University Of Michigan
May i 114, 1995
The University Musical Society
of the University of Michigan
Made possible by a gift from Ford Motor Company
Welcome to the 102nd Ann Arbor May Festival, and thank you for your support of the University Musical Society by your attendance at this event.
The University Musical Society is pleased to wel?come back the MET Orchestra with music director James Levine and the Detroit Symphony Orchestra with guest conductor Jerzy Semkow as the principal orchestras featured in this weekend's marvelous series of events. We also welcome back soloists James Galway, Florence Quivar, Michele Ramo, Marcus Belgrave, and Heidi Hepler, and welcome for the first time Margaret Price, and Edith Wiens. Back for their 102nd straight appearance in the May Festival is the UMS Choral Union, performing Mahler's "Resurrection" Symphony with the Detroit Symphony Orchestra to close the festival on Sunday afternoon.
I wish to extend thanks to the UMS Advisory Committee for their leadership in planning and carrying out Thursday's Prelude Picnic Buffet and Saturday's Gala Celebration Dinner. Special thanks to Advisory Committee Chair Liz Yhouse, May Festival Chair Maya Savarino, Gala Chair Sue Ullrich, and Prelude Picnic Chair Betty Byrne for their out?standing contributions to these events.
A special thanks to my UMS Board and staff colleagues, whose diligent efforts to keep the UMS both artistically distinctive and financially sound amidst everincreasing political and economic pressures assures our being able to continue to bring you the finest performing artists in the world, such as those appearing in this festival.
Finally, a big thank you to Ford Motor Company, whose generous underwriting gift makes this year's May Festival possible, and whose support throughout the entire season makes Ford a very special member of the UMS family.
Enjoy yourself this weekend! Then plan to join us for as many of the 57 events of the 199596 season as you can, beginning September 29 with Cecilia Bartoli in recital.
Kenneth C. Fischer Executive Director University Musical Society of the University of Michigan
Table of Contents
Prelude Picnic 21
May Festival Program 23
for Thursday, May 11
May Festival Program 41
for Friday, May 12
University Musical Society Concert Season Announcement
May Festival Program 53
for the Gala Dinner honoring James Galway, Saturday, May 13
May Festival Program 59
for Sunday, May 14
Classical Action Benefit 72
UMS Members 74
1995 86 University Musical Society Winter Season Retrospective
Thank You Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support of UMS though their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business com?munity.
Their generous support provides a solid base from which we are better able to present outstanding performances for the varied audiences of this part of the state.
We are proud to be associated with these companies. Their significant participation in our underwriting program 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 hope they help provide to serve you, our audience, better.
Kenneth C. Fischer Executive Director University Musical Society
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 commend?ed for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Carl A. Brauer, Jr.
"Music is a gift from
God to enrich our
lives. Therefore. I
enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel
T.M.L. Ventures, Inc.
support of the
Programs is an honor and a privilege. Together we will enrich and empower our community's youth to carry for?ward into future generations this fine tradition of artistic talents."
Howard S. Holmes President, Chelsea Milling Company The Ann Arbor area is very fortu?nate to have the
most enjoyable and outstanding musi?cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Chelsea Milling Company
Joseph Curtin and Greg Alf Oilmen, 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
Detroit 6s Canada
The Detroit and
Corporation is proud
to be a partner with the University of Michigan Musical Society in their success of bringing such high quality perfor?mances to the Southeast Michigan region."
Douglas D. Freeth President, First of America BankAnn Arbor "We are proud to help sponsor this major cultural
group in our community which per?petuates the wonderful May Festival,"
L Thomas Conlin Chairman of the Board and Chief Executive Officrr, ConlinFaber Travel The University Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
William E. Odom
Ford Motor Credit
The people of
Ford Credit are
very proud of our
continuing association with the University Musical Society. The Society's longestablished commitment 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 particu?lar pride in our longstanding asso
ciation with the University Musical Society, its concerts, and the educa?tional 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 under?writer this year."
Robert J. Delonis
President and Chief Executive Officer, Great I nk Bancorp "As a longstanding member of the Ann Arbor commu
nity, 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 Chitf
"Our community is
enriched by the
University Musical Society. We warmly support the cultural events it brings to our area."
Mark K. Rosenfeld President,
Jacobson Stores Inc. "We are pleased to share a pleasant relationship with the University
Musical Society. Business and the arts have a natural affinity for community commitment."
President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate
that our business provides so many opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
John E. Lobbia
Chairman and Chief Executive Officer, Detroit Edison The University Musical Society is one of the organi
zations that make the Ann Arbor com?munity a worldrenowned center for the arts. The entire community shares in the coundess benefits of the excel?lence 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."
Thomas B. McMuUen
President, Thomas B. McMuUen Co., Inc. "I used to feel that a U of MNotre Dame football ticket
was the best ticket in Ann Arbor. Not anymore. The U.M.S provides the best in educational entertainment."
Joe E. O'Neal
O 'Neat 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."
is grateful for the
opportunity to con
tribute to the University Musical Society. While we've only been in the Ann Arbor area for the past 82 years, and the UMS has been here for U6, we can still appreciate the history they have with the city -and we are glad to be part of that history."
Michael Staebler Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz con?gratulates the
University Musical Society for provid?ing quality performances in music, dance and theater to the diverse com?munity that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Iva M. Wilson
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 commitment to excellence."
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
"It is our pleasure
to work with such
organization as the Musical Society at the University of Michigan."
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 ParkeDavis Research Division employees 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 University Musical Society in 1984, believing that a commitment to such high quality is good for all con?cerned. 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
President Norman G. Herbert
VicePresident Carol Smokier, PhD
Secretary Richard Rogel
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan Carl A. Brauer.Jr. LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell
James J. Duderstadt Walter M. Harrison Kay Hunt Thomas E. Kauper F. Bruce Kulp Rebecca McGowan Joe O'Neal George I. Shirley John O. Simpson Herbert E. Sloan, M.D. Edward D. Surovell Eileen Lappin Weiser Marina v. N. Whitman 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. Kiniuar 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
Kenneth Fischer Executive Director
Catherine Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Dorothy Chang Sally A. Cushing David B. Devore Carol Dornan Melanie Riehl Ellis Erika Fischer Susan Fitzpalrick Greg Former Judy Johnson Fry Adam Glaser Michael L. Gowing Philip Guire Jonathan Watts Hull John B. Kennard.Jr. Michael J. Kondziolka
Michael Patterson Ronald J. Reid R. Scott Russell Thomas Sheets Helen Siedel Marya P. Smith Jane Slanton Lisa Vogen
Work StudyInterns Steve Chavez Jonathan Choe Timothy Christie Kim Coggin ( i is! in.i de la Isla Grace Eng Rachel Folland Jennifer Hall Naomi Kornilakis Tansy Rodd
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council fot Arts and Cultural Affairs, the
National Endowment lot the Arts, and Arts Midwest members and friends in partnership with the National Endowment (or the Arts
Advisory Committee Elizabeth Yhouse, Chair Susan B. Ullrich, ViceChair Kathleen Beck Maly, Secretary Peter H. DeLoof, Treasurer
Gregg Alf Paulett Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan Letitia Byrd Betty Byrne Pat Chatas Chen Oi ChinHsieh Phil Cole Rosanne Duncan Don Faber Penny Fischer Barbara Gelehrter Margo Halsted Esther Heitler Lorna Hildebrandl
Kathleen Hill Matthew Hoffman JoAnne Hulce Alice Davis Irani Perry Irish Heidi Kerst Leah Kileny Nat Lacy Maxine Larrouy Doni Lystra 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. Jerry Weidenbach Jane Wilkinson
The University Musical Society is an Equal Opportunity Employer and proirides 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.
University Musical Society Hill Auditorium Information
Coat Rooms Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months.
Drinking Fountains Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies.
Handicapped Facilities All University of Michigan auditoria now have barrierfree entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found Call the University 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 A wheelchairaccessible public telephone is located at the west side of the outer lobby.
Restrooms Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Smoking Areas University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Tours Guided tours of the auditoria are available to groups by advance appointment only.
UMSMember Information Table A wealth of infor?mation 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.
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 481091270
on the University of Michigan campus
From outside the 313. area code, call tollfree
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Visit Our Box Office in Person
At Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain 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.
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts
The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
We welcome children, but very young children can be disruptive to a performance. Children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction
Please turn off or suppress electronic beeping and chiming digital watches or pagers during performances.
Cameras and Recorders
Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends
A silent auditorium with an expectant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of program pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
University Musical Society
of the University of Michigan
Now in its 116th season, the University Musical Society ranks as one of the oldest and most highlyregarded 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 affili?ated 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 tenconcert 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 55 concerts and more than 100 educational events each season featuring the world's finest dance companies, opera, theater, popular attractions, and presentations from diverse cultures. The University Musical Society has flourished these 116 years with the support of a generous music and artsloving community, which has gathered in Hill and Rackham Auditoria, Power Center, and The Michigan Theater 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 performances by the Metropolitan Opera Orchestra led by Maestro James Levine, Itzhak Perlman, Eartha Kitt, the Detroit Symphony Orchestra, the University Choral Union, and other artists. Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strengthened through educational endeavors, commissioning of new works, artists' residencies, programs for young people, and collabo?rative projects.
While it is proudly affiliated with the University of Michigan, is housed on the Ann Arbor campus, and collaborates regularly with many University units, the Musical Society is a separate, notforprofit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
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 University Musical Society concerts, including the annual Choral Union Series, through?out its distinguished 80year history.
Former UM regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings. Hill bequested $200,000 for construction of the hall, and 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 Colombian Exposition and installed it in old University Hall (which stood behind present Angel! Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes in appearance, but were restored to their original stenciling, coloring, and layout in 1986.
Currently, Hill Auditorium is part of the UM's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
A Short History of the Ann Arbor May Festival
For more than a century, Ann Arbor has been ihe stage for one of the most longstanding musical traditions in North America -the Ann Arbor May Festival. From its very earliest offer?ings, the May Festival has been a popular spring event, encompassing six concerts over four days in its heyday. Renowned instrumental and vocal soloists have come to Ann Arbor from all over the world to perform with the Festival's resident orchestras (there have only been eight in the Festival's history).
Initially conceived of as a twoconcert stand by the Boston Festival Orchestra in order to cover the expenses of bringing the group to Ann Arbor (replacements for the traditional visit by the Boston Symphony Orchestra, who cancelled their engage?ment), the first May Festival was a resounding success, opening with Beethoven's Lenore Overture No. 3, and concluding with Verdi's Requem. The Festival was such a success, in fact, that then UMS president Albert Stanley reengaged the orchestra for the next year, and the annual event grew from two concerts to five concerts over three days by 18g6.
The Boston Festival Orchestra decided it could no longer afford to tour in 1905, and new UMS business manager Charles Sink contracted the Frederick Stock Orchestra (later to become the Chicago Symphony Orchestra). After a rocky start, Ann Arbor audiences warmed to the Orchestra, and it remained the resident orchestra for thirtyone years. In 1913, the May Festival moved from the confines of Univesity Hall to the more accommodating Hill Auditorium, where The Chicago Symphony Orchestra (the name changed in 1913 as well) had the honor of giving an inaugural concert featuring Beethoven's Symphony No. 5 in a Festival which swelled to six concerts over four days including a concert featuring a children's chorus made up of Ann Arbor public school children which would become a fixture of the Festival for the next fortyfive years.
The Chicago Symphony Orchestra gave its final May Festival concert in 1935, to be succeeded the fol?lowing year by the Philadelphia Orchestra, thus begin?ning a 49year relationship with Ann Arbor audiences. The Philadelphia Orchestra would remain the resident orchestra through many significant changes in the May Festival, including innovative, thematic programs, and the eventual shrinking of the Festival from six to five concerts in 1967, and then to four in 1976. For almost four decades, Philadelphia conductor Eugene Ormandy almost never missed a May Festival concert, standing aside for the occasional guest conductor, forging a remarkable, always rewarding, relationship with thousands of May Festival concertgoers.
In 1984, after a chorus of "Auld Lang Syne," the Philadelphia played its last May Festival, providing an opening for many different orchestras to share in the May Festival tradition. These have included the Pittsburgh Symphony, the Leipzig Gewandhaus Orchestra, The Los Angeles Philharmonic, the Detroit Symphony Orchestra, The Metropolitan Opera Orchestra (now the MET Orchestra), and the Orchestra of St. Luke's.
What is not to be forgotten in this is the many soloists who appeared in Ann Arbor for the May Festival. The endless list includes multiple visits by Ernestine SchumannHeink, Marian Anderson, Lily Pons, John Sutherland, Leontyne Price, Rosa Ponselle, Dietrich FischerDieskau,Jascha Heifetz, Artur Rubinstein, Aaron Copland, Van Cliburn, and YoYo Ma, as well as rare appearances by the likes of Glenn Gould, Igor Stravinsky, Vladmir Horowitz, and Sergei Rachmaninoff.
When the Ann Arbor May Festival reached the century mark in 1993, the University Musical Society took the occasion to celebrate the Festival's glorious past, to applaud the vision, inspiration, and commit?ment of its founder, Albert Stanley, and to thank the dedicated musicloving community which supported and encouraged the Festival from its very inception.
102nd Ann Arbor May Festival
Prelude Picnic Buffet
The Ford Motor Company
Thursday Evening, May ii, 1995 at 5:3o
Dow Atrium, Chemistry Building Ann Arbor, Michigan
102nd Ann Arbor May Festival
May Festival Committee Chair: Maya Savarino Prelude Picnic Chair: Betty Byrne
Special thanks to Bruce Kulp, Leo Brennan, Martin Zimmerman, Jack Martin, and the Ford Fund for helping to make these May Festival events possible.
Thanks also to Tommy York of Zingerman's for this evening's desserts and coffee, and to 3 Men and A Tenor for providing entertainment.
iO2nd Ann Arbor May Festival with
The MET Orchestra
James Levine, Artistic Director and Conductor Margaret Price, Soprano
The Ford Motor Company
Thursday Evening, May ii, 199$ at 8:00
Hill Auditorium Ann Arbor, Michigan
SixtySecond Concert of the 116th Season
102nd Ann Arbor May Festival
Symphony No. 8 in b minor, D.759 ("Unfinished")
Allegro moderato Andante con moto
Four Last Songs
Margaret Price Intermission
Modest Mussorgsky (Maurice Ravel)
Pictures at an Exhibition
The Old Castle
The Tuileries: Quarrel of Children After Play
Ballet of Unhatched Fledglings
Two Polish Jews, Rich and Poor
Limoges: The Market
Catacombs -Con mortuis in lingua mortua
The Hut on Fowls' Legs
The Heroes' Gate at Kiev
Special thanks to Bruce Kulp, Leo Brennan, Martin Zimmerman, Jack Martin, and the Ford Fund for helping to make these May Festival performances possible.
This performance by the MET Orchestra is made possible by a generous gift to the Metropolitan Opera Association from the late Cynthia Wood.
The MET Orchestra's 1995 national tour has been made possible by a generous gift from the Horace W. Goldsmith Foundation.
Yamaha is the official piano of the Metropolitan Opera.
Large print programs are available upon request from an usher.
Symphony in b minor, D. 759 ("Unfinished")
Franz Peter Schubert
Born January ji, 1797 in Vienna
Died November 19, 1828 in Vienna
Writings about the origins of Schubert's incomplete Symphony in b minor are necessarily peppered with phrases such as "Schubert probably... " or "Schubert must have...." for history transmits almost no information about this work -only the score itself (the date of October 30, 1822, on the title page, presumably indi?cates its commencement), along with a pre?liminary draft on two staves. And, of course, die fact that it is unfinished: in addition to die two familiar movements, die draft extends to a scherzo and even sixteen bars of a trio; however, only the first twenty bars of diis third movement were orchestrated. (The manuscript full score breaks off after nine bars on a lefthand page, but another leaf, which proved to have been detached from this manuscript, was discovered in Vienna and published by the late Christa Landon in 1970, yielding die orchestration of eleven more bars; the blank reverse of diat page confirms this as die point where Schubert stopped work.)
Nowhere in die surviving documenta?tion surrounding Schubert's life do we find any unequivocal reference to die work. The history of die full score is doubdess germane: at some uncertain date, it ended up in die hands of Anselm Huttenbrenner, a fellow student of Schubert's under Antonio Salieri, who remained his friend even after moving back to his native Graz for good in 1821. Anselm's younger brodier Josef, who setded in Vienna in 1818, became an admirer of Schubert, who used him as a business agent but frequendy found his attentions oppres?sive. In 1823, presumably at Anselm's insti
gation, a musical association in Graz awarded Schubert a diploma. In the 1860s, Josef Huttenbrenner claimed to have transmitted the manuscript of the symphony from Schubert to Anselm as a token of his grati?tude for the diploma, and also averred that it was to be dedicated to Anselm, or to Anselm and the association (depending on which of Josef s statements you read). In the course of attempts by Josef to promote his brother's music, the conductor Johann Herbeck learned of the symphony manu?script, tracked it down, and gave its first per?formance at a concert of the Gesellschaft der Musikfreunde in Vienna on December 17, 1865; the finale of Schubert's 1815 Symphony in D Major was used to "complete" the work.
Since then, speculation has run rampant about the reason or reasons Schubert stopped when he did, usually reflecting the esthetic and biographical preoccupations of the speculators and their times. Sober mod?ern scholarship points to several circum?stances. During the years 181822, Schubert left unfinished twice as many instrumental works as he completed, suggesting some sort of compositional crisis (his output of vocal music continued unimpeded). The bminor symphony's completed movements are definitely a breakthrough, exploring expressive realms not previously dealt with in Schubert's symphonic music, although suggested by some of the music for the play Der Zauberharfe and by the first movement (the socalled Quartettsatz) of an unfinished cminor string quartet -both works of 1820. In late 1822, Schubert contracted syphilis and was seriously ill for some months. In that era, the disease was incurable and remained latent after the passing of die initial stages; awareness of the inevitability of the lethal tertiary stage doubtless affected Schubert's attitudes towards life and work.
So perhaps Schubert broke off the symphony because of dissatisfaction with the
Scherzo, or even with some aspect of the earlier movements. Perhaps he doubted that he could conceive a final movement of sufficient breadth to match Beethoven's precedents. Perhaps he felt that he still hadn't cracked the problem of unifying a multimovement instrumental work in this newer, more powerful style. However, he did arrive at an extreme solution of the latter quandary in November 1822 with the "Wanderer" Fantasy -so perhaps he inter?rupted the symphony to write die Fantasy, and then never returned to it after his ill?ness, perhaps simply because it reminded him of his illness. We do not know the reason, even while recognizing as wrongheaded or simplistic many of the answers offered by earlier generations of biographers, historians, popularizers, operetta composers, filmmakers, and the like. We can, however, imagine with some plausibility that Schubert would be dumbfounded that diis "fragment" has become by far his most popular orchestral work.
The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets, 3 trombones; timpani; and strings. The first movement (Allegro moderato) is an elliptical version of sonataallegro form, embodying in concise dimensions the sudden and striking contrasts of Schubert's later instrumental style. The opening motive,
somberly pensive in die cellos and basses, at first seems simply an introduction to the woodwind melody diat follows, but, after being ignored diroughout the exposition, it dominates die development section, dien vanishes again until die coda. As for the famous second subject, it falls mute before completing a single repetition, after which tremolo chords turn it towards more dra?matic accents -but in die development proper we hear only its syncopated accom?paniment, never diis melody itself.
The slow movement, "Andante con moto," in E Major, is a sonata form widiout development section. The first subject has two members, one lyrical (alternating winds and pizzicato basses widi legato strings), die odier soon rendered more dramatic by a striding bass in octaves. The second subject, sung first by a solo clarinet, shares widi its counterpart in die first movement a synco?pated accompaniment; it too is eventually treated dramatically. The coda is remark?able for die modulations Schubert draws from die sustained notes that earlier intro?duced die second subject: "as subde a stroke of genius as can be found anywhere in music," according to die great analyst Donald Francis Tovey.
Four Last Songs
Born June 11, 1864, in Munich, Bavaria Died September 8, 1949, in GarmischPartenkirchen
At the end of World War II, in a defeated Germany desperately short of food and fuel, the octogenarian Strauss found himself des?titute, for his royalties had stopped entirely. In fall 1945, his Englishbased publisher Ernst Roth finally persuaded die Strausses to go into a Swiss exile, where they could be properly fed and cared for; he also promoted a visit to London in 1947, where perfor?mances and even some conducting improved the composer's finances and morale. His interest in instrumental com?position, reawakened during the war, had deepened with the composition of Metamorphosen (1945), a remarkable medita?tion for 23 strings, initially stimulated by the destruction of German theaters and cities during the war's final year. In Switzerland, an oboe concerto (1946) and DuetConcertino (1947) followed, and Strauss also began to think of songs again.
According to Timothy Jackson's research, Strauss copied Eichendorff s poem "Im Abendrot" into a sketchbook on April 3, 1946; a musical sketch may also date from this time, but the song was not completed until May 6, 1948. By July 18, he had finished setting Hesse's "Fruhling," a poem he had copied into a sketchbook more than a year earlier, and he then went on to set two further Hesse poems, "Beim Schlafengehen" and "September" (finished on August 4 and September 20, respectively). Two other Hesse poems, "Nacht" and "Hohe des Sommers," were also considered but apparendy rejected.
Though they were assembled and pub?lished by Roth as Four Last Songs, diere is no firm evidence that Strauss considered these songs a "cycle." (Indeed, the adjective in
the title is certainly incorrect; the truly "last" song, "Malven," for voice and piano, com?posed for and given to the soprano Maria Jeritza, was only recendy made public.) Still, internal factors are convincing: the valedictory mood, the related subject matter of the poems with their references to die summer's transition to fall and die coming of night and deadi -even the prominence of the horn at die end of each song, con?ceivably a tribute to die composer's fadier. The four songs are dedicated to friends who in various ways supported Strauss in his exile: his friend and biographer Willi Schuh, his Swiss banker Adolf Jahr and his wife, Jeritza and her husband, and Rodi.
