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UMS Concert Program, Friday Sep. 29 To Oct. 26: University Musical Society: 1995-1996 Fall - Friday Sep. 29 To Oct. 26 --

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University Musical Society
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Season: 1995-1996 Fall
University Of Michigan, Ann Arbor

of the University of Michigan Ann Arbor
1996 Fall Season
Dear UMS Patrons
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 199596 season comes to a close next spring, the UMS will have brought to the community per?formances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understand?ing and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a Midwest community of 110,000 can support the number and quality of performances that the UMS brings to Ann Arbor. They want to know how we do it, and I'm proud to tell them. Here's what I say:
O First, and most important, the people in Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they are among the most informed, engaged and appreciative audiences in the country.
O It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
O Our special relationship with one of the country's leading educational institutions, the University of Michigan, has allowed us to maintain a level of independence which, in turn, affords us the ability to be creative, bold and entrepreneurial in bringing the best to Ann Arbor. While the UMS is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, UMS is a separate not-for-profit organization which supports itself from ticket sales, other earned income, grants, and contributions.
O The quality of our concert halls means that artists love to perform here and are eager to accept return engagements. Where else in the U.S. can Cecilia Bartoli perform a recital before 4,300 people and know that her pianissimos can be heard unamplified by everyone
O Our talented, diverse, and dedicated Board of Directors drawn from both the University and the regional community provides outstanding leadership for the UMS. The 200-voice UMS Choral Union, 55-member Advisory Committee, 275-member usher corps, and hundreds of other volunteers and interns contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
O Finally, I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks for coming, and let me hear from you if you have any suggestions, complaints, etc. Look for me in the lobby or give me a call at 313.747.1174.
Kenneth C. Fischer Executive Director
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 University Musical Society.
Kenneth C. Fischer Executive Director University Musical Society
James W. Anderson, Jr. President, The Anderson Associates Realtors The arls 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.
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
Douglas D. Freeth President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group
in our community which perpetuates wonderful evenis not only for Ann Arbor but for all of Michigan to enjoy."
Carl A. Brauer, Jr.
Brauer Investment
"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."
Joseph Curtin and Greg Alf
Owners, Curtin C!f Alf "Curtin & AlPs 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 oppor?tunities set new standards of excellence across the land."w
L.Thomas Conlin Chairman of the Board and Chief Executive Officer, Conlin-Faber Travel The University Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
Conlin -Faber Travel
David G. Loesel
T.M.L. Ventures, Inc.
"Cafe Marie's
support of ihc
University Musical
Society Youth
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."
Donald M. Vuchetich
Detroit if Canada
Tunnel Corporation
"The Detroit and
Canada Tunnel
Corporation is proud
to be a partner with the University of Michigan Musical Society in their success of bringing such high quality performances to the Southeast Michigan region."
Alex Trotman Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ-
ation with the Universit)' Musical Society, its concerts and the educational programs that contribute so much to Southeastern Michigan."
William E. Odom
Ford Motor Credit
"The people of
Ford Credii are very
proud of our con-
tinuing association with the University Musical Society. The Society's long-established commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
John Psarouthakis, Ph.D.
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical Society. We warmly support the cultural events it brings to
John E. Lobbia
Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the oreani-
zalions that make the Ann Arbor com?munity a world-renowned center for the arts. The entire community shares in the countless benefits of the excel?lence of these programs."
Robert J. Delonis Chairman and Chief Executive Officer, Great Lakes Bancorp "As a long-standing 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."
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."
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."
a? mcKjnley associates inc.
Frank A. Olson, Chairman and CEO The Hertz Corporation "Hertz, as a global company, supports the University of Michigan Musical
Society mission of providing program?ming lhat represents and involves diverse cultural groups thereby fostering greater understanding and appreciation of these cultures."
Dennis Serras President, Mainstreet Ventura, 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."
Thomas B. McMullen President, Thomas It. McMulkn Co., Inc. "I used to feel that a U of M Notre Dame football ticket
was the best ticket in Ann Arbor. Not anymore. The UMS provides the best in educational entertainment."
Joe E. O'Neal
O'Neal Construction
"A commitment to
quality is the main
reason we are a
proud supporter of
the University Musical Society's efforts to bring the finest artists and special events to our community."
Iva M. Wilson
Philips Display
"Philips Display
Company is proud to support the University Musical Society and the artistic value it adds to the community."
Sue S. Lee
Regency Travel
Agency, Inc.
"It is our pleasure
to work with such
an outstanding
organization as the Musical Society at the University of Michigan."
Larry McPherson President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute 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 116, we can still appreciate the history they have with the city -and we are glad to be part of that history."
George H. Cress Chairman, President,
and Chief Executive
Officer, Society Bank,
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."
Ronald M. Cresswell, Ph.D. Vice President and Chairman, Pharmaceutical Division, Warner Lambert Company
"Warner Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Michael Staebler Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz con?gratulates the
University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Edward Surovell
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."
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 Herbert Amster
President Norman G. Herbert
Vice-President Carol Shalita Smokier
Secretary Richard Rogel
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan Carl A. Brauer, Jr. LctitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell
James J. Duderstadt Walter M. Harrison Kay Hunt Thomas E. Kaupcr F. Bruce Kulp Rebecca McGowan Joe O'Neal George I. Shirley John O. Simpson Herbert E. Sloan 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. Briuon Douglas D. Crary John D'Arms Robben W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long Judylh 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. Slegeman E. Thurston Thieme Jerry A. Weisbach Gilbert Whilaker
Kenneth Fischer Executive Director
Catherine Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Dorothy Chang Sally A. Cushing David B. Devore Erika Fischer Susan Fitzpatrick Rachel Folland Greg Former Adam Glaser Michael L. Cowing Philip Guire Jessie Halladay Elizabeth Jahn John B. Kennard.Jr. Michael J. Kondziolka
RonaldJ. Reid R. Scott Russell Thomas Sheets Helen Siedel Anne Griffin Sloan Jane Stanton Lori Swanson
Work StudyInterns Steve Chavez Timothy Christie Grace Eng Jessica Flint Naomi Kornilakis Tansy Rodd Ritu Tuteja
Donald Bryant
Conductor Emeritus
1995-96 Advisory Committee Susan B. Ullrich, Chair Elizabeth Yhouse, Vice-Chair Kathleen Beck Maly, Secretary Peter H. deLoof, Treasurer
Gregg Alf Paulctt Banks Milli Baranowski Janice Stevens Botsford Jeanninc Buchanan I nut.i Byrd
Betty Byrne, Staff Uason Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter deLoof Rosanne Duncan H. Michael Endres Don Faber Penny Fischer Barbara Gelehrtcr Beverley Geltner Margo Hals ted Esther Heitler Deborah B. Hildebrandt Kathleen Trcciak-Hill Matthew Hoffmann Maureen Isaac Marcy Jennings Damn Johnson
Barbara Kahn Mercy Kasle Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Levitan Doni Lystra Kathleen Beck Maly Howard Markel Margaret McKinley Clyde Metzger Ronald G. Miller Len Niehoff Karen Koykka O'Neal Marysia Ostafin Wendy Palms leva Rasmussen Maya Savarino Janet Shatusky Aliza Shevrin Shiela Silver Rita Simpson Ellen Stross James Telfer, M.D. Susan B. Ullrich Dody Viola Jerry Weidenbach Jane Wilkinson Elizabeth Yhouse
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
The University Musical Society is an Equal Opportunity Employer and provides programs and sennces without regard to race, color, religion, national origin, age, sex, sexual orientation, or handicap.
The University Musical Society is a member of the International Society for the Performing Arts, Association of Performing Arts Presenters, CJiamber Music America, Arts Action Alliance, and Washtenaw Council for the Arts.
General Information
University Musical Society Auditoria Directory & Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located diroughoul
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center Drinking fountains arc located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the soudi side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMember Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children We welcome children, but very young chil?dren can be disruptive to a performance. Children should be able to sit quiedy in their own seats through?out a performance. Children unable to do so, along widi 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 stricdy prohibited in the auditoria.
Odds and Ends A silent auditorium with an expec?tant 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 pro?gram pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Ticket Services
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Fax Orders 313.747.1171
Visit Our Box Office in Person At Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
Gift Certificates Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
Returns If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduc?tion as refunds are not available. Please call 313.764.2538, 10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
Now in its 117th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as the Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were 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 ten-concert series in Hill Auditorium. Through the Chamber Arts Series, Choral Union Series, Jazz Directions, World Tour, and Moving Truths Series, the Musical Society now hosts over 60 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 117 years with the support of a generous musicand arts-loving 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 Berlin and Vienna Philharmonic Orchestras, 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.
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 strength?ened through educational endeavors, commissioning of new works, programs for young people, artists' residencies such as the Martha Graham Centenary Festival and the Society Bank Cleveland Orchestra Weekend, and through other collaborative 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, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
The University Musical Society Choral Union has performed throughout its 117-year history with many of the world's distinguished orchestras and conductors.
In recent years, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa, Robert Spano and David Zinman in performances with the Detroit Smphony Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor, under the aegis of the University Musical Society of the University of Michigan, the 180-voice Choral Union remains best known for its annual performances of Handel's Messiah each December. Two years ago, the Choral Union further enriched that tradition through its appointment as resident large chorus of the Detroit Symphony Orchestra. In January 1994 the Choral Union collaborated with Maestro Jarvi and the DSO in the chorus' first major commercial recording, Tchaikowsky's Snow Maiden, released by Chandos Records in October of that year. This past season, the ensemble joined forces with the DSO for sub?scription performances of Ravel's Daphnis el Chloe and Mahler's Symphony No. 2 (Resurrection). In 1995, the Choral Union established an artistic associ?ation with the Toledo Symphony, inaugurating the new partnership with a performance of Britten's War Requiem under the baton of Maestro Andrew Massey.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion a love of the choral art.
Hill Auditorium
Completed in 1913, this renowned concert hall was inaugurated at the 20th Annual Ann Arbor May Festival and has since been home to thousands of University Musical Society concerts, including the annual Choral Union Series, through?out its distinguished 82-year history.
Former U-M regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings. 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 Angell 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 ig86.
Currently, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Rackham Auditorium
For over 50 years, this intimate and unique con?cert hall has been the setting for hundreds of world-acclaimed chamber music ensembles pre?sented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and pre?sented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
POWER CENTER for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation--Marcel Marceau.
The fall of 1991 marked the twentieth anniver?sary of the Power Center. The Power Family-Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip-contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,380 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS hosted its annual week-long theater resi?dency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20, 1994.
In October 1994, UMS, the Martha Graham Dance Company, and ten institutional partners hosted
"In the American Grain: The Martha Graham Centenary Festival" commemorating the 100th anniversary of Martha Graham's birth. The Power Center was the site of open rehearsals, exhibits, workshops, and performances, including the 50th anniversary celebration of the premiere of the Martha GrahamAaron Copland collaboration Appalachian Spring (Ballet for Martha).
The Michigan Theater
Tihe historic Michigan Theater opened its doors January 5, 1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior were then, as now, a marvel practi?cally unrivaled in Michigan. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, die Theater has undergone many changes. Talkies" replaced silent films just one year after die Theater opened, and vaudeville soon disap?peared from die stage. As Theater attendance dwindled in the '50s, both the interior and exterior of die building were remodeled in an architecturally inappropriate style.
Through the '60s and '70s the 1800-seat theater struggled against changes in the film industry and audiences until the non-profit Michigan Theater Found?ation stepped in to operate die failing movie house in 1979.
After a partial renovation which returned much of its prior glory, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. The Michigan Theater is also the home of die Ann Arbor Symphony Orchestra.
St. Francis of Assisi Catholic Church
In June of 1950, Edward Cardinal Mooney appointed Father Leon Kennedy pastor of a new parish in Ann Arbor. Sunday Masses were first celebrated at Pittsfield School until the first building was ready on Easter Sunday, 1951 ? The parish num?bered 248 families. Ground was broken in 1967 to build a permanent church building, and on March 19, ig69,John Cardinal Dearden dedicated the new St. Francis of Assisi Church. In June of 1987, Father Charles E. Irvin was appointed pastor.
Today, St. Francis of Assisi Catholic Church is composed of 2,800 families. The present church seats 800 people and has ample free parking. Since 1987 Janelle O'Malley has served as Music Director of St. Francis. Through dedication, a commitment to superb liturgical music and a vision into the future, the parish improved the acoustics of the church building. A splendid 3 manual "mechanical action" instrument of 34 stops and 45 ranks was built and installed by Orgues Letourneau from Saint-Hyacinthe, Quebec. The 1994 Letourneau Organ (Opus 38) was dedicated in December of 1994.
Burton Memorial Tower
A favorite campus and Ann Arbor landmark, Burton Memorial Tower is the familiar mail?ing address and box office location for UMS concertgoers.
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 1920 until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donated labor, materials, and funds to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by die School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live per?formance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am-
University Musical Society 1995-96 Season
Cecilia Bartoli, mezzo-soprano Steven Blier, piano Friday, September 29, 8pm Hill Auditorium
Made possible by a gift from Parke Davis, Warner-Lambert.
Slide Hampton and the Jazz Masters
Big Band Bird: A 75th Birthday Celebration of Charlie Parker Thursday, October 5, 8pm Power Center The UMS Jazz Directions Series is presented with support from VEMU, 89.1 FM, Public Radio fwm Eastern Michigan University.
Australian Chamber Orchestra Barry Tuckwell, horn Friday, October 6, 8pm Rackham Auditorium
Philips Educational Presentation: "The Music Scene Doum Under''. An Interview with Timothy Walker, General Manager, Australian Chamber Orchestra, Michigan league, 7pm.
Master Musicians of Jajouka featuring Bachir Attar Saturday, October 21, 8pm Rackham Auditorium
Philips Educational Presentation: Kim Hunter, ProducerHost, WDET's Radio Free Earth, "A Royal, Mystical legacy," East Lecture Room, JrAFhor Rackham Building, 7pm.
Central Ballet of China Wednesday, October 25, 8pm Thursday, October 26, 8pm Power Center
Made possible by a gift from The Hertz Cxrporatton.
Paco de Lucia's Flamenco Master Guitar Sextet
Friday, October 27, 8pm Power Center Made possible by a gift from Thomas B. McMullrn (Company.
Bolshoi Symphony Orchestra Peter Feranec, conductor Boris Berezovsky, piano Saturday, October 28, 8pm Hill Auditorium
Made possible by a gift from Conlin-Faber TravelCrystal Cruises.
Marcus Roberts Trio 8c Septet An Evening of Gershwin Saturday, November 4, 8pm Power Center
Philips Educational Presentation: Adam Glaser, UMS Director of Marketing and Promotion. The New Frontier of fazz Piano", Michigan league, 7pm.
The UMS fazz Directions Series is pre?sented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
The Choral Music of Arvo Part Estonian Philharmonic Chamber Choir Tallinn Chamber Orchestra I urn Kaljuste, conductor Sunday, November 5, 7pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: Luke Howard, Ph.D. Student in Musicology and Sacred Music, "Is Nothing Sacred', St. Francis of Assisi Catholic Church, 6pm.
Chamber Music Society of Lincoln Center David Shifrin, Artistic Director Tuesday, November 7, 8pm Rackham Auditorium
Philips Educational Presentation: Grer T. Alf, Partner, Curtin & Alf Molinmakers, 'iolinmafcng: The State of the Art", a presentationdemonstra?tion, Michigan League, 7pm. Made possible by a gift firm Curtm &Alf.
Wednesday, November 15,8pm Rackham Auditorium
Philips Eilucationat Presentation: Enid Sutherland, Director of the Sutherland Ensemble and Member of the Atlantis Ensemble, "Early Music What's the Difference", Michigan League, 7pm.
Faculty Artists Concert
Tuesday, November 21, 8pm Rackham Auditorium
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Recital IV)
Sunday, November 19, 4pm Rackham Auditorium
Handel's Messiah Saturday, December 2, 8pm Sunday, December 3, 2pm Hill Auditorium
Made possible by a gift from Wolverine Temporaries Inc.
Maurice Sendak's and Carole King's Really Rosie (A Musical for Families) Tuesday, December 5, 7pm Wednesday, December 6, 7pm Michigan Theater
Gil Shaham, violin Orli Shaham, piano Saturday, December 9, 8pm Hill Auditorium
Juilliard String Quartet Thursday, January 11, 8pm
Philips Educational Presentations: Samuel Rhodes, vioiist with the Quartet,
nil! discuss works on this evening's pro?gram, Michigan League 7pm. Post-Performance Chat: Following the performance, members of the (htartet will rrttmi to the stage for discussion with the audience.
Made possible by a gift from Jim and Betty Byrne.
Boys Choir of Harlem
Sunday, January 14, 7pm Hill Auditorium
Made possible by a gift from MSK Corporation. This amort is copresented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1996 Rev. Dx Martin Luther King, Jr. Day Symposium.
St. Louis Symphony Leonard Slatkin, conductor Thursday, January 18, 8pm Hill Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard ", first in a series in which Professor Whiting discusses the concert repertoire, Michigan League, 7pm.
St. Petersburg Philharmonic Yuri Temirkanov, conductor Pamela Frank, violin
Friday, January 26, 8pm Hill Auditorium
Philips Educational Presentation: Seven Moore Whiting. Assistant Professor of Musicology, "Classics Reheard", second in a series in which Professor Whiting discusses the concert repertoire, Michigan League, 7pm. Made possible by a gift from Pepper, Hamilton & Schtttz.
The Guthrie Theater
of Minneapolis
January 27 28, 1995
k. (Impressions from Kafka's
The Trial)
Saturday, January 27, 8pm
Sunday, January 28, 2pm
Power Center
Harold Pinter's Old Times
Sunday, January 28, 7pm
Power Center
This project is supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
Wynton Marsalis Lincoln Center Jazz Orchestra Nonet Jazz at Lincoln Center Presents, "Monk, Morton, and Marsalis" Wednesday, January 31, 8pm Michigan Theater The UMSJazz Directions Series is pre?sented with support from WEMUr 89.1 FM, Public Radio from Eastern Michigan University.
Feel the Spirit --
An Evening of Gospel Music
The Blind Boys of Alabama
featuring Clarence Fountain,
The Soul Stirrers, and
Inez Andrews
Thursday, February 1, 8pm
Hill Auditorium
The King's Singers Saturday, February 3, 8pm Hill Auditorium
Ma th possible by a gift from First of America.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Recital V)
Sunday, February 4, 4pm Rackham Auditorium
Philips Educational Presentation: Garrick OhUson, "An Afternoon With Carrick Ohlsson " Saturday, February 3, Rackham -1th Floor Assembly Hall, 4pm.
Boston Symphony Orchestra Seiji Ozawa, conductor
Wednesday, February 7, 8pm Hill Auditorium
Philips Educational Presentation: "The BSO: All the Questions You 've Eixr Wanted to Ask", an interview and audience Q & A with: Leone Buyse, UM Professor of Flute and Former Principal Flute, BSO; Daniel Gustin, Manager of Tangiewood; Lois Schaefer, Emeritus Piccolo Principal, BSO; and Owen Young, Cellist, BSO; Michigan league, 7pm. Made possible by a gift from Fisher Scientific International
Latin Jazz Summit featuring Tito Puente, Arturo Sandoval, and Jerry Gonzalez and The Fort Apache Band
Saturday, February 10, 8pm Hill Auditorium
Philips Educational Presentation: Dr. Alberto Nacif, Percussionist and WEMU Radio Host, 'A Lecture Demonstration ofAfnC.uban Rhythms", Michigan Ijtague, 7pm. The UMSJazz Directions Series is pre?sented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Moscow Virtuosi
Vladimir Spivakov, conductor
Friday, February 16, 8pm
Rackham Auditorium
Philips Educational Presentation: Post-Performance Chat: Violinist and Conductor Vladimir Sfmikov will return to the stage following the performance, to accept questions from the audience. Made possible by a gift from The Edward Surovell Co.Realtors.
Saturday, February 17, 8pm Sunday, February 18, 4pm Power Center
New York City Opera National Company Verdi's La Traviata Wednesday, February 21, 8pm Thursday, February 22, 8pm Friday, February 23, 8pm Saturday, February 24, 2pm (Family Show) Saturday, February 24, 8pm Power Center
Philips Educational Presentations: February 21 ? Helm SitdH, UMS Education Specialist, "Know Beforr You Go: An Audio'isual Introduction to 7-i Trainata", Michigan league, 6:45pm; February 23 Martin Katz, Accompanist-Coach-Conductoi; "The Specific Tmviata", Michigan league, 7pm. Made possible by a gift from TriMas (lOrporation.
Sequentia The Music of Hildegard von Bingen Sunday, February 25, 7pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: James M. Borders, Associate Professor of Musicology, 'Medieval Music For A Modern Age", St Frantis of Assisi Church, 6pm.
Tokyo String Quartet
I'iiit has Zukerman,
Monday, February 26, 8pm
Rackham Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant

Professor of Musicology, "Classics Heheanl", (hint in a series in which Professor Whiting dicusses the concert repertoire, Michigan league, 1pm.
John Williams, guitar Tuesday, February 27, 8pm Rackham Auditorium This program is made possible in part by a grant from the National Endowment for the Arts.
