UMS Concert Program, Friday Oct. 27 To Nov. 15: University Musical Society: 1995-1996 Fall - Friday Oct. 27 To Nov. 15 --
Season: 1995-1996 Fall
University Of Michigan, Ann Arbor
University Musical Society
of the University of Michigan Ann Arbor
1995-1996 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 arts represent the bountiful fruits of our many rich
cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commend?ed for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
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 Resident, First of America Rank-Ann Arbor "We are proud to be a part of this major cultural group
in our community which perpetuates wonderful events not only for Ann Arbor bm for all of Michigan to enjoy."
Carl A. Brauer, Jr.
"Music is a gift from
God to enrich our
lives. Therefore, I
enthusiastically support the University Musical Society in bringing great music to our community."
Joseph Curtin and Greg Alf
Owners, Curtin isf Alf "Curtin & Alfs support of the University Musical Society is both a
privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural oppor?tunities set new standards of excellence
across the land."
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.
support of the
Programs is an honor and a privilege. Together we will enrich and empower our community's youth to carry for?ward into future generations this fine tradition of artistic talents."
Donald M. Vuchetich
President, Detroit CS3 Canada Tunnel Corporation The Detroit and Canada Tunnel Corporation is proud
to be a partner with the University of Michigan Musical Society in iheir success of bringing such high quality performances to the Southeast Michigan region."
Alex Trotmnn Chairman, Chief Executive Officer, Ford Motor Company "Ford lakes particu?lar pride in our longstanding associ-
ation with the University 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 Credit 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."
Chairman and Chief
"Our community is
enriched by the
University Musical Society. We warmly support the cultural events it brings to our area."
John E. Lobbia Chairman and Chief Executive Officer, Detroit Edison The University Musical Society is one of the oreani-
zations 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."
IX II[ HXSOf-FOUNTWnON
Robert J. Delonis
Chairman and Chief Executive Officer, Great Iakes 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."
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 that represents and involves diverse cultural groups thereby fostering greater understanding and appreciation of these cultures."
Dennis Serras President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate
that our business provides so many opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
Thomas B. McMullcn President, Thomas B. McMullen 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
"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
Company is proud to support the University Musical Society and the artistic value it adds to the community."
Sue S. Lee
"It is our pleasure
to work with such
organization as the Musical Society at the University of Michigan."
ReGCNC TRAVEL INC
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 cit)' -and we are glad to be part of that history."
George H. Cress Chairman, President, and Chief Executive Officer, Society Bank, Michigan The University Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
Ronald M. Cresswell, Ph.D. Vice President and Chairman, Pharmaceu tical Division, Warner iMvxbrrt Company
"Warner Lambert is very proud to be associated with the University Musical Society and is graieful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Michael Slaebler 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."
PEPPER, HAMILTON & SCHEETZ
ATTORNEYS AT LAW
The Edward Surovell
"Our support of
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
President Norman G. Herbert
Vice-President Carol Shalita Smokier
Secretary Richard Rogcl
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan Carl A. Brauer.Jr. LetitiaJ. Byrd Ixon S. Cohan Jon Cosovich Ronald M. Cresswcll
James J. Dudersladt Walter M. Harrison Kay Hunt Thomas E. Kauper F. Bruce Kulp Rebecca McGowan Joe O'Neal George I. Shirley John O. Simpson Herbert E. Sloan Edward D. Surovell Eileen Lappin Weiscr Marina v. N. Whitman Iva Wilson
Gail W. Rector President Emeritus
UMS Senate Robert G. Aldrich Richard S. Berger Allen P. Britton Douglas D. Crary John D'Arms Robben W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long ml ill Maujjh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Ann Schribcr Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Gilbert WTiilaker
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 Glascr Michael L. Cowing Philip Guire Jessie Halladay Elizabeth Jahn John B. Kcnnard.Jr. Michael J. Kondziolka
Ronald J. Reid R. Scott Russell Thomas Sheets Helen Siedel Anne Griffin Sloan Jane Stanton Lori Swanson
Steve Chavez Timothy Christie Grace Eng Jessica Flint Naomi Kornilakis Tans)Rodd Ritu Tuteja
The University Musical Society is an Equal Opportunity Employer and provides programs and services without regard to race, color, religion, national origin, age, sex, sexual orientation, or handicap.
The I 'nivenity Musical Society is a member of the International Society for the Performing Arts, Association of Performing Arts Prrsenters. CJiamber Music America, Arts Action Alliance, and W'ashtenaw Council for the Arts.
1995-96 Advisory Committee Susan B. Ullrich, Chair Elizabeth Yhousc, Vice-Chair Kathleen Beck Maly, Secretary Peter H. deLoof, Treasurer
Gregg Alf Paulett Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan L-etilia Byrd
Betty Byrne, Staff Mason Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter dcLoof Rosanne Duncan M. Michael Endres Don Faber Penny Fischer Barbara Gelehrter Bevcrley Geltner Margo Halsted Esther Heider Deborah B. Hildebrandt Kathleen Treciak-Hill Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson
Barbara K.tlm 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 NiehofT Karen Koykka O'Neal Marysia Ostafin Wendy Palms leva Rasmusscn Maya Savarino Janet Shamsky Mi.i 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.
University Musical Society Auditoria Directory & Information
Hill Auditorium: Coat rooms are located on the cast and
west sides of the main lobby and are open only during the
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
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
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.
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 south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
VMSMember 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.
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 quietly 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 strictly 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).
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. MondayFriday 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 lime 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
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 1 g86.
Currendy, 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.
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 i,i2g-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
POWER CENTER far 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
The historic Michigan Theater opened its doors January 5, 1928 at the peak of the vaudeville, movie palace era. The gracious facade and beautiful interior were then, as now, a marvel 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, the Theater has undergone many changes. "Talkies" replaced silent films just one year after the Theater opened, and vaudeville soon disap?peared from die stage. As Theater attendance dwindled in the '50s, both the interior and exterior of the 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 the 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 the 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, 1969, 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 ig2i 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 ig2o 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 the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live per?formance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 1 o: 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-tMmbert.
Slide Hampton and the Jazz Masters Big Band Bird: A 75th Birthday Celebration of Charlie Parker Thursday, October 5, 8pm Power Center
The UMSfazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Australian Chamber Orchestra Barry Tuckwell, horn
Friday, October 6, 8pm Rackham Auditorium
Philips Educational Presentation: "The Music Scene Down 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, 3rd Floor 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 Corporation.
Paco de Lucia's Flamenco Master Guitar Sextet Friday, October 27, 8pm Power Center
Made possible by a gift from Thomas B. McMullen Company.
Bolshoi Symphony Orchestra Peter Feranec, conductor Boris Berezovsky, piano Saturday, October 28, 8pm Hill Auditorium
Made possible by a gift from Contin-Faber TravelCrystal Cruises.
Marcus Roberts Trio & Septet An Evening of Gershwin Saturday, November 4, 8pm Power Center
Philips Educational Presentation: Adam Closer, UMS Director of Marketing and Promotion. The New Frontier offaxz Piano', Michigan League, 7pm.
The UMS Jazz 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 Turn Kaljuste, conductor Sunday, November 5, 7pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: Luke Howard, Ph.D. Student in Musirology and Sacred Music, "Is Nothing SacrrdK 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: Gregg T. Alf, Partner, Curtin & Alf VwUnmakers, "lotmmakmg: The State of the Art", a presentation demonstra?tion, Michigan League, 7pm. Made possible by a gift fivm Curtin &Alf.
Wednesday, November 15,8pm Rackham Auditorium
Philips Educational Presentation: Enid Sutherland, Director of the Sutherland Ensemble and Member of the Atlantis Ensemble, "Earbt Music What's the Difference'', Michigan League, 1pm.
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, violist with the Quartet,
will discuss works on this turning's pro?gram, Michigan Isague 7pm. Post-Performance Chat: Following the performance, members of the (htartet will return 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 NSK Corporation, This concert is copraented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1996 Reu Di Martin Luther King,Jt 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, 1pm.
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 6 ScheeU.
The Guthrie Theater of Minneapolis
January 27 28, 1995 .. (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 MarsalisLincoln 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 WEMU, 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
Thursday, February 1, 8pm
The King's Singers Saturday, February 3, 8pm Hill Auditorium Made 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 lirrsentation: Garrick Ohlsson, "An Afternoon With Garrirk Ohlsson " Saturday, February 3, Rackham 4th Floor Assembly HaU, 4pm.
Boston Symphony Orchestra Seiji Ozawa, conductor
Wednesday, February 7, 8pm Hill Auditorium
Philips Educational Presentation: The BSO. AU the Qjtestions You W Ever 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 Tanglewood; Lois Schaefer, Emeritus IHccob 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 Narif, Percussionist and WEMU Radio Host, "A Lecture Demonstration ofAfhCuban Rhythms', Michigan League, 7pm. The UMSfazz Directions Series is pre?sented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan Unhersity.
Vladimir Spivakov, conductor
Friday, February 16, 8pm
Philips Educational Presentation: Post-Performance Chat: Violinist and Conductor Vladimir Spwikov 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 D-aviata 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 Siedel UMS Education Specialist, "Know Befotr You Go: An AudioVisual Introduction to 'Im Traviata", Michigan League, 6:45pm; February 23 ? Martin Kntz, Accompanist-Coach-Cjmductor, The Specific Traviata", Michigan league, 7pm. Made possible by a giftmm TriMas Corporation.
Sequentia The Music of Hildegard von Bingen Sunday, February 25, 7pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: Janus M. Borders, Associate Professor of Musicology, "Medieval Music For A Modern Age", St Fronds of Assisi CJiunh, 6pm.
Tokyo String Quartet
Monday, February 26, 8pm
Philips Educational Presentation:
Steven Moore Whiting, Assistant
Professor of Musicology, "Classics Reheard", third in a series in which Professor Whiting dicusses the amcert repertoire, Michigan League, 7pm.
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 A rts.
San Francisco Symphony Michael Tilson Thomas, conductor
Friday, March 15, 8pm Hill Auditorium
Philips Educational Presentation: Jim Ijeonard, Manager, SKR Classical "Mahler in Ijrve: the Fifth Symphony' Michigan league, 7pm. Made possible by a gift firm McKinley Associates, Inc.
The Complete Solo Piano Music of Frederic Chopin (..ii i iik Ohlsson, piano (Grand Finale Recital VI) Saturday, March 16, 8pm Hill Auditorium
Alv in 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 Midwest 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.Realtors.
Guitar Summit II Kenny Buirell, 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 b-minor Mass The IMS Choral Union The Toledo Symphony Thomas Sheets, conductor Sunday, March 31, 2pm Hill Auditorium
Tallis Scholars Thursday, April 11, 8pm St. Francis of Assist Catholic Church
Ravi Shankar, si tar Saturday, April 13, 8pm Rackham Auditorium
Philips Educational Presentation: Rajan Sachdeva, Sitar Artist and Director, Institute of Indian Music, "A LertureDemonstration of Indian Classical Music on Sitar', Michigan League, 6:30pm.
Israel Philharmonic Orchestra Zubin Mi-hi.i, conductor Thursday, April 18, 8pm Hill Auditorium Philip Educational Presentation: Steven Moort Whiting, Assistant Professor of Musicology, "Classics Hfheard", fourth in a series in which Professor Whiting discusses the concert repertoire, Michigan League, 7pm. Made possible by a gift from Dtjohn Psarouthakis, the Paiedeia Foundation, andJPEinc.
Gluck's Orfeo ed Euridice Mark Morris Dance Group Handel & 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", fifth 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: fames M. Borders, Associate Professor of Musicology, "The Best Instrumental Music You Never 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 1996 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 igc)5-ic))6 Fall Season
Event Program Book
Friday, October 27, 1995
Wednesday, November 15,
11 jth Annual Choral Union Series Hill Auditorium
33rd Annual Chamber Arts Series Rackham Auditorium
25th Annual Choice Events Series
Paco de Lucia's Flamenco Masters 3
Friday, October 27, 8:00pm Power Center
Bolshoi Symphony Orchestra 9
Saturday, October 28, 8:00pm Hill Auditorium
Marcus Roberts Trio and Septet 19
Saturday, November 4, 8:00pm Power Center
Estonian Philharmonic Chamber Choir 23
Sunday, November 5, 7:00pm
St. Francis of Assisi Catholic Church
Chamber Music Society of Lincoln Center 37
Tuesday, November 7, 8:00pm Rackham Auditorium
Michigan Chamber Players 43
Tuesday, November 14, 8:00pm Rackham Auditorium
Tafelmusik Baroque Orchestra 47
Wednesday, November 15, 8:00pm Rackham Auditorium
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Every attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined lime in the program.
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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 seal location and ask them to call University Security at 763-1131.
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Paco de Lucia's Flamenco Masters
Paco de Lucia, Guitar Ramon de Algeciras, Guitar Pepe de Lucia, Vocal Juan Manuel Canizares, Guitar Jorge Pardo, Flute, Saxophone Rubem Dantas, Percussion Joaquin Grilo, Dancer
Jose Cervera, House Sound Amadeo Pabo Abreu, Backline Sound Keith Yelton, Design and Lights Rob Griffin, Road Manager Jose Emilio Navarro Viiia, Personal Manager
Friday Evening, October 27, 1995 at 8:00
Ann Arbor, Michigan
Paco de Lucia
Mi Nino Curro La Barrosa Tio Sabas Casilda Soniquete Alcazar de Sevilla
Solo Quiero Caminar Tangos
Plaza de San Juan Alegria
Zyryab Fantasia Flamenca
Seventh Concert of the 117 th Season
Presented with support from WDET, ioi.gFM, Publit Radio from Wayne State University.
International Music Network, Gloucester, Massachusetts
Large print programs are available upon request from an usher.
B he term flamenco
1 describes a style of folk music that originated in southern Spain. As used today, it refers to the music and dances of the fli Spanish Gypsies. In reality, flamenco was and continues to be influenced by numerous cultures. Many of the song forms are attributed to the people who lived in the Iberian peninsula long before the arrival of the Gypsies in Europe in the four?teenth century and can be traced back as far as the first century A.D.
Several characteristics of modern flamenco survive from this early period. Among them are the use of castanets, the bata de cola (dress with a long tail), the rhythms and structure of the music, and the jaleo-clapping and shouts of encouragement that flamenco artists use to motivate their companions. Later contributions from other cultures are seen in musical styles from Africa and South America which became incorporated into the flamenco repertoire.
The first musical instrument that comes to mind when talking about flamenco, or Spain, is the guitar. The guitar was brought to Spain by the Moors in a much older form and underwent considerable development in the hands of Spanish luthiers during the nineteenth century. In the early period, it was used in flamenco primarily to accompany singers and dancers and did not become an instrument for solo performances until the turn of this century.
The revolution in the role of the flamenco guitar began with Rafael Marin of Seville. He is credited with taking the flamenco guitar beyond its function as background accompa?niment and developing it as an instrument for solo performances. Marin, originally a flamenco guitarist, was also trained in classical technique. Instead of observing ancient rules such as playing mainly with the thumb and ligrulos (slurs), he also introduced
arpeggios, scales, and four-note tremolos. Rafael Marin spent some time in Madrid, and it was there that the famous Ramon Montoya used to listen to his playing.
Ramon Montoya was born near Toledo and belonged to the musical traditions of the Gypsies of Madrid, Barcelona, and Valencia, a style differing from Andalusian flamenco". He spent some time in Seville where he learned traditional flamenco, but he was less interested in the rhythms than harmony and melody. Rafael Mann's innova?tions suited him perfectly, and he developed a delicate but sonorous style, with more arpeggios to ligados. His playing is said to have overflowed with notes.
Nino Ricardo was another flamenco guitarist who developed during this period and earned the same high esteem given to Ramon Montoya. Not only was Ricardo's technique phenomenal, but his original musical innovations tested the boundaries of the flamenco tradition. Where Ramon Montoya's style was soft and melodic, Nino Ricardo employed rapid technique, exploiting exciting and dynamic rhythms to produce sharp and almost harsh interpretations.
Ramon Montoya and Nino Ricardo profoundly influenced another younger guitarist named Agustin Castelion but better known as Sabicas. Building upon the Montoya and Ricardo traditions, Sabicas brought the flamenco guitar out of Spain and delighted audiences throughout the world with dazzling technique and unequaled virtuosity. Sabicas can be credited with raising the flamenco guitar artistry begun by Rafael Marin to its zenith and leaving it in a state of near-perfection that challenges today's artist. Today, that challenge is being met by Paco de Lucia.
Paco de Lucia has taken flamenco in new directions with fresh ideas coming from American jazz, Latin American music, and other popular styles. His creations continue to expand the definition of flamenco, drawing
new audiences of devotees. Musical dialogues with artists from a variety of genres are creating a new direction for flamenco that will extend well into the twenty-first century. Aficionados wait in anticipation for the fresh musical ideas being developed by this phenomenal technician and creative genius. It will be fascinating to see to what new heights Paco de Lucia can take the flamenco guitar.
Note by Robero Rics
Paco de Lucia was born Francisco Sanchez Gomez in Algeciras, a city in the province of Cadiz, in the Southern-most tip of Spain on December 21, 1947. His stage name is an homage to his mother Lucia Gomez.
His father, Antonio Sanchez, a day laborer, played guitar at night as a way to supplement his income. His father, his elder brother Ramon de Algeciras, and flamenco master Nino Ricardo were Paco de Lucia's main influences. His first performance was on Radio Algeciras in 1958. The brothers Ramon, Pepe (a singer), and Paco now comprise half of the Paco de Lucia Sextet.
The training ground for a flamenco guitarist, de Lucia once said, "is the music around you, made by people you see, the people you make music with. You learn it from your family, from your friends, in la jeurga (the party) drinking. And then you work on technique. Guitarists do need to study. And as it is with any music, the great ones will spend some time working with the young players who show special talent. You must understand that a Gypsy's life is a life of anarchy. That is a reason why the way of flamenco music is a way without discipline as you know it. We don't try to organize
things with our minds, we don't go to school to find out. We just live. . . music is every?where in our lives."
