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UMS Concert Program, Friday Feb. 16 To 25: University Musical Society: 1996 Winter - Friday Feb. 16 To 25 --

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University Musical Society
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Season: 1996 Winter
University Of Michigan, Ann Arbor

University Musical Society
of the University of Michigan Ann Arbor
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 die UMS is proudly affiliated widi 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 cridcal services that we could not afford otherwise.
O Finally, I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks for coming, and let me hear from you if you have any suggestions, complaints, etc. Look for me in the lobby or give me a call at 313.747.1174.
Kenneth C. Fischer Executive Director
Thank You Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support of UMS though their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business com?munity.
Their generous support provides a solid base from which we are better able to present outstanding performances for the varied audiences of this part of the state.
We are proud to be associated with these companies. Their significant participation in our underwriting program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University Musical Society.
Kenneth C. Fischer Executive Director University Musical Society
James W. Anderson, Jr. President, The Anderson Associates Realtors "The arts represent the bountiful fruits of our many rich
cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commend?ed for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Howard S. Holmes President, Chelsea Milling Company The Ann Arbor area is very fortu?nate to have the
most enjoyable and outstanding musi?cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep diis activity alive."
Chelsea Milling Company
Douglas D. Freeth President, First of America Batik-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 &Alf "Curtin & Airs 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.VIltt'
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 Chief 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 "Ford 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?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
John Psarouthakis, Ph.D.
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
Universit)' Musical Society. We warmly support the cultural events it brings to our area."
John E. Lobbia
Chairman and Chief Executive Officer, Detroit Edison The University Musical Society is one of the organi-
zauons mat 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 iMkes Bancorp "As a long-standing member of the Ann Arbor commu-
nity, Great Lakes Bancorp and the University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
Mark K. Rosenfeld President,
Jacobson Stores Inc. "We are pleased to share a pleasant relationship with the University
Musical Society. Business and the arts have a natural affinity for community commitment."
Ronald Weiser
Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud
to support the University Musical Society and the cultural contribution it makes to the community."
Frank A. Olson,
Chairman and CEO The Hertz Corporation "Hertz, as a global company, supports the University of Michigan Musical
Society mission of providing program?ming that represents and involves diverse cultural groups thereby fostering greater understanding and appreciation of these cultures."
Dennis Serras President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate
that our business provides so many opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
Thomas B. McMullen President, Thomas B. McMullen Co., Inc. "I used to feel that aUofM-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 commilment to
quality is the main
reason we are a
proud supporter of
the University Musical Society's efforts to bring the finest artists and special events to our community."
Iva M.Wilson
Philips Display
"Philips Display
Company is proud to support the University Musical Society and the artistic value it adds to the community."
Sue S. Lee
Regency Travel
Agency, Inc.
"It is our pleasure
lo work with such
an outstanding
organization as the Musical Society at the University of Michigan."
Larry McPherson
President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the
University Musical Society. While we've only been in the Ann Arbor area for the past 82 years, and the UMS has been here for 116, we can still appreciate the history they have with the city -and we are glad to be part of that history."
George H. Cress
Chairman, President,
and Chief Executive
Officer, Society Bank,
The University
Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
Ronald M. Cresswell, Ph.D. Vice President and Chairman, Pharmaceutical Division, Warner Lambert Company
"Warner Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Michael Staebler Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz con?gratulates the
University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Edward Surovell
The Edward Surovell
"Our support of
the University
Musical Society is
based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Dr. James R. Irwin Chairman and CEO, The Irwin Group of Companies President, Wolverine 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
Herbert Amstcr
President F. Bruce Kulp
Vice-President Carol Shalita Smokier
Secretary Richard Rogel
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan LelitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell James J. Duderstadt
Walter M. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper Rebecca McGowan Joe O'Neal John Psarouthakis George I. Shirley John O. Simpson Herbert E. Sloan Edward D. Surovell Marina v. N. Whitman Iva Wilson Elizabeth Yhouse
Gail W. Rector President Emeritus
IMS Senate Robert G. Aldrich Richard S. Bcrger Carl A. Brauer.Jr. Allen P. I'.i iin .11 Douglas D. Crary John D'Arms Robben W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long Judyth Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz Harold T. Shapiro Lois U. Slegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
Kenneth Fischer Executive Director
Catherine Arcure Edith l,eavis Bookstein Betty Byrne Yoshi Campbell Dorothy Chang Sally A. Cushing David B. Devore Erika Fischer Susan Fitzpatrick Rachel Folland Greg Former Adam Glaser Michael L. Cowing Philip Guire Jessie Halladay Elizabeth Jahn Ben Johnson John B. Kennard.Jr. Michael J. Konziolka Ronald J. Reid Henry Reynolds
R. Scott Russell Thomas Sheets Anne Griffin Sloan Jane Stan ton 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 Hals led Esther Heitler Deborah B. Hildebrandt Matthew Hoffmann Maureen Isaac Mar cy 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 Metzgcr Ronald G. Miller Len NiehofF Karen Koykka O'Neal Marysia Ostafin Wendy Palms leva Rasmussen Mava N.iv.u ino Janet Shatusky Aliza Shevrin 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 opportunity affirmative 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
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coat rooms arc located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible rcstroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditona 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 quiedy 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 (diat 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. MondayFriday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
Now in its 117th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as the Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affili?ated with the University of Michigan. Professor Frieze, who at one 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 isiting 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 Chloe and 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, die 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. Hill bequested $200,000 for construction of the hall, and Charles Sink, then UMS president, raised an additional $150,000.
Upon entering die 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.
Currendy, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Rackham Auditorium
For over 50 years, this intimate and unique con?cert hall has been the setting for hundreds of world-acclaimed chamber music ensembles pre?sented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and pre?sented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
POWER CENTER for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation--Marcel Marceau.
The fall of 1991 marked the twentieth anniver?sary of the Power Center. The Power Family-Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip-contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,380 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS hosted its annual week-long theater resi?dency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20, 1994. In October 1994, UMS, the Martha Graham Dance Company, and ten institutional partners hosted
"In the American Grain: The Martha Graham Centenary Festival" commemorating the 100th anniversary of Martha Graham's birth. The Power Center was the site of open rehearsals, exhibits, workshops, and performances, including the 50th anniversary celebration of the premiere of the Martha GrahamAaron Copland collaboration Appalachian Spring (Ballet for Martha).
The Michigan Theater
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 die building were remodeled in an architecturally inappropriate style.
Through the '60s and '70s the 1800-seat theater struggled against changes in the film industry and audiences until the non-profit Michigan Theater Found?ation stepped in to operate 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 1987 Janelle O'Malley has served as Music Director of St. Francis. Through dedication, a commitment to superb liturgical music and a vision into the future, the parish improved the acoustics of the church building. A splendid 3 manual "mechanical action" instrument of 34 stops and 45 ranks was built and installed by Orgues Letourneau from Saint-Hyacinthe, Quebec. The 1994 Letourneau Organ (Opus 38) was dedicated in December of 1994.
Burton Memorial Tower
A favorite campus and Ann Arbor landmark, Burton Memorial Tower is the familiar .mailing address and box office location for UMS concertgoers.
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 1920 until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has 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 am-
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 Mill 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 6 Scheetz.
The Guthrie Theater of
January 27-28, 1996
k. (Impressions from Kafka's
The THai)
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 Joe Dowling, 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 ofY.) 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 {following the 2pm performanc ofY..) Post-Performance Panel Discussion, Power Center Green Room, with Professors Seidler and Peters (see above). Sunday, January 28 {following the
7pm performance ofOld TimcsJ Post-Performance Panel Discussion on stage, with Martin Walsh, I'M 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 MarsalisLincoln Center Jazz Orchestra Octet Jazz at Lincoln Center Presents, "Morton, Monk, Marsalis"
Wednesday, January 31, 8pm Michigan Theater The UMSJazz Directions Series is pre?sented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University. 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, Rackham 4th Floor Assembly Hall, 4pm. Made possible by a gift from Regency Travel, Inc.
Boston Symphony Orchestra Seiji Ozawa, conductor Wednesday, February 7, 8pm Hill Auditorium
Philips Educational Presentation: "The BSO: All the Questions You've Ever Wanted to Ask", an interview and audience ( cs-'. with: Leone Buyse, UM Professor of Flute and Former Principal Flute, BSO; Daniel Gustin, Manager of Tangtewood; Lois Schaefer, Emeritus Piccolo Principal, BSO; and Owen Young, Cellist, BSO; Michigan League, 7pm. Made possible by a gift from Fisher Scientific International
Latin Jazz Summit featuring Tito Puente, Arturo Sandoval, and Jerry Gonzalez and The Fort Apache Band
Saturday, February 10, 8pm Hill Auditorium Philips Educational Presentation: Dr. Alberto Nacif Percussionist and WEMU Radio Host, 'A Lecture Demonstration of Afro-Cuban Rhythms", Michigan League, 1pm. The VMS Jazz 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 SuroveU 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 I.a 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 i,-d,l. UMS Education Specialist, "Know Before You Go: An AudioVisual Introduction to 'Ijj Traviata'", Michigan league, 6:45pm; February 23 Martin Katz, Accompanist-Coach-Omdutor, "The Specific Traviata", Michigan league, 7pm; February 24 Helen SiedeL UMS Education Specialist, "Especially for kui The Story of La Traviata ", explained with music and videos, Green Room, l:15-I:45pm, Power Center; Made possible by a gift from TriMas Corporation.
The Music of Hildcgard von
Sunday, February 25, 7pm
St. Francis of Assisi Catholic
Philips Educational Presentation: James 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,
Friday, March 15, 8pm
Hill Auditorium
Philips Educational Presentation: Jim Leonard, Manager, SKR Classical, "Mahler in Ijrve: thf 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 Hill Auditorium
Made possible by a gift from the Estate of William H. 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 Emergence and Legacy as an African American Artist', March 20, Michigan league, Koessler Library, 7pm. Dr. Lorna McDaniel, Associate Professor of Music, University of Michigan, "The Musical Influences of Alvin Ailey", March 21, Michigan
League, Koessler Library, 7pm. Christopher '.unner, Ahin AiUy Company Manager, and Company Member, "The Atvin Ailey 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 gift from 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 Scholar Thursday, April 11, 8pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: Louise 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, Michigan League, 7pm. Made possible by a gift from Dr. John Psarouthakis, the Paiedeia Foundation, andJPEinc.
Purcell's Dido and JEneas
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 Musicology, Uniienity of
Michigan, "Classics Reheard'1, 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 Ijtague, 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 n 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 Winter Season
Event Program Book
Friday, February 16, 1996
Sunday, February 25, 1996
1 ijth Annual Choral Union Series Hill Auditorium
33rd Annual Chamber Arts Series Rackham Auditorium
25th Annual Choice Events Series
Moscow Virtuosi 3
Friday, February 16, 1996, 8:00pm Rackham Auditorium
SamulNori 11
Saturday, February 17, 1996, 8:00pm Sunday, February 18, 1996, 4:00pm Power Center
New York City Opera National Company
Verdi's La Traviata 17
Wednesday, February 21, 1996, 8:00pm Thursday, February 22, 1996, 8:00pm Friday, February 23, 1996, 8:00pm Saturday, February 24, 1996, 2:00pm
(Family Performance) Saturday, February 24, 1996, 8:00pm Power Center
Vox Feminae 29
The Sequentia women's vocal and instrumental ensemble The Music of Hildegard von Bingen
Sunday, February 25, 1996, 7:00pm
St. Francis of Assisi Catholic Church
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
Starling 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 lime 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.
The Edward Surovell
Moscow Virtuosi
Vladimir Spivakov, Violinist and Conductor
Friday Evening, February 16, 1996 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Richard Strauss
Sextet for Strings from Capriccio, Op. 85
Wolfgang Amadeus Mozart
Violin Concerto No. 2 in D Major, K. 211
Allegro moderato Andante Rondo: Allegro
Vladimir Spivakov, violin
Intermission Bela Bartok
Rhapsody No. 1 for Violin and Orchestra
Moderato Allegro moderato
Vladimir Spivakov, violin Bartok
Divertimento for Strings
Allegro non troppo Molto adagio Allegro assai
Thirty-third concert of the ii jth season
33rd Annual Chamber Arts Series
Special thanks to Edxvard Surovell, President, The Edward Surovell CompanyRealtors for helping to make this performance possible.
Vladimir Spivakov will return to the stage following tonight's performance to answer questions from the audience.
Columbia Artists Management, Inc., SheldonConnealy Division, New York, New York
The Moscow Virtuosi records exclusively for BMGRCA Victor Red Seal.
Patronage: Fundacion Principe de Asturias, Spain
Large print programs are available upon request.