San Francisco Symphony Michael Tilson Thomas, conductor
Friday, March 15, 8pm Hill Auditorium
Philips FAucational Presentation: Jim Isonard, Manager, SKR Classical, "Mahler in Ijove: the Fifth Symphony', Michigan league, 7pm. Made possible by a gift from McKintey Associates, Inc.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Grand Finale Recital VI)
Saturday, March 16, 8pm Hill Auditorium
Alvin Ailey American Dance Theatre
Tuesday, March 19, 7pm, (Family Show) Wednesday, March 20, 8pm Thursday, March 21, 8pm Friday, March 22, 8pm Power Center
This project is supported by Arts Miduxst members and friends in partnership with Dance on Tour.
Borodin String Quartet Ludmilla Berlinskaya, piano Friday, March 22, 8pm Rackham Auditorium Made possible by a gift from The Edward Surovell Co.Reallors.
Guitar Summit II Kenny Burrell, jazz; Manuel Barrueco, classical; Jorma Kaukonen, acoustic blues; Stanley Jordan, modern jazz Saturday, March 23, 8pm Rackham Auditorium
Faculty Artists Concert
Tuesday, March 26, 8pm Rackham Auditorium
The Canadian Brass
Saturday, March 30, 8pm Hill Auditorium Made possible by a gift from Great Lakes Bancorp.
Bach's li miniii Mass The UMS Choral Union The Toledo Symphony Thomas Sheets, conductor Sunday, March 31, 2pm Hill Auditorium
Tallis Scholars Thursday, April 11, 8pm St. Francis of Assisi Catholic Church
Ravi mi.ii Saturday, April 13, 8pm Rackham Auditorium Philips Educational Presentation: Rajan Sachdeva, Sitar Artist and Director Institute of Indian Music, "A IjctureDemonstmtion of Indian Classical Music on Sitar", Michigan League, 6:30pm.
Israel Philharmonic Orchestra Zubin Mi-lii.i. conductor Thursday, April 18, 8pm Hill Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor ofMusicology, 'Classics Reheard", fourth in a series in which Professor Whiting discusses the concert repertoire, Michigan league, 7pm. Made possible by a gififitmt Dr. John Psamuthakis, the Paiedeia Foundation, andJPFJnc.
duck's Orfeo ed Euridice Mark Morris Dance Group Handel 8c Haydn Society Orchestra and Chorus Christopher Hogwood, conductor April 19-20, 8pm April 21, 4pm Michigan Theater
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", ftfih in a series in which Professor Whiting discusses the concert repertoire, SKR Classical, 7pm. Made possible by a gift from the KMD Foundation. This project is supported by Arts Midwest members and friends in partnership with Dance on Tour.
Ensemble Modern John Adams, conductor featuring the music of John Adams and Frank Zappa Tuesday, April 23, 8pm Rackham Auditorium
Philips Educational Presentation: James M. Borders, Associate Professor of Musicology, "The Best Instrumental Music You Neter Heard In Your Life", Michigan league, 7pm.
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a igg6 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith, are images taken from the University Musical Society's 1994-95 Season. Maestro Riccardo Chailly conducting the Royal Concertgebouw Orchestra; Michigan Latin-Jazz artists Michele Ramo and Heidi Hepler; and the last bow stroke of the Cleveland String Quartet's final UMS appearance.
of the University of Michigan I995'I99 FuM Season
Event Program Book
Friday, September 29, 1995
Thursday, October 26, 1995
nyth Annual Choral Union Series Hill Auditorium
jjnd Annual Chamber Arts Series Rackham Auditorium
25th Annual Choice Events Series
Cecilia Bartoli 3
Friday, September 29, 1995, 8:00pm Hill Auditorium
Slide Hampton and the JazzMasters 21
Thursday, October 5, 1995, 8:00pm Power Center
Australian Chamber Orchestra 25
Friday, October 6, 1995, 8:00pm Rackham Auditorium
Master Musicians of Jajouka 35
Saturday, October 21, 1995, 8:00pm Rackham Auditorium
Central Ballet of China 37
Wednesday, October 25, 1995, 8:00pm Thursday, October 26, 1995, 8:00pm Power Center
General Information
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time
Every attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audito?rium and seat location and ask them to call University Security at 763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS per?formances included in this edition. Thank you for your help.
Parke Davis, Warner-Lambert
presen t
Cecilia Bartoli
Steven Blier
Friday Evening, September 29, 1995 at 8:00
Hill Auditorium Ann Arbor, Michigan
Georges Bizet Ouvre ton coeur Tarantelle
Leo Delibes Les filles de Cadiz
Maurice Ravel
Chanson espagnole Chanson franfaise Chanson italienne Chanson hebralque
Ravel Vocalise-etude en forme de Habanera
Hector Berlioz Zaide
Pauline Viardot Havanaise Hai Luli!
Gioacchino Rossini Bolero
L'ariette de l'ancienne Marguerite L'ame delaisse L'Orpheline du Tyrol
Rondo from La Cenerentola "Nacqui all'affanno"
First Concert of the 117 th Season
117th Annual Choral Union Series
Special thanks to Ronald M. Cresswell, Vice President and Chairman, Pharmaceutical Division, Warner-Lambert Company for helping to make this performance possible.
Thank you to Richard LeSueur, Director of Technical Services, Ann Arbor Public Library, and Director, Vocal Arts Information Services, speaker for tonight's Philips Educational Presentation.
Thank you to Hammell Music, Inc., Livonia, Michigan for the piano used in tonight's performance.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
J. F. Mastroianni Associates, Inc., New York City
Ms. Bartoli is exclusive to the Decca Record Company Ltd.
Large print programs are available upon request from an usher.
This evening's program reflects the glories of the nineteenthentury French song. The French style of this period often personifies a coquet-tishness, a sly smile or a joyous exuberance. Even in a relatively sad song, a French composer would never think of bearing his or her soul to the world in the way Schubert, Schumann or Wolf do in their great Lieder. The French style is lighter in mood and in outlook. Another aspect of this repertoire is the way that French composers invoke the exotic, using other national styles to enrich their musical language. A Spanish motif is featured in much of this evening's program.
Georges Bizet
Born October 25, 1838 in Paris Died June 3, i8y$ in Bougival
Georges Bizet is best known for one opera, Carmen, and one duet from The Pearl Fishers. Although Ouvre ton coeur, considered by many writers to be one of Bizet's finest songs, was published as a separate song during Bizet's lifetime, it was originally composed as part of a larger ode-symphonique entitled Vasco da Gama, which had its premiere in 1863. In the style of a bolero, this aria was one of the few sections of the composition which was well received by the public. Bizet later transferred the aria with modified lyrics to his opera Ivan le Terrible which was left incomplete at his deadi. Bizet also drew upon Mediterranean motifs in the Tarantelle, published in 1872.
Leo Delibes
Born February 21, 1836 in St.-Germain-du-Val, Sarthe Died January 16, 1891 in Paris
Leo Delibes is another composer best known for one work, in this case the opera Lakme. His sprightly song, Lesfilles de Cadiz, is best known today as a showcase piece for high sopranos, although the great contralto Louise Homer recorded it twice in the early years of this century.
(Louis Deldtre)
La marguerite a ferme sa corolle,
L'ombre a ferme les yeux du jour,
Belle, me tiendras-tu parole
La marguerite a ferme sa corolle.
Ouvre ton coeur a mon amour.
Ouvre ton coeur,
6, jeune ange, a ma fiamme,
Qu'un reve charme ton sommeil,
Ouvre ton coeur,
Je veux reprendre mon ame.
Ouvre ton coeur,
6, jeune ange, a ma fiamme,
Comme une fleur s'ouvre au soleil!
Ouvre ton coeur,
La la la.
Tarantelle (Edouard Palleron)
Tra la la, tra la la, tra la la la la
Le papillon s'est envole,
Tra la la la
La fleur se balance avec grace,
La la la
Tra la la
Ma belle ou voyez vous la trace.
Tra la la
La trace de l'amant aile
Ma belle ou voyez vous la trace de l'amant
Ah! Le papillon s'est envole!
Oui! ah! ah!
Le flot est rapide et changeant.
Toujours sillonant l'eau profonde,
La barque passe, et toujours l'onde efface le
sillon d'argent. . .
Le flot, oui le flot est rapide et changeant. Le papillon, c'est votre amour La fleur et l'onde, c'est votre ame. Que rien n'emeut, que rien n'entame, Ou rien ne reste plus d'un jour. . . Le papillon, le papillon c'est votre amour.
Open Your Heart
The daisy has closed her petals,
Shadows shut the eyes of day,
My beauty, will you keep your word
The Daisy has closed her petals.
Open your heart to my love.
Open your heart,
O, infant angel, let my light,
Enchant and ignite your night,
Open your heart,
I have to take back my soul.
Open your heart,
O, infant angel, to my blaze,
As the flower opens to the day!
Open your heart,
La la la.
Tra la la, tra la la, tra la la la la
The butterfly's flitted away,
Tra la la la
The flower holds her pose with poise,
La la la
Tra la la
Sweetheart can you see the tracks.
Tra la la
The tracks of your winged beloved
Sweetheart, where are the tracks of your
Ah! The butterfly's flitted away!
Yes! ah! ah!
The stream flows fast and changes.
The deep water draws all way,
The ship passes, waves erase its
silver wake. . .
The stream, yes the stream flows fast and changes. The butterfly signifies your love The flower and flood, your soul. She who isn't stirred and never opens, Here, where all flashes away in less than a day... The butterfly, the butterfly's your love.
Ma belle, ou voyez vous la trace de l'amant aile
Tra la la. ..
La fleur se balance avec grace,
Tra la la
Le papillon s'est envole!
Ma belle ou voyez vous la trace de l'amant
Ah! le papillon s'est envole!
Oui! ah! ah!
Les filles de Cadiz (Alfred de Musset)
Nous venions de voir le taureau,
Trois garcons, trois fillettes;
Sur la pelouse il faisait beau
Et nous dansions un bolero,
Au son des castagnettes:
Dites-moi, voisin,
Sij'ai bonne mine,
Et si ma basquine,
Va bien, ce matin
Vous me trouvez la taille fine
Ah! Ah!
Les filles de Cadix aiment assez cela!
Ah! Ah!
Et nous dansions un bolero
Au pied de la colline...
Sur le chemin passait Diego
Qui pour tout bien n'a qu'un manteau
Et qu'une mandoline:
La belle aux doux yeux,
Veux-tu qu'a l'eglise
Demain te conduise
Un amant jaloux
Jaloux! Jaloux! Quelle sottise!
Ah! Ah!
Les filles de Cadix craignent ce defaut-la!
Ah! Ah!
Sweetheart, does a butterfly leave tracks
Tra la la. . .
Flower holds her pose with poise,
Tra la la
Butterfly's flitted away!
Sweetheart can you find a trace of your winged
Ah! Butterfly's flitted away!
Yes! ah! ah!
The Girls of Cadiz
We've come from seeing the bull,
Three guys, three babes;
On the lawn it was hot and bright
So we danced a bolero,
To the sound of castanets;
Tell me, neighbor,
Do I have a pretty face,
And my skirt, is it cute this morning,
Do you find me well put together
Ah! Ah!
The girls of Cadiz just love that kind of talk!
Ah! Ah!
As we danced a bolero,
One night, it was a Sunday,
Up to us comes this Swell--
Sharp threads, even a plume in his hat,
And his fist on his hip.
"If I'm your type,
You brown haired smiler,
Just say so,
This gold's for you!"
Get out of here, Fancy man,
Just get out of my sight.
Ah! Ah!
The girls of Cadiz don't listento that kind of talk.
Ah! Ah!
Maurice Ravel
Born March 7, 1875 in Ciboure, Basses-Pyrenees Died December 28, 1937 in Paris
Maurice Ravel was always influenced by the music of other countries. It is from Spain that he found inspiration for some of his most popular works. Bolero, Rapsodie espagnole and Don Quichotte a Dulcinee are particularly telling examples of Spanish influence. The Quatre chants draw on a variety of musical traditions: Spanish, French, Italian and Hebrew. They are usually presented as a group of four songs which is the way they were published by Ravel in 1910. After Ravel's death a fifth song, this one from Scotland, was published. Still lost but not forgotten by scholars are a Flemish and a Russian song. This evening we will hear the standard four pieces. The term "popular" in the title indicates that these songs are in a folk idiom, a clue to their origin in a folksong competition organized in Moscow. Among his other folksong settings are the Cinq melodies populaires grecques and Deux melodies hebraique.
Quatre chants populaires
Cancion espagnola
Adios meu homino, adios, Ja qui te marchas pr'a guerra Non t'olvides d'aprendina Quiche qued' a can'a terra. La la la la. ...
Castellanos de Castilla Tratade ben os galegos: Cando van, van comos rosas, Cando ven, ven como negros. La la la la. ...
Chant populaire limousin
Janeta ount anirem gardar, Qu'ajam boun tems un'oura Lan la! Aval, aval, al prat barrat; la de tan belas oumbras! Lan la!
Lou pastour quita soun mantel Per far siere Janetan, Lan la! Janeta a talamen jougat, Que se ies oublidada, lan la!
Spanish Folk Song
Goodbye, and goodbye, my man! You smile as off to war you're taken. Never forget who's waiting, Lonely weeping, all forsaken! La la la la. ...
Castilla sends her sons to war, And vows they'll come back heroes! They go off as fresh as roses, Back, if at all, as gaunt as scarecrows! La la la la. ...
French Folk Song from Limousin
Janeta, where shall we pasture today Where find an hour for pleasure Where there's a hedge to the meadow is best. There are such lovely shadows.
There he flung down his mantle trim. Seated her there beside him. With such delight did Janeta play. All else forgot that day.
Canzone italiana (romana)
M'affraccio la finestra e vedo l'onde, Vedo le mie miserie che so granne! Chiamo l'amore mio, nun m'arrisponde! Chiamo l'amore mio, nun m'arrisponde!
Mejerke, main Suhn (hebraique)
Mejerke, main Suhn,
Oi Mejerke, main Suhn,
Zi weiss tu, var wemen du steihst
"Lifnei Melech Malchei hamlochim," Tatunju.
Mejerke, main Suhn,
Oi, Mejerke, main Suhn,
Oif wos darfs tu Bonei
"Bonim eiskim batoiroh," Tatunju.
Mejerke, main Suhn,
Oi, Mejerke, main Suhn,
Oif wos darfs tu M'sunei
"W'ochalto w'sowoto uweirachto," Tatunju.
Italian Folk Song (Roman)
I lean beside my window to watch the river, I only feel my sorrow deeper ever. In vain I call my lover, he'll answer never. In vain I call my lover, he'll answer never.
Mejerke, main Suhn (Hebrew)
Mejerke, my son, Who is it thou standest before Before Him who is King of all Kings, father mine.
Mejerke, my son, but why for children dost ask In sons His law yet liveth, father mine.
Mejerke, my son, but why dost ask for bread To give thee, sustain and bless thee, father mine.
The Vocalise-elude en form de Habanera was written for a collection prepared by the voice teacher Hettich. This wordless study requires a finished vocal technique and purity of style and it is much better known in transcriptions for violin and for cello.
Hector Berlioz
Born December n, 1803 in La Cole-Saint-Andre, here Died March 8, 1869 in Paris
Hector Berlioz wrote his Zaide in 1845 and he composed several versions of this song with very little change. The most often heard is for voice and piano, but there is also a ver?sion which includes a part for castanets. A third version is for voice and orchestra takes the difficulty of playing the castanets away from the singer. This song is another bolero which brings the listener back to the style of the opening of this evening's program.
"Ma ville, ma belle ville, C'est Grenade au frais jardin, C'est le palais d'Aladin, Qui vaut Cordoue et Seville.
Tous ses balcons sont ouverts, Tous ses bassins diaphanes; Toute la cour des sultanes 10 S'y tient sous les myrtes verts." Ainsi pres de Zoraide, A sa voix donnant l'essor, Chantait la jeune Zaide, Le pied dans ses mules d'or.
"Ma ville, ma belle ville" etc.
La reine lui dit: "Ma fille,
D'ou viens-tu done" "Je n'en sais rien."
"Votre amour est tout mon bien;
O ma reine, j'ai pour pere
Ce soleil plein de douceur;
La sierra, c'est ma mere,
Et les etoiles mes soeurs."
"Ma ville, ma belle ville" etc.
Cependant sur la colline Zaide a la nuit pleurait: "Helas! je sui orpheline; De moi qui se chargerait" Un cavalier vit la belle, La prit sur sa selle d'or; Grenade, helas! est loin d'elle, Mais Zaide y reve encor.
"Ma ville, ma belle ville" etc.
"My town, my beautiful town,
Is Granada, with the cool gardens,
Is Aladdin's palace,
Equal to Cordova and to Seville.
All its balconies are open, All its pools are clear; The whole court of the sultans Is held beneath green myrtles." Thus, close to Zoraide, Giving flight to her voice, Sang the young Zalde, Her feet in golden slippers.
"My town, my beautiful town" etc.
The queen said to her: "My daughter, Where are you from" "I know nothing. "So have you no family" "Your love is all I have;
0 my queen, for my father
1 have this gentle sun; The sierra is my mother, And the stars are my sisters."
"My town, my beautiful town" etc.
All this while on the hill Zalde wept to the night: "Alas! I am an orphan waif; Who will take care of me" A horseman saw this beauty, Lifted her onto his golden saddle; Alas! she is now far from Granada But still she dreams of it every day!
"My town, my beautiful town" etc.
Pauline Viardot-Garcia
Born July 18, 1821 in Paris Died May 18, igio in Paris
Pauline Viardot was one of the greatest singers of the ninteenth century. Her father was Manuel del Popolo Garcia, the great tenor who created the role of Count Almaviva in 77 barbiere di Siviglia. Her sister was Maria Malibran, another great mezzo-soprano who died tragically at the age of 28. Viardot created the role of Fides in Meyerbeer's Le Prophete and later sang the premiere of the Brahms Alto Rhapsody. She composed several operettas, a string quartet as well as a variety of solo vocal music. Her best known songs are arrangements of Chopin mazurkas, but this evening we will be hearing two of her original compositions. The Havanaise is based on a popular theme with two sets of variations which became more elaborate as the song progresses. Hai Luli is a melancholy song about loneliness.
Gioacchino Rossini
Born February 29, 1792 in Pesaro, Italy Died November 13, 1868 in Paris
In the not too distant past only a half-dozen songs of Rossini were heard with any regularity. Performers are now looking into the many miniatures written throughout his career. The Bolero is one of nearly fifty settings of the text "Mi lagnero lacendo" of Metastasio.
Havanaise (Louis Porney)
Vente nina conmigo al mar
que en la playa tengo un bajel,
Vogaremos a dos en el que alii
solo se sabe amar.
Ay rubita si tu supieras
Ah! Ah!
Sur la rive le flot d'argent
En chantant brise mollement,
Et des eaux avec le ciel
pur se confond l'azur!
Sois moins rebelle,
O ma belle, la mer t'appelle --
Ah! viens, viens, viens!
A ses chants laisse toi charmer,
Ah! viens, c'est la qu'on sait aimer.
Ah oui, c'est la qu'on sait aimer!
Sois ma belle, moins rebelle,
Laisse toi charmer, o ma belle
c'est en mer que Ton sait aimer!
Rubita, ay vente comingo al mar . .
Come, my girl, embrace the sea. Where sweet airs caress the crest and innocently soar aloft, There one learns to love. Ah! Don't refuse the lesson. . . Ah! Ah!
On the shore the silver waves and sweet breezes softly sing. Throbbing surge laps the sky, Even heaven is dazzled! Be less unwilling O my beauty, the sea calls you -she sings come, come, come! Let those sweet sounds seduce you, Ah, come, they teach us to love. Ah yes, those songs teach us to love! O my beauty, be less unwilling Let the siren sounds seduce you, It's the sea that teaches love!
Come, my girl, embrace the sea . . . .
Hai Luli! (Xavier de Maistre)
Je suis triste, je m'inquiete,
Je ne sais plus que devenir,
Mon bon ami devait venir,
Et je l'attends ici seulette.
Hai luli!
Hai luli!
Ou done peut etre mon ami
Je m'assieds pour filer ma laine,
Le fil se casse dans ma main. . .
Allons je filerai demain,
Aujourd'hui je suis trop en peine!
Hai luli!
Qu'il fait triste sans mon ami!
Si jamais il devient volage,
S'il doit un jour m'abandonner,
Le village n'a qu'a briiler,
Et moi meme avec le village!
Hai luli!
A quoi bon vivre sans ami
Mi lagnero tacendo della mia sorte amara, ma ch'io non t'amo, o cara non lo sperar da me. Crudel, perche finora, farmi penar cosi
I am sad, and I worry.
I don't know which makes more sense,
My boy friend should be here by now
And here I am, waiting all alone.
Hai hilil
Hai lull!
Where might my boy friend be
I sit down to spin my wool,
but the yarn twists up in my hands. . .
Well, I'll have the spin tomorrow
I'm just too unhappy to do it today!
Hai luli!
I'm depressed without my love!
If he's being fickle,
If this is the day he's leaving,
I'm going to burn up the village,
and myself with it!
Hai luli!
What's the use of living without my love
I shall suffer mutely
my miserable fate,
but do not delude yourself, my love,
with hopes that I do not love you.
