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UMS Concert Program, Thursday Feb. 09 To 14: University Musical Society: 1994-1995 Winter - Thursday Feb. 09 To 14 --

Day
9
Month
February
Year
1995
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Rights Held By
University Musical Society
OCR Text

Season: 1994-1995 Winter
The University Of Michigan, Ann Arbor

University Musical Society
The University of Michigan Burton Memorial Tower Ann Arbor, Michigan 48109-1270
Dear UMS Patrons.
Thank you very much far 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 at 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 our 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 that the UMS could best sene the community if the UMS had a measure of artistic and financial independence from the University. While 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 Pertman, 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.
Sincerely,
Thank You Corporate Underwriters
On behalf of the University Musical Society. I am privileged to recognize the companies whose support ofUMS 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 vote of confidence in the Musical Society and for the help they provide to serve you, our audience, better.
Kenneth C. Fischer Executive Director
University Musical Society
A Salute To Our Corporate Angels . .
ANDERSON ASSOCIATES
REAITOIS
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.,
Owner
Brauer Investment
Company
"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."
Chelsea Milling Company
Howard S. Holmes President Chelsea Milling Company
"The Ann Arbor area is very fortunate to have the most enjoyable and outstanding musical entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Curtin & Alf
Joseph Curtin and Greg Ml 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 peiformances to the Southeast Michigan region."
Douglas D. Freeth
President
First of America
Bank-Ann Arbor
"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 ...
Conlin -Faber Travel
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
Chairman
Ford Motor Credit
Company
"The people of Ford Credit are very proud of our continuing association with the University Musical Society. The Society's 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."
Alex Trotman
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 we are once again pleased to be its underwriter this year."
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."
Jacobson's
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."
Dennis Serras
President Mainstreet Venlures, 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 Delroit 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."
Ronald Weiser
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."
PEPPER, HAMILTON & SCHEETZ
ATTORNEYS XT LW
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 Display Components Company
"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.
" is our pleasure to work with such an outstanding organization as the Musical Society at the University of Michigan."
WARhER
Ronald M. Cresswell, Ph.D.
Vice President and
Chairman
Pharmaceutical
Division.
Warner Lambert
Company
"Warner-Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division 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
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan Carl A. Brauer, Jr. Letitia J. Byrd
Leon Cohan Jon Cosovich Ronald M. Cresswell James J. Duderstadt Walter L. Harrison Thomas E. Kauper F. Bruce Kulp Rebecca McGowan George I. Shirley Herbert Sloan Edward D. Surovell Eileen L. Weiser Iva Wilson
Gail W. Rector President Emeritus
UMS Senate
Robert G. Aldrich Richard S. Berger Allen P. Britton Douglas D. Crary John D'Arms Robben W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L Kennedy Thomas C. Kinnear Patrick Long
Judyth Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Gilbert Whitaker
Staff
Kenneth C. Fischer
Executive Director
Catherine S. Arcure Edith Leavis Bookstein Diane Boraz Betty Byrne Yoshi Campbell Sally A. Cushing David B. Devore Melanie Riehl Ellis Erika Fischer Susan Fitzpatrick Judy Johnson Fry Adam Glaser Michael L. Gowing Philip Guire Deborah Halinski Jonathan Watts Hull John B. Kennard, Jr. Michael J. Kondziolka Cheryl Ng Catherine R. Oetting R. Scott Russell
Thomas Sheets Helen Siedel Marya P. Smith Jane Stanton
Work StudyInterns Jonathan Cho Timothy Christie Kim Coggin Anne S. Dickens Cristina de la Isla Grace Eng Rachel Folland Jennifer Hall Naomi Kornilakis Kwang Lee Tansy Rodd Eva Rosenwald Marjorie Schriber Lisa Vogen
Donald Bryant Conductor Emeritus
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.
Advisory Committee
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 Halsted Esther Heitler Lorna Hildebrandt Kathleen Hill Matthew Hoffmann
JoAnne Hulce 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
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 a member of the International Society for the Performing Arts, Association of Performing Arts Presenters, Chamber Music America, Arts Action Alliance, and Washtenaw Council for the Arts.
General Information
University Musical Society Auditoria Directory & Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the
east and west sides of the main lobby and are
open only during the winter months.
Rackham Auditorium: Coat rooms are located on
each side of the main lobby.
Power Center: Lockers are available on both levels
for a minimal charge. Free self-serve coat racks
may be found on both levels.
Michigan Theater: Coat check is available
in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located
throughout the main floor lobby, as well as on
the east and west sides of the first and second
balcony lobbies.
Rackham Auditorium: Drinking fountains are
located at the sides of the inner lobby.
Power Center: Drinking fountains are located on
the north side of the main lobby and on the lower
level, next to the restrooms.
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
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.
Public Telephones
Hill Auditorium: A wheelchair-accessible public
telephone is located at the west side of the outer lobby.
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
the lobby.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating
Restrooms
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby. Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
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.
Smoking Areas
University of Michigan policy forbids smoking
in any public area, including the lobbies and restrooms.
Tours
Guided tours of the auditoria are available to groups
by advance appointment only.
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. UMS volunteers can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children
We welcome children, but very young children can be disruptive to a performance. Children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction
Please turn off or suppress electronic beeping
arid chiming digital watches or pagers during
performances.
Cameras and Recorders
Cameras and recording devices are strictly
prohibited in the auditoria.
Odds and Ends
A silent auditorium with an expectant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of program pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Ticket Services
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
313.764.2538
From outside the 313. area code, call toll-free 1.800.221.1229.
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Fax Orders
313.747.1171
Visit Our Box Office in Person At our Burton Tower ticket office on the Univer?sity of Michigan campus. Performance hall box offices are open 90 minutes before performance time.
Gift Certificates
Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your rickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduction as refunds are not available. Please call (313) 764-2538,10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
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 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, 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 presentations from diverse cultures. The University Musical Society has flourished these 116 years with the support of a generous musicand arts-loving community, which has gathered in Hill and Rackham Auditoria and Power Center to experience the artistry of such outstanding talents as Leonard Bernstein, the Vienna Philharmonic Orchestra, Sweet Honey in the Rock, the Martha Graham Dance Company, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, the Stratford Festival, the Beaux Arts Trio, Cecilia Bartoli, and the Chicago Symphony Orchestra.
In May of 1993, the Musical Society celebrated its 100th Ann Arbor May Festival with perfor?mances by the 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, artists' residencies, 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 orchestras and conductors.
The chorus has sung under the direction of Neeme Jarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre 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 19931994 season was the performance and recording of Tchaikovsky's Snow Maiden with the Detroit Symphony Orchestra conducted by Neeme Jarvi, released this past November by Chandos International.
During this season the UMS Choral Union joined the Detroit Symphony Orchestra and conductor Neeme Jarvi in performances of Ravel's Daphnis et Chloe, presented A Celebration of the Spiritual with Dr. Jester Hairston, and in May of 1995 will perform the Mahler Symphony 2 (Resurrection), again with the DSO, under conductor Jerzy Semkow. In April 1995, the Choral Union will join the Toledo Symphony Orchestra in commemorating the 50th Anniver?sary 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 Society the 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.
Hill Auditorium
COMPLETED IN 1913, this renowned concert hall was inaugurated at 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.
Rackham Auditorium
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 architec?tural sculptor Corrado Parducci.
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 searing for 1,414 in the audito?rium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS hosted its annual week-long theater residency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20,1994.
In October 1994, UMS, the Martha Graham Dance Company, and ten institu?tional partners hosted "In the American Grain: The Martha Graham Centenary Festival" commemorating the 100th anniver?sary of Martha Graham's birth. The Power Center was the site of open rehearsals, exhibits, workshops, and performances, including the 50th anniversary celebration of the premiere of the Martha GrahamAaron Copland collaboration "Appalachian Spring (Ballet for Martha)."
The Michigan Theater
THE HISTORIC Michigan Theater opened its doors January 5,1928 at the peak of the vaudevillemovie 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 under?gone 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.
University Musical Society 1995 Winter Season
Sweet Honey
in the Rock
Friday, January 6, 8pm
Hill Auditorium
Made possible by a gift from Great
Lakes Bancorp.
The Complete Solo Piano Music of Frederic Chopin, Part I Garrick Ohlsson, piano
Friday, January 13, 8pm Rackham Auditorium (1st of 3 installments)
Philips Educational Presentation: Roland J. Wiley, Professor of Music History & Musicology. A Patriot in Exile. Michigan League, 7pm. SKR Classical will sponsor a series of 3 in-store lectures, "Chopin: Virtuoso 6t Poet," 7pm on Sunday evenings, January 8, March 5 & March 26. Made possible by a gift from Regency Travel, Inc.
This project is part of the U-M Copernicus Endowment's theme semester, From Polonaise to Penderecki: Polish Music at the University of Michigan.
Ruth Brown, blues
vocalist
Saturday, January 14, 8pm
Power Center
Philips Educational Presentation: Michael G. Nastos, Program Host, WEMU; Ann Arbor News Writer; Detroit Correspondent for Downbeat, Cadence & Arts Midwest; jazz Editor and General Contributor, All Music Guide; Jazz Panelist for Michigan Council for the Arts. Between Bessie, Billie & Baker, a discussion of the lineage of great jazz and blues singers. Michigan League, 7pm.
Part of the University of Michigan's 1995 Rev. Dr. Martin Luther King, jr. Day Symposium. The UMS Jazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Harlem Spiritual
Ensemble
Francois Clemmons,
founderdirector
Sunday, January 15, 7pm
Hill Auditorium
Free Concert
77s concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1995 Rev. Dr. Martin Luther King, Jr. Day Symposium.