Sextet for Strings from Capriccio, Op. 85
Richard Strauss
Born June 11, 1864 in Munich Died September 8, 1959 in Garmisch-Partenkirschen, Bavaria
Unlike his friend and contemporary Gustav Mahler, Richard Strauss received acclaim at an early age for his compositions. By twenty-one, he was hailed as the successor to Brahms and Wagner, and the tone poems composed in his twenties immediately became part of the standard orchestral repertoire. After igoo, most of his interest was centered in opera.
Caprictio was Strauss' last opera, and the "Sextet," which acts as the overture, is his only composition for strings alone. The opera is based on a libretto by the compos?er's friend, the conductor Clemens Krauss, who conducted the premiere performance in Munich on October 28, 1942; this would be the last premiere of one of his stage works that Strauss would attend.
Capriccio is subtitled "a conversation piece in music," and deals with this aesthetic problem: which component, words or music, should take precedence or prominence in a work of art. The opera is in one act, and is set in a castle near Paris, circa 1775. The argument (or aesthetic problem) puts on a human face when the Countess Madeleine is wooed by the poet Olivier (words) and the composer Flamand (music). At the end, she remains torn between the two.
The Sextet is a lovely piece of late Romantic chamber music set in a ternary form. The instrumentation is for two vio?lins, two violas and two celli. The tempo is a leisurely "Andante con moto" in three-four time, and acts as an appropriately wordless declaration of love for the Countess from Flamand. When Flamand's melody is com?bined with a sonnet from Olivier, the
Countess is so moved that she is placed in an impossible situation.
This is quietly refined and elegant "society" music. While the subject matter may be far from his earlier operas, -Elektra or Salome -no doubt a concession to the reactionary taste of Hitler's National Socialist government, the music nonetheless has an elegant grace that can still capture an audience.
Note courtesy of Columbia Artists Management, Inc.
Violin Concerto No. 2 in D Major, K. 2 11
Wolfgang Amadeus Mozart
Born January 27, 1J56 in Salzburg
Died December 5, 1J91 in Vienna
Between April and December 1775, Mozart composed five violin concerti (and possibly two more) which, along with the Concertone for Two Violins and Orchestra and the Sinfonia Concertante for Violin and Viola, collectively represent his entire output for violin in this genre. It is speculated that these concerti were composed as a group intended for Antonio Brunetti, an Italian violinist from the Salzburg orchestra.
As a product of his early years, the violin concerti owe much to the style of Pietro Nardini, a violinistcomposer whom Mozart's father much admired. The first two in particular, reveal a strong affinity with pre-classical traditions; however, in the course of the composer's development and his determination to leave behind traditions that had already begun to stagnate, Mozart succeeded not only in finding himself, but also new means of expression fully in keep?ing with the spirit of the time. The concerti are notable for their elegant formality, and the orchestral writing is at times quite delicate.
The first movement, "Alleero moderato."
begins with a short fanfare-like orchestral exposition, serving as an introduction for the soloist's entrance. The first theme is characterized by its initial dotted notes fol?lowed by triplet figurations. A transition of orchestral interjections leads into the lyrical second theme. The recapitulation varies little from the exposition except for the addition of an effective cadenza.
The second movement, "Andante," maintains Mozart's delicate grace; it is a truly lyrical intermezzo, resembling an operatic aria. After a short introduction, the soloist takes hold of the proceedings with minimal support from the orchestra, which for the most part is confined to the violins. The movement is in two parts, the second consisting of a slight variation of the first, and ending with a short coda.
The finale, Allegro, is built upon a rondo structure. The first section begins with the soloist stating the main theme with a repeat from the full orchestra; this consti?tutes the ritornello that will be heard several times throughout the movement. This ritornello (or refrain) alternates with three different episodes. A brief return of the main theme and the second episode, but in reverse order, occurs before the final refrain.
Note by Edgar Colon-Hernandez
Rhapsody No. i for Violin and Orchestra
Bela Bartok
Born March 25, !! in Nagyszentmiklos,
Died September 26, 194$ in New York City
The years 1926-37 constitute the "mid?dle" period of Bartok's compositional style. Works produced during this period include the two Piano Concerti, the Third, Fourth
and Fifth String Quartets, Music for Strings, Percussion and Celesta, and the two Rhapsodies for Violin and Piano. Bartok's style at this time is known as "neo-classical," and is typified by the composer's heightened interest in the proportions, formal aspects and textures of the Classical period. The composer did not, however, abandon his use of folk elements in his compositions.
Along with his contemporary, Zoltan Kodaly, Bartok is acknowledged as a leader in Hungarian nationalistic music. Of partic?ular interest to him was the folk music indigenous to Eastern Europe. By 1918, Bartok had collected, in his travels through the region, 2700 Hungarian, 3500 Romanian and 3000 Slovak folk songs. The folk influ?ence is clearly heard in the Rhapsodies for Violin and Orchestra, originally written for violin and piano. Both follow a similar structural pattern, based on the format used by Liszt in his Hungarian Rhapsodies.
The Rhapsody No. 1 opens with a slow introduction ("Lassu") which is followed by a rhapsodic section ("Friss"), which is char?acterized in dance rhythms. The rhythmic patterns of the Rhapsody are based on Transylvanian dance music, originally for violin alone.
Both Rhapsodies were premiered shortly after their composition in 1928. The violinist for the premiere, in Budapest, of Rhapsody No. 1 was Joseph Szigeti, for whom the piece was written. Rhapsody No. 2 was premiered in Amsterdam by its dedicatee, Zoltan Szekely, and was revised by the composer in 1944. In 1929, Bartok arranged both pieces for Violin and Orchestra.
Note courtesy of
Columbia Artists Management, Inc.
Divertimento for Strings
During the summer of 1939, Bartok was in despair as he saw the stirrings of the Second World War and his fellow Hungarians rushing to align themselves with Hitler; it was also at this time that his mother fell terminally ill. He felt that his inspiration was running dry, so it was quite a relief when his friend Paul Sacher, the director of the Basel Chamber Orchestra, commissioned Bartok to write a piece for string orchestra at the conductor's chalet in Switzerland. Bartok had previously composed Music for Strings, Percussion and Celesta (1936) on commission from Sacher. The bucolic setting proved to be the needed respite from his anxiety, and for two weeks, Bartok composed with tremendous spontaneity. The Divertimento on tonight's program was the result.
The piece was premiered in Basel on June 11,1940, conducted by Sacher. The composer's mother had died the previous December, and Bartok felt that he no longer had any reason to stay in Hungary. He emi?grated to the United States in October 1940 and never returned.
Bartok described the Divertimento to Sacher as follows: "First movement sonata form, second movement approximately ABA, third movement rondo-like."
The piece opens with the first violins, introducing a theme in the style of a folk song over a strumming accompaniment in F Major and alternating 98 and 68 meters. Almost immediately the orchestra breaks up into a small group of solo instruments con?trasted with a tutti, much like the Baroque concerto grosso. Following a contrapuntal development section, the main theme is recapitulated, somewhat disguised as an extension of the development.
The "Molto adagio" second movement is song-like and rather somber. The entire orchestra is muted, and the second violins present a chromatic scale over murmuring
lower strings. The first violins introduce the second section with a whispering passage, and are soon joined by the second violins and violas in a contrasting section. The three-note ostinato that opens the movement also serves as a bridge to the recapitulation of the main theme.
The final movement, marked "Allegro assai," opens with a quasi-improvisational introduction leading into another folk-inspired melody in the first violins, much like the first movement. Also, as in the first movement, the mood is lively and while the impression of the piece is one of simplicity, Bartok used complex fugal procedures. The theme is inverted and after another short fugato, a solo cello plays a short rhapsodic figure, which is picked up by the first violin and becomes a cadenza. Following a short ironic polka melody, a brisk coda brings the piece to its vigorous conclusion.
Note courtesy of
Columbia Artists Management, Inc.
The Moscow Virtuosi, today one of the world's preeminent chamber ensembles, was formed in 1979 by Vladimir Spivakov, following his conducting debut with the Chicago Symphony Orchestra at the Ravinia Festival. Comprised of top-ranking soloists and former principal chairs of the great orchestras of Russia, the Moscow Virtuosi has been in demand since its incep?tion and has toured exclusively throughout the world, including appearances in Europe, Japan, North and South America, the Soviet Union and Eastern Europe. In April 1992 the Moscow Virtuosi celebrated its 1 oooth concert at the Moscow Conservatory of Music. In the first years after it was formed, the Moscow Virtuosi appeared internationally to
great acclaim, but was absent from the United States, as were all Soviet musicians following the 1979 invasion of Afghanistan and the lapse of the USUSSR Cultural Exchange agreement. The orchestra made its long-awaited debut in this country in 1987 to so triumphant a reception that since 1989 it has returned to North America for six consecutive seasons, performing more than 100 concerts on tour and appearing in such music capitals as Montreal, Toronto, Ann Arbor, Mexico City, Los Angeles, San Francisco, Chicago, Philadelphia, Washington, D.C. and New York.
Since August 1989, BMGRCA Victor Red Seal has released the first fifteen albums by the Moscow Virtuosi and Vladimir Spivakov under one of the most extensive recording agreements ever undertaken between Russian musicians and a Western recording company. Their recorded reper?toire ranges form Vivaldi, Bach, Haydn, Mozart and Schubert to such twentieth-century composers as Prokofiev, Penderecki, Hartmann, Shostakovich and Schnittke.
The Moscow Virtuosi is the Resident Orchestra and Mr. Spivakov, Artistic Director, of the widely acclaimed Colmar Institute Festival in France. Vladimir Spivakov and the Moscow Virtuosi presently reside in Spain where, at the invitation of Prince Philip, the ensemble holds a three-year residency in Asturias, to establish a conservatory together with six teachers chosen by Mr. Spivakov from the Moscow Conservatory and the Gnessen Institute.
Mr. Spivakov is the founder of the European Sakharov Foundation, for which the Moscow Virtuosi gave the inaugural con?cert before the European Parliament on December 10, 1990 -Human Rights Day. The Moscow Virtuosi, under the direction of Mr. Spivakov, also performed at the first international Sakharov Congress in Moscow in May 1991, in which Stanislav Richter and Mstislav Rostropovich were soloists. The
concert's finale was a performance of the "Lacrymosa" from Mozart's Requiem, with a Lithuanian choir, in memory of Sakharov.
The return of the Moscow Virtuosi, makes their seventh North American tour, performing throughout the United States and Canada, including their sixth perfor?mance at New York's Avery Fisher Hall.
1 ladimir Spivakov is a
truly remarkable musi?cian: a magnificent violinist, a superb con?ductor, a man of vision who has founded, molded and guided one of today's most exciting chamber ensembles -the Moscow Virtuosi.
Mr. Spivakov was born in Ufa, a town in the Ural Mountains, and trained at the Moscow Conservatory with Yuri Yankelevich. He quickly established himself as one of Russia's preeminent violinists -a reputation which was confirmed here instantly at his debut with the New York Philharmonic in 1975. Soon afterwards he was appearing as a guest soloist with the orchestras of Pittsburgh, Cleveland, Dallas and San Francisco, followed more recently by orchestral performances in Boston, Los Angeles, Chicago, Philadelphia and elsewhere.
In 1979, already internationally acclaimed as a violinist, Mr. Spivakov took a new step in his career: he made his debut as a conductor. It was at the Ravinia Festival; it was the Chicago Symphony; it was a triumph.
He returned to Moscow, and set about founding a chamber orchestra, choosing the individual players himself, many of whom already held the principal chairs of major Soviet orchestras. At the start the Soviet authorities made life very difficult for the ensemble but through tours of Russia and Eastern Europe, then of Western Europe,
South America and Japan, the orchestra became acknowledged the world over as an exciting and cohesive new chamber orchestra.
While Mr. Spivakov is closely identified with the Moscow Virtuosi as its founder, con?ductor, and principal violin soloist, he also pursues a major solo career: he performs regularly with orchestras throughout the world; in the states he was the guest soloist with l'Orchestre National de France on its 1990 tour; in recent seasons he has played with the Philadelphia Orchestra, the New York Philharmonic, the Pittsburgh Symphony, and the Houston Symphony. He has given solo recitals in San Francisco, Sarasota, and in New York. He is a regular guest conductor with the State Symphony of Russia, the Santa Cecilia Orchestra in Rome, the London Symphony, the St. Petersburg Philharmonic, the English and Scottish Chamber Orchestra, as well as the chamber orchestras of Dresden, Rome and the Netherlands. Upcoming engagements include performances with the New York Chamber Symphony, the San Francisco Symphony, the Seattle Symphony and the Montreal Symphony. Mr. Spivakov's recent performances have included the
Concertgebouw (Amsterdam), Avery Fisher Hall (New York), Champs Elysees (Paris), as well as in Rome, Florence, Salzburg, Munich, Zurich, London, Geneva, Gstaad, and in Australia and New Zealand. His December 16, 1994 performance at the Vatican with the Santa Cecilia Orchestra was broadcast on worldwide television.