At die first performance, in London on May 22, 1950, by Kirsten Flagstad and die Philharmonia Orchestra under Wilhelm Furtwangler, the order of performance was "Beim Schlafengehen," "September," "Fruhling," and "Im Abendrot." Subsequendy, for publication, die order of die first diree songs was reversed, yielding the now standard sequence, progressing via spring, fall, and night to deadi. At any rate, diere was never any doubt that "Im Abendrot," diough first composed, should come last: after an opening burst of evening sun, the poem's "we" becomes clearly identified by the music (including die horn's quotation from Death and Transfiguration) widi Strauss and Pauline, alone and weary, wandering dirough die twilight towards sleep. In addition, it is die longest song and die most heavily scored, calling for triple winds; 4 horns, 3 trumpets, 3 trombones and tuba; timpani; and strings. ("Fruhling" requires a harp and an addi?tional bassoon, "September" also calls for harp, and "Beim Schlafengehen" requires celesta and an additional piccolo.) The grave finality of die final measures of "Im Abendrot" brings to a final and fitting cadence, not only die career of Richard Strauss, but also die entire romantic era in music.
In dammrigen Gruften
traumte ich lang
von deinen Baumen und blauen Luften,
von deinem Duft und Vogelsang.
Nun liegst du erschlossen in Gleiss und Zier, von Licht ubergossen wie ein Wunder vor mir.
Du kennest mich wieder,
du lockest mich zart,
es zittert durch all' meine Glieder
deine selige Gegenwart!
Der Garten trauert,
kuhl sinkt in die Blumen der Regen.
Der Sommer schauert
still seinem Ende entgegen.
Golden tropft Blatt urn Blatt nieder vom hohen Akazienbaum Sommer lachelt erstaunt und matt in den sterbenden Gartentraum.
Lange noch bei den Rosen bleibt er stehen, sehnt sich nach Ruh. Langsam tut er die (grossen) mudgewordnen Augen zu.
In dusky caverns
I dreamed long
of your trees and azure breezes,
of your scents and birdsong.
Now you lie revealed in glitter and array, bathed in light like a miracle before me.
You recognize me again, tenderly you beckon to me. Through all my limbs quivers your blissful presence.
The garden is in mourning;
the rain sinks coolly on the flowers.
Quietly to its close.
Leaf upon golden leaf is dropping down from the tall acacia tree. Summer smiles amazed and exhausted on the dying dream that was this garden.
Long by the roses still it tarries, yearns for rest, slowly closes its (great) weary eyes.
Nun der Tag mich mud gemacht, soil mein sehnliches Verlangen freundlich die gestirnte Nacht wie ein mudes Kind empfangen.
Hande, lasst von allem Tun, Stirn, vergiss du alles Denken, alle meine Sinne nun wollen sich in Schlummer senken.
Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben.
Joseph von Eichendorff
Wir sind durch Not und Freude gegangen Hand in Hand, vom Wandern ruhen wir (beide) nun uberm sullen Land.
Rings sich die Taler neigen, es dunkelt schon die Luft, zwei Lerchen nur noch steigen nachtraumend in den Duft.
Tritt her, und lass sie schwirren, bald ist es Schlafenszeit, dass wir uns nicht verirren in dieser Einsamkeit.
O weiter, stiller Friede! So tief im Abendrot, wie sind wir wandermude -ist dies etwas der Tod
Going to Sleep
Now that day has tired me,
my spirits long for
starry night kindly
to enfold them, like a tired child.
Hands, leave all your doing; Brow, forget all your thoughts. Now all my senses want to sink themselves in slumber.
And the soul unwatched, would soar in free flight, till in the magic circle of night it lives deeply and a thousandfold.
Through want and joy we have walked hand in hand; we are (both) resting from our travels now, the quiet countryside below us.
Around us the valleys incline; already the air grows dark. Two larks still soar alone halfdreaming, into the haze.
Come here, and let them fly about; soon it is time for sleep. We must not go astray in this solitude.
O spacious, tranquil peace, so profound in the sunset. How tired we are of travelling -is this perchance death
Texts for the Four Last Songs Copyright O by Boosey & Co. Ltd.; copyright renewed
English translations by William Mann, O1986: reprinted by courtesy Deutsche Grammophon, a Division of PolyGrarn Classics & Jazz, Inc.
Pictures at an Exhibition
Modest Petrovich Mussorgsky
Born March 21, 1839, in Kareuo, in the
Pskov district of Russia Died March 28, 1881, in St. Petersburg
Orchestrated by Maurice Ravel
Born March 7, 1875, in Ciboures in the
Basses Pyrenees, France Died December 28, 1937, in Paris
Mussorgsky composed the suite for piano Pictures at an Exhibition (Kartinki s vistavki) in the first half of 1874, the year that his opera Boris Godunov was finally produced at the Maryinsky Theatre in St. Petersburg. In 1922, Ravel orchestrated Mussorgsky's work on commission from the cohductor Serge Koussevitzky, beginning with the final piece, which was finished in May, and com?pleting it that fall. Koussevitzky conducted the first performance at the Paris Opera on October 19, 1922, gave the American pre?miere on November 7, 1924, during his first season with the Boston Symphony Orchestra, published the score in his Edition Russe de Musique in 1929, and made the first recording the following year with the Boston Symphony.
Ravel's orchestration calls for 3 flutes (1 doubling piccolo), 3 oboes (1 doubling English horn), 2 clarinets and bass clarinet, alto saxophone, 2 bassoons and contrabassoon; 4 horns, 3 trumpets, 3 trombones and tuba; timpani, snare drum, bass drum, cymbals, tamtam, triangle, rattle, whip, glockenspiel, bells, celesta, and xylophone; and 2 harps and strings.
At least in program notes, Mussorgsky's major works today come at us enveloped in a miasma of fact and opinion concerning versions, editions, orchestrations, alterations, corruptions, and bowdlerizations. Remarkably, the works survive this: in what
ever form, they preserve a remarkable immediacy and impact -none more so than Pictures at an Exhibition, which, in Maurice Ravel's orchestration, is surely Mussorgsky's mostplayed score. Not even our era's passion for "authenticity" is likely to displace this inspired collaboration of two disparate geniuses over a span of nearly fifty years.
The exhibition in question was a memorial devoted to the work of Mussorgsky's friend Viktor Hartmann, an architect and painter whose death on July 23 (old style) or August 4 (new style), 1873, evidendy sent the composer off on one of his alltoofrequent benders. Perhaps die news that Boris Godunov had finally been accepted for performance put him back on track; in any case, die Hartmann show inspired a suite for piano -Mussorgsky's only significant instrumental work after St. John's Eve on Bald Mountain (1867).
Some of die pictures Mussorgsky musi?cally repainted were apparendy not actually in die exhibition, while at least one diat was -Hartmann's design for a gate to be built in Kiev commemorating Tsar Alexander H's escape from assassination in April 1866 -grew much grander in its musical from. No matter -die original work is a vividly imag?ined and cannily structured stroll through die gallery, which in recent decades has firmly established itself in die pianist's repertory.
Ravel, who himself set most of his musi?cal works for piano before orchestrating diem (and was not averse to later orchestrat?ing those he had first conceived specifically for die keyboard), was an ideal choice to orchestrate Mussorgsky's suite. Mussorgsky's music had already been in vogue in France, especially after Serge Diaghilev brought a Russian company to Paris to play Boris in 1908; later, in 1913, die impresario commissioned Ravel and Stravinsky to compose music to fill gaps in the score of
Mussorgsky's incomplete opera Khovanshchina. No composer commanded the resources of the French modern orchestra as did Ravel, and he believed in the validity of transcription, of freshly inter?preting an existing work, as long as it met a single important condition -as he put it when reviewing Henri Rabaud's orchestration of Faure's Dolly Suite for piano duet: "that good taste presides." Mussorgsky's suite comprises ten principal movements, preceded by a "Promenade," which returns several times as the visitor to the exhibition progresses from one picture to the next (Ravel's version omits one of these). The following brief notes are based on those by Mussorgsky's friend and mentor, the critic Vladimir Vassilevich Stassov, included in the first edition of the original score.
Gnomus: a sketch depicting a little gnome, clumsily running with crooked legs. [This was apparently a design for a nutcracker (the nuts to be inserted in the gnome's mouth), intended for the Christmas tree at the Artists'Club (1869).]
II vecchio castello (The old castle): a medieval castle before which a troubadour sings a song.
Tuileries: dispute d'enfants apres jeux (Quarrel of children after play): an avenue in the garden of die Tuileries, with a swarm of children and nurses.
Bydlo (Cattle): a Polish cart on enormous wheels, drawn by oxen.
Ballet of unhatched fledglings: Hartmann's design for die decor of a picturesque scene in the ballet Trilby. [This was produced at St. Petersburg's Bolshoi Theater in 1871,
with choreography by Marius Petipa, music by Julius Gerber and decor by Hartmann; the fledglings were canary chicks.]
Two Polish Jews, rich and poor. [The ori?gin "Samuel Goldenberg and Schmuyle," frequendy given as the tide of diis number, remains unknown.]
Limoges. Le marche (The market): French women quarreling violendy in the market. [In die autograph manuscript, Mussorgsky wrote, and then crossed out, two versions of die text of diis dispute, mainly concerning whedier or not a farmer has found his lost cow.]
Catacombae (Catacombs): Hartmann represented himself examining the Paris catacombs by the light of a lantern. [The description in the exhibit catalog read: "Interior of Paris catacombs with figures of Hartmann, the architect Kenel, and the guide holding a lamp." For all that, the autograph score is inscribed "Sepulcrum romanum" (Roman sepulcher). In the autograph score, the second part of the piece is prefaced by the following note: "N.B.: Latin text: with the dead in a dead language. A Latin text would be suitable: the creative soul of the dead Hartmann leads me to the skulls, invokes them, the skulls shine softly." In the published score, this section, based on the music of the "Promenade," is thus inscribed "Con mortuis in lingua morta."]
The Hut on Fowls' Legs: Hartmann's draw?ing depicted a clock in the form of BabaYaga's hut on fowls' legs. Mussorgsky added BabaYaga's flight in a mortar. [The witchlike BabaYaga, a familiar figure in Russian folklore (she turns up also in musical works by Dargomizhsky, Liadov, and RimskyKorsakov) was tall and bony, lived in a cot?tage supported by fowls' legs; her principal mode of locomotion was aboard an iron mortar, which she propelled with a pestle while sweeping away all traces of her pas?sage with a broom.]
The Heroes' Gate at Kiev: Hartmann's sketch was his design for the city gates at Kiev in the ancient Russian massive style with a cupola shaped like a Slavonic helmet.
Program notes by David Hamilton
?? est known as artistii
A director of the m Metropolitan (pera, B". fames Levine has develk oped .1 relationship there V since his debul twenty,JK four years ago that is unparalleled in its history and unique in the musical world today. He has led nearly 1500 performances of more than sixty different operas, including the first Met performances of Mozart's Idomeneo and La Clemenza di Titcr, Gershwin's Porgy and Bess; Stravinsky's Oedipus Rex; Verdi's Vespri Siciliani, Stiffelio and Lombardi; Weill's Rise and Fall of the City ofMahagonny, Schoenberg's Erwartung; Berg's Lulu; and the world premiere performances of John Corigliano's The Ghosts of Versailles. He inaugurated the live performance television series for America's public television (The Metropolitan Opera Presents" is now seen regularly around the globe), founded the Met's Young Artist Development Program, returned Wagner's complete "Ring" cycle to the repertoire (the first integral cycles in fifty years), and reinstated recitals and con?certs with Met artists at the opera house, a former Metropolitan tradition. Expanding on that tradition, the MET Orchestra began touring in concert in 1991 and since then has performed around the world including Japan and Canada, at Expo lg2 in Seville, in its German debut in Frankfurt last May (as part of that city's 1200th anniversary celebration), and now on its own threeconcert subscription series in Carnegie Hall. This month the Orchestra and James Levine are undertaking a fourteenday crosscountry tour with soloists Margaret Price and James Galway.
Maestro Levine's most recent recordings with the Metropolitan Opera include Trovatore (DomingoMilloZajick ChernovMorris), Verdi ballet music, an allBerg disc (with Renee Fleming) and, for release later this year, Der Fliegende Hollander
(MorrisVoigtHeppnerRooteringGroves) for Sony Classical; Envartung (Jessye Norman) for Philips Classics; Manon Lescaut (Freni PavarottiCroftBartoli) for Decca Records; and Parsifal (DomingoMollNorman MorrisWlaschiha), Wagner overtures, Pictures at an ExhibitionThe Rite of Spring and the Beethoven "Eroica"Schubert "Unfinished" for Deutsche Grammophon. (Rigoletto with ChernovPavarottiStuder and Idomeneo with DomingoBartoliVaness Murphy will be released on DG in 199596.) James Levine has had close associations since the 1970s with the Chicago Symphony Orchestra (which he led for twenty years as Music Director of the Ravinia Festival); the Berlin Philharmonic at home, at the Salzburg, Whitsun and Lucerne Festivals, and on tour in the U.S.; and the Vienna Philharmonic at the Salzburg Festival, in Vienna, and on tour in Europe and America. Among his engage?ments this season are performances with the Philharmonia Orchestra, the Israel Philharmonic and the Dresden Staatskapelle, in addition to his regular Berlin Philharmonic and MET Orchestra concerts. Maestro Levine led the Vienna Philharmonic last
November in Vienna, then took the orchestra on tour to London, Paris and Berlin, and he will return to Vienna in October for further performances there before he and the VPO embark on a twoweek tour to the Far East.
Mr. Levine has been an annual guest at the Salzburg Festival since his debut in 1975. His collaboration there with the late JeanPierre Ponnelle included new productions of Mozart's La Clemenza di Tito (later filmed by UNITEL), the legendary Die Zauberflote (the longestrunning opera production in die Festival's history), Idomeneo and Le Nozze di Figaro, as well as the Salzburg Festival premiere productions of Offenbach's Les Contes d'Hoffmann and Schoenberg's Moses und Ann.
In 1982, James Levine had the distinction of conducting die Centennial Production of Parsifal in Bayreuth, and found the work in diat unique theatre so artistically satisfying diat he returned each summer to conduct its revival and, eventually, a second new production of the same opera. Beginning last summer, he conducts die new Alfred KirchnerRosalie production of die Ring of the NibelungaX die Bayreuth Festival.
In addition to his responsibilities at the Metropolitan Opera, Maestro Levine is a distinguished pianist and an active recital collaborator, most especially in Lieder and song repertoire. He began accompanying such wellknown artists as Jennie Tourel, Hans Hotter and Eleanor Steber more than diirty years ago, and since diat time has given joint recitals widi many of die great singers of our time, among diem Jan Peerce, Adele Addison, Regine Crespin, Nicolai Gedda, Leontyne Price, Christa Ludwig, Placido Domingo, Birgit Nilsson, Cornell MacNeil, Kadileen Batde, Kiri Te Kanawa, Hermann Prey.Jessye Norman, Bryn Terfel, Luciano Pavarotti, Elisabedi Soderstrom, Renata Scotto, Martti Talvela, Tatiana Troyanos, Marilyn Home, Maria Ewing, Uwe Heilmann, Margaret Price, Dawn Upshaw and Frederica von Stade.
Mr. Levine was the first recipient of New York City's annual cultural award and was presented with the Smetana Medal by the Czechoslovak government in 1986. He has been named "Musician of the Year" by the journal Musical America, was featured in a Time magazine cover story, and was the subject of a television documentary coproduced by UNITEL and PBS. He holds honorary doctorates from the University of Cincinnati (the city of his birth), the New England Conservatory of Music and Northwestern University, and has lectured at Harvard and Yale Universities, Sarah Lawrence College and The Juilliard School.
This season's May Festival marks Maestro Levine's fourth and fifth appearances under UMS auspices.
Soprano Margaret Price was born in Wales and studied at Trinity College of Music in London. She made her debut with die Welsh National Opera as Cherubino in Le Nozze di Figaro, a role she repeated at Covent Garden the following year when she replaced die indisposed Teresa Berganza on short notice.
She made her Metropolitan Opera debut as Desdemona in Otello in 1985, conducted by James Levine, and she has also been heard widi all the world's leading opera companies, including die Vienna State Opera, the Paris Opera, La Scala, die Lyric Opera of Chicago, die San Francisco Opera, and die Bavarian State Opera in Munich.
Miss Price has been heard as Mozart's Constanze, Pamina, die Countess in Le Nozze di Figaro (which she sang at die Met earlier diis season), Fiordiligi, and Donna Anna. Her Verdi roles include Elisabetta in Don Carlo at La Scala conducted by Claudio
Abbado and Amelia in a new production of Un Ballo in Maschera at the Vienna State Opera, also conducted by Maestro Abbado. Other new productions she has appeared in include Norma at Covent Garden, Adriana Lecouvreur and Ariadne aufNaxos at die Bavarian State Opera, and Tannhduser at die Berlin State Opera. At the Metropolitan she has also been heard as Elisabetta and in recital widi James Levine. In 1976 she was heard at the Metropolitan Opera House as both Desdemona and die Countess during the United States tour of die Paris Opera.
She is also wellknown as a soloist with orchestra and as a recitalist, and among her many recordings are Strauss songs widi Wolfgang Sawallisch, Liszt songs widi Cyprien Katsaris, and Schubert, Mendelssohn and Brahms with Graham Johnson. Highlights of her opera discography include Cost fan tutte conducted by Otto Klemperer, Tristan und Isolde conducted by Carlos Kleiber, Die Zauberflote conducted by Colin Davis, Le Nozze di Figaro conducted by Riccardo Muti, and Un Ballo in Maschera conducted Georg Solti.
Margaret Price is a Bayerische Kammersangerin, and was made a CBE in 1982. She was made a Doctor of Music of die University of Wales in 1988, and in 1993 she received die order of Dame of die British Empire.
Tonight's concert marks Dame Price's UMS debut.
The Metropolitan Opera Orchestra is today regarded as one of the world's finest orchestras. From the time of the company's inception in 1883, the ensemble has worked with leading conductors in both opera and concert performances and has developed into an orchestra of enormous technical polish and style.
The Met Orchestra maintains a demand?ing schedule of performances and rehearsals during the thirtyweek New York season, when the company performs seven times a week in a repertory that normally encompasses approximately twentyfive operas. Following the New York season, there are frequently tours, both in the United States and abroad, which in turn are followed by a series of free concert opera performances in the parks of New York City and New Jersey.
The Orchestra has a distinguished history of performances as a concert orchestra, in addition to its opera schedule. Arturo Toscanini, who conducted almost 500 per?formances at the Met, made his American debut as a symphonic conductor with the Met Orchestra in 1913. Gustav Mahler, during the few years he was in New York, conducted fiftyfour Met performances. More recently, many of the world's great conductors have led the orchestra: Walter, Beecham, Reiner, Mitropoulos, Kempe, Szell, Bohm, Solti, Maazel, Bernstein, Mehta, Abbado, Karajan, Dohnanyi, Haitink, Tennstedt, and Ozawa. Carlos Kleiber's only United States performances of opera have been with the Met Orchestra.
The impressive list of instrumental soloists who have appeared with the Orchestra includes Efrem Zimbalist, Leopold Godowsky, Sergei Rachmaninoff, Josef Lhevinne, Arthur Rubinstein, Pablo Casals, Benno Moiseiwitsch, Josef Hofmann, Ferruccio Busoni, Jascha Heifetz, Wilhelm Backhaus, Moritz Rosendial, and Fritz Kreisler. During the Metropolitan's 198081 season the Met's artistic director, James Levine, conducted the orchestra in
two performances of Mahler's Second Symphony.
The Orchestra's current high standing led to its first commercial recordings in nearly 20 years, Wagner's complete "Ring" cycle, conducted by James Levine. Recorded by Deutsche Grammophon over a period of three years, Das Rheingold, Die Walkiire, and Gotterdammerung are winners of an unprece?dented three consecutive Grammy Awards in 1989, 1990 and 1991 for Best Opera Recording. Now in great demand for recording, Maestro Levine and the Met Orchestra are involved with a series of complete operas for DG, as well as for Sony Classical, Philips Classics and Decca. Recent recordings by the Orchestra and Mr. Levine also include Donizetti's L'Elisir d'Amore, Verdi's Aida, Don Carlo, Luisa Miller, Rigoletto, La Traviata, and Trovatore, Mozart's Idomeneo and Le Noxze di Figaro, Wagner's Der Fliegende Hollander and Parsifal, Schoenberg's Erwartung, and Puccini's Manon Lescaut, as well as a collection of Wagner overtures, Verdi ballet music, an allBerg disc with Renee Fleming, and the Orchestra's first symphonic recordings: a pairing of Mussorgsky's Pictures at an Exhibition and Stravinsky's Rite of Spring and a pairing of Beethoven's "Eroica" Symphony and Schubert's "Unfinished" Symphony.
In the spring of 1991 the Orchestra under the leadership of Maestro Levine began annual concert touring with a maiden appearance in Ann Arbor's Hill Auditorium under the auspices of the University Musical Society. Since that time, the Orchestra has traveled to such diverse locales as Japan; Canada; Seville's Expo '92; Frankfurt, Germany, as part of that city's 1200th birth?day celebration last May; and annually to Carnegie Hall. This month the Orchestra is making its first crosscountry tour of the United States.
This season's May Festival marks The MET Orchestra's fourth and fifth appearances under UMS auspices.