The origins of the word "flamenco" are in dispute. Some argue that the word refers to the Flemish people who arrived in Spain in the sixteenth century and once meant simply "foreigner" or non-Spanish. Others suggest that the word derives from the Arabic phrase "felah inengu," meaning "peasant in flight."
What is indisputable is that flamenco is a blend of the many cultures -Gypsy, Muslim, Jewish -that at one time settled in Andalusia, in Southern Spain. Their influ?ences can be heard distinctively in the melisma of the singer, the rhythms, the slowly curling harmonic lines of the guitars.
Flamenco is, like the blues to which it is often compared, the music of a poor, disen?franchised minority. But it is also a complex art form that combines guitar playing, singing and dancing, setting off layers of powerful rhythms and emotions. Paco de Lucia was able to grasp these nuances at a very early age.
In 1958, at age eleven, de Lucia made his first public appearance and a year later he was awarded a special prize in the Jerez flamenco competition. At fourteen, he began touring with the flamenco troupe of dancer Jose Greco. In was while on tour with Greco in the United States that de
Lucia met the great Sabicas, the influential guitarist whose name became synonymous with flamenco in the United States. Sabicas encouraged him to pursue a more personal style. De Lucia would follow this advice, as was notable a few years later in his 1970 debut at Carnegie Hall.
"In flamenco, the guitarist first and fore?most, must not get in the way of the singer," de Lucia once explained. 'There is a dialogue going on. The cantaor (singer) sings the words. There are no songs per se in flamenco, just short lyrics, so the guitarist follows the call of the singer. Part of the tradition in flamenco is not playing too hard or too much. You need to support the singer, help him."
Back in Spain, de Lucia joined Festival Flamenco Gitano, an annual flamenco showcase tour that lasted for seven years. He recorded his first album in 1965, at the age of eigh?teen. With La Fabulosa Guitarra de Paco de Lucia, released in 1967, de Lucia began to distance himself from the influence of masters such as Ricardo and Mario Escudero and by the time of Fantasia Flamenco., recorded in 1969, he had defined his own style. His superb technique was displayed in well-structured pieces that departed from the flamenco tradition of theme and variations.
In 1968, he met Camaron de la Isla, one of the premier flamenco singers. Their association has been chronicled on more than ten records. In fact, their album Potro de Rabia y Miel (1991), their first since 1984, was the last release by Camaron de la Isla, who died in 1992.
De Lucfa's new style became more evident in El Duende Flamenco (1972), Fuente Y Caudal (1973) and Almoraima (1976) which some consider a masterpiece. These were followed by Paco de Lucia Interprela a Manuel de Falla (1980), a superb tribute to the classical composer who was an admirer of flamenco music.
De Lucia has been criticized by flamenco
die hards for his forays into other styles (his sextet includes bass, drums and saxophone) and his high profile collaborations, especially with jazz musicians, most notably with pianist Chick Corea and fellow guitarists John McLaughlin, Larry Coryell and Al DiMeola. But the often dazzling results of these col?laborations have been documented in several releases including the guitar trio albums Castro Marin (1979), Passion, Grace and Fire (1982) and Friday Night in San Francisco (1981). He has also recorded soundtracks for films such as Carlos Saura's Carmen, Borau's La Sabina, and the ballet Los Tarantos, presented at Madrid's prestigious Teatro de la Zarzuela in 1986.
As if to make a point, de Lucia returned to pure flamenco with a vengeance in the spectacular Siroco (1987), a brilliant summa?tion of his style, and then zigzagged back towards fusion with Zyryab (1990), which featured his sextet augmented by pianist Chick Corea. De Lucia shrugs off the com?plaints or the concerns that he might lose his roots or betray the essence of flamenco. "I have never lost my roots in my music, because I would lose myself," he once said. "What I have tried to do is have one hand holding onto tradition and the other scratching, digging in other places trying to find new things I can bring to flamenco. 'There was a time when I was concerned about losing myself," he added, "but not now. I've realized that, even if I wanted, I couldn't do anything else. I am a flamenco guitarist. If I tried to play anything else it would still sound like flamenco."
This evenings performance marks Mr. de Lucia's debut appearance under UMS auspices.
Born in Algeciras, Spain, guitarist Ramon de Algeciras is the elder brother of Paco de Lucia and was his first guitar teacher. Ramon began to study and play the guitar at the age of fifteen under his father, Don Antonio Sanchez Pecino, who was a guitarist and composer for many different flamenco artists, including Camaron de la Isla.
At 18, Ramon left home for the first time as a professional guitarist, joining thejuanito Valderrama Company. While with this company, he played for the leading figures of the flamenco world: Juanito Mairena, Pepe Marchena, La Nina de los Peines, Antonio Mairena, Fosforito, Camaron de La Isla, and many others.
During this time, Paco de Lucia began to tour extensively throughout Spain. It soon became evident that Paco would need a second guitarist with prestige and musical solvency. Nobody doubted that Ramon was the right man. From that moment on, Ramon has never left Paco's side, either in public performances or in recording sessions, in which he plays a most vital part.
Born in Algeciras, Spain, Paco de Lucia's younger brother, Pepe de Lucia is considered to be one the finest flamenco singers of today.
Pepe began his professional career as a boy when, under the guidance of his father, Don Antonio Sanchez Pecino, he formed a Duo with Paco, called "Las Chiquitos de Algeciras." From there he went on to win first prize in the National Flamenco Competition in Jerez de la Frontera. Today, he is in great demand as a composer for many Spanish artists.
Pepe, like his father before him, is a great defender of the art of flamenco and its new forms. He is an explorer of both modern and traditional values and has an extensive discography, including gold records. Some of his most notable works are "Caminando" "La Media Luna," "Que Trisleza Amarte Tanto"
and "Poeta en Nueva York." Pepe collaborat?ed widi some of the world's greatest singers on this last recording.
Guitarist Juan Manuel Canizares was born in Barcelona in ig66. He began to study the flamenco guitar at the age of seven and at the same time studied harmony and the classical guitar at the Conservatory of Music in Barcelona. In 1982, at the age of sixteen, he won the first prize in the National Guitar Competition in Jerez de la Frontera. This is one of the most prestigious competitions for flamenco art.
Since then, Mr. Canizares has been constandy working, playing, and recording worldwide with very well known artists of different musical styles: Paco de Lucia, Camaron de la Isla, Rociojurado, Pepe de Lucia, Paco Cepera, Chiquete, Maria Jimenez, Los Marismenos; jazz artists such as Michael Brecker, Al Di Meola, Peter Erskine and Steve Khan; and pop artists El Ultimo de la Fila, Pata Negra, Joan Manuel Serrat, La Fura dels Baus, Rosario Flores, Marc Almond, John Paul Jones, and Peter Gabriel.
In 1989, he began his collaboration with Paco de Lucia with whom he has played the world over. In 1991, Peter Gabriel invited him to participate in the Real World Recording where Canizares met up with Roger Bolton, Arona N 'Diaye, Guo Yue and the Grid. Juan Manuel has also played with Dire Straits during their tour of Spain.
Born in Madrid, Jorge Pardo (saxophone and flute) began studying music at the age of ten in Madrid's Royal Conservatory. One of Spain's leading young musicians, he has played with such great artists as Tete Montullu, Slide Hampton, Lou Benett, Pony Poindexter and Pedro Iturralde. In 1977, he formed the group, "Dolores," which served as his entry into the flamenco world. He has toured with Paco de Lucia in Europe and South America and has participated in
many experimental works with such flamenco greats as Camaron de la Isla. In addition to his own recording career, Pardo plays all the leading European jazz festivals, and is con?sidered one of Europe's most promising young jazz musicians.
Percussionist Rubem Dantas was born in the city of Salvador, Bahia (Brazil), an area known as the cradle of Brazil's marvelous rhythms. While in Brazil, Rubem belonged to several groups, accompanied artists of the magnitude of Gilberto Gil, and worked with the Brazilian National Folklore Ballet. Today Rubem lives in Spain where he, along with Jorge Pardo, formed the group "Dolores." Like all the members of the present group, Rubem has worked on Paco's latest records.
Born in Jerez de la Frontera, Spain, Joaquin Grilo started to dance in the school of his first teacher, Cristobal El Jerezano. In 1981, he moved on to the dance studio of Fernando Belmonte and Paco del Rio, becoming part of the ballet "Albarizuela," where he reached the position of first dancer.
Since then, Joaquin Grilo has toured France, England, Switzerland, Japan, and performed on American television. In 1988, he toured for a month in Japan and was invited to perform in the Fifth Biennial of Flamenco Art in Seville. In 1989, Joaquin Grilo garnered first prize at Vicente Escudero. He has performed with the group Teatro Ballet Espanol touring in both Europe and America. In 1992, he took part in a show of six "bailadores" (flamenco dancers) at Zambra, and in Madrid with Antonio Canales, Cristobal Reyes, Joaquin Cortes, Joaquin Ruiz and Adrian. In recent years, he has collaborated with Vicente Amigo at jazz festivals in Europe, and performed in the Joaquin Cortes Show Madrid, Bilbao, Caracas, and Japan.
Conlin-Faber Travel Crystal Cruises
The Bolshoi Symphony Orchestra
Peter Feranec, conductor Boris Berezovsky, piano
Saturday Evening, October 28, 1995 at 8:00
Hill Auditorium Ann Arbor, Michigan
Piano Concerto No.3 in d minor,Op. 3'
Allegro ma non tanto Intermezzo: Adagio Alia breve
Boris Berezovsky, piano Intermission Jean Sibelius
Symphony No. 2 in D Major, Op. 43
Andante, ma rubato Vivacissimo Allegretto moderato
Eighth Concert of the 117th Season
117th Annual Choral Union Series
Special thanks to L. Thomas Conlin, Chairman of the Board and Chief Executive Officer, Conlin-Faber Travel'Crystal Cruises for helping to make this performance possible.
Thank you to Rosamund Bartlflt, Assistant Professor, Department of Slavic Languages and Literatures, speaker for tonight's Philips Educational Presentation.
Thank you to HammeU Music, Inc., Livonia, Michigan for the piano used in this evening's performance.
Andrexu Grossman Division, Columbia Artists Management, Inc., New York, New York.
Large print programs are available upon request from an usher.
Piano Concerto No. 3 in d minor, Op. 30
Born April i, i8jj at Oneg, district of
Novgorod, Russia Died March 28, 1943 in Beverly Hills,
Rachmaninoff completed the Piano Concerto No. 3 in d minor in the summer of 1909 at his country estate at Ivanovka shortly before his first American tour which began in November of that year. The com?poser himself said that "it was written for America, [but] I had not found much time for practicing and was not familiar enough with some passages, [so] I took a dumb piano on the ship and practiced during the journey." Touring with the Boston Symphony Orchestra, he was featured as composer, pianist and conductor, leading the orchestra in his Second Symphony and tone poem The Isle of the Dead, and giving numerous recitals of his music. The Third Piano Concerto was premiered on November 28, 1909 with the New York Symphony Orchestra under Walter Damrosch with the composer at the piano; it was performed later in the season with the New York Philharmonic, conducted by Gustav Mahler. Regarding the latter performance, the composer confided to his biographer, Oskar von Riesemann: "At that time, Mahler was the only conductor whom I considered worthy to be classed with Nikisch. He touched my composer's heart straightaway by devoting himself to my Concerto until the accompani?ment, which is rather complicated, had been practiced to the point of perfection, although he had already gone through another long rehearsal. According to Mahler every detail of the score was important -an attitude too rare among conductors."
Otto Kinkleday -the annotator for the first New York performances -stressed "the composer's place in the lineage of
Tchaikovsky," describing the Third Piano Concerto as "Russian throughout, Russian in its melodic conception, in its rhythms, and in the robust, virile qualities even of its gentler passages."
The first movement "Allegro, ma non tanto" begins with the piano stating the first theme, against a rhythmic pulse in clarinets, bassoons and lower strings. The main theme is taken over by the horns and violas, as the piano plays arpeggios. Subsequently there is a transitional passage -which will be heard again transformed into a lyrical theme in the last movement. This leads to the second theme, signaled by staccato string playing. This theme is heard in many guises: as a march episode, a chorale for the piano, and finally as a grand lyrical melody. A brilliant cadenza concludes the development section. After a fortississimo climax derived from the second theme, a striking episode ensues in which the piano performs arabesques while the main theme is played by solo woodwinds and horn. Following the second theme on the piano, and the initial rhythmic motif in the orchestra, the soloist provides a final statement of the main theme. A short coda concludes the movement.
The second movement is referred to as an "Intermezzo" with the tempo marking of "Adagio," but it is far more expansive than its title would lead one to believe. This is in fact a set of variations on a theme in which the music explores new harmonic territories. The theme is a lugubrious melody initiated by the strings and presented in its entirety by the oboe. Abruptly, the piano enters, bringing about a rhapsodic mood, with determined chromaticism and conflicting rhythms. The piano then presents several variations on the theme, each becoming more and more elaborate in ornamentation. A sudden scherzo-like passage interrupts the proceedings with a new, syncopated melody in the clarinet and bassoon, played over the waltz-like rhythm of the strings and brilliant
triplet figurations on the piano. After an orchestral coda, the piano bursts in with a seven-measure bravura passage which leads directly into the finale.
The glittering and mercurial third move?ment is marked "Alia breve." For the most part this exhibits a fast and nervous march-like mood, but passages derived from the first movement provide lyrical contrasts. The piano presents the bell-like theme of Russian character, and the rhythmic motif from the first movement is recalled. The second theme takes the form of a complex harmonic progression initially played by both orchestra and soloist, with the rhythmic motif still making its presence felt. Soon a melody blossoms, based on the transitional passage of the first movement. The develop?ment section is extremely elaborate both texturally and harmonically, reaching a rhythmically and dynamically tense climax. This leads to a highly virtuosic cadenza, after which the lyrical theme finds its utmost expression as the Concerto reaches a glorious conclusion.
Note by Edgar Colon Hernandez
Symphony No. 2 in D Major, Op. 43
Jean Sibelius Born December 8, 1865 in Hameenlinna
(Tavastehusj, Finland Died September 20, 195J in Jarvenpaii, near
The world of symphonic music at the time Jean Sibelius began to seriously compose was dominated by Johannes Brahms. The great German composer exerted a profound influence on the young Sibelius. The two met each other in Vienna in 1890, at which time Sibelius paid reverent tribute to the great master. In the following year, Sibelius penned his first orchestral works -two
overtures which imitate the post-Romantic style of Brahms' music. Shortly thereafter, Sibelius returned from his travels to Germany and Austria to his native Finland, and he became impassioned with patriotic zeal. Due largely to his study of the epic Finnish poem The Kalevala, Sibelius' heightened sense of nationalism began to precipitate changes in his own approach to composition. He began to write music of a distinct Finnish character, gradually supplanting his post-Romantic tendencies and turning to Finnish folk music as a source of inspiration. Throughout the next decade he sought to express through his compositions the essence of his native land and its people. Programmatic titles are found often among his works during this time, as in the tone poems Kullervo, Op. 7 (1892), En Saga, Op. g (1892) and Finlanctia, Op. 26 (1899), all of which are based on national myths.
Sibelius composed his first symphony just prior to writing Finlandia, and began work on his second symphony in the spring of 1901 while in Italy. He completed the work later in the same year in Finland. While both of these works remain basically true to the Germanic post-Romantic traditions (the first symphony echoing Tchaikovsky as well in its lyricism and traditional approach to form), they are imbued with a Finnish character. Moreover, some have contended that the second symphony had an explicit patriotic program. George Schneevoight, the eminent Finnish conductor and close friend of the composer, claimed that Sibelius' intention for the second symphony was to depict the pastoral life of the Finns (first movement), nationalistic fervor interrupted by "the thought of a brutal role over the people bringing with it timidity of soul" (second movement), the awakening of rebellious sentiment (third movement) and the promise of deliverance and freedom (the Finale). It should be pointed out, however, that Sibelius denied any such explicit pro-
grammatic intent for the work. Furthermore, in the course of a meeting with Gustav Mahler in 1908, the composer remarked: "I am not a literary musician. For me, music begins where words cease. A scene can be expressed in painting, a drama in words; a symphony should be first and last music. . . . The germ and fertilization of my symphonies have been solely musical." The Symphony No. 2 in D Major, Op. 43 was premiered on March 8, 1902 in Helsinki, with Sibelius conduct?ing. The work was such an immediate and tremendous success that Sibelius presented it again on March 8, 10, 14 and 16 with each concert sold out, an unparalleled achievement in Finland.
The first movement of the work, marked "Allegretto," is in the key of D Major and 64 meter. In its opening, one encounters a gradually rising chord in the strings which is built on a series of three-note motifs which, after being answered by a falling chordal motif in the woodwinds, coalesce into the principal theme. Sibelius also presents two subsidiary themes in the exposition. The development section features these three thematic ideas ingeniously embellished and combined by Sibelius. In the truncated recapitulation section, Sibelius contrasts the various motifs contrapuntally, further high?lighting the innate dynamics of the musical texture.
The dramatic second movement, marked "Tempo andante, ma rubato," is in the key of d minor and 44 meter. Cast in the form of a sonatina (similar in its structure to sonata-allegro form except for the absence of a development section), the movement revolves around a tension between its two subjects. Commencing with a flicker from the timpani which leads directly into a long pizzicato passage in the lower strings, the first subject, a morose-sounding theme in Aeolian d minor, is presented by the bassoons. The music becomes more agitated, involving the entire orchestra, and reaches an intensity
whose momentum hardly abates for the remain?der of the work. The second subject, in Lydian f-sharp minor, is heard as if from a distance played by muted strings. It offers a slight glimmering hope against the heavy seriousness of the first subject. The preponderance of the first subject in the recapitulation section, however, confirms the overall solemn mood of the movement.
The vibrant third movement, marked "Vivacissimo," is in the key of B-flat Major and 68 meter. This Scherzo, a whirlwind of excited anticipation, is briefly subdued by the Trio, marked "Lento e suave," which is heralded by five beats of timpani with a pronounced diminuendo. The music then swells, as Sibelius builds a bridge out of the chordal motif of the oboe theme and a contrapuntal descending theme which serves to directly link the Scherzo to the Finale.