He has also made numerous recordings as a soloist apart from the Moscow Virtuosi, including two with Temirkanov and the Royal Philharmonic -one of the Tchaikovsky Concerto and the Prokofiev Concerto No. 1 and one of the Brahms Double Concerto with Kniazev; and solo albums including one of twentieth-century pieces for violin, and Brahms Sonatas for Piano and Violin with Mikhail Rudy.
Mr. Spivakov is the founder of the European Sakharov Foundation, which was inaugurated with a concert by the Moscow Virtuosi before the European Parliament on December 10, 1990, Human Rights Day. He also organized the first International Sakharov Congress, which was celebrated on may 81, 1991, in Moscow's Tchaikovsky Hall with the Moscow Virtuosi, and soloists Stanislav Richter, Mstislav Rostropovich and Mr. Spivakov. In May 1992 he led the Virtuosi back to Moscow to give a Gala concert that commemorated their 1000th performance together. The musicians returned to Russia in December 1992 for concerts in Moscow and St. Petersburg during the Winter Festival.
Mr. Spivakov plays a 1716 instrument by the Venetian maker Francesco Bogetti, which was bequeathed to him by his former teacher Yuri Yankelevich. On his birthday, September 12, 1994, Russia's International Observatory named a star "Spivakov."
This evening's performance marks the Moscow Virtuosi and Mr. Spivakov's second appearance under UMS auspices.
Moscow Virtuosi
Vladimir Spivakov, Conductor and Music Director
Violin I
Arkady Futer, Concertmasler Boris Kuniev Alexander Gelfat Lev Tchistiakov Yuri Pissarevski
Violin H
Alexander Detissov Andrei Mijlin Alexander Polonski Erik Nazarenko Mikhail Spivak
Igor Suliga Andrei Kevorkov Sviatoslav Belonogoz
Mikhail Milman Alexander Osokin Vigen Sarkisov
Andrei Feigine Vitold Patsevitch
Alexei Utkin Mikhail Evstigneev
French Horn
Mikhail Fraiman Peter Toutchinski
Sergei Bezrodny
Beatriz Montes, Administrator
Columbia Artists Management, Inc. Production Staff
R. Douglas Sheldon
Mary Jo Connealy, General Manager
Alexandra Sheldon, Assistant
Jonathan Ball, Company Manager
Michael Cooney, CAMI Travel
Kim Williams, Hotels
Edgar Colon-Hernandez, Programs
Regency Travel, Inc.
Kim Duk Soo, Artistic Director and Founder
Park An Ji
Jang Hyunjin
Shin Chan Sun
Park Byungjun
Kim Han Bok
Saturday Evening, February iy, 1996 at 8:00
Sunday Afternoon, February 18, 1996 at 4:00
Power Center
Ann Arbor, Michigan
Tradition Meets the Present
(Prayer Song)
Samdo Sul Changgo Karak
(Changgo Rhythms from Three Provinces)
Samdo Nongak Karak
(Nongak Rhythms from Three Provinces) Intermission
Pan Kut
Thirty-fourth and thirty-fifth performances of the 11 jth season
33rd Annual Choice Series
Special thanks to Sue S. Lee, President, Regency Travel, Inc., for helping to make these performances possible.
Exclusive Management for SamulNori: Herbert Barrett Management
Large print programs are available upon request from an usher.
Tradition Meets the Present
From ancient days up until the outbreak of the Korean War, wandering entertainers called Namsadang, roamed across Korea visit?ing villages and cities. Upon announcing their arrival at the main gate of a village, they would make their way to the central courtyard and occupy it for the next few days and nights, performing satirical mask dramas, puppet plays, acrobatic acts and shamanistic rites. After bidding the evil spirits to leave and good ghosts to come, the performers would invite all the villagers to gather, watch their acts and revel with them all night. These gatherings were an integral and important part of affirming life for the people of these isolated Korean villages for a countless number of centuries. .The music that accompanied these gatherings can be described generally as PoongmulNori, "the playing of folk instruments."
At the time of the Korean War, Koreans were becoming more familiar with the city and its Western oriented culture, losing touch with rural life and its rhythms. Namsadang and their music were quickly relegated to mythology and obsolescence. True to this new Western influence, an elevated proscenium stage equipped with microphones, lights and hi-tech equipment now stands where a stretch of grass used to lie. SamulNori was formed in 1978 by descendants of these Namsadang, confronted by the changes in performance presentation, upheavals in Korean society and the quiet disappearance of their valuable musical heritage.
"We were shamans who played for the villagers' needs and well being, and since the villagers have changed we too must change," notes Kim Duk Soo, master drummer and one of the founding members of SamulNori.
The stage setting may now be twentieth century, but the instruments remain the
same: K'kwaenggwari, Ching, Changgo and Buk. The same SamulNori, literally mean?ing 'To play four things," refers to these four instruments, each associated with an element in nature. K'kqaenggwari, the small gong, represents lightening; the Ching, the large gong, represents wind; the Changgo, the hourglass drum, represents rain; and the Buk, the barrel drum, represents clouds.
When learning the music, it is necessary to understand the rudiments and the rich philosophy that cultivated the music. The theory of yin and yang (in Korean urn. and yang), prevalent throughout the music, is illustrated, among innumerable other examples, in the balance of the two metal instruments and the two leather ones. Most importantly, the four players must become one through Ho-Hup, the meditative tech?nique that tames the mind, body and spirit through breath control.
Although the music and presentation have been reinvented, their foundation remains unchanged and SamulNori intends to faithfully recreate for you the spirit of those massive village gatherings. In a few moments they will herald their arrival with the sounds of the drums and cry out:
Open the doors! Open the doors!
The Guardians of the Five Directions:
Open your doors!
When all of humankind enters, they shall bring
with them endless joy!
We invite all of you to enter and be a part of the festivities.
BlNARI (Prayer Song)
A sweeping prayer song that used to sig?nal the beginning of a stay at a village, Binari can now be heard at events such as the opening of a new business or building, or at a performance such as tonight's. The shaman sings the extensive prayer, which touches on many aspects important to Korean beliefs. It recounts the tale of creation and it calls upon the various spirits that reside in the village and homes, eventually asking for a blessing upon the people, the players and the ground they inhabit.
Placed on the altar is an abundance of food offerings to the gods and to ancestors, and a pig's head. Audience members are invited to approach the altar, bringing with them their prayers. They may also light an incense stick, pour rice wine and bow. It is customary to place an offering of money is place in the mouth of the pig, it is believed that the prayers brought to the altar will be answered generously.
Samdo Sul Changgo Karak
(Changgo Rhythms from Three Provinces)
All four men are seated with changgo (hourglass drum) and play an arrangement consisting of the most representative changgo karak (rhythm patterns) of three Korean provinces. Originally, one player would fas?ten the changgo to his body and perform a showy solo piece, flaunting his unique style of dance and technique. SamulNori created this new arrangement to be played while seated, shifting the focus from showmanship to musicality. This piece consists of five movements, showcasing five different karak, beginning with the technically demanding "Tasurim," and finishing off with the climatic "Hwimori."
Samdo Nongak Karak
(Nongak Rhythms from Three Provinces)
Samdo Nongak Karak also is an arrangement of different rhythms from the three provinces. Some of the karak that appeared in Samdo Sul Changgo Karak also appear here, now interpreted by the four different instruments. During festivals, performers would tradition?ally have played these instruments while dancing, but SamulNori has broadened the scope of the many karaks that appear by playing seated and developing the musical possibilities of this arrangement.
The music's intimacy with the land and agrarian culture is evident in the verses the performers exclaim before the climatic por?tion of this piece:
Look to the sky and gatlier stars. Look to the ground and till the earth. This year xuas bountiful Next year let it also be so.
Moon, moon, bright moon.
As bright as day;
In the darkness,
Your light gives us illumination.
Pan Kut
You will see in this dance portion of the program, that the drummers must also be dancers. The dance features the sangmo (a ribboned hat) and the bubpo (a feathered hat) which the performers will make move and spin with the energy of their dancing bodies. This particular Pankul is a modern rendition of the large group dances of the farming festivals made suitable for four men on a stage.
Because farmers were traditionally recruited as soldiers when a war broke out, there was a great exchange of ideas between
the military musical tradition and the village dances. Most of the choreography is based on military exercises, and the hats the per?formers wear resemble ancient helmets. It has also been said that the sangmo originally had shards of glass and metal attached to the ribbon and were used as weapons during battle.
With feet treading the earth, ribbons flying upward, and rhythms sounding through the air, the players attempt to con?summate the union of Heaven, Earth and Humankind. The banner, the spiritual member of the troupe, with its stake driven into the ground, and its feathers reaching for the sky, embodies the desire for cosmic harmony.
amulNori is a group of four dynamic musicians dedicated to performing and preserving traditional Korean music and I dance. Since these superb percussionists joined together in 1978, SamulNori has sparked a renaissance in Korea's music scene and garnered worldwide acclaim. Anna Kisselgoff of The New York Times wrote, "The four musicians in the Korean ensem?ble known as SamulNori are all virtuoso per?cussionists. . .their drumming -modulated into sounds of any nuance -could lead to total astonishment.. .SamulNori is a complete theatrical experience as well."
The Korean words Sa and mul mean "four things" and nori means "to play." In the case of SamulNori, it refers to the four musicians playing and dancing with four percussion instruments. Founded by Kim Duk Soo, the group's leader and master of the changgo (hour glass drum), SamulNori has become the leading institution of tradi?tional Korean performance that maintains up to thirty students selected and trained by
Mr. Kim. The group performs in many con?figurations but usually tours as a quartet with Mr. Kim at the helm. The origins of their music can be traced to what is usually referred to as "farmers" band music (nong-ak) and ceremonial music. It also incorporates the influences of folk and religious music (pinari) and their intricate rhythms have become quite uniquely their own.
In 1993, SamulNori became SamulNori Hanullim, Inc. (Hanullim means "big bang"). This growth from a four-man performance ensemble into a company of thirty artists and students meant that SamulNori's dedi?cation to traditional Korean arts, music, and dance over the last two decades had now also become a viable educational and research enterprise.
Over the years, SamulNori's United States tours have brought them to New York City, Los Angeles, Boston, Chicago, Hawaii, and the Asia Society's sponsored tour across the country. In 1985 the Asia Society was awarded an "Obie" for Outstanding Achievement in the Off-Broadway Theatre for introducing SamulNori to New York's stages. SamulNori has performed at the Kennedy Center in Washington, D.C. and at the Smithsonian Institution as part of an effort for the Percussive Arts Society Convention in Dallas and served a residency for the Ethnomusicology Department at the University of California at Berkeley.
Internationally, SamulNori has toured Germany, Austria, Great Britain, Sweden, Switzerland, Japan, China, Australia and Greece where they accompanied the Korean Olympic representatives for the lighting of the Olympic torch in 1988. They also visit?ed Italy where they were filmed for a Puma sneakers commercial.
SaumlNori has collaborated with many highly acclaimed musicians from around the world from a variety of styles of music ranging from jazz to pop and have also performed concerti with orchestras written expressly for
them. They have taken part in many festi?vals including "Live Under the Sky" in Japan and Hong Kong, the Kooljazz Festival, Peter Gabriel's "WOMAD" Festival, Moers Jazz Festival, and the Han River International Jazz Festival.
In addition to their busy touring sched?ule, SamulNori is dedicated to furthering the tradition of their unique performance techniques which they teach at the SamulNori Academy of Music in Seoul. They have been the subject of several books (including their own intensive instructional book) and videos for many labels including SONY. Their fifteen recordings are available on the CBSSONY, Nonesuch, CMP, Polygram, Real World, and ECM record labels.
These performances mark SamulNori's UMS debut.
TriMas Corporation
New York City Opera National Company
Joseph Colaneri, Music Director Derrick Inouye, Music Director Designate
Wednesday Evening, February 21, 1996 at 8:00
Thursday Evening, February 22, 1996 at 8:00
Friday Evening,
February 23, 1996 at 8:00
Saturday Afternoon, February 24, 1996 at 2:00 (Family Performance)
Saturday Evening, February 24, 1996 at 8:00
Power Center for the Performing Arts Ann Arbor, Michigan
La Traviata
Music by Giuseppe Verdi
Libretto by Francesco Maria Piave
(after the novel, La Dame aux Cornelias by Alexandre Dumas)
Conducted by Derrick Inouye
Production supervised by Renata Scotto
Directed by Paul L. King
Scenery designed by Peter Dean Beck
Costumes designed by Joseph A. Citarella
Lighting designed by Jeff Davis
English supertitles by Sonya Friedman
h, jjth, j8lh, 39th and 40th concerts of the 11 jth season
25th Annual Choice Events Series
Special thanks to Brian Campbell, President, TriMas Corporation, for helping to make these performances possible.
Thank you to Helen Siedel, UMS Education Specialist and Martin Katz, Accompanist-Coach-Conductor, speakers for the Philips Educational Presentations.
The pre-concert carillon recital was performed by Thomas Song, a junior Biomedical Sciences major.