The MET Orchestra
Artistic Director Roberl Sirinek
Tom Hi .I in.mi I Scott Stevens
Assistant Personnel Managers
Concerlmaster Konstantin Stoianov
Concrrtmaster Laura Hamilton
Associate Concertmaster Elmira Darvarova
Associate Concertmaster Nancy Wu
Associate Concertmaster Judith Yanchus Vladimir Baranov Ivey Bernhardt Sandor Balint Doris Allen Samuel Cohen Kathryn Caswell Erica Miner Seymour Wakschal Edmund Jacobsen MingFeng Hsin Shirien Taylor, Principal Leslie Dreyer
Associate Principal Toni Rapport,
Assistant Principal Raphael Feinstein Amy Hiraga Wyrick Karen Marx Magdalena Golczewski Laura McGinnis Elena Barere Le Zhang
Michael Ouzounian, Principal
Associate Principal Caroline Levine
Assistant Principal Marilyn Stroh Midhat Serbagi Desiree Elsevier Vincent Lionti Ira Weller Mary Hammann Katherine Anderson
Jascha Silberstein, Principal Jerry Grossman, Principal Samuel Magill
Associate Principal Gerald Kagan
Assistant Principal Marian Heller Leshek Zavistovski James Kreger Philip Cherry Richard Kay
Laurence Glazener, Prindpa
Associate Principal Leigh Mesh
Assistant Principal Marvin Topolsky Tom Brennand Jeremy McCoy Louis Kosma
Trudy Kane, Principal Michael ParlofF, Principal Mary Ann Archer Nadine Asin
Nadine Asin Mary Ann Archer
Elaine Douvas, Principal John Ferrillo, Principal Susan Laney Richard Nass
English Horn Richard Nass
Joseph Rabbai, Principal
Ricardo Morales, Principal
Richard Hebert, Principal Patricia Rogers, Principal Paul Cammarota Toni Lipton
Contrabassoon Toni Lipton
Howard T. Howard, Principal Julie Landsman, Principal E. Scott Brubaker Richard Reissig Lawrence Wechsler Michelle Baker Joseph Anderer Carmelo Barranco Leon Kuntz
Wagner Tubas Richard Reissig, leader E. Scott Brubaker Leon Kuntz Lawrence Wechsler
Melvyn Broiles, Principal Mark Gould, Principal Peter Bond James Pandolfi
David Langlitz, Principal Demian Austin, Principal Douglas Edelman
Associate Principal Haljanks Steve Norrell
Bass Trombones Haljanks Steve Norrell
1 Mil Mill
Richard Horowitz, Principal Duncan Patton, Principal Scott Stevens
Herbert Baker, Principal Gregory Zuber, Principal Scott Stevens
Deborah Hoffman, Principal
Associate Musicians Violins
Lcszek Barnat Browning Cramer Shem Guibbory Lesley Heller Ira Lieberman Arthur Sh til man William Stone Narciso Figueroa JinKyiing Koo Patmore Lewis Alfred Hart Maryann Mumm
Deborah Holtz Elis Ronbeck Ronald Arron
Judith Currier David Heiss Cliaim Zemach
Double Basses Jacqui Danilow Charles Urbont Lou Paer
Clarinet Mitchell Weiss
Saxophones Albert Regni Lino Gomez
ContTobassoon Thomas Sefcovic
Trumpets Frank Hosticka James Stubbs
Tenor Tuba Kenneth Finn
David A. Titcomb
Charles F. Barbour Lynn R. Bernhardt Rafael Guzman Benjamin Harms
CelestePiano Cecilia Brauer
Metropolitan Opera Association, Inc.
James Levine Artistic Director
Sarah Billinghurst Assistant Manager
Planning and Operations Administrator
Thomas Martin Director of Finance
David M. Reuben Director of Press and Public Relations
Director of Labor Operations
Tour Operations Director
Raymond Menard Stage Manager
Stephen A. Diaz Tour Carpenter
James Blumenfeld Tour Property Master
James Connolly Tour Electrician
John Grande Chief Librarian
Rosemary Summers Robert Sutherland Assistant Librarians
102nd Ann Arbor May Festival with
The MET Orchestra
James Levine, Artistic Director and Conductor
James Galway, Flute Michael Parloff, Flute
The Ford Motor Company
Friday Evening, May 12, 1995 at 8:00
Hill Auditorium Ann Arbor, Michigan
SixtyThird Concert of the 116th Season
102nd Ann Arbor May Festival
Suite from The Firebird (1919 version)
Introduction; The Firebird and Her Dance;
Variation of the Firebird The Khorovod of the Princesses Infernal Dance of King Kashchei Berceuse Finale
Concerto for Flute and Orchestra,
OP. 39 ( 1992) (Ann Arbor Premiere)
Moderato Molto adagio Presto
James Galway Intermission
Franz Doppler (James Galway)
Andante and Rondo for Two Flutes and Orchestra, Op. 25
James Galway Michael Parloff
An American in Paris
Special thanks to Bruce Kulp, Leo Brennan, Martin Zimmerman, Jack Martin, and the Ford Fund for helping to make these May Festival per?formances possible.
This performance by the MET Orchestra is made possible by a generous gift to the Metropolitan Opera Association from the late Cynthia Wood.
The MET Orchestra's 1995 national tour has been made possible by a generous gift from the Horace W. Goldsmith Foundation.
Yamaha is the official piano of the Metropolitan Opera.
Mr. Galway records exclusively for BMG Classics.
Mr. Galway appears by arrangement with IMG Artists.
Large print programs are available upon request from an usher.
Suite from The Firebird
Igor Fedorovich Stravinsky
Born June ij, 1882 in Oranienbaum
[now Lomonosov, in the Northwest Leningrad
region of Russia] Died April 6, 1971 in New York City
Few cultural manifestations of the twentieth century can compare with the explosion that the Russian impresario Serge Diaghilev set off by importing Russian music and theater to Paris, beginning in 1907. At first the emphasis was on opera -concerts in 1907, a staged Boris Godunovviith Chaliapin in 1908 -but in 1909 the Ballets Russes was launched. The exotic splendor and physical virtuosity of works such as Scheherazade and the "Polovtsian Dances" from Prince Igor made an indelible impres?sion. Although the initial season used exist?ing music, Diaghilev had already commis?sioned a new score for his next season, in June 1910; the scenario, based on a Russian national legend, had been worked out by the choreographer Mikhail Fokine, in collaboration with others in the impresario's retinue.
Had Anatol Liadov, Diaghilev's onetime harmony teacher, been more industrious, he might today be remembered as composer of The Firebird rather than for such shorter orchestral works as Kikimora and BabaYaga. But Liadov was a procrastinator; when Diaghilev realized that the commission would not be ready in time, he turned to a twentysevenyearold pupil of the late Nicolai RimskyKorsakov, Igor Stravinsky. Diaghilev had heard Stravinsky's short orchestral fantasy Fireworks in February 1909, and subsequently utilized his services to orchestrate two Chopin piano pieces for Les Sylphides. But The Firebird was a much more prestigious exposure --so much so
that Stravinsky began work on the score in November 1 gog, even before Liadov's with?drawal had become official.
Thanks to his training with RimskyKorsakov, Stravinsky was wellequipped for die subject; his teacher's orchestral palette and die exotic harmonic resources diat fas?cinated Rimsky's circle around die turn of die century were just what The Firebird called for. And his own breaddi of interests fitted well with Diaghilev's: in the words of Alexander Benois, one of Diaghilev's lead?ing designers (diough not of Firebird, for which die decors were die work of Golovine):
Unlike most musicians. . .Stravinsky was deeply interested in painting, architecture, and sculpture. Although he had no grounding in these subjects, discussion with him was very valuable, to us, for he "reacted" to everything for which we lived. In those days he was a very willing and charming "pupil."
The score for die ballet was basically com?pleted in April, but die final revisions are dated May 18, igio; the first performance took place at die Paris Opera on June 25, igio, conducted by Gabriel Pierne, widi Tamara Karsavina in die dde role (which Anna Pavlova reportedly turned down because she diought die music complicated and meaningless). The Firebird immediately established Stravinsky on die international musical scene, and confirmed an association widi Diaghilev diat lasted until die latter's deadi; aldiough not in itself revolutionary, diis first collaboration paved die way for odiers diat still stand among die century's most innovative and influential. The StravinskyDiaghilev ballets also remain central to die dance repertory: revivals of die original Fokine Firebird are still current, along widi odier versions, including diose by George Balanchine (ig4g), using decors
by Marc Chagall, and Maurice Bejart (1970).
The work's reception immediately led Stravinsky to prepare a concert version (191 x), retaining the extravagant scoring of the complete ballet. Later, in 1919, he made another suite, with somewhat different contents and a more normal orchestration; this "1919 Firebird remains the score's most popular incarnation, though Stravinsky assembled another and longer suite in 1945 for substantially the same orchestration (in part to recover performance royalties that he was losing because the earlier versions lacked copyright protection in the United States). In recent years, concert performances of the complete original score have also become more frequent.
The scenario revolves around the opposing figures of the Firebird, a glittering incarnation of the good fairy, and the evil ogre Kashchei, who holds prisoner the maidens who wander into his realm, and turns the men to stone. The catalyst is Prince Ivan Tsarevich, who captures the Firebird in Kashchei's magic garden and keeps one of her feathers before releasing her. Watching Kashchei's captive princesses as they dance, he falls in love with one of them. Pursuing her, he breaks into Kashchei's palace and is eventually saved from the usual fate when he summons the Firebird with her feather. She appears and shows him how to nullify Kashchei's immor?tality. The ogre dies, all his spells are broken, and Ivan can marry his princess.
In characterizing the tale's elements, Stravinsky relied upon a traditional Russian contrast between folklike, diatonic music and highly chromatic material to depict, respectively, mortals and supernatural creatures. The movements of the suite are as follows:
1. "Introduction; The Firebird and her Dance; Variation of the Firebird." Kashchei's magic kingdom is limned by the harmonically ambiguous lines in the cellos
and basses, while die Firebird (whose entry is heralded by the glassy sheen of string glissandos on harmonic notes) dances to pizzicato and bouncingbow string phrases, staccato trumpets, and virtuosic wind figurations.
2. "The Khorovod of the Princesses." This round dance is based on alternating diatonic melodies.
3. "Infernal Dance of King Kashchei." The climax of the score is die wild, highly syncopated dance to which the Firebird incites Kashchei and his monsters, at the end of which diey fall dead.
4. "Berceuse." The lullaby, introduced by a bassoon melody, is danced by die Firebird, gesturing over the monsters and lulling them to eternal slumber. A magical string transition leads to:
5. "Finale." The horn announces a new dieme, which is repeated in more expansive orchestrations and dien transformed into a jubilant conclusion in 74 meter.
The 1919 Firebird suite is scored for 2 flutes, 2 oboes and English horn, 2 clarinets,
2 bassoons; 4 horns in F, 3 trumpets in C,
3 trombones, tuba; timpani, bass drum, cymbals, triangle, xylophone, harp, piano; and strings. (The original scoring included quadruple winds; an additional trumpet; tamburo, tamtam, campanelli, celesta;
2 more harps; and a stage band of 3 trumpets, 2 tenor tubas, and 2 bass tubas.)
Concerto for Flute and Orchestra, Op. 39
Born February 22, 1961, in New York City
In the years since his debut as a composer, Lowell Liebermann has become an increas?ingly prominent figure on the American musical scene. That debut came early: Liebermann's Opus 1 is a Piano Sonata (1977) that he performed himself in Carnegie Recital Hall at the age of sixteen. At thejuilliard School, his teachers included David Diamond and Vincent Persichetti (composition) and Jacob Lateiner (piano). Also a student of conducting with Laszlo Halasz, he was active as a performer for several years until the demand for his compositions crowded that out. His catalogue now extends to well over forty works, many in such traditional instrumental genres as sonata (solo and duo), concerto (two for piano), and nocturne (four for piano to date, plus a Sonata Notturna). Among his works currently available on records are the Sonata for Flute and Piano, Op. 23 (1988), and Gargoyles, Op. 29, for piano (1989). A continuing interest in vocal music, in the form of several song cycles, has led to a twoact opera, The Picture of Dorian Gray, with a libretto by die composer based on the Oscar Wilde story; this is scheduled for performance by L'Opera de Monte Carlo in May 1996, to be followed by an American premiere in March 1997 by Opera Pacific.
Pertinent in the context of the present work is Liebermann's continuing interest in the flute -not only the already mentioned sonata, but also another with guitar accom?paniment (Op. 25, 1989), both of which attracted the interest of James Galway. After playing the earlier work in recital, the flutist requested an orchestral version, but the composer preferred to begin afresh with a
new work specifically tailored for the new medium. A commission resulted in the Concerto, finished in September 1992. Since then, Liebermann has also produced Soliloquy for solo flute (Op. 44, 1994).
For the Concerto's first performance, given on November 6, 1992, by James Galway, with the Saint Louis Symphony Orchestra conducted by Leonard Slatkin, Mr. Liebermann provided the following note:
The first movement, "Moderate, " is an arclike form, all of whose components are in fact variations on the harmonic progression of its principal theme. The central section of this movement is a set of explicit chaconne variations and a chorale version of this progression.
The second movement, "Adagio molto, " presents a lyrical melody which is spun out over a pulsating syncopated ostinalo which persists through the entire length of the movement. The final movement, "Presto," is a virtuoso workout for the flutist in a rondolike form which closes with a prestissimo coda.
To this might be added the observation that the forms and materials are everywhere clearly defined: for example, the chaconne variations in the first movement are differ?entiated by such traditional means as figura?tion and scoring. In addition to the solo flute, the orchestra includes: piccolo, flute, oboe, English horn, clarinet, bass clarinet, bassoon, contrabassoon; 2 horns, 2 trum?pets; timpani and the following percussion (1 player): snare drum, bass drum, sleigh bells, glockenspiel, triangle, cymbals, vibra?phone, ratchet; piano and harp; and strings. The scoring is skillfully attentive to the solo instrument's dynamic range, and the varied battery of percussion is used sparingly by the single player.
Andante and Rondo for Two Flutes and Orchestra, Op. 25
Born October 16, 1821, in Lemberg, Germany
[now L'vov, Ukraine] Died July 27, 1883, in Baden, near Vienna
Time was when the name of Franz Doppler on an orchestral program probably indicated that one or more of Liszt's Hungarian Rhapsodies were being played; in collaboration with the composer, he made the standard orchestral versions of six of these, including the onceomnipresent Second. But in his own time Doppler covered a wide range of musical activities, to which the flute was central. Son of an oboistcomposer, he made his debut as a flutist in Vienna at the age of thirteen, and soon began touring with his younger brother Karl as a flute duo that continued for many years. For two decades beginning in 1838, his base was Budapest, first as an orchestral flutist, and later as a composer of operas on Hungarian national themes, while the two brothers were also active in the establishment of the Hungarian Philharmonic Orchestra (1853). In 1858 Franz moved to Vienna, as first flutist at the Court Opera and later also conductor of its ballet. Here, he composed some fifteen ballet scores, and a German opera, Judith (1870), while also teaching flute at the Conservatory.
The fraternal virtuosity of the Doppler brothers is enshrined in a number of works for two flutes. In addition to the present Andante and Rondo, Franz's contributions include a Concerto in d minor, a Hungarian Duettino, and La Sonnambula: Paraphrase in Recollection ofAdelina Patli, while the brothers collaborated on still other works, among them a Fantasy and Variations on Themes from Rigoletto. In contemporary published editions, these works usually appear with piano
accompaniment, but orchestral performance would have been likely on occasion; "original" orchestrations may still lie buried in European theater archives, but in the meantime modern musicians have prepared scores to fill the gap. James Galway's version of the Andante and Rondo is modestly scored, for oboe, 2 clarinets, 2 bassoons, 2 horns, and strings. The solo writing of the Adagio, in the key of A Major, recalls the vocal style of Bellini's operatic duets, if often at a higher altitude; a more animated central section in a minor provides contrast. The initial key of the Rondo is a minor, which is intro?duced by trills in the orchestral winds; it later proceeds to a more lyrical episode in F Major, and eventually winds up in a bounc?ing C Major. The writing in this movement is more instrumental in character.
An American in Paris
Born September 26, 1898, in Brooklyn, New York
Died July 11, 1937, in Hollywood, California
Appropriately enough, the first idea for the tone poem An American in Paris came to George Gershwin in the City of Lights itself. With some time free after the Liverpool tryout of the musical Lady, Be Good on March 29, 1926, and its London opening, he visited his friends Mabel and Robert Schirmer (of the musicpublishing family) in Paris. As Mabel Schirmer tells it: "He had only the original, the walking theme -that first theme, the way An American in Paris starts. And I know that after that first theme, he was a little stuck. He said, 'This is so complete in itself, I don't know where to go next.' " Then, one day, instead of their usual round of sight?seeing or shopping, he asked Mabel to go with him to the Avenue de la Grande Armee, which she thought "not a very chic
street. In those days it had nothing but automobile parts and all the things that you need for automobiles. And so we went, up and down." In fact, Gershwin was looking for taxi horns -the focus of the work's second musical idea.
However, only two years later on a 1928 Parisian sojourn, following the final perfor?mance of Oh, Kay! in London on March 24, did Gershwin take the tone poem again, working on it during a busy social round that included meetings with such figures as Darius Milhaud, Maurice Ravel, Igor Stravinsky, Serge Prokofiev, and Francis Poulenc -and also another visit to the Avenue de la Grande Armee to buy more taxi horns. George and his brother Ira returned to New York on June 20, with a new show for Gertrude Lawrence (Treasure Girl) in the offing, but he finished the piano sketch of An American in Paris on August 1 and the orchestration on November 18. The piece had already been promised to Walter Damrosch, who led the premiere at Carnegie Hall on December 13, 1928, with what was then called the PhilharmonicSymphony Orchestra of New York. (The concert began with Cesar Franck's Symphony in d minor, and concluded with the "Magic Fire Music" from Wagner's Die Walkiire.) Later, Gershwin made his conducting debut with this work, at an outdoor concert in New York's Lewisohn Stadium on August 26, 1929.
Although the composer and writer Deems Taylor devised a detailed narrative of the work for the program of the premiere, the composer's simpler description is refreshingly less cumbersome:
This new piece, really a rhapsodic ballet, is written very freely and is the most modern music I've yet attempted. The opening part will be developed in typical French style, in the manner of Debussy and the Six, though the themes are all original. My purpose is to portray the impression of an American visi
tor in Paris, as he strolls about the city and listens to various street noises and absorbs the French atmosphere.
As in my other orchestral compositions I've not endeavored to represent any definite scenes in this music. The rhapsody is pro?grammatic only in a general impressionistic way, so that the individual listener can read into the music such as his imagination pictures for him.
The opening gay section is followed by a rich blues with a strong rhythmic under?current. Our American friend, perhaps after strolling into a cafe and having a couple of drinks, has succumbed to a spasm of homesickness. The harmony here is both more intense and simple than in the preced?ing pages. This blues rises to a climax, followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris. Apparently the home?sick American, having left the cafe and reached the open air, has disowned his spell of the blues and once again is an alert spectator of Parisian life. At the conclusion, the street noises and French atmosphere are triumphant.
Despite the denial of representation of definite scenes," Gershwin's twopiano version
of the work includes the following brief out?line, apropos the section preceding the blues: "Sees Girl; Meets Girl; Back to 24 -Strolling Flirtation; Into Cafe; Mix Love Theme with 24; Conversation leading to Slow Blues." Also worthy of note is the degree to which a number of the work's themes are related to the initial "walking theme": for example, its intervals are embedded in the middle of the first phrase of the blues melody. In addition to the taxi horns, the scoring includes a busy percussion group, while a trio of saxophones appears for the first time to accompany the blues section, remaining active for the remainder of the piece. Gershwin's study of orchestration -an art unknown to him until he began work on his 1925 Piano Concerto in F -has achieved considerable sophistication, reflecting study of, perhaps, the festive textures of Debussy's Iberia, as well as the sounds of American jazz.
An American in Paris is scored for 3 flutes (one alternating on piccolo), 2 oboes and English horn, 2 clarinets and bass clar?inet, 3 saxophones (alto, tenor, and bass), 2 bassoons; 4 horns, 3 trumpets, 3 trombones, and tuba; timpani, side drum, bass drum, tomtoms, cymbal, triangle, wood block, 4 taxi horns, bells, xylophone, celesta; and strings.
Program notes by David Hamilton
Flutist James Gahvay is inter?nationally regarded as both a matchless interpreter of the classical repertoire and a consummate entertainer whose charismatic appeal crosses all musical boundaries. His unique sound, superb musicianship, and dazzling virtuosity have made him one of the most respected and soughtafter per?forming artists of our time. Through his extensive tours, numerous bestselling RCA Victor Red Seal and RCA Victor recordings and videos, and frequent television appear?ances, he has reached vast and diverse audiences worldwide creating enthusiastic new fans for classical music. Mr. Galway's varied repertoire ranges from Bach, Vivaldi and Mozart to contemporary music, jazz and Irish folk melodies. In addition, he is continually broadening the flute literature through his many commissions of works by contemporary composers.
Mr. Galway has circled the globe many times, keeping his artistry fresh with a mixture of recitals, concerto appearances, chamber music, and master classes. He makes two major tours of North America during the 199495 season, including a series of recitals devoted to sonatas by Bach and Handel in New York, San Francisco, Washington D.C., Pittsburgh, Calgary, Pasadena, and Portland. Mr. Galway appears with orchestras in Dallas, Toronto and new Jersey, among other cities, performing flute concertos by William Bolcom and works by John Corigliano, Faure, Debussy, and Doppler. He also performs a recital with pianist Jose Feghali in Dallas.
European highlights this season include recitals at Kensington Palace in London, and concerts widi the Royal Scottish National Orchestra in Glasgow, Camerata Roman in Sweden, and the world premiere of a new flute concerto by George
Nicholson with the Tonhalle Orchestra in Switzerland. He also makes a spring recital tour with Phillip Moll to cities in Spain, Italy and Sweden, and appears in concert with I Solisti Veneti and the Malmo Symphony Orchestra. Mr. Galway concludes the 199495 season in Paris where he will perform William Bolcom's Flute Concerto with Leonard Slatkin and the Orchestre National de France.
