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UMS Concert Program, Wednesday Jan. 31 To Feb. 10: University Musical Society: 1996 Winter - Wednesday Jan. 31 To Feb. 10 --

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Season: 1996 Winter
University Of Michigan, Ann Arbor

University Musical Society
of Ike University of Michigan Ann Arbor
The 1996 Winter 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 this spring, the UMS will have brought to the community 65 performances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's 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. Resident, 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 President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group
in our community which perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
Carl A. Brauer, Jr.
Brauer Investment
"Music is a gift from
God to enrich our
lives. Therefore, I
enthusiastically support the University Musical Society in bringing great music to our community."
Joseph Curtin and Greg Alf
Owners, Curtin & Al$ "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. XP "
L. Thomas Conlin Chairman of the Board and Chief Executive Officer, Conlin-Faber Travel The University Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
Conlin -Faber Travel
David G. Loesel
T.M.L. Ventures, Inc.
"Cafe Marie's
support of the
University Musical
Society Youth
Programs is an honor and a privilege. Together we will enrich and empower our community's youth to carry for?ward into future generations this fine tradition of artistic talents."
Paul M. Montrone President and CJiief Executive Officer, Fisher Scientific International, Inc. "We know the Uni?versity of Michigan
will enjoy the Boston Symphony as much as we New Englanders do. We salute the University Musical Society for making these performances possible."
Alex Trotman Chairman, Chief Executive Officer, Ford Motor Company Tord takes 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-
tinning 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-tanUy, the countless numbers of Students who have been culturally enriched by the Society's impressive accomplishments."
John Psarouthakis,
Chairman and Chief
Executive Officer,
"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 lidison "The University Musical Society is one of the organi-
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."
Robert J. Delonis Chairman and Chief Executive Officer, Great Lakes Bancorp "As a long-slanding member of the Ann Arbor commu-
nir)F, 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 Resident,
Jacobson Stores Inc. "We arc 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
lo support the University Musical Society and the cultural contribution it makes to the community."
Frank A. Olson, Chninrwin and CJiO 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. McMullen
Iresident, Thomas H. McMuilen Cm., Inc. "I used to feel that a U of M Notre Dame football ticket
was the best ticket in Ann Arbor. Not anymore. The UMS provides the best in educational entertainment."
Joe E. O'Neal
O'Neal Construction
"A commitment to
quality is the main
reason we are a
proud supporter of
the University Musical Society's efforts to bring the finest artists and special events to our community."
i o'neal
construction inc
Iva M.Wilson
Philips Display
"Philips Display
Company is proud to support the University Musical Society and the artistic value it adds to the community."
Sue S. Lee
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding
organization as the Musical Society at the University of Michigan."
Larry McPherson President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the
University Musical Society. While we've only been in the Ann Arbor area for the past 82 years, and the UMS has been here for 116, we can still appreciate the history they have with the city -and we are glad to be part of that history."
George H. Cress
Chairman, President,
and Chief Executive
Officer, Society Bank,
The University
Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
Ronald M. Cresswell, Ph.D. Vice President and Chairman, Pha rmaceutical Division, Warner Lambert Company
"Warner Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Michael Staebler Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz con?gratulates the
University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Edward Surovell
The Edioard Surovell
"Our support of
the University
Musical Society is
based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Dr. James R. Irwin Chairman and CEO, The Iritrin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Staffing
began its support of the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
The University Musical Society of the university of Michigan
Board of Directors
I Icrbcrt Ainster
President F. Bruce Kulp
Vire-President Carol Shalita Smokier
Secretary Richard Rogel
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell James J. Duderstadi
Walter M. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper Rebecca McGowan Joe O'Neal John Psaroulhakis George I. Shirley John O. Simpson Herbert E. Sloan Edward D. Surovell Marina v. N. Whitman Iva Wilson Elizabeth Yhousc
Gail W. Rector President Emeritus
UMS Senate Robert G. Aldrich Richard S. Berger Carl A. Brauer, Jr. Allen P. Britton Douglas D. Crary John D'Arms Robben W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long Judyth Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur KPicrpont John Psarouthakis Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiscr Gilbert Whitaker
Kenneth Fischer Executive Director
Catherine Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Dorothy Chang Sally A. Cushing David B. Devore Erika Fischer Susan Fitzpa trick Rachel Folland Greg Former Adam Glaser Michael L. Gowing Philip Guire Jessie Halladay Elizabeth Jahn Ben Johnson John B. Kcnnard.Jr. Michael J. Konziolka Ronald J. Reid Henry Reynolds
R. Scott Russell Thomas Sheets Anne Griffin Sloan Jane Stanton Lori Swanson
Work StudyInterns Laura Birnbryer Steven Chavez Rebecca DeStefano Jessica Flint Ann Hidalgo Jerry James Emily Johnson Naomi Kornilakis Janet Maki Odetta Norton Tansy Rodd James Smart Risa Sparks Ritu Tuteja Scott Wilcox
Donald Bryant
Conductor Emeritus
1995-96 Advisory Committee Susan B. Ullrich, Chair Maya Savarino, Vice-Chair Kathleen Beck Maly, Secretary Peter H. deLoof, Treasurer
Gregg Alf Paulett Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan Letitia Byrd Betty Byrne, Staff Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter deLoof Rosanne Duncan H. Michael Endres Don Faber Penny Fischer Barbara Gelehrter Beverley Geltner Margo Halsted Esther Heitler Deborah B. Hildcbrandt Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Kahn
Mercy Kasle Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Levitan Doni Lystra Kathleen Beck Maly Howard Markel Margaret McKinley Clyde Metzger Ronald G. Miller Len Niehoff Karen Koykka O'Neal Marysia Oslafin Wendy Palms leva Rasmussen Maya Savarino Janet Shatusky Aliza Shcvrin Shiela Silver Rita Simpson Ellen Stross James Telfer, M.D. Kathleen Treciak-Hill 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.
General Information
University Musical Society Auditoria Directory & Information
Coal Rooms
Hill Auditorium: Coal rooms arc located on the cast and
west sides of the main lobby and are open only during the
winter mondis.
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 coal racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains arc 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 arc located at die
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.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 3 13.764.2538.
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, Concertmasler, and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms arc 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 arc located on the main floor off of aisle one.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and reslrooms.
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.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children We welcome children, but very young chil?dren can be disruptive to a performance. Children should be able to sit quietly in their own seats through?out a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction Please turn off or suppress electronic beeping and chiming digital watches or pagers during performances.
Cameras and Recorders Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends A silent auditorium with an expec?tant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of pro?gram pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Ticket Services
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Fax Orders 313.747.1171
Visit Our Box Office in Person At Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
Gift Certificates Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
Returns If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduc?tion as refunds are not available. Please call 313.764.2538, 10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
Now in its 117th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as the Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affili?ated with the University of Michigan. Professor Frieze, who at one time served as acting president of the University, became the first president of the-Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, the Choral Union refers not only to the chorus but the Musical Society's acclaimed ten-concert series in Hill Auditorium. Through the Chamber Arts Series, Choral Union Series, Jazz Directions, World Tour, and Moving Truths Series, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring the world's finest dance companies,
opera, theater, popular attractions, and presentations from diverse cultures. The University Musical Society has flourished these 117 years with the support of a generous musicand arts-loving community, which has gathered in Hill and Rackham Auditoria, Power Center, and The Michigan Theater to experience the artistry of such outstanding talents as Leonard Bernstein, the Berlin and Vienna Philharmonic Orchestras, Sweet Honey in the Rock, the Martha Graham Dance Company, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, The Stratford Festival, The Beaux Arts Trio, Cecilia Bartoli, and the Chicago Symphony Orchestra.
Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strength?ened through educational endeavors, commissioning of new works, programs for young people, artists' residencies such as the Martha Graham Centenary Festival and the Society Bank Cleveland Orchestra Weekend, and through other collaborative projects.
While it is proudly affiliated with the University of Michigan, is housed on the Ann Arbor campus, and collaborates regularly with many University units, the Musical Society is a separate, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
The University Musical Society Choral Union has performed throughout its 117-year history with many of the world's distinguished orches?tras 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 Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
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, Tchaikovsky's Snow Maiden, released by Chandos Records in October of that year. Last season, the ensemble joined forces with the DSO for subscrip?tion performances of Ravel's Daphnis el ChloeanA Mahler's Symphony No. 2 (Resurrection). In 1995, the Choral Union established an artistic association with the Toledo Symphony, inaugurating the new partnership with a performance of Britten's War Requiem under the baton of Andrew Massey. This season, the Choral Union will again join the Toldeo Symphony for performances of Bach's Mass in b minor under conductor Thomas Sheets, and the Berlioz Requiem with Andrew Massey.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion a love of the choral art.
Hill Auditorium
Completed in 1913, this renowned concert hall was inaugurated at the 20th Annual Ann Arbor May Festival and has since been home to thousands of University Musical Society concerts, including the annual Choral Union Series, through?out its distinguished 82-year history.
Former U-M regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings. Mill 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 1986.
Currently, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Rackham Auditorium
For over 50 years, this intimate and unique con-cei t hall has been the setting for hundreds of world-acclaimed chamber music ensembles pre?sented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and pre?sented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
POWER CENTER for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation--Marcel Marceau.
The fall of iggi 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 the 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, ig6g,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 ig87janelle 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 .mailing address and box office location for UMS concertgoers.
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 111 ?-?11 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 10:15 to 10:45 a.m.
University Musical Society 1996 Winter Season
St. Louis Symphony Leonard Slatkin, conductor Linda Hohenfeld, soprano
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 con?cert repertoire, Michigan league, 7Pm.
St. Petersburg Philharmonic Yuri Temirkanov, conductor Pamela Frank, violin Friday, January 26, 8pm Hill Auditorium Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", second in a series in which Professor Whiting discusses the con?cert repertoire, Michigan League, 7pm.
Made possible by a gift from Pepper, Hamilton 6j" Schertz.
The Guthrie Theater of Minneapolis
January 27-28, 1996 k. (Impressions from Kafka's The THal)
Saturday, January 27, 8pm Sunday, January 28, 2pm Power Center Harold Pinter's Old Times Sunday, January 28, 7pm Power Center Philips Educational Presentations: Following each performance by the Guthrie Theater, members of the com?pany, along with Guthrie Education Coordinator Sheila Livingston and Guthrie Study Guide Editor Belinda Westmaas Jones, will join distinguished University of Michigan professors, indicated below, for panel discussions: Saturday, January 27 JoeDowling, Artistic Director of the Guthrie Theater, "The Guthrie and Trends in Theater", 3rd Floor Michigan League, Koessler IJbrary, 7pm. Saturday, January 27 (following the 8pm performance ofk.) Post-Performance Panel Discussion on stage with Ingo Seidler, UM Professor of German, and Fred Peters, UM Residential College Chair of Comparative Literature. Sunday, January 28 (follottring the 2pm performanc ofk.) Post-Performance Panel Discussion, Power Center Green Room, with Professors Seidler and Peters (see above). Sunday, January 28 {following the
7pm performance oOld Times.) Post-Performance Panel Discussion on stage, with Martin Walsh, UM Residential College lecturer in Drama and Head of Drama Constitution, and Enoch Brater, UM Professor of English Language and Literature and Professor of Theater. The Guthrie Theater tour is sponsored by AT&T. Special support and assis?tance are provided by the National Endowment for the Arts, Arts Midwest, and Mid-America Arts Alliance.
Wynton MarsalLs Lincoln Center Jazz Orchestra Octet Jazz at Lincoln Center Presents, "Morton, Monk, Marsalis"
Wednesday, January 31, 8pm Michigan Theater The UMSJax. Directions Series is pre?sented with support from WEMU, 89.1FM, Public Radio from Eastern Michigan University. Made possible by a gift from Thomas B. McMullen Company.
Feel the Spirit An Evening
of Gospel Music
The Blind Boys of Alabama
featuring Clarence Fountain,
The Soul Stirrers, and Inez
Thursday, February 1, 8pm
Hill Auditorium
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 Presentation: Garrick Ohlsson, "Chopin In Our Time", Saturday, February 3, Rarkham -flfi Floor Assembly Hall, 4pm. Made possible by a gift from Regency Travel, Inc.
Boston Symphony Orchestra Seiji Ozawa, conductor Wednesday, February 7, 8pm Mill Auditorium
Philips Educational Presentation: "The BSO: All the Questions You've 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; Ijiis Schaefer, Emeritus Piccolo Principal, BSO; and Owen Young, Cellist, BSO; Michigan League, 7pm. Made possible by a gift from Fisher Scientific International.
Latin Jazz Summit featuring Tito Puente, Arturo Sandoval, and Jerry Gonzalez and The Fort Apache Band
Saturday, February 10, 8pm Hill Auditorium Philips Educational Presentation: Dr. Alberto Nacif, Percussionist and WEMU Radio Host, 'A Lecture Demonstration of Afro-Cuban Rhythms", Michigan League, 7pm. The UMSJaxz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Moscow Virtuosi Vladimir Spivakov, conductorviolinist
Friday, February 16, 8pm Rackham Auditorium
Philips Educational Presentation: Violinist and Conductor Vladimir Spivakov 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 Made possible by a gift from Regency Travel, Inc.
New York City Opera National Company Verdi's La TYaviata 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 Helen Siedel, UMS Education Specialist, "Know Before You Go: An AudioVisual Introduction to 'La Traviata", Michigan League, 6:45pm; February 23 Martin Katz, Accompanist-Coach-Condutor, "The Specific Traviata ", Michigan League, 7pm; February 24 Helen Siedel, UMS Education Specialist, 'Especially for Kids ? The Story oflM Traviata ", explained with music and videos, Green Room, 1:15-1:45pm. Power Genter; Made possible by a gift from TriMas Corporation.
The Music of Hildegard von
Sunday, February 25, 7pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: fames M. Borders, Associate Professor of Musicology, "Medieval Music for a Modern Age", St. Francis of Assisi Church, 6pm.
Tokyo String Quartet Pinchas Zukerman, violinviola
Monday, February 26, 8pm Rackham Auditorium Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", third in a series in which Professor Whiting discusses the concert repertoire, Michigan League, 7pm. Made possible by a gift from KMD Foundation.
John Williams, guitar
Tuesday, February 27, 8pm Rackham Auditorium
San Francisco Symphony Michael Tilson Thomas, conductor
Friday, March 15, 8pm Hill Auditorium Philips Educational Presentation: Jim Ixonard, Manager, SKR Classical, "Mahler in Love: the Fifth Symphony", Michigan League, 7pm. Made possible by a gift from McKinley Associates, Inc.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Grand Finale Recital VI)
Saturday, March 16, 8pm Mill Auditorium Made possible by a gift from the Estate of William It. Kinney.
Alvin Ailey American Dance Theatre
Tuesday, March 19, 7pm
(Family Show) Wednesday, March 20, 8pm Thursday, March 21, 8pm Friday, March 22, 8pm Power Center
Philips Educational Presentations: Robin Wilson, Assistant Professor of Dance, University of Michigan, "The Essential Alvin Ailey: His Emergena and Legacy as an African American Artist'. March 20, Michigan league Koesster Library, 7pm. Dr. Lorna McDaniel, Associate Professor of Music, University of Michigan, "The Musical Influences of Ahnn Ailey", March 21, Michigar.
Ijtague, Koessler Library, 7pm. (Christopher Zunner, Aluin Alley Company Manager, and Company Member, "The Alvin AiUy American Dance Theater", March 22, Michigan league, Koessler Library, 7pm. 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 Burrell, jazz; Manuel Barrueco, classical; Jorma Kaukonen, acoustic blues; Stanley Jordan, modern jazz Saturday, March 23, 8pm Rackham Auditorium
Faculty Artists Concert Tuesday, March 26, 8pm Rackham Auditorium
The Canadian Brass Saturday, March 30, 8pm Hill Auditorium
Made possible by a gififrom Great Lakes Bancorp.
Bach's b-minor Mass The UMS Choral Union The Toledo Symphony Thomas Sheets, conductor
Sunday, March 31, 2pm Hill Auditorium
Tallis Scholars Thursday, April 11, 8pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: Ijmise Stein, Associate Professor of Musicology, University of Michigan, "To draw the hearer by chains of gold by the ears...": English Sacred Music in the Renaissance, St. Francis of Assisi Catholic Church, 7pm.
Ravi Shankar, sitar Saturday, April 13, 8pm Rackham Auditorium
Philips Educational Presentation: Rajan Sachdeva, Sitar Artist and Director, Institute of Indian Music, "A LectureDemonstration of Indian Classical Music on Sitar", Michigan league, 6:30pm.
Israel Philharmonic
Zubin Mehta, conductor
Thursday, April 18, 8pm
Hill Auditorium
Philips Educational Presentation:
Steven Moore Whiting, Assistant
Professor of Musicology, 'Classics
Reheard ", fourth in a series in which
Professor Whiting discusses the concert
repertoire, Stichigan League, 7pm.
Made possible by a gift from
Dr. John Psarouthakis, the
Paiedeia Foundation, andJPEinc.
PurcelTs Dido and 'Eneas
Mark Morris Dance Group
Boston Baroque Orchestra
and Chorus
Martin Pearlman, conductor
with Jennifer Lane, James
Maddalena, Christine
Brandes and Dana Hanchard
April 19-20, 8pm
Sunday, April 21, 4pm
Michigan Theater
Philips Educational Presentation:
Steven Moore Whiting, Assistant
Professor of Musicotogy, University of
Michigan, 'Classics Reheard", fifth
in a series in which Profesor Whiting
discusses the concert repertoire, SKR
Classical, 7pm.
This project is supported by Arts
Midwest members and friends in
partnership with Dance on Tour.
Ensemble Modern John Adams, conductor featuring the music of John Adams and Frank Zappa Tuesday, April 23, 8pm Rackham Auditorium
Philips Educational Presentation: James M. Borders. Associate Professor of Musicology, "The Best Instrumental Music You 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 1994-95 Season: dancer Arthur Aviles of the Bill T. JonesArnie Zane Dance Company in StillHere, pianist Garrick Ohlsson onstage at Rackham Auditorium for one installment of his six-recital cycle of the Complete Solo Piano Music of Frederic Chopin; [he clarinets of Giora Feidman, featured in Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind, a work cocommissioned by the University Musical Society which won first prize at this year's Kennedy Center Friedheim Awards.
of the University of Michigan 1996 Winter Season
Event Program Book
Wednesday, January 31, 1996
Saturday, February 10, 1996
yth Annual Choral Union Series Hill Auditorium
33rd Annual Chamber Arts Series Rackham Auditorium
25II1 Annual Choice Events Series
Wynton MarsalisLincoln Center 3 Jazz Orchestra Octet
Wednesday, January 31, 1996, 8:00pm The Michigan Theater
Feel the Spirit 7
Thursday, February 1, 1996, 8:00pm Hill Auditorium
The King's Singers 13
Saturday, February 3, 1996, 8:00pm Hill Auditorium
Garrick Ohlsson 27
Sunday, February 4, 1996, 4:00pm Rackham Auditorium
Boston Symphony Orchestra 35
Wednesday, February 7, 1996, 8:00pm Hill Auditorium
Latin Jazz Summit 47
Saturday, February 10, 1996, 8:00pm Hill Auditorium
General Information
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time
Every attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audito?rium and seat location and ask them to call University Security at 763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS per?formances included in this edition. Thank you for your help.
Thomas B. McMullen
Wynton Marsalis and the Lincoln Center Jazz Orchestra Octet
Wynton Marsalis, Music Director, trumpet
Dr. Michael White, clarinet
Wycliffe Gordon, trombone, tuba
Wess Anderson, alto and sopranino saxophones
Victor Goines, tenor and soprano saxophones, clarinet
Eric Reed, piano
Reginald Veal, bass
Herlin Riley, drums
Wednesday Evening, January 31, 1996 at 8:00
The Michigan Theater Ann Arbor, Michigan
Performing the music of Jelly Roll Morton, Thelonious Monk, and Wynton Marsalis.
The program will include selections such as Jelly Roll Morton's Black Bottom Stomp, The Pearls, and Jungle Blues. In addition, the band will perform the music of Thelonious Monk arranged by Wynton Marsalis including Monk's Mood, Reflections, Thelonious, Green Chimneys as well as original material by Wynton Marsalis.
Twenty-seventh concert of the njth season
2nd Annual Jazz Directions Series
Special thanks to Thomas B. McMullen, President, Thomas B. McMullen Company for helping to make this performance possible.
The UMSJazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Thank you to Hammell Music, Inc., Livonia, Michigan for the piano used in this evening's performance.
The Jazz at Lincoln Center's 1996 Winter tour is sponsored by Delta Air Lines and Metropolitan Life Foundation.
International Music Network, Gloucester, Massachusetts
Large print programs are available upon request from an usher.
The 1996 Morton, Monk, Marsalis winter tour marks the fifth season on the road for Jazz at Lincoln Center. Wynton Marsalis, Artistic Director of Jazz at Lincoln Center, leads a group of musicians from the interna?tionally-acclaimed Lincoln Center Jazz Orchestra, performing unique compositional stylings of Jelly Roll Morton and Thelonious
Monk. Works by these two seminal jazz artists are fea?tured alongside Mr. Marsalis' own compositions, all interpreted by the ensemble who, according to the Los Angeles Times, "performs with a combination of
respectful elegance and improvisational vigor" and "are universally outstanding."
Jelly Roll Morton is widely regarded as the first great composer of jazz. He was born in New Orleans in 1890. Morton believed that jazz contained "the finest ideas from the greatest operas, symphonies, and overtures." His fusion of these elements and Afro-Hispanic rhythms gave birth to a style of high imagination filled with vibrant colors. An inspired composer, pianist; and improviser, Morton changed the course of American music in the twentieth century. Morton's work showed that highly arranged compositions could retain the improvised feel of traditional New Orleans jazz. Featured works on this program include Morton's Black Bottom Stomp, The Pearls, and King Porter Stomp.
Thelonious Monk is considered by many to be the most original composer in the post?war modern jazz era. Monk made his mark early as a sideman with tenor saxophonist
Coleman Hawkins. His compositions 'Round Midnight and Epistrophy were recorded by trumpeter Cootie Williams. Monk's engage?ment as house pianist at Minton's Playhouse in Harlem put him squarely at the center of the bebop revolution and his recordings doc?ument his highly individualized musical con?ception. Monk's elaboration of the Harlem stride piano style and love of the blues were showcased in his angular, playful compositions. As Monk's career progressed he achieved a significant degree of popularity. Such Monk standards as Criss Cross, I Mean You, and Blue Monk will be presented by tonight's ensemble, as well as Marsalis' own original arrangements of such classics as Green Chimneys, Evidence, Four In One, Thelonious, Reflections, and Crepuscule with Nellie.