The Finale, marked "Allegro moderate" is in the key of D Major and 32 time. The first subject of this movement, derived from the chordal motif of the transitional bridge, is of a festive character. The trombone fanfares and fiery trumpet passages presage the heroic character of the entire movement. In contrast to the first theme, the second theme is presented by the woodwinds over a flowing ostinato passage in the cellos and violas. The third subject returns to the fanfare quality of the first subject in the development section, Sibelius treats the themes contrapuntally and finishes the section with a climax similar to the bridge passages which links the Scherzo and the Finale. In the recapitulation section, the second theme's ostinato background assumes far greater musical prominence. Suddenly, the melody modulates from the minor to D Major, and the final theme thunders forth triumphantly. The coda presents music derived from the first subject, which is developed into a majestic chorale-like conclusion.
Note courtesy of Columbia Artists Management, Inc.
The foundation in 1776 of the Bolshoi Symphony Orchestra, the oldest body of Russian musicians, paved the way for the creation of the future Bolshoi Theatre. At first, the company and orchestra did not have a home: shows were staged in a private house. But in 1790, the theatre moved to a specially constructed stage building on the site of the modern Bolshoi Theatre called Petrovsky Theatre after the street in which in stands.
The Bolshoi Theatre became a state insti?tution in 1806, at which point it came under the control of the office of the Moscow Imperial Theatres. The legacy of the great Russian composer Pyotyr Tchaikovsky was of enormous importance in the development of the Bolshoi Theatre. He rejected the concept of music having only an illustrative and auxiliary role in ballet and instead made it an important element of the drama. Consequently, the significance of the orchestra in ballet grew quite considerably. The Orchestra's repertoire was widened to include works by Glinka, Mussorgsky, Borodin and Rimsky-Korsakov.
The Great October Revolution ushered in a new era in the history of the Bolshoi Theatre and in the 1920s and 30s the Orchestra became a focal for the best musi?cians in the country. In the first five years after the revolution works by Soviet composers such as Prokofiev and Shostakovich began to appear alongside the classics of Russian and foreign composers. It was at this time also that the Orchestra gained its a reputation as one of the most popular symphony orchestras in the Soviet Union.
Since then the Orchestra's activities have only increased. Works by Soviet composers constitute more than one third of all pro?ductions in the Theatre. Many eminent Soviet conductors have worked with the
Bolshoi Orchestra, including Svetlanov, Rozhdestvensky and Samosud as well as famous conductors from abroad. There are now some 300 musicians in the Bolshoi Orchestra, including many outstanding per?formers who frequendy appear in ensembles and as soloists both at home and abroad. The Orchestra has toured successfully throughout Europe and Japan and appeared with the Bolshoi Opera at the Wolf Trap Farm Park and the Metropolitan Opera House in the summer of 1991. Alexander Lazarev and the Bolshoi Symphony Orchestra recently signed an exclusive recording contract with the Warner Classics French label Erato Disques. The first two recordings, containing selections from Swan Lake, The Sleeping Beauty and The Nutcracker, have been released to critical acclaim. Subsequent recordings include Great Russian Opera Choruses, released in January 1994, featuring the Bolshoi Opera Chorus, and music of Khachaturian, Rimsky-Korsakov and Rachmaninoff. In Autumn 1993 die Orchestra undertook its first tour of the United States under the direction of Maestro Lazarev and had artistic triumphs at the John F. Kennedy Center for the Performing Arts in Washington, D.C, New York City's Carnegie Hall, the Academy of Music in Philadelphia, and Symphony Hall in Boston, as well as an extraordinary response from audiences in the cities of Adanta, Birmingham, and Hartford.
In June 1995, Peter Feranec was appointed music director to succeed Maestro Lazarev. In the Autumn of 1995, the Bolshoi Symphony Orchestra returns for a transcontinental tour of North America under his direction, including performances in San Diego, Davies Symphony Hall in San Francisco, and Las Vegas, as well as two performances in the Cerritos Center for the Performing Arts in Orange County, California. In addition to tonight's Ann Arbor concert, there will be performances presented in the Chicago
Symphony's Orchestra Hall, East Lansing, Toronto's Roy Thomson Hall, a reengagement at Boston's Symphony Hall, and performances ending the tour in Washington D.C.'sJohn F. Kennedy Center for the Performing Arts. The Orchestra will also be included in the Great Performers at Lincoln Center Series at New York City's Avery Fisher Hall. During the 1996-97 season, the Bolshoi Symphony Orchestra returns for a tour of the United States including Florida, Georgia, Alabama, North and South Carolina, ending the tour in the Northeast to include the cities of Washington, D.C., Philadelphia, Boston and New York City.
The Bolshoi Symphony Orchestra makes its UMS debut with this evening's performance.
Conductor Peter Feranec was born in 1964 in Bratislava, the capital of the Slovak Republic. His musical education began with private lessons in piano, organ, and music theory from the renowned Slovak Professor Torzo.
In 1986, after graduating from the Bratislava Academy of Music, Mr. Feranec attended seminars led by Professor Botvos at the Bartok International Music Festival and Seminar held in Hungary, and continued his studies in the conducting of modern music of Ligetti, Stravinsky, Webern, Bartok and other leading twentieth-century composers. Beginning in 1986, Mr. Feranec studied on a scholarship from the Russian Ministry of Culture for a five-year period at the State Conservatory in Leningrad (now St. Petersburg), under the tutelage of Professor Marissjansons. During this period, Mr. Feranec served as conductor and leader of the chamber orchestra of foreign students, and conducted several operas and symphonic
concerts across the Soviet Union, in cities including St. Petersburg, Tblisi, Tallinn and Minsk.
In an unprecedented honor for a youth of twenty-five, Mr. Feranec was selected as Conductor of the Slovak National Opera House after completing his studies in
Vienna in 1991 under Professor Osterreicher. Mr. Feranec was a finalist in the International Conductor's Competitions in Tokyo and Budapest in 1991 and 1992, and gold medalist in the 1992 "Forum Juenger Kunstler" competition in Vienna.
As Conductor of the Vienna Chamber Opera since 1993, Mr. Feranec has led pro?ductions of operas including The Bartered Bride, Don Giovanni, La scala di seta, Boccacio, The Marriage of Figaro, and Eugene Onegin.
Mr. Feranec made a highly successful debut as conductor at the Bolshoi Theatre .on February 28, 1995, in an original-language production of The Marriage of Figaro. This epoch-making production for the Bolshoi, which is in the midst of revolutionary changes reflecting the new democratic Russia, featured the inclusion of foreign guest artists, such as Germany's Joachim Hertz, and attracted widespread attention from the international music community. The 31-year-old Mr. Feranec was highly praised for his ability in this production of Figaro, and was seen as a fitting successor to the Bolshoi's Alexander Lazarev. Thus, Mr. Feranec was appointed for this crucial post, becoming the Bolshoi's first foreign music director, accepting the mantle of responsibility for carrying on the Bolshoi's rich cultural history and traditions.
Tonight's concert marks Mr. Feranec's debut under UMS auspices.
Pianist Boris Berezovsky, winner of the 1990 International Tchaikovsky Competition, was born in Moscow in 1969 and had his first piano lesson at the age of five. He later studied with Elizabeth Wirsaladze at the Moscow State Conservatoire.
In 1988 Boris Berezovsky made his London debut in a recital at the Wigmore Hall. The Times described him as "a player of dazzling virtuosity and formidable power " and following his recital there the following year, as "an artist of exceptional promise." This promise was realized when he won the Gold Medal at the Tchaikovsky Competition in Moscow in 1990. Later that year he participated in a Tchaikovsky Gala Concert with the Leningrad Philharmonic Orchestra with Yuri Temirkanov, Itzhak Perlman, Yo-Yo Ma and Jessye Norman. The concert was telecast worldwide and recorded for video release by BMG Classics.
Boris Berezovsky has since given concerts in London, Paris, Rome, Zurich, Munich, Salzburg, Amsterdam, Montreal, Vienna, Bern, Budapest and Tokyo. He made his United States debut in 1991 with a recital in
Fort Worth, where the Dallas Morning News reported: "This was important playing. What Berezovsky did and how he saw the music was totally unexpected. It is something new or even something being reborn in piano playing."
Orchestras with whom Boris Berezovsky has performed include The Philharmonia, the Royal Philharmonic Orchestra, the Halle Orchestra, the City of Birmingham Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Moscow Philharmonic Orchestra, the Soviet Festival Orchestra, the Los Angeles Philharmonic and the Berlin Symphony Orchestra.
Boris Berezovsky has an exclusive record?ing contract with Teldec Classics, with whom he has released four discs -Rachmaninoff Piano Concerto No. 3 with the Philharmonia Orchestra and Eliahu Inbal; Tchaikovsky Piano Concerto No. 1 recorded live in the Great Hall of the Moscow Conservatoire; Chopin Etudes which received a prize from the German record critics (Preis der Deutschen Schallplattenkritik) and most recently discs of Schumann and Ravel solo piano works.
Plans for the future include further con?certo and recital discs for Teldec, and con?certs in London, Glasgow, Seattle, Montreal, Boston, Stavanger, Salzburg, Paris, Budapest, Italy, the Netherlands and Japan. He gave his Proms debut at the Royal Albert Hall in July 1994.
Mr. Berezovsky replaced an ailing Maurizio Pollini last March 1995 in a solo recital sponsored by the University Musical Society.
This evening's performance marks Mr. Berezovsky's second appearance under UMS auspices.
Bolshoi Symphony Orchestra Peter Feranec, Music Director and Conductor
Sergey Girsheiiko (Concert Master)
Roman Yanchishin Vladimir Kojemyako Oleg Filatov Galina Kokhanovskaya Alia Segal Evgenia Astakhova Valeria Gaidar Ksenia Rosanova Sergey Korolev Vera Chechik Lyudmilla Mojukhina Yulia Tyulkina Vladimir Lundin Boris Kharchenko Mikhail Ashurov
Igor Boguslavsky Vladimir Yarovoi Evgeny Bezinsky Margarita Zakharova Sergey Edunov Anna Senina Natalia Sablina Lyubov Tokareva Dmitri Radzetsky Elena Vasilieva Vladimir Grot Kirill Belolsvetov
Aleksey Sablin Leopold Andreev Valeri BarLsalkin Alexander Borisov Oleg Korshunov Mikhail Karetnikov Grigory Karakeshishev Leonid Smelov Pavel Izyumsky
Alexander Golyshev Alexander Poplavsky Vladimir Yagudin Elena Mitrofanova
Sergey Lysenko Evgeni Aleshin Gennady Kerentsev Vladimir Gavrilov
Ivan Butyrsky Vladimir Ferapontov Viktor Valov Nikolai Sokolov
Yuri Rudometkin Stanislav Katenin Sergey Krivov Vladimir Turchaninov
Vasili Tarasov Igor Lifanovsky Aleksey Kanarev Rafael Bagdasaryan Adik Fatkullcn Audrey Krvuchkov
Fedor Rigin Boris Shlepakov Dmitry Lokalenkov Aleksey Korolkov Mikhail Granitsky
Evgeny Nesterenko Valentin Diyanov Pavel Gaidai Akhlyam Latypov
Anatoly Kurashov Gennady Butov Nikolai Grishin Sergey Prozorov Sergey Vetrov
Natalia Shameeva Anna Levina
Administrative group of the orchestra
Ivan Osaul, tuning master Anatoly Kovalev, stage manager Viktor Fomin, stage manager Viktor Egorchev, librarian Sereja Amedyan, director Evgenia Shshukina, inspector Nina Nesterenko, costumer V. Yakimenko, Defmty nf the Artistic Director of the Bolshoi Orchestra
Co-sponsored by the University Musical Society and the Alumni Association of the University of Michigan
NEXT SUMMER, A FORTUNATE GROUP OF TRAVELERS WILL STEP ABOARD THE FIVE-STAR LUXURY LINER CRYSTAL SYMPHONY FOR WHAT COULD VERY WELL BE THE VOYAGE OF A LIFETIME. THESE ELEVEN DAYS WILL BE DEVOTED TO EQUAL PARTS DELIGHT AND DISCOVERY. THE SHIP ITSELF -NOW IN ITS INAUGURAL SEASON -IS A STUDY IN LUXURY, A FLOATING RESORT THAT OFFERS EVERY POSSIBLE CREATURE COMFORT, FROM SPACIOUS STATE?ROOMS WITH PRIVATE VERANDAHS TO SPAS, POOLS, RESTAURANTS, A DRIVING RANGE, EVEN A
casino. Hosts for the journey will be UMS Executive Director Ken Fischer and his wife Penny, who along with Steve Grafton, Executive Director of the University of Michigan Alumni Association, have arranged for special musical events in several port cities, as well as informative, entertaining lectures and performances on board.
FRIENDS INVITED TO SET SAIL FOR THE BALTIC
CAPITALS fi KINGDOMS
The voyagers will set sail on July 4 from London, then spend a day cruising the North Sea. The first port of call is historic Oslo, at the head of the breathtaking Oslofjord. The next two days will be spent in a serene and beautiful world, cruising
the scenic Kattegat Strait and the fabled Baltic Sea. On July 9, the group will disembark for a day in Stockholm, the picturesque cobblestoned city built on 14 islands. the next day will find them in the modern landscape of helsinki, finland's pride, with its wonderf.ul restaurants and craft shops. Then on to two days in St. Petersburg, the city of "white nights" dotted with majestic palaces. After a restful day at sea, travelers will disembark on july 14 in enchanting copenhagen.
Our thanks to Conlin-Faber Travel and Crystal Cruises for sponsoring this season's performance of the Bolshoi Symphony Orchestra.
Marcus Roberts Trio and Septet
An Evening of Gershwin
Marcus Roberts, piano Reuben Rogers, bass Jason Marsalis, percussion Victor Goines, saxophone
Marcus Printup, trumpet Ron Westray, trombone Ted Nash, saxophone
Saturday Evening, November 4, 1995 at 8:00
Ann Arbor, Michigan
Ninth Concert of the njth Season
Second Annual Jazz Directions Series
Special thanks to James W. Anderson, President, The Anderson Associates, Realtors, for helping to make this performance possible.
Thank you to Adam Glaser, Director of Marketing and Promotion, University Musical Society, speaker for this evening's Philips Educational Presentation.
Thank you to Hammell Music, Inc., Livonia, Michigan for the piano used in this evening's performance.
Columbia Artists Management, New York, New York. Sony Recordings.
Large print programs are available upon request from an usher.
'iih the release of Gershwin for Lovers, Marcus Roberts' much anticipated debut on Columbia Records, the thirty-one year-old pianist adds a definitive work to an illustrious archive of jazz interpretations of songs by one of the foremost twentieth-century American composers. "One of my goals is to learn -and be able to present if I choose to -as much of the repertoire as possible, and I'd been thinking about doing a Gershwin album for a while," Roberts explains. "To the best of my knowledge, nobody had ever made an all-Gershwin trio record, so naturally I was attracted to this concept. There were other reasons as well, the most important being Gershwin's tremendous contribution to the history of the American popular song. He also occupies a unique position linking the schools of jazz and classical music having written orchestral works like Rhapsody in Blue and An American in Paris and in the opera Porgy & Bess. And I learned he was really quite respected as a pianist."
Gershwin's popular songs, penned pri?marily in the 20s and 30s, have long served as perfect vehicles for inspired excursions by jazz singers and soloists, and Roberts confides he was well aware of classical precedents that had been set before he chose the ten selections on Gershwin for Lovers. "Gershwin wrote so many great, timeless melodies -most of which seem to be love songs -that work well when interpreted by a vocalist or an instrumentalist. I'm always trying to find new creative challenges for myself and it made sense to take a new look at a body of music that jazz masters before me found so appealing," he explains. "I chose some favorites after listening to a bunch of singers, particularly Ella Fitzgerald and Sarah Vaughan who recorded Gershwin
Songbooks, and Billie Holiday who also did memorable versions of his songs. I was also inspired by recordings of Gershwin songs Pops (Louis Armstrong) and Bird (Charlie Parker) made, as well as by Miles' version of 'The Man I Love' on Bags Groove (with Milt Jackson and Percy Heath) and Monk's solo versions of 'Nice Work If You Can Get It' and 'The Man I Love.'"
With six previous recordings, a six-year tenure in various ensembles led by trumpeter Wynton Marsalis, various tours as a music director and pianist with the Lincoln Center Jazz Orchestra, and burgeoning solo career to his credit, Roberts has been established him internationally as one of the most talented, resourceful and creative musicians of his generation, and a leading standard bearer of the mainstream jazz tradition. When it was time to select the personnel for Gershwin for Lovers, he instinctively turned to bassist Reginald Veal and drummer Herlin Riley who, together with Roberts, provided a for?midable foundation as Marsalis' rhythm section from 1988 to 1991.
"It's always an absolute pleasure working with Reggie and Herlin because I just love the way they play and the way they play together. We've developed a unique trio style over the years which made the entire project very relaxed. And I knew they could do anything I needed them to do for this recording. I wanted to make sure each piece had an implied direction we could take, yet I didn't want to over-arrange the music. Knowing they were there meant I was able to play in the elegant fashion I had in mind."
In Gershwin for Lovers songs which have remained popular for sixty to seventy years are enhanced by arrangements and perfor?mances that instill new and fresh ideas while respecting the inherent brilliance and famil?iarity of Gershwin's original score. Figuring out how to best utilize the bass and drums both rhythmically and harmonically was
another challenge. Maruc roberts introduces his new trio and the music from Gershwin for Lovers to United States audiences this fall.
Marthaniel Roberts was born in Jacksonville, Florida on August 7, 1963. Blind since the age of four, Roberts was first exposed to music in the local church where his mother was a gospel singer. Recognizing their son's love for music, his parents bought him a piano, and he began nine years of formal music training when he was twelve. While a music major at Florida State University in Tallahassee, Roberts studied with Leonidus Lipovetsky (a student of the noted Russian piano teacher Rosina Lhevinne) which helped lay the foundation for his masterful technique. He cites such diverse pianists as Art Tatum, Valdimir Ashkenazy, James P.Johnson and Van Cliburn as early influences.