Cruel one, why do you continue
to make me suffer thus
Although Gioachino Rossini was the consummate Italian bel canto composer, he spent a great deal of his life in Paris writing French operas and revising older works to conform to Parisian tastes. The four songs on this evening's program demonstrate the blending of the French and Italian influences in Rossini's music.
L'ariette de l'ancienne (Rousseau)
Que le jour me dure passe loin de toi, toute la nature n'est plus rien pour moi.
Le plus vert bocage quand tu n'y viens pas, n'est qu'un lieu sauvage pour moi sans appas.
(N. Cimbal)
Marguerite n'avait rien
que douceur et bonte pour tout bien;
pour gagner un peu de pain
elle filait soir et matin,
et toujours, joyeuse, laborieuse,
elle filait, elle chantait:
"Marguerite, tourne vite,
tourne sans fin
ton fuseau de beau lin.
Tra la la la."
Marguerite n'avait rien
que douceur et bonte pour tout bien;
or un jour elle eut grand faim,
pas de travail et pas de pain,
son bon ange alors fidele
vint pres d'elle en souriant
et lui disant:
"Marguerite, je t'invite,
voici des fruits que j'ai cueillis,
les plus beaux fruits du paradis."
Ariette in the Old Style
How the days seem long, when I am far from you! Nature herself Now means nothing to me.
The greenest copse
without you
is a mere wilderness
and holds no charm for me.
Marguerite had nothing
but sweetness and goodness for all;
to earn a bit of bread
she spun night and day,
and always, joyous, hard-working,
as she spun, she sang:
"Marguerite, turn swiftly,
turn endlessly
your spindle.
Trala la la."
Marguerite had nothing
but sweetness and goodness for all;
now one day she was very hungry,
but had no work and no bread;
her faithful guardian angel, then,
came near to her, smiling,
and said to her:
"Marguerite, I invite you,
here is some fruit I have gathered,
the loveliest fruits from paradise.
L'ame delaisse (Casimir Delavigne)
Mon bien-aime, dans mes douleurs, je viens de la cite des pleurs, pour vous demander des prieres; vous me disiez, penche vers moi, "Si je vis, je prierai pour toi", voila vos paroles dernieres. Helas! depuis que j'ai quitte vos bras, jamais je n'entends vos prieres; Helas! j'ecoute et vous ne priez pas.
Adieu, adieu, je ne reviendrai plus vous lasser de cris superflus, puisqu'a vos yeux une autre est belle. Ah, que ses baisers vous soient doux, je suis morte et souffre pour vous, heureux d'aimer, vivez pour elle. Helas! pensez quelquefois dans ses bras a L'abtme ou Dieu me rappelle. Helas! j'y descends, ne m'y suivez pas.
L'Orpheline du Tyrol
(Emilien Pacini)
Seule, une pauvre enfant sans parents
implore le passant en tremblant.
"Ah voyez mes douleurs et mes pleurs!
Ma mere dort ailleurs sous les fleurs."
L'humble enfant orpheline a bien faim
et pour un peu de pain tend la main.
'Je chanterai mon vieux refrain:
Ah, loin de mon doux Tyrol,
mon coeur brise prendra son vol.
L'echo muet des bois
n'entendra plus ma triste voix:
Ah Dieu, j'espere en toi,
prends pitie, prends pitie de moi!
Ma mere, ton adieu en ce lieu m'inspire mon seul voeu au bon Dieu. A quinze ans tant souffrir c'est mourir, ne peux-tu revenir me benir
The Neglected Soul
My sweetheart, in my grief,
I come from the land of tears
To beg you to pray for me;
Leaning towards me, you said:
"As long as I live, I shall pray for you."
Those were your final words.
Alas! Since leaving your arms,
I have heard no prayer from you;
Alas! I listen and you do not pray.
Farewell, farewell, I shall never return
To weary you with endless plaint,
Since another is now the apple of your eye.
Oh, may her kisses be sweet to you,
I am dead, and in agony for you,
While you, happy in love, you must live for her.
Alas! In her arms, sometimes think
of the abyss to which the Lord commands me.
Alas! I go there -do not follow me.
The Tyrolean Orphan Girl
Alone, a poor little girl with no parents
timorously begs from passers-by.
"Oh, see my pain and my tears!
My mother sleeps far away beneath the flowers."
The humble orphan girl is hungry
and holds out her hand for a little bread.
"I shall sing my old song:
Oh, far from the Tyrol that is dear to me,
My broken heart takes flight.
The silent echo of the woods
will hear my sad voice no more:
Oh Lord, my hope lies in you,
have pity, have pity on me!
Mother, your farewell from this place carries with it my prayer to the Good Lord. For me, fifteen years old, such suffering is death, Will you never return to give me your blessing
Pourquoi le froid trepas et le glas
t'ont-ils saisie, helas, dans mes bras
Ton coeur glace ne m'entend pas:
ah, la douleur et la faim a
mes tourments vont mettre fin;
ma mere, je te vois,
j'entends de loin ta douce voix:
Ah Dieu, j'espere en toi,
prends pitie, prends pitie de moi!"
Why did the chill of death and the tolling knell
snatch you, alas, from my arms
Your frozen heart cannot hear me:
Oh, grief and hunger
will soon end my suffering;
Mother, I see you,
in the distance I hear your sweet voice:
Oh Lord, my hope lies in you,
have pity, have pity on me!"
1 5
First performed in 1817, La Cenerentola is one of Rossini's greatest comic operas. It is an adaptation of the Cinderella story widi a bracelet rather than a slipper as the lost item the Prince finds as the heroine leaves the ball. In this rondo-finale to the opera, Cenerentola tries to bring peace and family harmony back into her life. She forgives her father and step?sisters for die way they treated her (no wicked step-mother for Rossini) and she anticipates a life of happiness. A portion of this scene is a transposition of the final tenor aria from barbiere di Siviglia. Almost from its premiere, tenors omitted this last aria. As Rossini was never one to waste a great aria, he found a perfect space for it in La Cenerentola.
Rondo from La Cenerentola
Nacqui all'affanno e al pianto, soffri tacendo il core; ma per soave incanto dell'eta mia nel fiore, come un baleno rapido la sorte mia cangio
No, tergete il ciglio, perche tremar, perche A questo sen volate, figlia, sorella, arnica, tutto trovate in me.
Non piu mesta accanto al fuoco Staro sola a gorgheggiar. Ah, fu un lampo, un sogno, un giuoco II mio lungo palpitar.
I was born to suffering and to tears,
I suffered in silence;
but by some sweet magic spell,
in the flower of my youth,
swift as a shaft of lightning,
my fate has changed.
No, dry your tears, why be afraid Hurry to me, daughter, sister, friend, you will find all in me.
No longer sad beside the fire
shall I sit alone, singing,
ah, my long years of heartache
were but a streak of lighting, a dream, a game.
Notes by Richard LeSueur, Ann Arbor, Michigan, 1995.
orn in Rome, mezzo-soprano Cecilia Bartoli attended the Conservatorio di Santa Cecilia while con?temporaneously studying with her parents, both professional singers. With her mother, Silvana Bazzoni, Ms. Bartoli perfected her vocal technique, while with her father, Angelo Bartoli, she worked to deepen her musical interpretations.
Ms. Bartoli's earliest opportunities to perform before wide audiences came first in an Italian national telecast devoted to pre?senting young artists and then in a French national telecast dedicated to the late Maria Immediately thereafter, Ms. Bartoli was contacted by the late Maestro Herbert von Karajan who engaged her for the Bach b-minor Mass at the 1990 Salzburg Easter Festival. At the same time there began a pro?lific collaboration with Maestro Daniel Barenboim focusing on the Mozart repertory -specifically the da Ponte trilogy.
Thereafter, Ms. Bartoli's career developed internationally bringing her into contact with many of the most prestigious interna?tional conductors, stage directors and opera houses. Highlights include Don Giovanni (MutiStehler) at La Scala, Cosifan lulte (MehtaMiller) at the Florence Maggio Musicale, Le nozze di Figaro (Harnoncourt Ponnelle) at the Zurich Opera and La Cenerentola (Chaillyde Simone) at the Bologna Opera.
Most recently, Ms. Bartoli has appeared as Zerlina in a new BarenboimChereau production of Don Giovanni at the 1994 Salzburg Festival, as Despina in a new Muti de Simone production of Cosifan lutte at the Theater An der Wien in Autumn 1994 and a new HarnoncourtFlimm production of Haydn's Orfeom the 1995 Wiener Festwochen which was televised by Austrian national television (ORF).
In Spring 1995, Ms. Bartoli was honored
by France which conferred upon her the title of "Chevalier of Arts and Letters".
Highlights of Cecilia Bartoli's 1995 and 1996 calendar include a summer recital tour of Argentina and Brazil, an autumn recital tour in Switzerland, followed by autumn recitals in the United States and Canada. In addition to performing La Cenerentola in Houston, Ms. Bartoli will make her Metropolitan Opera debut in February 1996 as Despina in a new production of Cost fan tutte conducted by Metropolitan Music Director James Levine. Ms. Bartoli will also make her Carnegie Hall recital debut in March 1996 with Andras Schiff at the piano. She then takes part in a Metropolitan Opera gala honoring Maestro Levine (scheduled for international television) before returning to Europe in Spring 1996 for additional recitals as well as a revival of La Cenerentola in Zurich. In June 1996 Ms. Bartoli will appear in concert with Maestro Muti and the Filharmonica della Scala at the Musikverein where she returns as featured soloist in Autumn 1996 with Maestro Harnoncourt and the Concentus Musicus. That Autumn will also find Ms. Bartoli performing in concert and in recital through?out Europe.
In addition to the works of Mozart and Rossini, Ms. Bartoli's repertory spans from Monteverdi to Ravel with particular attention centered on Vivaldi, Haydn, Bellini and the Italian "Settecento" composers.
Ms. Bartoli is a noted recitalist throughout Europe, North and South America and Japan. Not only does she regularly collaborate in recital with Gyorgy Fischer, Steven Blier and Jeff Cohen, but also enjoys special relation?ships in recital with noted soloists, such as Andras Schiff, and conductors Myung-Whun Chung, James Levine and Daniel Barenboim.
Ms. Bartoli has made a considerable number of award-winning recordings for The Decca Record Company Ltd. with which she is an exclusive artist. Recordings of complete operas include Rossini's Barbiere di SivigUa
(Patane), and La Cenerentola (Chailly), Mozart's La clemenza di Tito (Hogwood) as well as Pucinni's Manon Lescaut (Levine). Ms. Bartoli's solo recordings include three albums of Rossini: "Arias", "Songs" and "Heroines"; two albums of Mozart: "Arias" and "Portraits"; "If You Love Me" (an album of Italian arie antiche edited by Parisotti); and, in collaboration with Andras Schiff, an album of Italian lieder by Mozart, Beethoven, Schubert and Haydn entitled "The Impatient Love." Ms. Bartoli has also recorded Pergolesi's Stabat Mater (Dutoit) and the Mozart Requiem in Vienna's St. Stefan's Cathedral commemorating the 200th anniversary of the composer's death with Maestro Sold and the Vienna Philharmonic. The latter performance was also televised worldwide.
Cecilia Bartoli was recently awarded the 1995 Grammy Award "Best Classical Vocal Album" for her "Italian Lieder" album with Mr. Schiff. Her discography has won numerous other critical awards including, amongst others, the Deutsche-Schallplatten Preise (Germany), La Stella d'oro (Italy), the Caecilia Award (Belgium), the Diapason d'or Award (France) as well as "Best Opera Recording 1994" for La Cenerentola in Japan. In 1993 Ms. Bartoli had the singular distinction of simultaneously having five of her solo albums among the top 15 best selling classical albums on the Billboard Charts in North America. Her latest record?ing of Mozart "Portraits" within the first six months of its release has sold over 200,000 copies in the United States alone. Time Magazine named Ms. Bartoli the "1992
Top Recording Artist" in both classical and popular categories while Musical America named her "Singer of the Year." In 1993 she earned the unique distinction of being named both Billboard's "Artist of the Year" and 'Top Selling Classical Artist" as well as "1994 Female Classical Artist of the Year" at the Classical Music Awards in London.
In Autumn 1994 Newsweek Magazine published interna?tionally an extensive interview with Ms. Bartoli. In Winter 1995, she was the subject of an extended segment on the award-winning U.S.Australian television program 60 Minutes.
This evening's performance marks Ms. Bartoli's second appearance under UMS auspices.
Cecilia Bartoli
Steven Blier enjoys a distinguished career as accompanist and vocal coach. Among the many artists he has partnered in recital are Maureen Forrester, Evelyn Lear, Roberta Peters, Samuel Ramey, Suzanne Mentzer, Lorraine Hunt, Kurt Ollmann and the late Arleen Auger. In April 1994 he played his first recital with mezzo-soprano Cecilia Bartoli at Alice Tully Hall. He continues his associa?tion with Ms. Bartoli in recitals throughout
the United States, Canada, Mexico and South America in the summer and autumn of 1995. Mr. Blier has also been heard in concert with soprano June Anderson, most notably in her recital debuts at Carnegie Hall and at La Scala.
As a vocal coach he has helped to prepare Luciano Pavarotti, Marilyn Home and Joan Morris for recordings and orchestral engagements.
Mr. Blier is the co-founder and artistic director of the acclaimed New York Festival of Song, where he has planned and played over forty different recital programs. The concert series, now in its seventh season, features new works, standard repertoire and re-discoveries from the world of art song, vocal chamber music and theater pie'ces, sung by a roster of America's finest singers. Mr. Blier's repertoire with nyfos has ranged fromjanacek, Brahms and Sibelius to Gershwin and Lennon-McCartney. The Festival's second season opened in September 1989 with the United States premiere of Leonard Bernstein's last work, Arias and Barcaroles. The Festival's subsequent recording of the piece won a Grammy Award in 1991. This season the group's New York concerts are divided between die 92nd Street Y and Carnegie Hall's Weill Recital Hall, nyfos
made its European debut in March 1994 at London's Wigmore Hall, where they returned in June 1995 with a French program featuring Mr. Blier, Lorraine Hunt and Kurt Ollmann.
One of Mr. Blier's primary musical col?laborations has been with baritone William Sharp. Highlights of their teamwork include the First Prize in the Carnegie Hall America Music competition in September 1987, their Carnegie Hall recital debut in February 1989 and a 1990 Grammy nomination for their debut recital album on New World records. They have gone on to record discs of songs by Gershwin, Marc Blitzstein and Charles Ives as well as German Lieder. Mr. Blier can also be heard on the Nonesuch label record?ing of Lady Be Good (as duo-pianist with John Musto), as well as the 1991 Richard Tucker gala on rca Red Seal, in which he partners Renee Fleming and Samuel Ramey.
Mr. Blier's repertoire extends to a solo program of ragtime, blues and stride piano works by composers ranging from Eubie Blake to Aaron Copland. He recently gave several highly successful duo-piano recitals with long-time collaborator John Musto. A champion of American music, Steven Blier has premiered works by William Bolcom, Lee Hoiby, Aaron Kernis, Jeffrey Stock and John Musto.
Teaching has brought Mr. Blier to the Aspen Music Festival and the Chautauqua Festival and to the faculty of suny Purchase. He has given master classes and residencies at colleges and conservatories throughout the country, and is currently on the faculty of Thejuilliard School in New York. A native New Yorker, Steven Blier completed his undergraduate degree at Yale University, where his piano teacher was Alexander Farkas. After graduating summa cum laude with an honors degree in English literature, he continued his musical studies in New York with Martin Isepp and Paul Jacobs.
This evening's performance marks Mr. Blier's second appearance under UMS auspices.
Steven Blier
Slide Hampton and the jazzmasters
Big Band Bird: A 75th Birthday Celebration of Charlie Parker
Slide Hampton,
Leader, Trombone David Hazeltine, Piano Michael Bowie, Bass Dennis Nackrel, Drums Jerome Richardson,
SaxophoneFlute Bobby LaVelle, SaxophoneFlute
David Sanchez, SaxophoneFlute Byron Stripling, Trumpet Jimmy Owens, Trumpet Diego Urcola, Trumpet Robin Eubanks, Trombone Avi Leibo, Trombone Douglas Purviance,
Bass Trombone &Tuba
Thursday Evening, October 5, 1995 at 8:00
Power Center
Ann Arbor, Michigan
Second Concert of the 117th Season
2nd Annual Jazz Directions Series
The UMSJazz Directions Series is presented with support from WEMU, 89. r FM, Public Radio from Eastern Michigan University.
89.1 FM
Thank you to Hammell Music, Inc., Livonia, Michigan for the piano used in tonight's performance.
Large print programs are available upon request from an usher.
In a Downbeat magazine article, the legendary J.J.Johnson referred to a solo by Slide Hampton -at Wolf Trap's 70th birthday tribute to Dizzy Gillespie -as "one of the most articulate ever given on a trombone." This is high praise indeed from an artist widely considered to be the greatest of trombone masters.
Long acknowledged as a master composer, arranger and trombonist, the self-taught Slide Hampton appears in a brilliant new light as musical director of the JazzMasters. Critic Peter Watrous, writing in The New York Times, commented that the performance he attended at the Village Vanguard displayed "Mr. Hampton's brilliance as a gifted arranger, unequaled in the breadth of his resources."
Pittsburgh-born and Indianapolis-bred, Slide Hampton was raised in a musical envi?ronment -his father led a family band. With this tutelage, experience and early exposure to local greats such as J.J.Johnson and Wes Montgomery, he launched his musical career at the age of twenty. Working in bands led by Dizzy Gillespie, Art Blakey, Barry Harris, Max Roach, Maynard Ferguson and Thad JonesMel Lewis, Mr. Hampton developed his talents as composer and arranger, and contributed to the repertoires of many of these groups.
In 1962, he formed the Slide Hampton Octet, which included Booker Little, Freddie Hubbard and George Coleman. The group toured extensively, particularly in Europe, and recorded on several labels, including Atlantic and Columbia. From 1964-1967, Hampton served as musical director for various orchestras and artists, at the same time constantly studying to improve his own musicianship.
In 1968, following a European tour with Woody Herman, Mr. Hampton remained abroad, deciding that work and growth opportunities for jazz musicians were greater on the continent There he performed at
major festivals and in clubs, appearing with other American musicians living in Europe -Kenny Clarke, Dexter Gordon, Art Farmer, Kenny Drew and Benny Bailey, among others -and worked on a variety of radio and television projects.
Mr. Hampton returned to the United States in 1977, where he resumed work writ?ing, arranging, performing and teaching. The explosive "Slide Hampton and His World of Trombones," featuring nine trombones and a rhythm section, was regrettably short?lived despite critically-acclaimed recordings
and perfor?mances. He continued to work with quar?tets, quintets and as a soloist, and began to spend increasing time as a teacher. He is one of the most sought-after clini?cians in the jazz community.
In 1988, Hampton became a founding member, feature artist and, a year later, musical director (with Paquito D'Ribera) of Dizzy Gillespie's Grammy Award-winning United Nations Orchestra. He remained with the UN until 1992. In 1990, he collabo?rated with Gillespie as arrangerconductor of the Maestro's first original score for a fea?ture film, The Winter in Lisbon, a masterful but regrettably under-promoted recording.
In 1992, Mr. Hampton was asked to serve as musical director for the year-long "Dizzy's Diamond Jubilee" celebrations hon?oring the Grand Master's 75th birthday year. The JazzMasters evolved from the musicians who performed during the Diamond Jubilee.
According to Stanley Crouch, ". .. Arguably the finest exponent of Johnson's legacy is Slide Hampton, a virtuoso melodist with blues-tinged fire, immaculate intonation and
Slide Hampton
wilting skills reflected in the continuity, variety and drama of his improvisations."
The great saxophonistcomposerarranger Benny Golson, after hearing Hampton and The JazzMasters perform at the Village Vanguard, wrote, "Slide Hampton uses his pen with the skill of a surgeon. His deft arrangements evoke the essence of Dizzy's music. But -in the tradition of Dizzy himself -Mr. Hampton goes a few stations past his intended destination, thus allowing us to hear 2 4 and see into the future."
Tonight's performance marks the debut of Mr. Hampton and the JazzMasters under UMS auspices.
Slide Hampton Talks.About JazzMasters
1. How did JazzMasters come about"
In the late 1980's, I was first a member of and then musical director of Dizzy Gillespie's Grammy-Award winning United Nation Orchestra. That group featured musicians from around the world who had been influ?enced by the music of Dizzy Gillespie. The idea for JazzMasters was developed by Charlie Fishman and myself as an outgrowth of that concept. The JazzMasters has essentially the same number of musicians as the United Nation group and, in fact, many of these players had also played in that group.'
2. Was there any other special significance in the choice of players
All of the musicians of The JazzMasters are stars in their own right. They are great improvisers, skilled bandleaders and experi?enced in ensemble playing. Thus, we have a band full of well-rounded musicians.
3. Are some of the positions on the band inter?changeable
Yes. We've designed this band so that if one player can't make it because of other gigs, or if a particular concert has a particular
need, we can substitute, say, Byron Stripling for Jon Faddis, or Danilo Perez for Hank Jones, and so forth.