The "Morton, Monk, Marsalis" tour will also showcase compositions by Artistic Director Wynton Marsalis. Marsalis' prolific composi?tional style embraces and elaborates upon a variety of jazz idioms, from the rhythms and colors of the blues and his New Orleans roots, to the harmonic sophistication of Charlie Parker and John Coltrane. The program offers audiences the opportunity to discover how the works of two of jazz music's most important compositional voices have influ?enced Marsalis' own musical conception.
Jazz at Lincoln Center produces concerts, lectures, films, recordings, radio broadcasts, educational programs for adults and children, and national and international tours of its programs. Under the leadership of Wynton
Marsalis, the pro?gram has risen to national promi?nence from its inception as a sum?mer concert series, Classical Jazz, in 1987. Four suc?cessful summers later, Lincoln Center announced the formation of a
year-round jazz program, the first of its kind at a major performing arts center. Jazz at Lincoln Center has been earmarked to become the next full constituent of Lincoln Center for the Performing Arts, with a tar?get date for independence this July 1, 1996.
1 ynton Marsalis, the most popular and acclaimed jazz musician and composer of his generation, is an eight-time Grammy Award winner in both the jazz and classical genres. He is the youngest musician in the history of the Grammys to win the jazz soloist performance award for three consec?utive years, and the first to win Grammys for both jazz and classical recordings. He has performed with the giants of jazz, including Art Blakey, Dizzy Gillespie, Sarah Vaughan, EKin Jones, Harry "Sweets" Edison, the Modern Jazz Quartet, Joe Henderson, and Jon Hendricks, and has appeared as a soloist with many of the world's leading symphony orchestras. Through his performances and recordings, his extensive work with children and students, and his role as Artistic Director of Jazz at Lincoln Center, Mr. Marsalis has brought an increasingly wide audience to jazz and cast new light on its central place in American culture.
Wynton Marsalis was born in New Orleans, Louisiana in 1961. His father, Ellis Marsalis, is a widely respected musician, composer, and educator. Mr. Marsalis was given his first trumpet at the age of six. In high school he played for the New Orleans Civic Orchestra and entered Tanglewood's Berkshire Music Center's summer program. At the age of eighteen he enrolled in Thejuilliard School. In 1980, Mr. Marsalis went on the road with Ait Blakey, and in 1981 with Herbie Hancock, who produced his debut
album, which was nominated for a Grammy Award. Mr. Marsalis has been impressively prolific, sometimes releasing jazz and classi?cal albums in the same year; in 1984 he stunned the music world when he won awards in both genres. Besides the torrent of recordings, Mr. Marsalis has kept up a dizzying tour schedule, winning over audi?ences worldwide and headlining annual celebrations and festivals.
In recent years, Mr. Marsalis has produced a group of extended works conveying a range and depth of human expression rarely found in contemporary American music. Mr. Marsalis has produced numerous works commissioned by Jazz at Lincoln Center, including In This House, On This Morning in igg2, a collaboration with the New York City Ballet entitled Jazz: Six Syncopated Movements, and 1994's epic depiction of the story of American slavery, Blood on the Fields, written for big band and vocals. Jazz at Lincoln Center will be touring this work in February of 1997. Mr. Marsalis produced two new major works during 1995, including his collaboration with choreographer Twyla Tharp entitled Jump Start, and At the Octoroon Balls, a string
quartet which came about through a collaboration between Jazz at Lincoln Center and the Chamber Music Society of Lincoln Center. Jazz at Lincoln Center has commissioned Mr. Marsalis to write a new work
for big band in collaboration with Judith Jamison of the Alvin Ailey American Dance Theater for the inaugural Lincoln Center Festival in August 1996.
Mr. Marsalis is a devoted and passionate spokesman for jazz and music education; he frequently conducts workshops for young
people in the hope of keeping jazz vibrant and thriving. His healthy preoccupation with education has led him to his current projects for PBS, "Marsalis on Music," and NPR, "Making Music." The four-part PBS series aired in October 1995 and is available for sale. The NPR series allows him to explore in detail many of the issues he deals with in "Marsalis on Music." Mr. Marsalis has written a companion book to the PBS series, which includes a CD. This comes on the heels of his first book, a collaboration with Frank Stewart entitled Sweet Suring Blues on the Road. He has perpetuated the artistry of both famous and lesser-known jazz greats by organizing concerts and educational events around their works, and he continues to nurture flourishing careers of up and coming artists.
This evening's performance marks Mr. Marsalis's UMS debut.
The Mission ofJazz at Lincoln Center. . .
Jazz at Lincoln Center aims to establish the value of jazz as fine art widiin the context of America's premier performing arts center. Its primary goal is the enriching challenge of producing first class programming of the highest caliber and showcasing the rich canon of jazz masterworks that exist in. hopes of making more people aware of this great American art form and the wealth of contributions that have been made by musi?cians across this century from every corner of the nation. Founded as a full-time, year-round department in 1991, Jazz at Lincoln Center has pursued curatorial, educational, and archival objectives by presenting jazz performances of rhe highest quality, teaching adults and children about jazz and its rela?tionship to other art forms, and developing a world-class database to provide intellectual and historical frames of reference for current
and future generations of artists, scholars and patrons. Each of these objectives remains intact as Jazz at Lincoln Center continues to expand and take programs beyond the Lincoln Center campus such as tours by the Lincoln Center Jazz Orchestra and a nation?ally syndicated radio series which re-broad?casts its concerts to hundreds of thousands of people. Jazz at Lincoln Center will soon reap the rewards gained by attaining the status of a full constituent of Lincoln Center, cement?ing the program's permanent presence at Lincoln Center.
On the most basic level, Jazz at Lincoln Center vims to specify the rich body of master-works that make up the 'jazz canon" and establish definitive contributions to (and definitive elements of) this form, thereby devising a representative and definitive anthology of jazz creation. Further, Jazz at Lincoln Center seeks to enrich and expand this canon by commissioning new works from jazz composers. By establishing the parameters of a vernacular -specifically the extension, elaborations and refinements of the American vernacular can in turn create an environment at Lincoln Center in which this vernacular can flourish and continue to move forward.
Jazz at Lincoln Center aspires to stylize idiomatic particulars of American experience into aesthetic statement of universal experi?ence through an artists vision that addresses the richness of the music as a whole. This is a vision that includes African rhythms, New Orleans street beats, the Native American impact on Kansas City swing, Latin grooves, romantic ballads, blues, American inflected virtuosity, and orchestral concepts original to this country. Jazz at Lincoln Center is profoundly dedicated to the celebration and preservation of this vision, and it offers its due respect through inventive programming, extensive rehearsal and first-class presentation.
This evening's performance marks the LCJO's third appearance under UMS auspices.
presen Is
Feel the Spirit
An Evening of Gospel Music
Blind Boys of Alabama featuring Clarence Fountain
The Soul Stirrers
and special guest Inez Andrews
Thursday Evening, February i, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
The Soul Stirrers
The Blind Boys of Alabama featuring Clarence Fountain and special guest Inez Andrews
The program selections will be announced from the stage.
Twenty-eighth Concert of the 11 jth Season
25th Annual Choice Series
Tour Staff:
Fred Stites, Technical DirectorLighting Designer
Dwight Markus, Company Manager
Rod Nielsen, Sound Engineer
Lamont Blount, Artist's Personal Road Manager
Special thanks to the Rosebud Agency and Morrow Management Columbia Artists Management Inc., Beverly Hills, California
Large print programs are available upon request from an usher.
hen came The Blind Boys I and the earth moved," proclaimed a review in Folk Roots magazine. 'This is a group with a sound -Fountain's gravel against the Blind Boy's harmony silk -and they deploy it as though it explained the world," wrote James Hunter for Rolling Stone magazine.
As pilgrims on the Gospel Highway for nearly sixty years and a Grammy nomination for Gospel Album of the Year for their highly-acclaimed album Deep River, the Blind Boys of Alabama are stronger than ever. The road from Talledega, Alabama's Institute for the Deaf and Blind, to Hollywood's House of Blues was a long one, and the journey was often a test of faith: there were the legal inequities and social insults that marred road life the early days; there were the bilkings by record company sharks; there were many temptations to "crossover" to secular rhythm and blues; and there were painful losses of colleagues and friendly rivals.
But Clarence Fountain was daunted by none of it. "I just kept waiting for the big thing," he said. "I knew we would hit the jackpot one day."
Few singers of Fountain's age possess his assured perseverance; few groups formed in the Depression are still going, and none -Blind Boys excepted -can look back on this past decade as the most successful. The group just released their first ever "live" album which was recorded at the Hollywood's House of Blues where the Blind Boys held church on January 14-16, 1995. The first night's concert became the first full-length concert to be broadcast on the Internet in history. If that seems ironic for a group which released its debut "78" in 1948, it may be a matter of the group's timeless energy finding yet another medium for their message.
Although the seeds of the group took root among friends singing informally in
1937. The Blind Boys of Alabama were formed in 1939 by Clarence Fountain at the Talladega Institute for the Blind in Alabama, where the boys studied music in Braille, learned piano chords and "musical structures to this and that," says Fountain. Although the group's music education was a good one, there was no formal training, nor was there access to Gospel music, except for the infrequent occasions in which they were permitted off the campus to attend church. It was at this time that the group discovered the Gospel harmony quartets, such as the Golden Gate Quartet and The Soul Stirrers. The Blind Boys began to develop and refine their own style based on these quartets. Often they would organize a big crowd at someone's house for what was called "a sing." They would also perform at the World War II soldier camps. Encouraged by a good response, The Blind Boys of Alabama later became more widely heard through their association with Reverend Paul Exkano on WWL, a 50,000 watt radio station based in New Orleans.
The Blind Boys' extensive recording career was launched in 1948, when they recorded their first national hit, Can See Everybody's Mother But Mine for the Coleman Record label. The group has since recorded over twenty chart-topping albums for numerous record labels, including Palda Records, Specialty Records and Veejay Records. Recently re-released on Ace records is a CD box set which includes two of the original Blind Boys of Alabama Specialty albums, Stand by Me and Marching Up to Zion. The group's album Deep River on the ElektraNonesuch label, demonstrates the diversity of a group that is equally at home with the century-old a capellaJubilee style of singing, a sanctified "back-beat" Blues style, or a contemporary funk style. It is this diversity and artistic vision that has enabled The Boys to continuously and power?fully move religious and secular audiences
for over fifty years with their impassioned, electrifying Gospel music.
Fierce determination and strength of purpose have also fueled The Blind Boy's success and longevity. Fountain elaborates on this aspect in the group's development in an interview with the Chicago Tribune. "When you're blind, people often look on you as helpless, as if you can't do anything for yourself. So, we had to be not only as good as anyone else, we had to be better, just so they wouldn't knock us out of the competition. We had to work harder than most folks to get onto this stage."
"This stage" extended to Broadway in ig88, where The Blind Boys of Alabama fea?turing Clarence Fountain, were introduced to secular audiences with the starring role in Tie Gospel at Colonus, the classic Greek tragedy of Oedipus presented in a contemporary Pentecostal motif. The innovative production won an Obie Award and wide critical acclaim.
The Broadway production opened new venues to a group which has always remained faithful to its mission while readily adapting to new mediums, be they theaters, clubs or the Internet. Yet to group's singular musical mission of delivering Gospel to as many people as possible remains sacred. This strength of purpose in the artistic vision of The Blind Boys of Alabama is best character?ized by Clarence Fountain, "[We] want to get to the masses, and reach as many people as [we] can, to make them understand the Gospel."
This evening's performance marks the Blind Boys of Alabama and Mr. Fountain's UMS debut.
1 ith over sixty-one years in the music industry, The Soul Stirrers are renowned trailblazers of American music who have left an indelible imprint on the groups who have followed. The Soul Stirrers were the first group to pre?sent a program exclusively of Gospel music when this special sound was still evolving. They were the first group to add an extra singer to the Gospel quartet format. They were the first group to present alternate lead singers in the context of a single song. They were the first group to present alternate lead singers as the dominant focus of a quartet performance. They were the first group to use guitar accompaniment. And, they were the first group to use the electric string bass. Throughout the years, the Soul Stirrers have left such a lasting impression that their sound has inspired the popularity of Gospel music widi audiences everywhere. Their exhilarating performances on the world's most prestigious stages, their array of honors, and their mega-hit recording career are testimony to the respect they command. The Soul Stirrers have performed at Carnegie Hall, Madison Square Garden, the Guthrie Theater, the Goodman Theater, the Theatre Grecco and others throughout Europe. They have been honored by appearing at the White House for former Presidents Franklin Delano Roosevelt, Harry S. Truman, and Jimmy Carter. The Soul Stirrers were inducted into the Rock 'n' Roll Hall of Fame in 1989 and the American Music and Entertainment Hall of Fame in 1981. The group's acclaimed recordings
include more than sixteen hit records, four?teen albums, and a featured performance on the video and soundtrack of the Broadway musical, The Gospel at Clonus, in which they starred in 1988.
Born out of a need to bring superior quality, traditional gospel music to mass audiences, the original Mount Pleasant Singers --JJ. Farley, E.A. Rundless, T.L. Brewster, S.R. Crain and the Reverend W.L. Labeaux -began singing together in Trinity, Texas in 1926. With the addition of R.H. Harris in 1931, they changed the name of the group to the five Soul Stirrers.
Over the years, other talented lead singers have contributed to the Soul Stirrers' legend, including Paul Foster, James Medlock, Johnny Taylor, Jimmy Outlaw, Walter Donson, Eddie Huffman, Julious Cheecks and the legendary Sam Cooke. During the decades of the 40's, 50's and 6o's, this immortal gospel group took the country by storm. Some of the hits produced during those days were By and By, Jesus Gave Me Water, Restin'Easy, Jesus Be a Fence Around Me, The Lord Will Make a Way, Remember Me and Christmas Joy.
Today's Soul Stirrers -lead singer Willie Rogers (who has a timbre and fiery delivery reminiscent of Sam Cooke), falsetto Martin Jaycos, tenor-guitarist Jackie Bands,
ana Dantone-Dassist uennie uaom -came together under the guidance of original memberJJ. Farley, who managed the group until his death in 1988. Having been together for over fifteen years, this group is continuing the unique Gospel tradition that was shaped by the last surviving original member of the group, seventy-eight-year-old R.H. Harris. "We sang verses that projected and supported the voice in front. Gospel is the element of expression of word that builds on other words," he said.
With a solid reputation for producing quality music, The Soul Stirrers have person?ified the metamorphosis of Gospel music, defining and re-defining its style throughout the years. To those who have challenged it, Harris has validated The Soul Stirrers' long?standing popularity with this simple response, ". . .what we were singing was Good News. This is good news in the language of music."
This evening's performance marks The Soul Stirrers' UMS debut.
Al n internationally
A recognized performer,
universally acclaimed
songwi iter, and
" (.1.1......y-winning
m L recording artist, Inez
4. _H Andrews is .1 power-
house talent with an unparalleled career in delivering the Gospel. Known as die "High Priestess of Gospel," she has consistendy electrified audiences worldwide with her statuesque presence, intense projection and phenomenal vocal range. "Miss Andrews has always possessed a great dignity -a dignity she is able to shed in a second when she erupts in a sacrified shriek. Even in middle age, her screams make the yawps of most rock-and-rollers seem pallid, and yet she is able immediately to regain and reassert a
matronly composure," writes Ken Emerson of The Neiu York Times.
Orphaned as a young child, Inez Andrews began singing Gospel music in the youth choir of her church in Birmingham, Alabama. She received her first professional experience in Birmingham's Carter Choral Ensemble, and in 1952, she joined the Gospel Harmonettes, a well-known women's quartet led by Evelyn Starke Beavers. At a 1956 Tennessee perfor?mance with the Gospel Harmonettes, she came to the attention of the legendary Reverend James Cleveland who, at that time, was playing piano with the famous Caravan Singers, a Chicago-based group that was led by Albertina Walker and also included John Erin Davis and Dorothy Norwood. Inez joined the Caravan Singers in 1957, performing and recording with them intermittently for the next fourteen years. It was during this time that she wrote and recorded such Gospel classics as I'm Not Tired Yet, God Said So, What Will Tomorrow Bring, I'm Willing To Wait and Your Friend. It was with the Caravans that Inez first recorded Mary Don't You Weep which earned a Gold Record for the group and later earned another Gold Record for Aretha Franklin and James Cleveland from their Amazing Grace album released in 1971.
In 1961, Inez Andrews formed her own group, the Andrewettes, touring Europe and recording such classic hits as Let the Church Roll On and Look Up and Live. Also in 1961, Don Robey, the producer behind the famous Duke-Peacock labels, formed the Songbird label just for her. Working with a young Billy Preston and Andrae Crouch, she recorded the classic A Letter To Jesus, which became a smash crossover hit. Throughout the 1960's, Inez continued to perform and record alternately as a soloist, with the Andrewettes, and with the Caravan Singers, who at the time included Delores Washington, Cassietta George, Josephine Howard, Albertina Walker and Shirley Caesar.
Inez Andrews went completely solo in 1971, garnering great success with a series of solo albums recorded throughout the 70's. Her internationally acclaimed 1972 album, Lord, Don V Move the Mountain crossed over to become a huge pop hit and went Gold. "When I recorded Looking Back Over My Life, which also became a hit in 1972, everybody thought I had gone pop. They wanted to
place me in the nightclub and then put me in hell. Give me a break!" says Andrews. "I tuned 'em out and kept on singing." She, along with ABC-recording artist Tessie Hill, is often credited with
the renaissance of Gospel music in the 70's. During the last decade, Inez has contin?ued her annual sold-out, six-week tours and recorded numerous chart-topping albums for the Savoy, Jewel, Ichiban and the Spirit Feel record labels. Every album has been filled with
classic Gospel songs from her prolific pen. With the release of her highly acclaimed 1991 WordEpic album, Raise Up A Nation, Inez Andrews once again proved she is a Gospel mega-star who is deservedly enjoying a new wave of immense popularity.
This evening's performance marks Ms. Andrews' UMS debut.
First of America
The King's Singers
David Hurley, countertenor Nigel Short, countertenor Bob Chilcott, tenor Bruce Russell, baritone Philip Lawson, baritone Stephen Connolly, bass
Saturday Evening, February 3, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Henryk Gorecki Totus Tuus
II Renaissance French Madrigals
Clement Janequin Au joli jeu
Josquin Desprez Nymphes des boys
Janequin La guerre
Daron Aric Hagen The Waking Father
Folksongs from Ireland
Arr. Howard Goodall Star of the County Down
Arr. Peter Knight Londonderry Air (Danny Boy)
Arr. Bob Chilcott Mairi's Wedding
Arr. Daryl Runswick She Mov'd Thro' the Fair
By Arrangement
Selections Featuring Some of Our Finest Arrangers
Twenty-ninth concert of the njth Season
25th Annual Choice Events
Special thanks to Douglas D. Freeth, President, First of America, for helping to make this performance possible.
The King's Singers appear by arrangement with IMG Artists.
UMS would like to thank the Huron High School A Cappella Choir for their participation in tonight's concert. Best of luck in Carnegie Hall!
The King's Singers record exclusively for RCA Victor & Red SealBMG Classics. Recordings also available on EMIAngel.
Recording Distributor for American concerts: DJ Records, P.O. Box 95, McMinnville, Oregon 97128.
Selected King's Singers choral arrangements are available from: Hinshaw Music, P.O. Box 470, Chapel Hill, North Carolina 27514 and Hal Leonard Publishing Corp., 7777 West Bluemound Road, Milwaukee, Wisconsin 53213.
King's Singers Newsletter: Erica Zaffarano, 17005 11 th Avenue N, Plymouth, Minnesota 55447.
Large print programs are available upon request from an usher.
Henryk Gorecki
Born December 6, 1933 in Czernica, Poland
The Polish composer Henryk Gorecki is one of the foremost Eastern European composers to have come to the attention of the West since the freeing of borders between East and West in 1989. Recordings of his Third Symphony have become among the best-selling classical albums of all time, even reaching the top of the Billboard magazine "Crossover Pop" charts. This popularity is probably attributable to the fact that his music has a simple sincerity com?bined with great strength.
Gorecki, who lives in relatively humble circumstances in the coalmining town of Katowice in the south of Poland, is a devout Catholic, and Tolus tuus [for a capella choir] is an extend5 ed paean of praise to the Virgin Mary. The work was written for an open-air Mass in Victory Square, Warsaw, in July 1987, to celebrate the third return visit by Pope John Paul II to his home country.
Totus tuus sum, Maria, Mater nostri Redemptoris Virgo Dei, virgo pia, Mater mundi Salvatons Totus tuus sum, Maria!
Maria Boguslawska
0 Mary!
1 am wholly thine, O Mary, mother of our Redeemer
virgin (mother) of God, holy virgin, mother of the Savior of the world, I am wholly thine, O Mary!
Translation: Richard Abram
Renaissance French Madrigals Nymphes des boys
Josquin Desprez
Born c. 1440 in Hainault or Henegouwen, Burgundy
Died August 27, 7521 in Conde-Sur-Escaut
An joli jeu La Guerre
Clement Janequin
Born c. 1485 in Chdtellerault, France
Died in 1558 in Paris
The large sixteenth-century repertoire of madrigals, or chansons, by French composers treat amorous subjects either in a suave courtly vein or in a popular and often ribald manner. The Gothic tradition of setting strict verse forms in tedious and complex repetitive forms was abandoned by Josquin Desprez, who generally preferred shorter stanzas treated in a simpler style. Josquin's skill in polyphonic writing became a model for the next generation of composers, which included his disciple Clement Janequin, the French master of the anecdotal and onomatopoeic chanson.
The chansons in five and six voices have a very special place in the output of Josquin Desprez. They must be among his last works, written after his return to the tiny French town of Conde in 1504, when he was probably in his early 6o's. Before then, his prominent international career had taken him to many of the grandest courts and his main compositions had been the motets and Mass cycles that were to have massive impact on all composers of the sixteenth century (indeed, in the entire history of music, perhaps only Beethoven and Stravinsky have had comparable impact, and for similar reasons: Josquin forged a new means of expression, and a new musical vocabulary so rich in potential that hundreds of other composers were able to build on the style and use it to their own ends). Now, in his old age, he turned to these litde songs, works of an extraordinary complexity that never interferes with their musical impact.
In all of these songs, two of the voices are in canon; most of them borrow material from elsewhere, often from the popular sphere, and each one seems to pose (and solve) a particular compositional problem. These chansons also had a major influence on composers long after his death in 1521. They were reprinted as late as 1555, and they established six voices as an accepted medium for secular song. Furthermore, they show the old man, who had revolu?tionized the world of the motet and the Mass, now entirely changing course and overturning yet another genre, though in a thoroughly unique way.