Aspiring to a career in jazz, Roberts won several statewide competitions and earned plaudits from Florida's governor. Then, in 1982, in Chicago, he won the competition at the annual convention of the Association of Jazz Educators where he met pianist Ellis Marsalis, patriarch of the noted jazz dynasty. Wynton Marsalis had heard Roberts play at the convention and the trumpeter asked his father to give him his phone number and a message to call anytime.
Marsalis would have a profound influence on Roberts' artistic development, as he took the young pianist under his wing, expo'sing him to as yet unmined treasures from the rich jazz tradition (i.e. "... listen to Monk") and teaching him about the discipline required of the creative improviser and composer. By 1985, their relationship had evolved to the point where Marsalis invited Roberts to take over the piano chair in his quartet, replacing Kenny Kirkland. Roberts was floored, but so was Marsalis, because by the time the pianist joined the ensemble he had learned its entire repertoire from tapes the trumpeter had sent. Roberts maintained
a busy touring schedule with Marsalis from 1985 to 1992 and appeared on the five Columbia recordings released during this period.
Roberts continued to garner several awards including the $10,000 first prize at the First Thelonius Monk International Jazz Competition in 1987. Marcus Roberts has the distinction of being the only jazz musi?cian to have four of his recordings reach the top of Billboard's traditional jazz chart: The Truth Is Spoken Here, Deep In The Shed, As Serenity Approaches and Alone With Three Giants were all recorded for BMG under the Novus label. He is also active as an educator, conducting seminars and clinics throughout the United States.
Gershwin for Lovers is the first of several projects Roberts will record for Columbia. Another Gershwin project is in the works featuring the Got Rhythm Variations, Concerto in Fand "... a version of Rhapsody in Blue revealing how this piece should be interpreted from a jazz musician's perspective," It will be released on the Sony Classical label along with a collection of Scott Joplin rags and short Chopin character pieces "... designed to show the relationship between the two composers."
This evening's performance marks Mr. Roberts' third appearance under UMS auspices.
pre sen Is
The Estonian Philharmonic Chamber Choir and the Tallinn Chamber Orchestra
Tonu Kaljuste, conductor
Sunday Evening, November 5, igg at 7:00
St. Francis ofAssisi Catholic Church Ann Arbor, Michigan
Magnificat Silouans Song Te Deum
Johann Sebastian Bach SiNGET DEM HERRN EIN NEUS LlED, BWV 2
Toccata: Preciso Sarabande: Lento Recercar: Deciso
Canticum Mariae Virginis
Blessed is the Man
St. John's Day Song
(from the cycle Estonian Calendar Songs)
Tenth Concert of the 11 jth Season
Divine Expressions Series
Thank you to Luke Howard, Ph.D. student in Musicology, speaker for this evening's Philips Educational Presentation.
New World Classics, The Bronx, New York. ECM New SeriesBMG Classics Recordings.
Large print programs are available upon request from an usher.
Born September 11, igjj in Paide, Estonia (then U.S.S.R.)
Arvo Part studied composition at the conservatory in Tallinn and then worked as a sound engineer for the Estonian radio from 1958 to 1967. In 1980 he emigrated to Vienna and after receiving a grant from the Deutscher Akademischer Austauschdienst moved to West Berlin, where he has lived since 1982. Two distinct phases divide Part's work. His early com?positions consisted mainly of serial works; this phase came to an end with his Credo (1968.) The period from 1968 to 1976 was one of transition, during which he wrote the Third Symphony. His intense studies of medieval music opened a new phase in 1976. The composi?tions of this period, such as Fratres, Tabula Rasa and Arbos, are characterized by the combination of scales and triads with interchanging yet stable patterns, which Part calls tintinnabuli style.
The Magnificat (1989), for choir a cappella, is dedicated to Christian Gruber and the State and Cathedral Church Convention, Berlin, 1990. The familiar liturgical text in Latin is rendered by Part in a setting which emphasized nuances of tone, color and intonation.
anima mea Dominum
et exsultavit spritus meus
in Deo salutari meo;
quia respexit humilitatem ancillae suae,
ecce enim ex hoc beatam me dicent
Quia fecit mihi magna, qui potens est:
et sanctum nomen eius,
et misericordia eius a progenie in progenies
Fecit potentiam in bracchio suo,
dispersit superbos mente cordis sui,
deposuit potentes de sede,
et exaltavit humiles,
esurientes implevit bonis,
et divites dimisit inanes.
Suscepit Israel, puerum suum,
recordatus misericordiae suae,
sicut Iocutus est ad patres nostros,
Abraham et semini eius in saecula.
My soul doth magnify the Lord
and my spirit hath rejoiced
in God my Saviour.
For he hath regarded
the lowliness of his hand-maiden.
For behold, from henceforth,
all generations shall call me blessed.
For he that is mighty hath magnified me,
and holy is his Name.
And his mercy is on them that fear him,
throughout all generations.
He hath shewed strength with his arm,
he hath scattered the proud
in the imagination of their hearts.
He hath put down the mighty from their seat,
and hath exalted the humble and meek.
He hath filled the hungry with good things,
and the rich he hath sent empty away.
He remembering his mercy
hath holpen his servant Israel,
as he promised to our forefathers,
Abraham and his seed, forever.
Silouans Song, subtitled "My soul yearns after the Lord...," was composed in 1991 and is dedicated to Archimandrite Sophrony and his brethren. It was commissioned by Svenska Rikskonserter, and first performed in a small church at Lake Siljan, north of Stockholm (where Bergman made Light in Winter, as it happens, and wrote many of his scripts). The title of the piece alludes to the Russian Orthodox monk of the same name.
Arvo Part's TeDeum was composed in 198485 (revision: 1986). The work is dedicated to Alfred Schlee, and is scored for three choirs, string orchestra, prepared piano and tape (windharp).
The liturgical text of the TeDeum, for Part, "consists of eternal truths. To me, it is like the panorama of a mountain range in its constant stillness. The Swiss painter Martin Ruff once told me that in clear weather he could distinguish more than twenty shades of blue; I imme?diately began to 'hear' these 'blue' mountains."
That "constant stillness" has, of course, become a constant in Part's own work and is, in fact its unifying aspect. Michael Haerdter pinpointed this essence and one manner in which it transcends conventional Western notions of "religious music": "Part's 'cosmic' spirituality (close to the 'cosmic laws' Kandinsky referred to in his painterly work) comes naturally in touch with a timeless Japanese sensitivity as expressed, for example, in Zen philosophy. The denial of the ego in order to approach the numinous, the importance of concentration and silence in order to come nearer to eternal truth, and the creative use of gentle force are common characteristics linking Arvo Part's work with oriental spirituality."
His is a music rich with silence in contrast with a noisy contemporary world, determined in its single-minded rejection of postmodern musical abundance -the fashionable anything-goes syndrome. As Part once said, with admirable honesty: 'The complex and many-faceted only confuses me, and I must search for unity. I have discovered that it is enough when a single note is beautifully played. This one note, or silent beat, or a moment of silence, comforts me." The intention of all his work is to serve. It is music as a form of prayer, which invites the emotional participation of the listener: "I could compare my music to white light which contains all colors. Only a prism can divide the colors and make them appear; this prism could be the spirit of the listener."
Of the Te Deum Part says: "I felt the necessity to render everything in soft colors. Dynamics, tempo, the general coloration -all on one arc of breath. The text sounds gentle in my ears."
Heightening the sense of wonder in the music is the deep and rich reverberation of the windharp. Part notes 'This instrument was designed and built by a Norwegian master crafts?man on principles similar to those of the Greek Aeolian harp. Its strings are set in motion by the breath of the wind. . . it's as if the harp is waiting for the wind's caress. A wonderful tape was created that I have employed as a pedal point in the TeDeum, it fulfills a function comparable to that of the Ison in Byzantine church music."
Te Deum laudamus:
te Dominum confitemur.
Te aeternum Patrem
omnis terra veneratur.
Tibi omnes angeli,
tibi caeli et universae Potestates,
tibi cherubim et seraphim
incessabili voce proclamant:
Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt coeli et terra
majestatis gloriae tuae.
Te gloriosus Apostulorum chorus
te prophetarum laudabilis numerus,
te martyrum candidatus laudat exercitus
Te per orbem terrarum
sancat confitetur Ecclesia:
Patrem immensae majestatis:
Venerandum tuum verum,
et unicum Filium;
Sanctum quoque Paraclitum Spiritum.
Tu Rex gloriae, Christe.
Tu Patris sempitemus es Filius.
Tu ad liberandum suscepturus hominem,
non horruisi Virginis uterum.
Tu, deicto mortis aculeo,
aperuisti credentibus regna caelorum.
Tu ad dexteram Dei sedes,
in gloria Patris.
Judex crederis esse venturus.
Te ergo quaesumus,
tuis famulis subveni,
quos pretioso sanguine redemisti.
Aeterna hac cum sanctis tuis
in gloria numerari.
Salvum fac populum tuum, Domine.
Et benedic hereditati tuae.
Et rege eos, et extolle illos
usque in aeternum.
Per singulos dies, benedicimus te;
We praise thee, O God:
we acknowledge thee to be the Lord
All the earth doth worship thee,
the Father everlasting.
To thee all Angels cry aloud,
the Heavens, and all the Powers therein.
To thee Cherubim, and Seraphim
continually do cry:
Holy, Holy, Holy,
Lord God of Sabaoth, .
Heaven and earth are full
of the Majesty of thy Glory.
The glorious company of the Apostles
The goodly fellowship of the Prophet
The noble army of Martyrs praise thee.
The holy Church throughout all the world
doth acknowledge thee:
The Father of an infinite Majesty:
Also the Holy Ghost, the Comforter.
Thou art the King of Glory, O Christ,
Thou art the everlasting Son of the Father.
When thou tookest upon thee to deliver man,
thou didst not abhor the Virgin's womb.
When thou hadst overcome
the sharpness of death,
thou didst open the Kingdom of Heaven
to all believers.
Thou sittest at the right hand of God,
in the Glory of the Father.
We believe that thou shalt come to be our Judge
We therefore pray thee, help thy servants
whom thou hast redeemed
with thy precious blood.
Make them to be numbered with thy Saints
in glory everlasting.
O Lord, save your people,
and bless them in your heritage.
and lift them up for ever.
Day by day we magnify thee;
et laudamus nomen tuum in saeculum,
et in saeculum saeculi.
Dignare, Domine, die isto
sine peccato nos custodire.
Miserere nostri, Domine,
Fiat misericordia tua, Domine, super nos,
quemadmodum speravimus in te.
In te Domine, speravi:
non confundar in aeternum.
Amen. Sanctus, Sanctus, Sanctus.
And we worship thy Name
ever world without end.
Vouschsafe, O Lord, to keep us this day
O Lord, have mercy upon us,
have mercy upon us.
O Lord, let thy mercy be upon us,
as our trust is in thee.
O Lord, in thee have I trusted:
let me never be confounded.
Amen. Holy, Holy, Holy.
Singet Dem Herrn Ein neues Lied, bwv 225
Johann Sebastian Bach
Born March 21, 1685 in Eisenach
Died July 28, 1750 in lApzig
In i 789, Mozart visited the Thomaskirche in Leipzig, Bach's home and workplace for more than 25 years. In honor of their famous guest, the choir performed for him Bach's motet, Singet dem Herrn ein neues Lied. Mozart was enthralled! At the conclusion, he exclaimed, "Here, for once, is something from which one may learn!," and he didn't leave the church until he had thoroughly studied the complete manuscript.
Bach composed his motets, of which only eight survive, for special occasions outside of the Lutheran Sunday service. The liturgy in the 18th century called for a simple motet after the organ prelude, but the extended counterpoint and expanded proportions in Bach's motets (four of which are multi-movement works for double chorus) made vocal demands that were well beyond the abilities of his regular motet choir. Scholars speculate that Singet dem Herrn ein neues Lied may have been composed for a special New Year's service, or perhaps a birthday celebration for Friederich August, the Elector of Saxony. Most of Bach's other motets were almost certainly written for burial services of local dignitaries, yet, as Malcolm Boyd notes, "so confident and cheerful are they that the possibility of Si7iget dem Herrn also being a funeral piece should not be ruled out."
For much of the first movement in Singet dem Herrn ein neues Lied, one choir reiterates a profound yet simple exhortation to sing ("Singet"), while the other responds with its own jubilantly florid fulfilment. In the fugue at "Die Kinder Zion sei'n frohlich," the second choir gradually joins with the first, strengthening each entrance of the fugue theme as if drawing out extra stops on an organ.
The reflective central movement is a troped chorale: choir II sings a verse from the 16th-century chorale, Nun lob mein Seel, with the first choir adding lyric, aria-like commentary between each phrase. Although Bach had included this chorale in numerous other vocal and keyboard works, the harmonization in this motet is newly-conceived.
The final movement sets the second and sixth verses from one of the most joyous of psalms, Psalm 150. Bach continues to employ the contrast effects characteristic of a double
chorus, but by the concluding "Halleluja" the two choirs have united, joined in an ecstatic fugue of faith and unfettered praise. As Boyd so succinctly put it, this is "one of the sunniest pieces of counterpoint ever written."
(Psalm 194, 1-3)
Singet dem Herrn ein neues Lied!
die Gemeinde der Heiligen sollen ihn loben
Isreal freue sich des, der ihn gemacht hat.
Die Kinder Zion sei'n Frolich fiber
Sie sollen loben seinen Namen im Reigen,
mit Pauken und Hargen sollen sie ihm spielen
Gott, nimm dich ferner unser an!
Denn ohne dich ist nichts getan
mit alien unsern Sachen.
Drum sie du unser Schirm und Licht
und trugt uns unsre Hoffnung nicht,
so wirst du's ferner machen.
Wohl dem, der sich nur steif und fest
auf dich und deine Held verlasst.
(Johann Gramann) Wie sich ein Vater erbarmet Uber seine junge Kinderlein, so tut der Herr uns alien, so wir ihn kindlich fiirchten rein. Er kennt das arm Germachte, Gott weiss, wir sind nur Staub, gleich wie das Gras vom Rechen, Ein Blum und fallend Laub. Der Wind nur druber wehet, So isi es nicht mehr da. Also der Mensch vergehet, sein End, Das ist ihm nah.
(Psalm 150, 2, 6)
Lobet den Herrn in sienen Taten,
lobet ihn in seiner grossen Herrlichkeit.
Alles, was Odem hat, lobe den Herrn.
Note by Luke Howard.
Sing unto the Lord a new song!
The congregation of saints shall praise Him.
Let Israel rejoice in Him that made him.
Let the children of Zion be joyful in their King.
Let them praise His name in the dance:
Let them sing praises unto Him with the timbrel
God, continue to take care of us!
For without you all our efforts
lead to nothing.
Therefore you are our shield and light
and do not disappoint our hope.
So will you continue.
Blessed is he who steadfastly
relies on you and your grace.
Just as a father pities his own young children, so does the Lord towards us all, . so, like children, we meekly fear him. He knows our poor handiwork, God knows we are but dust, like grass at reaping, like a flower and falling leaf. The wind blows over it, and it is no longer there. Thus man passes away, his end is near.
Praise the Lord for his mighty acts,
praise Him according to His Excellent greatness
Let everything that hath breath praise the Lord.
In Part's transitional years he turned to the music of J.S. Bach for guidance and wrote several works based on Bach's idiom. Among them is Collage B-A-C-H (1968), scored for strings, oboe, and keyboards; its first movement is a moto perpeluo, gradually shifting from B-flat to b minor. The slow movement trancribes a noble Bach sarabande for oboe and harpsi?chord; then transfers it to strings and attempts to demolish it with the noise, rather than music, of note-clusters on a modern piano. In a modified da capo of the d-minor sarabande, hints of the B-A-C-H motif creep into the texture, to become the theme of the third movement. Contrapuntal and spikey-textured, the third movement ("Ricercar") comes to an affirmative conclusion in an eight-part D-major triad.
Canticum Mariae Virginis
Born October 9, 1928 in Helsinki, Finland
Einojuhani Rautavaara is one of the most significant contemporary Finnish composers. He has acquired a wide perspective over various styles and techniques from teachers such as Aarre Merikanto, Aaron Copland, Vincent Persichetti, Roger Sessions, Wladimir Vogel and Rudolf Petzold.
Einojuhani Rautavaara has composed five symphonies, four operas and several other dramatic works, music for string and wind orchestras, concertos, works for solo instruments, and chamber music.
Choral music is one of the major focuses of Mr. Rautavaara's output. Many of his compositions have become "evergreens" among Finnish choirs (as with the present choir); in discussing Finnish choral music in general he cannot be overlooked.
Ave maris Stella, Dei mater alma, Atque semper Virgo, Felix cali porta.
Sumens illud Ave Gabrielis ore, funda nos in pace, mutans Heva nomen.
Solve vincla reis, profer lumen caecis, 3 ? male nostra pelle, bona cuncta posce.
Monstra te esse matrem, m 1111:11 per te preces, qui pro nobis natus tulit esse tuus.
Virgo singularis, interomnes mitis, nos, culpis solutos, mites fac et castos.
Vitam praesta puram, iter para tatum, ut, videntesjesum, semper collaetemur.
Sit Iaus Deo Patri, summo Christo decus, spiritui Sancto, tribus honor unus. Amen.
Gaude Maria virgo!
Cunctas haereses sola interemisti,
quae Gabrielis archangeli dictis credidisti.
Gaude Maria virgo!
Dum virgo Deum et hominem genuisti,
et post partum virgo inviolata permansisti
intercede pro nobis.
Beatam me dicent omnes generationes, quia ancillam Deus humilem respexit.
Brightest star of ocean Portal of the sky, Ever virgin mother Of the Lord most high.
Who by Gabriel's Ave, Uttered long ago, Eva's name reversing, Bring us peace below.
Break the captive's fetters, Light on darkness pour, All our ills expelling, Every joy implore.
