok composed his Fourth String Quartet between July and September of 1928 when he was 47. In this work (possibly his supreme masterpiece in the form), Bartok's shedding of any romantic sensibil?ity is complete. This is not his lighter style, although just underneath the abrasive, motoric surface lies much beauty:
The piece is a marvel of formal clarity: the basic structure is one of five.parts in which the first relates to the fifth, the sec? ond to the fourth, and, in Bartok's words, "the slow movement forms the kernel of the work". There are relationships of key -the opening and closing movements both land on C, while the first Scherzo lies on E, and the second Scherzo on A-flat. Thus, the composer traces out an augmented chord.
The second movement is about twice the speed of the fourth, and double it in rhythmic units, and so a relationship of tim?ing and duration results. Most telling of all is the use of one chromatic motive that per?meates the entire piece, first heard in bar 7 (I). The variational process is the key to this quartet's construction in that Bartok gives
us forms of this taut motive almost instead of themes.
Color also plays a role in unifying the Fourth Quartet, for instance, linking the "Prestissimo, con sordino" (second movement) and the "Allegretto pizzica?to" (fourth movement). Glissandi are featured, as well as the snap pizzicati (Bartok's trademark) in which the string is plucked hard enough to snap back on the fingerboard for a particu?larly incisive effect.
In contrast to the polyphonic rigor of the outer movements, the slow move?ment ("Non troppo lento") concen?trates on a cello solo against a static background. Even the accompanying chords are not the result of accident, of course. Bartok has used a pile-up of fifths and compressed it into a cluster.
To place this pivotal work in to a temporal context, 1928 was the year in which Janacek died, and Stockhausen was born. The piece was first performed by the Waldbauer-Kerpely Quartet in Budapest on March 20, 1929. This group gave the premieres of the first four Bartok quartetsf the dedication, however, went to the Pro-Arte Quartet. The playing time is about 22 minutes.
Quartet in G minor, Op. 10
Claude-Achille Debussy Born August 22, 1862 ini
St. -Germain-en-Laye, France Died March 25, 7918 in Paris
In contrast to the vast cathedral of Bartok's Fourth Quartet, the Debussy G minor Quartet invites us into the hos?pitality of a well-appointed living room. It is Paris, 1893, and though some of the furnishings show their date, others are curiously modern.
Franck's String Quartet had come into being only three years before, and cyclic technique was the rage. Debussy passed his test with flying colors, transforming his orig?inal Phrygian mode theme ingeniously in. metric variation and augmentation.
Already there is a sense of the innova?tions that were to make this composer's influence so pervasive (albeit subtle). The seconcl movement skirts with Javanese Gamelan music in a delightful play of duple against triple rhythms. Though the "Andan-tino docement expressif" approaches the emotional fervor of the FranckWagner school, there remains a wistfulness that is new, and peculiarly Debussy's.
It is puzzling that a masterpiece so com?forting and radiant as the G minor Quartet garnered almost no notice at its premiere on December 29th, 1893 at the Salle'Pleyel. Chausson, the work's original dedicatee, apparently didn't care for it; the dedication went instead to the group that first per?formed it, the Ysaye Quartet.
One can't help but, wonder about the extent to which Debussy's discovery of Renaissance music played a role in forming his aesthetic at the time. From his letter to . Andre Poniatowski (February 1893): ". . . These last few days I've found some consola?tion in a very satisfying musical experience. It was at Saint-Gervais, a church where an intelli?gent priest has taken the initiative in reviving the wonderful sacred music of earlier times. They sang a Palestrina m'assfor unaccompanied voices. It was extremely beautiful. Even though technically it's very strift, the effect is of utter whiteness, and emotion is not represented (as has come to be the norm since) by dramatic cries but by melodic arabesques ..."
Soon Debussy embarked on the compo?sition of Prelude a I'Apres-midi d'unfaune and Pelleas et Melisande, and Western music has never been quite the same since. Let us trea?sure this quartet as representative'of a spe?cial poised moment in both the history df music and Debussy's evolution. Rather than obscure this piece's ravishing sound through more analysis, we should take the compos. er's own advice: "Beauty must be experi?enced directly by the senses . . ."
The duration is approximately 26 minutes.
Notes by Joseph Laibman Ann Arbor,
The Guarneri String Q.uartet
he Washington Post recent-I ly said it well: "When you hear a group like the Guarneri String Quartet, this is whai you don't hear: You don't hear any?thing but impeccable intonation and a silken, radiant sound; you don't hear the tiniest hint of imprecision in the ensemble playing; you don't hear any?thing but sheer perfection, born of 25 years of collaboration by four world-class string players. Saturday night at George Mason University, The Guarneri presented their usual conservative program rendered with their customary flawlesness and vibrant emotional involvement."
Approaching 30 years together, the Guarneri String Quartet is the most senior string quartet in the world without any changes in" personnel since its founding in 1964.
Highlights of the Quartet's 1993-94 season were performances in New York at Carnegie Hall, the Metropolitan Museum of Art and Alice Tully Hall, a special appear?ance with the Chamber Music Society of Lincoln Center, and performances at the Kennedy Center in Washington D.C. and
the Ambassador Auditorium in Los Angeles. They were also heard on St. Paul Sunday Morning of Minnesota Public Radio and in a national broadcast on CBC Radio in Canada.
The international demand to hear the Guarneri String Quartet reflects the emi?nence in which the Quartet is held in North America. It was well defined by the Los Angeles Times in reviewing an all-Beethoven recital: "Beethoven was more than well-served. He was revitalized by playing that probed into dark corners and illuminated hidden mys?teries. It was the sort of thing that can occur at any time but that rarely happens. It can?not be ordered or commanded; hard work can hasten its advent, but cannot guarantee its presence. It seemingly has to come from some other worldly source. Whatever its ori?gin it had the Guarneri players firmly under its spell. They looked like hardworking musicians, but they played like angels."
The Guarneri, hailed by Newsweek as "one of the World's most elegant chamber ensembles," is an amazing accomplishment: four diverse personalities, all original mem?bers, the longest surviving artistic collabora?tion of any quartet in the United States. The anatomy of a string quartet is best summed
up by violinist Arnold Steinhardt in a paper he wrote on his memories after 20 years with the Quartet: 'There will by hours and hours of brute labor involved in the techni?cal problems of intonation, ensemble, and the critical shading of four like-sounding instruments. More important will be the unchartered process in which four people ; let their individual personalities shine while finding a unified quartet voice. There will be endless musings, discussions, and criti?cisms that will finally end up as an interpre?tation -that almost mystical amalgam of the four players that hovers somewhere in between their music stands."
., The Quartet has been featured on many television and radio specials, docu?mentaries and educational presentations both in North America and abroad. It was interviewed by Charles Kuralt on CBS' -nationwide television program, Sunday Morning, in summer 1990, and a full-length feature film entitled High Fidelity The Guarneri String Quartet was released national?ly, to great critical and public acclaim, in the fall of 1989. (The film was directed and pro?duced by Allan Miller who was also the directorproducer of the Academy Award-winning documentary From Mozart to Mao, which dealt with Isaac Stern's visit to China.) The Quartet is also subject of several books including Quartet by Helen Drees Ruttencutter (Lippencott & Crowell, 1980) and The Art of Quartet Playing: The Guarneri in Conversation with David Blum (Alfred A. Knopf, 1986). '
In 1982 Mayor Koch presented the Quartet with the New York City Seal of Recognition, an honor awarded for the first time. The Quartet is on the faculty of the University of Maryland. It was awarded Honorary Doctorate degrees by the University of South Florida (1976) and the State University of New York (1983). In 1992 the Guarneri String Quartet became the only quartet to receive the prestigious
Award of Merit from the Association of Performing Arts Presenters.
The Guarneri String Quartet's record?ings, several of which have won international, awards, are on RCA Red Seal and Philips. Among the recordings are collaborations with such artists as Artur Rubinstein, Pinchas Zukerman; and Boris Kroyt and Mischa Schneider of the Budapest Quartet.
The Dallas Morning News summed up the Guarneri when it headlined the review "Quartet is Really Quite Perfect." and went on, The men of the Guarneri are today's aristocrats of the chamber music world. There was never a forced phrase or a hint of harshness, while interpretatively there was a certainty and urbanity to the performances that made everything during the evening ring with inevitability. It is this sort of atten?tion to detail, diis sort of preparation that tells the tale of a Guarneri performance. Yet for all the meticulousness of its perfor?mances, what one departs with is a flowing, ebbing impression of the music, not the thought that went into it. And where does that leave someone paid to write about such a concert Feeling like a fifth leg on a table -absolutely dispensable."
This afternoon's performance marks the Guarneri Quartet's twenty-seventh appearance under UMS auspices
Arnold Steinhardl plays a violin made by Lorenzo Storioni.
John Dalley plays a violin made by Nichola Lupot in Paris, 1810.
Michael Tree plays a viola made by Dominicus Buzon.
David Soyer plays a cello make by Ferdinan Galliaw in ij88.
a n d
Carol and Irving Smokier present
William Hawkes, Violin Ann Morfee, Violin Catherine Musker, Viola Anthony Hinnigan, Cello Martin Elliott, Bass Guitar John Harle, SopAlto Sax
David Roach, SopAlto Sax Andrnu Findon, Bari. Sax, Piccolo Nigel Ban; Bass TromboneTuba Michael Nyman Ralph Harrison, Sound Engineer
Saturday Evening, October 8, 1994 at 8:00
Michigan Theater Ann Arbor, Michigan
Scores of Michael Nyman
"Chasing Sheep is Best Left to Shepherds"
"Queen of the Night"
"An Eye for an Optical Theory"
"Prawn Watching" "Time Lapse"
I N T E -R M I S S I O N
Fall of Icarus
of the 116th Season
24th Annual Choke Series
Thank you to Drs. Carol and Irving Smokier for helping to make 'this program possible.
Thanks also to Hammell Music Inc., Livonia, Michigan, for thr piano used in tonight's performance.
L fli" ichael Nyman is a
IL ? composer in
I L ? demand, and yel
L I his position is new
Lt music today
Rf ( remains controver-
4. ? aajHH m.iI. Tlx-i c i ;m be no other composer alive who inspires simul?taneously such devotion and antagonism, in apparently equal measure. Nyman is a man of impeccable musical credentials 7scholar, writer, critic, performer, as well as composer. He is also a man of wit -wit which offers a haven of ambiguity to today's demand for. easy labeling.
Nyman was born in London on March 33, 1944. His musical background was con?ventional studies at the Royal Academy of Music and King's College, London, but with less than conventional teachers, namely, the communist composer Alan Bush and the distinguished musicologist of the English Baroque, Thurston Dart. It was Dart who introduced Nyman to sixteenthand seven?teenth-century English rounds and canons. These were to be influential, not only for their construction with repetitive, contra?puntal lines over harmonic modules, but for their ambiguity in being at the same time popular and serious. Dart also supported Nyman's interest in folk music encouraging him to visit Romania to carry out research. Nyman graduated in the 60s at a time w,hen popular music, particularly that of the Beades, was storming the land. By contrast,. "serious" contemporary composition was dominated by Stockhausen and Boulez (die Darmstadt serialists). Nyman's free-wheel?ing, eclectic, 60s education prevented him temperamentally, intellectually and ideologi?cally from joining this club, either as com?poser or performer. So for 12 years, from 1964 to 1976, Nyman, though silent as a composer, was prolific as a writer about music, working for the Listener, New Statesman and in particular The Spectator,
where he was given carte blanche to write' about anything he liked -from Cage to the Fugs. It was Nyman, in a review of the Great Learning by the English composer Cornelius Cardew, who introduced the word "minimal?ism" as a description in music.
During this period, he was a frequent performer with a wide variety of groups and bands ranging from the Scratch Orchestra , and Portsmouth Sinfonia to Steve Reich and Musicians and die Flying Lizards. But per?haps die most significant event duringthose years was the writing of his book, Experimen?tal Music Cage and Beyond (1974), in which he set out to document and discuss the wide spectrum of musical creativity emanating from die aesthetics of John Cage, and its implications for a generation of composers and performers stifled by the rigorous acad?emicism of the serialists.
The.book, which to diis day remains the most authoritative on the subject, might appear to have acted as some sort of cathar-. sis for Nyman: having so convincingly explained the alternative to die Darmstadt School, and witnessed or taken part in so much of the music discussed, Nyman may unconsciously have seen a route for himself, should he ever become a composer. As it was, in 1976, Harrison Birtwisde, Director of Music at the National Theater, invited him to arrange some eighteendi-century Venetian popular music for a production of Goldoni's Campiello.
The Music for Campiello consisted of arrangements of gondoliers' songs fbr an eccentric street band of medieval instru?ments -rebecs, sackbuts and shawns with banjo, bass drum and soprano saxophone. It was the loudest acoustic band Nyman could think of, and produced a very distinct instrumental color, something which was always to be a feature of primary considera?tion in his music.
It was only when die stage production of 11 Campiello came to an end tiiat Nyman,
in wanting to preserve the band, became a composer almost by accident, in order to create music for it to play.
In common with many composers today -Steve Reich, Philip Glass, Louis Andriessen, and writers of jazz and popular music -Nyman has written extensively for his own group, not merely to give it music to play, but also to unite a group of musicians who were as interested as he in breaking down the barriers between serious and pop?ular culture.
The Campiello Band had used no amplification but, when in the early 80s it transformed into Michael Nyman Band, amplification became as integral to the Nyman sound as instrumental color.
At first hearing, the Nyman style -rsimT pie tunes and chord progressions, and insis?tent beat, repeated Viotes, and loud dynam?ics -relates to pop music. But Nyman owes much to die English experimentalists, in particular John White, and to John Cage, who, as Nyman remarked, gave permission
for' the music of the past to be treated as a resource, as a raw material to be used in any way allowing, for instance, a single phrase to be put under a microscope, and enlarged jnto a composition.