Janequin was famous in his own lifetime for his use of bird-song and other programmatic effects (such as the descriptive cries and noises of the battlefield in La guerre) in his music. Relatively little is known about his life, but he composed over 250 chansons, two of which he later included in his two Masses, and in his later years he setded in Paris, becoming Compositeur du Roi (composer to the King) and he entered Paris University as a student after the age of 70.
An jolyjeu
An jolyjeu du pousse avant II fait bonjouer.
L'aurier m'aloye esbaloyer,
Je recontray la belle au corps gent,
Soubzriant doulcement, la vois baiser;
Elle en fait doute,
Mais je la boute,
Laissez, laissez, laissez trut avant.
An jolyjeu du pousse avant II fait bonjouer.
Pour ung reffuz me fault laisser,
Propor luy tins amoureusement,
Soubzriant coulcement, la vois baiser,
Elle riotte,
Dance sans notte,
Laissez, laissez, laissez trut avant.
An jolyjeu du pousse avant II fait bon jouer.
The game of getting it in Is one worth playing.
.The other day I was wandering around I met a girl who was shapely, Smiling sweetly, I tried to kiss her; She tries to put me off, But I insist, saying Let it happen, come on.
The game of getting it in Is one worth playing.
Her refusal should have been enough, But I treat her to all my charm, Smiling sweetly, I tried to kiss her, She makes a noise, And wriggles furiously, Let it happen, come on.
The game of getting it in Is one worth playing.
Nymphes des boys
Nymphes des boys, deeses des fontaines,
Chantres expers de toutes nations,
Changes vos voix fort cleres et haultaines
En cris tranchantz et lamentations.
Car d'Atropos les moestations
Vostre Okeghem par sa rigueur attrape.
Le vray tresoir de musique et chief d'oeuvre,
Qui de trepas desormais plus n'eschappe,
Done grant doumaige est que la terre coeu-
Acoutrez-vous d'abitz de dueil: Josquin, Brumel, Pirchon, Compere, Et plorez grosses larmes d'oeil: Perdu avez vostre bon pere. Requiescat in pace, Amen. (Tenor solo:)
Requiem aeternam dona eis, Domine, Et lux perpetua luceat eis..
La Guerre
Escoutez, tous gentilz Galloys,
La victoire du noble roy Francoys.
Et orrez, si bien escoutez
Des coups ruez
Phiffres, soufflez,
Frappez tambours
Tournez, virez,
Faictes vos tours,
Soufflez, jouez,
Frappez, etc.
(Tambours tousjours!)
Avanturiers, bon compagnons
Ensemble croisez vos bastons,
Bendez soudain, gentilz Gascons,
Nobles, sautez dens les arcons,
La lance au poing hardiz et promptz
Comme lyons!
Haquebutiers, faictes voz sons!
Armes bouclez, friques mignons,
Donnez dedans!
Frappez, criez
Alarme, alarme.
Woodland nymphs, goddesses of the wells,
Famous singers of every nation,
Change your clear and lofty voices
To sharp cries and lamentations.
For your Okeghem provokes vigorously
The molestations of Atropos.
The true treasure of music and masterpiece
Who from Death no longer may escape
And great pity is it that earth should cover
him. 7
Clothe yourselves in mourning:
Josquin, Brumel, Pirchon, Compere
And weep great tears
You lost your good father.
May he rest in peace. Amen.
(Tenor solo:)
Eternal rest give unto them, O Lord
And let light perpetual shine upon them.
Listen, all gentle Gauls
to the victory of the noble King Francis.
You will hear, if you listen,
blows thudding on all sides.
Fifes, resound,
beat the drums,
turn the wheel,
perform your maneuvres,
blow, play,
beat, etc.
(Drums always!)
Adventurers, good countrymen,
together cross your staves,
bend the bow, noble Gascons,
noblemen, leap into the saddle,
lance in hand and ready
as lions!
Sackbut players, make your sound!
Gird on your arms, gay squires,
and lay on!
Strike and shout
the alarmT
Soyez hardiz, en joye mis,
Chascun s'asaisonne,
La fleur de lys,
Fleur de hault pris
Y est en personne.
Suivez la couronne!
Sonnez, trompettes et clarons,
Pour resjoyeur les cons, les cons,
les compagnons.
Fan Frere le le Ian fan
Fan fan feyne
Fa ri ra ri ra
A l'estandart
Tost avant
Boutez selle
Gens d'armes a cheval
Frer le le Ian, etc.
Bruyez, tonnez
Bombardes et canons
Tonnez gros courtaux et faulcons
Pour secourir les compaignons.
Von pa to pa toe
Ta ri ra ri ra ri ra reyne
Pon, pon, pon, pon.
Courage, courage
Donnez des horions
Chipe, chope, torche, lorgne
Pa ti pa toe
Tricque, trac zin zin
Tue! a mort:
Courage prenez
Frapez, tuez.
Gentilz gallans, soyez vaillans
Frapez dessus, ruez dessus
Fers emoluz, chiques dessus,
Alarm, alarm!
Us sont conguz, ils sont perduz
Us monstrent les talons.
Escampe toute frelore
La tintelore
Ilz sont deffaictz
Victoire au noble roy Francoys
Escample toute frelore bigot.
Be bold and joyful, let each urge himself on,
the fleurs de lys,
the noble flower,
is there in person.
Follow Francis
the French king, follow the crown.
Resound, trumpets and clarions,
to gladden your count-, your count-,
your countrymen.
(Noises of battle)
To the standard straight 'way advance spur on your mounts ye cavalry, etc.
Blast and boom bombards and cannons Thunder great curtais and falcons to help our countrymen. (Noises of battle)
Courage, courage,
strike your blows,
pilfer, plunder, dub and leer.
Kill! To the death!
Take courage,
Strike, kill.
Gentle, gallants, be valiant,
Strike on, press on.
Grind your steel, gobble them up.
Alarm, alarm!
They are in confusion, they are lost.
They are showing their heels!
Pursue the cowards,
the jangling rabble
they are defeated.
Victory to noble King Francis!
Pursue the cowardly hypocrites.
The Waking Father
Damn Aric Hagen
Born in 1961 in Milwaukee, Wisconsin
The Waking Father was, commissioned by The King's Singers and was premiered at Seiji Ozawa Hall at the Tanglewood Music Festival in July 1995.
The composer writes:
Paul Muldoon and I met during the summer of 1988 at Yaddo, an artist colony in upstate New York. Liking him immediately, I asked if I might read some of his work. He loaned me his Selected Poems, 1968-1986 to read before dinner. The meal came and went, but I realized -holed up in my studio and unable to put the book down -that I had found my ideal collaborator. I don't remember if I told Paul this at the time. I did manage to leave Yaddo with the book, though. I have been setting his verse ever since. A year later, we met again at the MacDowell Colony. Paul was working on Madoc: A Mystery, and I was writing a piece called Heliotrope for the Brooklyn Philharmonic. One evening, just before supper, an opera company called and asked me if I was interested in writing an opera. Paul was seated a few feet away, read?ing the paper. I leaned out of the telephone booth and asked him if he would like to write a libretto. He agreed, and two years later, the Madison Opera premiered Shining Brow, our opera about American architect Frank Lloyd Wright. The King's Singers happened to be in the audience on the night of the premiere. A few months later, they asked me to write something new for them. In Sandpoint, Idaho, during the summer of 1994,1 composed The Waking Father. Naturally, I turned to Paul for the texts; I asked him to choose several dozen that he thought I might try, and I chose a handful of my favorites. From these I fashioned a cycle, lasting approximately twenty minutes. Only in retrospect did I
realize that I had composed a musical portrait of my friend and collaborator.
The King's Singers were an ongoing source of inspiration throughout the craft?ing of this piece; it was written especially for them and is dedicated to them.
Daron Aric Hagen was born in 1961 Milwaukee, Wisconsin. At the age of fifteen, his orchestral music came to the attention of Leonard Bernstein, whose enthusiastic comments led to Hagen's eventual enrollment at the Curtis Institute of Music. While still a student there, his music was introduced by the Philadelphia Orchestra, an honor last bestowed on the work of the young Samuel Barber. Before graduating from Juilliard, Hagen had already begun fulfilling commis?sions from the New York Philharmonic and other major American orchestras.
International critical and popular acclaim did not come however until the 1993 premiere by the Madison Opera (Wisconsin) of his first major theatrical work, Shining Brma, about American architect Frank Lloyd Wright. He is currendy at work on a new opera with his librettist partner Paul Muldoon, this one a surreal farce called Vera oJIms Vegas. Recently completed projects include Built Up Dark for the Milwaukee Chamber Orchestra, Concerto for Brass Quintet for die Wisconsin Brass Quintet, The Waking Father for The King's Singers, and Taliesin: Choruses from Shining Brow for the Madison Symphony and Chorus premiered in Fall 1995.
Major symphonic works have been commissioned and performed by such orchestras as the New York Philharmonic, Philadelphia Orchestra, Saint Louis Symphony, Milwaukee Symphony, Houston Symphony, Brooklyn Philharmonic, Denver Chamber Orchestra, American Symphony Chamber Orchestra, Chicago Civic Orchestra, as well as the Columbus, Madison, Long Beach, and Oakland East Bay symphony orchestras, almost all of which have scheduled repeat performances. Ballets have been mounted
by Ballet Pacifica in California, TheJuiUiard Dance Division and the William Douglas Dancers, and he has written a film score for the Sundance Institute for Television and Film. Numerous chamber groups tour with his compositions, including the Debussy Trio, Encore Brass Quintet, The King's Singers, the Wisconsin Brass Quintet, the Lehner Trio and Sonus, among others. Daron Hagen has appeared as piano soloist with orchestras including the Denver Chamber Orchestra, the Hudson Valley Philharmonic and the Orchestra Society of Philadelphia, with which he also appeared regularly as a guest conductor since 1982, and he also is an active chamber musician. He has contributed essays and reviews to various music periodicals, and is also Founding Director of the twelve-year-old Perpetuum Mobile New Music Series. Now aged thirty-three, he lives in New York City with his musician spouse Donna.
The Waking Father
Poems by Paul Muldoon
1. The Waking Father
My Father and I are catching spricklies Out of the Oona River. They have us feeling righteous, The way we have thrown them back. Our benevolence is astounding.
When my father stoody out in the shallows
It occurred to me
The spriklies might have been piranhas,
The river a red carpet
Rolling out from where he had just stood,
Or I wonder now if he is dead or sleeping. For if he is dead I would have his grave Secret and safe;
I would turn the river out of its course, Lay him in its bed, bring it round again.
No one would question
That he had treasures or his being a king,
Telling now of the real fish farther down.
a. Oscar
Be that as it may, I'm wakened by the moans
not of the wind
nor the wood-demons
but Oscar MacOscair, as we call the hound
who's wangled himself
into our bed: 'Why' 'Why not'
He lies between us like an ancient quoof with a snoth of perished gutta-percha, and whines at something on the roof.
I'm suddenly mesmerized
by what I was only today: a pair of high
abandoned on the road to Amherst.
And I've taken off, over the towns of Keady and Aughnacloy and Caledon -El in Arcadie --
to a grave lit by acetylene
in which, though she preceded him
by a good ten years, my mother's skeleton
has managed to worm
its way back on top of the old man's,
and once again she has him under her
3. Thrush
I guessed the letter
Must be yours. I recognized The cuttle ink,
The serif on The P. I read the postmark on the date,
Impatience held By a paperweight.
I took your letter at eleven To the garden
With my tea.
And suddenly the yellow gum secreted
Halfway up The damson bush
Had grown a shell. I let those scentless pages fall
And took it In my feckless hand. I turned it over
On its back To wash your mouth
Withdraw. Making a lean, white fist Out of my freckled hand.
4. The Fox
Such an alarm
as was raised last night
by the geese
on John Mackle's goose farm.
I got up and opened the Venetian blind. You lay three fields away
in Collegelands graveyard, in ground so wet you weren't so much buried there as drowned.
That was a month ago.
I see your face
above its bib
pumped full of formaldehyde.
You seem engrossed, as if I'd come on you painfully writing your name with a carpenter's pencil
on the lid
of a mushroom box. You're saying, Go back to bed. It's only yon dog-fox.
5Dancers at the Moy
This Italian square And circling plain Black once with mares And their stallions. The flat Blackwater Turning its stones
Over hour after hour As their hooves shone And lifted together Under the black rain. One or other Greek war Now coloured the town
Blacker than ever before With hungry stallions And their hungry mares Like hammocks of skin, The flat Blackwater Unable to contain
Itself as horses poured Over acres of grain In a black and gold river. No bands of Athenians Arrived at the Moy fair To buy for their campaign.
Peace having been declared And a treaty signed, The black and gold river Ended as a trickle of brown Where those horses tore at briars and whins,
Ate the flesh of each other Like people in famine. The flat Blackwater Hobbled on its stones With a wild stagger And sag in its backbone,
The local people gathered The white skeletons. Horses buried for years Under the foundations Give their earthen floors The ease of trampolines.
6. The Panther
For what it's worth, the last panther in
Massachusetts was brought to justice in the woods beyond these meadows and hung by its heels from a meat-hook in what is now our kitchen.
(The house itself is something of a conundrum, built as it was by an Ephraim Cowan from Antrim.)
I look in one evening while Jean
is jelly making. She has rendered down
pounds of grapes and crab-apples to a single jar
at once impenetrable and clear; 'Something's missing. This simply won't take.'
The air directly under the meat-hook --
it quakes, it quickens;
on a flagstone, the smudge of the tippy-tip
its nose.
7. Bran
While he looks into the eyes of women Who have let themselves go, While they sigh and they moan For pure joy,
He weeps for the boy on that small farm
Who takes an oatmeal Labrador
In his arms,
Who knows all there is of rapture.
8. [Vico]
A hand-wringing, small, grey squirrel
along a wicker
treadmill that's attached by an elaborate system of levers
and cogs and cranks and pulleys and gears
and cams and cinches and sprags and sprockets and spindles
and tappets and trundles and spirochetes and winches
and jennies and jiggers and pawls and pranks
and the whole palaver of rods and ratchets
to a wicker
treadmill in which there plods
a hand-wringing, small, grey squirrel.
Enough of Colette and Celine, Celine and
Palu Celan;
enough of whether Nabokov
taught at Wellesley or Wesleyan.
Now let us talk of slaughter and the slain,
the heliocopter gun-ship, the mighty
let's rest for a while in a place where a cow
has lain.
10. V
Now that I had some idea of our whereabouts
We could slow a little and not be afraid.
Who was that Only the bull behind the
It was showing us the whites of its eyes.
Why should those women be carrying water If all the wells were poisoned, as they said, And the fish littering the river Had the sheep been divided from the goats. Were Twin and Twin at each other's throats
I knew these fields. How long were they fallow Those had been Archer's sixty yellow acres. These Hunter's forty green and grey. Had Hunter and Archer got it into their heads That they would take the stars in their strides
11. The Mixed Marriage
My father was a servant-boy.
When he left school at ten or eleven
He took up billhook and loy
To win the ground he would never own.
My mother was the school-mistress. The world of Castor and Pollux. There were twins in her own class. She could never tell which was which.
She had read one volume of Proust, He knew the cure for farcy. I flitted between a hold in the hedge And a room in the Latin Quarter.
When she had cleared the supper-table She opened The Acts of the Apostles, Aesop's Fables, Gulliver's Travels. Then my mother went on upstairs
And my father further dimmed the light To get back to hunting with ferrets Or the factions of the faction-fights -the Ribbon Boys, the Caravats.
12. Cherish the Ladies
In this, my last poem about my father, there may be time enough for him to fill their drinking-trough and run his eye over
his three moolet heifers.
Such a well-worn path,
I know, from here to the galvanized bath.
I know, too, you would rather
saw behind the hedge to where the pride of the herd, thought now an Irish bull, would cherish the ladies with his electric cattle-prod.
As it is, in my last poem about my father he opens the stand-pipe and the water scurriees along the hose till it's curled
in the bath. One heifer
may look up
and make a mental note, then put her nose
back to the salt-lick of the world.
Folksongs from Ireland
Tonight's choice of songs has been almost impossible to make, given the tremendous wealth of material that was born in the British Isles, and more specifi?cally Ireland. The influences and sources of folk material are extraordinarily far-ranging and each song has its own regional and fre?quently religious characteristics, making the selection process somewhat arbitrary, given the quantity we had to choose from!
The folksongs we know in Britain today have been part of our heritage ever since simple medieval hymn tunes were given sec?ular words, and minstrels started on their musical rounds. They have served as a basis of musical masterpieces from the thirteenth century to the present, and much of the (now barely understood) imagery in their words finds its parallel in Renaissance painting.
In the early part of the twentieth century, the pioneering work of folksong collectors such as Cecil Sharp brought forth a wealth of beautiful material, much neglected, but
familiar through the widely varying regional versions of many texts and melodies, like a musical version of "Chinese Whispers" played over the centuries.
Folksongs have been an integral part of the King's Singers' repertoire since their early performing days, and the collection sung tonight represents but a portion of the rich treasure collected and arranged for The King's Singers over the years. Indeed many of these songs can be found on two of the group's most successful recordings, Annie Laurie and Watching the White Wheat (both on AngelEMI).
By Arrangement
Selections Featuring Some of Our Finest Arrangers
This part of our concerts features interpreta?tions of songs by some of the finest arrangers who have worked or are now working for The King's Singers. To a large extent, the sound of the group has been fashioned and extended by the work of these arrangers in all its variety: classical artsongs, folksongs, and contemporary popular songs.
It is to these talented musicians that we would like to pay tribute tonight by offering you a profile of their fine work. Let the "unsung" heroes be "unsung" no more!
The six Englishmen known as The King's Singers enjoy the distinc?tion of being one of the world's most sought-after and acclaimed vocal ensembles. The group's universal popularity stems from their unique ability to communicate the sheer enjoyment of singing vast and eclectic repertoire, whether it is a sixteenth-century madrigal, a world premiere of a commissioned work, a sacred choral masterpiece, a Japanese folksong or one of their trademark, close-harmony arrangements of a top-40 hit. After a quarter-century, The King's Singers full schedule of performances, recordings and television appearances around the world continues to reflect their stylistic versatility and remarkable musicianship.
The King's Singers began their 1 gg5 summer season in Japan, performing eight concerts in Tokyo, Osaka and Nagoya. They appeared at several leading festivals in the United States, including the Tanglewood Festival, where they will presented the world premiere of a newly commissioned work by Daron Aric Hagen entitled The Waking Father, set to poems by Paul Muldoon. Other festival appearances included Ravinia, Interlochen, Brevard, and the Minnesota Orchestra's Sommerfest. They also performed on the inaugural summer series in Santa Fe, and gave a recital and master classes at the Texas
Choral Director's annual con?ference in San Antonio.
This season, The King's Singers return to South Africa for a seven-city recital tour -their first in that country in more than 10 years. In the United States and Canada, the group will perform more than 35 con?certs coast-to-coast, including
appearances at Carnegie Hall and recitals in Ann Arbor, Kansas City, Miami, Portland, Salt Lake City, San Diego and Seattle. Orchestral appearances in North America include return engagements with the Toronto and Milwaukee symphony orchestras. Abroad, The King's Singers will perform throughout Austria and Germany, including recitals in Cologne, Hamburg, Munich and Innsbruck. They perform in concert with Carl Davis and the Royal Liverpool Philharmonic Orchestra and give recitals in Italy, Switzerland, and their native United Kingdom, before concluding the season with a recital tour of the Netherlands.
Since their initial professional season in 1968, the ensemble, which was formed at King's College in Cambridge, has performed the most diverse repertoire of any vocal group in the world. Committed to presenting music from the twentieth-century, they have com?missioned more than 200 new works from a host of prominent living composers, includ?ing Richard Rodney Bennett, Luciano Berio, Peter Maxwell Davies, Gyorgy Ligeti, Gian-Carlo Menotti, Thea Musgrave, Krysztof Penderecki, Ned Rorem and Gundier Schuller. Recent commissions and world premiere performances include Richard Rodney Bennett's Sermons and Devotions, The Bishop and The Pagan by Estonian-born Veljo Tormis, R. Murray Schaefer's Tristan and Iseult, and the sixth in a series of Nonsense Madrigals by Gyorgy Ligeti. Upcoming commissions include a work for The King's Singers and chorus by Libby Larsen, to be given its premiere during the 1996-97 season.
The King's Singers are familiar to American television audiences through their numerous television specials, including a tribute to Paul McCartney with the Boston Pops in 1992; their own six-part series on the "Arts & Entertainment" network entitled The King's Singers' Madrigal History Tour, The Art of The King's Singers, a documentary released on home video in 1991 that follows
the everyday life of the ensemble with footage on the road, in rehearsal and performance, and in a master class setting; an Emmy award-winning ABC Christmas show with Julie Andrews, Placido Domingo and John Denver; and appearances on the Tonight Shmv.
The ensemble has been heard frequently on the American Public Radio and National Public Radio networks, as well as on Minnesota's Public Radio's St. Paul Sunday Morning. Complementing dieir record releases in 1995 was the first European showings of a Finnish-made documentary on the Singers filmed in Estonia and Finland.
The King's Singers celebrated their 25th anniversary season in 1993-94 with a Silver Jubilee tour that took them to virtually every major concert hall in cities throughout the world. During their first quarter-century, the ensemble's North American engagements have included appearances at Carnegie Hall and Lincoln Center in New York, the Kennedy Center in Washington, D.C., Ann Arbor's Hill Auditorium, the orchestral halls of Boston, Chicago, Philadelphia, Cleveland, Atlanta, San Francisco, the Ambassador Auditorium in Pasadena, as well as concerts at the Tanglewood Music Festival and the Hollywood Bowl. In addition to hundreds of a capella recitals, they have also collaborated with many North American orchestras including the Minnesota Orchestra, National Symphony in Washington, D.C., the Boston Pops, and the Adanta, Detroit, St. Louis and Toronto symphonies.
Now in their second quarter-century, The King's Singers continue to expand their repertoire while maintaining the choral tra?dition and original spirit of the group, once described by die Washington Post as "the ulti?mate musical instrument at an advanced stage of development in the art of ensemble singing."
This evening's performance marks the fifth appearance of the King's Singers under UMS auspices.
The Huron High School A Cappella Choir
performing tonight with the King's Singers is one of three Huron High School ensem?bles invited to perform at Carnegie Hall in New York City on March 25, 1996. Many patrons at tonight's concert have purchased special tickets that the University Musical Society made available to the Huron High School Campaign Steering Committee to support the project. These patrons have made a tax-deductible contribution towards
the Committee's effort to raise the funds necessary to cover the costs of the students' trip to New York.
If you would like to help these talented students to get to Carnegie Hall, or if you would like further information, please call Richard Ingram, the conductor of the A Cappella Choir, at Huron High School (313-994-2?96).