4. How is the music for this group chosen The name JazzMasters refers, I guess, not just to the players, but to the jazz composers whose work we choose to play. The first choice--Dizzy--was natural. Most of us had been part of the Diamond Jubilee celebra?tion at The Blue Note in January of 1992 and were, basically, Dizzy's last masterclass. We were playing tribute to him in the last year of his life, and it certainly makes perfect sense to honor one of our greatest geniuses. Beyond Dizzy, we are looking at some of the other important names whose work we want to preserve as well as give a new sense of life to. People like Theolonius Monk, Charlie Parker and John Coltrane come to mind as innovators whose work must be passed on to the generations to come. We are also talking about, for example, writing new arrangements of some of the classic jazz "hits." What we want to do is give everyone in the band the opportunity to write and arrange music we'll enjoy playing.
5. What will make this band different
I think what this band is trying to do, most of all, is renew the emotional and spiritual contact with the audience while retaining high artistic purposes. Our experiences with our Dizzy tribute tells us this can be done. We combine great ensemble playing, artistic arrangements, a solo sense that encourages healthy competition (like the Jazz At The Philharmonic bands of the 1940s and 1950s). Our goal is to get non-jazz people involved in the thrill of the music. Dizzy did it. . .and we've seen that we can do it, too. Dizzy showed us a lot--about freedom, about spiritual purposes outside of music theory, and, like Duke Ellington, about the variety of individual sounds that make up a band. In our band, the older guys and the younger players both understand this.
The Australian Chamber Orchestra
Richard Tognetti, director Barry Tuckwell, horn
Friday Evening, October 6, 1995 at 8:00
Rackham Auditorium Ann Arbor, Michigan
George Frideric Handel
Grand Concerto in D Major, Op. 6., No. 5
[Grave] Allegro
Menuetto (Un poco larghette)
Carl Philipp Emmanuel Bach
String Sinfonia No. 4 in A Major, H660
(WQ 182 NO.4)
Allegro ma non troppo Largo ed innocentanente Allegro assai
Franz Joseph Haydn
Horn Concerto No. 1 in D Major, H.VIId:3
Allegro Adagio Allegro
26 Roger Smalley
Strung Out
William Walton
Sonata for Strings (1971)
arranged by the composer from his String Quartet in a-minor
Allegro Presto Lento Allegro molto
Third Concert of the 11 jth Season
33rd Annual Chamber Arts Series
Thank you to Timothy Walker, General Manager, Australian Chamber Orchestra, guest speaker at tonight's Philips Educational Presentation.
The Australian Chamber Orchestra appears by arrangement with the Aaron Concert Management, Boston, Mass.
Barry Tuckwell appears by arrangement with Columbia Artists Management, Inc.
The Australian Chamber Orchestra United States tour is proudly sponsored by the Yarmouth Group.
Thh concert was assisted by the Government of Australia through the Australia Council and the Embassy of Australia, Washington, D. C.
Large print programs are available upon request from an usher.
Grand Concerto in D Major, Op. 6., No. 5 (HWV323)
(London, September-October 1739)
George Frideric Handel
Born February 25, 1685 in Halle
Died April 14, 1759 in London
In the 1730's, Handel -hitherto known principally as an opera composer -under?took his first major publishing foray into the area of instrumental music. London's public had recently developed a taste for the concerti grossi -or "orchestral concertos" -of the Italian masters Corelli and Geminiani. And as Handel, already himself an established London celebrity, had known and worked with Corelli in Rome many years before, he was obviously in a good position to take advantage of this burgeoning market. Handel's response to the challenge of the "concerto" took two basic forms. One centered on the novel idea of featuring a keyboard instrument (organ or harpsichord) as the soloist in an orchestral concerto (a role hitherto almost monopolized by the violin). The other was exemplified in the twelve "Grand Concertos," Op. 6 (the title was Handel's own Anglicization of concerti grossi), in which he followed the Italian Corelli's example in scoring the works for a string band in which two or three players (two violins and occasionally a cello) operate as a solo group (concertino), as well as acting as leaders within the full band (concertogrosso). From Corelli Handel also borrowed the pattern of making his concertos out of four or five movements, rather than three (which was the usual practice of the Venetian master Vivaldi). However, Handel's individual movements -grand graves and fast fugues, dance pieces such as minuets, and soulful largos -were not only more self-contained than Corelli's, but often considerably longer in playing time.
The D Major concerto, the fifth of the set, is a particularly brilliant work. In its
concerto form, it was finished on October 10, 1739. However, the first two movements were complete by September 15, when Handel used them as the overture to his Ode to St. Cecilia's Day (hwv 76). They were probably first heard in this form, some months before they found their way into print in the Concerto, at the first performance of the Ode on November 22 that year.
Note by Graeme Skinner.
String Sinfonia in A Major,
H660 (Wq 182 No. 4) (Hamburg, 1773)
Carl Philipp Emmanuel Bach Born March 8, ly 14 in Weimar Died December 14, 1 j88 in Hamburg
In the 1170's an English critic described German music as "rough, bold, and grand." But, for one German, Emmanuel Bach, it was frequently not "bold" enough. In the face of frequent complaints about the difficulty of his music, one of which noted its "singular taste, verging on the bizarre," he complained that he was continually required to "add more sugar" when composing for "general consumption."
However, this was not the case in 1773, when Bach was given an extraordinary com?mission: to write a set of symphonies for strings in which he was actually required to "give himself free reign, without regard to difficulty." The Sinfonia in A Major is the fourth of these works composed for Baron Gottfried van Swieten, a discerning music lover who later in life was also a patron of Mozart and Haydn. Bach's "singular taste" can be appreciated from the first movement, with its succession of disparate, contrasting themes, which Bach nevertheless manages to weld together into an interesting, if indi?vidual, design.
Note by Graeme Skinner.
Horn Concerto No. i in D,
Franz Joseph Haydn
Born circa March 31, 1732 in
Rohran, Loiuer Austria Died May 31, i8og in Vienna
The only indisputably authentic horn concerto of Haydn to come down to us is an early work, dated 1762 on the autograph score, which still exists, remarkably, in the library of the Society of the Friends of Music, Vienna. It was only the previous year that the young composer had entered the service of the Esterhazy court, at Eisenstadt. He was nominally assistant Kapellmeister to the aging Gregor Werner, though he already bore the brunt of the day-to-day music-making and administration, and would eventually succeed Werner on the latter's death in 1766.
Haydn's first duties had been to engage several new musicians and reorganize the princely orchestra. He was more than willing to compose works which would display his musicians' soloistic talents -not only the three "program" symphonies Le Matin, Le Midi, and Le Soir (Nos. 6-8, of 1761) but concertos as well. Some of these works, being largely favors to the musicians rather than princely requirements, doubtless caused Haydn to burn the midnight oil.
We do not know for whom Haydn com?posed this horn concerto of 1762, though logic would suggest it to have been Johannes Knoblauch, first horn of the princely orchestra from 1761 until his death in 1765. It is hard to imagine Haydn, in those busy early years establishing himself at the Esterhazy court, finding time to write a concerto for anyone else. Nevertheless, H.C. Robbins Landon indulges in a charming speculation that the recipient could have been none other that the virtuoso Joseph Leutgeb, a mutual friend of Haydn and Mozart (for whom
Mozart later composed his own magnificent horn concertos), and that it could have been a gift for the birth of Leutgeb's daughter.
Whomever the concerto was written for, the work demands state-of-the-art technical prowess on the primitive, valveless hunting-horns of the day. (Knoblauch is listed in the court paysheets as "Waldhornist" and Haydn, too, inscribes his score "Concerto per il Corno da Cacda.") Although there was still little use of the new technique of hand-stopping-which increased the instrument's limited scale by inserting a hand into the bell to lower fundamental notes by a tone or a semitone-Haydn nevertheless expects this sort of virtuosity from his soloist. The instrument remained limited, even when hand-stopped, and Haydn skillfully shapes his melodies to mask its shortcomings, giving the soloist a splendid display of acrobatics which seems completely inherent in the design.
The horn greatly interested Haydn throughout his life, both as a solo and orchestra instrument. He composed at least one other horn concerto (in D, which is lost); another, known as No. 2, is attributed to him, though on no reliable evidence. He also wrote a concerto for a pair of horns (still lost, despite the appearance in recent years of a work appearing to match its descrip?tion which cannot, however, be Haydn's).
Haydn made unique fanfare-like use of horns pitched in high C, no doubt primarily as a trumpet-substitute, in numerous "festive" symphonies such as Nos. 48 (Maria Theresia), 50 and 56. Yet as early as the present concerto of 1762 we find him exploiting the modern cantabile qualities of the instrument, in its burnished middle and lower registers, pre?saging its romantic use by such composers as Weber.
During a few brief periods when Haydn enjoyed the luxury of four horn-players in the Esterhazy orchestra he used them to brilliant effect. This culminated in the famous Hornsignal Symphony (No. 31, of
1765)' though its predecessors, probably all from 1763, are far from negligible-symphonies 13 and 72 as well as a cassation for four horns and strings unlisted in the Hoboken catalogue. There are also virtuoso demands in the E-flat Horn Trio (1767) and the extraordinary terzetto "Pieta di me" which we know from Haydn's London period (1791-95) though it may have been written earlier; this latter employs two sopranos and tenor plus orchestra with an almost stratos?pheric horn obligato.
In the Horn Concerto No. 1, the two Allegro movements present the horn chiefly in its hunting character, with splendid fanfare writing. The opening movement grows out of nothing more than a two-octave excursion up and down the chord of D Major, while the finale--which demands considerable agility-demonstrates a succession of florid trills and semiquaver runs. The contemplative central Adagio exploits the upper and lower reaches of the instrument's range, and achieve a long-breathed singing quality by tying much of the solo writing across bar-lines. Romantic harmonies in the lower strings enhance the darker, more "modern" character of the horn in this movement.
As testament to the taxing pressures of life in those early Esterhazy years, the last page of Haydn's score betrays the composer, probably working late at night to finish the job, mixing up the violin and oboe staves. Apologetically in the margin he notes: "Written in my sleep."
Note by Anthony Crane.
Strung Out (1987-88)
Roger SmalUy Born in 1943
My first idea for this piece was a vision of the seating arrangement of the players -a symmetrical formation of four violins, viola, cello, double bass, cello, viola and the remaining four violins, "strung-out" across the stage in a straight line (rather than the usual semi-circle).
The entire structure of the work is a consequence of this layout, particularly the subdivision of the players into groups of two, three, four and six (with the double bass occupying a pivotal position), and the movement of sound across the stage.
The form consists of the alternation of two basic types of material--slow and static versus fast and active--which are boldly juxtaposed at the very beginning. This struc?ture might be likened to a series of beads of differing sizes, shapes and colors--"strung-out" on a thread at varying distances apart.
As the piece progresses each type of material gradually takes on characteristics of its opposite. Halfway through, the two types have become identical. This point is marked by a long pizzicato passage. By the end they have completely changed places. This entire process takes about fourteen minutes.
Strung-Out was commissioned by the Music Department of the University of Western Australia as part of the University's 75th Anniversary celebrations in 1988. It was first performed by the Soloists of Australia during the 1988 Festival of Perth and is dedicated to David Blenkimsop, who has been a staunch supporter of my music during his years as Director of the Festival.
Note by Graenw Skinner.
Sonata for Strings (1971)
Arranged by the composer from his String Quartet in a minor
William Walton
Born March 29, 1902 in Oldham, Lancashire
Died March 8, 1983 in Ischia, Italy
Walton spent the Second World War working as a composer of film music. Propaganda films demanded most of his attention, but he also had time to score such classics as the 1942 Macbeth and the 1944 Henry Vwith Laurence Olivier. Unfortunately, Walton discovered that the techniques he used in film music were not automatically applicable when it came to more abstract pieces, and when in 1945 he returned to work on a new string quartet (his second), he found the task surprisingly hard going. In a letter of January that year he complained: "I'm in a suicidal struggle with the four strings and I am making no headway whatever. Brick walls, slit trenches, Siegfried Lines brisde as never before. I'm afraid I've done film music for too long!" Work on the Quartet came to a standstill during the last months of the War, and it was only during peace time that Walton returned to complete it. He dedicated the Quartet in gratitude to Ernest Irving, one of the conductors of his wartime film scores, and it was first performed in May 1947. In 1970 Neville Marriner, director of the Academy of Sl Martin in the Fields, unsuccess?fully tried to get the then elderly Walton to write a new work for the string orchestra. Until then, Walton's total contribution to the string orchestra repertoire consisted of two short pieces from the film Henry V, and a single movement for the 1953 Aldenburgh Festival (other contributors to this joint set of Variations on an Elizabethan Theme included Benjamin Britten, Tippett and Lennox Berkely). Walton's stated 1956 plan to write a "Sonata for Strings, for no one in particular"
had been long forgotten. Facing a blank refusal from Walton, Marriner then suggested a less troublesome task, an orchestra arrangement of the 1947 String Quartet. To this the composer assented, aware however "that critics and others will ask why I can't write something new instead of rehashing and old quartet--in fact, I'd like to know, too. But I'm not going to!" When Marriner also asked him to shorten the first movement, Walton was ambivalent, "I said that I'd do that but I've been through it time and time again, and I've found it impossible without its sounding castrated, had its stomach out, with hysterectomy thrown in." Nevertheless, he did manage to excise up to thirty-three bars of the original, slightly recasting what remained. He also found a repeat in the sec?ond movement "which is easily removed and is the better for it." The Sonata for Strings (as the version was to be called) received its world premiere in Perth in March 1972 dur?ing an Australian tour by the Academy of St. Martin in the Fields.
Writing earlier, Walton had commented that the new version might still "have a solo string quartet in it, as in the Introduction and Allegro of Elgar." And it was with this in mind that he started the Sonata exactly as in the original quartet, with four solo strings. Only later does the remainder of the string band enter, and thereafter solo strings con?tinue to appear within the full string texture. However, as an orchestral experience the Sonata comes into its own in the busy central fugue, and the building climax of fast vaulting phrases is extraordinarily strengthened by use of so many strings.
The second movement, "Presto," is a skittish mid-twentieth century counterpart of one of Mendelssohn's featherweight scherzos. Repeated scrubbing on a single note by one or other of the instrumental sections binds together the movement's phrases, but the music still sounds as if it is constandy on the verge of evaporating into
mist. This it literally does, making way for its slower, heavier counterpart, the third move?ment "Lento." Finally the "Allegro molto" (arranged with the help of Walton's friend and fellow composer, Malcolm Arnold) is a shorter, more muscular return of the mood of the opening.
Note by Graeme Skinner.
""? arry Tuckwell's multi-
A faceted musical careei as B soloist, chamber musician
P. and conductor has taken him .ill ovei the world. The K Australian-born virtuoso Ebmr is the world's mosl recorded French horn player and the only player ever to have established a career exclu?sively as a soloist. During his orchestral playing career, he held the prestigious first horn chair of the London Symphony Orchestra for thirteen years and was Chairman of the orchestra's Board of Directors for the final six.
He has recorded more works than any other horn player and has received three Grammy Nominations. More than twenty works have been composed especially for him. In October 1994, Barry Tuckwell performed the world premiere of Oliver Knussen's con?certo in England and will give the American premiere with the Cleveland Orchestra in November. Other leading contemporary composers who have written works for Mr. Tuckwell include Richard Rodney Bennett, Iain Hamilton, Alun Hoddinott, Robin Holloway, Thea Musgrave and Gunther Schuller.
Mr. Tuckwell is also a distinguished con?ductor, leading the Tasmanian Symphony Orchestra for four years, serving as Guest Conductor of the Northern Sinfonia of England since 1993, and as Founding Music Director of the Maryland Symphony Orchestra, which he has conducted since 1982.
In 1992, Mr. Tuckwell received Australia's highest award, The Companion of the Order of Australia, and most recently was awarded Doctor of Music, University of Sydney. Among his other honors, he is an Officer of The Order of the British Empire, Honorary Member of the Royal Academy of Music and Honorary Member of the Guildhall School of Music. Mr. Tuckwell became a permanent resident of the United States in 1992. He and his wife reside in Maryland.
This evening marks Mr. Tuck-well's debut performance under UMS auspices.
?? irector and violinist k Richard Tognetti was A born in (lanberra and
I studied at the New V South Wales J (lonservatoi ium "1 bHmi Music with ln c Waten and the Berne Conservatory with Igor Ozim. He took up the position of Director of the Australian Chamber Orchestra in 1989. Since assuming the role, Tognetti's leadership has instilled in the Orchestra's playing a new life and vitality.. Over the past few years Tognetti
Barrv Tuckwell
and the orchestra have consistently challenged people's perceptions as to what a small orchestra and its players are really about.
Tognetti has been widely acclaimed for his sensitive direction and innovative interpretation and for his ability to elicit a distinctive string sound which is both brilliant and hard-edged and sweet and ethereal. He has developed a keen sensibility for the per?formance of music on modern and original instruments with the searching attitudes cultivated by the experimental pioneering of early music performers. His aim has been to take these concepts through the whole repertoire from CPE Bach and Paganini to Janacek and Sculthorpe.
Tognetti performs on a 1724 Gagliano violin using raw gut on the two middle strings.
In conjunction with wine maker Bob Roberts, Tognetti is the Artistic Director of the annual Huntington Festival held in the Huntington Winery at Mudgee, a country town northwest of Sydney. This festival is highly regarded for its singular approach to programming and presentation and is instantly booked out each year before pro?grams and guest artists are announced.
Tognetti has directed the ACO and appeared as soloist on eight international tours, covering some seventeen countries. Amongst the highlights have been the Orchestra's concert for the Musikverein's International Chamber Orchestra Series, the BBC Proms at Royal Albert Hall, the Concertgebouw Summer Festival and the ACO's debut performances at Carnegie Hall and the Teatro Colon in Buenos Aires.
Tognetti has directed the ACO on four recordings for Sony Music. The first of these recordings won the Australian Record Industry Award for the best classical album in 1992 and the following two were both nominated for the 1993 Award.
This evening's concert marks Mr. Tognetti's UMS debut.
Founded in 1975, the Australian Chamber Orchestra is Australia's only, national orchestra with an international reputation for artistic excellence. The orch?estra consists of a core of seventeen string players drawn from some of the finest young musicians in Australia, and is augmented by special players and soloists.
The Orchestra's national program of activities is extensive and includes a highly regarded subscription series in every state capital and Canberra, as well as performances in regional centers on a regular basis. The ACO is probably Australia's most widely traveled cultural organization. Plans now extend to the year 2000 with return visits to the United States, Europe, and Asia already scheduled. This provides an ongoing vehicle for the orchestra role as a major cultural ambassador for Australia.
In 1992 the Australian Chamber Orchestra's Asian tour involved eight cities and included a performance in Bangkok in the presence of the royal family of Thailand. This successful tour resulted in the immediate invitations to return, which the orchestra will do in 1996. The 1992 tour to China was at the invitation of the Department of Foreign Affairs in the guise of the Australian-China Council. The orchestra's performances were Australia's "gift" to China in recognition of twenty years of diplomatic relations.
The ACO has earned a strong interna?tional reputation for its recordings. There are thirteen compact disc releases currently in the catalog, as well as numerous earlier recordings on LP and cassette. In 1991, the ACO signed a seven-year contract with Sony Music. The first CD, released in igg2, broke classical music sales records for an Australian ensemble as well as winning the Australian Record Industry Award (ARIA) for the Best Australian Classical Album in 1992.
Over the years the ACO has worked with some of the world's most distinguished conductors including Sir Neville Marriner, Sir David Willcocks, Sir Charles Mackerras, Frans Bruggen, and Christopher Hogwood. Under Tognetti's direction, the Orchestra has reached new artistic heights and has attracted some of the world's leading soloists including internationally acclaimed Australian
sopranos Yvonne Kenny and Joan Carden, British cellist Julian Lloyd Webber, pianists Paul Badura-Skoda and Jean-Yves Thibaudet, French horn virtuoso Barry Tuckwell and harpsichordist Ton Koopman.
Tonight's performance marks the UMS debut of the Australian Chamber Orchestra.
The Australian Chamber Orchestra
Richard Tognetti, director
Richard Tognetti Helena Rathbone Alexandra d'Elia Monica Curro Sarah Dunn Alice Evans Christopher Latham Leigh Middenway Lorna Cumming Elizabeth Jones
Caroline Henbest Colin Cornish Amanda Murphy
Cameron Retchford Melissa Barnard Sue-Ellen Paulsen
Robert Nairn
Harpsichord Paul Dyer
presen t s
The Master Musicians of Jajouka
Saturday Evening, October 21, 199$ at 8:00
Rackham Auditorium-Ann Arbor, Michigan
Bachir Attar, Leader Ghaita, Gimbri, Lira, Vocals
Mostapha Attar, Tebel, Ghaita
Taber Boukzar, Violin, Ghaita, Vocals
Ali Nachat, Ghaita, Tarija
Ali et Attar, Ghaita, Tarija
Mohamed el Attar, Tarija, Tebel, Dancer
Mohamed el Attar, Ghaita, Flute, Tebel, Tarija
Ahmed el Attar, Tebel
Mohamed el Attar, Tebel
Mohamed el Hammadi, Gimbri, Bendir
Abdellah Bokhzar, Tirbouga, Tebel, Vocal
Labri Hilali, Ghaita, Tariga, Flute
Mohamed el Hatmi, Boujeloud, Dancer
Steve Carnaby, Road Manager
Cherie Nutting, Tour Manager
Fourth Concert of the 11 yth Season
25th Annual Choice Events Series
Thank you to Kim Hunter, ProducerHost, WDET's Radio Free Earth, speaker for tonight's Philips Educational Presentation.