New York City Opera National Company exclusive representative: Columbia Artists Management, Inc., New York, Neiu York.
Large print programs are available upon request from an usher.
La Traviata
Paris, France: Mid-Nineteenth Century
Act I
A salon in Violetta's home
Act II
Violetta's country house; three months later Intermission
Flora's home; later that same day Intermission
Act IV
Violetta's bedroom; months later
(in order of appearance)
Violetta Valery
Flora Bervoix Baron Douphol Marquis d'Obigny
Doctor Grenvil Gaston de Letorieres Alfredo Germont
Annina Giuseppe Giorgio Germont
Messenger Party Guests
Patricia Johnson (WedSat afternoon)
Shelley Jameson (ThursSat)
April-Joy Gutierrez (Fri)
Cory Miller
Stephan Kirchgraber
Don Davis (Sat)
Stephen Goodsell (WedThursFri)
Richard Pearson
Craig Montgomery
Eduardo Valdes (WedFriSat evening)
Rick Moon (ThursSat afternoon)
Joan Eubank
Sam Savage
Charles Robert Stephens (WedFriSat evening)
Grant Youngblood (ThursSat afternoon)
John-Arthur Miller
Katharine Emory
Joy Graham
Misa Iwama
Pamela E. Jones
Elizabeth Lawrence
Laura Swanson
Eddie Gammill
Mark D. Heimbigner
John-Arthur Miller
Edgardo Zayas
Act I
A Salon in Violetta's home
Violetta Valery is giving a party to celebrate her return to society after a period of illness. It is here that she meets Alfredo Germont, who has long admired her. Alfredo professes his love for her. At first indifferent, she is finally moved by his ardor and finds herself torn between her attraction to him and her carefree way of life.
Act II
Violetta's country house; three months later
Violetta is now living happily with Alfredo in the country outside of Paris. Alfredo learns from Annina that Violetta has been selling her jewels in order to pay the bills. He rushes off to Paris to raise some money. Alone, Violetta reads with amusement a party invi?tation from her friend Flora and tosses it aside. Violetta is surprised by an unexpected visitor: Giorgio Germont, Alfredo's father. He urges Violetta to leave Alfredo because their affair threatens to ruin the marriage prospects of his daughter. Brokenhearted, Violetta finally gives in to Germont's pleading. He leaves, and Violetta rushes off to Paris just as Alfredo returns. Soon a messenger arrives with Violetta's farewell note. Germont returns and tries to consolehis son, but Alfredo, certain that Violetta has betrayed him for the Baron Douphol, picks up Flora's invitation and runs off swearing vengeance.
Flora's home; later that same day
At Flora's festive party, Alfredo searches for Violetta. She arrives with the Baron, who engages Alfredo in a tense gambling match. Alfredo wins. Violetta, fearful that the Baron will challenge him to a duel, urges Alfredo to leave. He refuses and forces her to say that she loves the Baron. Then, insane with jealousy, he humiliates her in front of the guests by hurling his gambling winnings at her: "Now I have paid off my debt to her!" Douphol challenges Alfredo to a duel.
Act IV
Violetta's bedroom; months later
Alfredo's denunciation has destroyed Violetta's health. Mortally ill, poverty-stricken, attended only by Annina, Violetta awaits death. Her only consolation is a letter from Giorgio Germont. In it he explains that the Baron was wounded in his duel with Alfredo, but not seriously, and that Alfredo, now aware of Violetta's sacrifice, will return to her shortly to beg forgiveness. Alfredo arrives, but after a few moments of joy, Violetta succumbs to her illness.
Charles Rizzuto O 7995 Stagebill
La Tr avi at a
Historical Note
lor Venice I'm doing La Dame aux camelias, which will prob?ably be called La traviata (The Lost Woman)," wrote Giuseppe Verdi to a friend on January 1, 1853. "A subject of our own age. Another composer wouldn't have done it because of the costumes, the period, and a thousand other silly scruples. But I'm writing it with the greatest of pleasure."
Despite the palpable conviction in these words, the subject matter of Verdi's 18th (of 27) opera was, typically for him, arrived at with difficulty. In April 1852 he had accepted a commission (his fourth) from Venice's Teatro la Fenice for an opera to be premiered during carnival season the following year. The librettist would be the efficient and long-suffering Francesco Maria Piave, whose collaboration with Verdi had begun with Ernani (1844), blossomed in Rigoletto (1851), and would in the next decade produce such fruits as Simon Boccanegra (185781) and La forza del destino (1862). As the search for a scenario dragged on well into autumn 1852, and Verdi rejected suggestion after suggestion from friends and associates, the nervous the?ater management dispatched Piave to visit Verdi at his new home in Sant' Agata. "It was the same story as Ernani all over again," Piave reported wearily to the Fenice's secre?tary in November. "I had got the libretto almost finished [the libretto to which he refers is unknown] when Verdi suddenly got carried away by another idea and I had to throw away what I'd done and start all over again. I think that Verdi will write a fine opera now that I've seen him so worked up." The "other idea" was, of course, La Dame aux camelias by Alexandre Dumas fits. Verdi
had been in Paris at the time of the play's premiere in February 1852, an event which had been delayed three years; only the inter?vention of Dumas pere (of Three Musketeers fame) could finally convince the authorities to unveil this drama, based on the son's own scandalous affair with a notorious courtesan who had recently succumbed to tuberculosis at the age of 23. The young Dumas had gone abroad to forget her, but obviously did not succeed: within a year he had immortal?ized Alphonsine (known as "Marie") Duplessis in a novel which became such a sensation that the next year he adapted it into a play. Ten years before Traviata, Verdi had decided against setting Victor Hugo's Marion de Lorme, loath to portray a "loose woman" onstage. But much had changed in the intervening decade. For one thing, he had in 1847 begun what was to be a lifelong liaison (later, marriage) with the soprano Giuseppina Strepponi who, though strong, bright, and beautiful, possessed something less than an unspotted reputation.
Indeed, Traviata is the culmination of what musicologists like to call Verdi's "domestic period." In his fledgling years, he had put the goals of the risorgimento, the Italian reunification movement, ahead of his own, and most of his early operas are thinly disguised -and inflammatory -political manifestos. But by 1849, established as a politico and ensconced in a nurturing rela-
tionship, Verdi was ready to inflame in a new way. His operas of this period, Luisa Miller (1849), StiffeUo (1857), Rigoletto (1851), and especially Traviata, are populated with
increasingly vital characters who push at the boundaries of society.
Given Traviata's controversial plot, Verdi braced himself for a go-around with the Venetian censors similar to that which he had weathered over Rigoletto. But only two relatively small demands were made: that he change both the opera's original title, Onore e morle ("Honor and Death"), and its contem?porary setting.
This second request was the more trou?bling. The Venetian authorities evidendy felt that moving the action to the eighteenth century would cushion the opera's shock value--and diis was exacdy what Verdi did not wish to do. 'The Signor Maestro Verdi desires, demands, and begs that the costumes for his opera La traviata should remain those of die present day," asserted a memo?randum from the Fenice's impresario. In the end, Verdi was forced to comply (although he insisted diat no wigs be worn); until 11) i ;ill printed scores of die opera bore the rubric, "Paris and its environs about 1700." It was not until 1886 that Gemma Bellincioni donned crinoline for the first 1850s Traviata--ironically, no longer "contemporary." The opera endured even as itinerant divas began to tote dieir personal wardrobes from theater to theater. George Bernard Shaw viewed as common?place a London production "widi Violetta in the latest Parisian confections and Alfredo in full Louis XIV fig."
The question really is: what did Verdi mean when he called Traviata "A subject for our own age" Did he mean, as the ordiodox would have it, that it is particular to its era Or did he mean (and hope) that it would be a subject for every age It is interesting that, for the rest of his long and copiously docu?mented life, he never attempted to restore die opera to its original milieu. Perhaps he came to feel that the story was, in die words of British Verdi scholar Julian Budden, "essentially a mydi, none die less universal
for being modern. . . and having had its
roots in personal experience__It is one of
those simple classical tales which permit as many variations as the legends on which the Greek tragedians built their plays." Surely Traviata can thrive in any setting that can support Piave's traditional operatic diction and Verdi's elegant, noble music.
Much has been made of Traviata's less-than-triumphant premiere on March 6, 1853, supposedly scuttled by a lukewarm press and public, a laryngitic tenor, an over-the-hill baritone, and a pasta-padded soprano who failed to convince as the con?sumptive heroine. "La traviata has been an utter fiasco, and what is worse, they laughed," lamented Verdi to conductor Angelo Mariani. But he added, "I'm not worried. I personally don't think that last night's verdict will have been the last word." How right he was! Since its revival, in slight?ly revised form, at Venice's Teatro San Benedetto on May 6, 1854, there's been no stopping Traviata, in whatever language or deconstruction. In crinoline or in spandex, Violetta never fails to move us, for she is clothed first and foremost in humanity.
Cori Ellison
O 1995 Stagebill
Established in 1979, the New York City Opera National Company began modestly with a twenty-five performance, five week tour of La Traviata and a two-fold mandate: to take top-quality opera performances to commu?nities throughout the country and to provide talented young artists with valuable perform?ing experience. The company has lived up to its mandate admirably and has grown in step with America's increasing interest in
opera. Acclaimed by presenters, audiences and critics alike, the National Company is now considered the premier touring opera company in the country. The company trav?els in an old-fashioned "bus and truck" style, bringing vivid stagings of classic operas to both small rural communities and bustling urban centers. Productions such as La Boherne, Rigolelto, Faust, Madama Butterfly, The Barber of Seville, La Traviata, The Marriage of Figaro and Tosca have played to capacity audiences from coast to coast. Each production is spe?cially designed to show off the remarkable creativity and energy of America's best new singers, instrumentalists, and designers, many of whom go on to enjoy successful careers with major opera house around the world. A National Company tour is also the ideal environment for veteran singers, since it allows them an unprecedented opportunity to perfect a characterization over numerous performances. Thus, audiences throughout the United States and Canada are given the opportunity to see both seasoned perform?ers and the brightest of the up-and-coming young stars. Following the 1993 tour, the National Company was completely reorga?nized, and is now run directly under the auspices of the New York City Opera Company itself. The touring division now utilizes the talents of producers, artists and administrators who are members of the main company.
This residency marks the eleventh Ann Arbor visit of the NYC Opera National Company under UMS auspices.
The Company
April-Joy Gutierrez, soprano, sings Violetta. Last season she sang Musetta in La boheme with Opera Festival of New Jersey and Micaela in Carmen with Dayton Opera. She also made solo appearances with the American Symphony Orchestra at Avery Fisher Hall in Bruckner's Psalms and the Denver Symphony Orchestra in Brahms' Requiem. Other recent engagements for the Colorado native include Konstanze in Die Entjuhrung aus dem Serail at the Caramoor Festival, and Lauretta in Gianni Schicchi and Micaela with Opera Colorado. With The Juilliard Opera Center, she sang Madame de Cortese in viaggio a Reims, Lucia in The Rape ofLucretia and Norina in Don Pasquale. A recipient of numerous awards, she is also the winner of a 1994 Sullivan Foundation grant and the 1993 Liederkrantz Foundation Competition, among others. As a participant in the Metropolitan Opera National Council Auditions, she was named Outstanding Mozart Singer.
Shelley Jameson, soprano, sings Violetta. She has appeared with the Pittsburgh Opera Center, Opera Music Theater International, Opera Theater University of Southern California, Natchez Mississippi Summer Opera Festival and Long Island Opera, in roles ranging from Gilda in Rigoletto to Donna Elvira in Don Giovanni. She has also sung Constanza in Abduction from the Seraglio, Sandrina in La finta gardiniera. Miss Wordsworth in Britten's Albert Herring, Anna Gomez in The Consul, Lauretta in Gianni Schicchi, Musetta in La boheme, Norina in Don Pasquale, the tide role in The Merry Widow, and Mother Mary in Jerome Hines' I Am the Way, which she per?formed with the Bolshoi Theater in Moscow. A winner of numerous competitions includ?ing the Traviata 2000 International Vocal Competition in America, she was also a
finalist in the Metropolitan Opera National Audition. Her upcoming engagements include debuts with Connecticut Opera as Norina and the Landestheater in Salzburg, Austria as Violetta.
Patricia Johnson, soprano, sings Violetta. She returned to NYCO this season in Rigoletto as Gilda, the role she sang with the Company in Saratoga, and sings Valencienne in The Merry Widow in the spring. She has also sung Micaela in Carmen and toured with the NYCO National Company as the Countess in Le nozze di Figaro. With Houston Grand Opera she has sung Helena in A Midsummer Night's Dream and Giulietta in Les Contes d'Hoffmann. The Michigan native has sung Donna Anna in Don Giovanni and Norina in L'elisir d'amore with Ash Lawn-Highland Opera. A national finalist in the Metropolitan Opera auditions, she made her European recital debut in 1992 in Bourges, France and returns each June for an annual recital. She recently debuted with Birmingham Opera as Violetta in La traviata; sang Juliette in Gounod's Romeo et Juliette with Lyric Opera of Kansas City; debuted with Komische Oper Berlin as Konstanze in Die Entjuhrung aus dem Serail; and appeared as a guest soloist with die Flint Symphony Orchestra in Mahler's Symphony No. 2. Next, she returns to Berlin to reprise Konstanze.