Academy of
St Martin-in-the Fields
Iona Brown, conductor
violin
featuring Vivaldi's
The Four Seasons
Sunday, January 22, 7pm
Rackham Auditorium
Made possible by a gift front
Conlin-Faber Trawl, Inc. and
British Airways.
Jean-Pierre Rampal, flute John Steele Ritter, piano
Wednesday, January 25, 8pm Hill Auditorium
Philips Educational Presentation: Penelope Fischer, Board Chair, National Flute Association and Director, Ann Arbor School for the Performing Arts. "Rampal: The World's First Famous Fluter." Michigan League, 7pm.
The Romeros,'guitar family
Friday, January 27, 8pm Rackham Auditorium
Philips Educational Presentation: Julie Jaffee Nagel, Ph.D., Arts Psychology Program, McAuley Outpatient Mental Health Services. "Stage Fright: Nature or Nurture" Michigan League, 7pm.
The Society Bank Cleveland Orchestra Weekend
Christoph von Dohnanyi, music director Emanuel Ax, piano February 3,4 & 5,1995 Friday, February 3, 8pm Hill Auditorium
Free Philips Educational . Presentation: Glenn Watkins, Earl V. Moore Professor of Music. The Music ofSchnillke and Schocnberg Included in This Evening's Performance Michigan League, Friday, February 3, 7pm.
Saturday, February 4, 8pm Hill Auditorium Emanuel Ax, piano An Evening of Brahms Sunday, February 5, 4pm Rackham Auditorium Chamber Music with Members of the Cleveland Orchestra Made possible by a gift from Society Bank, Michigan 77ns project is also supported by Arts Midwest members and friends in partnership ivith the National Endowment for the Arts.
Noa, vocalist, and Gil Dor, guitar
Thursday, February 9, 8pm Power Center
This program is part of the Mid East West Fest International Community Cultural Exchange sponsored by the W. K. Kellogg Foundation and Lufthansa, Major Sponsors, and Hudson's and the Dayton Hudson Foundation.
Anne-Sophie Mutter, violin Lambert Orkis, piano
Saturday, February 11, 8pm Hill Auditorium Works by Stravinsky, Beethoven, Currier, and Schumann
Made possible by a gift from Parks-Davis Pharmaceutical Research.
Freiburg Baroque Orchestra
Drew Minter, countertenor Sunday, February 12, 7pm Rackham Auditorium Works by Purcell, L.G. Zavateri, D. Scarlatti, and A. Corelli
Kodo Drummers
Monday, February 13, 8pm Tuesday, February 14, 8pm Power Center
Philips Educational Presentation: The KoNami Ensemble. A Lecture! Demonstration on Japanese Festival Music. Michigan League, 7pm.
New York City Opera
National Company
Rossini's Barbiere di
Siviglia (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
Power Center
In Italian with English
supertitles.
Philips Educational Presentation: Ede Bookstein, Costume Designer, will discuss designing costumes for opera. Michigan League, 7pm
Made possible by a gift from JPEinc. In addition, we are grateful to the Ford Motor Company for making possible the Tuesday, February 28 family show which is part of the Ford Family Series.
Hagcn String Quartet Thursday, March 2, 8pm Rackham Auditorium Works by Mozart, von Webern, and Schubert Made possible by a gift from Curtin & AlfViolinmakers.
Warsaw Sinfonia Krzysztof Penderecki, conductor
Allison Eldredge, cello Saturday, March 11, 8pm Hill Auditorium Works by Beethoven, Penderecki, and Mendelssohn
Philips Educational Presentation: Krzysztof Penderecki, composer and conductor, will present the University of Michigan's Annual Copernicus Lecture on Friday, March 10, 8pm in the Rackham Building.
77ns concert is part of the U-M Copernicus Endowment's theme semester, From Polonaise lo Penderecki: Polish Music at the University of Michigan. Made possible by a gift from the estate of William Kinney
The Complete Solo Piano Music of Frederic Chopin, Part I i ..ii i k k Ohlsson, piano Sunday, March 12, 4pm Rackham Auditorium (2nd of 3 installments) Philips Educational Presentation: Garrick Ohlsson, "Chopin's Piano Literature from the Performer's Point of View." Saturday, March 11,4pm. Location TBA. Made possible by a gift from Regency Travel, Inc..
Lincoln Center Jazz Orchestra
The Majesty of Louis Armstrong Wednesday, March 15, 8pm Hill Auditorium Presented in conjunction with U-M Office of Major Events (MEO). The UMS ]azz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Berlin Philharmonic Woodwind Quintet
Friday, March 17, 8pm Rackham Auditorium Works by Mozart, Franz Danzi, Samuel Barber, Andre Jolivet, Paul Taffanel
Philips Educational Presentation: Post-performance chat with members of the Quintet.
Maurizio Pollini, piano
Monday, March 20, 8pm Hill Auditorium
Bill T. JonesArnie Zane Dance Co. StillHere
Friday, March 24, 8 PM Saturday, March 25, 8pm Power Center
This project is supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
Cleveland String Quartet Giora I? nil 111:111. clarinet Sunday, March 26, 4pm Rackham Auditorium Works by Schubert, Joaquin Turina, Osvaldo Golijov, and Dvorak
Philips Educational Presentation: Preconcert conversation with members of the Cleveland String Quartet. Michigan League, 3pm. Made possible by a gift from Edward Surovell CompanyRealtors.
U-M School of Music Faculty Artists Concert
Tuesday, March 28, 8pm Rackham Auditorium Free Concert
Works by Schulhoff, Beethoven, and Dvorak.
The Complete Solo Piano Music of Frederic Chopin, Parti
Garrick Ohlsson, piano Friday, March 31, 8pm Rackham Auditorium (3rd of 3 installments) Made possible by a gift from Regency Travel, Inc.
Anonymous 4
Saturday, April 1, 8pm St. Andrews Episcopal Church, Ann Arbor A Marian passion through 12thto 14th-century music from the British isles.
Royal Concertgebouw Orchestra of Amsterdam Riccardo Chailly, conductor
Thursday, April 6, 8pm Hill Auditorium Works by Stravinsky, Prokofiev, and Strauss Philips Educational Presentation: An interview with Martijn Sanders (U-M M.B.A. '69), Managing Director of the Het Concertgebouw. Michigan League, 7pm.
Julian Bream, guitar
Tuesday, April 25, 8pm Rackham Auditorium Made possible by a gift from the Viomas B. McMullen Co.
Detroit Symphony Orchestra
Jerzy Semkow, conductor Edith Wiens, soprano Florence Quivar, mezzo-soprano
UMS Choral Union Thomas Sheets, music director
Sunday, May 14, 4pm Hill Auditorium Mahler: Symphony No. 2 ("Resurrection")
Philips Educational Presentation: Jim Leonard, Manager, SKR Classical. Death and Resurrection, a discussion of Mahler's Symphony No. 2.
102nd Annual Ann Arbor May Festival
Thursday, May 11 -Sunday, May 14
Made possible by a gift from Ford Motor Company
University
Musical
Society
of the. University of Michigan 1994-1995 Winter Season
Event Program Book
Thursday, February g, ig95
through
Tuesday, February 14, 1995
116th Annual Choral Union Series Hill Auditorium
32nd Annual Chamber Arts Series Rackham Auditorium
24 th Annual Choice Events Series
NoaGil Dor
Thursday, February g, 1995 Power Center
Anne-Sophie Mutter
Saturday, February 11, 1995 Hill Auditorium
Freiburg Baroque Orchestra 15
with Drew Minter
Sunday, February la, 1995 Rackham Auditorium,
@@@@Kodo Drummers 23
Monday, February 13, 1995 Tuesday, February 14, 1995 Power Center
General Information
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
Starting Time
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 "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, 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 University Security at 763-1131.
In the interests of saving both dollars . and the environment, please retain this program book and return with it when you attend other UMS per?formances included in this edition. Thank you for your help.
University, Musical Society presents
NoaGil Dor
Program
Thursday Evening, February 9, 1995 at 8:00
Power Center
Ann Arbor; Michigan
Thirty-Seventh Concert of the 116th Season
24th Annual Choice Series
This program is part of the Mid EastWest Fest International Community Cultural Exchange sponsored by the W. W. Kellogg Foundation and Lufthansa, Major Sponsors, and Hudson's and the Dayton Hudson Foundation.
Lufthansa
A post-concert discussion with Noa and Gil Dor will take place in the theatre immediately following this performance.
Noa -(Achinoam Nini):
WiLDFLOWER OF SONG
1 oni Mitchell meets Oum Khaltoum," sums up 25-year old Achinoam Nini -Israeli born and Bronx raised. She has performed with the Israel Philharmonic, with string quartets and to the accompa?niment of a single guitar. She can sing delicate poems of lost love one moment, come on as a brash cabaret singer the next, and then suddenly begin chanting in Hebrew to ' a traditional Yemenite folk melody. Nini's and her eclectic style have achieved solid success in Israel. Together with her collabo?rator, Gil Dor, she has toured Europe and the States, where last Spring she released an international album on the prestigious Geffen label, using a shortened form of her name, Noa.
' Shordy after Nini's birth, her family moved form Israel to New York. At home (Riverdale, Bronx) she spoke Hebrew and Yemenite. She learned English in school and on the street and attended Jewish day schools and New York's Performing Arts High School. But as the only Yemenite-Israeli in a world of American Ashkehazim, she felt like an outsider. Nini began singing and putting her "poetry and music together when she was seven and made her first recording at the age of 12.