Regency Travel, Inc.
The Complete Solo Piano Music of Frederic Chopin
Garrick Ohlsson
Sunday Afternoon, February 4, 1996 at 4:00
Rackham Auditorium Ann Arbor, Michigan
Fifth Concert of Six
Please take note that Mr. Ohlsson 's Grand Finale Chopin Recital which takes place on March 16, 1996 will be held in Hill Auditorium at 8:00pm.
Ballade No. 2 in F Major, Op. 38
Two Nocturnes, Op. 37
No. 1 in g minor No. 2 in G Major
Rondo in F Major, Op. 5
Sonata No. 1 in c minor, Op. 4
Allegro maestoso Minuetto: Scherzando Larghetto: Con molt' espressione Finale: Presto
Four Mazurkas, Op. 30
No. 1 in c minor No. 2 in b minor No. 3 in D-flat Major No. 4 in c-sharp minor
Ballade No. 1 in g minor, Op. 23
Three Mazurkas, Op. 56
No. 1 in B Major No. 2 in C Major No. 3 in c minor
Two Nocturnes, Op. 55
No. 1 in f minor No. 2 in E-flat Major
Scherzo No. 2 in b-flat minor, Op. 31
Thirtieth Concert of the 117th Season
Special Series
Special thanks to Sue S. Lee, President, Regency Travel, Inc. for helping to make this performance possible.
Thank you to Garrick Ohlsson, speaker for Saturday afternoon's Philips Educational Presentation.
This afternoon's floral art is made possible by Cherie Rehkopjand John Ozga, Fine Flowers, Ann Arbor.
Mr. Ohlsson had graciously agreed to sign CDs in the lobby following the performance this afternoon as a "thank you " to the Rackham audience.
The pre-concert carillon recital was performed by Linda Dzuris, doctoral organ student.
Shaw Concerts, Inc., New York, New York Angel, Arabesque and Telarc Recordings Bosendorfer piano
Large print programs are availble upon request from an usher.
Francois-Frederic Chopin
Born c. March i, 1810 in Zelazowa Wola, Poland Died October 17, 1849 in Paris
The Ballade No. 2 was drafted in 1836. That year he met the woman of his life, the notori-1 ous "George Sand," one of Romanticism's authentic phenomena -a cigar-smoking baroness who supported herself and her children by writing voluminously. Her seduction of Chopin and his subsequent infatuation with her may have contributed to the trouble he had perfecting the piece, for he revised it first in 1838, then again in 1839 -before publishing it in 1840. This was die period of his misery on the isle of Mallorca with Sand and her children. Is the Ballade autobiographical We may wish it so, but evidence from Chopin himself points to a literary source rooted deep in Polish nationalism: the ballades of Chopin's friend, the poet Adam Mickiewicz. Chopin told Robert Schumann so. Speculative scholarship by French pianist Alfred Cortot has linked this piece to a specific poem, a brief summary of which may stimulate the listener to appreciate the narrative tone of this impassioned work:
The Lake of the Willis -its waters smooth as a mirror in which -at night, the stars admire themselves -lies near the spot where Russian hordes once laid siege with terrifying effect to a Polish city. To escape the shame of being subjugated by tlieir conquerors, the young maidens there pray to Heaven for a miracle -and are swallowed up by the earth which suddenly opens beneath their feet. Changed into mysterious flowers, they ever since have adorned the edges of the lake. Woe to him xvho touches them!
Two Nocturnes, Op. 37 appeared in print the same year as the Ballade just heard. Of these "night pieces," No. 1 is distinguished by the descending lines of its melancholy
outer sections and by the ascending lines of its pious, chorale-like central part. In his review of this work, Schumann acknowledged the score's uniqueness: "Chopin no longer needs to sign his works; his name is hence?forth attached to each of their notes." No. 2 reminds most listeners of a barcarolle -with two themes which alternate tranquilly. A passage in Sand's diary describing the couple's nocturnal voyage to Mallorca in 1839 seems apropos of this music: The night was dark, illumined only by an extraordinary phosphorescence in the wake of the ship; everybody on board was asleep except the steersman who, to keep himself awake, sang all night, but in a voice so soft and subdued that one thought he feared to awaken the men of the watch, or that he himself was half asleep.
With the Rondo, Op. 5, we turn from Chopin the lover to Chopin the teenage stu?dent at the Warsaw Conservatory. Dubbed "a la Mazurka"by its publisher in 1828, this ebullient amalgam of mazurka-like ideas in rondo form actually was written two years earlier, when Chopin was sixteen. It is a rare treat to hear this example of the genius-in-embryo. It shows us the degree of the boy's development -his euphonious roulades, bouncing rhythms and chromatic key changes -which were so much a source of pride for his teacher, Josef Eisner.
The Sonata, Op. 4, completed in the year of the rondo's publication, shows us Chopin the young man only one year away from embarking on his professional career. It, too, is seldom heard -despite its felicities. The "Allegro maestoso" (in c minor) shows every trait of a well-schooled talent: good motivic interplay, consistent voice-leading, accomplished harmony and fluent counter?point. The "Menuetto" (in E-flat Major) features some clever cross accents and, both in its main body and in its Trio section (e-flat minor), canonic imitation between the two hands. The "Larghetto" (A-flat Major) successfully introduces a meter of
five beats per bar and, in its melodic line, the gift of embellishment so characteristic of Chopin. The finale, "Presto" (c minor), is even more representative in its restless energy, sweeping arpeggios and right-hand double-notes. Listening to the Sonata therefore becomes a journey from aspects of the clas?sically "correct" (in the first two movements) to the uncertain but exciting newness of Romanticism (in the last two movements). The canny Eisner noted the development of his young charge in his annual evaluations: "Exceptionally gifted" (1827, the year Beethoven died); "Extraordinarily endowed" (1828, the year Schubert died); and, "A musical genius" (1829, the year Chopin left Eisner) -a judgment with which history has agreed overwhelmingly.
With Four Mazurkas, Op. 30, we return to Chopin the adult about whom-Hunecker writes, "Here is the poet Chopin, the poet who, with Burns, interprets the simple strains of the folk, who blinds us with color and rich romanticism like Keats and lifts us Shelley-wise to transcendental azure." If we think that observation a bit over-drawn, then let us note that in 1837, when he was twenty-seven, Chopin completed these pieces, pre?sented the world with his Twelve Etudes, Op. 25 and was already at work on his Preludes. No. l's wistfulness contrasts with No. 2's liveliness, which is exceeded by No. 3's greater animation and surpassed by No. 4's sheer magic. Among the truly great of Chopin's many Mazurkas, this last of Op. 30 is a true masterpiece, from its striking beginning to the wholly original coda which combines two of the principal themes. The dancing feet of Poland's peasants have nowhere been better evoked.
The Ballade No. 1 was first sketched in 1831, but Chopin did not complete it until four years later. Oddly, there is only a single documented performance by the composer of the new work -in 1836, the year he published it, first met Mme Sand, and draft-
ed the Ballade which opened this program. The occasion was a private concert for Schumann, who wrote afterward that it showed "genius" and that it was his favorite among Chopin's pieces. Cortot linked this music to another of Mickiewicz's ballades:
Conrad Wallenrod, leaving a banquet in an overexcited, drunken state, stuns his fellow Poles with praises for the Moorish exploits against the Spanish -who not only oppressed them but gave them the plague, leprosy and other frightful diseases -and vows that he, likewise, will breathe the breath of death to his adversaries in a fatal embrace.
Present fashion in musicology decries such literal associations as those which Cortot suggested for the two Ballades performed in this program. The focus today is on Chopin's original explorations of the bounds of har?mony, his struggles with abstract form and his influence on later piano music in France. However, such have rarely been the concerns of the popular press and never of the listen?ing public at large. These Ballades captivate us precisely because they stir associations with the world of ideas beyond music. They are, for us, a kind of poetry. And we would do well to recall that a Parisian newspaper of Chopin's day once dubbed him "the Mickiewicz of the piano. . ."
The Three Mazurkas, Op. 56 were com?posed in 1843 and published in the next year for a ready market. Mazurkas, after all, were what Chopin wrote more of than any?thing else. He published forty-one of them during his lifetime and left another twelve or so in manuscript. Their design usually permits amateur performance (a quality much valued by publishers) but the expres?sion of their content can elude all but the most sophisticated interpreters. Chopin's mazurkas constitute a microcosm of Polish folk dance ideas susceptible to infinite varia?tion. These at hand seem to be highly
refined reminiscences of the more carefree examples heard earlier -wistful and, per?haps, regretful. No. 1 's large structure and elaborate harmony mask an introverted soul
-Chopin himself -lost in nostalgia. No. 2 starts with so graphic an image of colorfully-clad peasants engaged in lively dancing that the listener is carried along expecting more of the same -but the image fades away, becoming only a memory of what it was. No. 3, a great favorite of many pianists, displays a large format with many exquisite turns of phrase and ingenuities of harmony yet it, too, is more an evocation of the Poland which Chopin abandoned than any realization of it.
Two Nocturnes, Op. 55 were composed in the summer of 1843 and published the year after with a dedication to Miss Jane Stirling, a wealthy Scottish spinster who studied with Chopin and adored him. It was Miss Stirling who arranged Chopin's tour in Scotland the year before he died, who aided the composer financially in his final months, who oversaw sculptor Auguste Clesinger's funerary monument for the Pere-Lachaise Cemetery, and who bought the majority of Chopin's estate. Of "her" Nocturnes, No. 1 is a gem, the unornamented opening melody of which is heard over and over before a dramatic intermezzo interrupts its plaint. Two bars only of this melody return before disappearing under a soft veil of accelerating triplets. If its effect may be called magical, that of No. 2 must be termed majesterial for, in it, Chopin achieves the seemingly impossible: three lines of music
-one to spread a velvet cloth of harmony from beginning to end and two to sing in bejeweled counterpoint against it -in an almost unbroken, weightless continuity, hovering above this world in the realm of pure emotion.
The Scherzo No. 2 appeared in 1837. We know from Chopin's pupil Wilhelm von Lenz that its odd opening -two quiet unison gestures and a loud chordal response (hear
four times) -was meant as a question that could "never be played questioningly enough, never round enough, never suffi?ciently weighted." To Chopin, who once said, "It must be a house of the dead," this section was "the key to the whole piece." And the lyrical theme which follows should remind the player "of the singer Pasta, of Italian song!" Others, lacking Chopin's direct comment, tended to make literary associations for this thrilling but enigmatic work: Schumann found it to be "Byronic" while Moritz Karasowski deemed it "Shakespearean." One imagines the piece at the hands of its composer whose visionary communication in performance Schumann described as being "like a Clairvoyant, lost in his dreams."
Notes by Frank Coooper, O 1995
Mr. Cooper teaclies at the New World School of the Arts in Miami and at the University of Miami in Coral Gables, Florida.
Pianist Garrick Ohlsson is an interpreter of great original?ity, whose playing combines supreme elegance with extraordinary tonal projec?tion. These qualities have placed him among the ranks of the world's foremost pianists.
A pianist of enormous musical and technical resource, Mr. Ohlsson commands an unusually wide and eclectic repertoire, which ranges from the works of Mozart, Beethoven, Chopin, and Brahms, to twentieth-century masters such as Busoni, Prokofiev, Ravel, Rachmaninoff, and Bartok. His concerto repertoire alone numbers some seventy works for piano and orchestra.
Mr. Ohlsson is considered to be one of today's finest interpreters of the music of Frederic Chopin. In January 1995, Mr.
Ohlsson embarked on this six-concert series devoted exclusively to Chopin's works for solo piano. These performances are taking place in Ann Arbor under University Musical Society auspices, at SUNY Purchase, and at Alice Tully Hall under the auspices of Lincoln Center's distinguished "Great Performers" Series. In addition, this season, Mr. Ohlsson will initiate the complete cycle in North York (Toronto) Canada. He has also programmed all-Chopin recitals in Buffalo, at Bucknell University and George Mason University, as well as recitals in Paris and in the Czech and Slovak Republics.
Mr. Ohlsson's orchestral appearances in North America and Europe this season will
include perfor?mances in Liverpool, London and Birmingham with the Royal Liverpool Philharmonic Orchestra; in Monte Carlo with the Monte Carlo orchestra; in Paris and Amsterdam
with the Royal Philharmonic Orchestra; in Prague with the Czech Philharmonic; at Carnegie Hall in New York with the Detroit Symphony; with the Cleveland and Philadelphia Orchestras; the Atlanta, Houston, Jacksonville, Milwaukee, Phoenix, Portland (OR), San Francisco and Seattle Symphonies; and the St. Paul Chamber Orchestra.
A chamber musician who has collabo?rated with such ensembles as the Cleveland, Emerson, Takacs, and Tokyo String Quartets, Mr. Ohlsson has made numerous chamber music appearances, most recently a concert featuring the Franck Quintet in f minor with the Guarneri Quartet at New York's Alice Tully Hall in April 1994, and a violinpiano
recital with Gil Shaham at the Colorado Music Festival in August 1995. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio.
Mr. Ohlsson is a prolific recording artist who can be heard on the Arabesque, Angel, Delos, Nonesuch, Telarc and Virgin Classics labels. He is currently recording the complete works for solo piano of Frederic Chopin for Arabesque; Volume Six, the Nocturnes was released this year.
Mr. Ohlsson was born in White Plains, New York where be began his piano studies at the age of eight. He attended the Westchester Conservatory of Music and at thirteen he entered The Juilliard School. In high school, Mr. Ohlsson demonstrated an extraordinary aptitude for mathematics and languages, but the concert stage remained his true career objective.
Mr. Ohlsson's musical development has been influenced in completely different ways by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhevinne, and Irma Wolpe. Although he won First Prizes at the 1966 Busoni Competition in Italy and the 1968 Montreal Piano Competition, it was his 1970 triumph at the Chopin Competition in Warsaw, where he won the Gold Medal, that brought him world-wide recognition as one of the finest pianists of his generation. Since that time, he has made nearly a dozen tours of Poland where to this day he remains virtual?ly a national hero. Mr. Ohlsson was awarded the Avery Fisher Prize in spring 1994.
When not on tour, Mr. Ohlsson divides his time between New York City and San Francisco.
This afternoon's recital marks Mr. Ohlsson's sixth UMS appearance.
Fisher Scientific International, Inc.
The Boston Symphony Orchestra
Seiji Ozawa, Music Director
Bernard Haitink, Principal Guest Conductor
One Hundred and Fifteenth Season, 1995-96
Boston Symphony Orchestra NEC 1996 North American Tour
Wednesday Evening, February 7, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Thirty-first concert of the njth season
11 jth Annual Choral Union Series
Ludwig van Beethoven
Symphony No. 4 in B-flat, Op. 60
Adagio--Allegro vivace
Allegro vivace
Allegro ma non troppo
Intermission Richard Strauss
Eine Alpensinfonie (An Alpine Symphony) Op. 64
The Ascent
Entry into the Wood
Wandering by the Brook
At the Waterfall
On Flowery Meadows
On the Aim
Through Thicket and Undergrowth on the Wrong Path
On the Glacier
Dangerous Moments
On the Summit
The Fog Rises
The Sun Gradually Becomes Obscured
Calm Before the Storm
Thunderstorm, Descent
Dying Away of Sound
Special thanks to Paul M. Montrone, President and CEO, Fisher Scientific International, Inc. for helping to make this Ann Arbor performance possible.
Thank you to Leone Buyse, U-M Professor of Flute and Former Principal Flute, BSO; Daniel Gustin, Namager of Tanglewood; Lois Schaefer, Emeritus Piccolo Principal, BSO; and Owen Young, cellist, BSO, speakers for this evening's Philips Educational Presentation.
The Boston Symphony Orchestra can be heard on RCA, Deutsche Grammophon, Philips, Telarc, Sony ClassicalCBS Masterworks, AngelEMI, LondonDecca, Erato, Hyperion, and New World records.
Baldwin piano
Large print programs are available upon request from an usher.
Symphony No. 4 in B-flat, Op. 60
Ludwig van Beethoven
Born c. December 15, 1770 in Bonn, Germany
Died March 26, 182J in Vienna
The works Beethoven completed in the last half of 1806--the Fourth Symphony, the Violin Concerto, and the Fourth Piano Concerto among them--were finished rather rapidly by the composer following his extended struggle with the original version of his opera Fidelio, which occupied him from the end of 1804 until April 1806. The most important orchestral work he had produced before this time was the Eroica Symphony, in which he had overwhelmed his audiences with a forceful new musical language reflecting both his own inner struggles in the face of impending deafness and his awareness of the political atmosphere surrounding him. The next big orchestral work to embody this "heroic" style--with a striking overlay of defiance as well--would be the Fifth Symphony, which had begun to germinate in 1804, was worked out mainly in 1807, and was completed in 1808. But in the meantime a more relaxed sort of expression began to emerge, emphasizing a heightened sense of repose, a broadly lyric element, and a more spacious approach to musical architecture. The Fourth Symphony, the Violin Concerto, and the Fourth Piano Concerto share these characteristics to vary?ing degrees, but it is important to realize that these works, though completed around the same time, do not represent a unilateral change of direction in Beethoven's approach to music; rather they represent the emergence of a particular element that appeared strikingly at this time. Sketches for the Violin Concerto and the Fifth Symphony in fact occur side by side; and that the two aspects--lyric and aggressive--of Beethoven's musical expres?sion are not entirely separable is evident
also in the fact that ideas for both the Fifth and the Pastoral symphonies appear in the Eroica sketchbook of 1803-04. These two symphonies--the one strongly assertive, the other more gentle and subdued--were not completed until 1808, two years after the Violin Concerto. And it appears that Beethoven actually interrupted work on his Fifth Symphony so that he could compose the Fourth in response to a commission from the Silesian Count Franz von Oppersdorff, whom he had met through Prince Carl von Lichnowsky, one of his most important patrons during the early years in Vienna and the joint dedicatee, together with Count Razumovsky, of the Fifth and Sixth symphonies.
So Beethoven's Fourth Symphony partakes successfully and wonderfully of both these worlds, combining a relaxed and lyrical ele?ment with a mood of exuberantly aggressive high spirits. The key is B-flat, which suggests --insofar as we can describe the effects of different musical keys--a realm of spacious?ness, relaxation, and warmth, in contrast, for example, to the "heroic" E-flat of the Third Symphony and the Emperor concerto, the "defiant" c minor of the Fifth, and the "heaven-storming" d minor of the Ninth.
Beethoven actually begins the first move?ment with a slow introduction in a mysteri?ously pianissimo b-flat minor, moving still further from the home key until trumpets and drums force the music back to b-flat, and the major mode, of the "Allegro vivace." Once the "Allegro" is underway, all is energy and motion, with even the more seemingly relaxed utterances of the woodwinds in service to the prevailing level of activity.
The E-flat Major "Adagio" sets a cantabile theme against a constandy pulsating accom?paniment, all moving at a relaxed pace which allows for increasingly elaborate figuration in both melody and accompaniment as the movement proceeds. The second theme is a melancholy and wistful song for solo clarinet, all the more effective when it reappears follow-
ing a fortissimo outburst from the full orchestra.
The scherzo, another study in motion, is all ups and downs. Beethoven repeats the Trio in its entirety following the scherzo's return (a procedure he will follow again in the third movement of the Seventh Symphony). A third statement of the scherzo is cut short by an emphatic rejoinder from the horns.
The whirlwind finale is yet anodier exer?cise in energy, movement, and dynamic con?trasts. The composer Carl Maria von Weber, who didn't much like this symphony when he was young and it was new, imagined the double bass complaining: "I have just come from the rehearsal of a Symphony by one of our newest composers; and though, as you know, I have a tolerably strong constitution, I could only just hold out, and five minutes more would have shattered my frame and burst the sinews of my life. I have been made to caper about like a wild goat, and to turn myself into a mere fiddle to execute the no-ideas of Mr. Composer." Beethoven's approach in this movement is wonderfully tongue-in-cheek and no-holds-barred; the solo bassoon, leading us into the recapitulation, is asked to play "dolce" ("sweetly") when he's probably thankful just to get the notes in. Only at the end is there a brief moment of rest, to prepare the headlong rush to the final cadence.
Eine Alpensinfonie
(An Alpine Symphony), Op. 64
Richard Strauss
Born June 11, 1864 in Munich
Died September 8, 1949 in Garmisch-
Born in Munich, Richard Strauss secured his reputation as the leading German com?poser of his time with the series of orchestral tone poems that included, between 1886 and 1903, Macbeth, Don Juan, Death and
Transfiguration, Till Eulenspiegel's Merry Pranks, Thus Spake Zarathustra, Don Quixote, Ein Heldenleben (A Hero's Life), and, adding insult to injury, as far as his critics were con?cerned, after portraying himself as Heldenleben's composer-hero, the Symphonia domestica, in which the resources of Strauss's huge orches?tra were employed to depict a typical day in the life of the composer's family, complete with screaming baby, family feud, and extended romantic reconciliation. It would be another dozen years before Strauss fin?ished the last of his tone poems: An Alpine Symphony would only be composed (1911-15) after he had turned his attention to opera, completing Salome, Elektra, and Der Rosenkavalier (Ariadne aufNaxos was a work in progress).
In fact, the germ for Strauss's final large-scale purely symphonic work can be traced to a boyhood mountain-climbing expedition during which his group lost its way heading up and was drenched in a storm coming down. Later, in igoo, following the comple?tion of Heldenleben, Strauss wrote his parents that he had an idea for a symphonic poem "which would begin with a sunrise in Switzerland." But he finally began sketching the work only after using the royalties from Salome to build his Alpine villa at Garmisch in 1908. (He and his wife, the soprano Pauline de Ahna, lived there for the rest of their lives.)
Strauss completed the score of An Alpine Symphony on February 8, 1915, dedicating it "in profound gratitude" to Count Nicolaus Seebach, director of the Royal Opera in Dresden, where Salome, Elektra, and Der Rosenkavalier had their premieres. The first performance was given by the Dresden Hofkapelle under the composer's direction, but in Berlin, where Strauss was conductor of the Berlin Opera from 1898 to 1908, and where he also conducted concerts with the Berlin Tonkunstler Orchestra and the Berlin Philharmonic. (It should be remembered
that, like Mahler, Strauss was regarded equally as both composer and conductor.) During rehearsals for An Alpine Symphony, the composer commented that he had at last learned how to orchestrate--reminding us how much he had benefited from writing for the large-scale operatic orchestras of Salome, Eleklra, and Der Rosenkavalier.
The premiere of An Alpine Symphony went largely unnoticed, but with World War I then in its second year, there were larger issues on people's minds. But Strauss was not dissatisfied. Years later, when he was invited to London for a festival of his music in October 1947, he wrote that, of all his orchestral works, he would most have pre?ferred to conduct the Alpine Symphony, though in the event--owing to difficulties with the size of the orchestra--he settled for the Symphonia domestica.