Show yourself a mother, Show to him our grief, Who for us incarnate, Came to our relief.
Virgin of all virgins, All your love impart, Gendest of the gende, Make us pure in heart.
Onwards as we journey, Ever guide our choice Till with you and Jesus We shall all rejoice.
Praised be God, our Father,
Praised be Christ,
The Holy Spirit,
Glory to the Holy Trinity. Amen.
Rejoice, Virgin Mary!
You who shunned all temptation, believing
in the message of the Archangel Gabriel.
Rejoice, Virgin Mary!
Because You gave birth to God and Man
and yet remained a virgin.
Mary, Mother of God,
intercede for us.
All the generations shall call you blessed, Because He has looked on the humble servant of God.
Blessed is the Man
Born December 5, i88g in Vonnu (West Estonia)
Died March 26, 7962 in Haapsalu (West Estonia)
Cyrillus Kreek's compositions are classics of Estonian choral music. He studied at the St. Petersburg Conservatory, then worked as a music teacher and conductor, mostly at Haapsalu and as a teacher at the Tallinn Conservatory. Kreek was an enthusiastic Estonian folk song scholar. His collections include such rarities as West Estonian religious folk songs modeled on Swedish, Russian and German songs. These have inspired Kreek to compose 4 Psalms (1923) and his magnum opus, the Estonian Requiem (192527). In 1943 Kreek wrote a cycle called Musica sacra.
(Psalm 1: 1, 6; Psalm 2: Ha, 12b; Psalm 3: 7)
Blessed is the man
who does not take the wicked for his guide
The LORD watches over the way of the righteous,
but the way of the wicked is doomed.
Worship the LORD with reverence,
tremble, and kiss the king
Blessed are all who find refuge in him
Rise up, Lord, save me, O my God.
Glory to the Father, the Son, and the Holy Spirit. Amen.
Born August j, 1930 in Kuusalu (Estonia)
Veljo Tormis was born in 1930; having studied organ and choral conducting, he turned to composition in 1950. In 1956 he graduated from the Moscow State Conservatory, where he studied with V. Shebalin. He is primarily known as a composer of vocal music rooted in the traditions of his native folk song and yet entirely contemporary in feeling. One of his best known works is the Estonian Calendar Songs (1967), heard in part today. The song cycles that make up Forgotten Peoples were composed over a period of twenty years (beginning in 1970) and have become widely known through the performances (and recording, on ECM New Series) of the present choir and orchestra.
Laami valla Jaani kaima, jaani, jaani. Kas om Jaanil kahharpaa, jaani. Sis omma kesva keerulidse kaara katso kandilidse, jaanika. Jaan tuli poldu muuda, Konde dullast kondu muuda, Ligi toie liia onne, jaani, jaani. kaasa toie karjaonne Jaan toi pika pumaputu madaligu voiupunna Rua toie rupuga. kaara toie kaindlon.
St. John's Song
Let's go out to look at St. John, John, John.
Does John have curly hair.John.
Here the barley is well rounded
the oat grains square.
John came along the field,
walked along the golden field,
brought much luck,
brought luck for the herd
John brought a long milk container
a low tub of butter
He brought the rye in armfuls
he brought the oats under this arms.
Notes courtesy oECM New Series, Universal EditionsSchirmer, Polygram, Chandos.
The Estonian Philharmonic Chamber Choir turned professional in 1981, and now gives over fifty concerts yearly. Its concert tours to Finland, Sweden, Norway, Great Britain, Germany, Switzerland, Italy, Poland, Czech Republic and Japan have been met with great acclaim. At the 1991 Takarazuka Chamber Choir competition in Japan, the choir won three gold medals for its outstand?ing performance in the Women's, Men's and Mixed Choir categories, and in addition was awarded the Grand Prix. The choir has worked with a number of guest conductors including Anders Ohrwall (Sweden), Sir David Willcocks (England) and Helmuth
The two pillars of Estonian culture, its Finno-Ugric language and heritage on the one hand and Western a
Christianity on the other, are strongly reflected in the choir's repertoire, which includes both A
the ancient folklore of the Finno-Ugric nations (as in the works of contemporary Estonian composer Veljo Tormis), as well as church music from throughout the ages. In recent seasons major works from the Baroque era and music by the contemporary composer Arvo Part have been the focus of interest. In the 199192 season the choir performed a series of concerts entitled Bach and Part including four Lutheran Masses by Bach and all of Part's major works for choir and orchestra. The Estonian Philharmonic Chamber Choir was one of fewer than twenty choirs worldwide to be invited to perform at the third World Symposium on Choral Music in Vancouver in 1993. The 199495 seasons included major tours to Spain and Austria, performing Haydn's Creation with the
Vienna Academy period instrument orchestra.
The Choir's recordings for ecm New SeriesBMG Classics, receive high praise from reviewers worldwide. These include a double CD Forgotten Peoples:
six song cycles by Veljo Tormis, Arvo Part's Te Deum (a Billboard classical best seller), and a soon to be released CD of Part's recently composed Litany.
The Estonian Philharmonic Chamber Choir makes its UMS debut with this evening's performance.
Tonu Kaljuste, born in Tallinn in 1953, is the artistic director and chief conductor of the Estonian Philharmonic Chamber Choir, formerly known as the "Ellerhein" choir. Mr. Kaljuste has frequently worked as a guest conductor for the Finnish Radio Chamber Choir, the Swedish Radio Choir, the Vancouver Chamber Choir and the World Youth Choir '92. Mr. Kaljuste also conducts opera and orchestral concerts. He has directed a number of internatibnal choral seminars and workshops, serving as artistic director of the international choral festivals 'Tallinn '88" and "Tallinn '91" and the international song festival "Bridges of Song" in 1991. In 1992 he received the Annual Culture Award of Estonia. In 1993 Mr. Kaljuste founded the Tallinn Chamber Orchestra, and in July 1994, he accepted the position of chief conductor of the Swedish Radio Choir.
This evening's performance marks Mr. Kaljusle's debut under UMS auspices.
The Tallinn Chamber Orchestra was founded in 1989 by students of the Tallinn State Conservatory, under the direction of Jurri Gerretz. Quickly the ensemble's artistic successes led it to become a professional orchestra.
The orchestra, which numbers sixteen musicians, is closely associated with twentieth-century repertoire, including works by Bartok, Britten, Tiiiir, and Arvo Part. The TCO frequently collaborates with the Estonian Philharmonic Chamber Choir, and in 1993 the orchestra recorded its first CD with that ensemble. That CD (on the ECM New Series label) features the Part TeDeum.
The Tallinn Chamber Orchesu"a frequently works with guest conductors, including Terje Tonnesen, Richard Tognetti and Juha Kangas. The orchestra has already toured widely -to Finland, Germany, France and Canada. This tour is its United States debut.
The Tallinn Chamber Orchestra makes its debut performance under UMS auspices.
Estonian Philharmonic Chamber Choir
Tonu Kaljuste, Artistic Director and Chief Conductor
Kaia-Galina Urb Aile Asszonyi Vilve Hepner Kristiina Under Railijaanson Helen Poolma
Maret Kuura Tiiu Otsing Kai Darzins Kadri Mitt Evelin Saul Karin Mannik
Tiit Kogerman Mati Turi Toivo Kivi Arvo Aun Erkki Targo Kaidojanke
Aarne Talvik Allan Vurma Tonis Tamm Kalev Keeroja Tonu Tormis Ranno Linde
Herbert Murd, General Manager Sirje Laan, Dresser
Tallinn Chamber Orchestra
Tonu Kaljuste, Artistic Director and Chief Conductor
Maano Manni Kaido Valja Lasse Joamets Sirje Salumets Olga Voronova
Harry Traksmann Eva Punder Andrus Torik Kristel Eerqja
Martti Magi Toomas Veenre Rain Vilu
Cello Mart Laas Kaido Kelder Leho Karin
Jfiri Lepp Aleksander Jogi
Keyboard Anne Tuur
CURTIN 8c ALF
The Chamber Music Society of Lincoln Center
David Shifrin, Artistic Director
Ani Kavafian, violin Joseph Silverstein, violin Toby Hoffman, viola
Gary Hoffman, cello Edgar Meyer, bass
Artist of the Society
Tuesday Evening, November 7, 1995 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Ludwig van Beethoven
Trio for Violin, Viola, and Cello in c minor, Op. 9, No. 3
Allegro con spirito Adagio con espressione Scherzo: Allegro molto e vivace Finale: Presto
Ani Kavafian, Toby Hoffman, Gary Hoffman
Trio No. 1 for Violin, Cello, and Bass
Allegro moderato Andante Moderato Allegro vivace
Ani Kavafian, Gary Hoffman, Edgar Meyer
Quintet in G Major for Two Violins, Viola, Cello, and Bass, Op. 77
Allegro con fuoco Intermezzo (Nocturno) Scherzo: Allegro vivace Poco andante Finale: Allegro assai
Joseph Silverstein, Ani Kavafian, Toby Hoffman Gary Hoffman, Edgar Meyer
Eleventh Concert of the 11 yth Season
33rd Annual Chamber Arts Series
Special thanks to Joseph Curtin and Gregg Alf, Oumers, Curtin & Alf Violinmakers, for helping to make this performance possible.
Thank you to Gregg T. Alf, Partner, Curtin & Alf, speaker for this evening's Philips Educational Presentation.
Underwriting for the Chamber Music Society's touring has been generously provided by the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Reader's Digest Association.
The Chamber Music Society has recordings on the Musical Heritage Society, Musicmasters, Omega Record Classics, Arabesque, and Delos labels.
Large print programs are available upon request from an usher.
Trio for Violin, Viola and Cello in C minor, Op. 9,
Ludwig van Beethoven
Born c. December 75, 17 JO in Bonn, Germany
Died March 26, 1827 in Vienna
Beethoven, who lived to be fifty-seven, was only twenty-eight when he composed this dramatic trio, yet in this work we can hear a foreshadowing of the late string quartets. This trio was composed after Beethoven's first great success with his Op. 1 piano trios, after his acclaimed debut as a pianist, and at the conclusion of his formal studies in Vienna with Haydn, Salieri and Albrechtsberger. He had not yet composed his first string quartet, and this trio is a significant step toward that genre. The key of this work is the very important c minor. Among .Beethoven's works in this key are the Fifth Symphony, the String Quartet Op. 18 No. 4, the Pathetique Sonata, and the Third Piano Concerto. For Beethoven, c minor was a key of passion and eloquence, of high drama and determined action. Like many later works, the trio begins with a fragment which suggests terrible power. The opening four notes of the piece appear obsessively throughout the first movement: clearly in the foreground, in inner voices, and mysteriously in the back?ground. These four notes are both tune and accompaniment -the murder weapon and the clues. Beethoven seems to have been haunted by these four notes through?out his life, for they appear as significant motives in Op. 131, (written 29 years after the Op. 9 trio), in Op. 132, and in the Grosse Fugue. The remaining movements are all equally remarkable for their perfect architecture and telling passion. Lacking the second violin of the string quartet, the string trio demands great harmonic and
contrapuntal skill from the composer and an extraordinary level of virtuosity and comradery from its performers.
Note by Bruce Adolphe, 1995
Trio No. i for Violin, Cello, and Bass
Born November 24, i960 in Oklahoma City, Oklahoma
This piece was written in 1986 as the first of a set of three string trios for the Santa Fe Chamber Music Festival. The three trios were premiered in the summers of 1986, 1987, and 1988 by Daniel Phillips, Carter Brey, and the composer. Stylistically, these pieces are eclectic, with influences from classical, jazz, bluegrass, and other folk and ethnic musics. Trio No. 1 can be split in two separate pieces between the first and second movements. The second, third, and fourth movements form a continuous structure that is held together by increasing activity and harmonies that are not fully resolved until the finale. The first movement, however, is more self-contained. It is clear-cut with a simple melody and a noodley idea to contrast it. These two items are presented individually, then smashed together in the loud and busy middle section, and pulled back apart for the end of the movement. The second movement consists of alternating sections of violin wanderings over an ostinato and cellobass duets. Toward the end of the movement the violin is finally given the melody and things come together for a brief moment. The emphasis shifts to rhythm in the last two movements. Performance techniques from outside of classical music are used, including bowing patterns and pitch embellishments common to different types of traditional fiddle music. The final is an energetic rondo.
Note by Edgar Meyer
Quintet for Two Violins, Viola, Cello, and Bass in G Major, Op. 77
Born Sejjlember 8, 1841 in Miihlhausen
Died May 1, 1904 in Prague
In 1875, the year this quintet was com?posed, the thirty-four year old Dvorak was suddenly thrust into the public eye as the winner of the Austrian State Prize to "young, poor and talented painters, sculptors and musicians." Since Brahms and Edward Hanslick were among the judges, the prize was of great importance in the European musical community, and the young Czech composer's career was launched. Encouraged, Dvorak entered his new Quintet in G major, Op. 77, into a Czech competition sponsored by The Prague Artistic Circle with the inscription "To my nation." The judges unanimously granted Dvorak the prize of five ducats (about 12 dollars), praising the "distinction of melody, the technical skill in polyphonic composition, the master of form and. . . the knowledge of the instruments." The jury must have been impressed with the novel ensemble of string quartet plus bass, a combination virtually without precedent in the chamber music repertoire. The addition of the bass makes possible some rich, nearly orchestral sonorities, a point clearly demonstrated in the opening phrase of the "Allegro" stated by the cello and bass together. Freed by the bass from its traditional job as lowest voice, the cello is permitted greater expressive and melodic range. Dvorak borrowed the ethereal music of the "Intermezzo (Nocturno)" from his own String Quartet No. 4. Since this movement was excluded from the first published edition of the quintet, the composer later rescued it from oblivion by reviving it as his Nocturno
for string orchestra, Op. 40. The Moravian folk-dance inspired "Scherzo" and the exhil?arating finale frame the inspired "Poco andante," one of Dvorak's most sublime slow movements.
Note by Bruce Adolphe,
Violinist Ani Kavafian has performed as soloist with virtually all of America's leading orchestras including The Cleveland Orchestra, New York Philharmonic, and Philadelphia Orchestra. She recently gave the world premiere performances of Tod Machover's Concerto for Hyper Violin and Orchestra with the St. Paul Chamber Orchestra and Henri Lazarof s Concerto for Violin and String Orchestra with the American Composers Orchestra. Her recital engagements include performances at New York's Carnegie Hall and Alice Tully Hall. As a chamber musician, she regularly appears at summer festivals including Chamber Music Northwest, Mostly Mozart, and the Santa Fe Chamber Music Festival. Ms. Kavafian was a recipient of an Avery Fisher Prize and the Young Concert Artists International Auditions. Ms. Kavafian performs on the Muir Mackenzie Stradavarius made in 1736.
This evening's performance marks Ms. Kavafian's third appearance under UMS auspices.
Jospeh Silverstein has appeared as both conductor and violin soloist with more than 100 orchestras in the United States as well as in Europe, Israel and the Far East. He began his career in conducting when he became the assistant conductor of the Boston Symphony in 1971, after having been concert-master with that orchestra for nine years. He has served as artistic advisor for many orchestras, including Baltimore, Florida,
and Louisville. In 1983 he became the Music Director of the Utah Symphony Orchestra. In addition to conducting, Mr. Silverstein has always been an active soloist, chamber music performer, and teacher. He organized the Boston Symphony Chamber Players in 1962 and joined the Chamber Music Society of Lincoln Center as an Artist of the Society in 1993. He has been on the faculties of Boston University, the Tanglewood Music Center and Yale University and has received honorary degrees from Boston College, the New England Conservatory, Rhode Island University, and Tufts University.
This evening's performance marks Mr. Silverstein's debut appearance under UMS auspices.
Toby Hoffman enjoys a distinguished inter?national performing career as both soloist and chamber musician. He appears regviarly at the festivals of Aspen, Chamber Music Northwest, and Marlboro and has performed with the Buffalo Philharmonic, Florida Orchestra and Prague Chamber Orchestra. A frequent guest of the Chamber Music Society of Lincoln Center, he will perform with them during the 199596 season both on tour and at Alice Tully Hall. Recently, he performed with the Philadelphia Orchestra and Charles Dutoit and last summer played chamber music at the Salzburg Festival with pianist Maurizio Pollini. He currently plays on a 1628 Antonio and Hieronymus Amati viola made in Cremona, Italy, which formerly belonged to Queen Victoria of England.
This evening's performance marks Mr. Hoffman's debut appearance under UMS auspices.
In 1986 Gary Hoffman received international recognition as the first American to win the Rostropovich International Cello Competition in Paris, where he currently resides.
A member of a family of six performing musicians, Mr. Hoffman made his London recital debut at the age of 15, and today is in demand as soloist and chamber musician with major orchestras and festivals around the world. He has appeared as soloist with numerous orchestras including the Chicago, Montreal, Toronto, and London symphonies as well as the English Chamber Orchestra and the Rotterdam Philharmonic. He has also performed as guest artist with the Emerson and Tokyo Quartets and currently performs in a trio with pianist Yefim Bronfman and violinist Cho-Liang Lin. Highlights of his 199596 season include solo appearances with the Vancouver Symphony, the Utah Symphony, and the Orchestre Philharmonique de Radio France. He was a 1995 recipient of the Avery Fisher Career Grant. His cello is the 1662 Nicolo Amati formerly owned by Leonard Rose. Mr. Hoffman has been an Artist of the Society since 1993.
This evening's performance marks Mr. Hoffman's second appearance under UMS auspices.