Music wasn't the only love Nini discov?ered at a tender age. When she was 15, she spent the summer in Israel. One of the leaders of her hiking group was Asher Barak, a 21-
year-old medical student. The two became pen pals" after she went back to America and the correspondence which "began as friendly ended up as love letters." Nini's desire to be near Barak led her to Aliya at 16. She enrolled in boarding school and spent every free moment with Barak. After completing high school, Nini won a coveted spot in one of the army's singing groups that travel the country playing for the troops. 'The army was tough," she says, "We did everything ourselves and I was in charge of the electricity. It was a great education." Nine years after their first hike together, she is married to Barak, now a pediatrician at Kaplan Hospital in Rehovot. Nini knows Israel is where she wants to live and raise her family when the time comes, even though she has already spent long periods abroad in the interests of the career.
Wildlower, growing in all the utrong places Wildlower, so lowly 'neath
that lovely rosebush I'vojiirgarden's nightmare,
Queen of open fields Tell me who will love this wildlower
for exactly xvhat she is.
-from an autobiographical song by Nini
Excerpts from an article on Noa in Hadassah, Magazine (April 1994)
{ This evening's performance marks Noa's UMS debut.
mmU H Dor is a highly m k accomplished guitarist,
MM who adds In his lisl ol
talents those of cbm-H insci. arranger, and
k JH teacher. He has played
at many jazz festivals, both in Israel and in Europe. Gil studied in Boston at the Berklee College of Music and at Queens College in New York. He toured
Europe with the guitar virtuoso Al Dimeola. In Israel , Gil co-founded the Rimon School of Contemporary Music, where Noa was a student. It was there that they met and began their musical partnership. Since then, they have performed in concerts and festivals all over the world, and have produced three albums together.
Everywhere that Noa and Gil have per?formed they have received ecstatic reviews. Their music is a special blend of many styles and sounds which combine to produce a unique result. The influence of Noa's Israeli-Yemenite-American background comes through strongly in her composition, movement, singing and playing (guitar and percussion). Add Gil's rich experience in playing a wide range of guitar styles, which runs the whole spectrum from classical and acoustic through jazz and rock, and you have something special.
Tonight's concert marks Gil Dor's UMS debut.
UMS Mid EastWest Contributors
We are grateful to the following generous people for their support of Mid EastWest Fest
This list reflects donations received byDetember 31, 1994
Guarantors
Amnon and Prudence Rosenthal Benard L. Maas Foundation Mark and Susan Orringer -
Sponsors
Dr. and Mrs. Sanford Herman
Benefactors
Harlene and Henry Appelman Newell and Myrna Miller Victor and Marilyn Gallatin Hillary Murt and Bruce Friedman Dana and Paul Kissner Myron and Bobbie Levine Sharon and Chuck Newman Art and Mary Schuman Elise and Jerry Weisbach
Patrons
Reuben and Barbara Levin Bergman
Morton B. and Raya Brown
Alan and Bette Cotzin
Jon Fischer
Bevferley and Gerson Geltner
Selma and Albert Gorlin
Linda and Richard Greene
Mercy and Stephen Kasle
Robert Krasny
Ed Stein and Pat McCune
Dr. Owen Z. and Barbara A. Perlman
Mary and Rick Price
Donors
Jim and Jamie Abelson
Abraham and Thelma Bernran .Peggy Morris Charpie
Rick and Sally Coudron
Ed and Judi Davidson Jerome and Carolyne Epstein
Howard G. Finkel
Lila and Bob Green Joseph and Gloria Gurt
Fred and Joyce Hershenson
Maxine and David Katz
si 111.1 and Steve Klein
Syma and Phil Kroll
Eli and I i!l I .nlin
Ted and Wendy Lawrence
Carolyn Dana Lewis
Steve and Elaine Mickel
Ellyne and Arnold Monto
Marylen and Harold Oberman
Donald and Edith Pelz
Marvin and Harriet Selin Joanne and Laurence Smith
Virginia and Eric Stein
"Others
Judge and Mrs. S. J. Elden
Lawrence and Lisa Molnar
Ari and liana Gafni
Shirley and Martin Norton
Steven Leber and Dina Shtull-Leber.
Larry Geffen
Mildred Ostrowsky
Arthur and Renata Wasserman
University
Musical
Society
and
Parke-Davis Pharmaceutical Research
present
Anne-Sophie Mutter
violin
?
Lambert Orkis
piano
P R O 0 R A M
Saturday Evening, February n, 1995 at 8:00
Hill Auditorium Ann Arbor,.Michigan
Igor Stravinsky SUITE FROM PULCINELLA (Spalding Version)
Introductione
Serenata
Tarantella
Gavotta con due variazioni
Minuetto e finale
Ludwig van Beethoven
Sonata No. i'o in G Major, Op. 96
Allegro moderato Adagio espressivo 1 Scherzo: Allegro Poco allegretto
Intermission
This work was written for and premiered by Miss Mutter as part of her 1994-95 season.
Sebastian Currier
Aftersong (1993)
Bold -Intense Distant, but expressive
Robert Schumann
Sonata No. 2 in d minor, Op. 121
Ziemlich langsam -Lebhaft Sehr lebhaft Leise, einfach Bewegt
Thirty-Eighth Concert Of the 116th Season
116th Choral Union Series
Thanks to Dr. Ronnie Cresswell for his support on behalf of Parke-Davis Pharmaceutical Research which helped to make
this performance possible.
I
The Steinway piano used in tonight's performance is made possible by Mary and William Palmer and by Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is made possible by Cherie Rehkopf and John Ozga, Fine Flowers, Ann Arbor.
Columbia ArtistsSheldon Division: R. Douglas Sheldon and Mary Jo Connealy, exclusive representatives for Miss Mutter.
Deutsche Grammophon, EMIAngel and EratoBMG Records. .
Anne-Sophie Mutter is generously donating a portion of her fee from tonight's performance to Classical Action: Performing Arts Against AIDS.
Large print programs are available upon request from an usher.
Suite from Pulcinella
. after themes of Giambattista Pergolesi (192$)
Igor Stravinsky
Born June 17, 1882 in Oraniembaum
(now Lomonosov) Died April 6, 19J1 in New York
The success of Leonid Massine's ballet The Good-Humored Ladies to music of Scarlatti, gave Serge Diaghilev, the legendary impresario of the Ballets Russes, the idea of producing something else to the music of another illustrious Italian composer, Giambattista Pergolesi. Pergolesi, a superbly gifted com?poser, died in 1736 at the age of 26. In September. 1917, Diaghilev suggested to Stravinsky that he write a ballet based on the music of Pergolesi.
Stravinsky was originally reluctant to undertake the delicate task of breathing new life into the scattered fragments of Pergolesi's music collected by Diaghilev, and to create a whole from the pages of a musician for. whom he felt special liking and tenderness. However, the,Russian composer soon became fascinated by these melodies and utilized some of them as thematic material for the ballet Pulcinella. That ballet, with sets designed by Picasso and choreography by Massine, was to become one of the most renowned works in Stravinsky's Neo-Classical period. Its first performance took place at the Paris Opera on May 15, 1920, conducted by Ernest Ansermet; Tamara Karsavina and Massine himself danced the lead roles. The ballet contains eighteen short pieces in which the original eighteenth-century melodies and bass lines are retained; the harmonies, however, are totally rewritten with characteristic Stravinskian pungency, and the rhythms are more assertive.
After the success of this ballet, Stravinsky made several adaptations of the score. The best known is perhaps the "Suite italienne" which exists in two versions: for cello and
piano (1932) and for violin and piano (1933). However, the Suite from "Pulcinella" after themes of Giambaltista Pergolesi, heard in this performance, was the first adaptation of the score that the composer made. It was written for and dedicated to the Polish violinist Pawel Kochanski. The composer compiled this suite in the summer of 1925 while , vacationing in Nice. In this shortened version of Pulcinella or violin and piano, the story of the ballet is discarded. The work takes on the character of a suite a ['antique, a medium employed in this century by such composers as Hindemith.'Strauss, Schoenberg, Respighi, and Schnittke. Here, the composer's intent was to create a nonprogrammatic piece of chamber music by sjmply rendering the melodies of the eighteenth century with a twentieth-century bent.
Note by Edgar Colon-Hernandez
Sonata for Violin and Piano No. 10 in G major, Op. 47 ("Archduke")
Ludwig van Beethoven
Born December 16, ijjo in Bonn
Died March 26, 182J in Vienna
During his illustrious career, Beethoven wrote a total of ten sonatas for violin and piano. As a form of composition they are doubly important in that both instruments were closely associated with the composer's artistic development. The first three viobn and piano sonatas, contained in Op. 12 and dedicated to Antonio Salieri, were written between 1797 and 1798; the last one was written in 1812 and dedicated to the composer's long-time patron, friend and pupil, Archduke Rudolph of Austria. When compared to Mozart's sonatas, the
best that had been written until that time, Beethoven's works in this medium can be described as more monumental, difficult and grand in outline. In his book, Violin and Keyboard: The Duo Repertoire, violinist Abram Loft remarks that "the intensity of musical idea, and the handling of it, the incredibly fertile inventiveness, the vividness of contrast
-among successive phrases, movements and entire compositions -the rigorous and yet flexible inner'logic of the music is over?whelming. This must be the ultimate in sonata writing!"