International Music Network, Gloucester, Massachusetts Point Polygram, A Division of Philips Classics
Large print programs are available upon request from an usher.
The Master Musicians of Jajouka, an aristocratic tribe of royal pipers hidden in the mountains of North Africa, have lived peacefully for centuries playing their entrancing music for the sultans of Morocco and keeping secret Arcadian rituals alive in their remote village. Jajouka isn't on any map; its many legends originate from pilgrimages to the old village perched above the long valley in the blue Djebala foothills of the Rif Mountains in northern Morocco. After visitors returned home from their journeys, they began to tell stories of the ancient village and music they discovered there.
The Master Musicians of Jajouka have their own stories preserved in the folklore of their clans. At night, around blazing fires, the people of Ahl Sherif--'The Saintly"-tell their children how Bou Jeloud came down the mountain to dance with them and bless their village.
They tell of their ancestor, Attar, whose forefathers had come from the East to con?quer and settle the wild Berber mountains. Like his cousins and uncles, Attar was a goat herder who prospered amidst Jajouka's highland pastures and abundant water. One day, while grazing his flocks on the side of Owl Mountain, his lead goat wandered into a forest cave. Attar heard the most beautiful sound he had ever heard--music. This music flowed from the mouth of Bou Jeloud, later known to the Jajoukan villagers as Father of the Flocks and Master of the Skins. Attar was frightened upon seeing this half man-half goat but was soothed when the creature produced a bamboo stick with holes and began to play again. Attar loved this music with all his heart. Thus began the tradition of the music of Jajouka which has been handed down from father to son for thousands of years.
In the 1950's, word began to spread of the Master Musicians of Jajouka's extraordi-
nary gift when the post war expatriates (such as William Burroughs, Paul Bowles, and Brian Gysin) "discovered" them. In the 1960's and 1970's, Western rock and jazz musicians made pilgrimages to Jajouka. They were followed by a colorful parade of those seeking to travel back in time to discover the old gods present in Jajouka's folklore. Contact with the modern world brought new dangers to the tribe and now centuries of harmony are challenged. The Western influence infil?trated the culture, leaving only the two youngest Attars to carry on the legacy of Jajouka. The legend states that when the music of Jajouka ends --so ends the world! This tour represents the first time that The Master Musicians of Jajouka have been to the United States. The group features Bachir Attar and brother, Mustapha, who are direct descendants of the Attar family and are the last continuing Attar musicians. It is the wish of Bachir and the rest of the Jajoukans that tonight, as you watch the performance, you will experience the meaning of the word Jajouka and "some?thing good will come to you."
Tonight marks the UMS debut performance by the Master Musicians of Jajouka.
The Hertz Corporation
The Central Ballet of China
Zhao Ruheng, Director and Artistic Director
Wednesday Evening, October 25, 1995 at 8:00
Power Center
Ann Arbor, Michigan
Wednesday, October 25, 1995
New Year's Sacrifice
Full-length ballet in one act Music by Liu Tingyu Choreography by Jiang Zuhui
Pas de Quatre
Ballet Divertissement Music by Cesar Pugni Choreography by Jule Perrot
Before The Wedding Chamber
Traditional Chinese music Choreography by Norman Walker
Don Quixote (Act III)
Music by Leon Minkus
Choreography by Rudolph Nereyev after Marius Petipa
Fifth Performance of the 11 yth Season
25th Annual Choice Events Series
Thanks to Mr. Frank A. Olson, Chairman and CEO of The Hertz Corporation for helping to make these performances possible.
Columbia Artists Management, New York, New York
Large print programs are available upon request from an usher.
The Hertz Corporation
The Central Ballet of China
Zhao Ruheng, Director and Artistic Director
Thursday Evening, October 26, 1995 at 8:00
Power Center
Ann Arbor, Michigan
Thursday, October 26, 1995
Giselle (Act II)
Music by Aldolphe Adam
Choreography by Jules Perrot and Jean Coralli
The Red Detachment Of Women
Full-length ballet in two acts
Music by Du Mingxin and Wu Zuqiang
Choreography by Li Chengxiang
Sixth Performance of the 11 jlh Season
25th Annual Choice Events Series
Thanks to Mr. Frank A. Olson, Chairman and CEO of The Hertz Corporation for helping to make these performances possible.
Columbia Artists Management, New York, New York
Large print programs are available upon request from an usher.
Wednesday, October 25, 1995
New Year's Sacrifice
Based on the short story by Lu Xun Libretto by Jiang Zuhui, Liu Tingyu,
Chen Minfan andjian Weihao Music by Liu Tingyu Choreography by Jiang Zuhui Costumes by Li Keyu, Peng Yufei Scenery by Zheng Yueyang
First performed by the Central Ballet of China on September 30, ig8o
New Year's Sacrifice depicts the tragic lot of Chinese women in the old feudal society. The ballet concerns the widow of Xiang Lin, who has been sold in marriage by her greedy mother-in-law.
The young farmer He Laoliu prepares his home for his impending wedding. Family and friends assemble, and in anticipation of the marriage, they entertain the husband-to-be with traditional Chinese folk dances.
The bride arrives, carried in a sedan chair. She is in deep mourning, signified by her white clothes, but wears the ceremonial bridal veil. Her protests against this forced marriage are evident when her veils are removed, revealing that she is bound and gagged.
Filled with despair and shame at breaking feudal tradition which forbids a widow to remarry, she attempts suicide at the wedding ceremony by throwing herself against the corner of a table.
That evening, He Laoliu, who is a kind and caring man, attempts to treat her wounds with herbal medicines as she sleeps. Awakening, she struggles to escape, and He Laoliu tries to dissuade her from leaving. His honest concern eventually touches her, and she begins to trust him. That trust soon grows into love.
As a sign of her transformation, she
replaces the white flower of mourning in her hair with a red flower of jubilation. She and He Laoliu are truly united in wedlock.
Pas de Quatre
Ballet Divertissement
Music by Cesare Pugni
Choreography by Anton Dolin after Jules Perrot
First Production July 12, 1845 in London
In 1845, Benjamin Lumley, manager of Her Majesty's Theatre in London, had the idea of presenting the four most famous ballerinas of the time together in the same work. Lumley then commissioned Jules Perrot to choreograph such a work for Marie Taglioni, Carlotta Grisi, Fanny Cerrito, and Lucile Grahn. Cesare Pugni, composer for the scores of over 300 ballets, was assigned to write the music, and thus pas de quatre had its premiere at Her Majesty's Theatre on July 12, 1845 between the acts of Donizetti's opera Anna Bolena.
The ballet served to demonstrate the most favorable aspects of each of the original performers, and yet it has been revived and restaged continuously, since 1847, when the part created by Grahn was handed over to Carolina Rosati. Maria Taglioni also staged a version of the ballet at La Scala in Milan in 1846 featuring herself, Sofia Fuoco, Carolina Galetti (i.e. Rosati), and C. Vente. In 1936, Keith Lester reconstructed the pas de quatre for the Markova-Dolin Ballet with Molly Lake, Diana Gould, Prudence Hayman, and Kathleen Crofton. Sir Anton Dolin staged it for Ballet Theater in 1941, with Nana Gollner, Nina Stroganova, Alicia Alonso, and Sergava. The Dolin version has been revived by many companies, including the Kirov Ballet in 1966, and is the version danced by the Central Ballet of China since 1983.
Before The Wedding Chamber
Traditional Chinese music Choreography by Norman Walker
Before the Wedding Chamber is a ballet choreographed by American Norman Walker set to two pieces of music from the traditional Chinese work "Chimes." Visiting China in January of 1990, Walker created this work for the Central Ballet, who refer to it as The Chinese Wedding Chamber in the Eyes of an American." A favorite work of the company, it has been performed frequently in many Chinese cities and abroad.
Don Quixote (Act III)
Music by Leon Minkus Choreography by Rudolf Nureyev after Marius Petipa
Adapted from scenes in Cervantes' epic novel, Marius Petipa's full length ballet was created for the Bolshoi in 1869. It was later revised notably by Alexander Gorsky in 1900 and again by Rostislav Zakharov in 1940, and it remains one of the most popular ballets in the classical Russian repertory. The story follows the Knight, Don Quixote and his squire Sancho Panza, and Basil, a barber, who is in love with an innkeeper's daughter, Kitri. Through many adventures, Don Quixote is forever imagining that he must heroically rescue his Dulcinea, the woman of his dreams. The "Gypsy Dance" is from the second scene in Act II: Don Quixote and Sancho come across a Gypsy camp where celebrations culminate in a command performance of a puppet theater. Watching the play, Don Quixote mistakes the heroine for Dulcinea, and seeing her under attack, rises to assault the puppet stage. The grand pas de deux is
from the final Act during fiesta time: amidst much dancing, the Don thinks that he recognizes his Dulcinea in a girl who is being carried off by mysterious figures guarded by a strange knight. The Knight challenges the Don to a duel and our hero is soon vanquished. His opponent, removing his disguise, reveals himself as Basil the Barber. Kitri and Basil then celebrate their betrothal in the grand pas de deux.
Rudolf Nureyev personally staged his pro?duction of Don Quixote in China with the Central Ballet of China in October 1985.
Thursday, October 26, 1995
Giselle (Act II)
Choreography by Jules Perrot and Sean Coralli Libretto by Vernoy de Saint-Georges, Theophile Gautier and Jean Coralli
Giselle is one of the masterpieces of the French Romantic theater. It was the brain?child of Theophile Gautier, poet, theatre critic, novelist, and one of the band of enthusiastic young writers who basked in the glory of Victor Hugo. The first seed of Giselle had been sown quite by chance as Gautier was thumbing through a book by the German poet Heinrich Heine, Del'Allemagne. In it the author tells of the legends of the elemental spirits that are rife in German folklore. Gautier's imagination was caught by an account of the Slavonic tale of the Wilis-spirits of girls who have died before their wedding day. These Wilis, carrying their mania for the dance beyond the grave, ensnare in their fatal round unwary travelers crossing the forest glades they haunt during die hours of darkness. A subsidiary source of inspiration was a sequence of verses by Victor Hugo, entitled Fantomes, in which the poet dwells on the cruel destiny that strikes
down young girls in the flower of their beauty. Hugo describes in particular, the fate of a young Spanish beauty who loved dancing to excess and died at daybreak after a night of frenzied dancing at a ball.
In an initial burst of enthusiasm, Gautier wrote down the tide for a ballet, Les Wilis, on a clean sheet of paper, but then, as if sensing the impossibility of realizing such a romantic idea on the stage, threw it into the wastepaper basket. But the idea persisted, and that same evening, meeting the dramatist Saint-Georges at the Opera, he broached it as a possible subject for a ballet. In no time the two men came to an understanding that they would work on it together. We can only guess at the method of their collaboration. Undoubtedly the basic idea was Gautier's but it was probably Saint-Georges who fashioned it into a scenario for a ballet.
Giselle is a village maiden who is courted by a handsome stranger, known to her only by the name of Loys. But Loys is the young Duke Albrecht in disguise: This deceit is dis?covered by a woodsman, Hilarion, the rejected suitor of Giselle, who finds the Duke's sword and cloak hidden in his hut. A hunting party stops to partake of refreshment, and among them is the Princess Bethilde, to whom Albrecht is betrothed. Hilarion seizes the chance to unmask his rival. The shock is so great that Giselle's reason gives way and she dies of a broken heart. In the second act, set in a moonlit glade in the depths of the forest, the spirit of Giselle is admitted into the band of the Wilis, and is commanded by their Queen to lure Albrecht into their fatal round. A bitter struggle ensues, between the cruel and inex?orable power of the Queen of the Wilis and the pure love that still flickers in Giselle's heart. At last, when at the very brink of exhaustion, Albrecht is saved by the break of day. The shade of Giselle disappears forever beneath a bed of flowers.
The Central Ballet of China's production of Giselle was premiered in Beijing on June 13, 1980.
The Red Detachment of Women
Full-length ballet in two acts.
Adapted from the film of the same title
by Liangxin Music by Wu Zuqiang, Wang Yanqiao and
Du Mingxin "Song of the Detachment of Women " written
by Huang Zun Choreography by Jiang Zuhui and
Li Chengxiang
The ballet takes place during the ten-year civil war on Hainan Island. Qpnghua, a daughter of a poor peasant, is imprisoned by the despotic landlord Nabatian, who orders his lackey Laosi to sell her. The ballet opens with Qonghua's escape from her cap?tivity.
Act I
Late at night. Black coconut palms.
Qpnghua is fighting with her captors but is beaten savagely and falls onto the ground. Suddenly it begins to storm heavily. Nabatian abandons Qonghua and leaves her for dead with his lackeys. Hong Changqing, a Red Army cadre, and the messenger, Xiao Pang, go on a reconnaissance mission by the coconut palm woods and save Qonghua. After inquiring about her life, they lead her to the Red Army camp.
Act II
One morning several days later.
On a square in the Red base area, under a clear sky and colorful banners, soldiers and farmers are celebrating the foundation of the Red Detachment of Women.
Going through hardships and difficulties, Qonghua hurries to the celebration, and is warmly welcomed. Deeply moved, she con?demns the crimes committed by Nabatian.
People are filled with fury. Hong Changqing, the Party representative of the Detachment of Women, instructs the people to take up arms, follow the Party, carry out revolution and fight for liberation. The commander gives a gun to Qonghua who joins the army to avenge her captors and fight for the liber?ation of the country.
The Red Detachment of Women was premiered by the Central Ballet of China on September 26, 1964.
The Central Ballet of China, the sole Beijing-based national ballet company of China, was founded in 1959. Most of its dancers graduated from the Beijing Dance Academy. In its early days, the company received much of its training from the Soviet choreographer Pyotr Gusev. After a four-year affiliation with the Beijing Dance School, the company became an indepen?dent performing organization in 1963.
The Chinese government considers the Central Ballet of China a cultural treasure. At the Great Hall of the People in Beijing, the company often entertains honorable foreign guests who heartily applaud the Central Ballet. To better patronize the company, the Chinese government subsidized the Ballet in 1962 and built six big studios, an auditorium with a music recording studio, costume and set workshops and an adminis?tration building, covering a total area of more than 10,000 square meters. By 1980, it had become the biggest ballet company ever in China, with dozens of classically trained dancers, a well equipped Central Ballet Symphony Orchestra and a large professional stage staff.
Under the leadership and patronage of the government over the past 34 years, a good number of world class dancers have emerged from the company on to the world ballet stage; many of them have been awarded medals at major international ballet compe?titions. From the founding generation in 1959 to the current directors, company choreographers, along with resident com?posers and designers all strive to create a ballet style which is uniquely Chinese.
The company's classical and contempo?rary Western repertoire includes Stuan Lake, Giselle, Ije Corsaire, La Fille Mai Garde.e, The
The Central Ballet of China
Fountain ofBakchisarai, Esmeralda, Sylvia, Les Sylphides, Don Quixote, Serenade, Heliotrope, In the Mountain Forest and Romeo and Juliet. Chinese works include The Red Detachment of Women, The While-Haired Girl, The Maid of the Sea, Son and Daughter of the Grassland, Ode to the Mountainous Yimeng, The New Year Sacrifice, Lin Daiyu, Searching for Light-Trilogy, Little Blue Flower, The Imperial Concubine, Strong Desire to Return and others.
Since 1960, the company has performed extensively in Beijing and throughout China in over twenty provinces and more than fifty cities, presenting Western and Chinese classics as well as contemporary ballets. Today, the company has become one of the most popular attractions in China.
The Central Ballet keeps its windows open to the whole world. For more than three decades, the Central Ballet has invited distinguished dancers and choreographers from around the world as guest instructors and choreog?raphers. In recent years Beryl Grey, Lycette Darsonval, Pascal Vincent, Jelko Yuresha, Rudolf Nureyev, Eugene Polyakov, Richard Nowotny, Ben Stevenson, Suki Schorer, Karin Von Aroldingen, Margo Sappington and Norman Walker have all set ballets on the company and coached the dancers.
One of the chief aims of the company is to continue to promote friendship and strengthen cultural exchanges around the world. Since i960, the Central Ballet has performed in many countries and regions of the world and has received a warm welcome in Burma, Romania, Yugoslavia, Albania, Germany, Austria, the Philippines, Japan, Algeria, Tunisia, Hong Kong and Macao. In the Spring of 1986, the Central Ballet was hailed from coast to coast on its first historic tour in eleven major cities of the United States. In the Fall of 1986, the company emjoyed triumphant seasons in London and the former Soviet Union as well. In 1990 The Central Ballet had a successful tour of Germany, Holland, Switzerland, Belgium
and Austria. In 1991 and 1992, it successfully toured Hong Kong and Taiwan respectively.
The Central Ballet of China makes its debut appearance under UMS auspices.
The Company
Wang Caijun
Principal Dancer, Central Ballet of China Mr. Wang graduated from the Beijing Dance Academy in 1976. He joined the company in 1980 and since then, has danced leading roles in Swan Lake, Don Quixote, Sylvia, Giselle and The New Year Sacrifice. In December of 1984, he won a special award at the First International Dance Competition in Paris. In 1985, Mr. Wang performed at Paris Gala as one of the prize winners. He has toured the United States, Great Britain, Russia, Germany, Holland with the Central Ballet of China, and has been guest artist in Philippines, Canada, Hong Kong and Japan.
Feng Ying
Principal Dancer, Central Ballet of China Ms. Feng graduated from the Beijing Dance Academy in 1979. In 1983, she was chosen to study in the ballet school associated with the Paris Opera Ballet for one year. She has been a constant prize winner both at home and abroad. In 1986, she was invited to per?form at the gala concert as the prize winner of the Second International Dance Competition in Paris. Ms. Feng dances leading roles in Swan Lake, Don Quixote, Giselle, Lin Daiyu, The Maid of the Sea, etc.
Wang Shan
Principal Dancer, Central Ballet of China Ms. Wang graduated from the Beijing Dance Academy and joined the Central Ballet of China in 1987. She has won several awards both at home and abroad. As a principal of the company she has danced leading roles in Swan Lake, Don Quixote, Romeo and Juliet, Giselle and The Red Detachment of Women.
Xu Gang
Principal Dancer, Central Ballet of China Mr. Xu entered the Beijing Dance Academy in 1985. While in school, he performed the role of the Prince in Swan Lake and pas de deux in Coppelia, Giselle and Sleeping Beauty. In 1986, he was invited to Japan to perform and to teach. In 1987 he joined the company as a principal dancer. Since then, he has performed the leading roles in Swan Lake, Giselle, Don Quixote, Heliotrope as well as Romeo and Juliet.
Li Yan
Principal Dancer, Central Ballet of China The youngest principal of the company, Ms. Li won the special award at the Third International Dance Competition in Paris and the third prize at the Sixth Ballet Com?petition in Moscow. She has performed the leading roles in The Nutcracker, Swan Lake, Giselle, The Red Detachment of Women, and the pas de deux in Sleeping Beauty and Le Corsaire.
Liang Jing
Principal Dancer, Central Ballet of China Mr. Liang entered the Beijing Dance Academy in 1980. After graduation he went to Shanghai and joined the Ballet Company of Shanghai. With the company he toured Canada and Singapore. In 1989 he returned to the Beijing Dance Academy where he performed the pas de deux in La Sylphide, Le Corsaire, Swan Lake and leading roles in The Nutcracker. In iggi he joined the Central Ballet of China and won an award at the World Ballet Comp?etition in Japan. He has danced the leading roles in Swan Lake, Giselle and The Red Detachment of Women. In 1993 he was invited to Japan as guest artist.
Jang Mei
Principal Dancer, Central Ballet of China
Ms. Jiang graduated from the Beijing Dance
Academy in 1991. During that year, she won
third prize in the junior category at the
Second All China Ballet Competition and
third prize in the adult category in the All China Peach and Plum Blossom Cup. When she was still a student at the Beijing Dance Academy, Ms. Jiang danced the pas de deux from the Floiuer Festival, Don Quixote, Le Corsaire, Coppelia, Sylphide, Esmeralda, Raymonda and The Nutcracker. In 1991 she joined the Central Ballet of China and has since performed the leading roles in Swan Lake, Giselle and The Red Detachment of Women.
Sun Jie
Principal Dancer, Central Ballet of China Mr. Sun won the first prize at the Suchuan TV Choreography and Dance Competition before entering the Beijing Dance Academy. In 1991 he joined the Central Ballet of China and performed the leading role in Romeo andfuliet. In 1992 he was invited to Macao for performances and that earned him critical acclaim. In 1993 he danced the principal role in The Red Detachment of Women.
Wang Quanxing
Principal Dancer, Central Ballet of China Mr. Wang graduated from the Beijing Dance Academy and joined the Central Ballet of China in 1979. He has performed leading roles in The New Year Sacrifice, The Red Detachment of Women, Swan Lake, Don Quixote, Sleeping Beauty, Giselle and Romeo andfuliet. Mr. Wang has toured the United States, Great Britain, Russia, Germany, Belgium Austria, Holland, Switzerland with the company.