Virtuoso Edgar Meyer is known to musical audiences from classical to country as both an instrumentalist and composer. He has been featured in both the Wall Street Journal and on CBS Sunday Morning. A versatile performer, Mr. Meyer was a member of the progressive bluegrass band "Strength in Numbers," and has recorded with such artists as Mary Chapin Carpenter, Garth Brooks, and The Chieftains. He has been featured as a performer and composer at the Aspen, Chamber Music Northwest, Marlboro, and Tanglewood festivals, and in 1985 became the regular bass player for the Santa Fe Chamber Music Festival, for which he has written six compositions. Mr. Meyer premiered his bass concerto with the Minnesota Orchestra in 1993, and recently
performed his new bass quintet on tour with the Emerson String Quartet. In 1994, he became the first bassist to receive an Avery Fisher Career Grant. Highlights of the 1995-96 season include collaborations with Yo-Yo Ma and Mark O'Connor; performances of Schubert's 'Trout" Quintet with Emanuel Ax and Yo-Yo Ma; and the premiere of a double concerto that he wrote for himself and cellist Carter Brey, with a grant from the Meet the ComposerReader's Digest Commissioning Program. He has been an Artist of the Society since 1994.
This evening's performance marks Mr. Meyer's debut appearance under UMS auspices.
The founding of The Chamber Music Society of Lincoln Center in 1969 was the realization of the dream of William Schuman, Alice Tully and Charles Wadsworth to establish a constituent of Lincoln Center devoted to the outstanding performance and creation of chamber music. As the nation's premier chamber music organiza?tion, the Society presents distinguished artists in concerts of every instrumentation, style and historical period, at Lincoln Center and on national and international tours. The Society is also enjoyed by a national audience through its Live From Lincoln Center broadcasts and it recordings. Its innovative education programs and commissioning of new works by the leading composers of our time help ensure a rich future for chamber music as an art form. During its twenty-five years, The Society has been guided by three Artistic Directors: Founding Artistic Director Charles Wadsworth; Fred Sherry; and, since 1992, David Shifrin, who joined the Society as an Artist Member in 1989.
The Chamber Music Society of Lincoln Center is made up of twenty Artist Members. They are joined by many Guest Artists throughout the season. Current Artists of the Society are: Ransom Wilson, flute; Stephen Taylor, oboe; David Shifrin, clarinet; Milan Turkovic, bassoon; Robert Routch, horn; Ani Kavafian, violin; Cho-Liang Lin, violin; Joseph Silverstein, violin; Paul Neubauer, viola; Gary Hoffman, cello; Leslie Parnas, cello; Fred Sherry, cello; Edgar Meyer, contrabass; David Golub, piano; Lee Luvisi, piano; Anne-Marie McDermott, piano; Orion String Quartet, Quartet-in-Residence.
This evening's performance marks the Chamber Music Society of Lincoln Centers fourth appearance untie)' UMS auspices.
The Michigan Chamber Players
of the University of Michigan School of Music
Anton Nel, piano Richard Beene, bassoon
Harry Sargous, oboe Stephen Shipps, violin
Fred Ormand, clarinet Deborah Chodacki, clarinet
Bryan Kennedy, horn Anthony Elliot, cello
Tuesday Evening, November 14 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Ludwig van Beethoven
Quintet for Piano and Winds in E-flat Major, Op. 16
Grave Allegro ma non troppo Andante cantabile Allegro non troppo
Anton Nel, piano; Harry Sargous, oboe; Fred Ormand, clarinet; Bryan Kennedy, horn; Richard Beene, bassoon
Olivier Messiaen QUATUOR POUR LA FIN DU TEMPS
(Quartet for the End of Time)
Liturgie de cristal; bien modere, en poudroiment
harmonieux Vocalise, pour l'ange qui annonce la fin du temps;
Abime des oiseaux; lent, expressif et triste Intermede; decide, modere, un peu vif Louange a l'Eternite de Jesus; infiniment lent, extatique Danse de la fureur, pour les sept trompettes; decide,
vigoreaux, grantique, un peu vif Fouillis D'arcs-en-ciel, pour l'ange qui annonce la fin
du temps; revenur, presque lent Louange a l'lmmortalite de Jesus; extremement,
lent et tendre, extatique
Anton Nel, piano; Stephen ShIPPS, violin; Deborah Chodacki, clarinet; Anthony Elliot, cello
Twelfth Concert of the nyth Season
Thank you to Anton Net, Professor of Piano and Chamber Music, University of Michigan, for his assistance in coordinating this concert.
Large print programs are available upon request.
Quintet for Piano and Winds in E-flat Major, Op. 16
Ludtvig van Beethoven
Born c. December 15, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
Beethoven left his native Bonn for Vienna in November 179a and found a city which stood high above all others in the splendor of its professional musicians and the prodigality of its princely patrons. To this early period belong the Trio in C Major for two oboes and English horn, a set of variations for two oboes and English horn on Mozart's La ci darem, and a Sextet in E-flat for two clarinets, two bassoons, and two horns, which also appeared as a wind quintet. The present Quintet which was written before 1797 and scored for piano, oboe, clarinet, horn, and bassoon, went through two previous incarnations, first as a piano quartet and then as a string quartet.
QUATUOR POUR LA FIN DU TEMPS (Quartet for the End of Time)
Born December 10, 1908 in Avignon
Died April 27, 7992 in Paris
"And I smu another mighty angel come down from heaven, clothed with a cloud: and a rainbow ivas upon his head, and his face was as it were the sun, and his feet as pillars of fire ... and he set his right foot upon the sea, and his left foot on the earth.
And the angel lifted up his hand to heaven, and sware by him that liveth for ever and ever... that there should be time no longer. "
-The Revelation of St. John 10:1-2, 5-6.
Soon after enlisting in the French Army in 1940, Olivier Messiaen was captured and sent to Stalag 8-A, a prisoner-of-war camp in
Polish Silesia. While there, he organized an ensemble from among the other prisoners: a violinist, a clarinetist (both of whom had been allowed to bring their instruments with them), and a cellist. Although there was no piano in the camp yet, and the cello provided by the German officers was missing one string, Messiaen began to compose his apocalyptic Quartet for the End ofTime, inspired by the tenth chapter of St. John's Revelation.
Messiaen's title is intentionally ambiguous: it refers to the end of "time" in musical as well as theological terms. He renounces the division of "musical time" into regular meters and equal durations, adopting instead his own rhythmic procedures (partially based on Hindu talas) in which irregular patterns "elongate the temporal" and strive for the Eternal. For Messiaen, the link between the?ology and music was sacred and irrevocable.
The Quartet has eight movements -a number with spiritual significance, as Messiaen explains in his preface to the score:
"Seven is tlie perfect number, the creation of six days made holy by the divine Sabbath; the seventh in its repose prolongs itself into eternity and becomes the eighth, of unfailing light, of immutable peace."
The opening movement introduces Messiaen's fascination with bird-song, signifying Nature and Divine Love: the dawn songs of the blackbird and nightingale form the "crystal liturgy" of the movement's title. In the Vocalise that follows, representations of the apocalyptic angel's power frame a peaceful, reflective recilativo.
Of the third movement (for solo clarinet) Messiaen writes, 'The abyss is Time, with its sadnesses and tediums. The birds are the opposite of Time; they are our desire for light, for stars, for rainbows, and for jubilant outpourings of song."
A short interlude leads to the expansive fifth movement for piano and cello, a melodic sermon on the eternal nature of
the Word. The sixth movement, according to Messiaen, is "music of stone ... as irre?sistible as steel, huge blocks of livid fury or ice-like frenzy." He describes the "cluster of rainbows" in the seventh movement as an ecstatic vortex, "a dizzying interpenetration of superhuman sounds and colors."
The final movement's slow ascent into the highest registers carries a triple symbolism: the ascension of man toward God, of the Son to the Father, and of the mortal toward paradise.
In writing the quartet, Messiaen strove to comprehend the spiritual immensity of a God-filled universe -a striving all the more poignant coming as it did from behind barbed-wire enclosures in a time of global war. On January 15, 1941, Quartet for the End oTiWwas premiered on old, broken instru?ments, in sub-zero temperatures, with Messiaen's five thousand fellow prisoners at Stalag 8-A as audience. He later recalled, "Never have I been listened to with such attention and understanding."
Note by Luke Hoxvard.
Comprised of faculty mem?bers, and occasionally advanced students of the University of Michigan School of Music, the Michigan Chamber Players presents four to six concerts a year, two of which are sponsored by the University Musical Society.
Pianist Anton Nel's remarkable and ver?satile career has taken him to many parts of the world since his auspicious debut at the age of twelve with Beethoven's C Major concerto after only two years of study. He has appeared with orchestras and as a recitalist throughout North America, Europe and Africa. Recent engagements include debuts with The
Cleveland Orchestra, San Francisco and Detroit symphonies and concerts in Russia, Poland, Germany, Denmark and Sweden. Among his many prizes and awards are first prizes in the 1987 Naumburg and the 1986 Joanna Hodges international piano competi?tions and, most recently, a Distinguished Alumni Award from his alma mater, the University of Cincinnati.
Harry Sargous, oboist, came to Michigan in 1982 from Toronto where he had been principal oboist since 1971 of the Toronto Symphony and the Toronto Chamber Winds. He held that position as well with the Kansas City Philharmonic and the Toledo Symphony and performed for several summers at the Marlboro Music Festival. His numerous solo recitals have included appearances in Carnegie Recital Hall, Severance Chamber Music Hall in Cleveland, and the St. Lawrence Centre in Toronto. He is a graduate of Yale University and his principal teachers of oboe were Robert Bloom and John Mack. Mr. Sargous has taught at the Royal Conservatory of Music and the rcm orchestral training program in Toronto, the University of Toronto, and the University of Western Ontario. He teaches and performs during the summer at the Music Academy of the West in Santa Barbara.
Fred Ormand, clarinetist, is a leading performer, educator, and scholar. Mr. Ormand has played with the Chicago, Cleveland and Detroit symphony orchestras and has been featured as a soloist with dis?tinguished orchestras in the United States and abroad. Hailed by the New York Times as "an excellent clarinetist" and by Mstislav Rostropovich as "a genius teacher." In addition to his duties at the School of Music, he is a member of the summer facul?ty at the Music Academy of the West. Mr. Ormand served as president of the Internat?ional Clarinet Association from 1990-1992. He is currently editing the clarinet works of Amilcare Ponchielli for publication in a new edition.
Bryan Kennedy, a two-time prize winner in the Heldenleben International Horn Competition, began his professional career as a horn performer while still an undergrad?uate student at the University of Michigan. He performed as a regular substitute player in the Detroit Symphony Orchestra and interrupted his studies to become a member of the National Symphony Orchestra of Costa Rica for two years. On his return to the School of Music, he joined the orchestra of Michigan Opera Theatre and the Flint Symphony and resumed his performances as substitute with the dso. Following gradu?ation, Mr. Kennedy was appointed hornist with the Richmond Symphony Orchestra and in 1982 returned once again in the Detroit Symphony Orchestra, currently performing with the Detroit Chamber Winds. Mr. Kennedy holds a Bachelor of Music with distinction from the University of Michigan.
Richard Beene, bassoonist, is becoming increasingly well-known as a chamber musician, soloist, teacher and coach. His performances with the Lieurance Woodwind Quintet have taken him on tour to Europe and throughout the United States, culminating in concerts in New York at Merkin Recital Hall, and in Washington, D.C. at the Library of Congress. As a soloist he has performed at the Colorado Music Festival, the Peninsula Music Festival in Fish Creek, Wisconsin, and the Sunflower Music Festival in Topeka, Kansas. He has been a featured performer at the Basically Bach Festival, Anchorage, Alaska; the Allegheny Music Festival, Meadville, Pennsylvania; and the Arkansas Music Festival. He is currently the principal bassoon?ist of the Lansing Symphony and has served in the same capacity in the Wichita and New Haven Symphonies. He holds degrees from Baylor University and the University of Wisconsin, Madison.
Stephen Shipps, violinist, studied with Josef Gingold at Indiana University where he received a b.m. degree, an m.m. degree
with Honors and a Performer's Certificate. He also studied with Ivan Galamian and Sally Thomas at the Meadowmount School and with Franco Gulli at the Accademia Chigiana in Siena, Italy. Mr. Shipps, a member of the Meadowmount Trio, is a past member of the Fine Arts Quartet and the Amadeus Trio, and has appeared as soloist with the symphony orchestras in Indianapolis, Dallas, Omaha, Seattle and Ann Arbor, as well as the Piedmont Chamber Orchestra and the Madeira Bach Festival. He has been a member of the Cleveland Orchestra and concertmaster and associate conductor of both the Omaha Symphony and the Nebraska Sinfonia. He served on the faculties of Indiana University, the North Carolina School of the Arts and Banff Centre in Canada prior to joining the School of Music.
Deborah Chodacki, clarinetist, is a gradu?ate of the Eastman School of Music and Northwestern University. Since 1989 she has been instructor of clarinet at the Interlochen Arts Academy. She served as clarinet professor at East Carolina University for ten years, and last summer was a member of the artist faculty at Summer Music Monterey. As an orchestral performer, she has held positions with the Spoleto Festival of Two Worlds in Spoleto, Italy, and at the Alabama, Charleston, and North Carolina symphonies. She has been principal clarinet with the Traverse City Symphony since 1989. Ms. Chodacki has published articles in the North Carolina Music Educator and in Medical Problems of Performing Artists.
Anthony Elliott, cellist, has combined admirable careers in performance and teaching for more than two decades. The winner of the first Emanuel Feuermann Memorial International Cello Solo Competition, he has appeared as soloist with major orchestras in the United States and Canada and as a chamber musician in festivals around the country. He joined the Michigan faculty in 1994, after teaching at the University of Houston and Western Michigan University.
presen I s
Tafelmusik Baroque Orchestra
Jeanne Lamon, Music Director
A Celebration ofPurcell
Wednesday Evening, November 15, 1995 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Suite from The Fairy Queen
Overture Hornpipe Song Tune
Dance for the Fairies
Dance for the followers of Night
Concerto for 2 Violoncellos in g minor,
Christina Mahler and Alan Whear, violoncellos George Frideric Handel
Concerto Grosso in B-flat Major, Op. 3, No. 2
Suite for harpsichord in D Major, z.667
Prelude Almand Hornpipe
A Ground in d minor for harpsichord, Z.D222
Fantasia upon a ground for 3 violins and continuo in d major, z.731
Charlotte Nedigkr, harpsichord
Jeanne Lamon, David Greenberg and Thomas Georgi, violins Christina Mahler, violoncello
Johann Sebastian Bach
Orchestral Suite No. i for two oboes,
BASSOON AND STRINGS IN C MAJOR, BWV lo66
Ouverture Courante Gavotte I & II Forlane Menuet I & II Bouree I & II Passepied i & II
Thirteenth Concert of the 11 jth Season
33rd Annual Chamber Arts Series
Thank you to Enid Sutherland, Director of the Sutherland Ensemble and Member of the Atlantis Ensemble, speaker for this evening's Philips Educational Presentation.
Tafehnusik is touring with support from the Government of Ontario through tlie Ministry of Citizenship, Culture and Recreation.
Colbert Artists Management, Inc., Neiv York, New York. Tafelmusik records exclusively for Sony Classical.
Large print programs are available upon request from an usher
Suite from The Fairy Queen
Born c. 1659 in London
Died November 21, 1695 in Dean's Yard,
Henry Purcell contributed to virtually all genres of musical composition, but none so publically as the music he wrote for the London theatres. The English flocked to the theatres when they were reopened after the Restoration. Old plays by Shakespeare, Beaumont and Fletcher were "tidied up" and eventually supplemented by works by new playwrights. Music, dance and spectacle were gradually added to complement the drama. The English did not embrace the opera as it was understood on the Continent until much later -it was perhaps too lavish and extravagant an art form for the English, and on a practical level, too expensive. But the amount of music added to the plays became too significant to ignore, and the English writer Roger North invented the term "semi-opera" to describe these entertainments of "half Musick and half Drama." The leading parts continued to be spoken by actors, while vocal music was allotted to minor characters, whose contributions were essen?tially diversions, rarely essential to the action, and often quite irrelevant. To this was added instrumental music to accompany dance, set the mood, or accompany scene changes. Purcell provided the music for countless plays, including at least four semi-operas, among them The Fairy Queen, a seventeenth-century reworking of Shakespeare's Midsummer Night's Dream. Purcell's theatre music was enormously popular, and following his untimely death his family decided to capitalize on this popularity by publishing a collection of the instrumental music for many of his plays. It is from this collection that we draw The Fairy Queen suite with which
we open the program tonight. It includes an overture, dance tunes, act music and instrumental versions of some of the public's favorite songs.
Concerto in g minor for two violoncellos, rv531
Born March 4, 1678 in Venice
Buried July 28, IJ41 in Vienna
Vivaldi wrote most of his numerous concertos (several hundred in all!) for his famous "all-girl" orchestra of the Ospedale della Pieta in Venice. The Pieta was a sort of orphanage at which gifted pupils received extensive musical training. The regular concerts performed by the students were among the tourist attractions of the city at that time, as described in the following account in 1668:
In Venice there are nunneries whose inmates play the organ and various instruments, and also sing so beautifully that nowhere else in the ivorld can one find such sweet and harmo?nious music. That is xvhy people come to Venice from all over the world to listen to this music of the angels . . .
Vivaldi was hired in 1704 as violin teacher at the institution, and from 1716-1740 was Maestro dei concerti, or director of the orchestra. One of his jobs was to supply concertos -at least two a month -to the Ospedale. The orchestras at his disposal were large and the numbers and types of instilments varied, allowing him to compose concertos for unusual instruments and com?binations of instruments. The Concerto for two cellos, unique in the baroque repertoire, is an example of this.
Concerto Grosso in B-flat Major, Op. 3, No. 2
George Frideric Handel
Born February 25, 1685 in Halle, Germany
Died April 14, 1759 in London
Handel's first set of published concertos, labelled "Opera Terza, " appeared in 1734. The concertos seem, however, to have been compiled without the assistance, and possibly not even the knowledge, of Handel himself. The London publisher John Walsh, a shrewed businessman, wished to take advantage of the popularity of both Handel and the Italian-style concerto grosso, so he set about com?piling a set of concertos from manuscript copies of works he had obtained, legitimately or otherwise, during his long association with Handel. We are, in retrospect, thankful to Walsh for preserving many works which otherwise may have been lost, particularly the wonderful second concerto, with its exquisitely beautiful slow movement and its rollicking final gavotte.