Of the ten sonatas for violin and piano, the one in G Major is the last and generally conceded to be the greatest. The general mood and content of the work as a whole can be likened to the composer's own "Pastorale" Symphony. Beethoven began work on this sonata immediately after completing the Eighth Symphony. It was written for the French virtuoso violinist Pierre Rode, who gave the work its premiere on December 29, 1812, at the Vienna residence of Prince Lobkowitz; the pianist for the occasion was Archduke Rudolph himself, to whom the work is dedicated.
The mood of the first movement, with its pastoral flavor, has been attributed to Beethoven's love of the Austrian country?side. A rhythmic contrasting second subject intrudes upon the peaceful beginning, but it is followed by a gentle phrase which again restores the pastoral mood. This phrase provides the greater part of die development section and, in the recapitulation, heralds an unexpected modulation.
The "Adagio espressivo" is regarded as one of Beethoven's greatest slow movements. It is an aria'in form, comprised of four sections
-each filled with melodic phrases of the tenderest kind. The movement lacks a definite conclusion as the lyrical reverie leads directly into the Scherzo.
Marked "Allegro," the Scherzo is full of healthy buoyancy and rhythmic vitality. The
sforzando gestures of the main theme impart the Scherzo with the character of a rustic country dance. For contrast, the Trio section consists of a gender Ldndler, an Austrian dance in slow waltz tempo
The Finale takes the form of a modified rondo. It begins with a paraphrase of a popular Viennese song which manages to maintain the pastoral mood exhibited in previous movements. The song becomes the theme for the six variations that then ensue. Notable among these is the central Adagio variation in which the two instruments engage in a contemplative cantabile dialogue. The last variation, with its unbridled elan, and the extended coda that follows provide a fitting climax to the mature gaiety of this earthy set of variations and to the work as a whole.
Note by Edgar Colon-Hernandez

Aftersong
Sebastian Currier Born March 16, 1959 in Huntinglon, Pennsylvania
Sebastian Currier is the 1993 recipient of the Prix de Rome, the prestigious award for composition. His works have been performed throughout the United States by leading musicians in Alice Tully Hall at Lincoln Center, Terrace Theater at Kennedy Center, Weill Recital Hall at Carnegie Hall, New York's Merkin Hall and the Juilliard Theater. He has received extensive national recogni?tion for his work in composition including " awards such as the Guggenheim Fellowship,-a Friedheim Award, a grant from the National Endowment for the Arts, a Barlow Endowment Commission, the Tanglewood Fellowship in Composition, the Presser Award, and several awards from the American Academy and Institute of Arts and Letters.
? His works have also been performed abroad
in Paris, Rome, Salzburg, Cologne, Tokyo, Moscow, Beijing, Montreal and Toronto. He has held residences at the MacDowell and Yaddo colonies, and is currently Composer-in-Residence at the Bowdoin Summer Music Festival and the Fontana Concert Society. Mr. Currier holds a Doctorate from the Juilliard School, where he is currently a faculty member in the Evening Division.
His work for violin and piano, Afiersong, was composed in 1993; it was written for and dedicated to Anne-Sophie Mutter. The work is in two movements. The first is almost relentlessly active and intense. In the end, though, it does relent and in a gesture akin to exhaustion comes to a halt. The second movement, which follows without pause, is in contrast distant and calm. After an excited dance, a quiet song. Here, the violin sings one long line, without a single breath from beginning to end.
If opposites attract, then diese two movements should be inseparable, for in almost every way do they-oppose one another. Whereas the first movement is forceful in character, the second is gentle. While in the first movement the pulse is steady, in die second it is flexible. The first movement is extroverted, the second introverted. The first angular, the second fluid. Active, static. Staccato, legato. The first movement is predominantly polyphonic, the second homophonic. Worldly, otherworldly. Tense, relaxed. Rough, smooth. Instrumental, vocal.
Since the medium of music is time, and since time moves only forward, the relation?ship between the two movements is not symmetrical. Although their opposing qualities are balanced, they are not equal. The second movement is heard, felt, and understood in terms of the movement which precedes. Because of die forcefulness of the first movement, the sense of gentleness in the second movement is increased. After the excitement of the first, me calm of the second.
It is in this sense that the second movement -after which the piece is named -is an aftersong. Its song-like lyricism is felt all the more through its contrast to the first move?ment, which is percussive and marked and almost never lyrical. Does the process, though, work in reverse That is, does the second movement in any way act on the first in a similar manner Yes it does, but its force is much weaker for its action exists only in the echoes of memory.
Note by Sebastian Currier
Sonata No. 2 for Violin and Piano in d minor, Op. 121
Robert Schumann v
Born June 8, 1810 in Zwickau, Germany
Died July 29, 1856 in Endenich, Germany
On September 1, 1850 Robert Schumann and his wife Clara left Dresden for Dusseldorf where he succeeded his friend Ferdinand Hiller as Municipal Kapellmeister, conducting both the orchestra and the chorus. He found the orchestra to be of such a high caliber that for the first time in his life he was able to hear everything that he composed for orchestra performed immediately. Consequendy, he wrote some of his best compositions between the years 1850 and 1854; ironically, it was during a time when he was already suffering from the mental instability that took him farther away from life day by day. His two violin sonatas -Op. 105 in a-minor and Op. 121 in d-minor , -were both written in 1851 in Dusseldorf. The Sonata No. 2 in d-minor, Op. 121 is the more considerable of the two works. Published in December of 1853, the first public performance was given one year later
in Leipzig, on December 21. For the occasion, the violin part was performed by the Schumanns' close friend, the virtuoso Joseph Joachim, with Clara Schumann at the piano. Although Schumann's mental condition eventually impeded his ability to deal with his conducting responsibilities, his creative powers were not diminished, as the sonata heard in this performance confirms. Rather than setting up the violinist as a virtuoso soloist, the sonata treats both instruments as equal partners. This achieves a unity of ' purpose throughout the piece. As a duet, the work requires players of most peculiar sensibility, able to impart the necessary nuances to the continuously unostentatious, yet deeply expressive melodic lines, with infinite gradations of dynamics and tempo.
Anne-Sophie Mutter's . remarkable career began when, at the age of 13, she played as soloist with Herbert von Karajan and the Vienna Philharmonic at the 1977 Salzburg Easter Festival. Her highly acclaimed debut with Karajan and the Berlin Philharmonic followed a year later.
Equally in demand' ever since as a soloist and chamber musician, Ms. Mutter appears regularly throughout Europe, North America and the Far East, performing with the world's ' finest orchestras and with the world's leading conductors.
Highlights in 1995 are these recital tours as well as orchestral performances in the United States and Japan during February and March, and a recital tour of twenty-five , European cities in the summer and fall. Her close collaboration with the great American orchestras continues in the fall with concerts in Los Angeles, Chicago and Cleveland. In addition, to mark Pierre Boulez's seventieth birthday, she will play the Berg Violin Concerto under his direction in London, Paris and New York.
Ms. Mutter has been a regular visitor to North America since her debut in 1980 with the New York Philharmonic and Zubin Mehta. She has played as a guest soloist with every
major orchestra in the country and has made four recital tours. In summer 1992 she made her debut at three leading festivals: Ravinia, Tanglewood and. New York's Mostly Mozart Festival. -
Ms. Mutter is strongly committed to the contemporary violin repertory: Witold Lutoslawski, Norbert Moret, Wolfgang Rihm ? and the American composer Sebastian Currier have composed works for her. Rihm's Sliickphantasien will receive its premiere in summer 1995; another major premiere is Krzysztof Penderecki's Violin Concerto No. 2, also dedicated to her,
International awards, Grammy nomi?nations, prizes, gold and platinum discs chronicle her career. She has received the Deutscher Schallplattenpreis, the Record . Academy Prize in Tokyo, Grand Prix du Disque, the Internationaler Schallplattenpreis
and the Edison Award. Her recording of the Berg Violin Concerto and Rihm's Time Chant on the Deutsche Grammophon label won the 1994 Grammy for "best classical performance by an instrumental soloist with orchestra" and the 1994 Edison Award in Holland. Her recording of Vivaldi's Four Seasons with Karajan and die Vienna Philharmonic on the EMIAngel label has sold over j ,000,000 copies worldwide.
In 1987 Ms. Mutter established the Rudolf-Eberle-Stiftung, a foundation that promotes gifted young string players throughout Europe. She also has a strong commitment to environmental, medical and social concerns, and supports works in these areas with regular benefit concerts.
In her capacity as Honorary Fellow and first holder of the International Chair of Violin Studies, she taught at the Royal Academy of Music in London for several years..
Ms. Mutter holds the Order of Merit (First Class) of the Federal Republic of Germany.
Tonight's concert marks Anne-Sophie Mutter's second performance under UMS auspices.
Lambert Orkis has appeared in recital with violinist Anne-Sophie M,utter on four conti?nents since 1988. He has also performed and recorded with sopranos Lucy Shelton and the late Arleen Auger, and appears worldwide with Mstislav Rostropovich.
His performances on historical keyboard instruments have received enthusiastic inter?national recognition, and his extensive discography includes a landmark recording of piano works by Louis Moreatf Gottschalk on an 1865 Chickering piano for the Smithsonian Label. Virgin Classics has released Mr. Orkis' performance of Schubert's Impromptus and, most recently, Schubert's Moments musicaux and Three Piano Pieces. A Sony Classical CD of Chopin and Franchomme featuring Mr. Ofkis playing the "Queen Victoria" Erard, and Dutch cellist Anner Bylsma playing the "Servais" Stradivarius, has just been released.