The score.for Peter Greenaway's film The Draughtsman's Contract (1982), which brought Nyman his first major success, is scored solely from the music of Henry Purcell, in particular from lesser known ground basses and chaconnes. Purcell's material, in its use of closed harmonic sys?tems, provided Nyman with infinitely repeat-able, recyclable, andlayerable harmopic structures similar to those with which he customarily worked. Melodic fragments would be varied over die bass line by exten?sion, syncopation, suspension and superim-position. The resulting music is by Nyman, but with a memory, though not a specific memory, of Purcell.
His important collaboration widi the English film maker, Peter Greenaway, which began 1977, established Nyman's repution
as a composer ot him music, but has perhaps added to a distorted overall view of his output. No doubt this is because the numerous film ' scores and recordings of them have reached a vast and enthusiastic internation?al public and catapulted him to "cult" status. But Nyman is extraordinarily prolific in other areas, notably opera, chamber music, vocal music, and dance scores. .
This productivity is enabled, to some degree, by certain reworkings of his own music. However, it would by wrong to imply the mere shifting of score pages from oneanother, or simply
reorchestration. Nyman, in fact, completely recomposes a work, subjecting the original material to a rigorous reassessment so that the new musical conclusions are allowed to emerge. One such work is Zoo Caprices, which transforms ensemble music from his film score A Zed and Two Noughts (1985) into a virtuoso work for solo violin. The ghosts of J.S. Bach and Paganini may well be invoked, but such references may relate more to the musical memory of the listener than to any specific intention of Nyman.
Nyman's interest in building pieqes out of modules and matrices relates paradoxically to serial technique, but his recognizable' chords, chord progressions, and melodic fragments, his use of driving repetition and distinctive instrumental colors -the thumping keyboard, "rude" bass clarinet and baritone saxophone (particularly associ?ated with music for his own band), and the extreme high and low octave doublings -make the result very different from serial-ism, with an energy and exuberance more associated with pop and rock music.
Within this possibly mechanistic style, there is still room, however, for a remark?able range of emotional expression. The chamber opera The Man Who Mistook His Wife For A Hat (1986) is based on a true case study by the American neurologist, Dr. Oliver Sacks, of a patient, Dr. P. Through a gradual diagnostic journey, Dr. P's visual agnosia, or the inability to recognize what he can see, is painfully revealed. Nyman sets up a music parallel to reveal Dr. P's deterio?rating condition, by constructing a series of variations based on a "recognizable" chord sequence which, during die course of the opera, becomes increasingly distorted as detail, contour, melody, color and texture are removed. In real life, Dr. P, a profession?al singer, relied on specific songs -eating songs, dressing songs, bathing songs -to provide "guide rails" to cope with his mental
disorder: To underline this tragic condition in the opera, Nyman poignandy "borrows" from Schumann's song literature..
But it is Mozart that provides the rich?est source for a number of compositions by Nyman, including the unforgettable In Re Don Giovanni (1976) and I'll Stake My Cremona to ajeiv's Trump (1983). No other score of Nyman's is as ingenious in its meta?morphosis of another composer's material than the music for the film Drowning by Numbers (1987). Drawing exclusively on die slow movement of Mozart's Sinfonia Concertante for Violin and Viola KV 364, Nyman treats his material in a way diat is practically a formal analysis. He exposes the melodic and harmonic relationships of Mozart's intense score by drawing out new melodies, be they poignant ('Trusting Fields" based on die repeated, throbbing, accented appogiatura), chirpy ("Sheep and Tides", drawn from simple bass line), or swaggering ("Wedding Tango", a complex combination of the opening D minor theme with the same theme in E-flat, as it later appears). In an oblique way, this process is reminiscent of the late Hans Keller's "func?tional analysis." (Incidentally, Nyman, like Keller, is a fanatical football fan.)
String Quartet No. 2, in six movements, commissioned in 1988 as a work for the Indian dancer and choreographer, Shobana Jeyasingh, marks a considerable freeing up of Nyman's harmonic language. While para?doxically in its cross rhythms and syncopa?tions, it effordessly assimilates die strict rhythmic codes of Karnatic music, there is . no mistaking its folk dance, Viennese coffee houses, and die string quartets of Bartok.
Nymani's music is allusive, but not necessar?ily consciously so. There are certain works -The Draughtsman's Contract, In Re Don n ' Giovanni, String Quartet No. I --where the original source, whether Purcell, Mozart, or a 60s pop tune, is no doubt because Nyman
quotes and rewrites passages; but in most of his work he demonstrates an intensely musi?cal mind calling on a vast reservoir of musi?cal memories.
Out of the Ruins, a choral work, com?posed in 1989 for a BBC TV documentary ' about the devastation caused by the earth?quake in Armenia, uses a simple asymmetric dirge-like melody to set a text drawn from a tenth-century Book of Lamentations. The allusion to Armenian chant, is no more con-scious than is the possible allusion to Faure's Requiem in Nyman's use of unexpected enharmonic shifts.
The Fall of Icarus (1989), a large scale dance work undertaken with the Belgian choreographer Frederic Flamand and Italian video sculptor Gabrizio Plessi, illus?trates how, through modules and matrices, Nyman's thematic, harmonic and rhythmic material can be expanded or contracted by , the repetition, addition or subtraction of a beat, bar, or section, and at the same time speeded up or slowed down through rhyth-' micj acceleration or augmentation. Although Nyman indicates that this technique was fully formed when he (re) started to com?pose in 1976, it is significant that this ' ? approach produces material which perfecdy fits the needs of the film editor, even if on occasion, pieces stop abruptly, rather than end "properly."
Nyfnan's music, influenced as it seemed by Dageian aesthetics, English experimental music, American minimalism, and the Baroque, had by 1990 developed a confi?dence which, while still clearly related to its beginnings, had moved far from the Nymari of simple rhythms and insistent pumping. Prospero's Books (iggo), Greenaway's fantasy on Shakespeare's The Tempest, might have tempted Nyman to fall back on an historical model, but instead, misremembering Caliban's line referring to the island as full of "voices" (rather than "noises"), he pro?duced a beautifully original score that, with
its luxuriant use of female voices (three ' singers drawn from three different tradi?tions opera, rock, and cabaret) and richly substantial Masque, almost became the opera The Tempest that's never been written. There is no denying the score's illustrative and emotional power in underpinning the reconceptualised play and its characters.
The German cabaret singer, Ute Lemper, well known as an interpreter of Kurt Weill, took the part of Ceres in Prosperous Books, and it was for her that Nyman wrote his searing Six Celan Songs (1990). The Poems of Paul Celan are amongst the blackest of this century. A Jew from Bukovina, Celan saw his parents shipped off to death camps from which they did not return; eventually he took his own life. Setting the poems in German and to the instrumental accompaniment of his own ensemble, Nyman here embraces his widest spectrum of emotional expression. Released as a record in 1991, Songbook featured Lemper singing the Six Celan Songs, Ariel Songs (from Prospero's Books), as well as musi?cal works interperated from Mozart and Rimbaud. Nyman feels the collaboration with Lemper represents his best work yet.
Nyman's biggest commercial success to date has been his original soundtrack for Jane Campion's film The Piano. The movie is based on a mute Scottish woman who, because of an arranged marriage, must move, with her daughter to the remote bush of nineteenth-century New Zealand. Her only means of communication are th'rpugh her nineyear-old daughter and her music, for which her piano is the tool. After being delivered on the beach, her new husband refuses to transport her piano and it is left behind on the beach. Unable to bear its cer?tain destruction, Ada strikes a bargain with an illiterate, tattooed neighbor to move it to shelter and allow her to play it. She may earn her piano back from him if she allows'
him to do certain things to her body while she plays. The arrangement draws Ada, her husband, and the neighbor deeper and deeper into a complex emotional, sexual bond remarkable for its naive passion and frightening disregard for limits. In writing for The Piano, Nyman had to establish not only the usual repertoire, of music for the . film, but a specific repertoire of piano music that would have been Ada's repertoire as a pianist.
Initially I was unsure how precisely to pitch the style; it had to be a "possible" mid-nineteenth-century music hit not as pastiche and obviously written in 1992. But then I had the perception that, since Ada was from Scotland, it was logical to use Scottish folk and popular songs as the basis for our music. Once I hit on that idea the whole thing fell into place.
It was a real challenge to write this music, because it is absolutely crucial to the film. If you delve into the reasons for the piano's existence, you realize that the establishing of a musical lan?guage is crucial. Since Ada doesn't speak, the piano music doesn't simply have the usual expres-
sive role but becomes a substitute for her voice. The sound of the piano becomes her character, her mood, her expressions, her unspoken dialogue. It has to convey the messages she-is putting across about her feelings toward Baines, during the piano lessons and these differ from lesson to les?son as the relationship, state of sexual bargaining and passion develop.
Praised for its sensuality, sensitivity and emotional power The Piano soundtrack was nominated for a Golden Globe award in late 1993. It is also the only Nyman release v which has charted in the Billboard 100. Presently at the 50 position (an incredible accomplishment for a record with no video, no mainstream radio play, and very little classical radio exposure), Virgin Records expects to sell over a million copies which would make The Piano soundtrack Nyman's first "gold record."
Tonight's concert marks the UMS debut of Michael Nyman and the Michael Nyman Band
First of America
Bank Ann Arbor
The Philadelphia Orchestra
Music Director and Qonductor
Richard Woodhams, Oboe
in honor of Dr. and Mrs. Harlan Hatcher
Tuesday Evening, October 18, 1994 at 8:00
Hill Auditorium Ann Arbor, Michigan
Johannes Brahms (1833-1897)
Variations on a Theme of Joseph Haydn, Op. 56a
Richard Strauss (1864-1949)
Oboe Concerto in D Major,
AV 144 (1945REV. 1948)
I N T E R M I S S I O N
Robert Schumann (1810-1856)
Symphony No. 2 in C Major, Op. 61
Sostenuto assai -Un poco piu vivace --
Allegro ma non troppo
Scherzo (Allegro vivace) -Trio I -Trio II Adagio expressivo . Allegro molto vivace
of the 116th Season
116th Annual Choral Union Series
Thank you to First of America, Mr. Douglas Freeth and Mr. Earl Roehm for helping to make this performance possible.
AngelEMI, BMG, LondonDecca, New World, Philips, Sony, and Telarc records
Large print programs are available upon request from an usher.
Variations on a Theme of Joseph Haydn, Op. 56A
Johannes Brahms ,
Born May y, 1833 in Hamburg
Died April 3, i8gy in Vienna
Johannes Brahms' .delight in the music of Haydn dates back at least as far as the 1850s, when he wrote to Clara Schumann that he was reading through Haydn's piano-trios (sans cello) with the violinist Joseph Joachim: "We are enjoying ourselves immensely!" Later Brahms' friend Carl Pohl, one of the first great scholars of Haydn's music, intro?duced him to the works of the great Viennese Classicist, including a Divertimento contain?ing the tune "St. Anthony's Chorale" that caught the composer's imagination immedi?ately. In 1873 he turned diis traditional tune into one of his most concise, coherent, and enduringly popular symphonic works. The "Haydn Variations" were first perform?ed in Vienna diat year, under Brahms' own baton. Though the work was one of the composer's first works in the orchestral medium, throughout his life he looked back upon diese variations with great fondness. Perhaps part of the reason for this lay in his lifelong devotion to the music of earlier composers. Brahms joined the leading scholars of his day to investigate the music of Bach, Handel, and numerous Renaissance composers; among the fruits of'their labors were the first complete editions of these masters. For Brahms this was not a purely academic exercise -his interest in early music spilled over into his creative life, and throughout his career the elements of Baroque and Classical style took on an increasingly significant role. Thus his inten?tions in the "Haydn Variations" were pardy to pay homage to that composer, not only through the use of a tune from his oeuvre, but also through the emulation of the com?poser's variation techniques.
Ironically, the work that Brahms intend?ed as his most pointed homage to this great Classicist was built on a theme that, as it turns oif, was not by Haydn at all. Many , years after Brahms' death, scholars began to call into question the authenticity of the Divertimento in B-flat (Hob. II46) that Brahms used. Scored for two oboes, two horns, two bassoons, and serpent, the work ? is probably by Haydn's prolific Austrian con?temporary Iganz Pleyel.
After a simple presentation of the theme, tension mounts through the first five variations, culminating in the rushing vivace of Variation VI, in which winds and brass present a rapid, gready compressed version of the chorale. Variation VII is a gende sicil-iano movement that virtually functions as a "slow movement". Throughout this last vari?ation and coda, die chorale bass line can be heard even when die melody is submerged.
The Variations are scored for piccolo, two.flutes, two oboes, two clarinets, tioo bassoons, contrabas-soon, four horns, two trumpets, timpani, triangle, and strings. -
Oboe Concerto in D Major,
AV 144 (1945REV. 1948)'
Born June 11,11864 in Munich
Died September 8, 1949, in
The D Major Oboe Concerto owes its exis?tence to Strauss's uncanny ability to write music, unhindered and unperturbed, in the midst of utter turmoil. He had already com?posed his way right through the Nazi period and World War II, using the war years to produce such masterpieces as die Second Horn Concerto and die opera Capriccio. At
war's end he continued unabated, driving his wife, Pauline, virtually to distraction with his seemingly unflappable work ethic. Accustomed to life at a remove from the world at large, Strauss hardly thought k nec?essary to leave Germany during the after?math of the war. He was, after all, 81 years -old. Only in late 1945 did he and his wife bow to pressure from friends,and settle for a time in the sleepy Swiss town of Baden. Through their peripatetic life in Swiss hotels during subsequent months, Richard sat and wrote the most polished, glorious oboe con?certo of all -while the 83-year-old Pauline railed against hotel personnel, hotel food, and the general chaos of it all.