Suite for harpsichord in D Major, z.667
A Ground in d minor for harpsichord, z.d222
Fantasia upon a ground for three violins and continuo in D Major, z.731
The second half of the program opens with a small selection of Purcell's instrumental music for the chamber. Purcell's keyboard music is small in scale, consisting of a volume of miniature suites and several short pieces, many of them transcriptions. The Suite in D Major is the sixth of eight suites written
for Princess Anne, published posthumously for Purcell's wife Frances in 1696. The d-minor Ground is an adaptation for harpsi?chord of the air "Crown the altar" from the birthday ode for Queen Mary "Celebrate the festival," composed in 1693.
The large scale D-Major Fantasia for three violins is impressive proof of Purcell's talents. A masterful display of virtuosity, expressiveness and compositional skill, this piece was written when Purcell was but twenty years old. It is thought to be one of the first examples of the ground basses and chaconnes for which Purcell was particularly famous.
Orchestra Suite No. i for two oboes, bassoon and strings in C Major, bwv 1066
Johann Sebastian Bach
Born March 21, 1685 in Eisenach, Germany
Died July 28, 1J50 in Leipzig
The "invention" of the baroque orchestral suite is usually credited to Jean-Baptiste Lully, who would direct concert performances of an overture and selected dance movements .from one of his operas or ballets. German composers were quick to adopt this genre, and many examples can be found in the works of Fischer, Telemann, Fasch and others. The most famous examples are the four orchestral suites of J.S. Bach. In adapting the suite to German taste, Bach and his counterparts placed greater emphasis on the overture than the French, making it the focal point of the suite. It was greatly extended, particularly in the fast middle section, which often incorporated German fugato and Italian concerto elements. This is particularly true of the massive overture to Bach's first orchestral suite. This middle section is a veritable concerto grosso move?ment, scored for two oboes and bassoon with ripieno strings and continuo. The dance movements which follow show how
completely Bach mastered the styles of the French courtly dances. Only one non-French movement appears, that being the Italian "Forlana," an energetic dance which was immensely popular in Venice during that time.
Tafelmusik, Canada's orchestra on period instruments, was founded in 1979. Since the arrival of its Music Director and concert master Jeanne Lamon in 1981, Tafelmusik has achieved international recognition for its concerts and recordings. Based in Toronto, the ensemble has nineteen permanent members and is expanded as the need arises. All members of the orchestra are specialists in historical performance practice, and their collaboration results in performances renowned for their refinement and vitality.
Tafelmusik's success has taken it around the world, with regular tours across North America, Europe, and Asia. Tafelmusik also performs an annual forty-concert season at its home base, a historic church in downtown Toronto.
The ensemble has been associated with major record companies, and since 1990 has had an exclusive contract with Sony Classical. It has released some forty compact discs to widespread critical acclaim and numerous international awards.
Tafelmusik makes their UMS debut performance ivith this evening's concert.
Jeanne Lamon has specialized in the perfor?mance of baroque and classical music on period instruments since 1972. Music Director of Tafelmusik since 1981, Ms. Lamon has been praised by critics in Europe and North America for her virtuosity as a violinist and her strong musical leadership. Jeanne Lamon teaches at the University of Toronto, Wilfrid Laurier University in Waterloo, and Toronto's Royal Conservatory of Music. In November 1994 she received an honorary Doctor of Letters from York University.
This evening's performance marks Ms. Lamon's debut appearance under UMS auspices.
Tafelmusik Baroque Orchestra
Jeanne Lamon, Music Director
Jeanne Lamon Thomas Georgi Rona Goldensher David Greenberg Kevin Mallon Stephen Marvin Linda Melsted Christopher Verrette
Ivars Taurins Elly Winer PatJordan
Christina Mahler Alan Whear
John Abberger Washington McClain
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in the ig8giggo 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, igg6.
On Friday February 24, igg6, 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 313.747.1174.
Volunteers & Interns
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects nclude helping with mailings, ushering for the 'hilips Educational Presentations, staffing the nformation Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educational materials or teachers, greeting and escorting students to seats at performances, and serving as good-will epresentatives for UMS as a whole.
If you would like to become part of the Jniversity Musical Society volunteer corps, please :all (313) 747"' 175 or pick up a volunteer applica-ion form from the Information Table in the lobby. Internships with the University Musical Society jrovide experience in performing arts management, narketing, journalism, publicity, promotion, and jroduction. Semesterand year-long internships ire available in many aspects of the University Musical Society's operations. Those interested in ierving as a UMS Marketing Intern should call (313) 764-6199, and those interested in a UMS 'reduction Internship should call (313) 747-1173 or more information.
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.
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 individual' who volunteer their time to make concertgoing easier Music lovers from the community and the university1 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 directly 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 the 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, 1 iiiii. 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!
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 19951 gg6 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 the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general information that illuminate each UMS presentation. For information about how your business can become a UMS advertiser, call (313) 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.
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 3 3-763-3lo?-
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.
Great performances -the 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 giting 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
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
Dr. Eva Mueller
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
The Estate of Marie Schlesinger
Dr. Herbert Sloan
Mr. and Mrs. Ronald G. Zollars
Mr. Ralph Conger F. Bruce Kulp
Mr. and Mrs. William B. Palmer John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smolder and several joinonymous 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
Detroit Edison Foundation
Ford Motor Company Fund
Lila Wallace Reader's Digest Fund
Bernard L. Maas Foundation
Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
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 )ames 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 Bales Kathleen G. Charla 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 Rosenlhal 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 Gelman 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 Slevens Botsford
Thomas R. Bower and
Karen F. Stapleton-Bower
Drs. Barbara Everitt and John H. Bryant
Mr. and Mrs. Richard J. Burstoin
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 Gotdieb
Mr. and Mrs. Robert C. Graham
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
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 Kathcrine and William Ribbens Jack and Margaret Rickctts Richard and Norma Sams Genie and Reid Sherard Victor and Marlene Stoeffler Dr. and Mrs. E. Thurston Thieme Jcrrold G. Utsler Mary and Ron Vanden Belt Dr. and Mrs. Francis V. Viola III John and Maureen Voorhees Martha Wallace and Dennis Wliitc
Dr. and Mrs. Andrew S. Watson Mr. and Mrs. Robert O. Weisman Roy and JoAn Wetzel Hi vim i and Ruth Williams Len and Maggie Wolin Nancy and Martin Zimmerman and several anonymous donors
American Title Company of Washtenaw
The Barfield CompanyBartech
Borders Books and Music
Kitch, Dratchas, Wagner, & Kenney, P.C.
Matthew C. Hoffmann Jewelry Design
NBD Ann Arbor N.A.
Norsk Hydro a.s Oslo
Scientific Brake and
Equipment Company Shar Music Company
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
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 Bullen
Jean W. Campbell
Bruce and Jean Carlson
Edwin F. Carlson
Mrs. Raymond S. Chase
Pat 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 Grade
Linda and Richard Greene
Seymour D. Greenstone
John and Helen Griffith
Mr. and Mrs. Robert Grijalva
Mr. and Mrs. Elmer F. Hamel
Walter and Dianne Harrison
Jay and Maureen Hartford
Harlan and Anne Hatcher
Dr. and Mrs. Sanford Herman
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 Wilhclm 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 MacKrcll Peggy and Chuck Maitland Kathleen Beck and Frank Maly Marilyn Mason and William Steinhoff 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. Haskell 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. Elizabeth Axelson Dr. and Mrs. Rudolph E. Reichert Maria and Rusty Restuccia Mrs. Bernard J. Rowan Mr. and Mrs. Charles H. Rubin Peter Schaberg and Norma Amrhein Mrs. Richard C. Schneider Rosalie and David Schottenfeld Professor Thomas J. and
Ann Sneed Schriber George and Mary Sexton Julianne 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. Jeoffrey 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 Brymcr and Ruth Williams Walter P. and Elizabeth B. Work, Jr. and several anonymous donors
Michigan National Bank Sarns, 3M Health Care
The Power Foundation Shiftman Foundation Trust
Marilyn and Armand Abramson
Jim and Barbara Adams
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
David and Katie Andrea
Harlene and Henry Appelman
Mr. and Mrs. Arthur J. A-shc
Eric M. and Nancy Aupperle
Erik W. and Linda Lee Austin
Robert L. Baird
Pauleit and Peter Banks
Cyril and Anne Barnes
Gail Davis Barnes
Dr. and Mrs. Mason Barr, Jr.
Dr. and Mrs. Robert Barllett
Dr. David Noel Freedman,
Dr. Astrid Beck Ncal Bedford and
Gerlinda Melchiori Harry and Belty Benford Ruth Ann and
Stuart J. Bergstein Mr. and Mrs. S.E. Berki Abraham and Thelma Berman Suzanne A. and
Frederick J. Beutler Maureen Foley and
John Blankley George and Joyce Blum Ronald and Mimi Bogdasarian Roger and Polly Bookwaltcr Robert and Sharon Bordeau Dean Paul C. Boylan Paul and Anna Bradley William R. Brashear Betsy and Ernest Brater Professor and Mrs. Dale E. Briggs Gerald and Marceline 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 Colquitt KdwardJ. 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 Bette 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 Bcnning and Elizabeth Dexter Macdonald and Carolin Dick Tom Doane and
Patti Marshall-Doane Dr. and Mrs. Edward F. Domino Dr. Steven M. and Paula R. Donn
William G. and Katherinc K. Dow Allan and Cecilia Dreyfuss Nancy Griffin DuBois Sally 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 Falit Dr. and Mrs. John A. Faulkner Inka and David Felbcck Reno and Nancy Feldkamp Sidney and Jean Fine Hcrschel and Annette Fink Mrs. BethJ. 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 and Ronald Freedman David Fugenschuh and
Harriet and Daniel Fusfcld 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 Re nee 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 Hcflcy and
Kenneth and Jeanne Heininger Margaret and Walter Hclmreich John L. and
Jacqueline Stearns Hcnkel Herb and Dee Hildcbrandt John and Maurita Holland Mary Jean and Graham Hovey Drs. Linda Samuclson 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 Kat2 Anna M. Kauper Mr. and Mrs. Jacob Kellman Don and Mary Kiel Paul and Leah Kileny Mr. and Mrs. Thomas C. Kinncar Rhea and Leslie Kish Dana and Paul Kissner Hcrmine R. Klingler Philip and Kathryn Klimworth Joseph and MarilTin Kokoszka Dimitri and Suzanne Kosacheff Samuel and Marilyn Krimm William G. Kring Alan and Jean Krisch Mae and Arthur Lanski Mr. and Mrs. Henry M. Lapcza John K. Lawrence Ann M. Leidy Bobbie and Myron Levine Eie and Allen Lichter Jody and Leo Lighthammer Mark Lindley Vi-Cheng and Hsi-Ven 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 Mandcl Mclvin and Jean Manis Eddie and Cathy Marcus Geraldine and Sheldon Market Rhoda and William Martel 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 Madelyn McMurtric Jerry and Rhona Mcislik Waller and Rutli Metzgcr Charles and Helen Metzner Piolr and
Deanna Relyea Michalowski
Myrna and Newell Miller
Lester and Jeanne Monts
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 Chipault and
Fred Ncidhardt Sharon and Chuck Newman Mr. and Mrs. Marvin L. Niehuss Virginia and Gordon Nordby Richard S. Nottingham Marylen and Harold Obcrman 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 Pignanelli Barry and Jane Pitt Randall and Mary Pittman Donald and Evonne Plantinga 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 Mill.ml Pryor David and Stephanie Pyne Mrs. Joseph S. Radom Homayoon Rahbari, M.D. Jim and leva Rasmusscn Kathcrine R. Reebel Mr. and Mrs. H. Robert Reynolds Dave and Joan Robinson Dr. John Romani and
Ms. Barbara Anderson Gay and George Roscnwald 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. AlbcrtJ. and Jane K. Saycd 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. Schtcingart Art and Mary Schuman Suzanne Selig Marvin and Harriet Selin Joseph and Patricia Setiimi Mr. Thomas Sheets Dr. and Ms. Howard and
Hollis and Martha Showalier Dr. Bruce M. Siegan Scotl and Joan Singer Alcne 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 Cynthia J. Sorensen Juanita and Joseph Spallina Allen and Mary Spivey David and Ann Staiger Mrs. Ralph L. Stcflek Dr. and Mrs. Alan Steiss Thoni and Ann Sterling Professor Louis and
Glenn is Stout
Dr. and Mrs. Stanley Strasius Aileen and Clinton Stroebel Charlotte Sundelson Ronald and Ruth Sutton Dr. Jean K. Takcuchi Jerry and Susan Tarpley Eva and Sam Taylor Mary D. Teal
James L. and Ann S. Telfer Edwin J. Thomas Tom and Judy Thompson Ted and Marge Thrasher Hugo and Karla Vandcrsypen Jack and Marilyn van der Vcldc 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. Wait Charles and Barbara Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Ruth and Chuck Watts Robin and Harvey Urax Mrs. Charles F. Weber Willcs and Kathleen Weber Deborah Webster and
George Miller Lawrence A. Weis and
Sheila Johnson Rnoul Weisman and
Ann Friedman Walter L. Wells Dr. Steven W. Werns Marcy and Scott Westcrman Ruth and Gilbert Whitaker 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 Gatten 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 Bctic F. Zauel Mr. and Mrs. Martin Zcile and srvrral anonymous donors
Briarwood Shopping Center Chelsea Flower Shop Dough Boys Bakery Edwards Brothers, Inc. Candy Qancei King's Keyboard House Miller, Can field. Paddock,
and Stone Republic Bank Urban Jewelers The Wittc Museum
The Richard and Mcrvl Place Fund
Tim and Leah Adams
Ronald and Judith Adlcr
Mr. and Mrs. Gordon E. Allardyce
Margaret and Wickham Allen
Augustine and Kathleen Amaru
Mr. and Mrs. David Aminoff
Mr. and Mrs. Charles T. Anderson
Bert and Pat Armstrong
Mr. and Mrs. Lawrence E. Arnett
Charlene and Eugene Axelrod
Jonathan and Marlene 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. Barnelte.Jr.
Leslie and Anita Bassett
Dr. and Mrs.Jcrc M. Bauer
Mr. and Mrs. Steven R. Bcckcrt
Robert M. Bcckley and
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 Narcn and Nishta Bhalia
I'.li.ii .ti C Bhuslian Eric and Doris Billes Richard and Roswitlia Bird William and Dene Birgc EHabcth S. Bishop Mr. and Mrs. H. Harlan Bloomer BeverlyJ. 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 Brater Mr. and Mrs. Patrice Brion William and Sandra Broncck 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 Choatc Edward and Rebecca Chudacoff Robert J. Cicrzniewski 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 I.ee Danielson 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 Debrodl Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Elizabeth and Edmond DeVinc Meg Diamond Martha and Ron DiCccco Gordon and Elaine Didicr
A. Nelson Dingle Dr. Edward R. Doczema Thomas and Esther Donahue Mr. Thomas Downs Roland and Diane Drayson Mr. and Mrs. Harry Dreffs John Dryden and Diana Raimi President and Mrs.
James Duderstadl Dr. and Mrs. Cameron B. Duncan Rosanne and Sandy Duncan Robert and Connie Dtinhip Edmund H. and Mary B. Durfee John W. Durstine George C. and Roberta R. Earl Mr. and Mrs. William G. Earlc Jacquelynne S. Eccles Mr. and Mrs. John R. Edman David A. Eklund Judge and Mrs. SJ. Elden Ethel and Sheldon Ellis cncvicve Ely
Mackenzie and Marcia Endo Kathlyn F. Engel Bill and Karen Ensminger Mr. and Mrs. Frederick A. Erb Dorothy and Donald F. Eschmaii Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr. Dr. and Mrs. Cyrus Farrehi David and Joanna Feather man Dr. and Mrs. Irving Feller Phil and Phyllis Fcllin Carol Finerman Clay Finkbciner C. Peter and Bev A. Fischer Dr. and Mrs. John Fischer Jon Fischer
Barbara and James Fitzgerald Dr. and Mrs. Melvin Flamenbauin 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. Fuesier
Carol Gagliardi and David Flesher Jane Galantowicz Bernard and Enid Caller Joyce A. Gamm Mrs. Don Gargaro Stanley and Priscilla Garn Drs. Steve Geiringcr and
Beth Genne and Allan Gibbard Bruce and Anne Genovese Michael Gcrstenbcrger W. Scott Gersicnbcrgcr and
Elizabeth A. Sweet David and Maureen Ginsberg Albert and Almeda Girod Robert and Barbara Gockcl 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. Goodcnough and
James G. Leaf Mitch and Barb Goodkin Mr. and Mrs. Jon L. Gordon Don Gordus
Sclma and Albert Gorlin
Mil had L Gowing
(:ln isiophcr and Elaine
Elizabeth Needham Graham
Whit and Svca Gray
l.ila and Bob Green
Harry Grccnberg and
nnc Brockman Dr. and Mrs. Lazar J. Greenfield
Bill and Louise Gregory Linda and Roger Grekin Susan and Mark Griffin Werner H. Grilk Robert M. Grover Mr. Philip Guire Arthur W. Gulick, M.D. Margaret Gutowski and
Michael Marietta Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Claribcl Halstead Margo Halsted
Mr. and Mrs. Herbert R. Harjes Stephen G. and
Mary Anna Harper Antonio and Dolores Harris Susan P. Harris Jean Harter Elizabeth C. Hassinen 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. Hcnkel Jeanne Hernandez Ramon and Fern Hernandez Tatiana Hcrrero Bernstein Fred and Joyce Hershenson Elfrida H. Hiebcrt and
Charles W. Fisher Lorna and Mark Hildebrandt Mr. and Mrs. Jerry Leigh Hill Joanne and Charles Hocking Louise Hodgson Jane and Dick Hoerner (arol and Dieter Hohnke Ken and Joyce Holmes John F. and Mary H. Holi Dr. and Mrs. Frederic B. House Helga Hover
Drs. Richard and Diane Howlin (lharlcfl T. Hudson Harry and Ruth Huff Joanne W. Hulce Ken and Esther Hulsing Ann D. Hungerman Mr. and Mrs. Russell L. Hurst Eileen and Saul Hymans Edward C. Ingraham Perry Elizabeth Irish Edgar F. and M. Janice Jacobi Harold and Jean Jacobson Jim and Dale Jerome Paul and Olga Johnson Tom and Marie Justcr Mary B. and Douglas Kahn Mary Kalmes and
Larry Friedman Steven R. Knit Paul Kantor and Virginia WVckstrom Kantor
Mr. and Mrs. Irving Kao Deborah and Ralph Katz Knit and Marilee Kaufman Mr. and Mrs. N. Kazan Frank and Patricia Kennedy Linda Atkins and Tliomas Kenney Benjamin Kerner Heidi and josh Kerst William and Betsy Kincaid Howard King and
Elizabeth Sayrc-King Esther Kirshbaum James and Jane Kister Shim and Steve Klein Gerald and Eileen Klos Mr. and Mrs. Edward Khun Jolene and Gregory Knapp Seymour Koenigsberg Mekyn and Linda Korobkin Rebecca Kott
Mr. and Mrs. Jerome R. Koupal Mr. and Mrs. E.J. Kowaleski 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 Mi's. Richard A. Kutcipa) 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 Ixinghofcr Leslie and Susan Loomans Luisa Lopcz-Grigera Mr. and Mrs. Richard S. Lord Bruce and Pat Loughry Ross E. Lucke Lynn Luckenbach Robert and Pearson Macek Susan E. Macias Charlene and
William MacRitchic Chun I. Mah
Geoffrey and Janet Maher Deborah Malamud and
Ncal Plotkin Dr. Karl D. Malcolm Claire and Richard Malvin Mr. and Mrs. Kaztthiko Manabe Pearl Manning Paul and Shari Mansky Mr. and Mrs.