Rick Moon, tenor, sings Alfredo. He made his NYCO debut in 1991 as Pinkerton in Madama Butterfly. Last season he sang the Italian Singer in Der Rosenkavaliervnth Cincinnati Opera, Don Jose in Carmen with Arizona Opera, Rodolfo in La boheme widi Opera Columbus, and Nando in Tieland with Washington Opera. The Dayton, Ohio native has also sung Cavaradossi in Tosca with Baton Rouge Opera and Greater Miami Opera; Calaf in Turandot with Michigan Opera Theater and Shreveport Opera; Pinkerton with Opera Colorado and Opera Theatre of St. Louis; Rodolfo with Marin
Opera and Opera Grand Rapids; and the Italian Singer, Borsa in Rigoletto and Ruiz in trovatore with Opera Columbus. A nation?al finalist in the American Opera Auditions, he has appeared in concert with the Opera Theatre of St. Louis, NYCO's concert tour, and, most recently, with the Des Moines Symphony and at the Spoleto Festival in Italy. This past October he returned to Shreveport Opera as Pinkerton.
Eduardo Valdes, tenor, sings Alfredo. He made his Metropolitan Opera debut in 1993 in Britten's Death in Venice, and has returned for Der Rosenkavalier, The Ghosts of Versailles, and, most recendy, as the Duke in Rigoletto for the "Met in the Parks" series. The native of Puerto Rico has also sung the Duke with Boston Lyric Opera; Alfredo with Netherlands Opera and at the Charles Ives Center; Lindoro in L'ltaliana in Algeri, Don Ottavio in Don Giovanni, Tonio in La Fille du regiment and Arturo in I puritani with the Israel Vocal Arts Institute, among others. On the concert stage, he has sung L'Enfant Prodigue with the Symphony Orchestra of Puerto Rico, and Chaguin in Sierra's El Mensajero de Plata for die New York premiere at Merkin Hall with Musica de Camera. The winner of a scholarship from the Amadeus Fund, and the Brodowsky Award for his per?formance as Nemorino in L'elisir d'amore with the Cleveland Institute of Music, he will sing Ferrando in Cosifan tutte with Opera de Puerto Rico, and return to the Met as Vogelgesang in Die Meistersinger.
Charles Robert Stephens, baritone, sings Germont. He made his City Opera debut this season as Marcello in La boheme. The native of New London, Connecticut, debuted at the Teatro Solis in Montevideo, Uruguay as Valentin in Faust. He returned die following season as Germont, a role he also sang with Opera New England and Metro Lyric Opera. A winner of the Liederkranz Competition, among others, and a Fellow in Jerome Hines's Opera Music
Theater International, he has sung the title role in The Barber of Seville with Hawaii Opera Theatre and in Mobile, Alabama. His recent engagements include Junius in The Rape ofLucretia at Brooklyn Academy of Music, Alfio in Cavalleria ruslicana and Silvio in Pagliacci with New Jersey State Opera, tj Sharpless in Madama Butterfly with Opera L Grand Rapids, the title role in Gianni j Schicchi with Greater Buffalo Opera, Belcore in L'elisir d'amorewith Mobile Opera, and Enrico in Lucia di LammermoorvnXh Connecticut Opera.
Grant Youngblood, baritone, sings Germont. He made his New York City Opera debut this season as Escamillo in Carmen, followed by the title role in Don Giovanni. The North Carolina native recendy performed in concert with the Naples Philharmonic; sang die role of Layla's Father in Song of Majnun with Houston Grand Opera; Angelotti in Tosca and Tranquillino in the world premiere of The Woman at Otowi Crossing with the Opera Theatre of St. Louis; Sam in Trouble in Tahiti with Baltimore Opera; and most recendy, Germont with Utah Festival Opera. He includes as a career highlight his recreation for film of the tide role in die original work Reverend Everyman. His future schedule includes performances of Scarpia in Tosca widi Opera Delaware, and Marcello in La boheme and Escamillo widi Eugene Opera.
Derrick Inouye, conductor, joins NYCO 1 as music director designate of the National Company leading La traviata diroughout the U.S. and Canada. Last season he debuted with the Quebec Symphony, English National Opera, where he led Le noxze di Figaro, and with the Schleswig-Holstein Festival Orchestra in a nationally televised gala performance. He has conducted per?formances of the Dance Theater of Harlem at the Brooklyn Academy of Music and at the Kennedy Center, and returned to the Leipzig Radio Orchestra, Nurnburg
sympnony urcnestra, iNoraaeutscne Philharmonie Rostock, where he is principal guest conductor, and most recently, the Florida Philharmonic. He has also led the Vancouver Opera, New Japan Philharmonic, National Symphony Orchestra of Ireland, and Bucharest Opera, among others, and conducted Carmen, La boheme and Un ballo in maschera for Stuttgart Opera. Winner of the Vittorio Gui Competition in Florence, he was assistant conductor to James Levine at the Metropolitan Opera for three seasons, and awarded a Tanglewood conducting fel?lowship. Canadian-born, he was also assis?tant conductor of the Vancouver Symphony for four years and music director of the Regina Symphony for five years. Next, he debuts with the Stuttgart Radio Orchestra and conducts A Midsummer Night's Dream for the Opera House at Braunschweig.
Renata Scotto, production supervisor, a native of Savona, Italy, made her NYCO directing debut last season with La traviata. International singer, recitalist, recording artist, and master class teacher, she began directing in 1986 with a production of Madama Butterfly at the Metropolitan Opera. She also staged Madama Butterfly at the Arena di Verona and Florida Grand Opera. She has also directed Bellini's Ilpirata at the Festival Belliniano in Catania, Italy, and La sonnambula. With an operatic repertoire of over 100 roles, she has performed with major opera houses throughout the world including La Scala, the Metropolitan Opera, London's Covent Garden, Moscow's Bolshoi, Vienna State Opera, and Paris Opera. She has frequently appeared on "Live From the Met," and was also seen in the tide role of La Gioconda on the live telecast from San Francisco Opera, winning an Emmy Award for her portrayal, and was die subject of the PBS documentary "Renata Scotto--Prima Donna." Recent engagements for the author of More Than a Diva include performances of Marschallin in Der Rosenkavaliervnth
Charleston Festival, Spoleto USA, Deutsche Oper Berlin, Berlin Staatsoper, and Oper der Stadt, Bonn; Kundry in Parsifal at Germany's Schwerin Festival; and Dallapiccola's Prigionero at the RAI Turin. Her future engagements include La voix humaine in Barcelona and Amsterdam, and Marschallin in Austria with Graz Opera. The "Live From Lincoln Center" telecast of NYCO's La traxnata last season was awarded an Emmy in the category of Outstanding Cultural Program.
Paul L. King, director, joined New York City Opera in 1991. The Colorado native has staged the revivals of Turandot in 1992, 1993, and again this past fall, and assisted numerous other productions such as La boheme, 110 in the Shade, Die Soldaten and The Merry Widow. As director of the Young Artist Program at Glimmerglass Opera, he has staged Milhaud's Trois Opera Minutes and Gustav Hoist's Savitri, and also directed L'Enfant et les sortileges for the Pacific Symphony. He was the festival manager for Central City Opera in Colorado and has worked for The Los Angeles Music Center Opera, Opera Pacific, and San Diego Opera, among others. Currently, he is the resident stage director for NYCO's education pro?gram, and has directed the 1995 elementary school production of The Magic Flute, and will direct next season's La cenerentola.
Peter Dean Beck, set designer, has designed scenery andor lighting for over 150 productions around the country. Among his opera credits are Andrea Chenier, Don Giovanni, Turandot, La traxnata, The Bartered Bride, The Marriage of Figaro, II trova-tore, Romeo et Juliette, The Barber of Seville, Falstaff the American premiere of Aroldo in Sarasota, La cenerentola, and Madama Butterfly for, among others, Florida Grand Opera, NYCO National Company, Virginia Opera, Pennsylvania Opera Theatre, Opera Carolina, Skylight Opera Theater, Baltimore Opera, Glimmerglass Opera for 11 seasons, and Hawaii Opera Theatre, for which he is
currently principal designer. His other musical theater credits include West Side Story, Candide, and Sweeney Todd. He has also designed The Learned Ladies for Blossom Center Theater, and Firebird, Petrushka, and Swan Lake for Eugene Ballet.
Joseph A. Citarella, costume designer, has been New York City Opera's director of wardrobe since 1980. He made his Company debut in 1992 with costumes for Regina, and most recently created the cos?tumes for Hugo Weisgall's Esther. In addi?tion, he has designed costumes for the NYCO National Company tours of Carmen, La boheme, The Marriage of Figaro, Tosca, last season's II barbiere di Siviglia, and the current 1996 tour of La traviata. He has also designed costumes for Ashley Putnam and Sherill Milnes in Hamlet and Lombardi. Outside City Opera, he created costumes for many regional companies and festivals, and has taught costume design at the Fashion Institute of Technology in New York City for over six years.
Jeff Davis, resident lighting designer, designed last season's Harvey Milk, Wonderful Town, Prince Igor, and La traviata for the stage at NYCO and "Live From Lincoln Center." Previous New York City Opera cred?its include Cavalleria rusticana and Pagliacci, 110 in the Shade, Regina, Madama Butterfly, Esther, Oriffelkin, and Marilyn. This season he will be represented by Mathis der Maler, La boheme, Kinkakuji, The Dreyfus Affair, Cinderella, Turandot, and Carmen. His Broadway credits include revivals of Born Yesterday, I Never Sang for My Father, The Man Who Came To Dinner, and Albee's The Man Who Had Three Arms. For television, he has designed Brian Boitano's "Canvas of Ice," and "Skates of Gold" for ABC; "Ice Wars" for CBS; "Live From Lincoln Center" and "Great Performances" for PBS, as well as various soap operas.
New York City Opera National Company Orchestra
Kathleen Comalli Dillon,
Acting Concertmaster Dale Chao, Asst. Concertmaster Marya Columbia,
Principal Second Peter Borten G. Erik Chapman Elizabeth Kaderabek Margaret Magill Nina Saito
David Feltner Carol Benner David Lennon
Anik Oulianine Daniel Mclntosh Peter Howard
Martha Cox
Peter Ader Linda Ganus
Lisa Kozenko
Chris Inguanti Jacob DeVries
Stephen Wisner
French Horns
John Aubrey Michael Manley
John Sheppard John Trujillo
Bass Trombone
Jay Evans
James Thoma
New York City Opera National Company
Administrative Staff
MarkJ. Weinstein Executive Director
Donald Hassard Managing Director for Artistic Administration
Joseph Colaneri Music Director
Derrick Inouye Music Director Designate
Keith J. Viagas Artistic Administrator
David Beahm Company Manager
John Knudsen Technical Director
Bettina Altman-Abrams Publicity Coordinator
Caren France
Assistant Company Manager
New York City Opera National Company Production Staff
Stage Managers
Michele McCoy, Denise Winter
Assistant Conductor Mara Waldman
Head Carpenter Jim McWilliams
Head Electrician Andrew Sather
Head of Properties Emiliano Pares
Wardrobe Supervisor Trevor Richards
WigMakeup Supervisor Riva Pizhadze
Assistant Carpenter Gavin Holmes
Assistant Electrician Keith Harris
Support for the National Company's activities is provided by the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Reader's Digest Association; Metropolitan Life Foundation; the GTE Foundation; the Hoechst Celanese Corporation; The Marie and Victoria Marcheso Trust; and the National Endowment for the Arts.
Scenery built by Center Line Studios, Inc. Lighting equipment supplied by Bash Stage Lighting. Poster design created and donated by Arden von Haeger. Rehearsal facilities provided by Aaron Davis Hall, New York.
Vox Feminae
Canticles of Ecstasy
Music of Hildegard von Bingen (1098-
Sunday Evening, February 25, 1996 at j:oo
St. Francis ofAssisi Catholic Church Ann Arbor, Michigan
Hildegard von Bingen
O magne Pater (Antiphon)
Songs to Maria Virgo
Cum erubuerint (Antiphon) O frondens virga (Antiphon) Ave GENEROSA (Hymn) O quam preciosa (Response)
Instrumental piece
Aquitaine, 12th century
Marian polyphonic versus
Song of Sybil
lux refulget
mundo salua hodie
Instrumental piece
Cantu miro summa laude (Sequence)
von Bingen
Songs to St. Ursula and St. Rupert
O rubor sanguinis (Antiphon)
O Ecclesia, oculi tui saphiro sunt (free Sequence)
Instrumental piece
Quia felix pueritia (Antiphon) O Pastor animarum (Antiphon) O felix apparitio (Antiphon) O beatissime Ruperte (Antiphon)
Instrumental piece
Aquitaine, 12th c.