The seeds for the Concerto had been planted in late 1945 by a young American G.I. -a Philadelphian named John de Lancie who would join that city's Orchestra the following year as Assistant Principal Oboe to Marcel Tabuteau. (De Lancie, who . succeeded Tabuteau as Principal in 1954, was later Richard Woodhams' teacher at the Curtis Institute of Music.) Before leaving Germany Strauss had been greeted by a. whole host of curious American soldiers, who had appeared on the doorstep of his Garmisch villa, with all sorts of questions. (His standard reply to inquiries was, "I am the composer of Der Rosenkavalier, please leave me alone.") But the composer was nonetheless willing to entertain the uni?formed de Lancie, who called on him sever?al times that fall. "During one of my visits," wrote the oboist many years later, "I asked him if, in view of the numerous, beautiful, lyric solos for oboe in almost all of his works, he had ever considered writing a con?certo for oboe. He answered, 'NO,' and there was no mpre conversation on the sub?ject. He later told a fellow musician friend of mine (Alfred Mann, former director of the Bethlehem Bach Choir) that the idea had taken hold as a result of that remark."
Alas, de Lancie did not play die Concerto's world premiere; die piece was first performed in Zurich on February 26, 1946, by die Swiss oboist Marcel Saillet and die Tonhalle Orchestra under Volkmar Andreae. The composer gave de Lancie per?mission to perform die work's American premiere whenever he liked, but die piece was not heard in die U.S. until February 1, 1948, with oboist Mitchel (Mitch) Miller and die Columbia Concert Orchestra. De Lancie first performed the Concerto on August 30, 1964 at the Interlochen Festival in Michigan, with Eugene Ormandy and the Philadelphia Orchestra; diis performance included die revision of die last movement _ diat Strauss had prepared for die published version. (Leon Goossens's first recording of the work was of die original version.) The revision included some 50 measures addedy to die coda of die finale.
The Concerto, which is more in die nature of a continuous, one-movement Konzertstiick, makes a decisive nod in Mozart's direction. Its first movement ("Allegro moderato") brings to mind much of Strauss's own earli?er music as well as, a sort of autumnal reflec?tion on scores as diverse as Don Qiiixote and Ariadne aufNaxos. The opening four-note motive is extended to form a sparkling sub?ject diat will serve a unifying role for die whole concerto. The oboe enters to present an extraordinarily long exposition (56 plea?sures), and die movement proceeds in a con-certante fashion, happily bringing odier solo instruments into die discourse. The second or Andante" movement grows direcdy from die opening Allegro, presenting a delicibus-ly lyrical "aria" in die key of B-flat Major, again calling Mozart to mind. Closing widi a cadenza for the soloist, the slow movement employs die Concerto's opening motivic material to strike directly into the final "Vivace," an.almost Baroque-like section of
great exuberance. It moves into a gentle 6 Allegro section, which serves as a bridge for the long coda -a sort of waltz that sends the work off with an ironic twist.
The Concerto is scored for a small orchestra of flute, English horn, two clarinets, two bassoons, two horns, and strings.
Symphony No. 2 in C Major, Op. 61
" Robert Schumann
Born June 8, 1810 in Zwickau, Saxony Died July 29, 1856 in Endenich (near Bonn)
By the fall of 1844, Schumann's concert tour of Russia and his obsessive work on a proposed operatic version of Goethe's Faust had brought him to a state of near collapse. It was not the composer's first encounter with nervous disorder -his youth had been fraught with bizarre passions and.thoughts of suicide -nor was it to be his last. (Later, during the 1850s, he was to throw his con?fused body into the freezing waters of the Rhine in mid-February. Bemused fisherman would pluck him out and take him home to his wife Clara.) Upon returning from Russia earlier in 1844, Schumann sought all man?ner of hypnotic and homeopathic quackery for what had developed into a blind dark depression. Clara wrote of her husband's fit?ful nights.'from which he would awaken the next morning "bathed in tears."
It was in Dresden, where the Schumanns finally settled in 1845 to escape the frenetic cultural activity of dieir beloved Leipzig, that the composer began to regain his stabil?ity. During the summer he immersed him?self in the music of Bach, composing a series of ingenious contrapuntal works, including six fugues on the letters B-A-C-H. The order and logic of classical counterpoint appears to have had a restorative effect: Schumann
began composing in earnest again. His first project was to produce an Andante and an Allegro finale for the "Fantasy" movement composed earlier in Leipzig. The result was the A minor Piano Concerto, one of the most fiercely passionate works of the century. In December of 1845, Schumann also draft?ed, within three weeks, a Symphony in C that combined his newfound contrapuntal savvy with his attraction to the music of Beethoven and Mendelssohn.
The Symphony in C was actually the composer's fifth symphony, though it was . published second, thus as "No. 2." For in addition to die Symphony in E-flat that is now called No. 1 (the "Spring"), Schumann had already composed a G minor Symphony in Zwickau, which was later withdrawn, a Sinfonietta, later published as the Overture, Scherzo, and Finale, Op. 52, and the Symphony in D minor, called "No. 4" because of the order in which it was pub?lished. The C Major is at once the compos?er's most expansive and his most problemat?ic symphonic work. 'The Symphony in C has what the French would call a 'faux air de Beethoven, 'from beginning to end," wrote one perplexed English critic in 1864. Indeed, die chief aspect of die work that has caused many listeners to find it "Beethovenian" is its use of pregnant motivic material on a scale virtually unprece?dented in Schumann's music.
Nearly every measure of die first move?ment, for example "Sostenuto assai -Un poco piu vivace -Allegro ma non trpppo" is generated eidier from the motto theme of open fifths heard in the opening bars (a reminiscence, conscious or unconscious, of Haydn's Symphony No. 104) or from the jagged dotted-note subject diat forms die movement's first subject. The Haydn dieme, which is closely related to the fifth-based "Clara diemes" found diroughout Schumann's works, recurs at emotional peaks in each of the four movements -a
technique with which the composer places himself squarely in the nineteenth-century tradition of Berlioz and Wagner. The second movement "Allegro vivace," a Scherzo with relentless virtuosic passages for the strings, is notable for its second Trio, a polyphonic working-out of a chorale-like theme that fairly jumps out at the listener with its Bachian joy. The coda brings Bach and Haydn together, as it were, closing with another echo of the Symphony No. 104. The plaintive, chromatic subject of the third movement "Adagio espressivo" again recalls Bach, this time the "ErbarmeDich"aria from the St. Matthew Passion.
It is Schumann's final movement "Allegro molto vivace", which also begins with the Haydn subject, that has generated the most discussion. One critic has described it as a sonata containing a coda that is long?er than the rest of the piece; this seems to beg the limits of sonata form. More recendy, Anthony Newcombe has suggested that the problem lies in trying to make the piece fit into a standard musical form. He argues that die movement belongs to die history of discursive music, deriving its impetus from Romantic literature and from Schumann's own pantheon of imaginary characters. True to nineteenth-century sensibilities, die movement walks an ambiguous line between die "absolute music" of a Beethoven sym?phony and die growing Romantic concern witfi "program music"-the specific depic-.tion of dramatic and literary scenes. Though no specific story or "program" for die work has come down to us, this final movement has become an archetype of a sort of gener?alized triumph over impossible odds.
Schumann overcame a legion of what he called his "sinister demons," dien, to pro?duce this most complex of symphonies -die work that even his earliest critics called a struggle leading to victory. "I composed die symphony when I was still half sick," he wrote. "I feel as if one. can probably hear
that in it. Not until the last movement did I really begin to feel myself again; and after completing the whole work I actually felt better still. But despite this, as I said, it reminds me of a dark period."
@@@@TRe Symphony is scored for an orchestra of two ?flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings.
Notes by Paulf. Horsley Philadelphia, 1994
1 hen Wolfgang Sawallisch
stepped to the podium of The Philadelphia Orchestra in September 1993, h,e became only the sixth Music Director in the Orchestra's 94 year history. Born in Munich in 1923, Sawallisch has established himself as one of the major conductors of our time. Critics have hailed qualities such as his "total command of every aspect of the score" that have made his interpretations of the European classics some of the most satisfying to be heard any?where. "Sawallisch is unrivaled," wrote one critic of a recent EMI Classics recording with the Philadelphia Orchestra, "in his abil?ity both to clarify the music and to raise it to an exalted level." For 21 years Sawallisch led the.Bavarian State Opera in Munich, where he served as bodi music director and artistic director. He became known the world over for performances of operas by Mozart, Strauss, and Wagner. .
He completed his tenure in Munich in 1992. Currendy he is honorary conductor
of Tokyo's NHK Orchestra, as well as an honorary member of the ViennaSymphony, the Hamburg Philharmonic, and the National Academy.of Santa Cecilia in Rome. He has made regular guest appearances at the Bayreuth and Salzburg Festivals, at La Scala, and with the Royal Concertgebouw Orchestra (Amsterdam), the London Philharmonic, and the Orchestre National de France. In November 1993 he received the Gold Baton Prize for his distinguished work at La Scala; also last fall, hisrecording of Brahms' First Piano Concerto, with pianist Stephen Kovacevich, was awarded Gramophone Magazine's "Concerto of the Year" Award, and his recording .of die Bavarian State Opera's production of. Wagner's Der Ring des Nibelungen received the magazine's first ever "Classical Video of the Year" Award.
After early studies at die Munich . Hochschule fur Musik, Maestro Sawallisch began his conducting career at the Opera Theater of Augsburg, later 'holding music . directorships in Aachen, Wiesbaden, and Cologne. In 1953 he became the youngest conductor ever to lead die Berlin Philharmonic, and in 1957, the second
youngest to appear at Bayreuth. For a decade beginning in 1960, he was chief conductor of the Vienna Symphony, concurrendy serv?ing as music director of the Hamburg Philharmonic. From 1973 to 1980 he was principal conductor and artistic director of the Orchestre de la Suisse Romande in Switzerland. Also a gifted pianist, he, has recorded chamber music and songs with some of die leading instrumentalists and singers of our time.
Sawallisch's early guest appearances with the Philadelphia Orchestra, beginning with his Philadelphia debut in 1966, were highly acclaimed; during the 1980s he returned many times to conduct, and to appear on die Orchestra's Chamber Music Series. In September 1990 the Orchestra announced the appointment of the Maestro as its new Music Director, effective September 1993. His first season included widely acclaimed performances of works by Britten, Brahms, Wagner, and Stravinsky.
This evening's, opening night concert marks the fourth appearance of Maestro Sawallisch under UMS auspices.
Richard Woodhams, Principal Oboe of the Philadelphia Orchestra, is a native of
Northern California and comes from amusical fami?ly. At the age of 14 he appeared as soloist with the San Francisco Symphony. Subsequently he'attended the .Curtis Institute of Music, where he studied with John de Lancie, Mr. Woodhams' distinguished predecessor in the Orchestra. Upon gradu?ation he was appointed Principal Oboe of the Saint Louis Symphony by Walter Susskind, remaining in
St. Louis until assuming his present position in 1977.
Mr. Woodhams has been a soloist with the Philadelphia Orchestra in collaboration with bodi Eugene Ormandy and Riccardo Muti, playing subscription-series premieres of works by Richard Strauss, Haydn, Bellini and Vaughan Williams. In 1984 he received the Orchestra's C. Hartman Kuhn Award; he also holds the Orchestra's first endowed chair, funded by the Samuel S. Fels Foundation. Most recendy, Mr. Woodhams ? has played the Philadelphia premieres of works by George Rochberg and Joan Tower with the Orchestra.
' In addition to his orchestral work, Mr. Woodhams is independendy active as a soloist, recitalist, and chamber musician, having played throughout die United States and in Canada and Japan. In 1992 he appeared as soloist widi Cadierine Comet and the American Symphony Orchestra at Carnegje Hall. He is also a member of die faculties of Temple University and the Curtis Institute of Music; in 1992 he was also die Distinguished Artist in Residence at die Setdement Music School.
Tonight's performance marks Mr. Woodhams' second UMS concert as soloist.
?" uring iis 93-year liisto-k ry, The Philadelphia Orchestra has estab-
I lished a solid position m as one of the world's m leading on hestras, .1 ?Hb dynamic ensemble of peerless technique that has consistently maintained the highest standards of tradi?tional symphonic music while remaining at the forefront of new repertories and advanced technologies. Beginning with the appointment of conductor Leopold
? Stokowski as Music Director in igi 2, the Orchestra has been a standard-bearer in the promotion of symphonic music for decades of Ann Arbor music lovers through 266 con?cert performances under the auspices of the University Musical Society -264 of which were as the resident orchestra of the Ann Arbor May Festival (1936-1984). The Orchestra's impact on American musical culture -through transcontinental tours, recordings, and special concerts for chil?dren and youth -is indisputable. Moreover, its international reputation has
v been continually enhanced by extensive tours of Europe, Asia, Latin America, and the former Soviet Union.
In addition to world premieres of essen?tial twentieth-century works by Schoenberg, Bartok, Rachmaninoff, Webern, Barber, Harris, and Sessions, the Orchestra has pre?sented U.S. premieres of masterworks by Stravinsky, Mahler, Strauss, Berg, and Shostakovich. The ensemble was the first symphonic orchestra to make electrical recordings (in 1925), the first to perform its own commercially sponsored radio broad?cast (in 1929, on NBC), the first to record all the Brahms symphonies on compact disc (in 1988). In 1939 Stokowski and the-Orchestra made media history when they participated in Walt Disney's Fantasia, for
which the Orchestra provided the sound?track. The path-forging film did more toward popularizing symphonic music in the U.S. than any other single film, broadcast, or recording.
The Philadelphians have achieved this prominence partly because of an unbroken chain of outstanding musical leadership. When it was founded in 1900, the Orchestra appointed, as its first conductor, the esteemed Fritz Scheel; he was succeeded in 1907 by Darl Pohlig, former Music Director at the Stuttgart court and assistant to Gustav Mahler.
Within a few years of his appointment in 1912, the British-born conductor Leopold Stokowski led the Orchestra in U.S. pre?mieres of Mahler's Eighth Symphony and Das Lied von derErde, Schoenberg's Kammersymphonie, and Scriabin's Divine Poem. Other important first performances during Stokowski's twenty-four-year tenure as Music Director included world premieres of Rachmaninoff s Third,Symphony and Fourth Piano Concerto, Sibelius's Sixth and Seventh Symphonies, and Schoenberg's Violin Concerto; and the U.S. premieres of Schoenberg's Gurrelieder, Stravinsky's Ije saae du printemps, and Berg's Wozzeck.