An Alpine Symphony is a spectacular piece of musical pictorialism with numerous clearly and aptly characterized themes and ideas from a composer for whom producing this kind of music was virtually second-nature. (According to Strauss's biographer Norman Del Mar, the composer once claimed "that he could, if necessary, describe a knife and fork in music") And it has an added spiri?tual dimension, which the composer himself recognized: the death on May 18, 1911, of Strauss's friend Gustav Mahler, in whose music nature-painting plays an extremely significant role, affected Strauss very deeply. In his notebook he wrote that An Alpine Symphony represented "the ritual of purifica?tion through one's own strength, emancipa?tion through work, and the adoration of eternal, glorious nature." Following the specific, extremely subjective pictorialism of the score's mountain-climbing course from sunrise to sunset, the final two sections sug?gest that the composer has stepped back, to view the mountain, and nature, from some spiritual distance or remove. The music closes with an aura of spiritual acceptance
and then, finally, awe-inspired objectivity. An Alpine Symphony is in a single large movement about fifty minutes long and divided by headings in the score into twenty-two sections. The first two of these set the scene for the climbing expedition depicted in the course of the work. The summit of the mountain is reached midway through the journey, and, following the descent through a drenching downpour--during which many of the ideas heard earlier recur in reverse order, at a very quick pace, as the mountaineers hurriedly retrace their steps-the final sections serve as a coda to the whole.
Program notes by Marc Mandel
Notes O Boston Symphony Orchestra, Inc.
Seiji Ozawa is now in his twenty-third season as music director of the Boston Symphony Orchestra. Mr. Ozawa became the BSO's thirteenth music director in 1973, after a year as music adviser; his tenure with the Boston Symphony is the longest of any music director currently active with an American orchestra. In his more than two decades as music director, Mr. Ozawa has maintained the orchestra's distinguished reputation both at home and abroad, with concerts at Symphony Hall and Tanglewood, on tours to Europe, Japan, China, South America, and across the United States. He has upheld the BSO's commitment to new music through the commissioning of new works, including a series of centennial commissions marking the orchestra's hundredth birthday in 1981, and a series of works celebrating the fiftieth anniversary in 1990 of the Tanglewood Music Center, the orchestra's training pro?gram for young musicians. In addition, he
and the orchestra have recorded more than 130 works, representing more than fifty different composers, on ten labels. Mr. Ozawa has toured internationally and domestically with the orchestra on a regular basis since 1976. The present North American tour is the ninth tour by Seiji Ozawa and the Boston Symphony Orchestra to be sponsored by NEC, which since 1986 has been the BSO's corporate sponsor for tours of Europe, Japan, North America, and South America.
In addition to his work with the Boston Symphony, Mr. Ozawa appears regularly with the Berlin Philharmonic, the New Japan Philharmonic, the London Symphony, the Orchestre National de France, the Philharmonia of London, and the Vienna Philharmonic. He made his Metropolitan Opera debut in December 1992, appears regularly at La Scala and the Vienna Staatsoper, and has also conducted opera at the Paris Opera, Salzburg, and Covent Garden. In September 1992 he founded the Saito Kinen Festival in Matsumoto, Japan, in memory of his teacher Hideo Saito, a central figure in the cultivation of Western music and musical technique in Japan, and a co-founder of the Toho Gakuen School of Music in Tokyo. In addition to his many Boston Symphony recordings, Mr. Ozawa has recorded with die Berlin Philhar?monic, the Chicago Symphony, die London Philharmonic, the Orchestre National, 1'Orchestre de Paris, die Philharmonia of London, the Saito Kinen Orchestra, the San Francisco Symphony, the Toronto Symphony, and the Vienna Philharmonic, among others.
Born in 1935 in Shenyang, China, Seiji Ozawa studied music from an early age and later graduated widi first prizes in composi?tion and conducting from Tokyo's Toho School of Music. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besancon, France. Charles Munch, then music director of die
Boston Symphony, subsequently invited him to attend the Tanglewood Music Center, where he won the Koussevitzky Prize for out?standing student conductor in i960. While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assistant conductor of the New York Philhar?monic for the 1961-62 season. He made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at Tanglewood, and made his first Symphony Hall appearance with the orchestra in January ig68. In 1970 he became an artistic director of Tanglewood.
Mr. Ozawa recendy became the first recip?ient of Japan's Inouye Sho (Inouye Award), created to recognize lifetime achievement in the arts and named after this century's pre?eminent Japanese novelist, Yasushi Inouye. In September 1994 Mr. Ozawa received his second Emmy award, for Individual Achievement in Cultural Programming, for Dvorak in Prague: A Celebration, with the Boston Symphony Orchestra. He won his first Emmy for die BSO's PBS television series Evening at Symphony. Mr. Ozawa holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts.
This evening's performance marks Maestro Ozawa's sixth appearance under UMS auspices.
k B ow in its 115th season,
the Boston Symphony
k Orchestra gave us
k inaugural concerl on
k I October 22, 1881,
H and has continued to . uphold the vision of
its founder, the philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century. Under the leadership of Seiji Ozawa, its music director since 1973, the Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, China, and South America, and reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season at Tanglewood is regarded as one of the world's most important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involving the entire Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music
Center, one of the world's most important training grounds for young composers, con?ductors, instrumentalists, and vocalists. The orchestra's virtuosity is reflected in the con?cert and recording activities of the Boston Symphony Orchestra Players, the world's only permanent chamber ensemble made up of a major symphony orchestra's principal players. The activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of making music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance of both the federal and local levels, and through the generosity of many foundations, businesses, and individuals.
Henry Lee Higginson dreamed of found?ing a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881. The following October, the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened in 1900. Henschel was succeeded by a series of German-born and trained conductors -Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler -culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and igi2-i8. Meanwhile, in July 1885, the musicians of the Boston Symphony Orchestra had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts,
soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.
In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in 1917, continued with increasing frequency, as did radio broadcasts. In 1918 Henri Rabaud was engaged as conductor; he was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employ?ment of many French-trained musicians.
The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. Regular radio broadcasts of Boston Symphony concerts began during Koussevitzky's years as music director. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musi?cians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).
In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra cele?brated its hundredth birthday in 1985 under Mr. Williams' baton. Keith Lockhart was appointed twentieth Conductor of the Boston Pops in February 1995, succeeding Mr. Williams.
Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting con?temporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its con?tinuing series of Youth Concerts was initiat?ed. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full-tuition fellowship was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the mid-west.
Seiji Ozawa was appointed the thirteenth music director of the BSO in the fall of 1973; he is currently in his twenty-third season in that post. Prior to his appointment as music adviser to the orchestra, in 1972, he had previously been appointed an artistic director of the Tanglewood Festival, in 1970. During his tenure as music director Mr. Ozawa has continued to solidify the orchestra's reputa?tion at home and abroad. He has also reaf?firmed the BSO's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, a series of works celebrating the fiftieth anniversary of the Tanglewood Music Center in 1990, and a recent series of commissions from composers including Henri Dutilleux, Lukas Foss, Alexander Goehr, John Harbison,
Hans Werner Henze, and Yehudi Wyner. Under his direction the orchestra has also expanded its recording activities, to include releases on the Philips, Telarc, Sony Classical CBS Masterworks, AngelEMI, LondonDecca, Erato, Hyperion, and New World labels.
Today the Boston Symphony Orchestra, Inc. Presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.
It is interesting to note that by the time the BSO made "its first transcontinental trip," in 1915, it was already a regular fixture of Ann Arbor's musical life: 1890, 1891, 1892 (Nikisch); 1893 (Kneisel); 1913 (Vrack); 1917 (Muck). From 1931-1961 the BSO made annual trips to the University Musical Society under the direction of Maestros Koussevitzky and Munch.
This evening's performance marks the Boston Symphony Orchestra's forty-eighth appearance under UMS auspices.
Boston Symphony Orchestra NEC 1996 North American Tour
Seiji Ozawa, Music Director
Dr. Nicholas T. Zervas, President
Kenneth Haas, Managing Director
Richard Westerfield, Assistant Conductor Anthony Fogg, Artistic Administrator Caroline Smedvig, Director of Public Relations
and Marketing
Ray F. Wellbaum, Orchestra Manager Madelyne Cuddeback, Director of Corporate Sponsorships Christopher W. Ruigomez, Operations Manager Diane Read, Production Coordinator Lynn Larsen, Orchestra Personnel Manager Faith Hunter, Friends' Coordinator Karen Leopardi, Artists' Assistant and
Secretary to Mr. Ozawa Peter Riley Pfitzinger, Stage Manager James Callanan, Stage Personnel Timothy Hogan, Stage Personnel Daniel Moriarty, Stage Personnel
Music Directorship tndou td In John Moors Cabot
Bernard Huitink
Principal Guest Conductor
First Violins
Malcolm lowe
Concert master Charles Munch chair ? Taniara Smirnova Associate Concert master Helen fforner Mcntyre chair
Assistant Concertmaster Robert L Heal, and Enid L and Bruce A. Real chair
Laura Park
Assistant Concert master
Edward am! Bertha C. Rose chair I'm Youp Hwang John tint! Dorothy Wilson chair ? Lucia Lin
Forrest Foster Collier chair
Leo Panast'virh Carolyn and Ceorge
Rowland chair Gottfried Wilfinger
Dorothy Q. ami David B.
Arnold, Jr., chair Alfred Schneider
Muriel C. Kasdon
anil Marjorie C. Paley
chair Raymond Sird
Ruth and Carl Shapiro
chair ? Ikuko Mizuno
David and Ingrid
Kosowsky chair Amnon Levy
Theodore W. and Evelyn
Rerenson Eamih chair Jerome Rosen Sheila Fiekowsky Jennie Shames Valeria Vilker Kuchment Tatiana Dimhriades Si-Jing Huang ?Nicole Monahan Second Violins Marylou Sneaker
Eahnrstock chair Vyarhrslav I rilsky
Assistant Principal
Charlotte and In:ing
W. Rahh chair
Ronald Knudsen
Edgar and Shirley
Grossman chair Joseph McGauley
Harvey Seigel Lefkowilz
Nancy Bracken
' .i Raykhtsaum
Bonnie Bewick James Cooke
Victor Romanul ""Catherine French ?Joseph Conle ?Daniel Banner ?Colin Davis
?Charles Pikler Guest Principal Charles S. Dana chair Hui ]in
Assistant Principal Anne Stoneman chair ?
Ronald Wilkison
Ijis and Harlan Anderson
Robert Barnes Burton Fine Joseph Pietropaolo Michael Zaretsky Marc Jeanneret Mark Ludwig Rachel Fagernurg
Edward Cazouleas Kazuko Matsusaka ?Anne Black ?Emily Bruell
Jules Eskin Principal Philip H. Mien chair
Martha Bahcock
Assistant Principal
Vernon and Marion Alden
chair Sato Knudsen
Esther S. and Joseph M.
Slwpirv chair Joel Moerschel
Sandra and David
Bakalar chair
Ronald Feldman
Richard C and Ellen E.
Paine chair Luis Legufa
fiobert Bradford Newman
chair Carol Procter
Lillian and Nathan R.
,}filler chair
?Jerome Patterson
Charles and Joanne
Dickinson chair Jonathan Miller Owen Young
John F. Cogan. Jr., and
Mary Cornille chair ? Emmanuel Feldman
Edwin Barker Principal
Harold D. Hodgkinson chair
Ijiwrence Wolfe Assistant Principal Maria Nistazos Stata choir ?
Joseph Hearne
Ijeith Family chair John Salkowski
Joseph anil Jan lirrft
Hearne chair ? Robert Olson James Orleans Todd Seeber ?John Stovall Dennis Roy
Klizabeth Ostling
Acting Principal Walter Piston chair ? Wolfgang Brcinschmid
Guest Principal Fenwick Smith Myra and Robert Kraft
sMtanl PrirnifKil Marian Gray h'ni.s chair ?
Geralyn Coticone Evelyn and C. Charles
Marran chair
$ Alfred Genovese Principal Mildred H. fiemis chair
?Mark MeEwen
Kri-ukc Wakan Assistant Principal
English Horn
Robert Sheena Beranek chair ?
Clarinets William R. Hudgina Principal
Ann S.M. Banks chair Scott Andrews Thomas Martin
Associate Principal &
E-flat clarinet ?Catherine Hudgins
E-flat clarinet
Bass Clarinet
Craig Nordstrom Farla and Harvey Chet
Richard Svohoda
Edward A. Taft chair Roland Small Richard Runti
Associate Principal
Gregg Henegar
Helen Rand Thaver chair
Charles Kavalovski
Helen Sagoff Sinsberg chair Richard Sebring Associate Principal Margaret Andersen Congleton chair ?
? Daniel Kalzen
Elizabeth B. Storer chair
Jay Wadenpfuhl
III-?li.inl Mackey
Jonathan Menkis ? Kevin Owen SRirhard Menaul SKate Gascoigne ?Jane Sehring
I i iim. I-
Charles Srhlueter Principal
Roger hmis Volsin chair
Peter Chapman Ford H. Cooper chair
Timothy Morrison Associate Principal
Thomas Rolfs ?l)avi(j Bumonte $Jeffrey Work
I i-otiiiiinn -
Honalil Barron
J.P. and Mary B.
Barger chair ? Norman Bolter ?Mark Gantrell
Bass Trombone
Douplas Yeo
Tu ha
Chesler Schmitz Margtirrl and William C. Rousseau chair ? ?Steven Camphell
Everett Firth Sylvia Shipten Wells chair
Thomas Gauger
Peter and AntUt Brooke
chair ? Frank Epstein
Peter Andrew luirie chair J. William Hmlgins Timothy Genis
Assistant Timpanist ?Neil Grover
Ann Hohson Pilot Principa I
WHlona Henderson Sinclair chair Sarah Schuster Ericsson
?James David Christie
I ihi:ii Miii-Marshall Burlingame Principal
I,in and William Poorvu
William Shisler James Harjrr
Assistant Conductor
Richard Westerfield Anna E. Finnertx chair
Personnel Managers Lynn Lanen Bruce M. Creditor
Stage Manager Position endowed In Angelica _ Russell
Peter Riley Pfitzinger
A Message fpom the President of
Dear Friends,
On behalf of NEC, it is my pleasure to welcome you to this wonderful evening with the Boston Symphony Orchestra.
music is a unique language, one tnat is capable ot communicating without words. It is a language that inspires people to expand their personal horizons and encourages them to fulfill their dreams.
NEC has proudly supported the Boston Symphony Orchestra's tours throughout Asia and Europe as well as in North and South America since 1986, and we are particularly pleased to support the North American Tour this year. No matter where they perform, the Boston Symphony Orchestra, together with Maestro Ozawa, impress audiences with their brilliant performances, and have captured the hearts of music lovers all over the world.
I would like to thank the many people and groups who have made this tour possible. I hope all-of you enjoy tonight's performance.
Hisashi Kaneko
NEC Corporation
Latin Jazz Summit
Jerry Gonzalez and the Fort Apache Band
Jerry Gonzalez, trumpet, flugelhorn, congas
John Stubblefield, tenor saxophone
Joe Ford, alto and soprano saxophones
Larry Willis, piano
Andy Gonzalez, bass
Steve Berrios, drums, marimba, percussion
Saturday Evening, February 10, 1996 at 8:00
Hill Auditorium Ann Arbor, Michiga,
Arturo Sandoval and The Latin Train
Arturo Sandoval, trumpet
Kenny Anderson, musical director, saxophone
David Enos, bass
Felix Gomez, piano, keyboards
Willy Jones III, drums
Manuel Egui Castrillo, percussion
Tito Puente and his Latin Jazz Ensemble
Tito Puente, percussion
Bob Porcelli, baritone saxophone
Mario Rivera, saxophoneflute
Mitchell Froman, saxophone
Reynaldo Jorge, trombone
Luis Kahn, trombone
Ray Vega, trumpetflugelhorn
Jose Jerez, trumpet
Sonny Bravo, piano
Bobby Rodriguez, bass
John Rodriguez, bongos, road manager
Jose Madera, congas
Yolanda Duke, vocals
Ralph Barbossa, band boy
Thirty-second concert of the 11 yth season
2nd Annual fazz Directions Series
The UMSJazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Thank you to Dr. Alberto Nacif Percussionist and WEMU Radio Host, speaker for this evening's Philips Educational Presentation.
The Berkeley Agency, Berkeley, California
Robert Friedman Presents, San Francisco, California
Large print programs are available upon request from an usher.
For nearly fifteen years, the Fort Apache Band has been one of the few authentic standard-bearers of what can rightfully be called Latin jazz. As demonstrated on Crossroads, the New York-based sextet's Milestone debut, this band does not merely play both sides of the fence; it burns the fence down. As one of its founding members, Steve Berrios, explains, "Most bands that play so-called Latin jazz might play a 'jazz' tune the way a traditional salsa band might play it. To me that's not the point. They haven't really done their homework. We know both sides of the coin extremely well, which makes this band unique. I think it comes off in the music." Peter Watrous, writing in the New York Times, has agreed, noting that "the band has come up with something immensely dramatic, music that constantly shifts angles and approaches," and citing Fort Apache as pos?sibly "the best Latin jazz group working."
Latin jazz is more than fifty years old: In 1942, Mario Bauza wrote his classic compo?sition Tonga and four years later he introduced Dizzy Gillespie to Cuban percussionist Chano Pozo, giving rise to a series of historic cross-cultural collaborations featuring
Machito, Gillespie, Charlie Parker, and others. Afro-Cuban rhythms have been embedded in the pulse of jazz ever since, but rarely have the two traditions melded as fluidly as they do in the music of Fort Apache.
First organized in the early 1980's by the Bronx-bred brothers Jerry Gonzalez (trumpet, flugelhorn, congas) and Andy Gonzalez (bass), Fort Apache was initially a large, flexible ensemble, boasting as many as ten or fifteen pieces and featuring such players as Kenny Kirkland, Sonny Fortune, Steve Turre, the late Jorge Dalto and Frankie Rodriguez, Milton Cardona, Hector Hernandez, Angel Vasquez, and others. The band's first two albums were recorded live at European jazz festivals: The River Is Deep, 1982 in Berlin; Obatala, 1988 in Zurich. But it was 1989's Rumba Para Monk, a quintet recording of Thelonious Monk masterpieces arranged by Jerry Gonzalez and the entire band, that brought the Fort Apache concept into focus. Named Jazz Record of the Year by the French Academie dujazz, the album also resulted in the Fort Apache Band being voted the number one World Beat Group in Down Beat's fifty-fifth annual Readers Poll.
The quintet that recorded Rumba Para Monk -with Carter Jefferson on tenor saxo-
phone, Larry Willis on piano, and Steve Barrios on drums -added saxophonist Joe Ford for 1991's Earthdance and 1992's Moliendo Cage. Following the death of Jefferson, former Fort Apache member John Stubblefield returned to the fold on tenor sax. "When we first started," Berrios explains, "we had more salsa players in the band, but since we've added more jazz players -more well-rounded players -the concept is much hipper. And we've gone from playing jazz tunes with Latin rhythms to playing much more original material."
The Fort Apache vision has organically evolved from the backgrounds of its found?ing members. Born of Puerto Rican heritage in New York City, Jerry Gonzalez, Andy Gonzalez, and Steve Berrios all grew up with their ears and hearts open to both jazz and Latin music. "Whenever I heard jazz -Trane, Miles, or Monk -I heard the Cuban rhythms with it all along," Jerry Gonzalez told Down Beat in 1990. In 1970, at the age of twenty-one, he was given the chance to apply that understanding, working with Dizzy Gillespie for a year. "Dizzy proved that you can superimpose authentic bebop over a complex Latin rhythmic bass without watering either of them down," Gonzalez has explained. "I don't want to compromise the rhythm and I don't want to compromise the jazz playing."
In 1971, both Jerry and Andy Gonzalez joined pianist Eddie Palmiere in what many consider to have been the classic band of "El Son." Not long after, they combined forces with master timbalero Manny Oquendo in Conjunto Libre, the exhilarating Latin band that continues to thrill audiences today. Jerry, who made his recording debut as a leader in 1980 with Ya Yo Me Cure, has also performed with Tony Williams, McCoy Tyner, Kenny Dorham, Anthony Braxton, Tito Rodriguez, Ray Barretto, Eddie Palmieri, Tito Puente, Paquito D'Rivera, and Machito.
Coming from a musical household in
which his mother sang and his father was a professional drummer, Steve Berrios remembers that "it was just natural for me to hear both Machito and Duke Ellington." Although he played jazz trumpet throughout elementary and high school, Berrios eventu?ally turned to the drums, which had always been his "first love." Self-taught but inspired by such masters as Art Blakey, Max Roach, Philly Joe Jones, and Elvinjones, Berrios filled in for his father in the Latin house band at Manhattan's Hotel Alamedo and found himself playing six nights a week for the next four years. In 1967, he was invited to join the band of Mongo Santamaria and performed on and off with the legendary conguero through 1980. Berrios's credits also include long stints with Tito Rodriguez, Art Blakey and the Jazz Messengers, and more recently, Hilton Ruiz and Max Roach's M'Boom ensemble.
As the various writing and arranging credits on Crossroads reveal, Fort Apache operates democratically. "Everyone makes suggestions," Berrios says, "and the best ones stick." Pianist Larry Willis, best known for his work with the Cannonball Adderley Quintet and Blood, Sweat and Tears (as well as Wynton Marsalis, Jackie McLean, Lee Morgan, Freddie Hubbard, and many others), wrote the album opener, "Malandro," and contributed several arrangements. Alto and soprano saxophonist Joe Ford, who had played with Jerry Gonzalez in McCoy Tyner's band, bought 'The Vonce" and "Thelingus."
"The band is growing," Berrios says of the expansive moves made on Crossroads. The sound is getting pinpointed to exactly what Fort Apache is all about."
This evening's performance marks Jerry Gonzalez and the Fort Apache Band's UMS debut.
The arrival of celebrated trumpet player Arturo Sandoval has been joyfully applauded throughout the jazz and classical music communities. Granted political asylum in July 1990, Sandoval, his wife and teenage son made their new home in Miami, Florida. A protege of the legendary jazz master Dizzy Gillespie, Sandoval was born in Artemisa, a small town on the outskirts of Havana, Cuba, on November 6, 1949, just two years after Gillespie became the first musician to bring Latin influences into American jazz. Sandoval began studying classical trumpet at the age of twelve, but it didn't take him long to catch the excitement of the jazz world. He has since evolved into one of the world's most acknowledged guardians of jazz trumpet and flugelhorn, as well as a renowned classical artist.