Marian polyphonic versus
Virga Jesse
Instrumental piece
jubilemus, exultemus Resonemus hoc natali
Forty-first concert of the 117th season
Divine Expressions Series
Special thanks to James M. Borders, Associate Professor of Musicology, University of Michigan, speaker for this evening's Philips Educational Presentation.
North American representatives for Sequential Aaron Concert Management, Inc., Boston, Masssachusetts
Large print programs are available upon request from an usher.
Hildegard von Bingen
Born 1098 in Bermersheim, not far from Mainz, Germany
Died September iy, 1179
Hildegard von Bingen was the wonder of the twelfth century, active as a philosopher, visionary, abbess, author, physician, scientist, and, above all, as a composer of an opus of sacred music. While in her early 50's in 1152, she saw her fondest dream realized after years of struggle and sacrifice: the recently completed church which was to serve her newly found?ed community was dedicated with great ceremony on the former site of a monastery in honor of the Carolingian saint and hermit St. Rupert. She dedicated this church not only to the patron saint of the mountain upon which she settled, but also to Maria. On the occasion of the dedication of Hildegard's church we know that the consecratio virginum, the office for the consecration of virgins into religious life, was carried out as well. This office is like a wed?ding ceremony for the individual who has chosen to marry a spiritual bridegroom rather than an earthly one, and is couched in the naturally erotic language of the Song of Songs. It is in this imaginal context we present a program of her music, interspersed with some of the most radical contemporary music of the twelfth century: the polyphonic versus oAquitaine.
O magne Pater
O magne Pater, in magna necessitate sumus. Nunc igitur obsecramus,
obsecramus te per Verbum tuum, per quod nos constituisti plenos
quibus indigemus.
Nunc placeat tibi, Pater, quia te decet, ut aspicias in nos per adiutorium tuum,
ut non deficiamus,
et ne nomen tuum in nobis odscuretur, et per ipsum nomen tuum
dignare nos adiuvare.
A great father, in great need we are! We beg of you now, therefore,
beg you by your Word, by which we have been formed full of those things which we now ask of you, that is. Now please you, o Father, as befits you, that you regard us with your assistance,
and not fail us,
such that your Word be obscured in us, and that through your name you
deign to help us.
Songs to Maria Virgo
Hildegard von Bingen
The figure of Maria was to be the principal inspiration to poets and musicians throughout the many centuries we now call "medieval", but nowhere else do we encounter her in the depth and breadth with which Hildegard has created her sacred character. Among the com?positions dedicated to her we see her in myriad manifestations: exultant, intimate, universal, humble, above all else as the quintessential feminine.
(Heather Knutson, Nancy Mayer)
This piece, composed in Hildegard's C-modus of high energy and praise, proclaims that "now the door has been opened!" This is "the door of the mysteries" of Isaiah 60:1 o. The door between the Old and New Testaments Hildegard flings open and reveals Maria as the answer to the longings of the prophets.
Nunc aperuit nobis
clausa porta
quod serpens in muliere suffocavit,
unde lucet in aurora
flos de Virgine Maria.
Now a door has opened which long was shut
showing us what it was that
the serpent choked in the woman;
and so there shines brightly in the dawn
the flower of the Virgin Mary.
Cum erubuerint
(Pamela Dellal)
Its mode at the outset embodies the shame and exile of the human condition as it slides around from dissonance to dissonance upon words like casu (fall) and malidoso (evil).The melody effects a conversion of this human sorrow into the blessedness which is Maria's at clara vox (clear voice) -the sound of the celestial woman's call from on high.
Cum erubuerint infelices in progenie sua, procedentes in peregrinatione casus, tune tu clamas clara voce, hoc modo homines elevans de isto malicioso
As the unhappy ones blushed because of
their offspring, who walked
in the exile of the fall,
then you cry out with a clear voice,
in this way lifting humanity
from its evil
(Suzanne Ehly)
The world of nature is evoked initially -Maria is a "branch" (virgo) and is likened to the "dawn" (aurora.) The singer is moved to ask Maria to "reach out" to us (porrige) and "raise us up." (erigendum nos).
O frondens virga, in tua nobilitate stans sicut aurora procedit: nunc gaude et letare et nos debiles dignare a mala consuetudine liberare atque manum tuam porrige ad erigendum nos.
O leafy branch, in your nobility standing as the dawn break forth: now rejoice and be glad and deign to set us weak, free from ill habits and reach forth your hand to lift us up.
(Nancy Mayer)
This justifiably famous piece is written in sublime simplicity. Its text brings the sights and sounds of the hieros gamos, or spiritual marriage, with it: the bride is a white lily, most beautiful, most sweet, an intact girl. Her bridegroom is the supernal spirit which enters and infuses her. She is pleasing to him. Her womb contains all the heavenly symphonies, and is the seat of joy. As in Nature, this womb drops dew and reddens like the dawn.
Ave generosa, gloriosa et intacta puella. Tu pupilla castitatis, tu materia sanctitatis, que Deo placuit.
Nam hec superna infusio in te fuit,
quod supernum Verbum in te carnem induit.
Tu candidum liliuni
quod Deus ante omnem creaturam
O pulcherrima et dulcissima,
quam valde Deus in te delectabatur,
cum amplexionem caloris sui
in te posuit,
ita quod Filius eius
de te lactatus est.
Venter enim tuus gaudium habuit
cum omnis celestis symphonia de te sonuit,
quia virgo Filium Dei portasti,
ubi castitas tua in Deo claruit.
Viscera tua gaudium habuerunt sicut gramen super quod ros cadit cum ei viriditatem infundit, ut et in te factum est, O mater omnis gaudii.
Nunc omnis ecclesia in gaudio rutilet
ac in symphonia sonet
propter dulcissimam Virginem
et laudabilem Mariam,
Dei Genitricem.
Hail, great,
glorious, and perfect maid. You are the pupil of chastity, you are the material of sanctity, which was pleasing to God.
For this supernal flood was within you, that the supernal Word put on flesh in You.
You are the shining white lily on which God gazed before all creation.
O most beautiful and most tender,
how greatly God delight in you
when he set
the embrace of his warmth in you
so that his Son
took suck from you.
For your womb held joy
when all celestial harmony resounded from you,
for, virgin, you bore the Son of God
when your chastity grew radiant in God.
Your belly held joy like the grass on which the dew falls when it floods it with green, even as it was made within you,
O mother of all joy.
Now let all Ecclesia redden with joy
and resound in harmony
for the sake of the most tender Virgin
and praiseworthy Mary, the progenetrix of God.
(Janet Youngdahl)
This piece remains in divine simplicity and can be seen as a trope, or poetic commentary, upon the Bride, it is one of the most naturally erotic pieces Hildegard has written. In lan?guage most direct she has the divine-human womb pictured as "warmed" by spirit; the flower which is growing within her after fertilization is both her son and spouse; He, "a tender shoot" emerges "through her secret passage" in order to open Paradise for the world.
O quam preciosa est virginitas
virginis huius
que clausam portam habet,
et cuius viscera
sancta divinitas calore suo
ita quod flos in ea crevit.
Et Filius Dei per secreta ipsius quasi aurora exivit.
Unde dulce germen, quod Filius ipsius est, per clausuram ventris eius, paradisum aperuit.
Et Filius Dei per secreta ipsius quasi aurora exivit.
O how precious is the virginity
of this virgin
who has a closed portal
and whose womb
blessed divinity suffused
with his warmth,
so that in her a flower grew.
And the Son of God through her secret passage came forth like the dawn.
Hence the tender bud,
which is her Son,
through the enclosure of her womb
opened paradise.
And the Son of God through her secret passage came forth like the dawn.
Polyphonic versus of the Nativity
Aquitaine, 12th century
Song of Sibyl
(Barbara Thornton)
The text of this piece, which was immensely popular in southern Europe in the High Middle Ages, comes from Saint Augustine. It renders the words of the Cumaen sibyl who is to have uttered them in trance in a pre-Christian era. In it the dissolution of the world as we know it is graphically described in order to prepare the soul for a spiritual age ruled over by "the king," generally thought to be the Christ. In several locations in southern France and north?ern Spain this piece was part of the dramatizations which took place at Christmastime. This version is the oldest of ca. 20 manuscript versions.
Iudicii signum tellus sudore madeseet.
E caelo rex adveniet per saecula futurus, Scilicet ut carnem praesens, ut ludicet orbem. Unde Deum cement incredulus atque fidelis Celsum cum sanctis aevi iam termino in ipso. Sic animae cum carne aderunt, quas iudical ipse, Cum iacet incultus densis in vepribus orbis. Reicient simulacra viri, cunctam quoque gazam, Exuret terras ignis pontumque polumque Inquirens, taetri portas effringet Averni. Sanctorum sed enim cunctae lux libera carni Tradetur, sontes aeterna flamma cremabit. Occultos actus retegens tune quisque loquetur Secreta, atque Deus reserabit pectora luci. Tune erit et luctus, stridebunt dentibus omnes. Eripitur solis iubar et chorus interit astris. Yolvetur caelum, lunaris splendor obibit; Deiciet colles, valles extollet ab imo. Non erit in rebus hominum sublime vel altum. Iain aequantur campis montes et caerula ponti Omnia cessabunt, tellus confracta peribit: Sic pariter fontes torrentur fluminaque igni. Sed tuba turn sonitum tristem demittet ab alto Orbe, gemens facinus miserum variosque labores, Tartareumque chaos monstrabit terra dehiscens. Et coram hie Domino reges sistentur ad unum. Reccidet e caelo ignisque et sulphuris amnis.
In sign of judgment shall the earth with sweat be
Eternally to reign a king from heaven shall come,
Sit here, to wit, to judge all flesh, to judge the world.
Our God shall unbelievers and believers see
Uplifted with the saints, as ends the present age.
So souls embodied shall before his judgment stand;
Chaotic now, unfilled the world in thickets dense
Rejected images and all men's gauds shall be,
Each land and all the sea and sky with fire shall blaze,
In searching to destroy the gates of loathsome inferno. 3 g
Salvation's light shall set saints' bodies free,
Though wicked souls shall burn in everlasting flame.
Obscurest acts revealing, each shall his secrets tell.
Soon too shall God unlock men's bosoms to the light.
Then shall great mourning be, then all shall gnash
their teeth.
Extinguished is the blazing sun, the rhythm of the
planets stilled.
Skies shall roll away, the radiance of the moon shall
Uplands shall he lay low, and valleys raise aloft.
Upheaval leaves to men no eminence or height.
In one flat plain the mountains lie, and all the seas
Of azure now shall cease; earth too shall vanish,
So shall all springs by fire, all streams alike be
Still shall a trumpet then with mournful blast resound
On high, bewailing wretched deeds and varied toils.
The vast abyss of Tartaros appears, as earth yawns wide.
Each monarch there shall stand before God.
Rivers of fire and brimstone from the sky shall rain.
The following pieces are among the earliest notated polyphonies of western tradition. They were created in approximately the same locations and times as the works of the Occitan trou?badours. Perhaps within the context of these flourishing sacred traditions the revolutionary secular traditions had their roots. Clearly a highly expressive, virtuosic singing style was prac?ticed within the extensive system of monasteries (with Limoges at the center) based on syllab?ic, "rhythmic" versification and melismatic, improvisatory flights of imagination. In this pro?gram we present pieces relevant to the Christmas season, including December 6, St. Nicholas Day.
Lux Refulget
(Ellen Hargis)
Lux refulget de supernis edita Ad est dies a prophetis indita Gaudeat Ecclesia Resonantes inclita preconia Vocis cum harmonia Resonando clara natalicia Emmanuel, Emmanuel cuius nomen claruit Israel
(Ellen HargisNancy Mayer)
Mundo salus gratie reparatur hodie natus est de virgine Deus sine semine. Ergo nostra concio Benedicat Domino.
Refulgent light from on high emerges; This is the day indicated by the prophets!
Rejoice, Ecclesia
Let your voices resound in praise!
Voices together in harmony
clearly resounding at the birth: Emmanuel, Emmanuel whose name enlightens Israel!
The salvation of grace for the world
is being renewed today,
He has been born of a virgin, God,
without seed.
Therefore, may our assembly
bless the Lord.
Cantu miro summa laude
(Heather Knutson, Nancy Mayer)
This is a rare Aquitanian polyphonic sequence from the latest of the manuscripts containing this type music. With high spirits it ingeniously holds to a strict syllable count and the non-developmental progression of a sequence while recounting the highlights of the Nicholas leg?end (as the savior of three daughters from whoredom, of three students who had been chopped up and stored in a pickle barrel by wicked innkeepers, etc.)