Eugene Ormandy, who assumed the Music Directorship in 1936, maintained and expanded upon this foundation of excel?lence. The Hungarian-born conductor made his debut with the Orchestra in 1931, when he was called in to replace the ailing Arturo Toscanini. Under his 44-year leader?ship the Orchestra traveled widely, making six European tours since World War II, as well as visits to Latin America, Japan, Korea, and mainland China. The Orchestra's 1949 trip to Great Britain was its first overseas lour. Over five decades, he and the Orchestra produced nearly 400 long-playing recordings, some 200 of which are currently
Leopold Stokowski conduojs the Philadelphia Orchestra's first May Festival in Hill Auditorium, (May 16, 19S6)
Eugene Ormandy with former UMS President Charles a. Sink
available, and three of which are Gold Records. Ormandy built the Orchestra's world-famous virtuosity, which has made it a favorite of composers from Rachmaninoff to Shostakovich to Rands. He also continued in Stokowski's tradition of first performances, including world premieres of Bartok's Third Piano Concerto, Persichetti's Third Symphony, Barber's Violin Concerto and Medea, and Webern's Three Pieces for Orchestra and Im Sommerwind. In 1952, Ormandy appointed William Smith as Assistant Conductor; in 1976 Smith became Associate Conductor, a post in which he served-until announcing his retirement ' shordy before his death in March 1993. In 1980 Ormandy turned over the Orchestra's leadership to die Italian conductor Riccardo Muti; Ormandy continued to serve, in the position of Conductor Laureate, until his deadi in 1985.
Muti built upon the Orchestra's tradi?tion of versatility by introducing to its audi?ences new and unfamiliar music from all periods. He captured die imagination of young people by opening dress rehearsals to high-school students. An active advocate of contemporary music, Muti commissioned works by a wide range of composers, includ?ing Mario Davidovsky, William Bolcom, Shulamit Ran, Luciano Berio, Leon Kirchner, Christopher Rouse, Richard Wernick, and Steve Stucky. In 1989 Muti
announced the appointment of Pulitzer-Prize-winning American composer Bernard Rands'as the Orchestra's first Composer in Residence, a position sponsored partly by Meet the Composer. Beginning in 1983 Muti revived the Orchestra's operatic tradi?tion, presenting concert performances of opera by Gluck, Verdi, Puccini, Leoncavallo, and Wagner. In 1988 Muu led the Orchestra in a three-week Tour of the Americas, the ensemble's first visit to South America in 22 years.'Muti relinquished his position as Music Director at the end on the 1991-92 season.
In 1990 the Orchestra announcedthe appointment of Munich-born conductor Wolfgang Sawallisch as its new Music Director, effective September 1993. Sawallisch's previous guest appearances with the Orchestra, beginning with his Philadelphia debut in 1966, were highly acclaimed -as were the recordings of Dvorak's Seventh, Eighth, and Ninth Symphonies that he has made more recently with the Orchestra (for EMI Classics). Sawallisch took up his Philadelphia post after completing a 21-year tenure as Music Director and General Director of the Bavarian State Opera in Munich, where he had become known the world over for per?formances of Mozart, Strauss, and Wagner. During his first season as Music Director in Philadelphia he conducted widely acclaimed performances of Haydn, Wagner, Strauss, Stravinsky, Hindemith, and Britten, as well as the world premiere of Jacob Druckman's Counterpoise. In May of last year he led the Orchestra on a tour of the Americas, which included concerts in Mexico, Argentina, Chile, and Brazil.
The University Musical Society is proud to wel?come The Philadelphia Orchestra and Maestro Sawallisch back to the Hill Auditorium stage. Tonight's concert marks the Orchestra's 2 6yth performance under UMS auspices.
The Philadelphia Orchestra
Wolfgang Sawallisch Music Director '
Luis Biava Conductor in Residence
Andre Raphel Smith Assistant Conductor
Bernard Rands Composer in Residence
First Violins WHIIiam de Pasquale
Associate Concertmaster Michael Ludwig
Associate Concertmaster Nancy Bean
Assistant Concertmaster Herbert Light Barbara Govatos Frank E. Saam Barbara Sorlien Larry Grika Herold Klein Julia Grayson-Standley Vladimir Shapiro Jonathan Beiler , Arnold Grossi . Morris Shulik Hirono Oka Paul Roby _ Kimberly Fisher
Second Violins Luis Biava, Principal Robert de Pasquale
Associate Principal Joseph Lanza
Assistant Principal Philip Kates Jerome Wigler ?
Virginia Halfmann George Breyius Louis Lanza Stephanie Dalschaert Booker Rowe Davyd Booth Paul Arnold Yumi Ninomiya Scott Dmitri Levin Boris Baiter
Joseph de Pasquale, Principal
Sidney Curtiss, Assistant
Principal Judy Geist Baetano Molieri Leonard Bogdanoff Albert Filosa '
Donald R! Clauser Renard Edwurds Anna Marie Ann Stephen Werczynski
On leave Substitute
William Stokking, Principal
Associate Principal Lloyd Smith
Assistant Principal Richard Harlow Gloria de Pasquale Kathryn Picht Robert Cafaro Ohad Bar-David Sang-Min Park John Koen
Roger M. Scott,' Principal Michael Shahan
Associate Principal t Neil Courtney ' Assistant Principal John Hood Emtlio Gravagno Henry Scott David Fay Dtiane Rosengard . Robert Kesselman
Some members of the string sec?tions voluntarily rotate seating on a periodic basis.
Jeffrey Khaner. Principal
Associate Principal Loren N. Lind Kazuo Tokito (Piccolo)
Principal, Samuel S. Ftls
Sob Oboe Chair
Peter Smith, Associate Principal Jonathan Blumenfeld Louis Rosenblatt (English Horn)
Anthony M. Gigliotti,
Committees Solo Clarinet Chair Donald Montanaro,
Associate Principal Raqul Querze -Ronald Reuben (Bass Clarinet)
Bernard Garfiled, Principal
Holly Blake (Contrabassoon)
Nolan Miller, Principal
David Wetherill, Co-Principal
Randy Gardner Jeffry Kirschen
Howard Wall Jeffrey Swanson
Frank Knderabek, Principal Donald E. McComas
Associate Principal Robert W. Earley Roger Blackburn
Glenn Dodson, Principal Tyrone Breuninger Associate Principal Eric Carlson Blair Bollinger (Bass Trombone)
Don S. Liuzzi, Principal Michael Bookspan Associate Principal
Michael Bookspan, Principal Alan Abel, Associate Principal Anthony Orlando
Piano and Celesta Kiyoko Takeuti
Elizabeth Hainen, Principal Margarita Csonka Montanaro Co-Principal
Librarians Clinton F. Nieweg
Robert M. Grossman Nancy M. Bradburd
Stage Personnel Edward Barnes, Manager James J. Sweeney, Jr. -James P. Barnes
The Philadelphia Orchestra Association Joseph Neubauer
Chairman Benjamin Alexander
Vice Chairman Peter A. Benoliel
Vice Chairman Robert J. Butera
Vice Chairman Martin A. Heckscher
Via Chfurman Samuel A. McCullough
Vice Chairman Wilson H. Taylor
Vice Chairman , Joseph H. Kluger
President and Chief
Operating Officer Mrs. Pierre S. du Pont, IV
Secretary Mrs. Frank J. O'Malley
Assistant Secretary Joseph A. Horgan ' Treasurer
Joseph H. Kluger
President and Chief
Operating Officer Judith Frankfurt
and General Manager Donald A. Cooke
Vice President of
External Affairs Suzanna Bcrnd
Personnel Manager Jean E. Brubaker
Director of Marketing Maria T Giliotti
Director of Development Joseph A. Horgan
Director of Finance PaulJ. Hbrsli-v
and Musicologist Mary Kinder Loiselle
Director of Public Relations Paul Orlando
Program Editor Frank D. Wilson, Jr.
Director of Hu ma n
Resources and Diversity
n n d
and Tom Blaske
The Uptown String Quartet
Diane Monroe, Violinist Lesa Terry, Violinist Maxine Roach, Violist Eileen M. Folson, Cellist
Friday Evening, October 21, 1994 at 8:00
Rackham Auditorium Ann Arbor, Michigan
The Quartet will choose a program of selections by various composers including: Max Roach, Cecil Bridgewater, Eileen Folson, James Brown, Charlie Parker, George Gershwin, Diane Monroe, Jimmy Heath, Scott Joplin and many others.
of the 116th Season
Thank you to Mary Steffek Blaske and Thomas Blaske for helping to make this performance and the Ann Arbor, Public Schools residency activities possible.
University Musical Society is a grant recipient of Chamber Music America's Presenter-Community Residency Program funded by Lila Wallace-Reader's Digest Fund, National Endowment for the Arts, Helen F. Whitaker Fund, [.A. O'Shaughnessy Foundation
This project is also supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
32nd Annual Chamber Arts Series Jazz Directions
The UMSfazz Directions Series is presented zuith support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
The Uptown String Quartet
Diane Monroe (Violinist and Composer). A native of Philadelphia, Diane holds degrees from the Curtis Institute of Music and the Philadelphia Musical Academy. ?he was a member of the faculty of the Oberlin Conservatory of Music from 1984 to 1986 and Swarthmore College from 1986 to 1990. A winner of the coveted Pro Musicis Foundation Award and the Young Artists Debut Series Sponsorship, Diane has per?formed solo recitals in New York City, Los Angeles, Boston, San Francisco and Washington, D.C. As a soloist with orchestra, Diane has performed with the Orchestra Society of Philadelphia, the Brooklyn Philharmonic, Pennsylvania Ballet Orchestra and the Petersburg Symphony.
Lesa Terry (Violinist and Composer). Lesa received a Bachelor of Music degree ? from California State University, Northridge. She was a member of the Atlanta Symphony Orchestra from 1982 to 1986 and was the recipient of the Outstanding Young Women of America Award in 1985. She has been a member of the faculty at Spelman College as well as the Louis Armstrong Middle
School. Her compositions have been heard On a number of record?ings. As a featured soloist, Lesa has . recorded with Yuset Lateef and per?formed at the jazz festival in , Portugal with Clark Terry, Sir Roland Hanna, Rugus Reid and Kenny Burrell. Lesa has also appeared as a featured soloist in the hit Broadway musical Black & Blue.
Maxine Roach (Violist and Composer). Maxine was born and raised in Brooklyn, New York. She received a Bachelor of Arts degree from the Oberlin Conservatory of Music. In 1990, she received a Grammy Award Nomination for her arrangement of Extensions which
was recorded on the quartet's debut disc entitled Max Roach Presents the Uptown String Qiiartet. As a free-lance musician in New York City, she has performed with the Joffrey Ballet, Aretha Franklin, Johnny Mathis, Anthony Davis, James Newton and Oliver Lake. She can be heard on the soundtrack recording of X, and has played for the Broadway shows Dreamgirls and Into the Woods. Maxine is a member of the board of directors of Chamber Music America.
Eileen M. Folson (Cellist and Composer). At the age of 17, Eileen appeared as a soloist with the Philadelphia Orchestra. After receiving her Bachelor and Master of Music degrees from the,University of . Michigan, she moved to New York City to join the New York Philharmonic, perform?ing and recording for two years under the direction of Zubin Mehta. She can be heard on the soundtrack recordings of Mo Better Blues, Jungle Fever, Do the Right Thing, School ? Daze, Beat Street, and X She has played for the Broadway shows Phantom of the Opera, Lei Miserables, Gypsy, Grand Hotel, Cats, and Into the Woods.
he Uptown String Quartet
I is one of the most unusual and important string quar?tets to emerge in recent years. It's members bring a wealth of experience in both classical and jazz music to create a unique sound of their own. Skilled improvisers and polished ensemble playe,rs, they traverse a tremendous range of music and match their expansive techniques and subtle dynamic shades to the demands of each piece they perform.
A direct outgrowth of the Max Roach Double Quartet, the legendary percussionist and composer became the driving force. ? behind the group after he brought the musi?cians together more than a decade ago to play alongside his regular quartet. Since then, the Uptown String Quartet has launched a highly successful independent career, beginning with their debut CD on the Polygram label and their
New York debut at the 92nd Street Yin 1990.
On their debut recording, Max Roach Presents the Uptown String Quartet, they brought a magnetic blend of cohesion, expressive warmth and energy to a variety of pieces, commissioned especially for the recording from various com?posers selected by Max Roach. Just Wait a Minute, their 1992 Bluembon release was also met with tremendous critical acclaim.
The women devote themselves to all styles of music of the African-American cultural her?itage. Their repertory includes original works and arrangements that covers jazzr the blues, ragtime, spirituals, and rhythm and blues. Their music was featured on the soundtrack of Spike Lee's film, Do the Right Thing, and they have " appeared on the television programs CBS Nightwatch, The Today Show, The Eleventh Hour, and the WGBH program Say Brother.
Tonight's concert marks The Uptown String Quartet's second UMS appearance. '
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 current contributors as of July 31, 1994. If there has been an error or omission, we sincerely apolo?gize 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.
Bravo Society Members
Richard S Berger
Mr. and Mrs. Carl A. Brauer, Jr.