Anthony E. Mansueto Marcovitz Family Mr. and Mrs. Damon L. Mark Dr. Howard Markel
Marjoric and Robert Marshall
Dr. and Mrs. J.E. Martin Margaret Massialas Tamolsu MaLsumoto Marilyn Mazancc Benedict Margaret E. McCarthy Ernest and Adele McOarus Cathryn S. and
Ronald G. McOeady Dores M. McCree Mary and Norman Mclver Robert E. and
Nancy A. Meader Mr. and Mrs. John Merrificld Henry I). Messer and
Carl A. House Robert and Bettie Metcalf Professor and Mrs.
Dr. and Mrs. Robert A. Meyers Jack and Carmen Miller Bob and Carol Milstein Thomas and Doris Miree Mr. and Mrs.
William G. MoUer, Jr. Arnold and Gail Morawa Sophie and Robert Mordis Kenneth and Jane Moriarty John and Michelle Morris Brian and Jacqueline Morton Mrs. Erwin Muehlig fanel Muhleman Gavin Eadie and
Barbara Murphy Rosemarie Nagel Tatsuyoshi Nakamura Dr. andMrs.J.V. Neel Martin Nculicp and
Patricia Pancioli Jack and Kerry Kclly-Novick Lois and Michael Oksenbcrg Robert and Elizabeth Oneal Anneke de 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 Eszthcr T. Pattantyus Nanc' 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. James Pikulski Mr. and Mrs.
Robert II. 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. Rcffells and Elaine A. Bennett
Dorothy and Stanislav Rchak
JoAnne C. Rcuss
John and Nancy Reynolds
Elizabeth G. Richan
Peter and Shirley Roberts
Richard C. Rockwell
Willard and Mary Ann Rodgers
Mr. and Mrs. Stephen J. Rogers
Mrs. h ving Rose
Elizabeth A. Rose
Dr. Susan M. Rose
Drs. Stephen Roscnbluni and
Gustave and Jacqueline Rosseels Dr. and Mrs.
Raymond W. Ruddon.Jr. Kenneth Rule John Paul Rutherford Tom and Dolores Ryan Mitchell and Carole Rycus James and Ellen Saalberg Theodore and Joan Sachs Arnold Samcroff and
Susan McDonough Howard and I.ili Sandier John and Reda Santinga Dr. and Mrs. Edward G. Sarkisian Courtland and Inga Schmidt Chatiene and (".ail Schmuli Gerald and Sharon Schreiber Albert and Susan Si hull Michelle Schulu, M.D. Sheila and Ed Schwartz Jane and Fred Schwarz Ruth Scodel Jonathan Bromberg and
Douglas and Carole B. Scott Joanna and Douglas Scott Mary and John Sedlander John and Carole Segall Janet Sell
I.ouis and Sherry Senunas Richard Shackson Dr. and Mrs. J. N. Shanbcrge Brahm and Lorraine Shapiro David and Elvera Shappirio Ingrid and Clifford Sheldon Dr. and Mrs. Ivan Sherick Cynthia Shevel Jean and Thomas Shopc John and Arlene Shy Milton and Gloria Siegel Ken Silk and Peggy Biittenheim Frances and Scoit Simonds Donald and Susan Sima Drs. Peter Smith and Diane Cuk-Smith Susan M. Smith Judy Z. Somcrs Victor and Laura Sonnino Katharine B. Soper Dr. Yoram Sorokin Mr. and Mrs. Robert E. Spence Anne L. Spendlove James P. Spica JefTSpindler Joan and Ralph Stahman Betty and Harold Stark Dr. and Mrs. William C Stebbins Mr. and Mrs. John C Stegeman
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. Stolper
Anjanette M. Stoltz, M.D.
Mrs. William H. Sttibbins
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 Tietnun
Thelrna and Richard Tolbert
Donna K. Tope
Dr. and Mrs. Merlin C. Townley
William H. and Gerilyn K. Turner
Katharine and Alvan Uhle
Gaylord E. and
Kathryn W. Underwood Dr. Samuel C. Ursu Madeleine Vallicr 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 Annette 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 Redmount 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 Zeisler Mr. and Mrs. David Zuk David S. and Susan H. Zurvalec and several anonymous donors
Adistra Corporation Coffee Beanery -Briarwood Mall ConCep
Cousins Heritage Inn Development Strategies Plus Garris, Garris, Garris & Garris, P.G Great Lakes Cycling & Fitness Jeffrey Michael Powers
Junior League of Ann Arbor Michigan Opera Theatre SKR Classical University Microfilms
International Van Boven Inc.
Sue and Michael Abbott Jim and Jamie Abclson Philip M. Abruzzi Chris and Tena Achen Michihiko and Hiroko Akiyama Roger Albin and
Nili Tannenbaum Gregg T. Alf Harold and PhyllisAllen Forrest Alter
Nicholas and Marcia Alter Jim Anderson and Lisa Walsh Drs. James and Cathleen Culotta-Andonian 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 Barden
David and Monika Barcra Maria Kardas Barna Laurie and Jeffrey Barnctt Joan W. Barth Bevcrlcy M. Baskins Ms. Maria do Carno Bastos Dorothy Bauer Harold F. Baul Mary T. Beckerman Robert B. Beers Dr. and Mrs. Richard Beil Dr. and Mrs. Walter Benenson Walter and Antje Beneson Merele and
Erling Blondal Bengtsson Alice R. Bensen Dr. Rosemary R. Berardi James K. and Lynda W. Berg T.J. and M.R. Bedey 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
Paul D. Borman
Reva and Morris Bornstein
John D. and M. Ix'ora Bowden
Jan and Bob Bower
Sally and Bill Bowers
David G. Bowman and
Sara M. Rutter William F. and
Joyce E. Bracuninger Cy and Luan Briefer AmyJ. and Clifford L. Broman Ra2elle and George Brooks Mr. and Mrs.
Edward V. 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 Calvert 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 Chester 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 Culotia Ms. Carolyn Cummisky Richard J. Cunningham Frank and Lynn Curtin Suzanne Curtis Dr. and Mrs. HaroldJ. Daitch Ms. Marcia Dalbey Marylec Dal ton Joanne Danto Honhart John H. D'Arms Mr. and Mrs. William B. Darnton I .ii 1 ind.i and Robert Dascola Ruth E. Datz Ed andjudi Davidson Jennifer Davidson
Morris and May Davidson
Ms. Margaret H. Demant
Michael T. DePlonty
Mr. David Digirolamo
Douglas and Ruth Doane
Dick and Jane Dorr
Ruth P. Dorr
Dr. and Mrs. Charles H. Duncan
Michael R. Dungan
Elsie J. Dyke
Dwight and Mary Ellen Eckler
Sol and Judith Klkin
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 Ypsilanti Damian and Katharine Farrell Dorothy Gittlcman 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 Follz Bill and Wanila Forgacs Ms. Julia Freer Mr. and Mrs. Otto W. Freitag Bart and Fran Frueh Rebecca and Bruce Gaflhey Arthur Gallagher Edward Gamache and
Leonard and Mary Alice Gay Mr. and Mrs.
Matthew J. Germane Mr. and Mrs. Ralph J. Gerson Stephen and Lauran Gilbreath Beverly Jeanne Giltrow Ilan Gittlen
Drs. Gary and Rachel Click 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 Siri Gottlieb Larry and Martha Gray Elizabeth A.H. Green G. Robinson and Ann Gregory Sally Grcvc and Walter Fisher Jim and Lauretta Gribble Mrs. Atlee L. Grillot Lawrence and Esta Grossman Cyril Grum and Cathy Strachan
Dr. Carol J. Guardo
Ms. Kay Gugala
Mr. and Mrs. Lionel Guregian
Joseph and Gloria Gun
(lary L. Hahn and
Deborah L. Hahn J.M. Hahn Marga S. Hampcl Mr. and Mrs. Carl T. Hanks David and Patricia Hanna Mr. and Mrs. Glenn A. Harder R.J. Harmon Jane A. Harrell Connie Harris Laurelynne Daniels and
George P. Harris Robert Glen Harris Mr. and Mrs. Robert B. Harris Caroll and Beth Hart Jerome P. Hartweg Mr. and Mrs.
Eugene Heffelfinger Dr. John D. Heidke Miriam Hcins 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 Melvin and Verna Holley Hisato and Wikiko Honda Mr. and Mrs. Harry Hopkins Jack and Davetta Horner Dr. Nancy Houk Jim and Wendy Fisher House Kenneth and Carol Hovey Mr. and Mrs. William Hufford Ling Hung Diane Hunter Earl Jackson Marilyn G. Jeffs JoannJ.Jeromin Wilma M.Johnson Helen Johnslonc Dean and Marika Jones Elizabeth M.Jones Phillip S.Jones Chris and Sandyjung Professor and Mrs. Frit Kacnzig William and Ellen Kahn I-oree K. Kalliainen 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 Kellcrman Mary Kemme Robert and Lois Kclrow Jeanne Kin
Robert and Vicki Kiningham Klair H. Kissel Jim Klimer Alexander Klos
John and Marcia Knapp
Dr. and Mrs. William L. Knapp
Dr. Barbel Knaupcr
Sharon L. Knight
Charles and Linda Koopmann
Michael and Paula Koppisch
Alan A. and Sandra L. Kortcsoja
Ann Marie Kotrc
Ethel and Sidney Krause
Doris and Donald Kraushaar
Kenneth C. Kreger
Syma and Phil Kroll
Eli and Lily Ladin
Cele and Martin Landay
Patricia M. Lang
Walter and Lisa Langlois
Carl and Ann LaRue
Ms. Olya K. Lash
Sue C. 1 .iv, m ii i
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
Dr. and Mrs. Richard H. lineback
Andi Lipson and Jerry Fishman
Barbara R. Lott
Donna and Paul Lowry
JohnJ. Lynch, Atty.
Gregg and Merilee Magnuson
Ronald Majewski and Mary Wolf
Donna and Parke Malcolm
Nancy and Philip Margolis
Erica and Harry Marsden
Robert and Betsy Maxwell
John M. Allen and
Edith A. Maynard James and Kathleen McGauley 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 Kittie Bcrgcr Morelock
Mr. and Mrs. Thomas D. Morrow
Louis and Julie Nagcl
R. andj. Necdlcman
Mr. and Mrs. Cecil Nesbitt
Nikki E. Neusiadt
Martha K Niland
Gene and Pat Nissen
Joan and John Nixon
Thomas P. O'Connor
Michael and Jan O'Donncll
Nels and Mary Olson
Mr. James J.Oscbold
Heiju Oak and James Packard
Michael P. Parin
Evans and Charlene Parrolt
Yassiliki 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. Picsko
Mr. and Mrs. John R. Politzer
Mr. and Mrs. Gerald Powrozek
Mary and Robert Pratt
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 Alice Rhodes Lou and Sheila Rice Judy Ripple
William and Kaye Ritlingcr Lisa E. Rives and Jason I. Collens Janet K. Robinson, Ph.D. Margaret Dearden Robinson Edith and Raymond Rose Bernard and Barbara Rosen Marilynn M. Rosen thai Charles W. Ross Jennifer Ross and Charles Daval Dr. and Mrs. David W. Roush 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 Schaetzlc Bonnie R. Schafer
Mr. and Mrs. Alan Schall Mr. and Mrs. F. Allan Schenck Jcannette C. Schneebergcr Dr. and Mrs. DirkJ. Scholten Thomas H. Schopmeyer Kaiherine Collier and
Vizhak Scholten Sue Schroeder Aileen M. Schulze Sylvia and Leonard Scgel Richard A. Scid Elliot A. and
Barbara M. Serafin Kirtikant and Sudha Shah Anonymous Matthew D. Shapiro and
Susan L. Garetz Laurence Shear and
George Killoran Katlileen A. Sheehy William J. Sherzer 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 Skin ner-Oc lander 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 Stadel Irving M. Stahl and
Pamela M. Rider David Steinhoffand
Jayc Schlesinger Robin Stephenson and
Terry Drcnt Steve and Gayle Stewart Ms. Lynette Stindt and
Mr. Craig S, Ross Mr. and Mrs. James Stokoe Judy and Sam Stulberg An ant Sundaram Valerie Y. Suslow Alfred and Selma Sussman Richard and June Swam Yorozu Tabata K. Boyer and S. Tainter Junko Takahashi Larry and Roberta Tankanow Professor and Mrs.
Robert C. Taylor Kenneth and Benita Teschcndorf Brian and Mary Ann Thelcn Catherine and Norman Thoburn Neal Tolchin Jack, Nancy and Lesley Tomion
Egons and Susanne Tons Jim Toy
Paul ;ind Barbara Trudgen Roger and Barbara Trunsky Jeffrey and Lisa Tulin-Silver Mr. and Mrs. Marshall Tymn Nikolas Tzannetakis Greg Upshur Arthur and Judith Vander Bram and Lia Van Leer Phyllis Vcgter Kitty Bridges and
David Velleman Ingrid Verhammc Breni 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 Wcinreich Drs. Bernard and Sharon Wcis; Lisa and Steve Weiss Elizabeth A. Wenuien Mr. and Mrs. Peter H. Wilcox
John and Christa Williams
Raymond C. Williams
Diane M. Willis
Robert and Mary Wind
Dr. and Mrs. Lawrence D. Wise
Mr. C. Christopher Wolfe and
Ms. Linda Kiddcr Barbara H. Wooding Stewart and Carolyn Work Israel and Fay Woronoff Robert E. Wray, III Ernst Wuckert Patricia Wulp Fran and Ben Wvlic Mrs. Antonetle Zadrozny Dr. Stephen C. Zambito Robert and Charlene R. Zand George and Nana Zissis and several anonymous donors
Bally's Vic Tanny
Callinetics by Diane
Courtney and Lovell
Gallery Von Glahn
Great Harvest Bread Company
Sweet Lorraine's Cafe & Bar
Whole Foods Market
Chase and Delphi Baromes
A.A. (Bud) Bronson
Pauline M. Conger
Alice Kelsey Dunn
Robert S. Feldman
Isabellc M. Garrison
Charles W. Hills
George R. Hunsche
Hazel Hill Hum
Virginia Ann Hunt
Virginia Elinor Hunt
Brian E. Kelley
Earl Meredith Kempf
Edith Staebler Kempf
R. Hudson Ladd
Lorene Crank Lloyd
Frederick C. Matthaei, Sr.
Arthur Mayday, Jr.
Mr. and Mrs. Merle Elliot Myers
Martha P. Palty
Gwen and Emerson Powrie
James H. and
Cornelia M. Spencer Ralph L. Steffek Charlene Parker Stern Jewel B. Stockard Mark Von Wyss Barbara Woods Peter H. Woods
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
Sue and Michael Abbott
Ms. Janice Stevens Botsford
John Bowdcn Partners in Wine
Mr. and Mrs. Jonathan Bulklcy
James and Betty Byrne
Chelsea Flower Shop
Mr. Phil Cole
Courtney and Love 11
Cousins Heritage Inn
Curtin and Alf Violinmakers
Judy and Richard Fry
The Gandy Dancer
Matthew C. Hoffman and
Kerry McNulty Stuart and Maureen Isaac Bob and Gloria Kerry Heidi and Josh Kerst Howard King and
Elizabeth Sayre-King Mr. and Mrs. Edward Kluin Maggie Long
Perfectly Seasoned Catering Main Street Ventures Mr. and Mrs. Donald Lystra
Dough Boys Bakery Steve and Ginger Maggio Jerry and Rhona Meislik The Michigan Theater Hillary Murt and
Bruce Friedman Ms. Karen ONeal Regency Travel Jesse Richards Richard and Susan Rogcl Maya Savarino Ms. Sara Savarino Professor and Mrs.
Thomas Schribcr Thomas Sheets SKR Classical David Smith Photography Nesta Spink
Ix)is and Jack Stegeman Edward Surovell and Natalie Lacy Tom and Judy Thompson Janice Torno
Dr. and Mrs. John F. Ullrich Charlotte Van Curler Ron and Eileen Wciser Paul and Elizabeth Vhousc
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
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 19 Ford Motor Company 48 Fraleigh's Landscape
28 General Motors
Corporation 30 Glacier Hills 13 Hagopian World of Rugs 50 Harmony House
32 run AUUilunuia
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
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
Insurance 35 University of Michigan
33 University Productions
39 Whole Foods Market 29 WQRS