Sandoval was a founding member of the Grammy-winning group Irakere, whose explosive mixture of jazz, classical, rock and traditional Cuban music caused a sensation throughout the entertainment world. In 1981, he left Irakere to form his own band, which garnered endiusiastic praise from critics and audiences all over Europe and Latin America. Sandoval was voted Cuba's Best Instrumentalist from 1982 to 1990.
Before founding Irakere, Sandoval per?formed with the Cuban Orchestra of Modern Music. He was presented as a guest artist with the BBC Symphony in London and the Leningrad Symphony in Russia. Since his defection, Sandoval has increased his classical performances world-wide including perfor?mances with the National Symphony, Los Angeles Philharmonic, Toledo Symphony, Oklahoma Symphony and Atlanta Symphony amongst others. His classical artistry has earned him the respect and friendship of Maurice Andre and Adolph Herseth, two of
the world's foremost trumpeters.
As a professor, Sandoval performed at the Conservatoire de Paris, the Tchaikovsky Conservatory in the Soviet Union, the University of California at Santa Barbara, University of Miami, University of Wisconsin, Purdue University, and at many other insti?tutions in the United States, Europe, and Latin America. Currendy, he serves with a full professorship at Florida International University, and maintains one of the most extensive educational programs in the indus?try with approximately fifty performances and clinics per year. There are two scholarships associated with Sandoval, the "Arturo Sandoval's Dizzy Gillespie Trumpet Scholar Award" at the University of Idaho, and the "Sandoval Trumpet Scholarship" at Central Oklahoma University. In 1995 Hal Leonard Publishing will release three new method books with recordings that include Arban and original exercises by Sandoval.
Sandoval was a featured artist in die acclaimed Dizzy Gillespie United Nation Orchestra, as well as the orchestra's 1992 Grammy-winning album, Live at Royal Festival Hall. He has performed with Billy Cobham, Woody Herman, Woody Shaw, Herbie Hancock, Michel Legrand, Stan Getz, and John Williams at the Boston Pops. His playing also can be heard on Dave Grusin's soundtrack for Havana, in the
Mambo Kings soundtrack with his Grammy nominated composition Mambo Caliente, and in the soundtrack of The Perez Family. His diverse style and versatility can be heard on albums by the GRP All Star Big Band, and Gloria Estefan's Into the Lights and Mi Tierra amongst others.
This evening's performance marks Mr. Sandoval's UMS debut.
Percussionistband leader Tito Puente is perhaps the best known and most respected name in Latin music today. His musical contributions span more than fifty years. He is affec?tionately called El Rey, The King.. .of timbales, of Latin music, of Salsa. Although he doesn't like the term Salsa, he understands its useful?ness. "Salsa means sauce, literally; its just a commercial term for Afro-Cuban dance music which was used to promote the music. My problem is that we don't play sauce, we play music, and Latin music has different styles: cha-cha, mambo, guanaco, and so on.
Salsa doesn't address the complexities and the rich history of the music that we play. But it's become expected now and it helped to get the music promoted," he said in an article for Hip Magazine.
Besides his success as a band leader and musician (playing timbales, vibes, marimba, piano, and even saxophone and clarinet), Tito is an accomplished arranger and com?poser. He has written or co-written over four hundred songs, among them his well known Oye Como Va, recorded by popular rock star Carlos Santana in the early 70's.
Tito Puente was born Ernesto Anthony Puente, Jr. in New York City of April 20, 1923 to parents newly arrived from Puerto Rico. He is very proud of his Puerto Rican roots and performs there at least once a year. He grew up in a richly diverse musical environment in East Harlem, which included South American, Cuban and swing music. He was influenced not only by Latin musi?cians, but by the great dance bands of the day -Duke Ellington, Artie Shaw and Benny Goodman. Drummer Gene Krupa was his idol. He would later be influenced by the writings of another big band leader, Stan Kenton.
By die age of twelve, he was performing
with local Latin and society bands. In his early teens, he playing a twelve-week engagement with a sextet in Miami, Florida. He continued playing in New York, with bands like Machito's, until he was drafted into the United States Navy at the age of nineteen.
After a three year stint in the Navy, he attended Thejuilliard School of Music on the G.I. Bill. By 1949, Latin rhythms had become increasingly popular
in American music. Puente formed his own nine piece group, The Piccadilly Boys, which performed regularly at the Palladium, a New York City club, which was the "in" place for those who loved to listen and dance to the best Latin music.
The Palladium -the "mecca of Latin music" -attracted New York's elite art and literary crowd, as well as Hollywood stars. Dizzy Gillespie, Charlie Parker and Max Roach came over from Birdland, the famous nearby jazz club. Gillespie combined the mambo rhythms with his bebop and invented a fusion, which came to be known as Cu-bop, Jazz Mambo or Cubano Jazz. After playing at Birdland -"the jazz mecca" -and Roseland, Puente incorporated jazz har?monies into his music, producing Latin jazz.
Tito began recording about that time. He has recorded steadily since, signing with Concord Picante, a division of Concord Jazz, in the early '8o's.
Tito has recorded eleven albums on Concord Picante. His 1994 release, Master Timbalero, features some of his own composi?tions, as well as songs by Charles Mingus, Horace Silver, Charlie Parker and Erroll Garner, demonstrating once again how diverse and gifted this artist is. His 1993 CD, Royal T is a masterpiece. As annotator Mark Holston says: ". . . the ever youthful Mambo King is working harder than ever and making new music that may be the very best of his entire career."
His 1992 release Mambo Of The Times, has liner notes by Tito's friend and fan, Bill Cosby, who writes: "It has nothing to do with whether Tito can speak Italian, Yugoslavian, Russian, Chinese, or Japanese. . .once he bangs those two sticks together counting off the rhythm like sign language, they all come together and they dance, and they tap their feet and they feel good."
Puente is an inspiration for musicians. He as amassed many honors, including the
"Key" to New York City in 1969 by Mayor John Lindsay. In 1979, his group became the first Latin jazz orchestra to play at the White House for President Jimmy Carter. Also, they played at President Ronald Reagan's Inaugural Ball. Coca Cola designated him their spokesman for the Hispanic com?munity and cast him in a commercial with Bill Cosby. In 1989, the National Academy for Recording Arts and Sciences (NARAS) presented him with a Eubie Award for Lifetime Achievement in the recording industry.
In 1990, he received a Star on the famous Hollywood Walk of Fame, reserved for those who have made outstanding contributions in their fields. He is a consistent winner of Downbeat Critics' and Readers' Polls.
Tito has performed on television shows, such as the Cosby Show, The David Letterman Shoxu, and the Arsenio Hall Show. He has appeared in the Woody Allen movie, Radio Days; in Armed and Dangerous with John Candy and Salsa, Most recently, he appeared in the Warner Brothers 1992 movie, Mambo Kings.
In 1981, the Tito Puente Scholarship Fund was set up to award grants to musically gifted youngsters in the Latin community. Staunchly supported by Puente, over fifty grants have been presented in its first thirteen years.
According to Hip Magazine, "He has recorded with virtually every major Latin and jazz artist of his day. In addition, he has worked with a variety of pop artists ranging from The Sugar Hill Gang to Tower of Power. Never one to 'rest on his laurels,' Puente maintains a whirlwind schedule, appearing around the world at festivals, concert halls and clubs."
This performance marks Mr. Puente's debut appearance under UMS auspices.
Youth Program
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 19891990 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 fourdi graders by the New York City Opera National Company, a performance by Wynton Marsalis and the Lincoln Center Jazz Orchestra Octet, 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 19, 1996.
On Friday February 24, 1996, 2700 fourth-graders will visit the Power Center for abbreviated one-hour performances of Verdi's La Traviala. 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 Octet will perform a special youth performance at the Michigan Theater.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call the Education and Audience Development Director at 3 13.764.6179.
Volunteers & Interns
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educational materials for teachers, greeting and escorting students to seats at performances, and serving as good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 936.6837 or pick up a volunteer applica?tion form from the Information Table in the lobby. Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, promotion, and production. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in a UMS Marketing Internship should call (313) 764-6199, and those interested in a UMS Production Internship should call (313) 747-1173 for more information.
College Work-Study
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538 or 764-6199.
UMS Ushers
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85$ of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
For more information about joining the UMS usher corps, call 313.913.9696
Dining Experiences To Savor: The Second Annual "Delicious Experiences"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds benefiting UMS programs, to continue the fabulous music, dance, drama, and educational programs that add so much to the life of our community. Wonderful friends and supporters of the University Musical Society are offering unique donations by hosting a delectable variety of dining events, including elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. Treat Yourself! Give the gift of tickets, purchase an entire event, or come alone meet new people and join in the fun while supporting UMS! Although some Delicious Experiences are sold out (A Valentine Brunch, Burmese Feast and "A Taste of Spring" Garden Dinner), space is still available for Dinner at Cousin's Heritage Inn (Jan 13), Mardi Gras Madness (Feb 24), An Elegant Dinner for Eight (Mar 2), Great Lakes Dinner (Mar 3), Great Wines and Many Courses (Apr 5), and Lazy Day Sunday Brunch (Apr 7). For the most delicious experiences of your life, call us at 313.936.6837.
UMS Card
Series ticket subscribers andor UMS Members at the $100 level and above, receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases. Participants for the igg5igg6 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.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, religious congregation or conference participants, family or guests, by calling 3j3.763.3100.
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 3-763-3IO?-
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 313.936.6837 for information.
Thank You!
Great performances--the best in music, theater and dance--are present?ed by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current contributors as of December 1, 1995. If there has been an error or omission, we sincerely apologize and would appreciate a call to correct this at your earliest con?venience. (313.747.1178).
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
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 support to continue the great traditions of the Society in the future.
Mr. Neil P. Anderson
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
The Graham H. Conger Estate
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
The Estate of Marie Schlesinger
Dr. Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Bravo Society Members
Mr. Ralph Conger F. Bruce Kulp
Mr. and Mrs. William B. Palmer Richard and Susan Rogcl Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ronald and Eileen Weiser and other anonymous donors
Conlin-Faber Travel Great Lakes Bancorp The Hertz Corporation JPEinc.The Paideia Foundation Mainstreet Ventures, Inc. McKinley Associates, Inc. Philips Display Components Company Regency Travel, Inc. Society Bank Michigan The Edward Surovell Co.Realtors TriMas Corporation Warner-LambertParke-Davis Research Division
Arts Midwest
Detroit Edison Foundation Ford Motor Company Fund Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Concert Masters
Herb and Carol Amster Maurice and Linda Binkow Carl and Isabelle Brauer Dr. James P. and Betty Byrne David and Pat Clyde Margaret and Douglas Crary Sun-Chien and Betty Hsiao Dr. and Mrs. James Irwin Mr. David G. and Mrs. Tina M. Loesel Maya Savarino and Raymond Tanter Mrs. M. Titiev
Dr. and Mrs. John F. Ullrich Paul and Elizabeth Yhouse and other anonymous donors
The Anderson Associates Brauer Investment Company Cafe Marie Curtin and Alf
Environmental Research Institute
of Michigan
Ford Motor Credit Company Thomas B. McMullen Co., Inc. NSK Corporation O'Neal Construction Pepper, Hamilton & Scheetz Wolverine Temporaries, Inc.
Chamber Music America
The Benard L. Maas Foundation
Lila Wallace-Readers Digest Fund
Bradford and Lydia Bates 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 Mr. Edward P. Frohlich Sue and Carl Gingles Ruth B. and Edward M. Gramlich Keki and Alice Irani Robert and Gloria Kerry Judythe and Roger Maugh Paul and Ruth McCracken Dr. and Mrs. Joe D. Morris John M. Paulson John W. and Dorothy F. Reed Prudence and Amnon Rosenthal John Wagner
Mr. and Mrs. Conrad Walburger Elise and Jerry Weisbach Marina and Robert Whitman and several anonymous donors
Dahlmann Properties Gelman Sciences, Inc. Huron Valley Travel, Inc. Masco Corporation
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 [ohn and Betty Barfield Howard and Margaret Bond Tom and Carmel Borders Jim Botsford and
Janice Stevens Botsford Drs. Barbara Everitt and John H. Bryant Mr. and Mrs. Richard J. Burslein Jean M. and Kenneth L. Casey Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Maurice 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 Lourdes and Otto Gago William and Ruth Gilkey Drs. Sid Gilman and Carol G. Barbour Vivian Sosna Gottlieb and
Norm Gottlieb
Mr. and Mrs. Robert C. Graham Linda and Richard Greene Jester Hairston Harold and Anne Haugh 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 and Shirley Kauper Bud and Justine Kulka David Lebenbom Carolyn and Paul Lichter Patrick B. and Kathy Long Joseph McCune and Georgiana Sanders Rebecca McGowan and
Michael B. Staebler H. Dean and Dolores H. Millard Dr. and Mrs. Andrew and
Candice Mitchell Ginny and Cruse Moss George and Barbara Mrkonic
William A. Newman Bill and Marguerite Oliver Mark and Susan Orringer Dory and John Paul Maxine and Wilbur K, Pierpont Christine Price Tom and Mary Princing Bonnie and Jim Reece ElisabethJ. Rees Mr. and Mrs. Raymond Reilly Glenda Renwick Katherinc and William Ribbens Mr. and Mrs. Charles H. Rubin Judith Dow Rumelhart Richard and Norma Sarns Genie and Reid Sherard Victor and Marlene Stoeffler Dr. and Mrs. E. Thurston Thieme Jerrold G. Utsler Mary and Ron Vanden Belt Dr. and Mrs. Francis V. Viola III John and Maureen Voorhees Martha Wallace and Dennis White Dr. and Mrs. Andrew S. Watson Mr. and Mrs. Robert O. Weisman Roy and JoAn Welzel Len and Maggie Wolin Nancy and Martin Zimmerman and several anonymous donors
American Title Company
The Barfield CompanyBartech Borders Books and Music Comerica Bank Creditanstalt-Bankverein Kitch, Drutchas, Wagner, 8c Kenney, P.C. Matthew C. Hoffmann Jewelry Design NBD Ann Arbor NA Pastabilities Scientific Brake and
Equipment Company Shar Music Company
Chrysler Corporation Fund The Mosaic Foundation (of Rita and Peter Heydon)
Bernard and Raquel Agranoff M. Bernard Aidinoff Catherine S. Arcure Mr. and Mrs. Essel Bailey Jim and Lisa Baker
Emily W. Bandera, M.D.
Paulett and Peter Banks
M. A. Baranowski
Mrs. Martha K. Beard
Ralph P. Beebe
Mrs. L. P. Benua
Dr. and Mrs. Raymond Bernreuter
Mr. and Mrs. Philip C. Berry
Robert Hunt Berry
Suzanne A. and Frederick J. Beutler
Joan Binkow
Ronald and Mimi Bogdasarian
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
LetitiaJ. Byrd
Jean W. Campbell
Bruce and Jean Carlson
Edwin F. Carlson
Mrs. Raymond S. Chase
Pat and George Chatas
Jim and Connie Cook
Arnold and Susan Coran
H. Richard Crane
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
Beverley and Gerson Geltner
Margaret G. Gilbert
Grace M. Girvan
Paul and Anne Glendon
Dr. and Mrs. William Gracie
Seymour D. Greenstone
John R. and Helen K. Griffith
Mr. and Mrs. Robert Grijalva
Leslie and Mary Ellen Guinn
Mr. and Mrs. Elmer F. Hamel
Walter and Dianne Harrison
Harlan and Anne Hatcher
Fred and Joyce Hershenson
Bertram Herzog
Mrs. W. A. Hiltner
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 Robert L. and Beatrice H. Kahn Wilhelm and Sigrun Kast Jim and Carolyn Knake 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. Carl J. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Peggy and Chuck Maitland Mr. and Mrs. Damon L. Mark Marilyn Mason and William Steinhoff Kenneth and Mardia McClatchey John F. McCuen
Kevin McDonagh and Leslie Crofford Charlotte McGeoch 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 Len and Nancy Niehoff Karen Koykka O'Neal and Joe O'Neal Randolf Paschke Mr. and Mrs. William J. Pierce Eleanor and Peter Pollack Mrs. Gardner C. Quarton Stephen and Agnes Reading Mr. Donald H. Regan and Ms.
1 li.thrill Axelson Dr. and Mrs. Rudolph E. Reichert Maria and Rusty Restuccia Jack and Margaret Ricketts Mrs. Bernard J. Rowan 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 Dr. and Ms. Howard and Aliza Shevrin Mr. and Mrs. George Shirley Edward and Marilyn Sichlcr George and Helen Siedel Lloyd and Ted St. Antoine Dr. and Mrs. Jeoffrey K. Stross Nicholas Sudia and Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter Mr. and Mrs. Terril O. Tompkins Kathleen Treciak-Hill Herbert and Anne Upton Joyce A. Urba and David J. Kinsella Charlotte Van Curler Don and Carol Van Curler Bruce and Raven Wallace Karl and Karen Weick
Angela and Lyndon Welch Marcy and Scott Westerman Brymer and Ruth Williams Frank E. Wolk
Walter P. and Elizabeth B. Work, Jr. and several anonymous donors
Ann Arbor Stage Employees, Local 395 Michigan National Bank Sarns, 3M Health Care
The Power Foundation Shiftman Foundation Trust
Jim and Barbara Adams
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
Howard Ando and Jane Wilkinson
David and Katie Andrea
Tim Andresen
Harlcne and Henry Appclman
Mr. and Mrs. ArthurJ. Ashe
Eric M. and Nancy Aupperle
Erik W. and Linda Lee Austin
Sharon and Charles Babcock
Robert L. Km 11
Cyril and Anne Barnes
Gail Davis Barnes
Dr. and Mrs. Mason Barr.Jr.
Dr. and Mrs. Roberc Bartlett
Astrid B. Beck and David Noel Frecdman
Ncal Bedford and Gerlinda Mclchiori
Harry and Betty Bcnford
Ruth Ann and Stuart J. Bcrgstcin
Mr. and Mrs. S. E. Berki
Maureen Foley and John Blanklcy
Donald and Roberta Blitz
Roger and Polly Bookwalter
Robert and Sharon Bordeau
Laurence Boxer, M.D.; Grace J. Boxer, M.D.
Dean Paul C. Boylan
Dr. and Mrs. Ralph Bozell
Paul and Anna Bradley
William R Brashear
Betsy and Ernest Brater
Professor and Mrs. Dale E. Briggs
Gerald and Marcclinc Bright
June and Donald Brown
Morton B. and Raya Brown
Arthur and Alice Burks
Phoebe R. Burt
Rosemarie andjurg CadufF
Mrs. Theodore Cage
Freddie Caldwell
H. D. Cameron
Mr. and Mrs. Robert Campbell
Charles and Martha Cannell
Jim and Priscilla Carlson
John and Patricia Carver
Shelly and Andrew Caughey
Tsun and Siu Ying Chang
Dr. Kyung and Young Cho
Nancy Cilley
Janice A. Clark
John and Nancy Clark
Alice S. Cohen
Wayne and Mel in da Cokjuiu
Edward J. and Anne M. Comeau
Gordon and Marjoric Comfort
Sandra S. Connellan
Maria and Carl Constant
Lolagene C. Coombs
Gage R. Cooper
Mary K. Cordcs
Alan and Belle Cotzin
ClifTord and Laura Craig
Merle and Mary Ann Crawford
W. P. Cupples
Peter and Susan Darrow
Dr. and Mrs. Charles Davenport
Ed and Ellie Davidson
Jean and John Debbink
Laurence and Penny Dcitch
Elena and Nicholas Dclbanco
Benning and Elizabeth Dexter
Macdonald and Carolin Dick
Tom Doane and
Paiti Marshall-Doane
Dr. and Mrs. Edward F. Domino William G. and Katherine K. Dow
Nancy Griffin DuBois J. W. Durstine
Sally and Morgan Edwards
Dr. Alan S. Eiscr
Emil and Joan Engel
Mark and Patricia Enns
Ellen C. Wagner and Richard Epstein
Don Fabcr
Dr. and Mrs. Stefan Fajans
Elly and Harvey Falit
Dr. and Mrs. John A. Faulkner
Inka and David Felbeck
Reno and Nancy Fcldkamp
Dr. James F. Filgas
Sidney and Jean Fine
Hcrschel and Annette Fink
Mrs. is. ill ). Fischer
Susan Fisher and John Waidley
Linda W. FiUgcrald
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. Forsvth
Phyllis W. Foster
Paula L. Bockcnstcdt and David A. Fox
Deborah and Ronald Frcedman
David Fugcnschuh and Karcy Leach
Harriet and Daniel Fusfcld
Gwyn and Jay Gardner
Del and Louise Garrison
Professor and Mrs. David Gates Wood and Rosemary Gcist Henry and Beverly Gershowitz Elmer G. Gilbert and
Lois M. Vcrbruggc Fred and Joyce Ginsberg IrwinJ. Goldstein and Marty Mayo Dr. Alexander Gotz . Richard Goulet, M.D. Mrs. William C. Grabb Jerry and Mary K. Gray Dr. John and Rcncc M. Gredcn Daphne and Raymond Grew Leslie and Mary Ellen Guinn George N. Hall Marcia and John Hall Mary C. Harms Susan R. Harris Clifford and Alice Hart J. Theodore Hefley Kenneth and Jeanne Heininger John L. and
Jacqueline Stearns Henkel Herb and Dee Hildcbrandt CUudetteJ. Stern and
Michael Hogan John and Mauriin Holland Mary Jean and Graham Hovey Drs. Linda Samuelson and
Joel Howell Mrs. V. C. Hubbs David and Dolores Humes Mrs. Hazel Hunschc Robcrt B. and Virginia A. Ingling Ann K Irish John and Joan Jackson Mr. and Mrs. Donald E.Jahncke Wallie and Janet Jeffries Mr. and Mrs. James W.Jensen Donald andjanicejohnson Mrs. Ellen C.Johnson Stephen G.Joscphson and
Sally C. Fink
Dr. and Mrs. Mark S. Professor and Mrs. Wilfred Kaplar Herb Katz AnnaM. Kaupcr Mr. and Mrs.Jacob Kellman Don and Mary Kiel Paul and I i.ih Kilcny Richard and Pat km-Mr. and Mrs. Thomas C. Kinnear Paul Kissncr, M.D. and
Dana Kissner, M.D. Hcrmine R. Klingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Dimilri and Suzanne Kosacheff Samuel and Marilyn Krimm Alan and Jean Krisch Mae and Arthur Lanski Mr. and Mrs. Henry M. Lapcza John K. Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann M. I -ni Myron and Bobbie Lcvine Jacqueline H. Lewis Evie and Allen Lichtcr Jody and Leo Lighthammer Mark Lindlcy
Vi-Chcng and Hsi-Yen Liu Jane Lombard Dan and Kay Long Robert G. Lovcll Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Mr. and Mrs. Donald Lystra Frederick C. and
Pamela J. Mackintosh Sadie C. Maggio Steve and Ginger Maggio Virginia Mahlc Alan and Carla Mandel Melvin and Jean Manis Eddie and Cathy Marcus Geraldine and Sheldon Markcl Lee and Greg Marks Rhoda and William Martel Salty and Bill Martin Dr. and Mrs.Josip Matovinovic Mary and Chandler Matthews Margaret and Harris McClamroch Bruce and Mary McCuaig Griff and Pat McDonald Elaine J. McFaddcn Bill and Ginny McKcachie Margaret McKinley Daniel and Madclyn McMurtrie Jerry and Rhona Meislik Walter and Ruth Mctzger Charles and Helen Metzner Piotr and Deanna Michalowski Leo and Sally Miedler James and Kathleen Mitchiner Lester and Jeanne Monts James N. Morgan Dr. and Mrs. George W. Morley A. A. Moroun Cyril and Rona Moscow Dr. Eva L. Mueller Hillary Murt and
Bruce A. Friedman Dr. and Mrs. Gunder A. Myran Gcri Chipault and Fred Neidhardt Sharon and Chuck Newman Mr. and Mrs. Marvin L. Niehuss Virginia and Gordon Nordby Richard S. Nottingham Marylen and Harold Obcrman Patricia O'Connor Dr. and Mrs. Frederick C. O'Dcll Judith S. Olson
Constance L. and David W. Osier Richard and Miranda Pao William C. Parkinson Ara and Shirley Paul Dr. Owen Z. and
Barbara A. Pcrlman Virginia Zapf Person Frank and Nelly Petrock Lorraine B. Phillips Sharon McKay Pignanclli Barry and Jane Pitt Randall and Mary Pittman Donald and Evonnc Plantinga Steven and Tina Pollock Cynthia and Roger Postmus Mrs.J. D. Prcndcrgast I.arry and Ann Preuss Charlecn Price Richard H. and Mary B. Price
Jerry and Millard Pryor David and Stephanie Pyiie LclandJ. and
Elizabeth Quackenbush Hugo and Sharon Quiroz Mrs. Joseph S. Radom Homayoon Rahbari, M.D. Jim and leva Rasmussen Katherine R. Reebel La Vonne and Gary Reed Mr. and Mrs. H. Robert Reynolds Dave and Joan Robinson John H. Romani and
Barbara A. Anderson Mrs. Irving Rose Gay and George Rosenwald El? M. Rosenzwcig Dr. Nathaniel H. Rowe Jerome M. and Lcc Ann Salic Ina and Terry Sandalow Georgiana M. Sanders Dr. and Mrs. Michael G. Sarosi Dr. Albert J. and Jane K. Saycd Mary A. Schieve and
Andy Achenbaum David and Marcia Schmidt Elizabeth L. Schmin Dr. and Mrs.