Brian and Mary Campbell
Mr. Ralph Conger
Howard and Mary Holmes
James and Millie Irwin
Joe and Karen O'Neal
Elizabeth E. Kennedy
Mr. and Mrs. William B. Palmer
Richard and Susan Rogel
Dennis and Ellie Serras
Ronald and Eileen Weiser
Herb and Carol Amster
James and Delores Anderson
Mary Steffek Blaske and Thomas Blaske
Margaret and Douglas Crary
Gregg Alf and Joseph Curtin
Rita and Peter Heydon
Karlene and F. Bruce Kulp
Maya Savarino and Raymond Tanter
Edward Surovell and Nat Lacy
Carol and Irving Smokier
Mrs. Mischa Titiev
Dr. and Mrs. John F. Ullrich
Raymond and Janet Bernreuter Mr. and Mrs. Guido A. Binda Maurice and Linda Binkow Sally and Ian Bund Dr. and Mrs. James P. Byrne I Leon and Heidi Cohan Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans Ken, Penny nd Matt Fischer Charles and Mary Jane Fisher Dale and Marilyn Fosdick Michael S. and Sara B. Frank Mr. and Mis. Edward P. Frohlich Carl and Sue Gingles Walter and Dianne Harrison Keki and Alice Irani Judythe and Roger Maugh Paul and Ruth McCracken Dr. and Mrs. Joe D. Morris John and Dorothy Reed Elisabeth J. Rees Mrs. Charles A. Sink Dr. Hildreth H. Spencer Mary and Ron Vanden Belt John Wagner Elise and Jerry Weisbach Marina and Robert Whitman Paul and Elizabeth Yliouse
Dr. and Mrs. Gerald Abrams
Professor and Mrs. Gardner Ackley
Jerry and Barbara Albrecht
Drand Mrs. Robert G. Aldrich
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Bradford and Lydia Bates
Nancy D. Bishop
Bob and Sue Bonfield
Jim Botsford and Janice Stevens Botsford
Mr. Jerry D. Campbell
Jean M. and Kenneth L. Casey
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Ronnie and Sheila Cresswell
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Jack and Alice Dobson
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Dr. Stewart Epstein
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John and Esther Floyd
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Mr. and Mrs. Robert C. Graham Mrs. Robert Hamilton Harold and Anne Hangh Debbie and Norman Herbert Robert and Joan Howe Stuart and Maureen Isaac Thomas E. and
Shirley Y. Kauper ?
William andJoAnn Kimbrough Mr. David G. and
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Georgiana Sanders Rebecca McGowan and
Michael B. Staebler H. Dean and
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Maxine and Wilbur K. Pierpont William and Christine Price Mr. and Mrs. Raymond Reilly Glenda Renwick Katherine and William Ribbens Prue and Ami Rosenthal Richard and Norma Sams George and Helen Siedel . George and
Mary Elizabeth Smith Victor and Marlene Stoeffler James L. and Ann S. Telfer Jerrold G. Utsler Dr. and Mrs. Francis V. Viola III Martha Wallace and
Dennis White Brymer and Ruth Williams
Bernard and Raquel Agranoff Mr. M. Bernard Aidinoff Tim Andrescn Linda Bennett and Sara
and Bob Bagi amian Mr. and Mrs. F.ssel Bailey Lisa and Jim Baker M. A. Baranowski Mr. and Mrs. Philip C. Berry Robert Hunt Berry Mr. Hilbert Beyer Joan Binkow
Howard and Margaret Bond Charles and Linda Borgsdorf David and Sharon Brooks Jeannine and Robert Buchanan Lawrence and Valerie Bullrn Jean W. Campbell
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Kathleen and Timothy Hill Mrs. W.A. Hiltner Julian Hoff and Diane Hoff Che C. Huang and
Teresa Dar-Kuan L. Huang Frederick G. L. Huetwell Patandjohn Huntington Gretchen and John Jackson Mr. and Mrs. Jacob Kellman Drs. Dana and Paul Kissner Jim and Carolyn Knake Bud and Justine Kulka Barbara and Michael Kusisto Suzanne and Lee E. Landes Jack Lapides Olya K. Lash Leo A. Legatski
Mr. and Mrs. Fernando S. Leon Carolyn and Paul Lichter Harold J. Lockett, M.D. Dean S. Louis, M.D. ,
Mr. and Mrs. CarlJ. Lutkehaus.Jr. Brigitte and Paul Maassrn John and Cheryl MacKrell Kathleen Beck and Frank Maly Jack and Joanne Martin Marilyn Mason Charlotte McGeoch Margaret McKinley Richard and Elizabeth McLeary Mr. and Mrs. EN. McOmber Mr. and Mrs. Warren A. Merchant Robert and Ann Meredith Barry Miller and Gloria Garcia Myrna and Newell Miller M. Haskell and Jan Barney Newman William R. and Joan J. Olsen Mr. and Mrs. William J. Pierce Eleanor and Peter Pollack Jerry and Millard Pryor
Mrs. Gardner Quarton Mrs. Joseph S. Radom Stephen and Agnes Reading Jim and Bonnie Reece Mr. Donald H. Regan and
Ms. Elizabeth Axelson Dr. and Mrs. Rudolph E. Reichert Jack and Margaret Ricketts Mrs. Bernard J. Rowan ? Mr. and Mrs. Charles H. Rubin Mr. Pete C. Schaberg and
NormaJ. Amrhein Mr. and Mrs. Mark Schmidt Mrs. Richard C. Schneider Dr. and Mrs. David Schottenfeld Professor Thomas J. and
Ann Sneed Schriber George and Mary Sexton Julianne and Michael Shea Edward and Marilyn Sichler Lloyd And Ted St. Antoine Mr. and Mrs. John G. Stegeman Dr. and Mrs. Jeoffrey K. Stross Joan C. Susskind Mr. and Mrs. Robert M. Teeter Dr. and Mrs. E. Tliurston Thieme Herbert and Anne Upton Dr. Marianne Wannow Dr. and Mrs. Andrew S. Watson Darragh H. and Robert O. VVfeisman Angela and Lyndon Welch Roy and JoAn Wetzel Len and Maggie Wolin Ann and John B. Woodward
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Nancy Griffin DuBois
fyir. and Mrs. Robert S. Dunham
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Richard Epstein and Elly Wagner
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Claudine Farrand and Daniel
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Paula L. Bockenstedt Dr. David Noel Freedman and
Dr. Astrid Beck
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Professor and Mrs. Davjd Gates Wood M. and Rosemary F. Geist Thomas and Barbara Gelehrter Beverly and Gerson Geltner Robert and Dorothy Gerrity Henry and Beverly Gershowitz Paul and Suzanne Gikas Elmer G. Gilbert and
Lois M. Verbrugge Drs. Sid Gilman 8c Carol Barbour Paul and Anne Glendon ? .
Dr. David W. Gneg Steve and Nancy Goldstein Dr. Alexander Gotz Ruth B. and Edward M. Gramlich Jerry and Mary K. Gray Whit and Svea Gray . Daphne and Raymond Grew Mr. and Mrs. Robert Grijalva Howard b'. Gutstein, M.D. George N. Hall Ms. Helen C. Hall Marcia and John Hall Karl and Eleanor Hauser Kenneth and Jeanne Heininger
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Michael Hogan John and Maurita Holland John F. and Mary Holt Dave and Susan Horvath Graham and Mary Jean Hovey Linda Samuelson and Joel Howell Mrs. V. C. Hubbs
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Joan Jackson Donald E.Jahncke Wallie and Janet Jeffries Keith and Kay Jensen Donald and Janice Johnson Mrs. F.llen C.Johnson Elizabeth and Lawrence Jordan Dr. and Mrs. Stevo Julius Robert L. and Beatrice H. Kahn Mr. and fyrs. Wilfred Kaplan Elizabeth Harwood Katz Anna M. Kauper David and Sally Kennedy Frank and Patricia Kennedy Robert and Gloria Kerry Donald F, and Mary A. Kiel Mr. Richard E. King Rhea and Leslie Kish Howard Klee.Jr. Dimitri and Suzanne Kosacheff Charles and Barbara Krause Samuel and Marilyn Krimm Will Kring
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Dough Boys Bakery
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Thomas O. and Jeanne D. Stock Louis and Glennis Stout. Dr. and Mrs. Stanley Strasius Aileen and Clinton Stroebel Charlotte Sundelson Edward Surovell and Nat Lacy Dr. Jean K. Takeuchi Brian and Lee Talbot Gerald W. and Susan J. Tarpley George and Mary Tewksbury Mary H. Thieme
Theodore and Maijorie Thrasher Dr. and Mrs. Merlin C. Townley Sarah Trinkaus Joan Lowenstein and
Jonathan Trobe Joyce A. Urba and David J. Kinsella
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The Westen Family
Ken and Cherry Westerman
Marcy and Scott Westerman ., Laura Whelan
Ruth and Gilbert Whitaker
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CharleiWitke and Aileen Gatten
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Carl and Mary Ida Yost
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R. Roger and Bette F. Zauel
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Roy and Helen Ziegler
l Mr. Usama Abdali and
Ms. Kisook Park
Victor Adamo and Michelle Smith Tim and Leah Adams Michael and Suzan Alexander Mr. William E. Alexander Mr. and Mrs. Gordon E. Allardyce James and Catherine Allen Margaret and Wickham Allen Augustine and Kathleen Amaru Pamela Amidon Mr. and Mrs. David Aminoff . Mr. and Mrs. Charles T. Anderson Hugh B. and Margaret S. Anderson Bert and Pat Armstrong Thomas J. and Mary E. Armstrong Michael Avsharian Donald and Shirley Axon Jonathan and Marlene Ayers Jean and Gaylord Baker
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Nathalie and John R. Dale
Mr. and Mrs. Gawaine Dart
Mr. and Mrs. Robert M. Dascola
Mr. and Mrs. Arthur W. Davidge
Ed and F.llie Davidson
I.aning R. .Davidson, M.D.
Roy C. and Dona B. Davis
Mr. and Mrs. Ronald G. Dawson
Robert and Barbara Ream Debrodt
Dr. and Mrs. Raymond F. Decker
Elena and Nicholas Delbanco
Raymond A. Dettcr
Marnee and John DeVine
Macdonald and Carolin Dick
Gordon and Elaine Didier
Nelson and Eleanor Dingle
Delia DiPietro and
Jack Wagoner, M.D. Mr. and Mrs. Robert and ' Janice DiRomualdo Tom Doane and
Patti Marshall-Doane Dr. and Mrs. Edward R. Doezema Father Timothy J. Dombrowki James and Patsy Donahey Thomas and Esther Donahue Robert L. Donofrip William G. and Katherine K. Dow Mr. Thomas Downs Roland and Diane Drayson Mr. and Mrs. Harry Drcffs Betty Anne and Ivan F. Duff Robert and Connie Dunlap Richard F. Dunn GVorge C. and Roberta R. Earl Mr. and Mrs.John R. Edman Sally and" Morgan Edwards David A. Eklund Judge and Mrs. SJ. Elden Ethel and Sheldon Ellis Mrs. Genevieve Ely Mackenzie and Marcia Endo Kathlyn F. Engel David and Lynn Engelbert Mr. and Mrs. Frederick A. Erb Dr.and Mrs. Calvin B. Ernst ' Dorothy and Donald F. Eschman Ms. Barbara Jean Evans Joel Evilsizer Adele Ewell Don Faber
Mr. and Mrs. Robert B. Fair, Jr. Mark and Karen Falahee Elly and Harvey Falit
Dr. John W. Farah
Phil and Phyllis Fellin
Clare M. Fingcrle
Eileen C. Fisher
Thomas and Linda Fitzgerald
Stephen and Suzanne Fleming
John and Jackie Frank
Lucia and Dong Frcrth
Richard and Joann Freethy
Richard and Vivian French
Joanna and Richard Friedman
Bernard and Enid Galler
r A ( .mini
Mrs. Shirley H. Garland
Stanley and Priscilla Garn
Hazel M. Hunt Garrison
Drs. Steve Geiringer and
Karen Bantel Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Fred Gezich
Beth Genne and Allan Gibbard Elida Giles
AI and Almcda Girod Robert and Barbara Gockel Dr. and Mrs. Howard S. Goldberg Mrs. Eszter Gombosi Mr. and Mrs. Mitchell A. Goodkin Adon A. Gordus J. Richard Goulet, M.D. Christopher and Elaine Graham Elizabeth Necdham Graham Dr. John and Renee M. Greden Lila and Bob Green Dr. and Mrs. LazarJ. Greenfield Bill and Louise Gregory Susan and Mark Griffin Werner H. Grilk . lesilie and Mary Guinn Arthur W. Gulick, M.D. Margaret Gutowski and
Michael Marietta Don P. Haefner and
Cynthia J. Stewart Harry L. arid Mary L. Hallock Sarah Hamcke Mrs. Frederick G. Hammitt Dr. and Mrs. Harry Harada Mary C. Harms
Stephen G. and Mary Anna Harper Margaret W. Harrison Elizabeth C. Hassinen George and Lenore Hawkins Mr. and ,Mrs. E. J. Hayes Robert and Susan Hayes Ted Hefley
James and Esther Heitler Norma and Richard Henderson Mr. and Mrs. Karl P. Henkel , ?
Dr. and Mrs. Keith S. Henley ,
Lorna and Mark Hildebrandt
Jacques Hochglaube, M.D., P.C.