As a member of the Castle Trio, the Smithsonian Institution's resident fortepiano trio, he has performed and recorded the cycle of Beethoven trios. The Castle Trio's most recent release on Virgin Classics is Schubert's Trio in E-Flat Major, Op. 100.
The National Symphony Orchestra of Washington, D.C. commissioned a piano concerto from Richard Wernick for Mr. Orkis which he premiered in Washington's Kennedy Center and New York's Carnegie Hall, Mstislav Rostropovich conducting, during the 1990-91 season. This work, since honored with a 1992 Kennedy Center Friedheim Award, received its European premiere in The Hague with Het Residentie Orkest and Mr. Orkis at the piano, the composer conducting, inDecember 1993. He, has premiered solo piano works by George Crumb, Richard Wernick, Maurice Wright, and James Primosch as well as numerous chamber music works with the 20th Century Consort.
Mr. Orkis has served as judge for both the Carnegie Hall International American Music Competition for Pianists and the Kennedy Center Friedheim Awards Competition. He has also participated in several recordings of new chamber music with thejoth Century Consort and with jhe Penn Contemporary Players of the University of Pennsylvania.
Mr. Orkis has made numerous concerto appearances with conductors such as Mstislav Rostropovich, Gunther Herbig, Rafael Fruhbeck de Burgos, Vittorio Negri, . Leon Fleisher, Richard Wernick, Christopher Kendall, and Kenneth Slowik, and has per?formed chamber music with the Library of Congress Summer Chamber Festival, the American Chamber Players, the Emerson String Quartet, and members of the National Symphony Orchestra of Washington, D.C.
This evening's concert marks the second UMS appearance of Lambert Orkis.
University Musical Society presents
Freiburg Baroque Orchestra
Gottfried von der Goltz, Director Drew Minter, Countertenor
Program'
Sunday Evening, February 12, at j:oo
Rackham Auditorium Ann Arbor, Michigan
I
Henry Purcell
Suite from Dido and Aeneas with Songs for Countertenor
Overture
Air Song
When her languishing eyes said "Love!" The Triumphing Dance Ritornelle Song
Lovely Albina, come ashore Echo Dance of the Furies The Sailors' Dance The Witches' Dance Song
She loves and she confesses too Chacony. Fantasy in 4 Parts.
Drew Minter, soloist
Intermission
II
Lorenzo Gaetano Zavateri
Concerto Decimo "a Pastorale" in D Major, Op. i, No. 10
Grave
Allegro
Largo
Andante, (Pastorale)
y
Domenico Scarlatti
Salve Regina for Countertenor, Strings, and Continuo
Drew Minter, soloist
Arcarigelo Corelli
Concerto Grosso in D Major, Opus 6, No. 1
Largo AllegroAdagioAllegrt) Adagio Allegro
AdagioLargoAllegro Largo Allegro Allegro
Gottfried von der Goltz, violin Anne Katharina Schreiber, violin Guido Larisch, cello
Thirty-Ninth Concert of the 116th Season
32nd Chdmber Arts Series
Deutsche Harmonia Mundi, Harmonia Mundi France, EMI Tour Management: Shaw Attractions, Inc., New York, New York
Large, print programs are available upon request from an usher.
Suite from Dido and Aeneas, with Songs for Countertenor
Henry Purcell
Born 1669 in London
Died November 21, 1695 in Westminster
Henry Purcell was the greatest composer in the history of music in England. He was organist at the Chapel Royal and Westminster Abbey, where he is buried, and he wrote for the church, for the theater, and for every kind of private performance. Like Mozart and Mendelssohn, he had a long and productive career that was condensed into a brief lifetime of only thirty-six years. .
Purcell's opera, Dido and Aeneas was written for performance by "young gendewomen" at Josias Priest's School for Young ' Ladies, Chelsea, in 1689. The text by Naham Tate (1652-1715) tells the story from Virgil's Aeneid that was familiar to all educated men and women of the time. The opera uses a wide range of emotional expression, from Dido's soliloquies to Aeneas' passionate regret,.to the breezy heartiness of the sailor and the somber utterances of the sorceress. This Suite is a selection from the instrumental music in the opera, which was written for string orchestra.
Interspersed with these items from Dido and Aeneas we hear three solo songs for countertenor. "When her languishing eyes said-'Love'" was composed in 1681, when Purcell was just 22 years old. "Lovely Albina, come ashore" was composed in 1695, just before Purcell became ill, and soon before his death. The'poem is said to refer allegorically to the recent reconciliation between Princess Anne and the King. "She loves and she ?confesses too", written in 1683, was probably adapted from a work by Abraham Cowley, entitled 'A song upon a groun': The Mistresse. In this and other songs, Purcell made frequent use of "ground" or background bass line, a very popular technique of the time.
When her languishing eyes said "Love!"
When her languishing eyes said "Love!" Too soon.the soft charm I obey'd, For my passion she would not approve, And I find I was only betray'd;
Which makes me contend with my chain, And the powers above I implore That if she regard not my pain, I may die, and never see her more. ' '
. i
Lovely Albina, come ashore
Lovely Albina, come ashore,
To enter her just claim,
Ten times more charming than before,
To her immortal fame.
The Belgic lion, as he's brave, This beauty will relieve; For nothing but a mean blind slave Can live and let her grieve.
She loves and she confesses too
She loves and she confesses too, There's then at last no more to do; The happy work's entirely done, Enter the town which thou hast won; The fruits of conquest now begin, lo, triumph, enter in.
What's this, ye Gods!
What can it be
Remains there still an enemy
Bold honour stands up in the gate,
And would yet capitulate.
Have I overcome all real foes, And shall this phantom me oppose Noisy nothing, stalking shade, By what witchcraft wert thou made,
Thou empty cause of solid harms But I shall find out counter charms, Thy airy devilship to remove From this circle her of love.
Sure I shall rid myself of thee By the night's obscurity, And obscure secrecy;
Unlike to every other spright
Thou attempt'st not mean to affright,
Nor appear'st but in the light.
Concerto Decimo
"a Pastorale" in D Major,
Op. i, No. 10
Lorenzo Gaetano Zavateri
Born August 9, 1690 in Bologna
Died December 1J64 in Bologna
Almost nothing is known in this country about Zavateri except material from a cata?logue and manuscript found in Bologna in the early 1870's. An Italian violinist, violist, teacher, and composer, Zavateri was known primarily as a violinist. He performed as a violin virtuoso in Bologna as well as other northern Italian towns including Livorno, Venice, arid Ferrara. His name appears as a violinist for patronal feasts beginning in 1713 at the church of San Petronio. He also appears several times beginning in 1717 at the age of 27 as a member and an officer of ' the Accademia Filarmonica in Bologna, which, along with the opera house, Teatro del Pubblico, was one of the best known musical institutions of the time. Founded in 1666, it brought together (he best composers, singers and instrumentalists in the city. Zavateri also played the viola with the cappela musicale from 1725 until his death. His pupils included well-known violinists of the time as well as members of the nobility.
Zavateri appears to have published only
two sets of instrumental pieces. His Op. 1, published in 1735, is comprised of twelve Concertos, Concerti da chiesa e da camera, ' and is no doubt, his most important work. Zavateri's concertos belong to the Italian concerto grosso tradition, with significant added experimentation with new ideas. Ai this per?formance we hear his tenth concerto from Op. 1, a sinfonia-like concerto "a Pastorale." The work consists of four movements, the last, a slow pastorale in an unusual 128 lime.
Salve Regina
Domenico Scarlatti
Born October 26, I685 in Naples ,
Died July 23, 1J5J in Madrid
Domenico Scarlatti is a unique figure in the history of music. Having grown up in the shadow of his father Alessahdro (1660-1725), who had put the stamp of his person?ality on his period, Domenico showed himself a genius in his later years and became one of Italy's greatest musicians. The younger Scarlatti achieved not only fame in his own right but disproved in a spectacular way, the common notion that great men never have great sons. Today most of Alessandro's countless works have little importance in our musical life, where Domenico's keyboard sonatas are admired as fine gems by the performing artist and music lover alike. Although he was like his father, an all-around composer who wrote for the stage and composed oratorios, chamber cantatas and instrumental works, he channeled his creative energies later into keyboard sonatas for his royal pupil and employer. It is in the field of the harpsichord sonata where his true historic and artistic greatness and . importance lie. However, this should not be construed to mean that other products of his rich output do not merit interest. The antiphon Salve Regina, eloquently proves the contrary. -
Salve Regina is a hymn whose poetic text and Gregorian tune is ascribed to the German Benedictine monk Kermannus Contractus (1013-1054), a very learned theorist and composer. Salve Regina, one of the four Marian antiphones, is sung immediately after Vespers (sunset) or before retiring. The melody achieved fame particularly after the worship of the Virgin became widespread and popularized by the religious societies of the fourteenth through the sixteenth cen?turies. Polyphonic settings of these lines are numerous (Byrd, Lasso, Palestrina, Victoria). Among Scarlatti's contemporaries who set these lines to music were J.C. Bach, Pergolesi, Vivaldi, and Handel. Later composers such as Haydn, Schubert, Liszt, Faure and Poulenc may be mentioned.
The chronology of Scarlatti's Salve Regina can be determined to a considerably precise degree. Tabe sure there is no autograph extant but three eighteenth-century copies repose in Berlin, Bologna and Naples. The Bologna copy shows the following entry on
the first page in the upper right corner below Scarlatti's name: "Ultima delle sue opere attain Madrid poco prima di morire. " [The last of his works created in Madrid shortly before his death].