Cheng Li
Principal Dancer, Central Ballet of China Ms. Chen was born in Guangzhou in 1958. She was graduated from the Beijing Dance Academy in 1978. In 1987 she was invited to Japan as a guest artist. She has played lead?ing roles in La Fille Mai Gardee, The New Year Sacrifice as well as character roles in Swan Lake, Don Quixote and Giselle.
Youth Program
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 19891 ggo season with special one-hour performances for local fourth graders of Puccini's La Boheme by the New York City Opera National Company.
Now in its seventh year under the Education and Audience Development Department, the UMS Youth Program continues to expand, with performances by the Alvin Ailey American Dance Theater for middle and high school students, two opera performances for fourth graders by the New York City Opera National Company, a performance by Wynton Marsalis and the Lincoln Center Jazz Orchestra Nonet, in-school workshops with a variety of other artists, as well as discounted tickets to every concert in the UMS season.
As part of its Ann Arbor residency, the Alvin Ailey American Dance Theater will present a special youth program to middle and high school students, and a family performance, both on March ig, 1996.
On Friday February 24, 1996, 2700 fourth-graders will visit the Power Center for abbreviated one-hour performances of Verdi's La Traviata. These performances allow children to experience
opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
On January 31, 1996, Wynton Marsalis and the Lincoln Center Jazz Orchestra Nonet will perform a special youth performance at the Michigan Theater.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call the Education and Audience Development Director at 3 13.747.1 1 74-
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 good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 747-1175 or pick up a volunteer 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, promotion, and production. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in serving as a UMS Marketing Intern should call (313) 764-6199, and those interested in a UMS Production Internship should call (313) 747-1173 for more information.
College Work-Study
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538 or 764-6199.
UMS Ushers
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function 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 all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
For more information about joining the UMS usher corps, call 313.913.9696
Dining Experiences To Savor: The Second Annual "Delicious Experiences"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds going to benefit UMS programs.
Following last year's resounding success, won?derful friends and supporters of the University Musical Society are again offering a unique donation, by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas, tailgates and brunches to tantalize your tastebuds. And thanks to the generosity
of the hosts, all proceeds will go direcdy to UMS__
to continue the fabulous music, dance, drama and educational programs that add so much to the life of our community.
Treat yourself, give a gift of tickets, purchase an entire event or come alone meet new people and join in the fun while supporting UMS! Among your choices are Autumn at tht Mill (October 14, 1995), A Taste of Tuscany (November 11, 1995), English Afternoon Teas (December 10,. 1995), Dinner at Cousins Heritage Inn (January 13, 1996), A Valentine Brunch (February 11, 1996), Mardi Gras Madness (February 24, 1996), An Elegant Dinner for Eight (March 2, 1996), Great Lakes Dinner (March 3, 1996), Great Wines and Many Courses (April 5, 1996), Lazy Day Sunday Brunch (April 7, 1996), Burmese Feast (April 27, 1996), A Taste of Spring" Garden Dinner (June 1, 1996), and La Fiesta Mexicana (June 8, 1996).
For the most delicious experience of your life, call us at 936-6837 for more information!
UMS Card
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 19951996 season include the following fine stores and restaurants: Amadeus Cafe Cafe Marie Candy Dancer Kerrytown Bistro Maude's SKR Classical The Earle
The UMS Gift Certificate
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.
with the University Musical Society
Five 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 world-class audience. We hope that you will patronize the businesses who advertise with UMS and tell them that you saw their ad in die UMS program book so that we can continue to bring you the program notes, artists' biographies, and general information that illuminate each UMS presentation. For information about how your business can become a UMS advertiser, call (313) 747-4020.
"Desert Island Discs"
Co-produced by the University Musical Society and Michigan Radio, Desert Island Discs is heard every Saturday morning from 8:00 a.m. to 10:00 a.m. Each program features a distinguished castaway who is asked, "If you were stranded on a desert island, which recordings would you like to have with you and (perhaps most revealingly) why" Tune in Saturday mornings. WUOM-97.1 FM, Ann Arbor; WVGR-104.1, Grand Rapids; WFUM-91.1, Flint.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, religious congregation or conference participants, family or guests, by calling
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 1-2 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 1 complimentary ticket.
io or more Senior Citizens earn a 20 discount, and 1 complimentary ticket.
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 complimentary promotional materials for the event, FREE bus park?ing, reserved block seating in the best seats available, and assistance 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 313-763-3lo?-
Advisory Committee of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society. It's role is a major one not only in providing the volun?teer corps to support the Society but also as a fund-raising component as well. The Advisory Committee is a 55-member organization which raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, gala dinners and dances, season opening and preand post-concert events. The Advisory Committee has pledged to donate $110,000 this current season. In addition to fund raising, this hard-working group generously donates valuable and innumerable hours in assisting with the educational programs of UMS and the behind-the-scenes tasks associated with every event UMS presents.
If you would like to become involved with this dynamic group, please give us at call at 936-6837 for information.
Thank You!
Great performances -die best in music, theater and dance -brought to you by the University Musical Society, would not be possible without the much-needed gifts of UMS supporters. The Society appreciates these members for their generosity.
The list below represents names of current contributors as of August 15, 1995. If there has been an error or omission, we sincerely apologize and would appreciate a call to correct this at your earliest convenience. (313-747-1178).
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
The Charles A. Sink Society
Honoring members with cumulative giving totals over $15,000.
Dr. and Mrs. Robert G. Aldrich Herb and Carol Amster Jim Botsford and
Janice Stevens Botsford Carl and Isabelle Brauer Mr. Ralph Conger Margaret and Douglas Crary Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Dale and Marilyn Fosdick Sue and Carl Gingles Mr. and Mrs. Peter N. Heydon Mr. and Mrs. Howard S. Holmes Elizabeth E. Kennedy Mr. and Mrs. William C. Martin Judythe and Roger Maugh Charlotte McGeoch Mr. and Mrs. William B. Palmer John Psarouthakis Richard and Susan Rogel Maya Savarino and Raymond Tanter Dr. Herbert Sloan Carol and Irving Smokier Mr. Helmut F. Stern Dr. and Mrs. E. Thurston Thieme Estelle Titiev
The Edward Surovell Co.Realtors The Ann Arbor Area
Community Foundation Dahlmann Properties McKinley Associates Wolverine Temporaries, Inc. The Bernard L. Maas Foundation Warner-LambertParke-Davis Philips Display Components
KMS Industries, Inc. First of America Bank
Great Lakes Bankcorp
Ford Motor Company
Ford Credit
The Grayling Fund
Michigan Council for Arts and
Cultural Affairs Jacobson Stores, Inc. National Endowment for the Arts Society Bank Mainstreet Ventures Lila Wallace-Reader's Digest Fund Arts Midwest
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great traditions of the Society in the future.
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
Marilyn Jeffs
Dr. Eva Mueller
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
The Estate of Marie Schlesinger
Dr. Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Bravo Society
Mr. Ralph Conger F. Bruce Kulp
Mr. and Mrs. William B. Palmer John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier and several anonymous donors
Chelsea Milling Company First of America Bank Ford Motor Company Great Lakes Bancorp JPEinc.The Paideia Foundation Main Street Ventures Society Bank Michigan TriMas Corporation Warner-LambertParke-Davis Research Division
Arts Midwest
Detroit Edison Foundation
Ford Motor Company Fund
Grayling Fund
KMD Foundation
Lila Wallace Reader's Digest Fund
Bernard L. Maas Foundation
Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Concert Masters
Herb and Carol Amster Maurice and Linda Binkow Mary Steffek Blaske and
Thomas Blaske Carl and Isabelle Brauer Dr. and Mrs. James P. Byrne David and Pat Clyde Margaret and Douglas Crary Harold and Anne Haugh Sun-Chien and Betty Hsiao James and Millie Irwin Mr. David G. and Mrs.
Tina M. LoeselCafe Marie Karen Koykka O'Neal and
Joe O'Neal Maya Savarino and
Raymond Tanter Lois and Jack Stegeman Edward Surovell and Natalie Lacy Mrs. M. Titiev
Dr. and Mrs. John F. Ullrich Ronald and Eileen Weiser Paul and Elizabeth Yhouse and several anonymous donors
The Anderson Associates Brauer Investment Company Environmental Research Institute
of Michigan Ford Electronics Ford Motor Credit Company The Hertz Corporation The Thomas B. McMullen
Company NSK Corporation O'Neal Construction Philips Display Components
The Edward Surovell Co.Realtors Wolverine Temporaries, Inc.
Chamber Music America
The Estate of Graham H. Conger
Bradford and Lydia Bates Kathleen G. Charia Katharine and Jon Cosovich Ronnie and Sheila Cresswell Gregg Alf and Joseph Curtin Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Charles and Mary Fisher Dale and Marilyn Fosdick Mr. and Mrs. Edward P. Frohlich Sue and Carl Gingles Keki and Alice Irani Robert and Gloria Kerry Judythe and Roger Maugh Paul and Ruth McCracken Dr. and Mrs. Joe D. Morris John M. Paulson John W. and Dorothy F. Reed Prudence and Amnon Rosenthal John Wagner
Mr. and Mrs. Conrad Walburger Elise and Jerry Weisbach Marina and Robert Whitman and several anonymous donors
Dahlmann Properties Detroit and Canada Tunnel
Corporation First of America Bank Gclman Sciences, Inc. Huron Valley Travel, Inc. Jacobson's Masco Corporation Pepper, Hamilton & Scheetz
Dr. and Mrs. Gerald Abrams
Professor and Mrs. Gardner Ackley
Jerry and Barbara Albrecht
Dr. and Mrs. Robert G. Aldrich
Mr. and Mrs. Max K. Aupperle
Robert and Martha Ause
John and Betty Barfield
Howard and Margaret Bond
Tom and Carmel Borders
Jim Botsford and Janice Stevens Botsford
Thomas R. Bower and
Karen F. Stapleton-Bower
Drs. Barbara Everilt and John H. Bryant Mr. and Mrs. RichardJ. Burstein Jean M. and Kenneth L. Casey Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Maurice and Margo Cohen Roland J. Cole and Elsa Kircher Cole Pedro and Carol Cuatrecasas Robert and Janice DiRomualdo Jack and Alice Dobson Martin and Rosalie Edwards Dr. Stewart Epstein Richard and Marie Flanagan Robben and Sally Fleming John and Esther Floyd Sara and Michael Frank Judy and Richard Fry William C. and Ruth Gilkey Vivian Sosna Gottlieb and Norm Gottlieb Mr. and Mrs. Robert C. Graham Jester Hairston Debbie and Norman Herbert Janet Bowe Hoeschler Robert M. and Joan F. Howe Stuart and Maureen Isaac Chuck and Heidi Jacobus Mercy and Stephen Kasle Thomas E. and Shirley Y. Kauper Bud and Justine Kulka David Lebenbom Carolyn and Paul Lichter Patrick B. and Kathy Long Joseph McCune and Georgiana Sanders Rebecca McGowan and
Michael B. Staebler H. Dean and Dolores H. Millard Dr. and Mrs. Andrew and
Candice Mitchell Ginny and Cruse Moss George and Barbara Mrkonic William A. Newman Bill and Marguerite Oliver Mark and Susan Orringer Dory and John Paul Maxine and Wilbur K. Pierpont Christine Price Tom and Mary Princing Bonnie and Jim Reece Elisabeth J. Rees Mr. and Mrs. Raymond Reilly Glenda Renwick Katherine and William Ribbcns Jack and Margaret Ricketts Richard and Norma Sarns Genie and Reid Sherard Victor and Marlene Stoeffler Dr. and Mrs. E. Thurston Thieme Jerrold G. Utsler Mary and Ron Vanden Belt Dr. and Mrs. Francis V. Viola HI John and Maureen Voorhees Martha Wallace and Dennis White
Guarantors, continued
Dr. and Mrs. Andrew S. Watson Mr. and Mrs. Robert O. Weisman Roy and JoAn Wetzel Brymer and Ruth Williams Len and Maggie Wolin Nancy and Martin Zimmerman and several anonymous donors
American Tide Company of Washtenaw
The I1..11 In-Ill CompanyBartech
Borders Books and Music
Comerica Bank
Kitch, Drutchas, Wagner, & Kenney, P.C.
Matthew C. Hoffmann Jewelry Design
NBD Ann Arbor N.A.
Norsk Hydro a.s Oslo
Scientific Brake and
Equipment Company Music Company
FoundationsAgencies Chrysler Corporation Fund
Bernard and Raquel Agranoff
M. Bernard Aidinoff
Catherine S. Arcure
Mr. and Mrs. Essel Bailey
Jim and Lisa Baker
Emily W. Bandera, M.D.
M. A. Baranowski
Ralph P. Beebe
Mrs. L.P. Benua
Dr. and Mrs. Raymond Bernreuter
Mr. and Mrs. Philip C. Berry
Robert Hunt Berry
Joan Binkow
Charles and Linda Borgsdorf
Mr. and Mrs. Robert S. Bradley
Allen and Veronica Britton
David and Sharon Brooks
Jeannine and Robert Buchanan
Lawrence and Valerie Bullcn
LetitiaJ. Byrd
Jean W. Campbell
Bruce and Jean Carlson
Edwin F. Carlson
Mrs. Raymond S. Chase
Pal and George Chatas
Arnold and Susan Coran
H. Richard Crane
Peter and Susan Darrow
Kenneth and Judith DeWoskin
Molly and Bill Dobson
Jim and Patsy Donahey
Jan and Gil Dorer
Claudine Farrand and Daniel Moerman
Dr. and Mrs. William L. Fox
Victor and Marilyn G. Gallatin
Beverley and Gerson Geltner
Margaret G. Gilbert
Grace M. Girvan
Paul and Anne Glendon
Dr. and Mrs. William Gracie
Linda and Richard Greene
Seymour D. Greenstone
John and Helen Griffith
Mr. and Mrs. Robert Grijalva
Mr. and Mrs. Elmer F. Hamel
Walter and Diannc Harrison
Jay and Maureen Hartford
Harlan and Anne Hatcher
Dr. and Mrs. Sanford Herman
Bertram Herzog
Kathleen and Timothy Hill
Julian and Diane HofF
Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Che C. Huang and
Teresa Dar-Kuan L. Huang Patricia and John Huntington Gretchen and John Jackson Susan and Stevo Julius Robert L. and Beatrice H. Kahn Wilhelm and Sigrun Kast Barbara and Charles Krause Helen and Arnold Kuethe Barbara and Michael Kusisto Suzanne and Lee E. Landes Mr. and Mrs. David Larrouy Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Leo A. Legatski
Mr. and Mrs. Fernando S. Leon Dean S. Louis, M.D. Mr. and Mrs. CarlJ. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Peggy and Chuck Maitland Kathleen Beck and Frank Maly Marilyn Mason and William SteinhofT Kenneth and Martha McClatchey John F. McCuen
Kevin McDonagh and Leslie Crofford Charlotte McGeoch Hattie and Ted McOmber Robert and Ann Meredith Barry Miller and Gloria Garcia Ronald Miller
Grant Moore and Douglas Weaver Mr. Erivan R. Morales and
Mr. Seigo Nakao
M. Haskcll and Jan Barney Newman Mr. and Mrs. William J. Pierce
Eleanor and Peter Pollack Mrs. Gardner C. Quarton Stephen and Agnes Reading Mr. Donald H. Regan and Ms. Mi.ilii'ili 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 Amrhein Mrs. Richard C. Schneider Rosalie and David Schottenfeld Professor Thomas J. and
Ann Sneed Schriber George and Mary Sexton Juliannc and Michael Shea Constance Sherman Mr. and Mrs. George Shirley Edward and Marilyn Sichler George and Helen Siedel Lloyd and Ted St. Antoine Mrs. John D. Stoner Dr. and Mrs. Jcoffrey K. Stross Nicholas Sudia and Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter Mr. and Mrs. Terril O. Tompkins Herbert and Anne Upton Joyce A. Urba and David J. Kinsella Charlotte Van Curler Don and Carol Van Curler Jerry Walden and Julia Tiplady-Walden Bruce and Raven Wallace Karl and Karen Weick Angela and Lyndon Welch Brymer and Ruth Williams Walter P. and Elizabeth B. Work, Jr. and several anonymous donors
Michigan National Bank Sarns, 3M Health Care
The Power Foundation Shiffman Foundation Trust
Marilyn and Armand Abramson
Jim and Barbara Adams
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
David and Katie Andrea
Tim Andrcscn
Harlene and Henry Appelman
Mr. and Mrs. Arthur J. Ashc
Eric M. and Nancy Aupperle
Erik W. and Linda I-ee Austin
Robert L. Baird
Pauleti and Peter Banks
Cyril and Anne Barnes
Gail Davis Barnes
Dr. and Mrs. Mason Barr.Jr.
Dr. and Mrs. Robert Bartlett
Dr. David Noel Freedman,
Dr. Astrid Beck Neal Bedford and
Gcrlinda Melchiori Harry and Betty Benford Ruth Ann and
Stuart J. Bergstein Mr. and Mrs. S.E. Berki Abraham and Thelma Berman Suzanne A. and
Frederick J. Bcutler Maureen Foley and
John Blankley George and Joyce Blum Ronald and Mimi Bogdasarian Roger and Polly Bookwalter Robert and Sharon Bordeau Dean Paul C. Boylan Paul and Anna Bradley William R. Brashcar Betsy and Ernest Brater Professor and Mrs. Dale E. Briggs Gerald and Marccline Bright June and Donald Brown Morton B. and Raya Brown Arthur and Alice Burks Eugene and Martha Burnstein Phoebe R. Burt Rosemarie and Jurg Caduff Mrs. Theodore Cage Freddie Caldwell H. D. Cameron Charles and Martha Cannell 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 Colquilt Edward J. and Anne M. Comeau Gordon and Marjorie Comfort Sandra S. Connellan Maria and Carl Constant Jim and Connie Cook Lolagene C. Coombs Gage R. Cooper Mary K. Cordes Alan and Belle Cotzin Clifford and Laura Craig Merle and Mary Ann Crawford W.P. Cupples
Dr. and Mrs. Charles Davenport Ed and Ellie Davidson Jean and John Debbink Laurence and Penny Deitch Elena and Nicholas Delbanco Raymond A. Detter Benning and Elizabeth Dexter Macdonald and Carolin Dick Tom Doane and
Patti Marshal 1-Doane Dr. and Mrs. Edward F. Domino Dr. Steven M. and Paula R. Donn
William G. and Katherine K. Dow Allan and Cecilia Dreyfuss Nancy Griffin DuBois Salty and Morgan Edwards Dr. Alan S. Eiser Emil and Joan Engel Mark and Patricia Enns Jerome and Carolyne Epstein Ellen C. Wagner and
Richard Epstein Don Faber Elly and Harvey Falil Dr. and Mrs. John A. Faulkner Ink.i and David Felbcck Reno and Nancy Feldkamp Sidney and Jean Fine Herschel and Annette Fink Mrs. Beth J. Fischer Susan Fisher and John Waidley Ray and Patricia Fitzgerald Stephen and Suzanne Fleming Jennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford James and Anne Ford Ilene H. Forsyth Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox
Deborah anJ Ronald Freedman David Fugenschuh and
' Karey Leach Harriet and Daniel Fusfeld Gwyn and Jay Gardner Del and Louise Garrison Professor and Mrs. David Gates Wood and Rosemary Geist Henry and Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Drs. Sid Gilman and
Carol Barbour Fred and Joyce Ginsberg J. Richard Goulet, M.D. Mrs. William C. Grabb Ruth B. and Edward M. Gramlich Jerry and Mary K. Gray Dr. John and Renee M. Greden Daphne and Raymond Grew Leslie and Mary Ellen Guinn Ken and Margaret Guire George N. Hall Marcia and John Hall Mary C. Harms Susan R. Harris Clifford and Alice Hart Theodore Hefiey and
Eleanor Banyai
Kenneth and Jeanne Heininger Margaret and Walter Helmreich John L. and
Jacqueline Stearns Henkel Herb and Dee Hildebrandt John and Maurita Holland Mary Jean and Graham Hovey Drs. 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.