An exclusive RCA Victor Red Seal artist, and one of the most prolific recording artists of our time, James Galway has won numerous awards for his recordings, including a Grand Prix du Disque, Record of the Year Awards from bodi Cash Box and Billboard magazines, a platinum record and several gold records. Recordings released this past season include Mozart's Concerto for Flute and Harp with Marisa Robles and the London Symphony Orchestra conducted by Michael Tilson Thomas. This recording is a companion to the new "Concerto!" television series, hosted by Dudley Moore, which was telecast in August 1993 both in Europe and the United States. Other recent recordings include The Seasons,"
featuring works by a wide variety of composers along with traditional Irish and Japanese music; and "Italian Flute Concertos, " with works by Pergolesi, Galuppi, Tartini, and others with I Solisti Veneti led by Claudio Scimone.
Mr. Galway's new releases during the 199495 season will include a recording of works for flute and clarinet by Danzi, with clarinetist Sabine Meyer and the Wurttemburg Chamber Orchestra. He will also be featured in an RCA Victor Red Seal recording entitled "Impressions," which includes Ravel's Introduction and Allegro and other works by Ravel and Debussy. A recording of Bach Sonatas with keyboardist Phillip Moll and viola da gamba player Sarah Cunningham is set for release in January 1995. "Wind of Change," a new RCA Victor disc of sixteen hit songs backed by a pop ensemble, was released in September 1994.
Mr. Galway has dazzled viewers with his virtuosity and engaging personality as host of his own holiday specials and as a regular guest on a variety of television programs including the "Tonight" show, 'Today" show, "Good Morning America," "CBS This Morning," "Sesame Street," and PBS's "Live from Lincoln Center."
James Galway was born in Belfast, Northern Ireland. After mastering the penny whistle, he began serious musical training on the flute, winning three top prizes at a local competition at age 12. He continued his studies at London's Royal College of Music and Guildhall School, the Paris Conservatoire and with famed flutist Marcel Moyse. A series of positions with leading British orchestras culminated in his appointment as Principal flute of the Berlin Philharmonic under Herbert von Karajan in 1969. After six years, Mr. Galway decided to establish a solo career, and within a year, had recorded his first four RCA LPs, played more than 120 concerts, and appeared as a
soloist with London's four major orchestras. In 1979, he was awarded the Order of the British Empire by Her Majesty Queen Elizabeth II for his musical contribution to society.
Tonight's May Festival concert marks Mr. Galway's ninth appearance under UMS auspices.
Michael Parloff has been principal flutist of the Metropolitan Opera Orchestra since 1977, and is also heard regularly as a recitalist and concerto soloist throughout the United States and Japan. In 1988 he was awarded the National Endowment for the Arts Solo Recitalist Grant, which funded a major recital for flute with orchestral accompaniment at Lincoln Center's Alice Tully Hall. Last summer he was a featured soloist in concerts on board the Vistafjord cruise ship in a tour of the Baltic Sea coun?tries.
Mr. Parloff is also heard regularly as a chamber musician, making frequent appear?ances with the Chamber Music Society of Lincoln Center, Music from Marlboro, and Bargemusic.
Also wellknown as a teacher, he has been invited to present master classes at major conservatories and university music schools in the United States and Japan. He has been a member of the flute faculty at the Manhattan School of Music since 1985.
During the summers he has been principal flutist, soloist, and faculty member at a variety of music festivals, including Marlboro, Waterloo, Grand Tetons, Monadnock, Chautauqua, and Crested Butte. His solo CD, The Flute Album released in 1993 on E.S.SAY, surveys 200 years of classic repertoire for the instrument.
Tonight marks Mr. Parloff's UMS solo debut.
Clkoral Union oeries
Cecilia Bartoli, mezzosoprano Steven Blier, piano
Bolshoi Symphony Orchestra Alexander Lazarev, conductor Boris Berezovsky, piano
Gil and Orli Shaham, violin and piano duo
St. Louis Symphony Leonard Slatkin, conductor
St. Petersburg Philharmonic Yuri Temirkanov, conductor Pamela Frank, violin
Boston Symphony Orchestra Seiji Ozawa, conductor
San Francisco Symphony Michael Tilson Thomas, conductor
Garrick Ohlsson, piano The Complete Solo Piano Music of Frederic Chopin Grand FinalelRecital VI)
University Musical Sc
of the U n i v e r:
ciety 19951996 Season
i t y of Michigan
Slide Hampton and the
Big Band Bird: A 75th Birthday Celebration of Charlie Parker
Master Musicians of Jajouka featuring Bachir Attar
Central Ballet of China
Paco de Lucia's Flamenco Master Guitar Sextet
Marcus Roberts Trio & Septet An Evening of Gershwin
The Choral Music of Arvo Part Estonian Philharmonic Chamber Choir Tallinn Chamber Orchestra Tonu Kaljuste, conductor
Maurice Sendak's and Carole King's Really Rosie (A Musical For Families)
Boys Choir of Harlem
The Guthrie Theater
Impressions from Kafka's
The Guthrie Theater Pinter's Old Times
Wynton MarsalisLCJO Nonet Monk, Morton, and Marsalis
Feel the Spirit --
An Evening of Gospel Music The Blind Boys of Alabama featuring Clarence Fountain, The Soul Stirrers, and Inez Andrews
The King's Singers
Latin Jazz Summit Tito Puente, Arturo Sandoval, and Jerry Gonzalez and The Fort Apache Band
New York City Opera National Company Verdi's La Traviata
All Series On Sale Nowl
Renewals Due June 2.
Israel Philharmonic Zubin Mehta, conductor
Gluck's Orfeo ed Euridice Mark Morris Dance Group Handel & Haydn Society Orchestra and Chorus Christopher Hogwood, conductor
amlber Arts Oeries
Australian Chamber Orchestra Barry Tuckwell, horn
Chamber Music Society of Lincoln Center
Tafelmusik A Celebration of Purcell
Juilliard String Quartet
Moscow Virtuosi Vladimir Spivakov, conductor & violin
Tokyo String Quartet Pinchas Zukerman, violin
Borodin String Quartet Ludmilla Berlinskaya, piano
Ensemble Modern John Adams, conductor, featuring the music of John Adams and Frank Zappa
Sequentia The Music of Hildegard von Bingen
John Williams, guitar
Alvin Ailey American Dance Theater
Guitar Summit II
Kenny Burrell, jazz; Manuel Barrueco, classical; Jorma Kaukonen, acoustic blues; Steve Morse, rock
The Canadian Brass
Bach's bminor Mass UMS Choral Union, The Toledo Symphony Thomas Sheets, music director and conductor
Tallis Scholars Ravi Shankar, sitar
iO2nd Ann Arbor May Festival
Gala Celebration Dinner
honoring James Galway
The Ford Motor Company
Saturday Evening, May 13, 1995 at 6:30
Horace C. Rackham Building Ann Arbor, Michigan
The Michele Ramo Latin Jazz Group
Michele Ramo, guitarviolin Marcus Belgrave, trumpet Phil Lasley, alto saxophone Heidi Hepler, vocals
Ian Smith, pianokeyboard Kurt Krahnke, bass Roy Brooks, drumsmusical saw Jamie Rusling, percussion Jerry LeDuff, percussion
The Arts meet tonight in a Gala Celebration of the senses, replete with the tastes of fine food and wine, the sights of colorful art, and the sounds of Latin jazz. The evening begins with cocktails in the Rackham Lobby at 6:30, then proceeds to the Rackham Reading Room at 7:30 for a dinner honoring James Galway. And at 9:30, join old friends and new on the fourth floor of the Rackham Building to dance to the hot sounds of the Michele Ramo Latin Jazz Group.
o2nd Ann Arbor May Festival
May Festival Committee
Maya Savarino, Chair Margaret McKinley, Decorations
Sue Ullrich, Gala Chair Matthew Hoffman, Entertainment
Ellen Stross, Invitations Jim Telfer, Wine
Special thanks to Bruce Kulp, Leo Brennan, Martin Zimmerman, Jack Martin, and the Ford Fund for helping to make these May Festival events possible.
Thanks to Gerome Kamrowski whose sculptures inspired the theme of this year's Gala and to Clifton McChesney and art students from the Ann Arbor Public School for their artwork.
Additional entertainment provided by Steven Springer and Caribbean Casino, dancers Peter Sparling and Lisa CatrettBelrose, and the Community High Jazz Band.
guitarist, violinist, mandolinist and composer, is one of the most versa?tile musicians per?forming for the public today. He was born in Mazara del Vallo, Italy in 1964. At the age of thirteen, he began his musical studies and earned his Masters Degree in violin with highest honors in 1985 from the Conservatory of Caltanissetta in Italy. In 1982, he recorded for R.A.I., the Italian Radio Network, and toured most of Europe with The National Philharmonic of Tirreno, Le Juness du Meditarrane, The Lyric Symphonic Orchestra of Teatro Massimo and the Sicilian Symphonic Orchestra. He also has toured extensively in Europe as a recitalist. Michele Ramo's advanced studies were with the world's top guitarists, among them Joe Pass, Alirio Diaz, Charley Byrd and Carlos BarbosaLima. He has released five albums under his own MRG Records Label: Tina, a compilation of American show tunes, Neapolitan songs, and Brazilian classics; Essence of Romance, which showcases Michele's "specialty" of ingenious compositions in the Classical and Latin styles; Jealousy, a compila
tion of singular arrangements of popular and original songs; Live at Kerrytown, a oneofakind live performance of the Michele Ramo Latin Jazz Quartet; and Earth and Sun, a duo performance with Canadian percussionist Jamie Rusling. His own Ramo Music Publishing has recently published The Art ofBossa Nova, a collection of eight inven?tive compositions for all instruments, and The Art of Latin Rhythms. At Christmas, 1993, Michele composed and performed the music for the film, The Nutcracker pro?duced at the Detroit Institute of Art. His career is now centered in the United States and Canada.
Lately, Michele has appeared with great accolades in prestigious festivals and clubs as a soloist, with the Marcus Belgrave Quintet, and with his own Latin Jazz Group. His programs feature his innovative works which the critics characterize as "Music from the heart and soul of a true artist." Since 1989, Michele has performed with "Omniarts in Education, Inc. (Academic excellence dirough the Arts). On February 22, 1993, Michele received the Best Acoustic Guitar Award and was winner of the Jazz Hall of Fame Award, presented by Metropolitan Music Cafe and Record Time during the 1st Annual Jazz Awards of Metropolitan Detroit. More recendy, Michele has appeared in die 1994 Montreux Detroit Jazz Festival and the 1993 and 1994 University Musical Society Ann Arbor May Festivals. In addition, his music has been broadcast live on WDET, WEMU, WCBN, WCAR, and WQRS. Currently, he continues to perform and write.
Tonight's performance marks Michele Ramo's third consecutive May Festival performance.
eidi Hepler, interna?tionally acclaimed as a singer and lyricist, is one of the most versatile vocalists performing today. Her versatility reflects diverse musical influences, from church music to classical music and from Latin American music to pop and jazz. Heidi's crystal clear voice has an incredible range of three and onehalf octaves, and her classical training and professional develop?ment enable her to create an unusual variety of vocal sounds ranging from natural to ethereal. Her creative impulse has led her to press the limits of her classical training, and the result is unique vocal music that is sometimes songfull or percussive, or hauntingly beautiful and always distinctive and unusual. Since her music incorporates vocal improvisation, each performance of Heidi's is a new work of art.
Born in Lansing, Michigan, Heidi began musical studies at the age of nine, sang in a church choir in her youth and studied cello. She received advanced vocal training with Marjorie Gordon in Detroit,
Seth Riggs in Los Angeles, and Sue Seaton in New York. She attended the University of Michigan Opera Theater and the Interlochen National Music School.
Trained as an actress as well as vocalist, Heidi has appeared in opera, light opera and musical comedy. Her credits include La Boheme, Dido and Aeneas, Naughty Marietta, Brigadoon, Carousel, and The Fantastics. As beautiful as she is talented, Heidi captured the Miss Michigan title in 1980. She has toured the United States, Europe, Australia, and Canada. Her repertoire include works in Italian, German, French, Spanish, Hebrew, and Portuguese.
She has appeared as a soloist at Orchestra Hall in Detroit, and performed with the Michigan Opera Theater, the Piccolo Opera Company, the Comic Opera Guild of Ann Arbor, the National Opera Theater, the National Theater Association, the University of Michigan Opera Theater, The Dearborn Symphony Orchestra and the Livonia Symphony Orchestra. Heidi lived and performed in Rome, Italy, from 1990 to
1993, and was a featured artist at the 1991 Rome Jazz Festival.
Heidi has performed live radio broad?casts on WDET, WJR, WQUS, and WEMU. In addition, she was featured with Michele Ramo and the Ramo Latin Jazz Group in
1994, at the University of Michigan Musical Society's May Festival, and the 1994 Montreux Detroit Jazz Festival. She also lends her singular voice to radio and televi?sion advertising commericials for many major corporations.
Heidi Hepler makes her third May Festival appearance in this evenings performance.
k n internationally
V :k claimed trumpet
master and educator,
L Marcus Belgrave was
mmmk chosen as the recipienl m L oi Arts Midwest's fuzz
JL. mJKtm Wiisln Aii'anl I'm 1991.
This award is presented for outstanding artistry as a performer and educator, life?long achievements in jazz, and continuous contributions to the community. It is this ability to combine performance, education, and commitment to the future of jazz through community programs that makes Marcus Belgrave unique. As a performer heard worldwide at Jazz Festivals and con?certs, and as a featured artist on hundreds of records, Marcus has developed a reputa?tion for knowing exactly what to do with any musical challenge he encounters.
Pianist Geri Allen, bassist Bob Hurst, percussionist and composer Lawrence Williams, and alto sax player Kenny Garrett consider Marcus Belgrave their teacher and mentor. A 1991 New York Times article quot?ed Geri Allen as saying, "I remember one of my early gigs with Marcus. We were playing on the roof of a hotel. I didn't know the music, so I brought charts to play from. Before I could play a note, the wind blew them away. Marcus just put away his trum?pet and played all my parts on the piano."
Marcus is cofounder of the Jazz Studies Program at the Detroit Metro Arts Complex, was an original member of the faculty at the Oakland University Jazz Studies Program and founder of the Jazz Development Workshop in Detroit. He
spent the last two decades in Detroit work?ing to develop aspiring musicians and orga?nizing community programs to perpetuate jazz and its legacy.
Marcus was born into a family of musi?cians in Chester, PA, in 1936. He received his first trumpet at the age of 6 and began to accompany his father to band rehearsals and concerts. By the age of 12, Marcus was reading and transposing music and was already a member of the musician's union. At the age of 18, Marcus Belgrave began his famed collaboration with the legendary Ray Charles Band.
During his distinguished career, Mr. Belgrave has performed and recorded with many legendary musical giants including Ella Fitzgerald, Max Roach, Charles Mingus, Sammy Davis, Jr., Tony Bennett, Eric Dolphy, Aretha Franklin, Roy Brooks, Eddie Jefferson, Wynton Marsalis, McCoy Tyner, and the "Father of BeBop," Dizzy Gillespie.
Marcus has collaborated with drummercomposer Lawrence Williams since 1976. The ensemble featuring original composi?tions and arrangements is currently the focus of his attention. A tour and recording projects are under development. The Marcus Belgrave Songbook, published by
EDMARSYL Publishing Company, with com?positions by Lawrence Williams is now avail?able. Many of the compositions have been recorded by Marcus and Geri Allen as well as other jazz artists.
In New York City, Marcus performs with the Classical Jazz Orchestra under the artis?tic direction of Wynton Marsalis and the musical direction of David Berger thrilling audiences at Lincoln Center. Recent recordings include The Nurturer with Geri Allen, Kirk n' Marcus with the Kirk Lightsey Quintet, and David Murray's latest, Black & Black. Marcus's performances at Bradley's are legendary among New York musicians and devotees. Wynton Marsalis keeps returning there to sit in, expressing in his playing and demeanor the love and admira?tion for Marcus shared by hundreds of other young musicians through the years, and in the hearts of music lovers every?where.
Marcus Belgrave plays jazz that reflects many years of experience--a mature approach with a swing and depth of expres?sion that makes him one of the most impor?tant trumpet stylists of our time.
This evening's performance marks Marcus Belgrave's May Festival debut.
The Detroit Symphony Orchestra
NeemeJarvi, Music Director Leslie B. Dunner, Resident Conductor
LAN Shui, Assistant Conductor
Jerzy Semkow, Conductor
Edith Wiens, Soprano Florence Quivar, Mezzosoprano
University Musical Society Choral Union Thomas Sheets, Director
The Ford Motor Company
Sunday Afternoon, May 14, 1995 at 4:00
Hill Auditorium Ann Arbor, Michigan
To adhere to Mahler's wishes, as expressed in his original score, please observe a moment of reflective silence between the music of the first and second movements.
Symphony No. 2 in c minor ("Resurrection")
Allegro Maestoso (Mit durchaus ernstem und feierlichem Ausdruck)
@@@@Andante Moderato (Sehr gemachlich; Nie eilen) In ruhig fliessender Bewegung
"Urlicht," aus des Knaben Wunderhorn: Sehr feierlich, aber schlicht (Choralmassig)
Im Tempo des Scherzo's (Wild herausfahrend)
Edith Wiens, soprano
Florence Quivar, mezzosoprano
University Musical Society Choral Union
SixtyFourth Concert of the 116th Season
102nd Ann Arbor May Festival
Special thanks to Bruce Kulp, Leo Brennan, Martin Zimmerman, Jack Martin, and the Ford Fund for helping to make these May Festival performances possible.
Thanks to Jim Leonard, Manager ofSKR Classical, speaker in this afternoon's Philips Educational Presentation.
The DSO can be heard on Chandos, London, RCA, Columbia, and Mercury Records.
Large print programs are available upon request from an usher.
Symphony No. 2 in c minor ("Resurrection")
Bom July j, i860 in Kalist, Bohemia
Died May 18, ign in Vienna
Mahler composed Symphony No. 2 between 1887 and 1894. He led the first performance with the Berlin Philharmonic on December 13, 1895, in Berlin. Richard Strauss led the Berlin Philharmonic in a performance of the first three movements on March 4, 1895. The score calls for solo soprano and mezzosoprano, and chorus with an orchestra of four flutes, four piccolos, four oboes, two English horns, five clarinets, bass clarinet, four bassoons, two contrabassoons, ten horns, eight trumpets, four trombones, tuba, two timpani, bass drum, military drum, triangle, cymbals, high tamtam, low tamtam, rute, glockenspiel, three low bells of indeterminate pitch, two harps, organ, and strings (duration: 80 minutes).
Mahler began work on what would become his Second Symphony in 1888, within a few months after the completion of his First. At this stage, the opening movement bore the title Todtenfeier (Funeral Rite), as well as the designation, Symphonie in c moll I. Satz (Symphony in c minor 1st movement). For five years, diis torso stood alone and there must have seemed little prospect of it ever being added to. When Mahler was called to Hamburg in 1891, to succeed Hans von Bulow as conductor of the Philharmonic, he played die Todtenfeier for Bulow at die piano. The reaction was not die one he expected:
"I play, " Mahler wrote to his friend Josef Foerster. "After a little while I turn around again. Bulow is sitting at the table holding his ears. The whole scene is repeated: I stop, playing, again he urges me to continue .... When I had finished I awaited the verdict
silently. But my only listener remained long at the table silent and motionless. Suddenly he made an energetic gesture of rejection and said: 'If that is music then I do not understand a single thing about music.'
In spite of Bulow's scathing reaction the symphony progressed -two more move?ments were added in the summer of 1893 -but still Mahler could not finish it. Was the reason, as psychoanalyst Theodore Reik suggests in his book, The Haunting Melody, that the Second Symphony became entangled with Mahler's ambivalent feelings about Bulow, and that the work could be completed only when those feelings were resolved
Circumstances suggest as much. Bulow died in February 1894, and it was at a memorial service for him on March of that year, in St. Michael's Church in Hamburg, that the light dawned for Mahler. Before the funeral oration, the boys' choir of the church had sung a chorale setting of Klopstock's Resurrection Ode. That afternoon, Foerster found Mahler in his study.
" opened the door and saw him sitting at his xinitingdesk, his head lowered and his hand holding a pen over some manuscript paper, " Foerster wrote. "I remained standing in the doorway. Mahler turned to me and said: 'Dear friend, I have it!'
I understood. As if illuminated by a mysterious power I answered: 'Auferstehen, ja auferstehen wirst du nach kurzem Schlaf...1
Mahler looked at me with an expres?sion of extreme surprise. I had guessed the secret he had as yet entrusted to no human soul: Klopstock 's poem, which that morning we had heard from the mouths of children, was to be the basis for the closing movement of the Second Symphony. "
One movement remains unaccounted for: the setting of the Wunderhom poem "Urlicht." Mahler was occupied at this time with the setting of Wunderhom texts, and a version of this song for voice and piano dates from the summer of 1893. At what point Mahler decided to incorporate it into the Second Symphony, as a sort of prelude to the finale, is uncertain. In any case, the symphony did not have a fixed overall shape until the finale was complete. Only then could the composer draw together the creative threads he had woven, sometimes uncon?sciously, over the previous six years.
The first movement, according to Mahler, represented die funeral of the Titan of his First Symphony. Its Beethovenian ancestry is obvious -bodi the reminiscence of key and rhydim from the slow movement of the Eroica, and die gradual emergence of a theme ex nihilo, as in the Ninth. Formally,
it is entirely regular, with a long, crowded, but remarkably clear exposition, a brief development, and a neady compressed recapitulation.
After the first movement, the composer specifies a pause of at least five minutes. The hero is buried, but the questions of his life remain: "What now What is this life -and this deadi Do we have an existence beyond it Is all this only a confused dream, or do life and this death have a meaning -And we must answer this question if we are to live on." So wrote die composer in a pro?gram note for a performance of the sym?phony in Berlin in 1901.