Scarlatti's swan song and musical testament, running 434 measures, is freely constructed and scored for strings and organ. It consists often sections which differ in length, meter (44 and 34) and tempo. The musical language reverts to that of his earlier sacred works in a strict baroque manner widi the stress on canonic imitation and polyphony. The treatment of the voice betrays the opera composer of yore and some passages show a recitative quality. The musical center of gravity lies in the extended last three sections and the. expanded, fugally-treated Amen. Scarlatti may have remembered corresponding passages in his father's Messa di Santa Cecilia, and, thus, the Amen which marks the end of Domenico Scarlatti's life work also symbolizes an artistic home-coming.
Salve Regina
, Salve Regina, Mater misericordiae, vita, dulcedo et spes.nostra, salve. Ad te clartiamus, exsules filii Hevae. Ad te suspiramus, gementes et flentes in hac lacrimarum valle.
Eia ergo ad te canta nostra illas tuas misericordes oculos; ad nos converte et Jesum benedictum fructum ventris tui benedictum, nobis post hoc exilium ostende. O clems, o pia, I dulcis Virgo Maria.
Amen "
Hail, Queen Mother of Mercy, life, sweetness, our hope, hail. To thee we cry, exiled children of Eve. To thee we sigh.'moaning and weeping in this vale of tears.
Therefore we raise our song to thee, may we appear in your pitying eyes; turn towards us, and show us Jesus, the blessed fruit of your womb, after this, our exile. O merciful, o.pious, o sweet Virgin Mary.
Amen
Concerto Grosso, in D Major, Op. 6, No.i
Arcangelo Corelll
Born February ij, 1653, inFusignano
Died January 8, 1713 in Rome
In Corelli's TiMEthe Baroque concerto ,was approaching the high point in its histo?ry, which it reached in the works of Vivaldi, Bach and Handel, but his concertos remained the favorites in England well into the nineteenth century despite the enormous popularity of Handel there. The twelve concertos of Corelli's Op. 6 were probably composed in the 1680's or 1690's. They were published for the first time in 1714, a year after he had died.
They are called concerti grossi because they generally required that a large group of instruments (the concerto grosso proper) be set in contrast and competition with a small
one (called the concertino). The larger body is the full string orchestra; the smaller, two violins and a cello. In the practice of the time, a keyboard instrument filled out the harmony and helped maintain the ensemble of each group.
The overall pattern of conventional concerto-writing at the time generally provided for a few extended movements alternating between slow and fast, but Corelli sometimes liked to introduce these changes of tempo within a single movement. In the first move?ment of this Concerto, for example, there are several short sections that swing back and forth between fast and slow and between full strings and solo trio. The second movement is a Largo full of lyrical sentiment and the third a fugal Allegro. The last movement is the Baroque's favorite finale, dn Allegro in die style of a jig.
Note by Leonard Burkat
Following successful tours and concerts both at home and abroad, the Freiburg Baroque Orchestra is internationally recognized as one of the . leading chamber orchestras of today. Founded in 1985 in Freiburg, Germany the ensemble's repertoire includes seventeenth and eighteenth century works by Bekker, Pohle, and Rosenmuller; French opera and dance by Lully, Campra, and Rameau; music from the Austrian imperial court and Italian music for strings from Monteverdi to Corelli, Vivaldi, and Pergolesi.
All orchestra members play on authentic instruments and continually examine each work's meaning and content in relation to its historical context. This research has naturally developed beyond the baroque period, and compositions from the classical and early romantic periods are also an important element of their work.
The Freiburg Baroque Orchestra gives each orchestra member a shared responsibility in artistic decisions. The orchestra performs without a conductor and the leadership changes between the two concertmasters: Thomas Hengelbrock and Gottfried von der Goltz.
Performing regularly in their native Germany and at many of the major European' festivals, the ensemble has given concert tours in the United States and in southeast Asia. The Freiburg Baroque Orchestra has recorded three CD's with the Deutche Harmonia MundiBMG label performing works by G.P.E. Bach, Purcell, and Locatelli. In 1993, a recording of Handel's opera, Ottone, conducted by Nicholas McGegan was released by Harmonia Mundi France. Future releases include works by Vivaldi, J.S. Bach, J.C. Bach, Fasch, and Zelenka.
This evening's concert marks the UMS debut of the Freiburg Baroque Orchestra
Drew Minter began his career as a boy soprano at age nine at the National Cathedral in Washington, D.C., later earning music degrees at Indiana University and the Vienna Musikhochschule. He was awarded both Fulbright and Martha Baird Rockefeller study grants and won top prizes in international vocal competitions in Hertogenbosch, Bruges, and Boston. Since then he has performed with many of the world's pre?mier early music ensembles and orchestras, including The Academy of Ancient Music, American Bach Soloists, Paul Hillier's Theatre of Voices, Les Arts Florissants, the Handel & Haydn Society, and the Freiburg Baroque Orchestra (for whose February 1995 North American tour he is guest soloist). In addition, he is a founding member of The Newberry Consort and the vocal chamber
group Ensemble Five-One.
Especially renowned for his operatic interpretations, both as principal soloist and stage director, Mr. Minter has performed with the opera companies of Brussels, Nice, Boston, Washington, Santa Fe, and Wolfe Trap, among many others. A Handel specialist (well-remembered for his portrayal of Tolomeo in Peter Sellars' film Juliux Caesar), he has performed leading roles at the Handel festivals of Halle, Karlsruhe, Maryland, and Goettingen, where he has also directed pro?ductions of the composer's Radamisto and Giustino. This season, in addition to recitals in Brussels, Prague, Switzerland, and Germany, he sings the title role of Handel's Poro for the Opera de Toulouse and directs two pro?ductions: Purcell's Dido and Aeneas at the Folger Shakespeare Theatre and Ariodante at the Goettingen Handel Festival.
Mr. Minter is well represented on the Harmonia Mundi, Hungaroton, Koch, ECM DeccaLondon, Music Masters, Newport Classics, and Bard labels.
This evenings concert is Drew Minter's third appearance under UMS auspices.
Freiburg Baroque Orchestra '
First Violins Gottfried von der Goltz Brian Dean Daniela Teichmanis Annelies van der Vegt
Second Violins
Anne Katharina Schreiber Annette Wehnert Friedemann Wezel
Violas
Christian Goosses Annette Schmidt
Violoncellos
Guido Larisch Kristin von der Goltz
Double Bass Love Persson
Harpsichord
Torsten Johann
Theorbo
Lee San tana
Flute
KarlKaiser
Direction
Gottfried von der Goltz
University
Musical
Society
and
NSK Corporation
pre sents
Kodo
One Earth Tour '95
Program
Monday Evening, February ij, 7995 at 8:00
Tuesday Evening, February 14, 1995 at 8:00
Power Center
Ann Arbor, Michigan
This performance zuill run approximately 90 minutes with no intermission.
Leonard Eto ZOKU (1989)
Arr. Kodo MlYAKE
Ryularo Kaneko
Jang-Gwara (1992) Shamisen
Maki Ishii
Monochrome (1976)
Eiichi Saito SANKAN-SHION (1992)
Yasukazu Kano
Ogi-Oiwake (i994)
Arr. Kodo
O-Daiko
Arr. Kodo
Yatai-Bayashi
Fortieth and Forty-First Concert of the n 6th Season
24th Annual Choice Series
Thanks to Larry McPherson ofNSK Corporation for helping to make this performance possible.
Thanks to The KoNami Ensemble, participants in Monday evenings Philips Educational Presentation.
Sony Records, TriStar Music, Sheffield Lab
Management: Dennis Lelzler Organization, Hollywood, California
Large print programs are available upon request.
odo, the Japanese percussion company whose performances on the taiko (traditional Japanese drum) have electrified audiences on five continents, has become one of the world's most celebrated and popular performing companies.
Drawing from its country's rich tradition of music and performance, Kodo has created a vital sound and 'tradition of its own, one which is decidedly contemporary in presen?tation. Kodo has also made a major contri?bution to the worldwide renaissance of interest in percussion, both through its own artistry on the taiko and through numerous collaborations with major jazz and popular musicians, symphony orchestras and dance companies.
In addition to drums of assorted sizes, Kodo employs dance, mime and a variety of other instruments, Including the shamisen, bamboo xylophone, gong, bamboo flute and wooden clacker. But the drums dominate a Kodo performance, and the most majestic is the o-daiko, a huge, a decorated 900-pound instrument carved from the trunk of a single tree and played by two men. Kodo means both "Heartbeat" and "Children of the Drum" and expresses not only the sound of a mother's heartbeat as heard and felt from within the womb, but also the desire to play the drums purely, with the heart of a child. The New York Post wrote: "There is both innocence and tradition embodied in this drumming, as well as virtuosity and a subtlety of detail. Its rhythms really do move the tribal blood-still running through our urban veins."
Kodo is based on Sado Island in die Sea of Japan, an isolated setting of great natural beauty and home to the company since its founding in 1971. When not on tour, which occupies approximately eight months of each year, the members live communally on
Sado. Each day is spent in study, practice and exercise, to develop the physical strength, energy and stamina demanded in performance.