Robert B. and Virginia A. Ingling
Ann K. Irish
John and Joan Jackson
Mr. and Mrs. Donald E.Jahncke
Wallie and Janet JefTries
Mr. and Mrs. James W.Jensen
Donald and Janice Johnson
Mrs. Ellen C.Johnson
Stephen G.Josephson and
Sally C. Fink
Dr. and Mrs. Mark S. Kaminski Professor and
Mrs. Wilfred Kaplan Herb Katz Anna M. Kauper Mr. and Mrs. Jacob Kellman Don and Mary Kiel Paul and Leah Kileny Mr. and Mrs. Thomas C. Kinnear Rhea and Leslie Kish Dana and Paul Kissner Hermine R. Klingler Philip and Kathryn Klin (worth Joseph and Marilynn Kokoszka Dimitri and Suzanne Kosachcff Samuel and Marilyn Krimm William G. Kring Alan and Jean Krisch Mae and Arthur Lanski Mr. and Mrs. Henry M. Lapeza John K. Lawrence Ann M. Leidy Bobbie and Myron Levine Evie and Allen Lichter Jody and Leo Lighthammer Mark Lindley Vi-Cheng and Hsi-Yen Liu Dean and Betty Lockwood Jane Lombard Dan and Kay Long Robert G. Lovell Charles and Judy B. Lucas Barbara and Edward Lynn Doni and Donald Lystra Frederick C. and
Pamela J. Mackintosh Sadie C. Maggio Steve and Ginger Maggio Virginia Mahle Alan and Carla Mandel Mclvin and Jean Manis Eddie and Cathy Marcus Geraldine and Sheldon Markel Kink1,i and William Martcl Dr. and Mrs.Josip Matovinovic Mary and Chandler Matthews Margaret and
Harris McClamroch Bruce and Mary McCuaig Griff and Pat McDonald Elaine J. McFadden Bill and Ginny McKeachie Margaret McKinley Daniel and Madclyn McMurtrie Jerry and Rhona Mcislik Walter and Ruth Mctzger Charles and Helen Metzner Piotr and
Dcanna Rclyca Michalowski
Leo and Sally Miedler Myrna and Newell Miller Lester and Jeanne Monis James N. Morgan Dr. and Mrs. George W. Morley Cyril and Rona Moscow Dr. Eva L. Mueller Hillary Murt and
Bruce A. Friedman Dr. and Mrs. Gunder A. Myran Geri Chipaull and
Fred Neidhardt Sharon and Chuck Newman Mr. and Mrs. Marvin L. Niehuss Virginia and Gordon Nordby Richard S. Nottingham Marylcn and Harold Oberman Patricia O'Connor Judith S. Olson
Constance L. and David W. Osier Richard and Miranda Pao William C. Parkinson Randolph Paschke Ara and Shirley Paul Dr. Owen Z. and
Barbara A. Perlman Frank and Nelly Petrock Lorraine B. Phillips Sharon McKay Pignanclli Barry and Jane Pitt Randall and Mary Pittman Donald and Evonne Planlinga Maj. Gen. and Mrs.
Robert R. Ploger USA (ret.) Cynthia and Roger Postmus Mrs.J.D. Prendergast Larry and Ann Preuss Charleen Price Richard H. and Mary B. Price Jerry and Millard Pryor David and Stephanie Pyne Mrs. Joseph S. Radom Homayoon Rahbari, M.D. Jim and leva Rasmussen Katherine R. Reebcl Mr. and Mrs. H. Robert Reynolds Dave and Joan Robinson Dr. John Romani and
Ms. Barbara Anderson Gay and George Rosenwald Elva M. Rosenzweig Dr. Nathaniel H. Rowe Dr. Glenn Ruihley Jerome M. and Lee Ann Salle Ina and Terry Sandalow Dr. and Mrs. Michael G. Sarosi Dr. Albert J. and Jane K. Sayed Mary A. Schieve and
Andy Achenbaum David and Marcia Schmidt Elizabeth L. Schmitt Dr. and Mrs.
Charles R. Schmitter.Jr. David E. and
Monica N. Schteingart Art and Mary Schuman Suzanne Selig Marvin and Harriet Selin Joseph and Patricia Settimi Mr. Thomas Sheets Dr. and Ms. Howard and
Aliza Shevrin
Benefactors, continued
Hollis and Martha Showalter Dr. Bruce M. Siegan Scott and Joan Singer Alcnc M. Smith Carl andjari Smith George and Mary Elizabeth Smith Dr. and Mrs. Michael W. Smith Mr. and Mrs. Robert W. Smith Virginia B. Smith CynthiaJ. Sorensen Juanita and Joseph Spallina Allen and Mary Spivey David and Ann Staiger Mrs. Ralph L. Steffek Dr. and Mrs. Alan Steiss Thorn and Ann Sterling Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius Aileen and Clinton Stroebel Charlotte Sundclson Ronald and Ruth Sutlon Dr. Jean K. Takeuchi Jerry and Susan Tarpley Eva and Sam Taylor Mary D. Teal
James L. and Ann S. Telfcr Edwin J. Thomas Tom and Judy Thompson Ted and Marge Thrasher Hugo and Karla Vandersypen Jack and Marilyn van der Velde Rebecca Van Dyke Michael L. Van Tassel William C. Vassell Carolyn and Jerry Voight Mr. and Mrs. Timothy Wadhams Warren H. and
Florence S. Wagner Mr. and Mrs. Norman C. Wail Charles and Barbara Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Ruth and Chuck Watts Robin and Harvey Wax Mrs. Charles F. Weber Willes and Kathleen Weber Deborah Webster and
George Miller Lawrence A. Weis and
Sheila Johnson Raoul Weisman and
Ann Friedman Walter L. Wells Dr. Steven W. Werns Marcy and Scott Wcsterman Ruth and Gilbert Whitakcr B. Joseph and Mary White William and Cristina Wilcox Mrs. Elizabeth Wilson Mr. and Mrs. William Wilson Beth and I.W. Winsten Marion T. Wirick Aileen Gattcn and Charles Witke Charlotte Wolfe Frank E. Wolk Dr. and Mrs. Ira Wollner Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wright Phyllis B. Wright Don and Charlotte Wyche Ryuzo Yamamoto
Mr. and Mrs. Edwin H. Young R. Roger and Bette F. Zauel Mr. and Mrs. Martin Zeilc and several anonymous donors
Briar wood Shopping Center Chelsea Flower Shop Dough Boys Bakery Edwards Brothers, Inc. Gandy Dancer King's Keyboard House Miller, Canficld, Paddock,
and Stone Republic Bank Urban Jewelers The Witte Museum
The Richard and Meryl Place Fund
Tim and Leah Adams
Ronald and Judith Adler
Anasiasios Alexiou
Mr. and Mrs. Gordon E. AUardyce
Margaret and Wickham Allen
Augusiine and Kathleen Amaru
Mr. and Mrs. David Aminoff
Mr. and Mrs. Charles T. Anderson
Bert and Pat Armstrong
Mr. and Mrs. Lawrence E. Arnett
Michael Avsharian
Charlenc and Eugene Axelrod
Jonathan and Marlcnc Ayers
Joseph C. Bagnasco
Richard and Julia Bailey
Jean and Gaylord Baker
Dr. and Mrs. Daniel R. Balbach
Chris and Lesli Ballard
John R. Barcham
Norman E. Barnett
Donald C. Barnette.Jr.
Margo Barron
Leslie and Anita Bassett
Dr. and Mrs. Jerc 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 Bentzen-Bilkvist Helen V. Berg Reuben and
Barbara Levin Bergman Marie and Gerald Berlin Lawrence S. Berlin Gene and Kay Berrodin Andrew H. Berry, D.O. R. Bczak and R. Halstead Nairn and Nishta Bhalia
Bharat C. Bhushan Eric and Doris Billcs Richard and Roswitha Bird William and Dene Birge Elizabeth S. Bishop Mr. and Mrs. H. Harlan Bloomer Beverly J. Bole Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonnell Drs. Laurence and Grace Boxer Dr. and Mrs. Ralph Bozell Richard Brandt and
Karina Niemeyer Representative Liz and
Professor Enoch Braler Mr. and Mrs. Patrice Brion William and Sandra Broucck Mrs. Joseph Brough Mr. Olin L. Browder Mr. and Mrs. Addison Brown Mr. Charles C. Brown Linda Brown and Joel Goldberg Mr. and Mrs. John M. Brueger Mrs. Webster Brumbaugh Dr. and Mrs. Donald T. Bryant William and Cynthia Burmcister Waneta Byrnes and
Sherry A. Byrnes Edward and Mary Cady Mrs. Darrell A. Campbell Jan and Steve Carpman Jeanette and Robert I. Carr Daniel Carroll and
Julie A.C. Virgo Mr. and Mrs. Dennis Carroll John and Patricia Carver Mr. George Casey Dr. and Mrs. James T. Cassidy Kathran M. Chan Mr. and Mrs.
Nicholas G. Chapekis, Sr. Mr. James S. Chen Robert and Eileen Choate Edward and Rebecca Chudacoff Robert J. Cierzniewski Pat Clapper
Brian and Cheryl Clarkson John and Kay Clifford Roger and Mary Coe Ed and Cathy Colone Mr. and Mrs. Craig Common Marjorie A. Cramer Kathleen J. Crispell and Thomas S. Porter Lawrence Crochier Mr. and Mrs. James I. Crump Mr. and Mrs. John R. Dale Mr. William H. Damon III Millie and Lee Daniclson Jane and Gawaine Dart Mr. and Mrs. Arthur W. Davidge Laning R. Davidson, M.D. Ruth and Bruce P. 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 Rossanna and George DeGrood Elizabeth and Edmond DeVinc Meg Diamond Martha and Ron DiCecco Gordon and Elaine Didicr
A. Nelson Dingle Dr. Edward R. Doezcma Thomas and Esther Donahue Mr. Thomas Downs Rokuul and Diane Drayson Mr. and Mrs. Harry Dreffs John Dryden and Diana Rainii President and Mrs.
James DudiTsiadt Dr. and Mrs. Cameron B. Duncan Rosanne and Sandy Duncan Robert and Connie Dunlap Edmund H. and Mary B. Durfer John W. Durstine George C. and Roberta R. Earl Mr. and Mrs. William G. Earlc Jacquelynnc S. Ecclcs Mr. and Mrs. John R. Edman David A. Eklund Judge and Mrs. S.J. Elden Ethel and Sheldon Ellis Genevieve Ely
Mackenzie and Marcia Endo Kathlyn F. Engel Bill and Karen Ensminger Mr. and Mrs. Frederick A. Erb Dorothy and Donald F. Eschman Adcle Ewe II
Mr. and Mrs. Robert B. Fair, Jr. Dr. and Mrs. Cyrus Farrehi David and Joanna Featherman Dr. and Mrs. Irving Feller Phil and Phyllis Fcllin Carol Finerman Clay Finkbeiner C. Peter and Bev A. Fischer Dr. and Mrs. John Fischer Jon Fischer
Barbara and James Fitzgerald Dr. and Mrs. Mchin Flamcnbaum Jon Fliegel Doris E. Foss
Mr. and Mrs. Howard P. Fox Lucia and Doug Freeth Linda and Larry French Richard and Joanna Friedman Gail Fromes LclaJ. Fuester
Carol Gagliardi and David Flesher Jane Galantowicz Bernard and Enid Galler Joyce A. Gamrn Mrs. Don Gargaro Stanley and Priscilla Garn Drs. Steve Geiringer and
Karen Bantel
Beth Genne and Allan Gibbard Bruce and Anne Genovese Michael Gerstenberger W. Scott Gersienberger and
Elizabeth A. Sweet David and Maureen Ginsberg Albert and Almcda Girod Robert and Barbara Gockel Dr. and Mrs. Howard S. Goldberg Mary L. Golden Ed and Mona Goldman Irwin J. Goldstein and Marty Mayo Steve and Nancy Goldstein Mrs. Eszter Gombosi Elizabeth N. Goodenuugh and
James G. Leaf Mitch and Barb Goodkin Mr. and Mrs. Jon L. Gordon Don Gordus
Selma and Albert Gorlin Naomi Gottlieb Michael L. Gowing Christopher and Elaine ( .t.iti.itn
Elizabeth Ncedham Graham Whit and Svca Gray I.ila and Bob Green Harry Greenberg and
Anne Brockman Dr. and Mrs. LazarJ. Greenfield
Bill and Louise Gregory Linda and Roger Grekin Susan and Mark Griffin Werner H. Grilk Robert M. Graver Mr. Philip Guire Arthur VV. Gulick, M.D. Margaret Gutowski and
Michael Marietta Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Claribel Halstead Margo Halstcd
Mr. and Mrs. Herbert R. Harjes Stephen G. and
Mary Anna Harper Antonio and Dolores Harris Susan P. Harris Jean Harler Elizabeth C. Hassincn James B. and Roberta T. Hause Mr. and Mrs. George Hawkins Rose and John Henderson Mr. and Mrs. Richard Henderson Mr. and Mrs. Karl P. Henkel Jeanne Hernandez Ramon and Fern Hernandez Tatiana Herrcro Bernstein Fred and Joyce Hershcnson Elfrida H. Hicbcrt and
Charles W. Fisher Lorna and Mark Hildebrandt Mr. and Mrs. Jerry Leigh Hill Joanne and Charles Hocking I i misHodgson Jane and Dick Hoerner Carol and Dieter Hohnke Ken and Joyce Holmes John F. and Mary H. Holt Dr. and Mrs. Frederic B. House Helga Hover
Drs. Richard and Diane Howlin 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 Hyinans Edward C. Ingraham Perry Elizabeth Irish Edgar F. and M. Janice Jacobi Harold and Jean Jacobson Jim and Dale Jerome Paul and Olga Johnson Tom and Marie Juster Mary B. and Douglas Kahn Mary Kalmes and
Larry Friedman Steven R. Kalt Paul Kantor and Virginia Weckstrom Kantor
Mr. and Mrs. Irving Kao Deborah and Ralph Katz Kurt and Marilee Kaufman Mr. and Mrs. N. Kazan Frank and Patricia Kennedy Linda Alkins and Thomas Kenney Benjamin Kcrner Heidi and ]osh Kerst William and Betsy Kincaid Howard King and
Elizabeth Sayre-King Esther Kirshbaum James and Jane Kister Shim and Steve Klein Gerald and Eileen Klos Mr. and Mrs. Edward Klum Jolenc and Gregory Knapp Seymour Kocnigsbcrg Mclvyn and Linda Korohkin Rebecca Kott
Mr. and Mrs. Jerome R. Koupal Mr. and Mrs. E.J. Kowalcski Jean and Dick Kraft Robert Krasny David and Martha Krehbiel William J. Bucci and
Janet Kreiling Alexander Krezel John A. and Justine Krsul Danielle and George Kuper Dr. and Mrs. Richard A. Kutcipal Mr. and Mrs. Seymour Lampert Henry and Alice Landau Marjorie Lansing Beth and George Lavoie Ted and Wendy Lawrence Laurie and Bob LaZebnik Leslie and Robert Lazzerin.Jr. Sue Leong Margaret E. Leslie Richard LeSueur Don and Carolyn Dana Lewis Jacqueline H. Lewis Daniel E. and Susan S. Lipschutz Nathan and Eleanor Lipson Rod and Robin Little Dr. Jackie Livesay Peter Lo Naomi E. Lohr Diane and Dolph Lohwasser Ronald Longhofer Leslie and Susan Loomans Luisa Lopez-Grigcra Mr. and Mrs. Richard S. Lord Bruce and Pal Loughry Ross E. Luckc Lynn Luckenbach Robert and Pearson Macek Susan E. Macias Charlene and
William MacRitchie Chun I. Mah
Geoffrey and Janet Maher Deborah Malamud and
Neal Plotkin Dr. Karl D. Malcolm Claire and Richard Malvin Mr. and Mrs. Kazuhiko Manabe Pearl Manning Paul and Shari Mansky Mr. and Mrs.
Anthony E. Mansueio Marcovitz Family Mr. and Mrs. Damon L. Mark Dr. Howard Markcl
Marjorie and Robert Marshall
Dr. and Mrs.J.E. Martin Margaret Massiatas Tamotsu Matsumoto Marilyn Mazanec Benedict Margaret E. McCarthy Ernest and Adele McCarus Cathryn S. and
Ronald G. McCready Dores M. McCrec Mary and Norman Mclver Robert E. and
Nancy A. Meader Mr. and Mrs. John Merrifield Henry D. Messer and
Carl A. House Robert and Bettie Metcalf Professor and Mrs.
Donald Meyer
Dr. and Mrs. Robert AMeyers Jack and Carmen Miller Bob and Carol Milstein Thomas and Doris Miree Mr. and Mrs.
William G. Mollerjr. Arnold and Gail Morawa Sophie and Robert Mordis Kenneth and Jane Moriarty John and Michelle Morris Brian and Jacqueline Morton Mrs. Erwin Muehlig Janet Muhleman Gavin Eadie and
Barbara Murphy Rosemaric Nagel Tatsuyoshi Nakamura Dr. andMrs.J.V. Neel Martin Neuliep and
Patricia Pancioli Jack and Kerry Kelly-Novick Lois and Michael Oksenberg Robert and Elizabeth Oneal Annekc dc Bruyn Overseth Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit James and Bella Parker Evans and Charlene Parrott Mr. and Mrs. Brian P. Patchen Eszther T. Pattantyiis Nancy K, Paul Ruth and Joe Payne Agnes and Raymond Pearson F.Johanna Peltier Roy Penchansky and Elizabeth Bates Bradford Perkins Susan A. Perry Robert and Mary Ann Pierce Dr. and Mrs. fames Pikulski Mr. and Mrs.
Robert H. Plummer Martin A. Podolsky Drs. Edward and
Rhoda Powsner Ernst Pulgram Michael and Helen Radock Dr. and Mrs. Robert Rapp Mr. and Mrs.
Robert Rasmussen Gabriel Rebeiz Jim and Toni Reese Anthony L. Rcffclls and Elaine A. Bennett
Dorothy and Stanislav Rehak
JoAnne C. Reuss
David Reynolds
John and Nancy Reynolds
Jesse Richards
Kliabeth G.
Constance Rinehart
Joe Roberson
Peter and Shirley Roberts
Richard C. Rockwell
Wilhird and Mary Ann Rodgers
Mr. and Mrs. Stephen J. Rogers
Mrs. Irving Rose
Elizabeth A. Rose
Dr. Susan M. Rose
Drs. Stephen Rosenblum and
Rosalyn Sarvcr
Gustave and Jacqueline Rosseels Dr. and Mrs.
Raymond V. Ruddon, Jr. Kenneth Rule John Paul Rutherford Tom and Dolores Ryan Mitchell and Carole Rycus James and Ellen Saalberg Theodore and Joan Sachs Arnold Sameroff and
Susan McDonough Howard and Lilt Sandier John and Reda Sanlinga Dr. and Mrs. Edward G. Sai kisian Courtland and Inga Schmidt Charlenc and Carl Schmult Gerald and Sharon Schreiber Albert and Susan Schultt Michelle SchllltZ, M.D. Sheila and Ed Schwartz Jane and Fred Schwarz Ruth Scodel Jonathan Bromberg and
Barbara Scott
Douglas and Carole B. Scott Joanna and Douglas Scott Mary and John Sedlander John and Carole Segall Janet Sell
Louis and Sherry Senunas Richard Shackson Dr. and Mrs.J. N. Shanberge IW .thin and Lorraine Shapiro David and Elvera Shappirio Ingrid and Clifford Sheldon Dr. and Mrs. Iran Sherick Cynthia Shevel Jean and Thomas Shope John and Arlene Shy Milton and Gloria Siegel Ken Silk and Peggy Buttenheim Frances and Scott Simonds Donald and Susan Sinta Drs. Peter Smith and Diane Czuk-Smith Susan M. Smith Judy Z. Somers Victor and Laura Sonnino Katharine B. Sopcr Dr. Yoram Sorokin Mr. and Mrs. Robert E. Spence Anne L. Spcndlove James P. Spica Jeff Smidlri
Joan and Ralph Stahman Betty and Harold Stark Dr. and Mrs. William C. Stcbbins Mr. and Mrs. John C. Stcgeman
Patrons, continued
Ed Stein and Pat McCune
Virginia and Eric Stein
Dr. and Mrs. Michael Steinberg
Frank D. Stella
James L. Stoddard
Robert and Shelly Stoler
Wolfgang F. Stolpcr
Anjanelte M. Stoltz, M.D.
Mrs. William H. Stubbins
Jenny G. Su
Mr. and Mrs. Earl G. Swain
Brian and Lee Talbot
Lois A. Theis
Carol and Jim Thiry
Mr. and Mrs. James W. Thomson
Charles and Peggy Tieman
Thelma and Richard Tolbert
Donna K. Tope
Dr. and Mrs. Merlin C. Townley
Yukiko Tsunoda
William H. and Gerilyn K. Turner
Taro Ueki
Katharine and Alvan Uhle
Gaylord E. and
Kathryn W. Underwood Dr. Samuel C. Ursu Madeleine ValHer Carl and Sue Van Appledorn Robert and Barbara Van Ess Marie B. and Theodore R. Vogt Sally Wacker
Delia DiPietro and Jack Wagoner Gregory and Annelte Walker Eric and Sherry Warden Joan M. Weber Jack and Jerry Weidenbach Donna G. Weisman Barbara Weiss Mrs. Stanfield M. Wells, Jr. Ken and Cherry Westerman Susan and Peter Westerman Marjorie Westphal Marilyn L. Wheaton and
Paul Duffy Esther Redmounl and
Harry White Janet F. White
Mr. and Mrs. Nathaniel Whiteside Mrs. Clara G. Whiting Douglas Wickens John Troy Williams Shelly F. Williams Dr. and Mrs. S. B. Winslow David and Lia Wiss Jeff and Linda Witzburg Noreen Ferris and Mark Wolcott Dr.JoyceGuiorWolf David and April Wright Dr. and Mrs. Clyde Wu Carl and Mary Ida Yost Mr. John G. Young and Mrs. Elizabeth French Young Shirley Young Ann and Ralph Youngren Frederic and Patricia Zeislcr Mr. and Mrs. David Zuk David S. and Susan H. Zurvalec and several anonymous donors
Adistra Corporation Coffee Beanery -Briar wood Mall ConCep
Cousins Heritage Inn Development Strategies Plus Gams, Garris, Garris 8c Garris, P.G Great Lakes Cycling & Fitness Jeffrey Michael Powers
Beauty Spa
Junior League of Ann Arbor Michigan Opera Theatre SKR Classical University Microfilms
International Van Boven Inc.