The three succeeding movements, Mahler explains, are intermezzos: the "Andante Moderato," "a happy moment from die life of his beloved departed one, and a sad recollection of his lost youth and innocence"; die Scherzo, a fit of depression,
in which "the world and life become for him a disorderly apparition" (this is an orchestral version of the Wunderhorn song about St. Anthony's sermon to die fish); and in "Urlicht," "the moving voice of naive faith sounds in his ear."
The finale, says Mahler, takes up die questions left unanswered in die first move?ment, proposing die final answer: resurrec?tion. All die sounds of nature and humanity are here, to be touched by the transfiguring hand of die Creator Spiritus. Mahler may have been caught up in endiusiasm as he wrote his program note, but so, inevitably, is the listener:
"There appears the glory of God! A wonder?ful gentle light permeates us to our very heart -all is quiet and blissful! -And behold: there is no judgment -There is no punishment and no reward! An almighty feeling of love illuminates us with blessed knowing and being!"
Program notes by Michael Fleming
from Des Knaben Wunderhorn Brentano and Arnim
O Roschen rot,
Der Mensch liegt in grosster Not! Der Mensch liegt in grosster Pein! Lieber mocht' ich im Himmel sein.
Da kam ich auf einem breiten Weg Da kam ein Engelein und wollt'
Ach nein! Ich liess mich nicht abweisen. Ich bin von Gott und will wieder zu Gott. Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!
"Resurrection Ode" Klopstock
Aufersteh'n, ja aufersteh'n wirst du,
mein Staub, nach kurzer Ruh!
Unsterblich leben Wird der dich rief dir geben.
Wieder aufzubluhn wirst du gesat!
Der Herr der Ernte geht und sammelt
Garben Uns ein, die starben.
O glaube, mein Herz es geht dir nichts verloren!
Dein ist, dein, ja dein, was du ersehnst!
Dein was du geliebt, was du gestritten!
O glaube: du warst nicht umsonst geboren!
Hast nich umsonst gelebt, gelitten!
Was enstanden ist, das muss vergehen!
Was vergangen, aufersteh'n!
Hor auf zu beben! Bereite dich zu leben!
O Schmerz, du Alldurchdringer! Dir bin ich entrungen. O Tod, du Allbezwinger! Nun bist du bezwungen.
0 rosebud red,
Mankind lies in greatest need! Mankind lies in greatest woe!
1 would rather be in heaven.
Then I came upon a broad path
There came an angel who tried to turn me
But no! I did not let him turn me back.
I am from God and will return to God.
The dear Lord will give me a little light,
Will light my way to eternal, blessed life!
Rise again, yes, thou shalt rise again,
my dust, after a short rest!
Immortal life will
He give who called thee.
Thou wast sown to bloom again!
The Lord of the harvest goes and gathers
in the sheaves: gathers us, who have died.
O believe, my heart, nothing shall be
lost to thee! Thine it is, thine, yes thine,
what thou hast longed for! Thine what thou hast loved,
what thou hast striven for! O believe: thou wast not born in vain! Thou has not lived, suffered, in vain! What has arisen must pass, What has gone must arise! Cease to tremble! Prepare thyself to live!
O everpresent suffering, I have escaped thee! O allconquering Death, now art thou conquered!
Conductor Jerzy Semkow has gained an interna?tional reputation through his appearances with the world's leading orchestras and opera companies. His conduct?ing posts have included tenures as Music Director of the Saint Louis Symphony, as Principal Conductor of the Royal Danish Opera and the Royal Danish Orchestra in Copenhagen, as Music Advisor and Principal Conductor of the Rochester Philharmonic, as Music Director of the Orchestra of RadioTelevisione Italiana (RAJ) in Rome, and as Artistic Director of the National Opera in Warsaw.
Maestro Semkow has conducted the Berlin Philharmonic, the Orchestre National de France, the Orchestre de Paris, and the National Orchestra of Belgium, as
well as the principal orchestras of London, Vienna, Stockholm, Madrid, Frankfurt, Monte Carlo, Moscow, St. Petersburg, Milan, Rome, Florence and Jerusalem, among other music centers. In the United States, he has led the New York Philharmonic, the National Symphony of Washington, DC, the Chicago, Dallas, and Pittsburgh symphony orchestras, the Cleveland Orchestra, and the symphonies of Boston, Detroit, Atlanta, Baltimore, Cincinnati, Houston and others.
As an operatic conductor, Maestro Semkow has been equally successful. His engagements have included productions at the Teatro alia Scala in Milan, the Royal Opera House at Covent Garden, the Grand Theatre of Geneva, the Maggio Musicale in Florence, La Fenice in Venice, the Teatro del Opera of Rome and the AixenProvence Festival with the Orchestre de Paris, where he conducted all of Mozart's later operas. He also conducted a performance of Haydn's Creation at the Vatican in the pres?ence of the Pope, telecast by Eurovision throughout Europe.
Maestro Semkow's discography includes the first complete original version
of Mussorgsky's Boris Godunov for EMI. This recording has been honored with several international awards including France's Grand Prix du Disque, Germany's Schallplattenpreis, Italy's Grand Prix of Music Critics and a Grammy Award nomina?tion. Also for EMI, he has recorded Borodin's Prince Igor with Boris Christoff and the National Opera of Sofia. Among his other recordings are all of the major orchestral works by Tchaikovsky and Brahms, the last ten Mozart Symphonies with the National Philharmonic of Warsaw, and Scriabin's Symphony No. 2 and Symphony No. 3 (Divine Poem) with the London Philharmonic. With the Saint Louis Symphony he has recorded RimskyKorsakov's Scheherazade, Schumann's four symphonies and Manfred Overture, excerpts from Wagner operas, and works for orches?tra and chorus by Beethoven, which earned a Grammy nomination. His recordings of Mozart's Symphonies K. 319 and 425 won him a Golden Disc Award.
Maestro's Semkow's early musical edu?cation was enhanced, and his horizons broadened, by his contact with such musical mentors as Bruno Walter, George Szell, Tullio Serafin and Erich Kleiber. Maestro Semkow was the assistant to the Leningrad Philharmonic's longtime Music Director Evgeny Mravinsky. He conducted that famous orchestra (now the St. Petersburg Philharmonic) on numerous occasions, and later spent two years in Moscow conducting some 100 performances of the Bolshoi Theater.
Born in Poland, Jerzy Semkow is a citi?zen of France and resides in Paris.
This afternoon's May Festival concert marks Maestro Semkow's UMS debut.
Canadian Soprano Edith Wiens is regularly invited to collaborate with the world's foremost conduc?tors and orchestras. Her versatile voice and assured musicality are ideally suited to an astonishingly vast reper?toire, from the baroque to the contemporary. She has performed with the New York, Berlin, London, Munich and Israel Philharmonics; the Boston, Chicago, Dallas, Adanta, Toronto and San Francisco Symphonies; and under such distinguished conductors as Daniel Barenboim, Herbert Blomstedt, Sir Neville Mariner, Seiji Ozawa and Sir Georg Solti. In addition, she per?formed die Mahler Symphony No. 4 on the Orchestre de la Suisse Romande's Japanese tour; Benjamin Britten's Les Illuminations at New York's Carnegie Hall, Boston's Symphony Hall and die Kennedy Center; and was guest soloist for die Leipzig Gewandhaus Orchestra's recent European tour, Kurt Masur conducting.
Ms. Wiens has given acclaimed recitals in Paris, Vienna, Berlin, Moscow, and has appeared at the Salzburg, Tanglewood,
Dresden, and Montreaux Festivals. Her operatic performances include Glyndeborne, La Scala, and the Teatro Colon. Ms. Wiens is a recipient of both Grammy and Diapason d'Or Awards.
Mi. Wiens makes her UMS debut in this May Festival performance.
enowned for her vibrantly rich mezzosoprano, Florence Quivar is considered one of America's most distinguished artists, i A singer of international stature, she is a regular guest of die world's leading opera companies, orchestras and music festivals.
A perennial favorite of New York audi?ences, Miss Quivar has enjoyed many seasons at die Metropolitan Opera. She has appeared in major roles in Oedipus Rex, Dialogues des Carmelities, Porgy and Bess, and
the telecast performance of Un Ballo in Maschera. This season, she appeared in the Gala Opener at the Met in the role of Frugola in Tabarro, which was nationally televised on PBS.
Miss Quivar has also appeared with com?panies such as the Los Angeles Music Center Opera, Teatro Colon de Buenos Aires, the Salzburg Festival, and Teatro Comunale di Bologna, among others. She has collaborated with the leading conductors of our time including Leonard Bernstein, Pierre Boulez, James Levine, Riccardo Muti, Andre Previn, and Zubin Mehta. She has appeared with the Chicago, San Francisco, Boston and National symphonies; the London, Philadelphia, and Czech Philharmonics; and L'Orchestre de Paris; and she has toured the festivals of Caracas, Salzburg, Lucerne, London, and Florence with Zubin Mehta. Festival appearances include Lincoln Center's Mosdy Mozart Festival, Japan's Saito Kinen Festival, Ravinia and Tanglewood.
Her impressive discography includes a solo album of spirituals, and many acclaimed recordings with major orchestras of die works of Verdi, Rossini, Mahler and Berlioz, on the SONY, AngelEMI, Deutsche Grammophon and London labels.
A native of Philadelphia, Florence Quivar is a graduate of the Philadelphia Academy of Music, and a former member of the Juilliard Opera Theater. She is a winner of the National Opera Institute Award, the Baltimore Lyric Opera Competition, and the Marian Anderson Vocal Competition.
This May Festival concert is Ms. Quivar's second performance under UMS auspices.
Currently in its 80th season as an ambassador for the city of Detroit and the state of Michigan throughout the world, the Detroit Symphony Orchestra offers a wide variety of activities which add to the enjoy?ment, enrichment, and education of all who are touched.
Heard live by over 400,000 people annually, the Orchestra's yearround perfor?mances include twentysix weeks of classical subscription concerts, the Pops Series, the annual Christmas Festival featuring The Nutcracker ballet at the Fox Theatre, The Detroit NewsTzrger Young People's Concerts, and annual tours. A diverse summer season includes a residency with the spectacular Joffrey Ballet at the Fox Theatre, outdoor concerts at Greenfield Village, a twoweek festival at Orchestra Hall, free concerts at metropolitan parks, and a weeklong residency at the Interlochen Center for the Arts.
Among the educational activities the Orchestra offers are the free Educational Concert Series, Detroit Symphony Civic Orchestra concerts, the DSO Fellowship Program for AfricanAmerican musicians, a Docent and Student Ticket Distribution Program, and the annual Unisys AfricanAmerican Composers Forum and Symposium.
Music Director since September 1990, worldrenowned conductor Neeme Jarvi is one of today's most recorded and respected conductors. With the DSO, Mr. Jarvi has released eight discs to date for Chandos Records for distribution on six continents. Their first disc, containing American music, was critically acclaimed and appeared on the Billboard magazine Top Classical Albums chart for 14 weeks. Neeme Jarvi's historic 100th release for Chandos was also the DSO's second in the American Series. Receiving tremendous exposure and critical acclaim,
this disc also climbed the Billboard charts, and Mr. Jarvi and the DSO were featured on the cover of numerous international record magazines, including Gramophone, CD Review, Fanfare, Luister, and Diapason.
Their January 1993 release contains works by two of this century's most important AfricanAmerican composers, William Grant Still and Duke Ellington, and was named "Best of the Month" by Stereo Review magazine in July 1993. The Orchestra's distinguished history of recording dates back to 1928 and also includes awardwinning discs on the London, Columbia, RCA, and Mercury Records labels.
The DSO continues its long history of national radio broadcasts, which includes participation in the first complete symphonic radio broadcast in 1922. That same year it became the first official radio broadcast orchestra in the nation. Through the generous support of General Motors Corporation, the DSO will be heard this season on close to 460 radio stations nationwide, reaching up to 800,000 listeners weekly -more than any other American orchestra. The October 1992 live European radio broad?cast of American works with Mr. Jarvi and the DSO was a huge success and was heard by over 25 million listeners.
The Orchestra has toured extensively in its history, both in Michigan and around the country, as well as two highly acclaimed European tours: in 1979, appearing in twentyfour cities, and 1989, with concerts in fourteen music capitals. The Orchestra and Mr. Jarvi returned this season to legendary Carnegie Hall in New York for a concert on April 23. Since its first appearance there on December 8, 1920, the Orchestra has returned thirtythree times, the most recent being a soldout concert on November 4, 1991, with Neeme Jarvi.
77fis season's May Festival marks the Detroit Symphony Orchestra's 74th performance under UMS auspices.
The Detroit Symphony Orchestra
Neeme Jarvi, Music Director
Music Directorship endoived by the Kresre Foundation
Leslie B. Dunner, Resident Conductor Lan Shui, Assistant Conductor Erich Kunzel, Pops Music Advisor
First Violins Emmanuelle Boisvert
Kutherine Tuck Chair John Hughes
Associate Concertmaster Joseph Goldman
Walker L CislerDetroit
Edison Foundation Chair Laurie Landers
Concertmaster Beatriz Budinszky Marguerite Deslippe
Derek Francis Alan Gerstel Elias Friedenzohn Malvern Kaufman Bogos Mortchikian Linda SneddenSmith Ann Strubler LeAnn Toth Margaret Tundo
Geoffrey Applegate+ Adam Stepniewski++ Alvin Score Lillian Fenstermacher Ronald Fischer Lenore Sjoberg Walter Maddox Roy Bengtsson Thomas Downs Robert Murphy Felix Resnick Bruce Smith Joseph Striplin James Waring
Alexander Mishnaevskit James Van Valkenburg++ Philip Porbe Manchin Zhang LeRoy Fenstermacher Hart Hollman Walter Evich Gary Schnerer Catherine Compton David Ireland Glenn Mellow Romona Merritt
Violoncellos llalo Babini+
Jamti C, Gordon Chair Marcy Chanteaux++ John Thurman Mario DiFiore Robert A. Bergman Barbar Hassan Debra Fayroian Carole Gatwood Haden McKay Paul Wingert
Robert Gladstone+ Stephen Molina++ Maxim Janowsky Linton Bodwin Stephen Edwards Craig Rifel Marshall Hutchinson Richard Robinson
Patricia MasriFletcher+ Winifred E. Polk Chair
Women 's Association for
the DSO Chair Shaul BenMeir Phillip Dikeman++ Jeffery Zook
Donald Baker+ Shelley Heron Brian Veniura++ Treva Womble
English Horn Treva Womble
Clarinets Theodore Oien+
Robert B. Semple Chair Douglas Cornelsen Laurence Liberson++ Oliver Green
EFlat Clarinet Iaurence Liberson
Bass Clarinet Oliver Green
Robert Williams+ Victoria King Paul Ganson++ Marcus Schoon
Eugene Wade+ Bryan Kennedy Corbin Wagner Willard Darling Mark Abbott++ Keith Vernon
Trumpets Ramon Parcells+ Devin Good Stephen Anderson++ William Lucas
Trombones Nathaniel Gurin= Joseph Skrzynski Randall Hawes
Salvatore Rabbio+ Robert Pangborn++
Robert Pangborn+ Norman Fickett++ Sam Tundo Douglas C. Cardwell
Elkhonon Yoffe Charles Weaver, Assistant
Mil li.nl . Mi (iilli.ii v Personnel and Operations Manager
Stephen Molina, Associate Personnel Manager
++ Assissiant Principal
= Acting Principal
= = Acting Assistant Principal
These members may voluntat ilv i evolve seating within the section on a regular basis.
Chairman of the Board
Alfred R. Glancy III
, he University Musical I Society Choral Union,
Thomas Sheets, con?ductor, has performed throughout its 116year history with many of the world's distinguished orchestras and conductors.
In recent years, the chorus has sung under the direction of Kurt Masur, Eugene Ormandy, Robert Shaw, Neeme Jarvi, Igor Stravinsky, Andre Previn, Michael TilsonThomas, Seiji Ozawa and David Zinman in performances with the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Detroit Symphony Orchestra, and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society, the University Choral Union remains best known for its annual performances of Handel's Messiah each December. Last year, the Choral Union has further enriched that tradition through its appointment as resident large chorus of the Detroit Symphony Orchestra (DSO). In addition, in January, 1994 the Choral Union collaborated with Maestro Jarvi and die DSO in the chorus' first major commercial record?ing, Tchaikovsky's Snow Maiden, released by Chandos Records last fall. This season, the ensemble joined forces once again with the DSO for subscription performances of Ravel's complete ballet music from Dapknis and Chloe. This spring, in additon to collab?orating with the DSO under the direction of Jerzy Semkow in performances of Mahler's Symphony No. 2, the Choral Union per?formed Britten's War Requiem with the Toledo Symphony.
The long choral tradition of die University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled die birdi of the University Musical Society. Participation
in the Choral Union remains open to all by audition. Representing a mixture of towns?people, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
An accomplished and versatile conductor whose achievements in community chorus leadership, academic instruction, and opera place him in the forefront of all areas of choral artistry, Thomas Sheets was appointed Music Director of the University Musical Society Choral Union in 1993. He is the tenth conductor to hold this position in the ensemble's 116year history.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William Hall Chorale and the Master Chorale of Orange County, both conducted by his mentor, the distinguished choral conductor William Hall. During that time, he assisted in preparing all the choralorchestral works in the current repertoire, in some instances for performances led by Robert Shaw, Jorge Mester, Joann Faletta, and Michael TilsonThomas. In 1988, he served as chorusmaster for Long Beach Opera's highlyacclaimed American premiere of Szymanowski's King Roger, where his efforts on behalf of the chorus received accolades from critics on four continents. He was engaged in the same role in 1992 for that company's avantgarde staging of Simon Boccanegra, where the chorus again received singular plaudits.
Thomas Sheets received the degree Doctor of Musical Arts from die University of Eichenberger; he has also studied voice with Michael Sells, Jonathan Mack, and Thomas Cleveland. Dr. Sheets has held appointments as Director of Choral Activities at several colleges and universities, and is a frequent conference leader and clinician. His editions of choral music are published by AugsburgFortess, and he is die author of articles on choral music performance.
The UMS Choral Union
Thomas Sheets, Conductor David Tang, Associate Conductor Donald Bryant, Conductor Emeritus Jean SchneiderClaytor, Accompanist Edith Leavis Bookstein, Manager
Marie AnkenbruckDavis Lindsey Ballard Janet Bell Janelle Bergman Edith Leavis Bookstein Lois BriggsRedissi Ann K. Burke Susan F. Campbell Young Cho Laura Christian Cassandra Cooper Kathryn Foster Elliott Laurie Erickson Jennifer Bunch Julius Kristin Kidd Carolyn Leyh Marilyn McCallum Loretta I. Meissner Audrey C. Murray Carole Lynch Pennington Amy C. L. Pennington Sara Peth Sarah S. Pollard Margaret Dearden
Robinson Margaret Warrick Linda Woodman
Soprano II Elizabeth Ballenger Debrajoy Brabenec Cheryl Clarkson Kristin De Koster Kalhy Neufeld Dunn Patricia ForsbergSmith Doreen J. Jessen Ann Kathryn Kuelbs Loretta Lovalvo Marilyn Meeker Tova Perlmutter Virginia Reese Anne Ruisi Mary A. Schieve Denise Rae Scramstad Leslie Smith Barbara Hertz Wallgren Rachelle Barcus Warren Kathleen A. Young
Yvonne Allen Robin Armstrong Leslie Austin Carol Beardmore Nancy Wilson Celebi Alice Cerniglia Laura Clausen Margaret Counihan Lynne DeBenedette Deborah Dowson Margaret Lin Duthie Anna Egert Anne Facione Russell Marilyn Finkbeiner Siri Gottlieb LeAnn Erikson Guyton Jacqueline Hinckley Catharine June Suzanne Stepich Lewand Jeannette Luton Patricia Marine Patricia Kaiser McCloud Carol Milstein Joan Morrison Holly Ann Muenchow Lisa Michiko Murray Lotta Olvegard Jari Smith Patricia Steiss Rachael Tomasula Jane Van Bolt Catherine Wadhams Marianne Webster Janet Yoakam
Martha Ause Loree Chalfant Ellen Chien Anne C. Davis Carol Hohnke Katherine Klykylo Sally A. Kope Fran Lyman Anne Ormand Irene Peterson Lynn Powell Carren Sandall Beverly N. Slater Cynthia Sorensen Nancy Swauger
Fr. TimothyJ. Dombrowski
John W. Etsweiler III
Lionel R. Guerra
Robert E. Lewis
Chris Bartlett Steve Billcheck Philip Enns Stephen Erickson Albert P. Girod, Jr. Marshall J. Grimm Henry Johnson Benjamin Kerner Robert Klaffke Martin G. Kope Michael Needham Dean McFarlane Parrott Henry C. Schuman Carl Smith Daniel Sonntag James Van Bochove Richard Ward
William Guy Barast Fred L. Bookstein Thomas Bress John M. Brueger John Dryden Stefan Econoniou C. William Ferguson Timothy Fort Donald L. Haworth Joseph J. Kubis George Lindquist Thomas Li tow Lawrence Lohr Charles Lovelace Robert A. Markley
Joseph D. McCadden Thomas Morrow John Penrod William Ribbens Marc C. Ricard Sheldon Sandweiss Edward Schramm John Sepp Alan Singer Benjamin Williams
James David Anderson Howard Bond Jonathan Burdette Kee Man Chang Jerry Cisaruk Don Faber Philip J. Gorman Gene Hsu Charles Hudson Andrew Jordan Donald Kenney Mark KXindley William McAdoo Gerald Miller Richard Rupp James C. Schneider Marshall D. Schuster William A. Simpson JeffSpindler Robert Stawski Robert D. Strozier Kevin M. Taylor Terril O. Tompkins John Van Bolt
n Saturday afternoon,
J k Ma) 13,atthi Gandy
M A Dancer Restaurant in
H Ann Arbor, flutist James H m Galway performs a bene
k m fit concert for Classical
Action: Performing Arts Against AIDS, who will in turn donate a major portion of the net proceeds to the HIVAIDS Resource Center which provides HIVrelated ser?vices including direct care, prevention, and out?reach activities to a fourcountry area including Washtenaw County.