The company spent many of its early years training and rehearsing, appearing in the Far East and making debut tours to .the United States and France. In 1981 they took the name "Kodo" and appeared at the Berlin Festival, where the audience called for encores for one hour, the longest ever at the Berlin Symphony Hall. Their 1984 appearances at the Los Angeles Olympic Arts Festival were the first among 50 participants to sell out. Kodo's 1985 performances at the Edinburgh International Festival were followed by extended.engagements at London's Queen Elizabeth Hall and Milan's Teatro dell'Arte. The company has appeared-in major European dues as well as China, Mexico, South America, Australia, and Africa.
Kodo has collaborated on original compositions with the Boston Symphony Orchestra, Berlin Radio Symphony Orchestra, Tokyo Symphony Orchestra, Deutsche Oper Berlin, Circle Ensemble of _ Holland, and the renowned American jazz drummers Max Roach and Elvin Jones. Kodo's music has also been a part of two recent major motion pictures, 'J.F.K." and "Hard Target," and the soon to be released Universal Pictures film 'The Hunted," in which Kodo composed and performs the entire film score.
In August, 1988 a dreamiwas realized when Kodo Village was officially opened on Sado Island and the first Earth Celebration was held. This week-long series of concerts, lectures, discussions, workshops and art exhibitions brought together percussion companies and musicians from throughout the world and is now an annual event on Sado.
Kodo has been profiled in such publi?cations as The New York Times, The Wall Street
Journal; Los Angeles Times; The Philadelphia Inquirer, GEO, Islands and People magazines, in a one-hour National Public Television documentary broadcast throughout the United States, and on numerous nationwide television news programs.
During its 1995 North American One Earth Tour, the company will perform in twenty-four cities throughout the United States and Canada. In a one-week period in February 1995, Kodo will appear at the Kennedy Center, Washington D.C., Boston Symphony Hall, and will make their Carnegie Hall debut in New York City. Kodo will conclude their tour with an appearance in the Auditorium Theatre in Chicago. In May of 1993 Kodo broke box office records during
their two week engagement at Sadler's Wells Theatre, London. '
In ancient Japan the taiko was the symbol of the rural community; and it is said that the village limits were not solely determined by geography, but by the farthest distance at which the drum could be heard. It is Kodo's desire that its One Earth Tours bring the sounds of the taiko to the ears of people around the world, so that we might all be reminded of our membership in that much larger and more important village of the world.
These performances mark the sixth and seventh UMS appearance of Kodo. .
ZOKU (1989) Leonard Eto _ .
'Zoku' can mean tribe, clan or family. The tribe in this case are the people beating the drums. As you hear the rhythms, your body will start to move on its own. In the same way perhaps, there will be a primal stirring within the subconscious.
MIYAKE
Arr. Kodo
On Miyake Island, one of die seven volcanic islands-of Izu south of Tokyo, there is a festival centered on this very unique style of drumming. The drums are set very low to the ground, requiring a strenuous stance. The flamboyant technique is often compared to the martial arts.
JANG-GWARA (1992) Ryutaro Kaneko
Small metal cymbals are found in a region that runs from the Near East through the" Middle East to Asia, coming to Japan in the early days of Buddhism as religious instru?ments. Today, they are known as jangara, chappa and tebira and are used everywhere for accompaniment at festivals. In this piece, five players use different playing techniques ' to show the range of rhythms and sounds that can be produced by this ancient instrument.
SHAMISEN
The shamisen is a three stringed instrument commonly played to accompany drama and singing. A unique style of shamisen playing is found in the Tsugaru region in northern Aomori Prefecture. It is played on a very sturdy shamisen and is characterized by fast and intricate fingering techniques, sharp, percussive strumming, and long passages of improvisation.
MONOCHROME (1976) Maki Ishii
Weaving constant rhythmic patterns together with highly irregular ones, Monochrome develops spirally to an exciting climax. The listener might interpret the sounds as those of the changing of the seasons, or perhaps even the progression of life itself. The ambi?tious pace expands greatly the range and power of expression of the rope'd shime-daiko. A companion piece, Monoprism, written for performance with full orchestra, was premierec1 at Tanglewood by Kodo and the Boston Symphony under Seiji Ozawa.
SANKAN-SHION (1992) Eiichi Saito
"Sankan-shion ", meaning "three cold days, four warm days," refers to a period towards the end of winter when a recurring pattern of three cold days followed by four warm days is said to occur. Through the long severe winter Sado is surrounded by heavy gray seas and threatening skies and spring can seem a long way off. So, at this time, although they can still hear the whistling winter winds, the people of Sado begin to hope that spring really is just around die corner. This piece, expressing that hope, is played,by both men and women on four miya-daiko.
OGI-OIWAKE (1994) Yasukazu Kano
From the middle of the Edo period to the early Meiji period ships called Kitamaesen carried food and textiles throughout the Se; of Japan region. This piece comes from the time when the Sado port of Ogi prospered from the comings and goings of the Kitamaesen. It was the originally performed with shamisen and taiko by popular geisha groups. This arrangement is for a solo shakuhachi.
O-DAIKO
Arr. Kodo
The story is told of a baby who upon hearing the thunderous sound of the O-daiko ? dropped off into a peaceful slumber. The powerful sounds emanating from the O-daiko possess a deep tranquillity. The arrangement is simple. The drummer on one side beats out a basic rhythm while the main player improvises freely. When they become united with each other and the rhythm, both the drummers and "the listeners find themselves wrapped within the embrace of the O-daiko. This miyadaiko carved from a single tree, measures about 5 feet across and weighs about 800 pounds.
YATAI-BAYASHI
Arr. Kodo
Every year on December 3rd in the Saitama Prefecture in an area known as Chichibu, an all night festival is held at which highly decorated two-storied yatai (carts) are pulled from village to village. The people hauling the yatai are urged on by the powerful beating of the taiko, concealed in the cramped first story of the carts. This gave rise to a technique of drumming while seated. Turning the two-ton fixed axle carts at inter?sections requires complex team work, and is accompanied by precise and intricate tama-ire solos on the shime daiko.
Kodo
One Earth Tour'95
Staff
Motofumi Yamaguchi, Artistic Director Katsuhiro Kumada, Lighting Designer Richard A. Maldonado, Technical Director Masafumi Kazama, Stage Manager Takashi Akamine, Company Manager Nobuko Yamada, Assistant Manager Dan Woods, Concession Sales Manager
Company Members
Takeshi Arai Michiko Chida Yoshikazu Fujimoto Sachiko Inoue Ryutaro Kaneko Yasukazu Kano Kazuhiro Masubuchi Tomohiro Mitome Hisayuki Mori Tetsuro Naito Akira Nanfo Eiichi Saito Hideyuki Saito Takuro Susaki Motofumi Yamaguchi
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 refur?bished offices on three floors of the tower, complete with updated heating, air condi?tioning, storage, lighting, and wiring. Over 230 individuals and businesses donated labor, materials, and funds to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top re?served 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.
University Musical Society Highlights from the 1994 Fall Season
Photos by David Smith
the Philadelphia Orchestra
October 18, 1994
Maestro Wolfgang Sawallisch leads the Philadelphia Orchestra in their triumphant return to Hill Auditorium -their 267th concert in Ann Arbor under the auspices of the Musical Society.
In the American Grain: The Martha Graham Centenary Festival
October 27-30, 1994
Ron Protas, Artistic Director of the Martha Graham Dance Company, responds to a question at a seminar session of the Graham Festival as Graham Company Executive Director Barbara Groves, U-M Dance Department Chair and former Principal Graham Dancer Peter Sparling, and UMS Executive Director Ken Fischer look on.
In the American Grain: The Martha Graham Centenary Festival
October 27-30, 1994
Members of the Martha Graham Dance Company direct a participatory workshop, "A Chance to Dance with Graham," in the Power Center Re?hearsal Room, offering participants an opportu?nity to experience some of the same movements featured in Graham Company performances.
Dancers from the Ann Arbor Community perform Martha Graham's reconstructed Panorama.
Peter Sparling dancing the role of the Revivalist (Joyce Herring, Ethan Brown background) in the performance of Martha Graham and Aaron Copland's masterpiece Appalachian Spring (Ballet for Martha) on the 50th anniversary of its premiere at the Library of Congress in Washington, DC.
University Musical Society Highlights from the 1994 Fall Season
A Celebration of the Spiritual
November 6, 1994
Chorus master and American music legend Dr. Jester Hairston directs the combined UMS Choral Union and Our Own Thing Chorale in A Celebration of the Spiritual in Hill Auditorium.
Frederica von Stade
November 13, 1994
World-renowned mezzo-soprano Frederica von Stade makes her Ann Arbor debut before an enthusiastic Hill Auditorium audience with pianist Martin Katz.
Youth Program
THOUSANDS OF school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 1989 1990 season 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 Department, 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, two fourth-grade opera performances, in-school workshops with the Uptown String Quartet, and Dr. Jester Hairston, 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 presented a special youth program to middle and high school students, "A Chance to Dance with Graham" workshop, and a family performance.
On Friday, November 18,1994, area high school students experienced a full-length performance of the Shaw Festival's production of 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 The 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 19941995 UMS Education Program is underwritten in part by the McKinley Foundation, ERIM, the Benard L. Maas Foundation, the Anderson Associates, Ford Motor Company, David and Tina Loesel, Thomas H. and Mary Steffek Blaske, the Michigan Council for Arts and Cultural Affairs, and Norma and Richard Sams..