Charles R. Schmittcr.Jr. David E. and
Monica N. Schteingart Suzanne Selig Joseph and Patricia Scttimi Mr. Thomas Sheets Ingrid and Clifford Sheldon Hi .Mi', and Martha Showahcr Dr. Bruce M. Sicgan Scott and Joan Singer Mrs. Lorctta M. Skcwcs John W. Smillie, M.D. Alene M. Smith Carl andjari Smith George and Mary Elizabctli Smith Dr. and Mrs. Michael W. Smilh Mr. and Mrs. Robert V. Smith Susan M. Smith Virginia B. Smith Mr. and Mrs. Edward Sopcak Cynthia J. Sorcnscn Juanita and Joseph Spallina Allen and Mary Spivey Irving M. Stahl and
Pamela M. Rider David and Ann Staigcr Mrs. Ralph L. Steffek Dr. and Mrs. Alan Stciss Thorn and Ann Sterling Professor Louis and Glennis Stout Dr. and Mrs. Stan Strasius Aileen and Clinton Stroebel Charlotte Sundelson Ronald and Ruth Sutton Dr. Jean K. Takeuchi Brian and Iee Talboi Jerry and Susan Tarpley Eva and Sam Taylor Mary D. Teal
James L and Ann S. Telfer George and Mary Tcwksbury Edwin J. Thomas Tom and Judy Thompson
Ted and Marge Thrasher Hugo and Karla Vandcrsypcn Jack and Marilyn van dcr Wide Rebecca Van Dyke Mr. and Mrs.
Douglas Van Homvcling Michael L. Van Tassel William C. Vassell Carolyn S. and Jerry S. Voighi Mr. and Mrs. Timothy Wadhams Warren Herb Wagner and
Florence S. Wagner Mr. and Mrs. Norman C. Wait Robert D. and Uina M. Wallin Dr. and Mrs. Jon M. Wardner Ruth and Chuck Wails Robin and Harvey Wax Willes and Kathleen Weber Deborah Webster and
George Miller Lawrence A. Wcis and
Sheila Johnson
Raoul Wcisman and Ann Friedman Walta L Wells Dr. Steven W. Wenu Ruth and Gilbert Whitaker B.Joseph and Mary White William and Cristina Wilcox Mr. and Mrs.
R.Jamison Williams Jr. Mrs. Elizabeth Wilson Mr. and Mrs. William Wilson Beth and 1. W. Winsten Marion T. Wirick Grant J. Withey. M.D. Charlotte Wolfe Dr. and Mrs. Ira Wollncr Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wrighi Phyllis B. Wright Don and Charlotte Wychc Rytizo Yamamoto Mr. and Mrs. Edwin H. Young R. Roger and Belte F. Zauel Mr. and Mrs. Martin Zcile and several anonymous donors
Atlas Tool, Inc.
Briarwood Shopping Center
Chelsea Flower Shop
Dough Boys Bakery
Edwards Brothers, Inc.
Gandy Dancer
King's Keyboard House
Miller, Canficld, Paddock
and Stone Republic Bank Seva Restaurant and Market Urban Jewelers
FoundationsAgencies The Richard and Meryl Place Fund
Tim and Leah Adams
Ronald and Judith Adler
Anastasios Alcxiou
Gregg T. Aif
Mr. and Mrs. Gordon E. Allardycc
James and Catherine Allen
Margaret and Wickham Allen
Augustine and Kathleen Amaru
Mr. and Mrs. David AminofF
Mr. and Mrs. Charles T. Anderson
Drs. James and
Cathlecn Culotta-Andonian Bert and Pat Armstrong Mr. and Mrs. Lawrence E. Arnett Michael Avsharian Charlene and Eugene Axelrod Jonathan and Marlenc Aycrs Joseph C. Bagnasco Richard andjulia Bailey Doris I. Bailo Jean and Gaylord Baker Morris and Beverly Baker Dr. and Mrs. Daniel R. Balbach Chris and Lesli Ballard John R. Bareham Norman E. Barnett Donald C. Barnelic.Jr. Margo Barron Leslie and Anita Bassctt Dr. and Mrs.Jere M. Bauer Mr. and Mrs. Steven R. Beckcrt Robert M. Bcckley and
Judy Dinesen
David and Mary Anne Bcltzman Ronald and Linda Benson Mr. and Mrs. Ib Bcntzcn-Bilkvist Helen V. Berg Barbara Levin Bergman Marie and Gerald Berlin Lawrence S. Berlin Abraham and Thelma Berman Gene and Kay Berrodin Andrew H. Berry, D.O. R. Bezak and R. Halstead Narcn and Nishta Bhatia Bharat C. Bhushan Shcryl Hirsch andjohn Billi Richard and Roswitha Bird William and Ilcne Birgc Elizabeth S. Bishop Marshall Blondy and Laurie Burry Mr. and Mrs. H. Harlan Bloomer Beverly J. Bole
Mr. and Mrs. Mark D. Boinia Harold and Rebecca Bonnell Dr. and Mrs. David Bostian Richard Brandt and
Karina Niemcyer Representative Liz and
Professor Enoch Brater Mr. and Mrs. Patrice Brion William and Sandra Broucck Mrs. Joseph Brough Olin L. Browder Mr. and Mrs. Addison Brown Mr. Charles C. Brown
Linda Brown and Joel Goldberg Mi. and Mrs. ohn M. Brueger Mrs. Webster Brumbaugh Dr. and Mrs. Donald T. Bryant Robert and Carolyn Burack Edward and Mary Cady Mrs. Darrell A. Campbell Jan and Steve Carpman Jeannclte and Robert I. Carr Daniel Carroll and Julie A. C Virgo Mr. and Mrs. Dennis Carroll Mr. George Casey Dr. and Mrs. James T. Casstdy Kathran M. Chan Mr. and Mrs.
Nicholas G. Chapekis, Sr. Mr. James S. Chen Robert and Eileen Choatc Pat Clapper
Brian and Cheryl Clarkson John and Kay Clifford Roger and Mary Coc Mr. and Mrs. Edward and
Catherine Colone Mr. and Mrs. Craig Common Marjoric A. Cramer Mr. and Mrs. Richard Crawford Mr. and Mrs. Winton L. Crawford Kathleen J. Crispell and
Thomas S. Porter Margo Crist Lawrence Crochicr Mr. and Mrs. James I. Crump Mary R. and John G. Curtis Mr. and Mrs. John R. Dale Mr. William H. Damon III Millie and Lee 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 Dcbrodt Dr. and Mrs. Raymond F. Decker Rossanna and George DcGrood Elizabeth and Edmond DeVine Meg Diamond Martha and Ron DiCecco Gordon and Elaine Didicr A. Nelson Dingle Dr. Edward R. Doezema Thomas and Esther Donahue Mr. Thomas Downs Roland and Diane Drayson Mr. and Mrs. Harry Drcffs John Drydcn and Diana Raiini James and Anne DudersUidt Dr. and Mrs. Cameron B. Duncan Rosannc and Sandy Duncan Michael K Dungan Robert and Connie Dunlap Jean and Russell Dunnaback Edmund H. and Mary B. Durfee George C. and Roberta R. Earl Mr. and Mrs. William G. Earle Jacquelynne S. Eccles Mr. and Mrs. John R. Edman David A. Eklund Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis
Mrs. Genevieve Ely
Mackenzie and Marcia Endo
Bill and Karen Ensmingcr
Stephen Ernst and Pamela
Raymond Ernst
Dorothy and Donald F. Eschman
Joel Evilsizcr
Adelc Ewcll
Mr. and Mrs. Robert B. Fair, Jr.
Mark and Karen Falahcc
Dr. and Mrs. Cyrus Farrehi
David and Joanna Feat her man
Dr. and Mrs. Irving Feller
Phil and Phyllis Fell in
Carol Finerman
C. Peter and Bcv A. Fischer
Dr. and Mrs. John Fischer
Jon Fischer
Barbara and James Fitzgerald
Dr. and Mrs. Mclvin Flamenbaum
Jon Fliegel
Wayne and Lynnettc Forde
Doris E. Foss
Lucia and Doug Freeth
Richard andjoann Frcethy
Linda and Larry French
Richard and Joanna Friedman
Gail Frames
LelaJ. Fucster
Carol Gagliardi and David
Jane Galantowicz
Bernard and Enid Galler
Joyce A. (?.mini
Mrs. Don Gargaro
Mrs. Shirley H. Garland
Stanley and Priscilla Garn
Drs. Steve Geiringcr and
Karen Bantel
Bruce and Anne Genovese Michael Gcrstenbergcr W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Genne and Allan Gibbard David and Maureen Ginsberg Albert and Almcda Girod Robert and Barbara Gockel Dr. and Mrs. Howard S. Goldberg Mary L. Golden Ed and Mona Goldman Steve and Nancy Goldstein Mrs. Eszler Gombosi Elizabeth N. Goodcnough and
James G. Leaf Mitch and Barb Goodkin Mr. and Mrs. Jon L. Gordon Mr. Adon A. Gordus Selma and Albert Gorlin Naomi Gottlieb Michael L. Gowing Christopher and Elaine Graham Elizabeth Nccdham Graham Whit and Svca Gray Harry Grecnbcrg and
Anne Brockman Dr. and Mrs. LazarJ. Greenfield Bill and Louise Gregory I mil.i and Roger Grekin Susan and Mark Griffin Werner H. Grilk Robert M. Grovcr Mr. Philip Guire Arthur W. Gulick, M.D.
Aiaigatct lmuowsm aim
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 Harris Jean Hartcr Elizabeth C. Hassincn James B. and Roberta T. Hanse Mr. and Mrs. George Hawkins Rose and John Henderson Mr. and Mrs. Richard Henderson Mr. and Mrs. Karl P. Hcnkel Dr. and Mrs. Keith S. Henley Jeanne Hernandez Ramon and Fern Hernandez Tatiana Herrero Bernstein C. C. Hcrrington, M.D. Elfrida H. Hiebert and
Charles W. Fisher Lorna and Mark Hildcbrandi Mr. and Mrs. Jerry Leigh Hill Peter G. Hinman and
Elizabeth A. Young Joanne and Charles Hocking Ixwise Hodgson Jane and Dick Hoerner Carol and Dieter Hohnke Ken and Joyce Holmes John F. and Mary Helen Holt Dr. and Mrs. Frederic B. House Drs. Richard and Diane Howlin Charles T. Hudson Harry and Ruth Huff Joanne V. Hulcc Ann D. Hungcrman Mr. and Mrs. Russell L. Hurst Eileen and Saul Hymans Margaret and Eugene Ingram Edgar F. and M. Janice Jacobi Harold and Jean Jacobson Jim and Dale Jerome Tom and Mariejuster Mary B. and Douglas K.thn Mary Kalmes and I.arry Friedman Steven R. Kalt Mr. and Mrs. Irving Kao David J. Katz
Kurt and Marilcc Kaufman Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy Linda Atkins and Thomas Kenney Benjamin Kerner Heidi and Josh Kerst William and Betsy Kincaid Howard King and Elialx-th
Sayrc-King Esther Klrshbaum James and Jane Kjster Mm,i and Steve Klein Gerald and Eileen Klos Mr. and Mrs. Edward Klum Jolene and Gregory Knapp Glenn and Shirley Knudsvig Charles and Linda Koopmann Melvyn and Linda Korobkin Mr. and Mrs. E.J. Kowaleslu Jean and Dick Kraft David and Martha Krchbiel
William J. Bucci and Janet Krciling
Alexander Krezcl
William G. Kring
John A. and Justine Krsul
Danielle and George Kupcr
Dr. and Mrs. Richard A. Kutcipal
Mr. and Mrs. Seymour Lampert
Henry and Alice Landau
Marjoric Lansing
Beth and George Lavoie
Ted and Wendy Lawrence
I .mi if and Bob LaZebnik
Mrs. Kent W. Leach
Sue Leong
Margaret E. Leslie
Richard LcSueur
Deborah S. Lewis
Nathan and Eleanor IJpson
Rod and Robin Little
Dr. Jackie Livesay
Peter Lo
Naomi E. Lohr
Diane and Dolph Lohwasser
Ronald Longhofcr
Leslie and Susan Loomans
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 MacRitchie
Chun I. Mah
Geoffrey and Janet Maher
Suzanne and Jay Mahler
Deborah Malamud and Ncal Plotkin
Dr. Karl D. Malcolm
Claire and Richard Malvin
Mr. and Mrs. Kazuhiko Manabe
Pearl Manning
Paul and Shari Mansky
Mr. and Mrs. Anthony E. Mansueto
Michael and Pamela Marc mi tz
Dr. Howard Markel
Marjoric and Robert Marshall
Dr. and Mrs. J. E. Martin
Rebecca Martin
Margaret Massialas
Tamotsu Matsumolo
Marilyn Mazanec Benedict
Margaret E. McCarthy
Ernest and Adcle McCarus
David G. McConncll
Calhryn S. and
Ronald G. McCrcady Dores M. McCree Mary and Norman Mclver Robert E. and Nancy A. Meader Mr. and Mrs. John Mcrrifield Henry D. Mcsscr and
Carl A. House Robert and Bettie Metcalf Professor and
Mrs. Donald Meyer Dr. and Mrs. Robert A. Meyers Helen M.Michaels Carmen and Jack Miller Mr. and Mrs. Milton J. Miller Dr. Robert R. Miller Bob and Carol Milstein Thomas and Doris Miree Mr. and
Mrs. William G. Moller.Jr.
Arnold and Gail Morawa Sophie and Robert Mordis Kenneth and Jane Moriarty John and Michelle Morris Mclinda and Bob Morris Brian and Jacqueline Morton Mrs. Erwin Muehlig Janet Muhlcman Gavin Eadic and
Barbara Murphy Rosemarie Nagel Tatsuyoshi Nakamura Dr. andMrs.J.V. Ncel Nancy Nelson Martin Neulicp and
Patricia Pancioli Richard E. Nisbctt and
Susan I. Nisbett Jack and Kerry Kelly-Novick Ixis and Michael Oksenberg Robert and Elizabeth Oneal Lillian G. Ostrand Mrs. Barbara H. Outwater Annette dc Bruyn Overseth Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit James and Bella Parker Mr. and Mrs. Brian P. I'aulu-n Eszthcr T. Paltantyus Nancy K. Paul
Elizabeth and Beverly Payne Ruth and Joe Payne Agnes and Raymond Pearson F.Johanna Peltier Bradford Perkins Susan A. Perry Ellsworth M. Peterson Mr. and
Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Dr. and Mrs. James Pikulski Martin A. Podolsky Drs. Edward and Rhoda Powsner Ernst Pulgram Michael and Helen Radock Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert Rasmusscn Jim and Toni Reese Anthony L. Reffclls and
Elaine A. Bennett Dorothy and Stanislav Rchak JoAnne C. Rcuss David Reynolds John and Nancy Reynolds Alice Rhodes Jesse Richards Elizabeth G. Richart Frances Grecr Riley Constance Rinehart Joe and Carolyn Roberson Peter and Shirley Roberts Richard C. Rockwell Willard and Mary Ann Rodgers Mr. and Mrs. Stephen J. Rogers Yclcna and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Drs. Stephen Rosenblum and
Rosalyn Sarvcr
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 andjoan Sachs Arnold Samcroff and
Susan McDonough Howard and Lili Sandier John and Reda Santinga Dr. and Mrs. Edward G. Sarkisian Ms. Sara Savarino Courtland and Inga Schmidt Charlene and Carl Schmult Gerald and Sharon Schreiber Albert and Susan Schultz Michelle Schu1t7. M.D. Alan and Marianne Schwartz Sheila and Ed Schwartz Patricia Schwartz Kroy Jane and Fred Schwarz Ruth Scodel Jonathan Brombcrg and
Barbara Scott
Douglas and Carole B. Scott Joanna and Douglas Scott Mary and John Scdlandcr John and Carole Segall Louis and Sherry Scnunas Richard Shackson Nancy Silver Shalit Dr. and Mrs.J. N. Shanbergc David and Elvcra Shappirio Dr. and Mrs. Ivan Sherick Cynthia Shcvel Jean and Thomas Shope Mr. and Mrs. Ted Shultz John and Arlene Shy Milton and Gloria Sicgel Ken Silk and Peggy Buttenheim Dr. Albert and
Mrs. H.Mm.i Silverman Frances and Scott Simonds Donald and Susan Sinta Dr. and Mrs. Michael W. Smith Drs. Peter Smith and
Diane Czuk-Smith Judy Z. Somcrs Katharine B. Sopcr Dr. Yoram Sorokin Mr. and Mrs. Robert E. Spcncc Anne L. Spcndlove James P. Spica JefTSpindlcr Curt and Gus Stager Betty and Harold Stark Mr. and Mrs. John C. Stegeman Virginia and Eric Stein Frank D. Stella John and Beryl Siimson Mr. James L Stoddard Robert and Shelly Stoler Wolfgang F. Stolpcr Anjancttc M. Stoltz, M.D. Mrs. William H. Stubbins Jenny G. Su Valerie Y. Suslow Mr. and Mrs. Earl G. Swain Mr. and Mrs. Robert S. Swanson Richard and June Swartz Lois A. Theis Carol andjim Thiry Catherine and Norman Thoburn
Mr. and Mrs. James W. Thomson
Charles and Peggy Tieman
Thclma and Richard Tolbcrt
Donna K_ Tope
Dr. and Mrs. Merlin C. Townley
Angie and Bob Trinka
S.u.ih Trinkaus
Marilyn Tsao and Sieve Cao
Yiikiko I Min. ii,i
William H. and Gerilyn K. Turner
Taro Ueki
Alvan and Katharine Uhlc
Gaylord E. and
Kathryn W. Underwood Madeleine Vallier Carl and Sue Van Appledorn Rob and Tanja Van dcr Voo Robert and Barbara Van Ess Marie B. and Theodore R. Vbgt Sally Wacker
Delia DiPietro and Jack Wagoner Gregory and Annette Walker Eric and Sherry Warden Mr. and Mrs. Barrett Wayburn Joan M. Weber Jack and Jerry Wcidenbach Donna G. Wcisman Barbara Weiss Mrs. Stanfield M. Wells, Jr. David and Rosemary Wcscnberg Ken and Cherry Wcstcrman Susan and Peter Westerman Marjoric Wcstphal Marilyn L. Wheaton and Paul Duffy Esther Redmount and
Harry White Janet F. White
Mr. and Mrs. Nathaniel Whitcsidc Mrs. Clara G. Whiting Douglas Wickcns Jane Wilkinson Reverend Francis E. Williams John Troy Williams Shelly F. Williams Dr. and Mrs. S. B. Winslow Charles Witkc and Aileen Gatten Jeff and Linda Wiuburg Norcen Ferris and Mark Wolcott Patricia and Rodger Wolff David and April Wright Dr. and Mrs. Clyde Wu Carl and Mary Ida Yost Shirley Young Ann and Ralph Youngrcn Frederic and Patricia Zcislcr Mr. and Mrs. David Zuk David S. and Susan H. Zurvalcc and sevrral anonymous donon
Adistra Corporation
Coffee Bcancry -Briarwood Mall
Cousins Heritage Inn
Development Strategics Plus
Garris, Garris, Garris 8c Garris, P.C
Great Lakes Cycling & Fitness
Jeffrey Michael Powers Beauty Spa
Junior League of Ann Arbor
Michigan Opera Theatre
Patrons, continued
SKR Classical University Microfilms
International Van Bovcn Inc.