It was last fall when Mr. Galway, a committed supporter of Classical Action and a special friend of the University Musical Society, offered to give a benefit performance for Classical Action in Ann Arbor the day following his evening performance with the MET Orchestra. Classical Action is a notforprofit organization which draws upon the talents, resources, and generosity of the perform?ing arts community to raise vitally needed funds for AIDSrelated services across the United States. Funds are raised through house concerts, recording and merchandising projects, individual donations, and foundation and corporate support.
The offer from Mr.
Galway to give a benefit concert in Ann Arbor gave the UMS Board of Directors and staff the opportunity to reflect on the devastating toll AIDS has taken in the performing arts. We thought about the musicians who once appeared on Hill Auditorium's stage and who are no longer with us because of AIDS. We remembered dancers, choreographers, composers, conductors, designers, producers, directors, and others whom we had come to know, whose artistry we had experienced, whose names are in our program books, and whose lives were cut short because of AIDS. This reflection brought us to the conclu?sion that we must do something to address this critical problem.
A planning committee comprised of repre
sentatives of local churches; health organizations; gay, lesbian, and bisexual advocacy groups; fami?lies touched by AIDS; the HIVAIDS Resource Center; the University Musical Society; and other community groups and individuals has worked together since December with the New York office of Classical Action to plan the benefit con?cert. We have been overwhelmed by the generos?ity of the many individuals, organizations, and companies in our community who have con?tributed time, money, equipment, and services to assure the success of the benefit.
As a result of the our community's effort to fight AIDS through the Galway concert, Ann Arbor now joins New York, San Francisco, Los Angeles, Buffalo, Boston, and a growing list of other cities throughout the U.S. in hosting Classical Action events.
The planning committee wishes to express its deep appreciation to the following individuals and groups for their special contributions to the benefit:
James Galway for his generous offer and the gift of his performance;
Jose Feghali for accompanying Mr. Galway;
Charles Hamlen and the staff of Classical Action for their guidance and support;
Patrick Yankee and the staff of the HIVAIDS Resource Center for their many contributions;
Dan Huntsbarger and the staff of the Gandy Dancer for making the restaurant available and for their extraordinary support and cooperation;
Don and Gerry Lewis of Action Rental and Jim Lillie of Aerial Sound for helping us convert restaurant space to recital space;
Mike Savitski for his elegant invitation design, and White Pine Printers for their labor in producing it;
Steinway & Sons for the piano;
Cherie Rehkopf of Fine Flowers for the floral art;
Members of the Honorary Committee for their leadership and support.
for the University Musical Society
and the Planning Committee
Classical Action Benefit Honorary Committee
Herb & Carol Amster
Leon & Heidi Cohan
Elizabeth K. Davenport
Tobi Hanna Davies
Larry & Penny Deitch
Richard & Deanna Dorner
Guillermo & Jennifer Flores
Virginia B. Gordon
Harvey H. & Doris Guthrie
Christopher Kolb Maxine Larrouy Don & Gerri Lewis Rebecca McGowan & Michael Slaebler Kerry McNulty & Matthew Hoffmann Jim & Susan Newton Nels Olson Ken Phifer Lynn Rivers John & Ruth Rollefson Sioux Shelton Alma Wheeler Smith Irv & Carol Smokier Amherst Turner Michael Whiting Myrna Yeakle
Classical Action Benefit Planning Committee
Melanie Riehl Ellis
Shirley & Philip Gach
Lloyd & Nancy Williams
? Pianist Andre Watts accepts a premiere edition of a lapel pin from Classical Action Executive Director Charles Hamlen at the October launching of the Angela Cummings Classical Action jewelry line at Bergdorf Goodman in New York City. Looking on, from left, are Michelle Ateyeh, president of Angela Cummings Inc., jewelry designer Angela Cummings, BMG Classics President Guenter Hensler and Metropolitan Opera Artistic Director James Levine.
T Soprano Carol Vaness, San Francisco General Director Lotfi Mansouri and Carol Burnett backstage at a rehearsal for Classical Action: A Concerted Effort Against AIDS, the gala concert event held in February which raised over $1 million for AIDS services in San Francisco.
Great music, theater and dance is presented by the University Musical Society because of the much needed and greatly appreciated gifts of UMS supporters.
The list below represents names of current contributors as of April 7 '995 there has been an error or omission, we sincerely apologize and would appreciate a call to correct this at your earliest convenience. (7471178).
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Bravo Society $10,000 and up
Concert Master $5,000 9,999
Sponsor S5?? " 999
Benefactor $200 499
Donor $5?" 99
Bravo Society Members Individuals
Mr. Ralph Conger Elizabeth E. Kennedy E Bruce Kulp
Mr. and Mrs. William B. Palmer John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier and other anonymous donors
Detroit Edison Ford Motor Company Great Lakes Bancorp JPEinc. Paideia Foundation Regency Travel Society Bank TriMas Corporation WarnerLambert ParkeDavis
Ford Motor Company Fund
Lila Wallace Reader's Digest Fund
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Bernard L. Maas Foundation
IConcert Masters Individuals
I Gregg Alf and Joseph Curtin ! Herb and Carol Amster Mary Steffek Blaske and
Thomas Blaske Carl and Elizabeth Brauer ; David and Pat Clyde i Margaret and Douglas Crary Harold and Anne Haugh Jim and Millie Irwin , Mr. David G. and
Mrs. Tina M. Loesel ? Maya Savarino and Raymond Tanter 1 Edward Surovell and Nat Lacy Estelle Titiev
Dr. and Mrs. John F. Ullrich ; Eileen and Ron Weiser Paul and Elizabeth Yhouse and other anonymous donors
The Anderson Associates Brauer Investment Company Cafe Marie TML Ventures Curtin and Alf Violinmakers j Detroit and Canada Tunnel
First of America Bank Ford Motor Credit Company Jacobson Stores Inc. McKinley Associates, Inc. Masco Corporation Thomas B. McMullen Co. NSK Corporation O'Neal Construction Inc. Philips Display
Components Company The Edward Surovell Co.Realtors Wolverine Tempories, Inc
The Irwin Group of Companies
Chamber Music America
The Estate of Graham H. Conger
Bradford and Lydia Bates Raymond and Janet Bernreuter Mr. and Mrs. Guido A. Binda Maurice and Linda Binkow Sally and Ian Bund Dr. and Mrs. James P. Byrne Katharine and Jon Cosovich Ronnie and Sheila Cresswell Dr. and Mrs. Pedro Cuatrecasas Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Charles and Mary Fisher Robben and Sally Fleming Dale and Marilyn Fosdick Michael S. and Sara B. Frank Carl and Sue Gingles Walter and Dianne Harrison Keki and Alice Irani Judythe and Roger Maugh Paul and Ruth McCracken Dr. and Mrs. Joe D. Morris John M. Paulson John W. and Dorothy F. Reed Elisabeth J. Rees Prudence and Amnon Rosenthal Mrs. Charles A. Sink Dr. Hildreth H. Spencer Lois and Jack Stegemen John Wagner
Mr. and Mrs. Conrad Walburger Marina and Robert Whitman and several anonymous donors
Comerica Bank Dahlmann Properties Environmental Research Institute
of Michigan Gelman Sciences, Inc. Pepper, Hamilton & Scheetz
Dr. and Mrs. Gerald Abrams
Professor and Mrs. Gardner Ackley
Dr. and Mrs. Robert G. Aldrich
Mr. and Mrs. Max Aupperle
Robert and Martha Ause
John and Betty Barfield
Bob and Sue Bonfield
Tom and Carmel Borders
Jim Bolsford and Janice Stevens Botsford
Thomas R. Bower and Karen F.
John H. and Barbara Everitt Bryant
Mr. and Mrs. Richard J. Burstein
Edwin F. Carlson
Jean M. and Kenneth L. Casey
Mr. and Mrs. John Alden Clark
Leon and Heidi Cohan
Jack and Alice Dobson
Dr. Stewart Epstein
John and Esther Floyd
Dr. Arthur B. French
Judy and Richard Fry
Vivian Sosna Gottlieb and
Mr. and Mrs. Robert C. Graham Harold and Anne Haugh Debbie and Norman Herbert Mr. and Mrs. Robert M. Howe Stuart and Maureen Isaac Mercy and Stephen Kasle Thomas E. and Shirley Y. Kauper Gloria and Bob Kerry William andJoAnn Kimbrough Leo A. Legatski Carolyn and Paul Lichter Patrick B. and Kathy Long Joseph McCune and
Georgiana Sanders Charlotte McGeoch Mr. and Mrs. Warren Merchant H. Dean and Dolores H. Millard Dr. Andrew and Candace Mitchell Ginny and Cruse Moss William A. Newman Bill and Marguerite Oliver Mark and Susan Orringer Mrs. Charles Overberger Dory and John Paul John M. Paulson Maxine and Wilbur K. Pierpont William and Christine Price Tom and Mary Princing Bonnie and Jim Reece Mr. and Mrs. Raymond Reilly Glenda Renwick
Jack and Margaret Ricketts Richard and Norma Sams Genie and Reid Sherard George and Mary Elizabeth Smith Victor and Marlene Stoeffler James L. and Ann S. Telfer Dr. and Mrs. E. Thurston Thieme Jerrold G. Utsler Mary and Ron Vanden Belt Dr. and Mrs. Francis V. Viola III John and Maureen Voorhees Martha Wallace and Dennis White Dr. and Mrs. Jerry A. Weisbach Mr. and Mrs. Robert O. Weisman and several anonymous donors
American Tide Company of
CreditanstaltBankverein Kitch, Drutchas, Wagner & Kenney, P.C. Norsk Hydro a.s. Oslo Scientific Brake and
Equipment Company Shar Music Company
Bernard and Raquel Agranoff Mr. M. Bernard Aidinoff Catherine S. Arcure Linda Bennett and
Sara and Bob Bagramian Mr. and Mrs. Essel Bailey Jim and Lisa Baker Emily W. Bandera M.D. M. A. Baranowski Mrs. L.P. Benua Mr. and Mrs. Philip C. Berry Robert Hunt Berry Joan Binkow
Howard and Margaret Bond Charles and Linda Borgsdorf Mr. and Mrs. Robert S. Bradley David and Sharon Brooks Drs. Barbara Everitt and
John H. Bryant Lawrence and Valerie Bullen LetitiaJ. Byrd Jean W. Campbell Bruce and Jean Carlson Pat and George Chatas Maurice Cohen
Roland J. and Elsa Kircher Cole H. Richard Crane Peter and Susan Darrow Kenneth and Judith DeWoskin
Molly and Bill Dobson
Jan and Gil Dorer
Mr. and Mrs. David E. Engelbert
Ray and Renate Everts
Dr. and Mrs. Stefan S. Fajans
Mr. and Mrs. Ray Fitzgerald
Richard and Marie Flanagan
Dr. and Mrs. William L. Fox
Dr. and Mrs. Michael S. Frank
Victor and Marilyn G. Gallatin
Margaret G. Gilbert
William and Ruth Gilkey
Paul and Anne Glendon
Dr. and Mrs. William Grade
Mr. and Mrs. Robert C. Grahm
Seymour D. Greenstone
John and Helen Griffith
Mr. and Mrs. Elmer F. Hamel
Jay and Maureen Hartford
Harlan and Anne Hatcher
Dr. and Mrs. Sanford Herman
Kathleen and Timothy Hill
Mrs. W.A. Hiltner
Julian Hoff and Diane Hoff
Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Che C. Huang and
Teresa DarKuan L. Huang Frederick G. L. Huetwell Pat and John Huntington Gretchen and John Jackson Susan and Stevo Julius Robert L. and Beatrice H. Kahn Mr. and Mrs. Jacob Kellman Jim and Carolyn Knake Barbara and Charles Krause Helen and Arnold Kuethe Bud and Justine Kulka Barbara and Michael Kusisto Suzanne and Lee E. Landes Mr. Richard G. LeFauve and
Mary F. RabautLeFauve Mr. and Mrs. Fernando S. Leon Dean S. Louis, M.D. Mr. and Mrs. Carl J. Lutkehaus.Jr. Brigitte and Paul Maassen John and Cheryl MacKrell Kathleen Beck and Frank Maly Melvin andjean Manis Marilyn Mason
Mr. and Mrs. Roger E. Maugh Kenneth and Martha McClatchey John F. McCuen Margaret McKinley Hattie and Ted McOmber Mr. and Mrs. Warren A. Merchant Robert and Ann Meredith
Barry Miller and Gloria Garcia Evans and Charlene Parrott Sharon Pignanelli Eleanor and Peter Pollack Mr. and Mrs. Thomas Princing Mrs. Gardner C. Quarton Stephen and Agnes Reading Mr. and Mrs. James Reece Mr. Donald H. Regan and Ms. Elizabeth Axelson Dr. and Mrs. Rudolph E. Reichert Maria and Rusty Restuccia Mrs. Bernard J. Rowan Mr. and Mrs. Charles H. Rubin Peter Schaberg and Norma Anirhein Mr. and Mrs. Mark Schmidt Mrs. Richard C. Schneider Rosalie and David Schottenfeld Professor ThomasJ. and
Ann Sneed Schriber George and Mary Sexton Julianne and Michael Shea Constance Sherman George and Helen Siedel Lloyd and Ted St. Antoine Mrs.John D. Stoner Dr. and Mrs. Jeoffrey K. Stross Mr. and Mrs. Robert M. Teeter Dr. and Mrs. Thurston Theime Herbert and Anne Upton Charlotte Van Curler Don and Carol Van Curler Jerry Walden and Julia TipladyWalden Bruce and Raven Wallace Dr. Marianne Wannow Dr. and Mrs. Andrew S. Watson Karl and Karen Weick Angela and Lyndon Welch Roy and JoAn Wetzel Brymer and Ruth Williams Len and Maggie Wolin Ann and John B. Woodward and several anonymous donors
Campus Rentals, Ltd. Huron Valley Travel, Inc. NBD Ann Arbor Sarns 3M Health Care Scientific Brake and Equipment Company
FoundationsAgencies Shiffman Foundation Trust
Marilyn and Armand Abramson
Jim and Barbara Adams
Mr. and Mrs. William James Adams
Dr. and Mrs. Peter Aliferis
Mr. and Mrs. David Aminoff
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
Gail R. Appel
Harlene and Henry Appelman
Mr. and Mrs. Arthur J. Ashe
Eric M. and Nancy Aupperle
Erik W. and Linda Lee Austin
Jerald and Virginia Bachman
Robert I.. Baird
Paulett and Peter Banks
Cyril and Anne Barnes
Gail Davis Barnes
Dr. and Mrs. Mason Barr, Jr.
Robert and Wanda Bartlett
Dr. M.A. Baranowski
Leslie and Anita Bassett
Dr. David Noel Freedman,
Dr. Astrid Beck
Neal Bedford and Gerlinda Melchioii Henry J. Bednarz Ralph P. Beebe Harry and Betty Benford Ruth Ann and Stuart J. Bergstein Mr. and Mrs. S.E. Berki Abraham and Thelma Berman Visvaldis and Elvira Biss Marshall Blondy, M.D. George and Joyce Blum Roger and Polly Bookwalter Robert and Sharon Bordeau Dean Paul C. Boylan Betsy and Ernest Brater Professor and Mrs. Dale E. Briggs Allen and Veronica Britton Morton B. and Raya Brown Jeannine and Robert Buchanan Arthur and Alice Burks Eugene and Martha Burnstein Phoebe R. Burt Freddie Caldwell Mr. and Mrs. Robert Campbell Jim and Priscilla Carlson Shelly and Andrew Caughey Tsun and Siu Ying Chang Dr. Kyung and Young Cho Nancy Cilley Janice A. Clark John and Nancy Clark Wayne and Melinda Colquitt Kdward J. and Anne M. Comeau
Gordon and Marjorie Comfort
Sandra S. Connellan
Maria and Car) Constant
Jim and Connie Cook
Lolagene C. Coombs
Gage R. Cooper
Arnold and Susan Coran
Mary K. Cordes
Alan and Bette Cotzin
David and MyrUe Cox
Clifford and Laura Craig
Margaret L. Crist
Merle and Mary Ann Crawford
John and Teresa D'Arms
Dr. and Mrs. Charles Davenport
Ed and EUie Davidson
Jean and John Debbink
Laurence and Penny Deitch
Elena and Nicholas Delbanco
Benning and Elizabeth Dexter
Macdonald and Carolin Dick
Tom Doane and Patti MarshallDoane
Mr. and Mrs. William F. Dobson
Mrs. Carl T. Doman
Dr. and Mrs. Edward F. Domino
Dr. Steven M. and Paula R. Donn
Allan and Cecilia Dreyfuss
Nancy Griffin DuBois
Jean and Russell Dunnaback
Mr. and Mrs. William G. Earle
Mr. and Mrs. K.C. Eckerd
Mr. and Mrs. Morgan Edwards
Dr. Alan S. Eiser
Emil and Joan Engel
Jerome and Carolyne Epstein
Ellen C. Wagner and Richard Epstein
Professor and Mrs. Charles Fisher
Elly and Harvey Falit
Claudine Farrand and Daniel
Dr. and Mrs. John A. Faulkner
Inka and David Felbeck
Reno and Nancy Feldkamp
Dr. James F. Filgas
Sidney and Jean Fine
Herschel and Annette Fink
Mrs. Beth B. Fischer
Susan Fisher and John Waidley
Ray and Patricia Fitzgerald
Stephen and Suzanne Fleming
Ernest and Margot Fontheim
Mr. and Mrs. George W. Ford
Jim and Anne Ford
Ilene H. Forsyth
Phyllis W. Foster
Bob and Terry Foster
Paula L. Bockensledt and
David A. Fox Mr. and Mrs. Howard P. Fox
Deborah and Ronald Freedman Mr. and Mrs. Richard Freethy David Fugenschuh and Karey Leach Harriet and Daniel Fusfeld Mr. and Mrs. Victor Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Mr. Garnet R. Garrison Del and Louise Garrison Professor and Mrs. David Gates Wood and Rosemary Geist Thomas and Barbara Gelehrter Robert and Dorothy Gerrity Henry and Beverly Gershowitz Elmer G. Gilbert and Lois M. Verbrugge Drs. Sid Gilman & Carol Barbour Fred and Joyce Ginsberg Grace M. Girvan Dr. David W. Gnegy Steve and Nancy Goldstein Dr. Alexander Gotz J. Richard Goulet, M.D. Mrs. William C. Grabb Linda and Richard Greene Ruth B. and Edward M. Gramlich Jerry and Mary K. Gray Daphne and Raymond Grew Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Ken and Margaret Guire Howard B. Gutstein, M.D. George N. Hall Marcia and John Hall Susan R. Harris Clifford and Alice Hart Theodore Hefley and Eleanor Banyai Kenneth and Jeanne Heininger Margaret and Walter Helmreich John L. and Jacqueline Stearns Henkel Margaret Martin Hermel C.C. Herrington M.D. Herb and Dee Hildebrandt ClaudetteJ. Stern and Michael Hogan John and Maurita Holland Dave and Susan Horvath Graham and Mary Jean Hovey Linda Samuelson and Joel Howell Mrs. V. C. Hubbs David and Dolores Humes Ronald R. and Gaye H. Humphrey Mrs. George R. Hunsche Mr. and Mrs. David Hunting, Jr. Don and Lynn Hupe Robert B. and Virginia A. Ingling Ann K. Irish John and Joan Jackson Mr. and Mrs. Donald E. Jahncke Wallie and Janet Jeffries Mr. and Mrs.James W.Jensen Keith and Kay Jensen
Donald and Janice Johnson
Mrs. Ellen C.Johnson
Dr. and Mrs. Mark S. Kaminski
Elizabeth Harwood Katz
Anna M. Kauper
David and Sally Kennedy
Frank and Patricia Kennedy
Don and Mary Kiel
Mr. Richard E. King
Mr. and Mrs. Thomas C. Kinnear
Joyce Urba and David Kinsella
Rhea and Leslie Kish
Dana and Paul Kissner
Mr. and Mrs. A. William Klinke II
Philip and Kathryn Klintworth
Dimitri and Suzanne Kosacheff
Samuel and Marilyn Krimm
William G. Kring
Alan and Jean Krisch
Dr. and Mrs. Bert La Du, Jr.