Bob and Fran Hoffman
Robert and Frances Hoffman
Howard amd Pamela Holmes
Ken and Joyce Holmes
Pamela J. Horiszny
Dr. Nancy Houk
Fred and Betty House
Ray and Jude Huetteman
Harry and Ruth Huff
Joanne W. Hulce
David and Dolores Humes
Ann D. Hungerman
Mr. and Mrs. Russell L. Hurst
Eileen and Saul Hymans
Margaret and Eugene Ingram
Perry Elizabeth Irish
Harold and Jean Jacobson
Mr. and Mrs. Jerome Jelinek
Jim and Dale Jerome'
I ? 11 . il ii ? 111 Johnson
Mark and l.inda Johnson
A. David and Heather Jones
Stephen G.Josephson and
Sally Claire Fink Mr. and Mrs. William I.. Kahn Paul Kantor and Virginia
Weckstrom Kantor Mr. and Mrs. Irving Kao Herbert Kntz Deborah and Ralph Katz Kurt and Marilee. Kaufman Linda Atkins and Thomas Kenney Paul and Leah Kileny Howard King and
ElizabettKSayre-King James and Jane Kistrr Dr. and Mrs. David E. Klein Mr. Robert Klein Dr. and Mrs. Kevin E. Klimek Hermine Roby Klingler Mr. and Mrs. Arthur W. Klinke Henry and Jane McArtor Klose Seymour Koenigsberg Joseph and Marilynn Kokoszka Sally and Martin Kope Melvyn and Linda Korobkin v
Mr. and Mrs. Jerome R. Koupal Mr. and Mrs. E. J. Kowaleski Jean and Dick Kraft David and Martha Krehbiel William J. Bucci and Janet Kreiling John and Justine Krsul Mr. and Mrs. George H. Kuper
.Kathcrine Kurtz and
Raburn Hcwland Dr. and Mrs. Richard A. Kutcipal Mr. and Mrs. Seymour l.ampert Connie and Dick Landgraff Bill Lavery
Leslie and Robert Lazzerin, Jr. Mrs. Kent W. Leach Fred and Ethel Lee Paul and Ruth Lehman Mr. and Mrs.,C F. Lehmann Sue Leong
Bobbie and Myron Levine Professor and
Mrs. Harold M. Levinson Deborah Lewis Jody and Leo Lighthammer Nathan and Eleanor Lipson Rod and Robin Little Stephen and Kay D. Loftus Kay H.'Logan Dan and Kay Long Luisa Lopez-Grigera Mr. and Mrs. Richard S. Lord Bruce and Pat Loughry Lynn Bennett Luckenbach Barbara and Edward Lynn Susan E. Macias Frederick C. and
Pamela J. Mackintosh Charlene MacRitchie Sally Maggio
Geoffrey and Janet Maher Karl D. Malcolm M.D. Claire and Richard Malvin The Marcovitz Family ' Mr. and Mrs. Damon L. Mark Lee and Greg Marks Alice and Bob Marks Mr. and Mrs. R. J. Marshall Dr. and Mrs. James E. Martin Debra Mattison Jim and Ann Mattson Dr. and Mrs. Donald Maxwell Ms. Marilyn A. Mazanec Margaret E. McCarthy David G. McConnell Dores M. McCree Mr. Kevin MtDonagh James and Kathleen McGauIey Mary and Norman Mclver Alan and Sue McMaster Mr. and Mrs. Robert McNaughton Robert E. and Nancy A. Meader Mr. and Mrs. John Merrifield Mr. and'Mrs. Clyde Metzger Professor and Mrs. Donald Meyer Mr. and Mrs. Herbert M. Meyers Dr. and Mrs. Robert A. Meyers William and Joan Mikkelsen Jeaneue and Jack Miller Jack and Carmen Miller Robert R. Miller
James and Kathleen Mitchiner Mr. Erivan R. Morales
Mr. Seigo Nakao Arnold and Gail Morawa William Bolcom andjoan Morris Mrs. Erwin Muehlig Roy E. Muir
Bern and Donna Muller Gavin Eadie and Barbara Murphy Lora G. Myers Rosemarie Nagel Tajsuyoshi Nakamura Ronald L. Nannie Ed and Betty Navoy Dr. and Mrs. James V. Neel Lois and Michel Oksenberg Lillian G. Ostrand Barbara and Fred Outwater Mr. and Mrs. J. David Owens I
Dale L. and N.Jean Oxender Dr. and Mrs. Sujit K. Pandit Mr.and Mrs. Seung Ho Park Evans and Charlene Parrott Allen and Pat Lee Patrick Richard C. Patterson Ara and Shirley Paul Ruth and Joe Payne Agnes and Raymond Pearson Roy Penchansky and Elizabeth Bates Ellsworth M. Peterson Mr. and Mrs. Leo Petrosky Mr. and Mrs. Frederick R. Pickard Robert and Mary Ann Pierce ' Dr. and Mrs. James Pikulski Dr. and Mrs. Bertram Pitt Donald and Evonne Plantinga Martin A. Podolsky Mr. Eugene Power Jacob M. Price Julian and Evelyn Prince Bradley and Susan Pritts Mr. and Mrs-. W.E. Quinlan Dr. and Mrs. Robert Rapp James and leva Rasmussi-n Robert and Beth' Rasmussen Dorothy R. and Stanislav Rehak Eunice Rclwa Bill and Belt)Richart Frances Greer Riley Constance Rinehart Peter and Shirley Roberts Dave andjoan Robinson Mr. and Mrs. James Roche Richard C. Rockwell Willaid and Mary Ann Rodgers Mrs. John Rogers Elizabeth A. Rose Dr. and Mrs. Raymond Rose Susan M. Rose, D.O. Elva Rosenzweig Gustave and Jacqueline Rosseels John F. Rudd Dr. and Mrs. Raymond W. Ruddon
Craig and Jan Ruff Dr. Glenn Ruihley Ms. Rosemary Russell Tom and Dolores Ryan Mitchell and Carole Rycus James and Ellen Saalberg Theodore and Joan Sachs ? George and Charlotte Sallade Arnold Sameroff and
Susan C. McDonough Ina and Terry Sandalow Howard and Lili Sandier . John and Reda Santinga Dr. and Mrs. Edward G. Sarkisian Michael and Kimm Sarosi Gary.and Arlene Saxonhouse Earl and Judith Scanlon Dr. and Mrs. John E. Schenk Gerald and Sharon Schreiber David E. and Monica N. Schteingart Ms. Michelle H. Schultz Marshall S. Schuster, D.G. Alan and Marianne Schwartz Sheila and Ed Schwartz Mrs. Patricia H. Schwartz Mary and John Sedlander Dr. and Mrs. John Segall Richard A. Seid Louis and Sherry Senunas. Joseph and Patricia Settimi Richard Shackson
Nancy Silver Shalit and Iirry Shalit David and Elvera Shappirio Stuart E. Sheill Dr. and Mrs. Ivan Sherick Drs. Thomas C. and Jean T. Shope Mr. and Mrs. E. B. Shulu.Jr. David and Liz Sickels Douglas B. Siders, M.D. Milton and Gloria Siegel Alida and Gene Silverman Ms. Faye Silverstein Frances and Scott Simonds Mr. H. and Mary Simonian Mr. and Mrs. Reginald Skewes Nancy Skinner-Oclander Joanne and Richard Smith Sandra K. Smith Virginia B. Smith Paul and Betty Snearline Katharine B. Soper John and Lois Spaide Joseph Spallina
Herbert W. and Anne H. Spendlove Curt and Gus Stager, Jr. Dr. and Mrs. William C. Stebbins Barbara and.Michael Steer Eric and.Virginia Stein Dr. and Mrs. Michael Steinberg Dr. and Mrs. Alan Steiss Robin Stephonson and Terry Drent Vernee and Michael Stevenson Mr. James L. Stoddard
Mr. James Robert Stout, Sr. Ellen M. Strand and
Dennis C. Regan Mrs. William H. Stubbins Selma and Alfred Sussman Earl and Phyllis Swain Steve and Janet Swanson Era and Sam Taylor Robert C. and Evelyn S. Taylor Lois A. Theis Carol and Jim Thiry Kdwin J. Thomas Anne M. Thorne Charles and Peggy Tieman James Toy Irene Truesdell Marilyn Tsao and Steve Gao Jody Tufl
Dr. Hazel M. Turner David Ufer and Karen Lena Ufer Alvan and Katharine Uhle Paddy Ulrich
Emmanuel-George Vakalo . Rebecca W. Van Dyke Mr. and Mrs. Robert P. Van Ess Mrs. Durwell Vetter James Davis and
Elizabeth Waggoner Tom and Paula Walters Ann E. Walton Eric and Sherry Warden Charles and Ruth Watts Mr. Jeff Weaver Christine L. Webb Ju Lin Wei Dn Bernard Weiss Lisa and Steve Weiss Dr. "Steven Werns Marjorie Westphal Mr. and Mrs. Nathaniel Whiteside Mrs. Clara G. Whiting Christina and William Wilcox Mr. and Mrs. Michael S. Wilhelm Father Francis E. Williams John Troy Williams Mrs. Elizabeth Wilson Magnus Wilson Beth and l.W. Winsten Mary Anne and James Winter Jeffrey and Linda Witzburg Noreen Ferris and Mark Wolcott Patricia and Rodger Wolff Dr. and Mrs. Ira S. Wollner Charles R. and Jean L. Wright David and April Wright Frances A. Wright Mr. and Mrs. John G. Young Ms. Donna Benson Zajonc Mr. and Mrs. F. L. Zeisler Frank Zimmerman Gail and David Zuk David S. and Susan H. Zurvalec
Rev. D.L. Adams and
Lisa Eaton-Adams Judith and Ronald Adler Judge and Mrs. William F. Ager Michihiko and Hiroko Akiyama Charles H. Akre and Sharon
Sherman-Akre ' Sarah Albright Mr. and Mrs. Harold F. Allen Dr. and Mrs. Richard J. Allen Anne Andersen and Woody Holman James Anderson and Lisa K. Walsh Drs. James and
Cathleen Culorta-Andonian Catherine M. Andrea Mary C. Arbour
Jill and Tom Archambeau, M.D. Dr. and Mrs. E.'Arciniegas Mr. and Mrs. Iiwrence E. Arnett Rudolf and Mary Arnheim Mr. and Mrs. Dan E. Atkins III John and Rosemary Austgen Erik W. and Linda Lee Austin Charlene and Eugene Axelrod Lisa Baker Bill Baker
Mr. and Mrs. Richard P. Baks Dr. Kate F. Barald and
Dr. Douglas Jcwrtt Ann Barden John Bardwick Mr. and Mrs. David Barera Maria Kardas Barna Norman E. Barnett Beverley M. Baskins Mrs. Mary T. Bcckerman Gordon and Anna Beeman Theodore and Mildred Behn Dr. and Mrs. Walter Benenson Dr. R. Berardi Reuben and
Barbara Levin Bergman Mr. and Mrs. Mark and
Pauline Bernhard. Ralph H. and Mary R. Beuhler Dr. and Mrs. John C. Bilello Claire Billingham and Philip Krupp Susan and William Black Donald and Roberta Blitz Robert and Shirley Boone Dr. Morris and Reva Bornstein Dr. and Mrs. David Bostian John D. and M. Leora Bowden Robert and Jan Bower Sally and Bill Bowers John F. Brandmeier and
Lynda M. McMillin Liz and Enoch Brater Paul and Linda Brazda Cy and Luan Briefer , Rnzclle and George Brooks
Mr. and Mrs. Edward W. Browning Mr. John Brueger
Phil Bucksbaum and Roberta Morris uliih Buley
Trudy and Jonathan Bulkley Joseph F. Burke Sibyl Burling
Senator and Mrs. Gilbert E. Bursley Mrs. Betty M. Bust Dr. and Mrs. Robert S.-Butsch Albert and Barbara Cain Shelly Calfin
Susan and Oliver Cameron Dr. Ruth Cantieny Ms. Susan Cares Mr. George Carlisle Philip C. Carpenter Dan Carrol) Mark A. Case Josephine D. Casgrain Jack Cederquist Ilene and David Chait Donald and Maureen Chamberlain Marsha and John Chamberlin Bill and Susan Chandler Ida K. Chapin and Joseph Spindel Barbara and James Chesney A. Kent & Elizabeth Christensen Gary and Bonnie Clark Mr. and Mrs. J. Climer Mr. and Mrs. R. N. Coe Dorothy Burke Coffey Alice S. Cohen Jan and Carl Cohen Hilary and Michael Cohen Kevin and Judy Cqmpton Mr. Frank Condon Dr. and Mrs. William W. Coon Arnold and Susan Coran Ms. Elaine Cousins Mary Crawford Ruth E. Cressman Mary C. Crichton Ms. Carolyn Rundell Culotta Ms. Carolyn Cummisky Richard J. Cunningham , Audrey and Edward Curtis Marylee Dalton Lee and Millie Danielson May and Morris Davidson Ms. Adah Davis Ruth and Bruce Davis
Elizabeth Delaney Ms. Margaret H. Demant Mr. and Mrs. William Dergis Douglas and Ruth Doane Raymond arid Hilde Donaldson Thomas Doran Deanna and Richard Dorner Richard and Jane Dorr James L. and Cathie L. Dries Carole F. Dubritsky Charles C. Dybvig
Elsie J. Dyke
Mr. John Ebenhoeh
Dwight and Mary EHen Eckler
Sol and Judith Elkin
Dr. and Mrs. Charles Ellis
James Ellis and Jean Lawton
Mr. and Mrs. H. Michael Endres
Raridy and Gladys Eshenroder
Mary K. and Paul S. Fancher
Dorothy G. Feldman
Yi-tsi M. Feuerwerker
Ruth C. Fiegel
Linda J. Firnhaber
Mrs. Carl H. Fischer
Susan R. Fisher, John W. Waidley,
Barbara and James Fitzgerald
Mr. and Mrs. William C. Forgacs
Tom Franks, Jr.
Elizabeth and Keith Gadway
Bruce and Rebecca Gaffney
Carol Gagliardi and David Flesher
Edward L. Gamache
Mr. and Mrs. J. H. Gardner
Mrs. Don Gargaro
Janef and Charles Garvin
Ralph J. Gerson and Erica A. Ward
Peter and Roberta Gluck
Albert L. Goldberg
Carl and Julia Goldberg
Edie N. Goldenberg
Ed and Mona Goldman
Anita and Al Goldstein
Martha Mayo and Irwin J. Goldstein
C. Ellen Gonter
Mary M. Gooch
Enid M. Gosling
William and Jean Gosling
Dr. and Mrs. Serge Gratch
Wendy B. Gray, Ph.D.
Linda and Roger Grekin
Mr. and Mrs. James J. Gribble
Mrs. Atlee L. Grillot
Ms. Angeline Gross
Cyril Grum and Cathy Strachan
Dr. C.J. Guardo .