Sue and Michael Abbott Jim and Jamie Abelson Philip M. Abruzzi (:hri .tml Tena At hen Michihiko and Hiroko Akiyama Roger Albin and
Nili Tannenbaum Gregg T. Alf Harold and Phyllis Allen Forrest Alter
Nicholas and Marcia Alter Jim Anderson and Lisa Walsh Drs. James and Cathleen Culotta-Andon ian Mary C. Arbour Thomas J. and Jill B. Archambeau Eduardo and Nancy Arciniegas Thomas J. and
Mary E. Armstrong Margaret S. Athay Mr. and Mrs. Dan E. Atkins III John and Rosemary Austgen Doris I. Bailo Drs. John and Lillian Back Bill andjoann Baker Mr. and Mrs. Richard P. Baks Ann Bardcn
David and Monika Earera Maria Kardas Barna Laurie and Jeffrey Barnett Joan W. Barth Beverley M. Baskins Ms. Maria do Carno Bastos Dorothy Bauer Harold F. Baut Mary T. Bcckerman Robert B. Beers Dr. and Mrs. Richard Beil Dr. and Mrs. Walter Bcnenson Walter and Antje Bencson Mcrete and
Erling Blondal Bengtsson Alice R. Bensen Dr. Rosemary R. Berardi James K. and Lynda W. Berg T.J. and M.R. BeUey Ralph and Mary Beuhler Maria T. Beye
John and Marguerite Biancke Jack and Anne Birchfield Drs. Ronald C. and
Nancy V. Bishop Bill and Sue Black
Donald and Roberta Blitz
Dr. and Mrs. Frank Bongiorno
Robert and Shirley Boone
Edward G. and Luciana Borbely
LolaJ. Borchardt
Paul D. Borman
Reva and Morris Bornstein
John D. and M. Lcora Bowdcn
Jan and Bob Bower
Sally and Bill Bowers
David G. Bowman and
Sara M. Rutter William F. and
Joyce E. Braeuninger Cy and Luan Briefer AmyJ. and Clifford L. Broman Razelle and George Brooks Mr. and Mrs.
Edward W. Browning Phil Bucksbaum and
Roberta Morris Trudy and Jonathan Bulkley Miss Frances Bull Carolyn and Robert Burack Mrs. Sibyl Burling Mrs. Betty M. Bust Dr. and Mrs. Robert S. Butsch Barbara and Albert Cain Louis and Janet Callaway, Jr. Father Roland Calven Susan and Oliver Cameron Dr. Ruth Cantieny Dennis and Kathleen Cantwell Susan Cares George R. Carignan Jack Cederquist David and Ilene Chait Mary Chambers Bill and Susan Chandler Ida K Chapin and
Joseph Spindel Belle H. Chen Joan and Mark Chesler Edward and Rebecca Chudacoff Ching-wei Chung Sallie R. Churchill Joan F. Cipelle Gary and Bonnie Clark Shirley A. Coe Arthur and Alice Cofer Dorothy Burke Coffey Alice S. Cohen Howard and Vivian Cole Nan and Bill Conlin Dr. and Mrs. William W. Coon Herbert Couf Joan and Roger Craig Mary Crawford Mary C. Crichton Thomas A. Crumm Ms. Carolyn Rundell Culotta Ms. Carolyn Cummisky Richard J. Cunningham Frank and Lynn Curtin Suzanne Curtis Dr. and Mrs. Harold J. Daitch Ms. Marcia Dalbey Marylee Dalton Joanne Danto Honhart John H. D'Arms Mr. and Mrs. William B. Darnton DarLinda and Robert Dascola Ruth E. Datz Ed andjudi Davidson Jennifer Davidson
Morris and May Davidson
Nancy Davis
Elizabeih Delaney
Ms. Margaret H. Deinanl
Michael T. DePlonty
Mr. David Digirolamo
Linda Dintenfass
Douglas and Ruth Doanc
Dick and Jane Dorr
Ruth P. Dorr
Dr. and Mrs. Charles H. Duncan
Michael R. Dungan
Klsic ). Dyke
John Ebcnhoch
Dwighl and Mary Ellen Ecklcr
Ruth Eckstein
Sol and Judith Elkin
Dr. and Mrs. Charles Ellis
James H. Ellis and Jean A. Lawton
Dick and Helen Emmons
Mr. and Mrs. H. Michael Endres
Jim and Sandy Eng
Mr. and Mrs. C.E. Evans
Paul and Mary Fancher
Dr. Cheryl C Farmer,
Mayor of Ypsikmu Damian and Katharine Farrell Dorothy Gutlcman Feldman George J. and Benita Feldman Yi-tsi M. Feuerwerker Ruth Fiegel Howard G. Finkel Mrs. Carl H. Fischer Eileen Fisher Winifred Fisher Dawn Foerg Jessica Fogel and
Lawrence Weiner George and Kathryn Foltz Bill and Wanita Forgacs Ms. Julia Freer Mr. and Mrs. Otlo W. Freilag Ban and Fran Frueh Rebecca and Bruce Gaflhey Arthur Gallagher Edward Gamache and
Robin Baker
Leonard and Mary Alice Gay Mr. and Mrs.
Matthew J. Germane Mr. and Mrs. Ralph J. Gerson Stephen and Lauran Gilbrealh Beverly Jeanne Giltrow II.ui Gittlen
Drs. Gary and Rachel Glick Peter and Roberta Gluck Dr. Ben Gold Mr. and Mrs. Robert Gold Albert L. Goldberg Dr. and Mrs. Edward Goldberg Edie Goldenberg Anita and Albert Goldstein C Ellen Gonter M. Sarah Gonzalez Graham Gooding Enid M. Gosling si 11 Gottlieb Larry and Martha Gray Elizabeth A.H. Green G. Robinson and Ann Gregory Sally Greve and Walter Fisher Jim and Lauretta Gribble Mrs. Atlec L. Grillot Lawrence and Esta Grossman Cyril Grum and Calhy Strachan
Dr. Carol J. Guardo
Ms. Kay Gugala
Cheryl Gumper
Mr. and Mrs. Lionel Gurcgian
Joseph and Gloria Gurt
Debra Haas
Gary L. Hahn and
Deborah L. Hahn J.M. Hahn Marga S. Hampel Mr. and Mrs. Carl T. Hanks David and Patricia Hanna Mr. and Mrs. Glenn A. Harder R.J. Harmon Jane A. Harrcll Connie Harris Uiurelynne Daniels and
George P. Harris Robert Glen Harris Mr. and Mrs. Robert B. Harris Carol! and Beth Hart Jerome P. Hartweg Mr. and Mrs.
Eugene Heffelfinger Dr. John D. Heidke Miriam Heins Jeff and Karen Helmick Gary L. Henderson Mr. and Mrs. Ralph Herbert Mr. and Mrs. Albert Hermalin Emily F. Hicks Ms. Betty Hicks Jozwick Mark and Debbie Hildebrandt Mrs. Leonard E. Himler Peter G. Hinman
Elizabeth A. Young Hiroyake Hirata Mclvin and Verna Holley Hisato and Yukiko Honda Mr. and Mrs. Harry Hopkins Jack and Davetta Horner Dr. Nancy Houk Jim and Wendy Fisher House Kenneth and Carol Hovcy Mr. and Mrs. William Huflbrd Ling Hung Diane Hunter Earl Jackson Marilyn G.Jeffs Joann J.Jeromin Wilma M.Johnson Helen Johnstonc Dean and Marika Jones Elizabeth M.Jones Phillip S.Jones Chris and Sandy Jung Professor and Mrs. Fritz Kacnzig William and Ellen Kahn Loree K. Kalliaincn Alan and Cheryl Kaplan Bob N. Kashino Franklin and Judith Kasle Alex and Phyllis Kato Maxine and David Katz Martin and Helen Katz Julia and Philip Kearney Janice Keller
Mr. and Mrs. Charles Kcllerman Mary Kemme Robert and Lois Ketrow Jeanne Kin
Robert and Vicki Kiningham Klair H. Kissel Jim Klimer Alexander KIos
John and Marcia Knapp
Dr. and Mrs. William L. Knapp
Dr. Barbel Knauper
Sharon L. Knight
Lester Kobylak
Charles and Linda Koopmann
Michael and Paula Koppisch
Alan A. and Sandra L. Kortesoja
Ann Marie Kotre
Ethel and Sidney Krausc
Doris and Donald Kraushaar
Kenneth C. Kreger
Syma and Phil kr. .11
Jane Kulpinski
Eli and Lily Ladin
Cele and Martin Ianday
Patricia M. Lang
Walter and Lisa Langlois
Carl and Ann LaRue
Ms. Olya K. Lash
Sue C. Lawson
Fred and Ethel Lee
Paul and Ruth Lehman
Mr. and Mrs. C. F. Lehmann
Dr. and Mrs. Morton B. Lesser
Carolyn Dana Lewis
Thomas and Judy Lewis
Dr. David J. Lieberman
Ken and Jane Lieberthal
Ying-Chu Lin
Dr. and Mrs. Richard H. lineback
Andi Lipson and Jerry Fishman
Barbara R. Lott
Donna and Paul Lowry
Jcannctle luimi
John J. Lynch, Atty.
Gregg and Merilee Magnuson
Ronald Majewski and Mary Wolf
Donna and Parke Malcolm
Nancy and Philip Margolis
Erica and Harry Marsden
Yasuko Matsudo
Debra Mattison
Robert and Betsy Maxwell
John M. Allen and
Edith A. Maynard James and Kathleen McGaulcy Scott McGlynn James M. Beck and
Robert J. McGranaghan Louise E. McKinney Donald and Elizabeth McNair Anthony and Barbara Medeiros Samuel and Alice Meisels Norman and Laura Meluch Helen F. Meranda Rev. Harold L. Merchant Valeric D. Meyer Mr. and Mrs. Herbert M. Meyers Dick and Georgia Meyerson Steve and Elaine Mickel Dr. and Mrs. William Mikkelsen Ms. Virginia A. Mikola John Milford Gerald A. Miller Dr. and Mrs. Josef M. Miller Mr. and Mrs. Murray H. Miller Charles and Elizabeth Mitchell Wakaki Miyaji Ruth M. Monahan Kent and Roni Moncur P. Montgomery Ellyne and Arnold Monto Rosalie E. Moore Kiltie Berger Morelock
Mr. and Mrs. Thomas D. Morrow
Lora Myers
Yoshiko Nagamatsu
Louis and Julie Nagel
R. andj. Necdleman
Nancy Nelson
Mi. and Mrs. Cecil Nesbitt
Nikki ?. Neustadt
Martha K. Niland
Gene and Pat Nissen
Laura Nitzberg
Joan and John Nixon
Thomas P. O'Connor
Michael and Jan O'Donncll
Nels and Mary Olson
Kaoru Onishi
Mr. James J. Osebold
Heiju Oak and James Packard
George Palty
Michael P. Parin
Janet Parkes
Evans and Charlene Parrott
Roger Paull
Vassiliki and Dimitris Pavlidis
Edward J. Pawlack
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
Mr. and Mrs. John R. Politzcr
Mr. and Mrs. Gerald Powrozek
Mary and Robert Pratt
Jerry Preston
John and Nancy Prince
Julian and Evelyn Prince
Ruth S. Putnam
G. Robina Quale
Dr. Leslie Quint
Susan M. and Farbod Raam
Mr. and Mrs.
Alfred C. Raphaelson Dr. and Mrs. Mark Rayport Maxwell and Marjorie Reade Russ and Nancy Reed Caroline Rehberg Mr. and Mrs. Frederick Remley.Jr. Ms. Molly Resnik M. Laurel Reynolds AJice Rhodes Lou and Sheila Rice Judy Ripple
William and Kaye Rittinger Lisa E. Rives and Jason I. Collens Janet K. Robinson, Ph.D. Margaret Dearden Robinson 1 1iiti and Raymond Rose Bernard and Barbara Rosen Marilynn M. Rosenlhal Charles W.Ross Jennifer Ross and Charles Daval Dr. and Mrs. David W. Rouah Mr. and Mrs. John P. Rowe George and Matilda Rubin Mabel E. Rugen Sandra and Doyle Samons Harry W. and Elaine Sargous Elizabeth M. Savage Ms. Sara Savarino June and Richard Saxe Jochen and Helga Schacht Michael Joseph Schaetfle Bonnie R. Schafer
Mr. and Mrs. Alan Schall Mr. and Mrs. F. Allan Schcnck Jcanneltc C Schneebcrger Dr. and Mrs. DirkJ. Scholtcn Thomas H. Schopmcyer Kathcrinc Collier and
Yizhak Schottcn Sue Schroedcr Aileen M. Schulze Sylvia and Leonard Segel Richard A. Seid Elliot A. and
Barbara M. Serafin Kirtikant and Sudha Shah Anonymous Matthew D. Shapiro and
Susan L. Garetz Laurence Shear and
George Killoran Kathleen A. Sheehy William J. Sherzcr Ms. Joan D. Showalter Mary A. Shulman Janet E. Shultz Ray and Marylin Shuster Enrique Signori Fran Simek Bob and Elaine Sims Alan and Eleanor Singer Jane Singer Nora G. Singer Jack and Shirley Sirotkin Nancy Skinner-Oclander IrmaJ. Sklenar Mr.Jurgen Skoppek Beverly N. Slater Haldon and Tina Smith Joanne and Laurence Smith Richard and Jo-Ann Socha Arthur and Elizabeth Solomon James A. Somers R. Thomas and
Elinor M. Sommerfeld Mina Diver Sonda Barbara Spencer Jim Spevak and Leslie Bruch L.G. Sprankle Bob and Joyce Squires Mary Stadcl Irving M. Slah 1 and
Pamela M. Rider David and
Jaye Schlesinger Robin Stephenson and
Terry Drent Steve and Gayle Stewart Ms. Lynette Stindt and
Mr. Craig S. Ross Mr. and Mrs. James Stokoc Judy and Sam Stulberg Aiiant Sundaram Valerie Y. Suslow Alfred and Selma Sussman Richard and June Swartz Yorozu Tabata K. Boyer and S. Tainter Junko Takahashi Larry and Roberta Tankanow Professor and Mrs.
Robert C. Taylor Kenneth and Benin Tcschcndorf Brian and Mary Ann Thelen Catherine and Norman Thobum Neal Tolchin Jack, Nancy and Lesley Tomion
Donors, continued
Egons and Susanne Tons Jim Toy
Paul and Barbara Trudgen Roger and Barbara Trunsky Jeffrey and Lisa Tulin-Silver Mr. and Mrs. Marshall Tymn Nikolas Tzannelakis Greg Upshur Arthur and Judith Vander Bram and Lia Van Leer Phyllis Vegter Kitty Bridges and
David Velleman Ingrid Vcrhamme Brent Wagner Wendy L. Wahl and
William R. Lee Mr. and Mrs. David C. Walker Patricia Walsh Margaret Walter Karen and Orson Wang Margaret Warrick Lorraine Nadelman and Sidney Warschausky Alice Warsinski Edward C. Weber Michael Webster and
Leone Buyse Steven P. Weikal Gerane Weinreich Drs. Bernard and Sharon Weiss Lisa and Steve Weiss Elizabeth A. Wenizien Mr. and Mrs. Peter H. Wilcox
James Williams
John and Christa Williams
Raymond C Williams
Diane M. Willis
Robert and Mary Wind
Dr. and Mrs. Lawrence D. Wise
Don Wismer
Mr. C. Christopher Wolfe and
Ms. Linda Kidder Barbara H. Wooding Stewart and Carolyn Work Israel and Fay Woronoff Robert E. Wray, HI Ernst Wuckert Patricia Wulp Fran and Ben Wylie Mrs. Antonette Zadrozny Dr. Stephen C. Zambito Robert and Charlene R. Zand George and Nana Zissis and several anonymous donors
ApplausePerfect Ten
Bally's Vic Tanny
Callinetics by Diane
Courtney and Lovell
Gallery Von Glahn
Great Harvest Bread Company
Paesano's Restaurant
Sweet Lorraine's Cafe &: Bar
Whole Foods Market
Gigi Andrcsen
Chase and Delphi Baromes
Dean Bodley
A.A. (Bud) Bronson
Graham Conger
Pauline M. Conger
Joanna Cornett
Horace Dewey
Alice Kelsey Dunn
Robert S. Feldman
Isabelle M. Garrison
Ed Gilbert
Florence Griffin
Eleanor Groves
Charles W. Hills
George R. Hunsche
Hazel Hill Hunt
Virginia Ann Hunt
Virginia Elinor Hunt
Brian E. Kelley
Earl Meredith Kempf
Edith Staebler Kempf
R. Hudson Ladd
John Lewis
Robert Lewis
Carol Lighthall
Lorene Crank Lloyd
Katharine Mabarak
Frederick C. Matthaei, Sr.
Arthur Mayday, Jr.
Earl Meredith
Mr. and Mrs. Merle Elliot Myers
Martha P. Palty
Elizabeth Peebler
Gwen and Emerson Powrie
Steffi Reiss
Percy Richardson
James H. and
Cornelia M. Spencer Ralph L. Steffek Charlenc Parker Stern Jewel B. Stockard Mark Von Wyss Barbara Woods Peter H. Woods
Giving Levels
The Charles Sink Society cumulative giving totals of more than $15,000.
Bravo Society $10,000 or more Concertmaster $5,000 9,000 Leader $2,000 4,999 Guarantor $1,000-1,999 Sponsor $500 999 Benefactor $200-499 Patron $100 199 Donor $50-99
Inkind Gifts
Sue and Michael Abbott
Ricky Agranoff
Catherine Arcure
Ms. Janice Stevens Botsford
John Bowden Partners in Wine
Mr. and Mrs. Jonathan Bulkley
James and Belly Byrne
Chelsea Flower Shop
Mr. Phil Cole
Courtney and Lovell
Cousins Heritage Inn
(an (in and Alf Violinmakers
Ken Fischer
Susan Filzpatrick
Judy and Richard Fry
The Gandy Dancer
Bob Grijalva
Margo Halsted
Matthew C. Hoffman and
Kerry McNulty Stuari and Maureen Isaac Bob and Gloria Kerry I Icidi and Josh Kerst Howard King and
Elizabeth Sayre-King Mr. and Mrs. Edward Khun Maggie Long
Perfectly Seasoned Catering Main Street Ventures Mr. and Mrs. Donald Lystra
Dough Boys Bakery Sieve and Ginger Maggio Jerry and Rhona Meislik The Michigan Theater Hillary Murt and
Bruce Friedman Ms. Karen O'Neal Regency Travel Jesse Richards Richard and Susan Rogel Maya Savarino Ms. Sara Savarino Professor and Mrs.
Thomas Schriber Thomas Sheets SKR Classical David Smith Photography Nesta Spink Lois and Jack Sicgeman Edward Surovell and Natalie Lacy Tom and Judy Thompson Janice Torno
Dr. and Mrs. John F. Ullrich Charlotte Van Curler Ron and Eileen Weiser Paul and Elizabeth Yhousc
Advertiser's Index
21 After Words, Inc. 18 Alexa Lee Gallery 28 Anderson and
11 Ann Arbor Acura 11 Ann Arbor Art
Association 25 Ann Arbor Reproductive
Medicine 36 Ann Arbor Symphony
Orchestra 33 Arbor Hospice
9 Argiero's Restaurant
14 ATY5
51 Beacon Investment Company
17 Benefit Source
15 Bodman, Longley and
Dahling 50 Butzel Long
10 Cafe Marie
18 Charles Reinhart
Company 13 Chelsea Community
31 Chris Triola Gallery 35 DeBoer Gallery 21 Detroit Edison 20 Dickinson. Wright, Moon
VanDusen and Freeman 17 Dobson-McOmber
19 Dough Boys Bakery 31 Emerson School
30 First Martin Corporation
27 First of America Bank 1-9 Ford Motor Company 48 Fraleigh's Landscape
28 General Motors
Corporation 30 Glacier Hills 13 Hagopian World of Rugs 50 Harmony House
S2 Hill Auditorium
Campaign and Seat Sale
35 Interior Development, Inc.
2 Jacobson's
20 Jet-Away Travel
35 John Leidy Shops
13 Katherine's Catering
and Special Events
36 King's Keyboard House
15 Lewis Jewelers
12 M-Care
52 Matthew C. Hoffmann
16 Maude's
38 Miller, Canfield,
Paddock, and Stone
25 Mundus and Mundus, Inc.
8 NBD Bank, Trust Division
38 Overture Audio
17 Plymouth Guitar Gallery
30 Professional Automotive
31 Red Hawk Bar and Grill
12 Schlanderer Jewelry
26 SKR Classical
23 Society Bank
29 Sweet Lorraine's
20 Sweetwaters Cafe
4 The Edward Surovell
50 Toledo Museum of Art
20 Top Drawer
29 Ufer and Company
35 University of Michigan
Matthaei Botanical
33 University Productions
39 Whole Foods Market
37 Wl'OM

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