Mr. and Mrs. Lee E. Landes
Mae and Arthur Lanski
Mr. and Mrs. Henry M. Lapeza
John K. Lawrence andjeanine DeLay
John and Theresa Lee
Leo A. Legatski
Ann M. Leidy
Bobbie and Myron Levine
Evie and Allen Lichter
Mr. and Mrs. Nathan LJpson
ViCheng and HsiYen Liu
Dean and Betty Lockwood
Robert G. Lovell
Charles and Judy B. Lucas
Barbara and Edward Lynn
Dough Boys Bakery
Steve and Ginger Maggio
Mr. and Mrs. Stuart M.inland
Mr. and Mrs. Clark Malcolm
Alan and Carla Mandel
Dr. and Mrs. Edwin L. Marcus
Mr. and Mrs. Paul Marion
Geraldine and Sheldon Markel
William and Rhoda Martel
Mr. and Mrs. Craig Marks
William and Sally Martin
Dr. and Mrs. Josip Matovinovic
Mary and Chandler Matthews
Margaret and Harris McClamroch
Dores M. McCree
Bruce and Mary McCuaig
Griff and Pat McDonald
Elaine J. McFadden
Bill and Ginny McKeachie
Daniel and Madelyn McMurtrie
Jerry and Rhona Meislik
Robert and Doris Melling
Professor and Mrs. Herman Merte
Walter and Ruth Mettger
Charles and Helen Metzner
Mr. and Mrs. Francis L. Michaels
Leo and Sally Miedler
Ronald G. Miller
Myrna and Newell Miller
Mr. and Mrs. Thomas Monaghan
Lester and Jeanne Monts
Dr. and Mrs. George W. Morley
Mr. and Mrs. Paul Morris
Cyril and Rona Moscow
Dr. Eva L. Mueller
Hillary Murt and Bruce A. Friedman
Dr. and Mrs. Gunder A. Myran
Sharon and Chuck Newman
Mr. and Mrs. Marvin L. Niehuss
Richard S. Nottingham
Dr. and Mrs. Frederick C. O'Dell
Marylen and Harold Oberman
Judith S. Olson
Constance L. and David W. Osier
Richard and Miranda Pao
Donna D. Park
William C. Parkinson
Colonel and Mrs. Clare Passink
Beverly C. Payne and Elizabeth Payne
Dr. Owen Z. and Barbara A. Perlman
Lorraine B. Phillips
Mr. and Mrs. William J. Pierce
Sharon McKay Pignanelli
Jane and Barry Pitt
Mary and Randall I'm urn
Donald and Evonne Plantinga
Maj. Gen. and
Mrs. Robert R. Ploger USA (ret.) Bill and Diana Pratt Mrs.J.D. Prendergast Larry and Ann Preuss Charleen Price Jerry and Millard Pryor Mrs. Joseph S. Radom Homayoon Rahbari, M.D. Katherine R. Reebel Gary and La Vonne Reed Mr. and Mrs. H. Robert Reynolds Kurt and Lori Riegger Gay and George Rosenwald Daria A. Rothe Dr. Nathaniel H. Rowe Dr. Glenn Ruihley John Paul Rutherford Jerome and Lee Ann Salle Dr. Albert J. and Jane K. Sayed Mary A. Schieve and
M.ii c i.i and David Schmidt
Elizabeth L. Schmitt
Charles and Meeyung Schmitter
Art and Mary Schuman
Marvin and Harriet Selin
Dr. and Ms. Howard and Aliza Shevrin
Dr. and Mrs. Martin Shinedling
Mr. and Mrs. George Shirley
Hollis and Martha Showalter
Mr. and Mrs. Scott Simonds
Ken Silk and Peggy Buttenheim
Dr. and Mrs. Eugene Silverman
John W. Smillie, M.D.
Alene M. Smith
Carl and Jari Smith
Dr. and Mrs. Michael W. Smith
Mr. and Mrs. Robert W. Smith
Mr. and Mrs. Edward Sopcak
Cynthia J. Sorensen
Juanita and Joseph Spallina
Allen and Mary Spivey
David and Ann Staiger
Betty M. Stark
Mrs. Ralph Steffek
Mr. Frank D. Stella
Dr. and Mrs. Allen Steiss
Thorn and Ann Sterling
Louis and Glennis Stout
Dr. and Mrs. Stanley Strasius
Aileen and Clinton Stroebel
Edward Surovell and Natalie Lacy
Ronald and Ruth Simon
Dr. Jean K. Takeuchi
Jerry and Susan Tarpley
Eva and Sam Taylor
Edwin J. Thomas
Tom and Judy Thompson
Ted and Marge Thrasher
Joan Lowenstein and Jonathan Trobe
Hugo and Karla Vandersypen
Jack and Marilyn ran der Velde
Dr. Rebecca W. Van Dyke
Michael L. Van Tassel
William C. Vassell
Carolyn and Jerry Voight
Warren H. and Florence S. Wagner
Mr. and Mrs. Norman C. Wait
Bruce and Raven Wallace
Charles and Barbara Wallgren
Robert D. and Liina M. Wallin
Dr. and Mrs. Jon M. Wardner
Mrs. Charles F. Weber
Deborah Webster and George Miller
Lawrence A. Weis and Sheila Johnson
Walter L. Wells
Mr. and Mrs. Peter Westen
Ken and Cherry Westerman Marcy and Scott Westerman Ruth and Gilbert Whitaker B.Joseph and Mary White Shelly F. Williams Dr. and Mrs. S. B. Winslow Beth and I.W. Winsten Marion T. Wirick Dr. Grant J. Withey Aileen Gatten and Charles Witke Charlotte A. Wolfe Frank E. Wolk Dr. and Mrs. Ira Wollner Mr. and Mrs. A. C. Wooll Stan and Pris Woollams Charles R. and Jean L. Wright Phyllis Wright Don and Charlotte Wyche Mr. and Mrs. Edwin H. Young R. Roger and Bette F. Zauel Mr. and Mrs. Martin Zeile and several anonymous donors
Briarwood Shopping Center
Chelsea Flower Shop
Dough Boys Bakery
Edwards Brothers, Inc.
Gold Bond Cleaners
General Systems Consulting Group
The Kerrytown Administrative Offices
King's Keyboard House
Merchant of Vino
Miller, Canfield, Paddock, and Stone
Seva Restaurant and Market
Mr. Usama Abdali and
Ms. Kisook Park
Victor Adamo and Michelle Smith Tim and Leah Adams Ronald and Judith Adler Michael and Suzan Alexander Anastasios Alexiou Mr. and Mrs. Gordon E. Allardyce James and Catherine Allen Margaret and Wickham Allen Augustine and Kathleen Amaru Pamela Amidon
Mr. and Mrs. Charles T. Anderson Bert and Pat Armstrong Mr. and Mrs. Lawrence E. Arnett
Charlene and Eugene Axelrod
Jonathan and Marlene Ayers
Richard and Julia Bailey
Jean and Gaylord Baker
Dr. and Mrs. Daniel R. Balbach
John R. Bareham
Norman E. Barnett
Donald C. Barnette, Jr.
Dr. and Mrs. Jere M. Bauer
Mr. and Mrs. Steven R. Beckert
Robert M. Beckley and Judy Dinesen
David and Mary Anne Beltzman
Ronald and Linda Benson
Mr. and Mrs. Ib BentzenBilkvist
Helen V. Berg
Reuben and Barbara Levin Bergman
Marie and Gerald Berlin
Lawrence S. Berlin
Gene and Kay Berrodin
Andrew H. Berry, D.O.
Naren and Nishta Bhatia
111i.u .11 C. and Patsy A. Bhushan
Eric and Doris Billes
Richard and Roswitha Bird
William and Ilene Birge
Elizabeth S. Bishop
Drs. Ronald C. and Nancy V. Bishop
John E. Bloom
Mr. and Mrs. H. Harlan Bloomer
Ronald and Minn Bogdasarian
Beverly J. Bole
Mr. and Mrs. Mark D. Bomia
Harold and Rebecca Bonnell
Laurence A. Boxer, M.D. and
Grace J. Boxer, M.D. Dr. and Mrs. Ralph Bozell Dr. and Mrs. C. Paul Bradley Mr. Richard B. Brandt and Karina H. Niemeyer
Mr. and Mrs. Patrice Brion William and Sandra Broucek Mr. Olin L. Browder June G. and Donald R. Brown Linda Brown and Joel Goldberg Mr. and Mrs. John M. Brueger Mrs. Webster Brumbaugh Dr. and Mrs. Donald T. Bryant William and Cynthia Burmeister Waneta Byrnes and Sherry A. Byrnes Rosemarie and Jurg Caduff Edward and Mary Cady Mrs. Darrell A. Campbell Dennis R. Capozza Jan and Steve Carpman Jeannette and Robert I. Carr Daniel Carroll and Julie A.C. Virgo
John and Patricia Carver
Mr. George Casey
Dr. and Mrs. James T. Cassidy
Kathran M. Chan
Mr. and Mrs. Nicholas G. Chapekis, Sr.
Dr. Arnold C. Charnley
Mr. James S. Chen
Mr. and Mrs. R. A. Choate
Edward and Rebecca Chudacoff
Robert J. Cierzniewski
Brian and Cheryl Clarkson
John and Kay Clifford
Roger and Mary Coe
Howard and Vivian Cole
Mr. and Mrs. Craig Common
Alfred and Georgia Conard
Graham H. Conger Estate
Marjorie A. Cramer
Mr. and Mrs. James I. Crump
Nathalie and John R. Dale
Millie and Lee Danielson
Jane and Gawaine Dart
Mr. and Mrs. Arthur W. Davidge
Laning R. Davidson, M.D.
Bruce and Ruth Davis
James Davis and Elizabeth Waggoner
Mr. and Mrs. R.C. Davis
Mr. and Mrs. Ronald G. Dawson
Robert and Barbara Ream Debrodt
Dr. and Mrs. Raymond F. Decker
Raymond A. Detter
Martha and Ron DiCecco
A. Nelson Dingle
Delia DiPietro and
Jack Wagoner, M.D. Robert and Janice DiRomualdo Dr. Edward R. Doezema Father Timothy J. Dombrowski Thomas and Esther Donahue William G. and Katherine K. Dow Mr. Thomas Downs Roland and Diane Drayson Mr. and Mrs. Harry Dreffs John Dryden and Diana Raimi President and Mrs. James Duderstadt Betty Anne Duff Rosanne and Sandy Duncan John W. Durstine George C. and Roberta R. Earl Jacquelynne S. Ecdes David A. Eklund Judge and Mrs. SJ. Elden Ethel and Sheldon Ellis Genevieve Ely
Mackenzie and Marcia Endo Kathlyn F. Engel David and Lynn Engelbert Mr. and Mrs. Frederick A. Erb
Dorothy and Donald F. Eschman
Mr. and Mrs. Robert B. Fair, Jr.
Mark and Karen Falahee
Dr. John W. Farah
Dr. and Mrs. Irving Feller
Phil and Phyllis Fellin
Clare M. Fingerle
C. Peter and Bev A. Fischer
Eileen C. Fisher
Barbara and James Fitzgerald
Thomas and Linda Fitzgerald
Dr. and Mrs. Melvin Flamenbaum
Jennifer and Guillermo Flores
Mr. and Mrs. Howard P. Fox
Lucia and Doug Freeth
Carol Gagliardi and David Flesher
Bernard and Enid Caller
Joyce A. Gamm
Mrs. Shirley H. Garland
Stanley and Priscilla Garn
Beverley and Gerson Geltner
W. Scott Gerstenberger and
Elizabeth A. Sweet Fred Gezich
Beth Genne and Allan Gibbard Elida Giles
David and Maureen Ginsberg Al and Almeda Girod Robert and Barbara Gockel Dr. and Mrs. Howard S. Goldberg Mary L. Golden Ed and Mona Goldman Mrs. Eszter Gombosi Elizabeth N. Goodenough and
James G. Leaf
Mr. and Mrs. Mitchell A. Goodkin Don Gordus Selma and Albert Gorlin Naomi Gottlieb
Christopher and Elaine Graham Dr. John and Renee M. Greden Lila and Bob Green Linda and Richard Greene Dr. and Mrs. Lazar J. Greenfield Bill and Louise Gregory Linda and Roger Grekin Susan and Mark Griffin Werner H. Grilk Arthur W. Gulick, M.D. Margaret Gutowski and
Don P. Haefner and Cynthia J. Stewart
Helen C. Hall
Harry L. and Mary L. Hallock
Mrs. Frederick G. Hammitt
Dr. and Mrs. Harry Harada
Mary C. Harms
Stephen G. and Mary Anna Harper
Susan P. Harris
Elizabeth C. Hassinen
James B. and Roberta T. Hause
Mr. and Mrs. George Hawkins
Mr. and Mrs. E.J. Hayes
James and Esther Heitler
Rose and John Henderson
Norma and Richard Henderson
Mr. and Mrs. Karl P. Henkel
Dr. and Mrs. Keith S. Henley
Ramon and Fern Hernandez
Tatiana Herrero Bernstein
Fred and Joyce Hershenson
Lorna and Mark Hildebrandt
Jacques Hochglaube, M.D.
Jane and Dick Hoerner
Robert and Frances Hoffman
Howard amd Pamela Holmes
Ken and Joyce Holmes
John F. and Mary H. Holt
Dr. and Mrs. Frederic B. House
Charles T. Hudson
Harry and Ruth Huff
Joanne W. Hulce
Ken and Esther Hulsing
Ann D. Hungerman
Mr. and Mrs. Russell L. Hurst
Eileen and Saul Hymans
Edward C. Ingraham
Perry Elizabeth Irish
Edgar F. and M. Janice Jacobi
Harold and Jean Jacobson
Jim and Dale Jerome
Mark and Linda Johnson
Paul and Olga Johnson
A. David and Heather Jones
Tom and Marie Juster
Mary B. and Douglas Kahn
Mr. and Mrs. William L. Kahn
Mary Kalmes and Larry Friedman
Paul Kantor and
Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mercy and Stephen Kasle Deborah and Ralph Katz
Kurt and Marilee Kaufman
Mr. and Mrs. N. Kazan
Linda Atkins and Thomas Kenney
Heidi and Josh Kerst
William and Betsy Kincaid
Howard King and Elizabeth SayreKing
James and Jane Kister
Dr. and Mrs. David E. Klein
Shira and Steve Klein
Dr. and Mrs. Kevin E. Klimek
Hermine Roby Klingler
Mr. and Mrs. Arthur W. Klinke
Henry and Jane McArtor Klose
Mr. and Mrs. Edward Klum
Jolene and Gregory Knapp
Joseph and Marilynn Kokoszka
Sally and Martin Kope
Melvyn and Linda Korobkin
Mr. and Mrs. Jerome R. Koupal
Mr. and Mrs. E. J. Kowaleski
David and Martha Krehbiel
John and Justine Krsul
Danielle and George Kuper
Katherine Kurtz and Raburn Howland
Dr. and Mrs. Richard A. Kmcipal
Mr. and Mrs. Seymour Lampert
Henry and Alice Landau
Beth and George Lavoie
Ted and Wendy Lawrence
Leslie and Robert Lazzerin, Jr.
Mrs. Kent W. Leach
Margaret E. Leslie
Kevin McDonagh and Leslie Crofford
Don and Carolyn Dana Lewis
Jacqueline H. Lewis
Jody and Leo Lighthammer
Daniel E. and Susan S. Lipschutz
Rod and Robin Little
Kay H. Logan
Naomi E. Lohr
Dan and Kay Long
Leslie and Susan Loomans
Mr. and Mrs. Richard S. Lord
Bruce and Pat Loughry
Lynn Bennett Luckenbach
Susan E. Macias
Frederick C. and Pamela J.
Charlene and William MacRitchie
Sadie C. Maggio
Geoffrey and Janet Maher
Di Karl D. Malcolm
Claire and Richard Malvin
Paul and Shari Mansky
Mr. and Mrs. Anthony E. Mansueto
Mr. and Mrs. Damon L. Mark
Ixe and Greg Marks
Alice and Bob Marks
Marjorie and Robert Marshall
Dr. and Mrs. J.E. Martin
Marilyn Mazanec Benedict
Margaret E. McCarthy
Ernest and Adele McCarus
David G. McConnell
Cathryn S. and Ronald G. McCready
Ki in McDonagh and Leslie CrofFord
Mary and Norman Mclver
Alan and Sue McMaster
Robert E. and Nancy A. Meader
Mr and Mrs. John Merrifield
I [enry D. Messer and Carl A. House
Robert and Bettie Metcalf
Mr. and Mrs. Herbert M. Meyers
Dr. and Mrs. Robert A. Meyers
ad( and Carmen Miller
Robert R. Miller
Bob and Carol Milstein
James and Kathleen Mitchiner
Mr and Mrs. William G. Moller.Jr.
Arnold and Gail Morawa John and Michelle Morris
Brian and Jacqueline Morton
Mrs. Erwin Mnehlig Janet Muhleman
Bern and Donna Muller ! Gavin Eadie and Barbara Murphy
F.d and Betty Navoy
Dr. and Mrs. James V. Neel
Frederick C. Neidhardt and
Germaine Chipault Jack and Kerry KellyNovick
Lois and Michael Oksenberg
Robert and Elizabeth Oneal
Lillian G. Ostrand
Barbara and Fred Ourwater I Julie and Dave Owens
Mrs. John Panchuk
[jama and Bella Parker
Evans and Charlene Parrott
Mi. and Mrs. Brian P. Patchen
Esther T. Pattanryus I Richard C. Patterson lAra and Shirley Paul iNancy K. Paul
Agnea and Raymond Pearson
Roy Penchansky and Elizabeth Bates
Susan A. Perry
Ellsworth M. Peterson
Mr. and Mrs. Leo Petrosky
Mr. and Mrs. Frederick R. Pickard
Robert and Mary Ann Pierce
Dr. and Mrs. James Pikulski
Dr. and Mrs. Bertram Pitt
Mr. and Mrs. Robert H. Plummer
Martin A. Podolsky
Drs. Edward and Rhoda Powsner
Jacob M. Price
Mary and Rick Price
Michael and Helen Radock
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert Rasmussen
Dorothy and Stanislav Rehak
Frances Greer Riley
Peter and Shirley Roberts
Dave and Joan Robinson
Richard C. Rockwell
Willard and Mary Ann Rodgers
Lillian M. Rogers
Mr. and Mrs. Stephen J. Rogers
Mrs. Irving Rose
Elizabeth A. Rose
Dr. Susan M. Rose
Drs. Stephen Rosenblum and
Gustave and Jacqueline Rosseels John F. Rudd
Dr. and Mrs. Raymond W. Ruddon, Jr. Ms. Rosemary Russell Tom and Dolores Ryan Mitchell and Carole Rycus James and Ellen Saalberg Theodore and Joan Sachs Arnold Sameroff and
Susan C. McDonough Ina and Terry Sandalow Howard and Lili Sandier John and Reda Santinga Michael and Kimm Sarosi Charlene and Carl Schmult Gerald and Sharon Schreiber David E. and Monica N. Schteingart Albert and Susan Schuliz Ms. Michelle H. Schultz Alan and Marianne Schwartz Sheila and Ed Schwartz Mrs. Patricia H. Schwartz Jonathan Bromberg and Barbara Scott Joanna and Douglas Scott
Mary and John Sedlander
Louis and Sherry Senunas
Joseph and Patricia Settimi
Dr. and Mrs. J. N. Shanberge
Brahm and Lorraine Shapiro
David and Elvera Shappirio
Ingrid and Clifford Sheldon
Jean and Thomas Shope
Mr. and Mrs. E. B. Shultz.Jr.
John and Arlene Shy
David and Liz Sickels
Douglas B. Siders, M.D.
Dr. Bruce M. Siegan
Milton and Gloria Siegel
Alida and Gene Silverman
Ms. Faye Silverstein
Donald and Susan Sinta
Sandra K. Smith
Susan M. Smith
Paul and Betty Snearline
Victor and Laura Sonnino
Katharine B. Soper
John and Lois Spaide
Herbert W. and Anne L. Spendlove
James P. Spica
Curt and Gus Stager, Jr.
Joan and Ralph Stahman
Dr. and Mrs. William C. Stebbins
Barbara and Michael Steer
Ed Stein and Pat McCune
Virginia and Eric Stein
Dr. and Mrs. Michael Steinberg
James L. Stoddard
Wolfgang F. Stolper
Ellen M. Strand and Dennis C. Regan
Mrs. William H. Stubbins
Earl and Phyllis Swain
Steve and Janet Swanson
Brian and Lee Talbot
Lois A. Theis
Carol and Jim Thiry
Mr. and Mrs. James W. Thomson
Anne M. Thorne
Charles and Peggy Tieman
Thelma and Richard Tolbert
Dr. and Mrs. Merlin C. Townley
Marilyn Tsao and Steve Gao
William H. and Gerilyn K. Turner
Katharine and Alvan Uhle
Gaylord E. and
Kathryn W. Underwood Dr. Samuel C. Ursu Madeleine Vallier
Carl and Sue Van Appledorn
Robert and Barbara Van Ess
Mrs. Durwel! Vetter
Marie B. and Theodore R. Vogt
Ann E. Walton
Eric and Sherry Warden
Ruth and Chuck Watts
Joan M. Weber
Ju Lin Wei
Donna G. Weisman
Dr. Steven Werns
Mr. and Mrs. Nathaniel Whiteside
William and Cristina Wilcox
Father Francis E. Williams
John Troy Williams
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Mary Anne and James Winter
David and Lia Wiss
Jeff and Linda Witzburg
Noreen Ferris and Mark Wolcott
Dr. Joyce Guior Wolf
Patricia and Rodger Wolff
David and April Wright
Frances A. Wright
Carl and Mary Ida Yost
Mr. John G. Young and
Mrs. Elizabeth French Young Mr. and Mrs. F. L. Zeisler Mr. and Mrs. David Zuk David S. and Susan H. Zurvalec and several anonymous donors
The Ann Arbor Symphony Orchestra
Coffee Beanery -Briarwood Mall
Cousins Heritage Inn
Development Strategies Plus
Garris, Garris, Garris & Garris, P.C.
Jeffrey Michael Powers Beauty Spa
Junior League of Ann Arbor
Michigan Opera Theatre
University Microfilms International
Van Boven Inc.
Sue and Michael Abbott Jim and Jamie Abelson Philip M. Abruzzi Chris and Tena Achen Rev. D.L. Adams and
Lisa EatonAdams Michihiko and Hiroko Akiyama Charles H. Akre and
Sharon ShermanAkre Roger Albin and Nili Tannenbaum Mr. and Mrs. Harold F. Allen Nicholas and Marcia Alter James Anderson and Lisa K. Walsh Drs. James and
Cathleen CulottaAndonian Catherine M. Andrea Jill and Tom Archambeau, M.D. Eduardo and Nancy Arciniegas Thomas J. and Mary E. Armstrong Rutjolf and Mary Arnheim Mr. and Mrs. Dan E. Atkins III John and Rosemary Austgen Joseph C. Bagnasco Doris I. Bailo Bill Baker
Mr. and Mrs. Richard P. Baks Ann Barden
David and Monika Barera Maria Kardas Barna Beverley M. Baskins Dorothy Bauer Harold F. Baut Mary T. Beckerman Gordon and Anna Beeman Robert B. Beers Theodore and Mildred Behn Dr. and Mrs. Walter Benenson Merete and Erling Blondal Bengtsson Alice R. Bensen Dr. R. Berardi Mr. and Mrs. Mark and
Pauline Bernhard T.J. and M.R. Betley Ralph H. and Mary R. Beuhler John and Marguerite Biancke Bill and Sue Black Donald and Roberta Blitz Dr. and Mrs. Frank Bongiorno Edward G. and Luciana Borbely Paul D. Borman Reva and Morris Bornstein Dr. and Mrs. David Bostian John D. and M. Leora Bovvden Jan and Bob Bower Sally and Bill Bowers David G. Bowman and Sara M. Rutter
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Phil Bucksbaum and Roberta Morris
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Miss Frances Bull
Carolyn and Robert Burack
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Senator and Mrs. Gilbert E. Bursley
Dr. and Mrs. Robert S. Butsch
Barbara and Albert Cain
I .jn is and Janet Callaway, Jr.