Mr. and Mrs. James C. Haines
David and Patricia Hanna
Glenn A. and Eunice A.. Harder
William andlarilynn Harmon
Jane A. Harrell
George and Laurelynne Harris
Kntherine A. Harris
Mr. and Mrs. Robert B. Harris
John and Anita Hartmus
William F. Hayden
Dr. John D. Heidke
Leslie and William Hennessey
Dr. arid Mrs. Michael Hepner
Mr. and Mrs. Ralph Herbert
Mr. and Mrs. Albert Hermalin
Mr. and Mrs. Ramon R. Hernandez
Emily F. Hicks
Charles and Yoshiko Hill Cain
Mrs. Leonard E, Himler
Pe,ter G. Hinman and
Elizabeth A. Young Matthew C. Hoffmann and
Kerry McNulty Carol and Dieter Hohnke Hisato and Yukiko Honda Antonina C. Hopping Jack and Davetta Horner The Host Family George M. Houchens James S. House and ?
Wendy Fisher House Sally Howe
Denise and R.W. Hoyer Hubert and Helen Huebl Susan and Jim Huff Ken and Esther Hulsing Mr. and Mrs. Roger E. Hunt Lew and June Hutchings Mr. and Mrs. S. A. Imredy Mamoru Inoue Marilyn G. Jeffs James Sylvester Johnson Wilma Johnson -? Helen Johnstone Dr. Marilyn S.Jones Phillip S.Jones John and Linda K. Jonides Mary B. and Douglas Ka'hn Franklin andjudith Kasle Alex and Phyllis Kato . Philip and Julia Kearney ? Janice Keller Mary Kemme Shake Ketefian Mr. and Mrs. Robert Ketrow Hyung T. Kim Jeanne M. Kin Martha A. Kinney Mr. Gregory Knapp Dir. and Mrs. William L. Knapp Ms. Joan Knoertzer Mr. and Mrs. Semon Knudsen Shirley and Glenn Knudsvig Charles and Linda Koopmann Alan and Sandra L. Kortesoja Ann Marie Kotre Adam and Rebecca Koziina Ted and Val Krauss
Kenneth C. Kreger Bert and Gerry Kruse Carl and Ann La Rue Jim and Karen Lahey Mr. and Mrs. Frank J. Lampe Janet and Stephen Landman Charles and Mary Lane Myroslav Lapchak Guy and Taffy Larcom Richard and Neva Larson Thomas and Claudia R. Larson larl and Ann LaRue . George and Beth Lavoie Wendy and Ted Lawrence Judith andjerold Lax Lucy H". Leist Ms. Carolyn Leyh Dr. David J. Lieberman Frederick and Anita Lim Dr. and Mrs. Francis A. Locke Naomi E. Lohr Paul and Donna Lowry John J. Lynch, Atty. Alan B. and Lois L. Macnee Gregg and Merilee Magnuson Suzanne and Jay Mahler Ronald Majewski and Mary Wolf Donna and Parke Malcolm Paul and Shari Mansky Nancy Mansueto Nancy and Philip Margolis Dr. Howard Markel Erica and Harry Marsden Conrad Mason and Ann VanDemark Yasuko Matsudo Larry and Rowena Matthews Mrs. Josephine Mazzolini Ernest and Adele McCarus James and Mary E. D. McConville Ronald G. and Cathryn S. McCready David and Claire McCubbrey Bernard and Mary Ann McCuIloch Mr. and Mrs. Edw. G. McKinley Donald and Elizabeth McNair Barbara J. Meier Dr. and Mrs. Donald A. Meier Norman and Laura Meluch Helen F. Meranda Rev. Harold L. Merchant Jill McDonough and
Greg Merriman Valerie D. Meyer Victor L. Meyers Carol and Rees Midgley Dr. and Mrs. Josef M. Miller Mr. and Mrs. Murray H. Miller Mr. and Mrs. Charles R. Mitchell Robert and Tinker Mitchell Olga Moir
William G. and Edith Moller Kent and Roni Moncur Patricia A. Montgomery Peggy Moore
Rosalie E. Moore
Kittic Berger Morelock
Roscmaric P. Morgan
Mr. and Mrs. Kenneth Moriarty
Dr. and Mrs. Richard A. Morin
Barbara Levitan and
Dr. Thomas E. Muller Yoshiko Nagamatsu Ruth Nagler Jean Neal Bill Needles Elizabeth R. Neidhardt Randy and Margaret Nesse Richard and Susan Nisbett Mr. and Mrs. Dennis Norton Patricia O'Connor John and Lexa O'Brien Maury Okun Nels and Mary Olson Professor Fred Ormand Anneke de Bruyn Overseth David H. Owens and Ruth A. Mohr Derrick and Jane Oxender Mr. and Mrs. James R. Packard George Palty
Mr. and Mrs. Kenneth Pardonnet Mr. Michael P. Parin Howard and Dorothy Parker Janet Parkes Mary H. Parsons Eszther T. Pattantyus Mr. Edward J.Pawlak Anita H. Payne
C. Anthony and Marie Phillips Roy and Winnifred Pierce Robert Lougheed and
Mr. and Mrs. Gerald Powrozek Mary and Robert Pratt Roland W. Pratt Jerry Preston John and Nancy Prince Sherrill Pryor Ruth S. Pntnam G. Robina Quale Mitchell and Elisabeth Radcliff Steve and Ellen Ramsburgh Rhoda Ran kin AI and Jackie Raphelson Laurie A. and Haran Craig Rashes Sandra Reagan Russ and Nancy Reed Anthony L. Reffells and
Elaine A. Bennett Caroline Rehberg Mr. and Mrs. Frederick Remley.Jr. Alice Rhodes Paul Rice and Helen Rice Judy Ripple Janet K. Robinson ' Mary K. Roeser John H. Romani
Harry A. Rommel Bernard and Barbara Rosen Charles W. Ross Sheldon and Phyllis Ross Mr. Andrew Rothman Dr. and Mrs. Walter S. Rothwell Mr. and Mrs. John P. Rowe George and Matilda Rubin Diannc and Irving Rubin Mr. and Mrs. Doyle Samons Miriam S. Joffe Samson Mr. and Mrs. Richard Saxe Jochen and Helga Schacht Court and Inga Schmidt Yizhak Schotten and
Katherine Collier Schotten Sue Schroeder Albert and Susan Schultz Aileen and Earl Schulze Lepnard and Sylvia Segel Mrs. Muriel Seligman Mr. and Mrs. Kirtikant Shah Brahtn and Lorraine Shapiro Laurence Shear and
George Killoi an Kathleen A. Sheeny Mr. and Mrs. George Shirley Janet Shultz Ray and Marylin Shuster Dr.'Bruce M. Siegan Drs. Terry and Dorit Adler Silver Dr. Albert and Mrs. Halina Silver man Mr.Jurgen Skoppek Mr. and Mrs. Harold K. Skramstadjr. Beverly N. Slater Susan M. Smith Richard and Jo-Ann Socha James A. Somers Mr. Yoram Sorokin Barbara Spencer and
George Carignan Jim Spevak and Leslie Brtich Bob and Joyce Squires Mary Stadel
Neil and Burnette Staebler Irving M. Stahl and Pamela M. Rider Constance D. Stankrauff Robert J. Starring Lori and Steven Stein William and Gcorgine Steude Ms. Lynette Stindt and
Mr. Craig S. Ross Dr. and Mrs. Robert Stoler Dr. and Mrs. Samuel Stulberg Drs. Eugene Su and
Christin Carter-Su Nicholas Sudia and
Nancy Bielby Sudia John and Ida Swigart Suzanne Tainter and Ken Boyer Brian and Mary Ann Thcleri. John and Connie,Toigo Egons and Suzanne Tons
Barbara J. Town
Mr. Glenn A. Trapp
Mr. and Mrs. Louis Trubshaw
I.likeand Merling Tsai
Jeff and Lisa Tulin-Silver
William H. and Gerilyn KTurner
Mr. and Mrs. Marshall Tymn
Paul and Fredda Unangst
Brian A. and Susan R. Urquhart
Bram and I.ia Van Leer
Mark and Marsha Vananian
Alice and Joseph Vining
Robert D. and Liina M. Wallin
Margaret E. Walter
Karen and Orson Wang
Alice and Marty Warshaw
Alan and Jean Weamer
Edward C. Weber
Joan M. Weber
Willes H. and Kathleen Weber
John and Marianne Webster
David and Jacki Weisman
Mr. and Mrs. Gerald Weisman
Beth F. Wells
Mr. and Mrs. David Wesenberg
Carol F. Westerman
James B. and Mary F. White
Janet F. White
Mr. and Mrs. Peter H. Wilcox
Karen McGechen Wiley
Carroll and Dorothy Williams
Mr. and Mrs. David Park Williams
Dr. and Mrs. Francis S. Williams
Diane M. Willis
Mr. David Wilson
Dr. and Mrs. Iwrencc D. Wise
Dr. Joyce Guior Wolf
Linda Kidder and Christopher Wolfe
Dick and Muriel Wong
Barbara H. Wooding
Israel and Fay Woronoff
Ann and Ralph Youngren
Mrs. Antonette Zadrozny
Robert and Charlene R. Zand
Paul and Yvonne Zenian
George and Nana issis
Burton Tower Soviety
Mr. Neil P. Anderson Catherine S. Arcure 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
Michael and Helen Radock
Dr. Herbert Sloan
Ronald C. Zollars
Gigi Andresen Chase and Delphi Baromeo Dean Bodley Graham H. Conger Joanna Cornett Alice Kelsey Dunn Robert S. Feldman Isabelle M. Garrison Ed Gilbert Eleanor Groves George R. Hunsche Hazel Hill Hunt Virginia Ann Hunt Virginia Elinor Hunt Edith Kempf' Earl Meredith Kempf R. Hudson Ladd John I-ewis Robert Lewis Lorene Crank Lloyd Katharine Mabarak Frederick C. Matthaei, Sr. Steffi Reiss
Percy and Elisabeth Richardson James H. and Cornelia M. Spencer Edith Staebler Ralph L. Steffek Charlotte Parker Stern Barbara Woods
Business, Corporation andFoundation Support
Bravo Society Members
. Ann Arbor Area Community
Foundation Arts Midwest ' Chelsea Milling Company Dobson McOmber Insurance
Agency. Inc. First of America Bank Ford Motor Company Fund Grayling Fund Great Lakes Bancorp Jacobson Stores Inc. Lila Wallace-Reader's Digest Arts
Partners Program Benard L. Maas Foundation Main Street Ventures Maude's Michigan Council for Arts and
Cultural Affairs TriMas Corporation Warner-I.ambertParkc-Davis
City of Ann Arbor
Brauer Investment Company
Chamber Music America
Consulate of I lalv
Detroit and Canada Tunnel
Ford Motor Credit Company McKinley Associates Michigan Arts Presenters Miller, Canfield, Paddock, and Stone The Mosaic Foundation (of Rita
and Peter Heydon) O'Neal Construction Philips Display Components ?
The Edward Surovell Co.Realtors Wolverine Temporaries, Inc.
@@@@British Airways Comerica Bank Dahlmann Properties Environmental Research Institute
of Michigan Gelman Sciences, Inc. The Helmut Stern Foundation Holnam Co.
Huron Valley Travel. Inc. Michigan National Bank Paideia Foundation.JPE inc. Pepper, Hamilton & Scheetz
American Title Company
of Washtenaw Ameritech Association of Performing Arts
Creditanstalt-Bankvercin NBD Ann Arbor N.A. Rivrrview Lumber & Building
Supply Co., Inc. Shar Music Company E.L. Sn .in.ih.in Trust
Campus Rentals, Ltd. Charles Reinhart Company Republic Bank Ann Arbor Republic Bancorp Mortgage, inc., Sams, 3M Health Care Society Bank Michigan
Beacon Investment Company
Dough Boys Bakery
Edwards Brothers, Inc.
General Systems Consulting Group
Seva Restaurant and Market
Business, Corporation and Foundation support, continued
Arbor Farms Market
Chelsea Flower Shop
Garris, Garris, Garris 8c Garris, P.C.
Hagopian World of Rugs
Katherine's Catering and
Special Events, Inc. John I-eidy Shop, Inc. Marty's Menswear Miki Japanese Restaurant Pen in Hand Regency Travel Sweet Lorraine's Cafe & Bar University Microfilms International
Senator Lana Pollack Wolverine Contractors, Inc.
Matching Gift Companies
AT & T Foundation
Consumers Power Co.
Cummins Engine Co., Inc.
Detroit Edison Foundation
Eli Lilly & Co. Foundation
Ernst 8c Young Foundation
Ford Motor Company Fund
General Motors Foundation
Johnson Controls Foundation
Maccabees'Life Insurance Co. .
l.i Li Motor Manufacturing
McGraw-Hill Foundation, Inc.
Metropolitan Life Foundation ,
Michigan Bell Telephone
North American Phillips Corp.
Pioneer Hi-Bred International
Sara Lee Foundation
Sealed Power Technologies
SmithKline Beecham Foundation
Society Management Company
Gampus Rentals, Ltd. Charles Reinhart Company Republic Bank Ann Arbor
Republic Bancorp Mortgage, inc. Sams, 3M Health Care Society Bank Michigan
Beacon Investment Company
Dough Boys Bakery
Edwards Brothers, Inc.
General Systems Consulting Group
Seva Restaurant and Market
Chelsea Flower Shop
Garris, Garris, Garris & Garris, P.C.
Hagopian World of Rugs
John I.eidy Shop, Inc.
Miki Japanese Restaurant
Pen in Hand
Sweet Lorraine's Cafe & Bar
University Microfilms International
Senator Lana Pollack Wolverine Contractors, Inc.
Abbott's Landscape Nursery
Ann Arbor Bonsai Society
Ann Arbor Symphony Orchestra
Big City Bakery
Briarwood Shoppfng Center
Chelsea Flower Shop
Common Grill of Chelsea
Cousin's Heritage Inn df Dexter
Courtney and Lovell
Cranley Hotel, London
Curtin and Alf, Violinmakers
deLoof Ltd. Proprietors
Dough Boys Bakery
Espresso Royale Caffe
Fiegel's Men's Wear
Fry arid Partner's Architects, Inc.