The Shapcro Foundation
Sue and Michael Abbott Mr Usama Abdali and
Ms. Kisook Park Philip M. Abruzzi Chris and Tena Achcn Bob Ainsworth
Michihiko and Hiroko Akiyama Roger Albin and Nili Tannenbaum Michael and Suzan Alexander Harold and Phyllis Allen Forrest Alter
Jim Anderson and Lisa Walsh Catherine M. Andrea Julia Andrews Hiroshi and Matsumi Arai Mary C. Arbour
ThomasJ. and Jill B. Archambeau Eduardo and Nancy Arcinicgas ThomasJ. and Mary E. Armstrong Rudolf and MaryArnhcim Margaret S. Athay Mr. and Mrs. Dan E. Atkins III John and Rosemary Austgen Drs.John and Lillian Back Bill and Joann Baker Laurence A. and Barbara K. Baker Mr. and Mrs. Richard P. Baks Ann Barden
David and Monika Barera Maria Kardas Barna Laurie and Jeffrey Barnett Joan W. Barth Bevcrley M. Baskins Ms. Maria do Carno Bastos Dorothy W. Bauer Thomas and Shcrri L. Baughman Harold F. Baut Mary T. Bcckcrman Robert B. Beers Dr. and Mrs. Richard Beil Dr. and Mrs. Walter Bencnson Meretc and
Erling Blondal Bengtsson Alice R. Bcnscn Dr. Rosemary R. Bcrardi James K. and Lynda W. Berg T.J.andM. R. Bedey Ralph and Mary Bcuhler Maria T. Bcyc
John and Marguerite Bianckc Eric and Doris Billes Jack and Anne Birchfield in. Ronald C. and
Nancy V. Bishop Bill and Sue Black
Jane M. Bloom
K.ii in L. Bodycombc
Dr. and Mrs. Fnink Bongiorno
Robert and Shirley Boone
Edward G. and Luciana Borbely
lx1a J. Borchardi
Paul D. ll.1
Rt'v-ii and Morris Bornstcin
John D. and M. Leora Bowdcn
Jan and Bob Bower
Sally and Bill Bowers
David G. Bowman and
Sara M. Rutter Dennis and Grace Bowman William F. and
Joyce E. Braeuningcr Cy and 1 .nan Briefer John and Amanda Brodkin AmyJ. and Clifford L. Broman Razellc and George Brooks Mr. and Mrs.
Edward W. Browning Phi] Bucksbaum and
Roberta Morris Trudy and Jonathan Bulklcy Miss Frances Bull Mrs. Sibyl Burling Mrs. Betry 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 Canu'eny Dennis and Kathleen Cantwcll Susan Cares George R. Carignan Carolyn M. Carty and
Thomas H. Haug Jack Cederquist David and Ilene Chait Mary Chambers Bill and Susan Chandler Ida K Chapin and Joseph Spindcl Belle H. Chen Joan and Mark Chesler Edward and Rebecca Chudacoff Ching-wei Chung Joan F. Cipcllc Anhui and Alice Cofer Dorotliy Burke Coffey Hilary and Michael Cohen Howard and Vivian Cole Kevin and Judy Compton Nan and Bill Conlin Dr. and Mrs. William W. Coon Herbert Couf Joan and Roger Craig Mary Crawford Donald Cress Mary C. Crichton Thomas A. Crumm Ms. Carolyn Rundcll Culotia Ms. Carolyn Cummisky Richard J. Cunningham Frank and Lynn Curtin Mr. Joseph Curtin Suzanne Curtis Dr. and Mrs. Harold J. Daitch Ms. Marcia Dalbcy Marylee Dalton Joanne Danto Honhart Dean and Mrs. John H. D'Arms
Mildred and William B. Darmon DarLinda and Robert Dascola Ruth E. Datz Jennifer Davidson Morris and May Davidson Nancy Davis
Dean and Cynthia DcGalan Elizabeth Delaney Ms. Margaret H. Dcmant Michael T.DePlonty Raymond A. Dctter Mr. David Digirolamo Linda Dintenfass hi 'ii. l.iand Ruth Doane Dick and Jane Dorr Ruth P. Dorr
Dr. and Mrs. Charles H. Duncan Elsie Dyke John Ebenhoch Dwight and Mary Ellen Ecklcr Ruth Eckstein Ingrid Eidnes
Mr. and Mrs. Charles Eisendrath Sol and Judith Elkin Dr. and Mrs. Charles Ellis James H. Ellis and Jean A. Lawion 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 Ypsilanii Peter Farrchi
Damian and Katharine Farrell Dorothy Gittleman Fcldman George J. and Benita Fcldman Vi-isi M. Feuerwcrkcr Ruth Fiegel Clay Finkbeiner Howard G. Finkel Mrs. Carl H. Fischer Eileen Fisher Winifred Fisher Linda and Tom Fitzgerald Jessica Fogel and Lawrence Wciner
Daniel R. Foley George and Kathryn Foltz Bill and Wanita Forgacs David J. Frahcr Mi. and Mrs. Maris Fravcl Ms. Julia Freer Mr. and Mrs. Otto W. Freitag Bart and Fran Frueh Bruce and Rebecca Gaffney Arthur Gallagher Edward Gamache and Robin Baker
C.J. Gardiner
Leonard and Mary Alice Gay Mr. and Mrs. Ralph J. Gcrson Beverly Jeanne Giltrow ll-ui Gilden
Dr. and Mrs.J. Globerson Peter and Roberta Cluck Dr. Ben Gold Mr. and Mrs. Robert Gold Albert L. Goldberg Dr. and Mrs. Edward Goldberg Edic Goldenberg Anita and Albert Goldstein Mr. and Mrs. David N. Goldswcig
C. Ellen Comer
M. Sarah Gonzalez
Graham Gooding
Enid M. Gosling
Siri Gottlieb
1 -ii i v and Martha Gray
Elizabeth A. H. Green
G. Robinson and Ann Gregory
Sally Greve and Walter Fisher
Mr. and Mrs. James J. Gribble
Mrs. Alice L. Grillot
Melissa Gross
Cyril Grum and Cathy Strachan
Dr. Carol J. Guardo
Ms. Kay Gugala
Cheryl Gumper
Mr. and Mrs. Lionel Guregian
Debra Haas
Gary L. Hahn and
Deborah L. Hahn J. M. Halm Marga S. Hampcl Mr. and Mrs. Carl T. Hanks David and Patricia Hanna Mr. and Mrs. Glenn A. Harder R. J. Harmon Jane A. Harrcll Connie Harris Laurclynne Daniels and
George I. Harris Rol)er( Glen Harris Mr. and Mrs. Robert B. Harris Carol! and Beih Hart Jerome P. Hartweg Carol and Steve Harvaih Mr. and Mrs. Eugene HcfTelfinger Dr. John D. Heidke Miriam Heins JcfTand Karen Hclmick Gary L. Henderson Leslie and William Hennessey Mr. and Mrs. Ralph Herbert Mr. and Mrs. Albert Hermalin Emily F. Hicks Ms. Betty Hicks Jozwick Mark and Debbie Hildcbnindt Aki I In ,(i i
Deborah and Dale Hudson Mclvin and Verna Holley Hisato and Yukiko Honda Mr. and Mrs. Harry Hopkins Jack and Davelta Homer Dr. Nancy Houk Jim and Wendy Fisher House Kenneth and Carol Hovey Barbara Hudgins Mr. and Mrs. William Hufford Ling Hung Diane Hunter Stephen and Diane Imrcdy Edward C. Ingraham Perry Elizabeth Irish Earl Jackson M. Janice Jacobi Dr. and Mrs. Manuel Jacobs Marilyn G. Jeffs Joann J.Jeromin Wilma M.Johnson Helen Johnstone Elizabeth M. Jones Dr. Marilyn S.Jones PhillipS. Jones John and Linda K-Jonidcs
Chris and Sandy Jung
Professor and Mrs. Fritz Kacnzig
William and Ellen Kahn
Lorcc K. K.illi.iiiHti
Thomas and Rosalie Karunas
Bob N. Kashino
Franklin and ]udi(h Kasle
Alex F. and Phyllis A. Kato
Maxine and David Katz
Martin and Helen Kaiz
Julia and Philip Kearney
Janice Keller
Mr. and Mrs. Charles Kcllcrman
Mary Kcmmc
Lawrence Kcslcnbaum and
Janice Gutfrcund Robert and Lois Ketrow Jeanne Kin
Robert and Vicki Kiningham Klair H. Kissel James KHmer Alexander Klos
Dr. and Mrs. William L. Knapp Dr. Barbel Knauper Sharon L. Knight Letter Kobylak Seymour Kocmgsbcrg Michael and Paula Koppisch Alan A. and Sandra L. Kortesoja Ann Marie Kotrc Sheryl E. Krasnow Robert Krasny Ethel and Sidney Krause Doris and Donald Kraushaar Edward and Lois Kraynak Kenneth C. Kregcr Syma and Phil Kroll l-awrence B. Kuczmarski Jane Kulpinski Eli and Lily Ladin Cele and Martin Landay Patricia M. Lang Walter and Lisa Langlois Guy and Taffy Larcom (Christine Larson .ill .iiid Ann LaRuc Ms. Olya K. Lash RuihJ. Lawrence Sue C. Lawson Judith andjcrold Lax Fred and Ethel Lee Stcphane Legault Paul and Ruth Lehman Mr. C. F. Lchmann Dr. and Mrs. Morion B. Lesser Diane Lester and
Richard Sullivan Carolyn Dana Lewis Thomas and Judy Lewis Dr. David J. Lieberman Ken and Jane Lieberthal Ying-Chu Lin
Dr. and Mrs. Richard H. Lincback Andi Lipson and Jerry Fishman Rebecca and Lawrence Lohr Barbara R. I mi Donna and Paul Lowry Jeannette Luton JohnJ. Lynch, Atty. Dr. and Mrs. Cecil Mackey Gregg and Mcrilce Magnuson Ronald Majcwski and Mary Wolf Donna and Parkc Malcolm
Allen Malinoff Alice and Bob Marks Erica and Harry Marsden Yasuko Matsudo Dcbra Mallison Rolcrt and Betsy Maxwell John M. Allen and
Edith A. Maynard Dr. and Mrs. David McCubbrey Bernard and MaryAnn McCulloch James and Kathleen McGauiey Scott McGlynn James M. Beck and
Robert J. McGranaghan Louise E. McKinncy Donald and Elizabeth McNair Anthony and Barbara Medciros Dr. and Mrs. Donald A. Meier Samuel and Alice Mcisels Norman and Laura Meluch Helen F. Mcranda Rev. Harold L. Merchant Mr. and Mrs. John F. Metzlcr Vain if ]) Mcvfi Mr. and Mrs. Herbert M. Meyers Dick and Georgia Meyerson William M. Mikkclscn 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 Roui Moncur Gail Monds P. Montgomery Ellyiie and Arnold Monto Rosalie E. Moore Kittie Berger Morelock Mr. and Mrs. Thomas D. Morrow Bernhard and Donna Mullcr Lora G. Myers Yoshiko Nagamatsu Louis andjulic Nagcl Ruth Nagler R. andj. Needleman Nikki E. Neustadi Martha K. Niland Gene and Pal Nissen 1.11 n. t Nitzberg Joan and John Nixon Jotanta and Andrzej Nowak John and Lexa O'Brien Thomas P. O'Connor Michael and Jan O'Donncll Ncls and Mary Olson Kaoru Onishi Fred Ormand Mr.JamesJ. Osebold Heiju Oak and James Packard George Palty
Mr. and Mrs. Kenneth Pardonnet Michael P. Parin Janet Parkes
Evans and Charlcne Parrott Roger Paull
Vassiliki and Dimitris Pavlidis Edward J.Pawlak Edwin and Sue Pear Zoc and Joe Pearson Donald and Edith Pclz
Mr. William A. Penncr, Jr.
C. Anthony and Marie Phillips
Nancy S. Pickus
Daniel G. Piesko
Mr. and Mrs. Robert H. Plummer
Mr. and Mrs. John R. Politzcr
Mr. and Mrs. Gerald Powrozek
Mary and Robert Pratt
Roland W. Pratl
]-t I I'lcstuM
Mr. Richard H. Price John and Nancy Prince Julian and Evelyn Prince Ruth S. Putnam G. Robina Quale Douglass and Debbie Query Leslie and Doug Quint Susan M. and Farbod Raam Mr. and Mrs. Alex Raikhel Mr. and Mrs.
Alfred C. Raphaelson Dr. and Mrs. Mark Rayport Maxwell and Marjoric Reade Caroline Rehberg Esther M. Rcilly Deanna and Pietcr Rclyea Mr. and Mrs. Frederick Remlcy.Jr. Ms. Molly Rcsnik Mr. and Mrs. Neil Rcssler M. Laurel Reynolds Lou and Sheila Rice Lisa Richardson Judy Ripple
William and Kaye Rittinger Lisa E. Rives and Jason I. Collcns Janet K. Robinson, Ph.D. Ms. Margaret Deardcn Robinson Edith and Raymond Rose Bernard and Barbara Rosen Marilynn M. Roscnthal Charles W. Ross
Jennifer Ross and Charles Daval Dr. and Mrs. David Roush Mr. and Mrs. John P. Rowc George and Matilda Rubin Mabel E. Rugcn Sandra and Doyle Samons Dr. Anna M. Santiago Harry W. and Elaine Sargous Elizabeth M. Savage June and Richard Saxe Jochen and Helga Schacht Michael Joseph Schaetzle Bonnie R. Schafcr Mr. and Mrs. Alan Schall Mr. and Mrs. F. Allan Schcnck Dr. and Mrs. DirkJ. Scholten Thomas H. Schopmcyer Kathcrinc Collier and
Yih.ik Schotten Sue Schroeder Aileen M. Schulze Dorothy Scully Anne Brantlcy Segall Sylvia and Ix'onard Scgcl Richard A. Scid
Elliot A. and Barbara M. Scrafin Kirtikant and Sudha Shah Matthew Shapiro and SiLsan Garetz Kathleen A. Shcchy William J. Shcrzcr Ms. Joan D. Showahcr Janet E. Shultz
Ray and Marylin Shustcr
Barry and Karen Sicgei
Enrique Signori
Drs. Dorit Adler and Terry Silver
Fran Simek
Sandy and Dick Simon
Bob and Elaine Sims
Alan and Eleanor Singer
Jane Singer
Nora G. Singer
Jack and Shirley Sirotkin
IrmaJ. Sklcnar
J.rgcn O. Skoppck
Beverly N. Slater
Tad Slawecki
Haldon and Tina Smith
Richard and Jo-Ann Socha
Arthur and Elizabeth Solomon
James A. Somers
R. Thomas and
Elinor M. Sommcrfeld Mina Diver Sonda Barbara Spencer Jim Spcvak and Leslie Bruch L. G. Sprankle Bob and Joyce Squires Mary Stadcl
Neil and Burnette Stacbler Joan and Ralph Stahman David Steinhoff and
Jaye Schlcsinger Robin Stephenson and
Terry Drent Steve and Gayle Stewart Ms. Lynette Stindt and
Mr. Craig S. Ross L-awrencc and Lisa Stock Mr. and Mrs. James Stokoe Judy and Sam Stulbcrg Anant Sundaram Alfred and Sclma Sussman Mary Margaret and
Robert Sweeten Yorozu Tabata K. Boyer and S. Tainter Junko Takahashi Larry and Roberta Tankanow Professor and
Mrs. Robert C. Taylor Robert Teicher and
Sharon Gambin
Kenneth and Bcnha Teschendorf Brian and Mary Ann Thclen Ncal Tolchin Egons and Susannc Tons Jim Toy
Paul and Barbara Trudgen Jeffrey and Lisa Tulin-Silvcr Mr. and Mrs. Marshall Tymn Nikolas Tzannctakis Mr. Masaki Ueno Greg Upshur Iris Cheng and Daniel Uri Dr. and Ms. Samuel C. Ursu Arthur and Judith Vandcr Bram and Lia van Leer Phyllis Vcglcr
Kitiy Bridges and David Vcllcman Ingrid Vcrhamme Mrs. Durwcll Vettcr Brent Wagner
Wendy L Wahl and William R. Lee Mr. and Mrs. David C. Walker
Donors, continued
Patricia Walsh Margaret Walter Karen and Orson Wang Margaret Warrick Lorraine Nadelman and
Sidney Warschausky Alice and Martin Warshaw Edward C. Weber Michael Webster and
Leone Buysc Steven P. Weikal Gerane Weinreich David andjacki Wcisman Drs. Bernard and Sharon Weiss Lisa and Steve Weiss Elizabeth A. Wentzien Mr. Carl Widmann Mr. and Mrs. Peter H. Wilcox Mr. and Mrs. Michael S. Wilhelm .inns Willi.uns John and Christa Williams Raymond C. Williams Diane M. Willis Richard C. Wilson Robert and Mary Wind James H. and Mary Anne Winter Mary Winter
Dr. and Mrs. Lawrence D. Wise Don Wismer
Esther and Clarence Wisse Joyce Guior Wolf, M.D. Mr. C. Christopher Wolfe and
Ms. Linda Kidder Muriel and Dick Wong Barbara H. Wooding Stewart and Carolyn Work Israel and Fay Woronoff Robert E. Wray. Ill Ernst Wuckert Patricia Wulp Fran and Ben Wylie Mrs, Antonettc Zadrozny Dr. Stephen C. Zambito Robert and Charlene R. Zand Bertram and Lynn Zheutlin George and Nana Zissis and several anonymous donors
ApplausePer feet Ten
Bally's Vic Tanny
Callinctic5 by Diane
Courtney and Lovell
Crown Steel Rail Company
Gallery Von Glahn
Great Harvest Bread Company
Pacsano's Restaurant
Sweet Lorraine's Cafe & Bar
Whole Foods Market
Charles A. Sink
Honoring members with cumulative giving totals over $15,000.
Dr. and Mrs. Robert C. AJdrich Herb and Carol Amster Jim Botsford and
Janice Stevens Botsford Carl and Isabellc 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 Karen Koykka O'Neal and
Joe O'Neal
Mr. and Mrs. William B. Palmer Maxinc and Wilbur K. Pierpont 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 Estellc Titiev Paul and Elizabeth Yhouse
Dahlmann Properties
The Edward Surovell Co.Rcaltors
First of America Bank
Ford Motor Credit Company
Ford Motor Company
Great Lakes Bankcorp
Jacobson Stores, Inc.
JPEinc.The Paidcia Foundation
Mainstrcet Ventures
Me Kin ley Associates
Philips Display Components
Company Society Bank Trimas Corporation Warner-LambertParkc Davis
Research Division Wolverine Temporaries, Inc.
The Ann Arbor Area
Community Foundation
Arts Midwest
The Bcnard L. Maas Foundation
The Grayling Fund
Lila Wai lace-Reader's Digest Fund
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Gigi Andrescn Chase and Delphi Baromes Dean Bodley A. A. (Bud) Bronson Graham Conger Pauline M. Conger Joanna Cornell Horace Dewey Alice Kelsey Dunn Robert S. Feldman Isabelle M. Garrison Ed Gilbert Florence Griffin Eleanor Groves Ralph Herbert Charles W. Hills George R. Hunsche Hazel Hill Hunt Virginia Ann Hutu Virginia Elinor Hunt Earl Meredith Kempf Edith Slaebler Kempf K Hudson Ladd John Lewis Robert Lewis Carol Lighthall Lorcnc Crank Lloyd Katherinc Mabarak Frederick C. Matihaei, Sr. Arthur Mayday, Jr. Earl Meredith
Mr. and Mrs. Merle Elliot Myers Martha P. Palty Elizabeth Peebler Gwcn and Emerson Powrie Steffi Reiss Percy Richardson James H. and Cornelia M. Spencer Ralph L. Steffek Charlene Parker Stern Jewel B. Stockard Mark Von Wyss Barbara Woods Peter H. Woods
Inkind Gifts
Sue and Michael Abbou
Ricky Agranoff
Catherine Arcure
Paulett and Peter Banks
Me Janice Steveni Botsford
James and Bcity Byrne
Mr. Phil Cole
Cousins Heritage Inn
Curtin and Alf
Ken Fischer
Susan Fitzpairick
The Candy Dancer
Bob Grijalva
Leslie and Mary Ellen Guinn
Margo Halsted
Matthew C. Hoffman and
Kerry McNulty Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa
Bob and Gloria Kerry
Howard King and
Elizabeth Sayrc-King
Bruce Kulp
Maggie Long
Perfecdy Seasoned Catering
Mr, and Mrs. Donald
LystraDough Boys Bakery
Steve and Ginger Maggio
Regency Travel
Maya Savarino
Thomas Sheets
SKR Classical
David Smith Photography
Ncsta Spink
Edward Surovcll and Natalie Lacy
Janet Torno
Dr. and Mrs. John F. Ullrich
Paul and Elizabeth Yhousc
Advertiser's Index
21 After Words, Inc.
18 Alexa Lee Gallery
32 Anderson and Associates
11 Ann Arbor Acura
11 Ann Arbor Art Association
25 Ann Arbor Reproductive
Medicine 40 Ann Arbor Symphony
Orchestra 37 Arbor Hospice
9 Argiero's Restaurant
55 Beacon Investment Company
17 Benefit Source
15 Bodman, Longley and
Dahling 54 Butzel Long
10 Cafe Marie
30 Center for Facial and Cosmetic Surgery
18 Charles Rcinhart Company 13 Chelsea Community
35 Chris Triola Gallery 39 DeBoer Gallery 21 Detroit Edison 20 Dickinson, Wright, Moon,
VanDusen and Freeman 27 Dobb's Opticians 17 Dobson-McOmber Agency
19 Dough Boys Bakery
35 Emerson School
26 Englanders Other Place 17 ERIM
34 First Martin Corporation 29 First of America Bank 19 Ford Motor Company
27 Fraleigh's landscape 32 General Motors
Corporation 34 Glacier Hills 29 Great Lakes Fitness and
13 Hagopian World of Rugs 37 Harmony House
36 Hill Auditorium
Campaign and Seat Sale
39 Interior Development, Inc.
2 Jacobson's
20 Jet-Away Travel
39 John Lcidy Shops
13 Kathcrine's Catering and Special Events
40 King's Keyboard House
15 I,ewisJewelers 12 M-Care
29 Marty's Menswear
56 Matthew C. Hoffmann
16 Maude's
42 Miller, Canfield, Paddock
and Stone
25 Mi nidus and Mundus, Inc. 8 NBD Bank, Trust Division 31 Nichols, Sacks, Slank
and Sweet
42 Overture Audio
17 Plymouth Guitar Gallery
34 Professional Automotive
35 Red Hawk Bar and Grill
30 Regrets Only
12 Schlanderer Jewelry 37 Seva Restaurant 28 SKR Classical
23 Society Bank
33 Sweet Lorraine's 20 Sweetwaters Cafe 4 The Edward Surovell
Company 54 Toledo Museum of Art
31 Top Drawer
33 Ufer and Company Insurance
37 Ulrich's Bookstore
39 University of Michigan Matthaei Botanical Gardens
30 University Productions
43 Whole Foods Market 33 WQRS
27 Wright, Griffin, Davis and Company

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