Cantu miro summa laude summo viro vir applaude quern confortat
Cuius dextra largitatis intus extra desolatis opem portat
Pietatis hie patronis Gravitatis fugat onus hoc quod gravat
Presens orbis consolator salus morbi et curator Quos vult lavat
Sedat fluctus procelosos naute luctus lacrimosos dum revixit
Patri defert mersum natum quando refert vas auratum quod promisit
Ille parens fit jocundus ter apparens auripondus quern ditavit
Quo tres presto remundari ab infesto lupanari revocavit
Tres consortes liberavit quos occulte trucidavit hospesjudeus
Redit furans quod furatur Deus curans baptizatur hincjudeus
Ergo Christi fili dei per quern iste causa spei ut solmicat
Hac in die plebs festiva tibi piemente viva benedicat
With wonderful singing and with highest praise O (mortal) man, who is sustained by this saint, praise the highest man,
Whose generosity in the city and in the country brought help to the desolate.
Lovingly this patron makes the heaviness flee from that which once was heavy;
37 He is our present consolation on earth,
healer in sickness, and restorer to those he would purify;
He calms the stormy floods and the sailors' sad tears until they are revived;
The father delivered the drunken son when returned was the golden vessel which was promised;
The father was joyful when, enriched (by Nicholas) the gold pounds appeared three times,
whose three (daughters) were thus rewarded and from the infernal brothel called back.
Three companions were liberated (from Death) who were murdered secretly by guilty hosts;
Returned was that which was stolen from that Jew who, fearing God, became baptized.
Thus he is Christ's, the son of God, through whom he, source of hope, shines like the sun.
On this day, happy people, be you lovingly, vigorously blessed.
Songs to St. Ursula and St. Rupert
Hildegard von Bingen
Of all the subjects and personages which inhabit Hildegard's poetic cosmos only the Virgin Mother Maria received the homage of composition more often than the saint and martyr, Ursula of Cologne. St. Ursula was a young woman who was reportedly martyred in that city by barbarian soldiers along with her companions, the 11,000 virgins, (the number eleven seems to have mutated into the traditional number 11,000 through scribal vagaries.) Having lead this enormous host of pious woman on a pilgrimage to Rome where they were enthusias?tically received by the Pope, Ursula and the virgins met a tragic end while stopping in Cologne on their return trip.
Hildegard's identification with this figure was particularly intense: as the leader of a spiritual community for women, as a model of love for the Divine, as bearing up to the vicissitudes of outside opposition and to the responsibilities of inspired leadership, as ajigura for the apoth?eosis of the human soul within the sacred space of Ecclesia, she found in the figure of Ursula a thematic complex around which her fondest poetic fictions could freely pivot.
(Heather Knutson)
The cycle of Ursula songs opens with the searing image of red blood flowing between Heaven and Earth, the most binding of covenants. Through mere hints in her text and a masterfully succinct melody, we feel die horror of deadi transformed into contemplation of it as a tender, eternal flower.
O rubor sanguinis,
quii de excelso illo fluxisti
quod divinitas tetigit:
tu flos es
quem hyems de flatu serpentis
numquam lesit.
O blood-redness,
who flowed from that height
that divinity touched:
you are a flower
that the winter of the serpent's breadi
has never injured.
(Barbara Thornton)
The sublime quality of this masterly poem is captured in Hildegard's D-mode tour deforce set?ting. The opening strophes are drenched in the emotion of "desiring desire" which is Ursula's; as she is put to the test in this desire, so does the music of the piece gain in com?plexity. Above all, Ursula's "contempt of the world" is musically evoked as her strongest virtue
O Ecclesia,
oculi tui similes
saphiro sunt,
et aures tue monti Bethel,
et nasus tuus est
sicut mons mirre et thuris,
et os tuum quasi sonus
aquarum multarum.
In visione vere fidei
Ursula Fillum Dei amavit
et virum cum hoc seculo reliquit
et in solem aspexit
atque pulcherrimum iuvenem
vocavit, dicens:
In multo desiderio
desideravi ad te venire
et in celestibus
nuptiis tecum sedere,
per alienam viam ad te currens
velut nubes que in purissimo aere
currit similis saphiro.
Et postquam Ursula
sic dixerat,
rumor iste
per omnes populos exiit.
Et dixerunt:
innocentia puellaris ignorantie
nescit quid dicit.
Et ceperunt ludere cum ilia in magna symphonia, usque dum ignea sarcina super earn cecidit. Unde omnes cognoscebant quia contemptus mundi est sicut mons Bethel.
Et cognoverunt etiam suavissimum odorem mirre et thuris, quoniam contemptus mundi super omnia ascendit.
0 Ecclesia, your eyes are like sapphire,
and your ears like Mount Bethel,
and your nose is
like a mountain of myrrh and incense,
and your mouth like the sound
of many waters.
In a vision of true faith
Ursula loved the Son of God
and renounced man with this world 3 9
and gazed into the sun
and called to the most beautiful youth,
In great desire
1 have desired to come to you and sit with you at the heavenly wedding feast,
running to you by a strange path like a cloud that runs like sapphire in the purest air.
And after Ursula
had spoken thus,
this saying
spread among all peoples.
they said:
The innocence of girlish ignorance
does not know what it is saying.
And they began to mock her
all together
until the fiery burden
fell upon her.
Afterward they all recognized
that contempt of the world is
like Mount Bethel.
And they also came to aknowledge the sweetest fragrance of myrrh and incense, for contempt of the world ascends over all.
Tune diabolus membra sua invasit, que nobilissimos mores in corporibus istis occiderunt.
Et hoc in alta voce omnia elementa audierunt et ante thronum Dei dixerunt:
4 o Wach!
rubicundus sanguis innocentis agni in desponsatione sua effusus est.
Hoc audiant omnes ceii et in summa symphonia laudent Agnum Dei, quia guttur serpentis antiqui in istis margaritis materie Verbi Dei suffocatum est.
Then the devil
entered the members of those
who slaughtered
the noblest way
in these bodies.
And all the elements heard this, and in a loud voice, and before the throne of God they said:
Wach! (Alas!)
the scarlet blood of an innocent lamb
is poured out
as she marries.
Let all the heavens hear this
and in supreme harmony
praise the Lamb of God,
because the throat of the ancient serpent
is strangled
in these pearls
from the matter of the Word of God.
Songs to St. Rupertus
St. Rupert was active in early Christian times in the Rhineland. Like St. Francis, he renounced his worldly wealth in order to live a stricdy spiritual life. Having died at an early age, his mother, Berthe, who outlived him by many, many years, founded a monastery in his name which flourished until the 9th century. In the 12th century, Hildegard re-occupied this original site on the Rhine and named her newly established abbey St. Rupertsberg. Her Rupert songs are characterized by an immense tenderness, as if Hildegard wanted to empha?size a mother's love for a saint who died young and wholly innocent.
In the lightness of this antiphon one can recognize the quality Hildegard has bestowed upon the virtue of Innocence (Innocentia) in her play The Order of the Virtues.
O Pastor animarum
(Ellen Hargis)
This prayer embodies the natural tenderness tradition has attributed to the figure of the good shepherd.
O pastor animarum
et o prima vox
per quam omnes creati sumus,
mine tibi, tibi placeat,
ut digneris
nos liberare de miseriis
et languoribus nostris.
O shepherd of souls
and O primal voice
through which we all were created,
now may it please you, please you
to deign
to free us from our miseries
and our sorrows.
(Heather KnutsonPamela Dellal)
This E-mode piece hints at the mysteries of sainthood. Hildegard calls it a "life of flame" which allows the spirit of Divine Love to enter the heart, and the very arcane "Fear of the Lord" to be embraced.
O felix apparicio,
cum in amico Dei Ruperto
flamma vite choruscavit,
ita quod caritas Dei
in corde eius fluxit,
timorem Domini amplectens.
Unde etiam agnitio eius
in supernis civibus
O happy appearance
when in the friend of God Rupert
the flame of life flashed
so that the love of God
flowed in his heart,
embracing the fear of the Lord.
And hence the knowledge of him
flowered among the supernal citizens.
(Barbara ThorntonPamela DellalNancy Mayer)
Here perhaps the virgins are invoking Rupert before their consecration, calling upon him to function as something of a companion or guide as they make their final identification with their new church and new life.
O beatissime Ruperte,
qui in flore etatis tue
non produxisti
nee portasti vicia diaboli,
unde naufragum mundum
nunc intercede
pro famulantibus tibi in Deo.
O most blessed Rupert,
you who, in your flowering,
did not produce
nor carry the devil's vices,
hence you abandoned
the shipwrecked world;
now intercede
for those who serve you in God,
Marian Polyphonic versus
Aquitaine, 12th century
Virga Jesse
(Janet YoungdahlPamela Dellal)
Virga Jesse floruit Edens florem canduit Flos nobis condoluit Dum in ligno marcuit
Sol in alvo virginis Expers viri seminis Tulit quod est hominis Servans esse numinis
The rod of Jesse has bloomed
The blossom which has come forth shimmers
The blossom has compassion for us
when it wilts upon the wood (cross)
The son in the mother's body of the Virgin without the coupling with man's seed took upon itself that which is human and served the divine.
Divinum Stillant
(Pamela DellaiEllen Hargis)
Divinum stillant de super celi rorem ab alto nubes depluunt conditorem fecunda terra germine profert florem protulit virgo filium preter morem
Fit nostrum luctus gaudium Amarum mel absinthium dat nox obscura radium
Suscepti came deitas nam sublata majestatem humilitas non elata virtutem fert infirmitas roborata mortis formam eternitas morte strata
(Heather Knutson)
Jubilemus, exultemus, intonemus canticum Redemptori plasmatori salvatori omnium
Hoc natali salutari omnes nostra turmula Deus laudet sibi plaudet per eterna secula
Qui hodie de Marie utero progrediens Homo verus Rex atque herus in terris apparuit
lam beatam ergo natum cum ingenti gaudium Con laudantes exultantes benedicamus Domino
The Heavens drop down divine dew; from above the clouds of the creator send rain down; The fertile earth brings forth in seed its blossoms the Virgin bears her son beyond the laws of Nature;
Let our sorrow be turned to joy
The bitter absinthe transformed into honey
the dark night give way to bright shining.
The flesh takes on divinity;
the raising of the low does not become haughty
in its majesty;
Power shores up weakness,
Eternity vanquishes in Death the form of Death
(e.g. human mortality)
Let us jubilantly rejoice and sing a song to the redeemer, the Creator, the Savior of the World.
In honoring the man who is our redeemer, our assembly honors God, -We praise him in eternity,
the true man who was born on this day from Mary's womb, true man, and reigning King he appeared on earth.
Let us therefore now bless this birth with great joy, while exalting in praise we bless the Lord!
Resonemus hoc natai i
Resonemus hoc natali quantu quodam
Deus ortu temporali desecreto virginali
Processit hodie cessant argumenta perfidie
Magnum quidem sacramentum mundi
factor fit sic mentum
Sumens carnis indumentum ut conferat adi-
Humano generi cetus inde mirantur
Post merorum redit risus aperitur paradisus
Est in terns Deus visus lapis manus non
Quern vidit Daniel quern venturum praedix-
it Gabriel
Hie est noster angularis spes justorum
Hie est noster salutaris potens celi terre
Facture condolens quam premebat tyrannus
Let us sing upon this birth-feast day which is
so unique!
God was born according to the nature of
from the closed sanctum of virginity he
came forth -
Before such a sign of power all who would
lead astray into
faithlessness are struck dumb.
For truly the Creator has wrought a holy
The raiments of a human body He donned
in order to aid mankind --
Stunned, let the rebellious see themselves
vanquished thereby!
After times of tears, laughter returns;
Paradise opens,
God reveals himself upon earth
As a stone come down to earth and by no
hand thrown
as seen by Daniel, and announced by
This is the keystone, the hope of the right?eous for salvation,
This is our savior who wields power over Heaven and Earth:
He was compassionate towards his creatures whom the insolent tyrant had enslaved.
(Dan. 2,34)
, he Sequentia women's I ensemble bears the name Voxfeminae, and has proven over the years to be the leading ensem?ble specializing in the varied repertoires of music by and for women in the Middle Ages (nth-i5th centuries). Sequentia's Voxfemi?nae has not only gained unprecedented international acclaim with award-winning performances and recordings of the music of Hildegard von Bingen (on the Deutsche Harmonia Mundi label), but also for those of other sacred and secular women's works, such as the music of the Abbey Las Huelgas in northern Spain (awarded the German CD Critics' award in 1995), the earliest poly?phonies of Aquitaine, the late-medieval Geman vernacular devotional songbooks (Liederbuch Anna von Koln, etc.), the chansons defemmes of trouveres, and cansos of female troubadours.