Gallery von Glahn
Great Frame-Up Leslie Gresham Margo Halsted 1 Tim and Kathleen Hill Matthew C. Hoffmann Huron Valley Travel,Center Stuart and Maureen Isaacs Steve and Mfercy Kasle Kerrytown Shops Josh and Heidi Kerst Howard King
King's Keyboard House . j L & S Music Maggio Line Mainstreet Ventures Maude's Restaurant Kenneth and Martha McClatchey Rebecca McGowan and
Michael Staebler Jerry Meislick Michigan Opera Theatre Michigan Thanksgiving Parade Monahan's Seafood Market New York City National
Opera Company Baker O'Brien . Karen O'Neal Organizational Designs Oxford Conference Center Pastabilities , ,
Pen in Hand
Perfectly Seasoned Catering Purple Rose Theatre Jeffrey Michael Powers Beauty Spa Regency Travel Jesse Richards
Richard and Susan Rogel -Ann Schriber
Maya Sararino and Raymond Tanter Sarah Sararino Ellie and Dennis Serras John Sclnilz Photography Janet and Mike Shatusky Howard and Aliza Shevrin SKR Classical
Stratford Festival Company F.d Surovell and Nat Lacy Edward R. Surovell
CompanyRealtors Susan Tait, Personal Trainer Jim and Ann Telfer Tom Thompson, Florist Travis Pointe Country Club Susan and John Ullrich University of Michigan
Athletic Office SA and MK Urban Jewelry Water Club Bar and Grill F.rnil Weddige Darragh Weisman Eileen and Ron Weiser Elizabeth and Paul Yhouse
?fc UMS I MEMBER
In many ways, the real stars of UMS performances are UMS members.
They're the people who care.
They care about arts and culture in our community.
They care about continuing the fabulous programming that makes our community a unique cultural phenomenon.
They care about our educational programs that reach thousands of school children each year.
And they care enough to become UMS members by making a tax-deductible gift.
Cast yourself in a starring role.
Become a UMS Member. And here's what you can expect in return:
The opportunity to buy tickets early, before they're available to the general public.
Invitations throughout the year to special events featuring UMS artists.
Thank-you listings in UMS publications.
The knowledge that you're helping to assure that our community will continue to have the outstanding entertainment options that only UMS provides.
Take center stage. Join the UMS today.
The Michigan Theater
The historic Michigan Theater opened its doors January 5, 1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior were then as now a marvel practically unrivaled in Michigan. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, the Theater has undergone many changes. "Talkies" replace silent films just one year after the Theater opened, and vaudeville soon disappeared from the stage. As Theater attendance dwindled in the '50s, both the interior and exterior of the building were remodeled in a style which was architecturally inappropriate. Through the '60s and '70s the 1800-seat theater struggled against changes in the film industry and audiences until the non-profit Michigan Theater Foundation stepped in to operate the failing movie house in 1979.
After a partial renovation which returned much of the Theater to its prior glory, the Michigan Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. The Michigan Theater is also the home of the Ann Arbor Symphony Orchestra.
Burton Memorial Tower
A favorite campus and Ann Arbor landmark, Burton Memorial Tower is the familiar mailing address and box office location for UMS concertgoers.
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 1920 until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses contributed to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live performance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 a.m.
Arts Midwest Minority Fellow
The University Musical Society is pleased to have been selected as a host site for its second Arts Midwest Minority Arts Administration Fellow. Morning Bishop, founder and director of the Morning Bishop Theater Playhouse in Gary, Indiana, is spending four months at UMS this fall to enhance her present arts administra?tion skills, to develop a network of new contacts, and to increase her awareness of the challenges facing persons of color in the field of arts administration. Arts Midwest works in partnership with private and public arts supporters throughout the Midwest to translate human and financial resources into enriching arts experiences for Midwestern residents.
Volunteers & Internships
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 educa?tional 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 University Musical Society volunteer corps, please call (313) 747-1175 or pick up a volunteer application form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts manage?ment, marketing, journalism, publicity, and promotion. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in serving as a UMS Intern should call (313) 764-6199 for more information. We look forward to hearing from you!
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function of assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individu?als who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
"Desert Island Discs"
Co-produced by the University Musical Society and Michigan Radio. Desert Island Discs is heard every Saturday morning from 8:00 a.m. to 10:00 a.m. Each program features a distinguished castaway who is asked, "If you were stranded on a desert island, which recordings would you like to have with you and (perhaps most revealingly) why" Tune in Saturday mornings.WUOM-91.7 FM, Ann Arbor; WVGR-104.1 FM, Grand Rapids; WFUM-91.1, Hint.
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.
The Chick Corea Quartef+
Saturday. October 1, 8pm
Guarneri String Quartet
Sunday, October 2, 4pm
Made possible by a gift from Edward Surovell CompanyRealtors.
The Michael Nyman Band'
Saturday, October 8, 8pm
Made possible by a gift from Drs. Carol and Irving Smokier
The Philadelphia Orchestra
Wolfgang Sawallisch, conductor Tuesday, October 18, 8pm
Made possible by a gift from First of America Bank-Ann Arbor. This concert is presented in honor of Dr. and Mrs. Harlan Hatcher
Uptown String Quartet'+
Friday, October 21, 8pm
Made possible by a gift from Mary Steffek-Blaske and Thomas Blaske and a grant from CHAMBER MUSIC AMERICA'S Presenter-Community Residency Program. This project is also supported by Arts Midivest members and friends in partnership with the National Endowment for the Arts.
Michigan Chamber Players Faculty Artists Concert'
The Music of Martha Graham Sunday, October 23, 4pm
In the American Grain:
The Martha Graham Centenary Festival
The Martha Graham Dance Company
Friday, October 28, 8pm (Program I)'
Saturday, October 29. 8pm (Program II)
Sunday, October 30, 2pm'
(Program III --Appalachian Spring: Celebration
of an American Masterwork)
Saturday, October 29, 2pm (Family Show)'
This project is made possible in parr by a grant from the Lila Wallace-Reader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters. This project is also made possible by grants from The Grayling Fund and support by Arts Midwest members and friends in partnership with the National Endowment for the Arts. In addition, we are grateful to the Ford Motor Company for making possible the Saturday, October 29. afternoon family show which is a part of the Ford Family Series.
Whirling Dervishes of Turkey"
Friday, November 4, 8pm
A Celebration of the Spiritual' Jester Hairston, conductor
with the UMS Choral Union
Sunday, November 6, 4pm
Made possible by a gift from The Anderson AssociatesRealtors
In addition, we are grateful to the Ford Motor Company for making
possible the Sunday. November 6. afternoon family show which is a
part of the Ford Family Series.
Tnuatron Dance Troupe
Tuesday, November 8, 7 pm
This program is part of the Mid EastlWest Fest International
Community Exchange sponsored by Lufthansa and the W. K. Kellogg
Foundation, major sponsors, and Hudson's and the Dayton-Hudson
In addition, we are grateful to the Ford Motor Company for making
possible this performance which is a part of the Ford Family Series.
Mf Lemper, vocalist
Friday, November 11, 8pm
Frederica von Stade, mezzo-soprano'
Martin Katz, piano Sunday, November 13, 4pm
The 2nd Annual
UMS Theatre Residency:
The Shaw Festival
The From Page
Wed., November 16, 8pm
Friday, November 18, 8pm'
Saturday, November 19, 2pm
Arms and the Man
Tuesday, November 15, 8pm
Thursday, November 17, 8pm'
Saturday, November 19, 8pm
Sunday, November 20, 2pm
Made possible by gifts from TriMas and the
Detroit & Canada Tunnel Corporation.
Oslo Philharmonic Mariss Jansons, conductor Yefim Bronfman, piano
Tuesday, November 29, 8pm
Roberto Aussel, guitar
Friday, December 2, 8pm
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, music director
Saturday, December 3, 8pm
Sunday, December 4, 2pm
Made possible by a gift from Wolverine Temporaries Inc
Sweet Honey in the Rock'
Friday, January 6, 8pm
Made possible by a gift from Great Lakes Bancorp
The Complete Piano Music of Frederic Chopin, Part I
(1st of 3 installments) Garrick Ohlsson, piano
Friday, January 13, 8pm'
Ruth Brown' +
Saturday, January 14, 8pm
Part of the University of Michigan's 1995 Rev. Dr. Martin Luther King. Jr. Day Symposium.
Spiritual Ensemble of Harlem
Sunday,January 15,7pm Free and open to the public. Tickets required.
Co-presented with the University of Michigan Office of the Vice Provost for Academic and Multicultural Affairs as part of the University's 1995 Rev. Dr. Martin Luther King. Jr. Day Symposium.
Academy of SL Martin-in-the-Fields Iona Brown, conductorviolinist
featuring Vivaldi's The Four Seasons Sunday, January 22, 7pm Made possible by a gift from British AirwaysSConlin-Faber Travel
Jean-Pierre Rampal, flute'
John Steele Ritter, piano Wednesday, January 25, 8 pm
The Romeros, guitar family'
Friday, January 27, 8pm
Noa, vocalist, and Gil Dor, guitar
Thursday, February 9, 8pm
This program is part of the Mid EastWest Fest International Community Exchange sponsored by Lufthansa and the W. K. Kellogg Foundation, major sponsors, and Hudson's and the Dayton-Hudson Foundation.
The Society Bank Cleveland Orchestra Weekend
The Cleveland Orchestra
Christoph von Dohn&iyi, music director
Friday, February 3, 8pm"
The Cleveland Orchestra Christoph von Dohnanyi, music director Emanuel Ax, piano Saturday, February 4, 8pm
Chamber Music with Members of the Cleveland Orchestra
Sunday, February 5, 4pm
Made possible by a gift from Society Bank. Michigan. This project is also supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
Anne-Sophie Mutter, violin
Lambert Orkis, piano Saturday, February 11, 8pm
Made possible by a gift from Parke-Davis Pharmaceutical Research.
Freiburg Baroque Orchestra Drew Minter, countertenor
Sunday, February 12, 7pm
Monday, February 13, 8pm Tuesday. February 14, 8pm
Hagen String Quartet"
Thursday. March 2, 8pm
Made possible by a gift from Curtin dc Alf
New York City Opera National Company
Rossini's II Barbiere di Shiglia (The Barber of Seville) Tuesday, February 28, 7pm (Family Show) Wednesday, March 1, 8pm Friday, March 3, 8pm' Saturday, March 4, 8pm Sunday, March 5, 2pm
Made possible by a gift from JPEinc. We are grateful to the Ford Motor Company for making possible the Tuesday. February 28. family show which is a part of the Ford Family Series.
Krzysztof Penderecki, conductor
Allison Eldredge, cello
Saturday, March 11, 8pm
The Complete Piano Music of Frederic Chopin, Part I
(2nd of 3 installments) Garrick Ohlsson, piano
Sunday, March 12, 4pm'
Lincoln Center Jazz Orchestra
Wednesday, March 15, 8pm Presented in conjunction with V'M Office of Major Events (MEO).
Berlin Philharmonic Woodwind Quintet
Friday, March 17, 8pm
Maurizio Pollini, piano
Monday, March 20, 8pm
Bill T. JonesArnie Zane Dance Co. --StillHere'
Friday, March 24, 8pm Saturday, March 25, 8pm
Cleveland String Quartet'
Giora Feidman, clarinet Sunday, March 26, 4pm
Made possible by a gift from Edward Slum-ell CompanyRealtors
Michigan Chamber Players Faculty Artists Concert
Tuesday, March 28, 8pm
The Complete Piano Music of Frederic Chopin, Part I
(3rd of 3 installments) Garrick Ohlsson, piano
Friday, March 31, 8pm
Anonymous 4, vocal quartet'
Saturday, April 1, 8pm
Royal Concertgebouw Orchestra
Riccardo Chailly, conductor
Thursday, April 6, 8pm
Julian Bream, guitar
Tuesday, April 25, 8pm
Detroit Symphony Orchestra'
Jerzy Semkov, conductor Edith Wiens, soprano Florence Quivar, mezzo-soprano UMS Choral Union Sunday, May 14, 4pm
?Indicates Philips Educational Presentation in conjunction with this performance. Call 313.764.2538 for details. +The UMS Jazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Advertising with the University Musical Society
Four 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 illuminate each UMS presentation. For informa?tion about how your business can become a UMS advertiser, call (313) 764-6199.
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.
Subscribers who purchase at least $100 worth of tickets 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 the following fine stores and restaurants:
Maude's SKR Classical The Earle Cafe Marie
What could be easier and more welcome than a University Musical Society gift certificate The perfect gift for every occasion worth celebrating. Give the experience of a lifetime -a live performance -wrapped and delivered with your personal message.
Available in any amount, just visit or call the UMS box office in Burton Tower, 313.764.2538.
Thousands of school children annually attend 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 sixth year under the Education Depart?ment, the UMS Youth Program continues to expand, with a performance by the Martha Graham Dance Company for middle and high school students, a performance by the Shaw Festival for high school students, and two fourth-grade opera performances, as well as discounted tickets to nearly every concert in the UMS season.
As part of the Martha Graham Dance Company's Ann Arbor residency and the four-day multidisciplinary program entitled "In The American Grain: The Martha Graham Centenary Festival," the Graham Company presents a special youth program to middle and high school students on Friday, October 28.
Friday, November 18, area high school students will experience a full-length performance of the Shaw Festival's production of Shaw's Arms and the Man.
On Friday, March 3, 1995 2700 fourth-graders will visit the Power Center for abbreviated one-hour performances of Rossini's Barber of Seville. These performances allow children to experience opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
Discounted tickets are also available for UMS concerts 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. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative 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 Education Coordinator Helen Siedel at 313.936.0430.
The 199411995 UMS Education Program is underwritten in pan by the McKinley Foundation, ER1M. the Bernard L. Maas Foundation, the Anderson Associates, Ford Motor Company, David and Tina Loesel, Thomas H. and Mary Steffek Blaske, and the Michigan Council for the Arts and Cultural Affairs.
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