Group Tickets
IT'S EASY TO impress your group when you take them to a UMS event! No matter what your group -friends, company, family, club, religious congregation -the University Musical Society has an event to make you smile. And when you purchase your rickets through the UMS Group Sales Office, you'll be smiling all the way to the bank, with terrific discounts available for nearly every performance:
? Adult Groups of 20 to 46 receive a 15 discount per ticket and 1 complimentary ticket
? Adult Groups of 47 or more receive a 20 discount per ticket and 2 complimentary rickets
? For select performances, adult groups of 20 or more and student or senior groups of 10 or more receive a 25 discount per ticket and 1 complimentary ticket
? Senior groups (65+) of 10 or more receive a 20 discount per ticket and 2 complimentary tickets.
? College Student Groups of 10 or more receive a 20 discount per ticket and 2 complimentary tickets.
Your Group Sales representative offers many benefits to your group including block seating, free promotional materials, assistance with group dining arrangements, free bus parking, Philips Educational Presentations, and more. During its five-year history, the UMS Group Sales Program has brought more than 500 groups numbering over 10,000 people to UMS performances at Hill Auditorium, Rackham Auditorium, and the Power Center. Estimated Savings: $50,000. Now that's a discount! For information, call your UMS Group Sales Coordinator at (313) 763-3100.
Concert Rides
WE ARE AWARE that some of our long-time concert-goers have difficulty with night driving. Our Advisory Committee would like to facilitate helping out those who could use a ride to concerts. If you would like a ride to a concert or if you would be willing to drive someone in your neighborhood, would you please call Judy Fry at 747-1175. With the assistance of Advisory Committee members, we will endeavor to match those needing a ride with available drivers for future concerts. Please let us know if you would like to be a part of this new program!
College Work-Study
STUDENTS WORKING for the University Musical Society as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538.
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 educational materials for teachers, greeting and escorting students to seats at performances, and serving as good-will represen?tatives 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 management, 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!
UMS Ushers
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 individuals 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!
KOCHEL, HOBOKEN, & CO.
IUST WHAT ARE those mysterious designations attached to some compo sitions They explain the cataloguing ji the works of each composer in chronological order. Here is a partial list of the most important cataloguers:
Alfred Wotquenne. Belgian musicologist and compiler of the Carl Philipp Emanuel Bach catalog, e.g. W. (or Wq.) 98.
Wolfgang Schmieder. German musicologist and cataloguer of J.S. Bach's works. Schmieder's numbers conform to BVVV (Bach Werke Verzeichnis) listings, e.g., S. 1064 = BWV 1064.
Anthony van Hoboken. Dutch music bibliogra?pher and cataloguer of the works of Franz Josef Haydn, usually listed by volume, followed by a number, e.g., H. (or Hob.) XVI, 17.
Ludwig von Kochel. Austrian musicologist and cataloguer of the works of Mozart, e.g., K. 612.
Ralph Kirkpatrick. American harpsichordist and musicologist, cataloguer of the keyboard music of Domenico Scarlatti, e.g., K. 67. (Alessandro Longo's earlier catalog has been superseded by that of Ralph Kirkpatrick.)
Otto Erich Deutsch. Viennese musicologist and specialist in Schubertian research, responsible for the catalog of Schuberf s music, e.g., D. 378.
Minos Dounias. Greek musicologist and cataloguer of the works of Giuseppe Tartini, e.g., D. 16.
Peter Ryom. The music of Antonio Vivaldi is still difficult to sort out, and there have been several catalogues of his works. The most recent is by Peter Ryom (Leipzig 1974), numbered with the prefix RV (Ryom-Verzeichnis). Another cataloguer of Vivaldi's music was noted French musicologist Marc Pincherle, e.g., P. 685.
Musical Signposts
MUSICAL TERMS that appear on concert program pages indicate various movements of a work, but they actually do much more than that. Many terms denote tempo or speed, and, when combined with descriptive words, they give special insights into the character of the music. So that you may take full advantage of these musical signposts, we offer the following brief glossary of terms that appear most often.
accelerando. Faster.
adagio. Slow, at ease.
allegro. Quick, lively.
allegretto. Graceful.
andante. An even, walking pace.
appassionato. Impassioned.
assai. Very.
ausdruck, mit. With expression.
bedachtig. Deliberate, slow.
beiveglich. Nimbly.
bewegt. Moving, agitated.
cadenza. An elaborate passage performed by a soloist near the end of a movement (espe?cially in a concerto or other work with accompanying ensemble).
cantabile. Singing.
coda. A passage ending a movement.
con brio. With spirit.
confuoco. With fire.
con moto. With motion.
divertimento. A light, instrumental piece.
doch. Yet, still, nevertheless.
dolce. Sweet, usually soft.
dolente. Sad.
einfach. Simple.
cmpfindung. Feeling, sentiment.
entschieden. Decided, resolute.
feierlich. Festive, solemn.
fliessend. Flowing.
forte. Loud, strong.
gemachlich. Comfortable, slow.
gemessen. Moderate, sedate.
giocoso. Humorous
grazioso. Gracefully.
innig. Heartfelt, sincere.
kraftig. Forceful, energetic.
landler. Alpine dance in the character of a slow waltz.
langsam. Slow.
largo. Very slow, broad.
lebhaft. Lively.
lento. Slow.
lustig. Merry.
ma. But.
maestoso. Majestically.
marcato. Stressed, emphasized.
ma'ssig. Moderate.
mehr. More.
meno. Less.
minuet. Moderate, stately dance.
moderato. Moderate.
molto. Very, much.
mosso. Moved, agitated.
moto. Motion.
nicht. Not.
non troppo. Not too much.
ohne. Without.
ostinato. A short, musical pattern repeated
throughout a composition or section of one. piu. Some, a little. pizzicato. On stringed instruments, plucked notes
rather than bowed. poco. Little. presto. Very fast. quasi. Nearly. rondo. A form in which the leading theme is
repeated in alternation with other themes. rubato. An expressive nuance (accelerating or
slowing down), subject to the performer's
discretion.
ruhig. Calm, peaceful. scherzo. Vivacious, often humorous movement
with marked rhythms and sharp contrasts. schleppen. To drag. schnell. Fast. sehr. Very.
semplice. Simple, without ornament. sonata. An instrumental composition usually in
three or four extended movements,
contrasted in theme, tempo, and moods. sonata-form. The usual form of the first movement
of a sonata or symphony, with sections of
exposition, development, and recapitulation
of themes.
sostenuto. Sustained, prolonged. spiccato. A short stroke on bowed instruments,
played at rapid tempos so that the bow
bounces slightly off the string after each
note.
stiirmisch. Stormy, passionate. symphonic poem. Also called a tone poem;
orchestral music based on an extra musical
idea, either poetic or realistic. troppo. Too much. vivace. Lively. ziemlich. Rather. zingarese, alia. In the gypsy style.
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"Desert Island Discs"
CO-PRODUCED by the University Musical Society and Michigan Radio. Desert Island Discs is heard every Saturday morning from 8:00 a.m. to 10:00 a.m. Each program features a distinguished castaway who is asked, "If you were stranded on a desert island, which recordings would you like to have with you and (perhaps most revealingly) why" Tune in Saturday mornings.WUOM-91.7 FM, Ann Arbor; WVGR-104.1 FM, Grand Rapids; WFUM-91.1, Flint.
Acknowledgements
IN AN EFFORT to help reduce distracting noises and enhance the concertgoing experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1995 Lincoln Town Car to provide transportation for visiting artists.
UMSCard
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: Amadeus Cafe SKR Classical
Cafe Marie Tower Records Books
Gandy Dancer Video
Kerrytown Bistro The Earle
Maude's
Gift Certificates
WHAT COULD be easier and more welcome than a University Musical Society gift certificate The perfect gift for every occasion worth celebrating. Give the experience of a lifetime -a live performance -wrapped and delivered with your personal message.
Available in any amount, just visit or call the UMS box office in Burton Tower, 313.764.2538.
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 services. 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 information about how your business can become a UMS advertiser, call (313) 764-6199.
Advertiser's Index
After words Bookstore Ann Arbor Art Association Ann Arbor Symphony Orchestra Arbor Hospice Argiero's Italian Restaurant Austin Diamomd Beacon Investment BenefitSource Bodman, Longley & Dahling
Border's Books and Music
Briarwood Mall Butzel Long Cafe Marie Center for Cosmetic Surgery
Charles Reinhart Company
Chelsea Community Hospital
Chris Triola Gallery Comerica Detroit Edison Dickinson, Wright, Moon, Van Dusen, & Freeman Dobbs Opticians Dobson-McOmber Agency
Dough Boys Bakery Edward Surovell & Co.Realtors Environmental Research Institute of Michigan First Martin Corpora?tion
First of America Bank Ford Motor Company Fraleigh's Landscape Nursery General Motors Glacier Hills Great Lakes Bancorp
Hagopian World of Rugs
Harmony House
Heikkinen Piano Shop
Interior Development
Jacobson's
JC Penney Co.
John Leidy Shops
Katherine's Catering &
Special Events
Kerrytown Marketplace
Kerrytown Shops
King's Keyboard House
Lewis Jewelers
M-Care
Matthaei Botanical
Gardens
Matthew C. Hoffman
Jewelery Design
Maude's
Michigan Group
Realtors
Miller, Canfield,
Paddock & Stone
Mundus & Mundus, Inc.
Overture Audio
Persian House of
Imports
Professional Automotive
Technicians
Red Hawk Bar & Grill
Schlanderer Jewelry
SKR Classical
Society Bank
Sweetwaters Cafe
The Toledo Museum
of Art
Top Drawer
U.M. Cancer Center
Ufer & Co. Insurance
UM Museum of Art
University Productions
WEMU
Whole Foods Market
WQRS
WUOM
Zingerman's Next Door

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