Father Roland Calvert
Susan and Oliver Cameron
Dr. Ruth Cantieny
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George R. Carignan
Mr. George Carlisle
Mark A. Case
Josephine D. Casgrain
David and Ilene Chait
Ida K. Chapin and Joseph Spindel
Joan and Mark Chesler
A. Kent & Elizabeth Christensen
Sallie R. Churchill
Joan F. Cipelle
Gary and Bonnie Clark
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Shirley A. Coe
Arthur and Alice Cofer
Dorothy Burke Coffey
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Jan and Carl Cohen
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Nan and Bill Conlin
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Richard J. Cunningham
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Ed and Judi Davidson
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Michael R. Dungan
Charles C. Dybvig
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James H. Ellis and Jean A. Lawton
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Jessica Fogel and Lawrence Weiner
George and Kathryn Foltz
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Elizabeth and Keith Gadway
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Edward Gamache and Robin Baker
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Stephen and Lauran Gilbreath
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Dr. Ben Gold
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C. Ellen Corner
Mary M. Gooch
Enid M. Gosling
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Larry and Martha Gray
Wendy B. Gray, Ph.D.
Elizabeth A.H. Green
Jim and Lauretta Gribble
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Cyril Grum and Cathy Strachan
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Mi and Mrs. Lionel Guregian
Joseph and Gloria Gurt
Gary L. Hahn and Deborah L. Hahn
Marga S. Hampel
Mr. and Mrs. Carl T. Hanks
David and Patricia Hanna
Mr. and Mrs. Glenn A. Harder
Jane A. Harrell
George and Laurelynne Harris
Katherine A. Harris
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Robert Glen Harris
William F. Hayden
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Gary L. Henderson
Mr. and Mrs. Ralph Herbert
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Emily F. Hicks
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Peter G. Hinman
Elizabeth A. Young Hiroyake Hirata Carol and Dieter Hohnke Hisato and Yukiko Honda Mr. and Mrs. Harry Hopkins Jack and Davetta Homer Dr. Nancy Houk Jim and Wendy Fisher House Kenneth and Carol Hovey Sally Howe
Denise and R.W. Hoyer Hubert and Helen Huebl Susan and Jim Huff Mr. and Mrs. William Hufford Diane Hunter Lew and June Hutchings Dave Irish Earl Jackson Marilyn G.Jeffs JoannJ.Jeromin Wilma Johnson Helen Johnstone Dean and Marika Jones Elizabeth M.Jones Dr. Marilyn S.Jones Phillip S.Jones John and Linda K.Jonides Professor and Mrs. Fritz Kaenzig Alan and Cheryl Kaplan Bob N. Kashino Franklin and Judith Kasle Alex and Phyllis Kato Maxine and David Katz Julia and Philip Kearney Janice Keller
Mr. and Mrs. Charles Kellerman
Robert and Lois Ketrow
Jeanne M. Kin
Martha A. Kinney
John and Marcia Knapp
Dr. and Mrs. William L. Knapp
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Charles and Linda Koopmann
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Ann Marie Kotre
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Kennedi C. Kreger
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Carl and Ann LaRue
Sue C. Lawson
Fred and Ethel Lee
Paul and Ruth Lehman
Mr. and Mrs. C. F. Lehmann
Lucy H. Leist
Carolyn Dana Lewis
Dr. David J. Lieberman
Ken and Jane Lieberdial
Frederick and Anita Lim
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Dr. and Mrs. Francis A. Locke
Paul and Donna Lowry
John J. Lynch, Atty.
Alan B. and Lois L. Macnee
Gregg and Merilee Magnuson
Suzanne and Jay Mahler
Ronald Majewski and Mary Wolf
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Erica and Harry Marsden
Conrad Mason and Ann VanDemark
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James and Kathleen McGauley
Donald and Elizabedi McNair
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Dr. and Mrs. Donald A. Meier
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Jill McDonough and Greg Merriman
Valerie D. Meyer
Victor L. Meyers
Dick and Georgia Meyerson
Steve and Elaine Mickel
Dr. and Mrs. William Mikkelsen
Ms. Virginia A. Mikola
Gerald A. Miller
Dr. and Mrs. Josef M. Miller
Mr. and Mrs. Murray H. Miller
Mr. and Mrs. Charles R. Mitchell
Ellyne and Arnold Monto
Rosalie E. Moore
Kitiic Berger Morelock
Rosemarie P. Morgan
Mr. and Mrs. Kennedi Moriarty
Barbara Levitan and
Dr. Thomas E. Muller lora Myers Ruth Nagler
Mr. and Mrs. Cecil Nesbitt Nikki E. Neustadt Gene and Pat Nissen Laura Nitzberg Joan and John Nixon Mr. and Mrs. John M. O'Brien Michael and Jan O'Donnell Nels and Mary Olson Ms. Karen O'Neal Mr. James J. Osebold Derrick and Jane Oxender Mr. and Mrs. James R. Packard George Palty
Mr. and Mrs. Kenneth Pardonnet Michael P. Parin Howard and Dorothy Parker Janet Parkes Mary H. Parsons Vassiliki and Dimitris Pavlidis Mr. Edward J. Pawlak Anita H. Payne Edwin and Sue Pear Zoe and Joe Pearson Donald and Edith Pelz Mr. William A. Penner, Jr. C. Anthony and Marie Phillips Nancy S. Pickus Daniel G. Piesko
Roberl Lougheed and Merrill Poliner Mr. and Mrs. John R. Politzer Mr. and Mrs. Gerald Powrozek Mary and Robert Pratt Jerry Preston John and Nancy Prince Julian and Evelyn Prince Sherrill Pryor Ruth S. Putnam G. Robina Quale
Dr. Leslie Quint
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James E. and leva Rasmussen
Maxwell and Marjorie Reade
Russ and Nancy Reed
Anthony L. Reffells and
Elaine A. Bennett Caroline Rehberg Mr. and Mrs. Frederick Remleyjr. Alice Rhodes Paul Rice and Helen Rice Judy Ripple
William and Kaye Rittinger Lisa E. Rives and Jason I. Collens Margaret Dearden Robinson Mary K. Roeser John H. Romani Harry A. Rommrl Edith and Raymond Rose Bernard and Barbara Rosen Charles W. Ross Dr. and Mrs. David W. Roush George and Matilda Rubin Mabel E. Rugen Mr. and Mrs. Doyle Samons Harry W. and Elaine Sargous Ms. Sara Savarino Mr. and Mrs. Richard Saxe Jochen and Helga Schacht Michael Joseph Schaeule Bonnie R. Schafer Mr. and Mrs. Alan Schall Mr. and Mrs. F. Allan Schenck Court and Inga Schmidt Jeannette C. Schneeberger Dr. and Mrs. DirkJ. Scholten Yizhak Schotten and
Katherine Collier Schotten Sue Schroeder Aileen M. Schulze Sylvia and Leonard Segel Mrs. Muriel Seligman Kirtikant and Sudha Shah Matthew D. Shapiro and
Susan L. Garetz
Laurence Shear and George Killoran Kathleen A. Sheehy Mary A. Shulman Janet Shultz Ray and Marylin Shuster Drs. Terry and Dorit Adler Silver Dr. Albert and Mrs. Halina Silverman Fran Simek Bob and Elaine Sims Alan and Eleanor Singer Jane Singer
Jack and Shirley Sirotkin Nancy SkinnerOclander
Mr. Jurgen Skoppek
Joanne and Laurence Smith
Richard and JoAnn Socha
Arthur and Elizabeth Solomon
James A. Somers
R. Thomas and Elinor M. Sommerfeld
Mr. Yoram Sorokin
Jim Spevak and Leslie Bruch
Bob and Joyce Squires
Neil and Burnelte Staebler
Irving M. Stahl and Pamela M. Rider
Constance D. Stankrauff
Robin Slephenson and Terry Drent
Ms. Lynette Stindt and
Mr. Craig S. Ross Mr. and Mrs. James Stokoe Dr. and Mrs. Robert Stoler Dr. and Mrs. Samuel Stulberg Drs. Eugene Su and Christin CarterSu Anant Sundarani Valerie Y. Susie m Alfred and Selma Sussman Richard and June Swartz John and Ida Swigart Yorozu Tabata
Suzanne Tainter and Ken Boyer Larry and Roberta Tankanow Professor and Mrs. Robert C. Taylor Kenneth and Benita Teschendorf Brian and Mary Ann Thelen Catherine and Norman Thoburn Neal Tolchin
Jack, Nancy and Lesley Tomion Egons and Suzanne Tons Barbara J. Town Paul and Barbara Trudgen Roger and Barbara Trunsky Marilyn Twining Mr. and Mrs. Marshall Tymn Nikolas Tzannetakis Paul and Fredda Unangst Greg Upshur
Brian A. and Susan R. Urquhart Bram and Lia Van Leer Phyllis Vegter
Kitty Bridges and David Velleman Alice and Joseph Vining Brent Wagner Wendy L. Wahl Patricia Walsh Margaret Walter Karen and Orson Wang Margaret Warrick Lorraine Nadelman and
Sidney Warschausky Alice Warsinski Edward C. Weber Willes H. and Kathleen Weber
Michael Webster and Leone Buyse Steven P. Weikal David and Jacki Weisman Lisa and Steve Weiss Beth F. Wells
Mr. and Mrs. David Wesenberg Carol F. Westerman anet F. White
Mr. and Mrs. Peter H. Wilcox Karen McGechen Wiley Raymond C. Williams Diane M. Willis
Dr. and Mrs. Lawrence D. Wise Linda Kidder and Christopher Wolfe Dick and Muriel Wong Barbara H. Wooding Israel and Fay Woronoff Pauicia Wulp Fran and Ben Wylie Ann and Ralph Youngren Mrs. Antonette Zadrozny Dr. Stephen C. Zambito Robert and Charlene R. Zand (leorge and Nana Zissis and several anonymous donors
Applause Perfect Ten
Bally's Vic Tanny
Callinetics by Diane
Courtney and Lovell
Gallery Von Glahn
Great Harvest Bread Company
Sweet Lorraine's Cafe 8c Bar
Whole Foods Market
(ligi Andresen Chase and Delphi Baromes Dean Bodley A.A. (Bud) Bronson Ciraham Conger Pauline M. Conger Joanna Cornett Horace Dewey Alice Kelsey Dunn Robert S. Feldman Isabelle M. Garrison Ed Gilbert Florence Griffin Kleanor Groves Charles W. Hills George R. Hunsche Hazel Hill Hunt Virginia Ann Hunt Virginia Elinor Hunt Karl Meredith Kempf Edith Staebler Kempf R. Hudson Ladd
Lorene Crank Lloyd
Frederick C. Matthaei, Sr.
Arthur Mayday, Jr.
Mr. and Mrs. Merle Elliot Myers
Martha P. Palty
Gwen and Emerson Powrie
James H. and Cornelia M. Spencer
Ralph L. Steffek
Charlene Parker Stern
Jewel B. Stockard
Mark Von Wyss
Peter H. Woods
Burton Tower Society
Mr. Neil P. Anderson
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
The Graham H. Conger Estate
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
The Estate of Marie Schlesinger
Dr. Herbert Sloan
Mr. and Mrs. Ronald G. Zollars
Sue and Michael Abbott
The Ann Arbor Symphony Orchestra
Applause Perfect Ten
Bally's Vic Tanny
Ms. Janice Stevens Botsford
John Bowden Partners in Wine
Briarwood Shopping Center
Mr. and Mrs. Jonathan Bulkley
James and Belt)' Byrne
Callinetics by Diane
Chelsea Flower Shop
The Coffee Beanery Briarwood
Mr. Phil Cole
Mr. and Mrs. Craig Common
The Common Grill Comprint ConCep Courtney and Lovell
Cousins Heritage Inn
Curtin and Alf Violinmakers
Rosanne and Sandy Duncan
Judy and Richard Fry
Fry and Partners, Architects
The Gandy Dancer
Gallery Von Glahn
The Great FrameUp
Great Harvest Bread Company
Kathleen and Timothy Hill
Matthew C. Hoffman and
Kerry McNulty Huron Valley Travel, Inc. Mr. Dave Irish Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa Junior League of Ann Arbor Bob and Gloria Kerry Kerrytown Administrative Offices Heidi and Josh Kerst Howard King and Elizabeth SayreKing King's Keyboard House Mr. and Mrs. Edward Klum Maggie Long
Perfectly Seasoned Catering Mr. and Mrs. Donald Lystra
Dough Boys Bakery Steve and Ginger Maggio Kenneth and Martha McClatchey Jerry and Rhona Meislik The Michigan Opera Theater The Michigan Theater Monahan's Seafood Market Hillary Murt and Bruce Friedman Ms. Karen O'Neal Paesano's Restaurant Pastabilities Jesse Richards Richard and Susan Rogel Maya Savarino Ms. Sara Savarino
Professor and Mrs. Thomas Schriber Thomas Sheets SKR Classical David Smith PhotographyLois and Jack Stegeman Edward Surovell and Natalie Lacy Sweet Lorraine's Cafe Tom and Judy Thompson Dr. and Mrs. John F. Ullrich Urban Jewelers Van Boven, Inc. Charlotte Van Curler The Water Club Bar and Grill Dr. Emil A. Weddige Ron and Eileen Weiser Mr. and Mrs. Robert O. Weisman Whole Foods Market Paul and Elizabeth Yhouse
University Musical Society
Highlights from the 1995 Winter Season
Photos by David Smith
? Pianist Garrick Ohlsson performs to a sold out audience in Rackham Auditorium as part of his sixinstallment cycle The Complete Solo Piano Music of Frederic Chopin. With his impassioned interpretations of this monumental body of piano literature, Ohlsson established an intimate relationship with Ann Arbor audiences which he will continue into the 19951996 season.
T Maestro Christoph von Dohnanyi leads The Cleveland Orchestra and pianist Emanuel Ax in the second of three concerts of the Society Bank Cleveland Orchestra Weekend. Two orchestra concerts and an afternoon of chamber music were part of a special residency that included extensive work with the University of Michigan School of Music.
? Paul Yancich of The Cleveland Orchestra demonstrates timpani techniques to Greg White during a percussion master class as part of the Orchestra's residency activities at the University of Michigan School of Music during the Society Bank Cleveland Orchestra Weekend. In all, members of the orchestra held fourteen master classes for students and faculty.
? For two nights, the Bill T. JonesArnie Zane Dance Company's full evening work StillHere captivated near capacity audiences in the Power Center. The multimedia work is a meditation on questions of survival and mortality utilizing video and movements collected from survival workshops Jones held in eleven cities across the country with individuals living with lifethreatening illnesses
? In conjunction with performances of StillHere, Bill T. JonesArnie Zane Dance Company Rehearsal Director Andrea Woods (foreground) conducts a master class at the University of Michigan School of Dance.
? Following their Ann Arbor premiere of Osvaldo Golijov's The Dreams and Prayers of Isaac The Blind, violinists William Preucil and Peter Salafe, cellist Paul Katz, clarinetist Giora Feidman, Golijov, and violist James Dunham, were kept standing by an enthusiastic crowd. The piece, which was cocommissioned by the University Musical Society, was written specifically for Feidman to perform with the Cleveland Quartet, who were making their final Ann Arbor performance.
In an effort to help reduce distracting noises and enhance the concertgoing experience, the WarnerLambert Company is providing compli?mentary Halls MenthoLyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1995 Lincoln Town Car to provide transportation for visiting artists.
The University Musical Society would like to give special thanks to all who have helped to make the 199495 season a great success. Special appreciation goes to:
Gregg T. Alf
The Bell Tower
Maurice and Linda Binkow
I iiiii.i Byrd
Jim and Betty Byrne
The Campus Inn
Craig Common, Common Grill
Curtin and Alf
Custom Courier Group, Inc.
Rosalie and Martin Edwards
Ford Motor Company
Richard and Judy Fry
Gold Bond Cleaners
Bob and Gloria Kerry
Karl and Ingjerd Larson
Barry La Rue
Don and Gerri Lewis
David and Tina Loesel
Drboi all M.ilaiinid
Susan Isaacs Nisbetl
Karen and Rob D. Oliver
Nels & Mary Olsen
PerfecUy Seasoned Caterers
Wade V. Radina
Prue and Amnon Rosenthal
Charlotte and George Sallade
Lois and Jack Stegeman
Alvin and Katherine Uhle
John and Sue Ullrich
UMS Usher Corps
Charlotte Van Curler
Bud van de Wege
Linda Whitetree Warrington
Lloyd & Nancy Williams
Liz and Paul Yhouse
with the University Musical Society
our 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 pro?gram books to reach you, our worldclass 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 cam 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) 7646199.
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in 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 allvolunteer 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!
Volunteers & Interns
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 goodwill representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 7471175 or pick up a volunteer applica?tion 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. Semester and yearlong internships are available in many aspects of the University Musical Society's operations. Those interested in serving as a UMS Intern should call (313) 7646199 for more infor?mation. We look forward to hearing from you!
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 19891990 season with special onehour performances for local fourth graders of Puccini's La Bohemehy the New York City Opera National Company.
Now in its sixth year under the Education Department, the UMS Youth Program continues to expand, with performances by the Martha Graham Dance Company for middle and high school students, two fourthgrade opera performances, inschool 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 fourday 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 perfor?mance.
On Friday, November 18, 1994, area high school students experienced a fulllength performance of the Shaw Festival's productions of Arms and the Man.
On Friday, March 3, 1995, 2700 fourthgraders visited the Power Center for abbreviated onehour performances of Rossini's The Barber of Seville. These performances allowed children to experience opera that is fullystaged and fullycostumed with the same orchestra and singers that appeared in the he fulllength 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 w ill 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 ails 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.
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 pur?chases. Participants for the 19941995 season include the following fine stores and restaurants: Amadeus Cafe Cafe Marie Gandy Dancer Kerrytown Bistro Maude's SKR Classical
Tower RecordsBooksVideo The Earle
What could be easier 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.
Event planning could not be more simple or enjoyable! Your UMS Group Sales Coordinator is eager to help you plan the perfect outing that will impress your group of friends or coworkers, religious congregation, conference participants, or guests. At a UMS event, everyone will enjoy the finest in entertainment at terrific discounts!
Start by saving big! When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 15 to 25 off the price of every ticket, along with 12 complimentary tickets to thank you for bringing your group to a UMS event:
20 or more Adults earn a 15 discount, and
1 complimentary ticket;
47 or more Adults earn a 20 discount, and
2 complimentary tickets;
10 or more Students earn a 20 discount, and 2 complimentary tickets.
10 or more Senior Citizens earn a 20 discount, and 2 complimentary tickets.
For selected events, earn a 25 discount and 1 complimentary ticket.
Next, sit back and relax. Let the UMS Group Sales Coordinator provide you with promotional materials for the event, FREE bus parking, reserved block seating in the best seats available, and assis?tance with dining arrangements at a facility that meets your group's culinary criteria.
UMS provides all the ingredients for a success?ful event. All you need to supply are the partici?pants! Put UMS Group Sales to work for you by call?ing 313.763.3100.
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 they you may take full advantage of these musical signposts, we offer the following brief glossary of terms that appear most often.
adagio. Slow, at ease.
allegro. Quick, lively.
andante. An even, walking pace.
ausdruck, mit. With expression.
bedachtig. Deliberate, slow.
bewegt. Moving, agitated.
cadenza. An elaborate passage
performed by a soloist near the end of a movement (especially in a con?certo or other work with accom?panying ensemble).
coda. A passage ending a movement.
con brio. With spirit.
con fuoco. With fire.
con niiitii. With motion.
divertimento. A light, instrumental piece.
doch. Yet, still, nevertheless.
dolce. Sweet, usually soft.
empfindung. Feeling, sentiment.
entschieden. Decided, resolute.
feierlich. Festive, solemn.
forte. Loud, strong.
gemachlich. Comfortable, sedate.
gemessen. Moderate, sedate.
innig. Heartfelt, sincere.
krafiig. Forceful, energetic.
landleer. Alpine dance in the character of a slow waltz.
largo. Very slow, broad.
marcato. Stressed, emphasized.
minuet. Moderate, stately dance.
mnlto. Very much.
mosso. Moved, agitated.
nontroppo. Not too much.
osb'nato. 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.
presto. Very fast.
rondo. A form in which the leading theme is repeated in alteration with other themes.
rubato. An expressive nuance (accel?erating or slowing down), subject to the performer's discretion.
ruhig. Calm, peaceful.
scherzo. Vivacious, often humorous movement with marked rhythms and sharp contrast.
schleppen. To drag.
st hiirll. Fast.
semlice. Simple, without ornament.
sonata. An instrumental composition usually in three or four extended movements, contrasted in theme, tempo, and moods.
sonataform. The usual form of the first movement of a sonata or symphony, with sections of exposition, development, and recapitulation.
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.
sturmisch. Stormy, passionate.
symphonic poem. Also called a tone poem; orchestral music based on an extra musical idea, either poetic or realistic.
troppo. Too much.
zingarese, alia. In the gypsy style.
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