Groundbreaking were the initial Hildegard von Bingen recordings, Ordo Virtutum (1982) and Symphoniae (1983), which are among the best-selling early music records of all time, the latter winning the Netherlands' prestigious Edison Prize in 1987. The first two discs of the present Sequentia complete works project with Deutsche Harmonia Mundi, Canticles of Ecstasy and Voice of the Blood, have broken all early music sales records and reached the number one position of the classical charts in France and Australia, while remaining in the top five in almost all European countries and North America. Canticles of Ecstasy has sold over 150,000 copies worldwide.
"Each interpretation (of each piece) speaks for the purity and devotion of this ensemble for whom on the believable communication of musical content, of the understanding of this past epoch, and of the spiritualities, also imminent in our time, are
important. Shimmeringly the solo and ensemble vocal works blossom forth, additionally colorful instrumental compositions provide the supporting pillars. These interpretations reach such a high level of concentration that the musical-theological excursions of the "FUiineland Sibyl" (Hildegard), which could seem so far away and strange to us today, remain intensely riveting until the very last tone has ceased to sound. " Fono Forltam (Munich) December 1995
Founded in 1977, Sequentia has grown to become the internationally-acclaimed leader in its field -an ensemble that combines vocal and instrumental virtu?osity with innovative research and programming to reconstruct the living musical traditions of medieval Europe. Under the direction of its founders, Benjamin Bagby and Barbara Thornton, Sequentia celebrates its 18th year as a multi-faceted ensemble whose size and composition vary with the demands of the repertoire being performed. Sequentia is based in Cologne, Germany.
Through international tours and more than a dozen recordings with Deutsche Harmonia Mundi (available worldwide through BMG Classics) and major European radio networks, as well as films for television and independent film-makers, Sequentia brings to life long-forgotten repertoires from the 10th to 14th centuries.
Sequentia performs extensively in Europe and North America, and since 1979 has undertaken numerous far-reaching tours under the auspices of the Goethe Institute, performing in South America, India and the Middle East, Japan, Korea and North Africa. During the past several years, the ensemble has become active in the Eastern European and Balkan countries as well, and a long-
awaited Australian debut is scheduled for 1997. In North America, Sequentia con?ducts an acclaimed two-week advanced level course annually as part of the Vancouver Early Music Programme & Festival.
Sequentia has received prizes for sever?al recordings, including the International CD Prize Frankfurt, the Netherlands' Edison Prize, and the Innsbruck Radio Prize, and has been awarded research grants for perfor?mance projects from the Siemens Foundation 4 and the Volkswagen Foundation. In addition to their performing and recording activities, the members of the ensemble also teach medieval performance practice at special intensive courses held each year in Europe and North America.
After receiving the 1993 Deutsche Schallplattenpreis for their 3-CD series of medieval Spanish music, Vox Iberica, Sequentia entered into a long-term relation?ship with BMG Classics Deutsche Harmonia Mundi. This has resulted in a project to record the complete works of the German mystic and abbess, Hildegard von Bingen (1098-1179); the third CD in this series, Canticles of Ecstasy, has already sold over 150,000 copies worldwide. Sequentia's most recent releases include Dante and the Troubadours, and the fourth Hildegard von Bingen CD, Voice of the Blood (songs for St. Ursula and Ecclesia). Early in 1996 the next CD will appear featuring the Sequentia men's vocal ensemble, Sons of Thunder, performing stories from the Bible. The Sons of Thunder will continue to record and perform liturgical polyphonic and monophonic song, especially sequences, and will increasingly turn their attention to Gregorian Chant.
Barbara Thornton studied voice in New York City and Amsterdam, followed by training in Zurich and Italy. Her special interests took her to Basel, where she received an advanced diploma in the performance prac?tice of medieval music from the Schola Cantorum Basiliensis in 1977. Since 1974, she has worked together with Benjamin Bagby. In addition to her performing and teaching activities, Ms. Thornton is the author of several articles on the music of the German abbess and mystic, Hildegard von Bingen (1098-1179), published as part of a long-term project which began in 1981 with the staging, recording and filming of the music-drama Ordo Virtutum. The culmina?tion of this project will be a series of CD's containing Hildegard's complete works, scheduled for completion in 1998.
Elizabeth Gaver holds advanced music degrees from Stanford University (California) and thejuilliard School (New York). She continued her postgraduate musical work at the Early Music Institute of Indiana University, where she was active as a performer in both mediaeval and baroque repertoires. Ms. Gaver has performed with many leading early music ensembles in North America and Europe, including the Waverly Consort, Concert Royal, Citimusick, Ensemble Seicento, the Santa Cruz Baroque Festival and the Mostly Mozart Festival. She has also played with ensembles specializing in the traditional music of Bulgaria, Macedonia and Iran, and is currently involved in an in-depth study of ancient Norwegian fiddle traditions.
Pamela Delia! has appeared as soloist with some of the nation's leading Baroque ensembles, including Aston Magna, Boston Baroque, the Boston Early Music Festival, and the Dallas Bach Society. In 1994 she made her Lincoln Center debut, under con?ductor William Christie, singing Messiah with
the Handel and Haydn Society. She has also performed with the National Chamber Orchestra, the Baltimore Choral Arts Society, and the Jacksonville Symphony Orchestra. As a member of Sequentia's women's ensemble Vox Feminae, Ms. Dellal has made numerous recordings of the music of Hildegard von Bingen, and has toured the U.S. and Europe. She is a founding member of Favella Lyrica, a Boston-based trio, and a regular soloist in the renowned Bach Cantata series presented by Emmanuel Music. Ms. Dellal has recorded for Arabesque Records, Deutsche Harmonia Mundi, and KOCH International.
Suzanne Ehly performs as recitalist, soloist and chamber musician in a reper?toire that spans from the Medieval to die contemporary and across many national styles. Known for her work in 19th and 20th century Russian and Armenian repertoires, she has performed extensively in recitals throughout the eastern United States as well as Armenia, Russia and Brazil. She has pre?miered die works of many Boston-area com-
posers, appearing with such ensembles as Composers in Red Sneakers, Tricinium Productions, Underground Composers and the Longy Contemporary Ensemble. Equally committed to the performance of early music, Ms. Ehly performs Baroque through early Romantic repertoires with the period instrument ensemble Musicians of the Old Post Road, and performs this sea?son as a soloist with the Boston Camerata. Ms. Ehly holds the Artist Diploma in Voice from the Longy School of Music and has studied with Jan DeGaetani, Nina Hinson and Kristin Linklater.
Ellen Hargis enjoys a busy international career as a specialist in early vocal music. She is a member of The King's Noyse and the Cambridge Bach Ensemble, and is a fre?quent guest artist for concerts and record?ings with many ensembles, including The Harp Consort, Fretwork, The Kronos Quartet and Theatre of Voices, The Newberry Consort, The Pordand Baroque Orchestra, The Seattle Baroque Orchestra, and The Freiburger Baroque Orchestra.
Ms. Hargis has appeared in concerts throughout Europe, Canada, and die US, and in many festivals, including the Utrecht Festival in Holland, the Boston Early Music Festival, and The New Music America Festival. Ms. Hargis teaches for the New England Conservatory Extension Division, and is on the faculty of several summer courses in early music, including the Vancouver Early Music Program. She has recorded for Harmonia Mundi USA, AuvidisAstree, Berlin Classics, Virgin Classics, and Erato records.
Heather Knutson holds degrees with honors from the Longy School of Music, Cambridge, MA, and the Royal Conservatory, The Hague, The Netherlands. She has an active performing career both in the US and abroad and has appeared at music festi?vals in the US, Canada, Holland, France, Germany, and Mexico and has performed with such diverse groups as the Boston Camerata, the Boston Cecilia, Clemencic Consort (Vienna), Studio de Musique Ancienne de Montreal, Compania Musical de las Americas, and La Fontegara (Mexico). Since 1991, she has been a mem?ber of Vox Feminae, touring and recording regularly. Ms. Knutson currently teaches students at Brown and Harvard universities and has recorded for Erato, French Harmonia Mundi, and German Harmonia Mundi.
Nancy Mayer called by the Boston Globe "a first-class early music singer," cur?rently lives and works in the Netherlands. While living in the U.S. she appeared as a soloist with such groups as The King's Noyse, The Rochester Bach Festival, Emmanuel Music (Boston), Cantata Singers (Boston) and the Youngstown Symphony Orchestra. She also sang regularly with the Handel & Haydn Society, Boston Baroque and the Meliora Ensemble. Ms. Mayer is an active recitalist and performs often with small ensembles specializing in 17th century
music. A native of Michigan, she studied at the Oberlin Conservatory and with Jan DeGaetani at the Eastman School of Music. Ms. Mayer has been a part of Sequential women's ensemble since 1994, participating in numerous tours and recordings.
Janet Youngdahl has performed with Sequentia since 1992. In the last year, she has appeared with Christopher Hogwood in Dido and Aeneas, in Bach and Telemann can?tatas with Apollo's Fire Baroque Orchestra, as a soloist with the Village Bach Festival, and in recitals at the Cleveland Museum of Art. With the Baroque ensemble Cecilia's Circle she has appeared in concerts throughout the Midwest. In the spring of 1996, she will appear in Monteverdi's Orfeo and will tour with the American Baha'i Choir. Currently living in Cleveland, Ms. Youngdahl is a native of Michigan and was educated at the College of Wooster, The University of Michigan and Case Western Reserve University, where she teaches voice.
This evening's performance marks the UMS debut of the Sequentia women's vocal and instrumental ensemble.
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 Youdi Program continues to expand, with performances by the Alvin Ailey American Dance Theater for middle and high school students, two opera performances for fourth graders by the New York City Opera National Company, a performance by Wynton Marsalis and the Lincoln Center Jazz Orchestra Octet, in-school workshops with a variety of other artists, as well as discounted tickets to every concert in die 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 Traviata. These performances allow children to experience
opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
On January 31, 1996, Wynton Marsalis and the Lincoln Center Jazz Orchestra 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 313.764.6179.
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 Dinnerat 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 19951996 season include the following fine stores and restaurants: Amadeus Cafe Cafe Marie Gandy 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 313.763.3100.
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 l complimentary ticket.
io or more Senior Citizens earn a 20 discount, and 1 complimentary ticket.
For selected events, earn a 25 discount and 1 complimentary ticket.
Next, sit back and relax. Let the UMS Group Sales Coordinator provide you with complimentary promotional materials for the event, FREE bus park?ing, reserved block seating in the best seats available, and assistance with dining arrangements at a facility that meets your group's culinary criteria.
UMS provides all the ingredients for a success?ful event. All you need to supply are the partici?pants! Put UMS Group Sales to work for you by call?ing 313.763.3100.
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 l, 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 Rogel 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-Lambert Parke-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 John 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. Burstein 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 Gotdieb
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 Elisabeth J. Rees Mr. and Mrs. Raymond Reilly Glenda Renwick Katherine 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 Wetzel 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, & 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 Grade
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. I .inl--Mr. and Mrs. David Larrouy Mr. Richard G. LeFauve and
Mary F. Rabaui-LeFauve Leo A. Legatski
Mr. and Mrs. Fernando S. Leon Dean S. Louis, M.D. Mr. and Mrs. CarlJ. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Peggy and Chuck Maitland Mr. and Mrs. Damon L. Mark Marilyn Mason and William Steinhoff Kenneth and Marina McClatchey John F. McCuen
Kevin McDonagh and Leslie Crofford Charlotte McGcoch 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.
Elizabeth 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 Sichler 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
Foundations Agencies
The Power Foundation Shiffman 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 Appelman
Mr. and Mrs. Arthur J. Ashe
Eric M. and Nancy Aupperle
Erik W. and Linda Lee Austin
Sharon and Charles Babcock
Robert L. Baird
Cyril and Anne Barnes
Gail Davis Barnes
Dr. and Mrs. Mason Barr.Jr.
Dr. and Mrs. Robert Bardett
Astrid B. Beck and David Noel Freedman
Neal Bedford and Gerlinda Melchiori
Harry and Betty Benford
Ruth Ann and Stuart j. Bcrgsiein
Mr. and Mrs. S. E. Berki
Maureen Foley and John Blanklcy
Donald and Roberta Blitz
Roger and Polly Bookwaher
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 Marceline Bright
June and Donald Brown
Morton B. and Raya Brown
Arthur and Alice Burks
Phoebe R. Burt
Roscmarie and Jurg Caduff
Mrs. Theodore Cage
Freddie Caldwcll
H. D. Cameron
Mr. and Mrs. Robert Campbell
Charles and Martha Canncll
Jim and Priscilla Carlson
John and Patricia Carver
Shclh ami AmiImu (:.iiitn
Tsun and Siu Ying Chang
Dr. Kyung and Young Cho
Nancy Cillcy
Janice A. Clark
John and Nancy Clark
Alice S. Cohen
Wayne and Melinda Colquitt
Edward J. and Anne M. Comcau
Cordon and Marjorie Comfort
Sandra S. Connellan
Maria and Cart Constant
Lolagcnc C. Coombs
Gage R. Cooper
Mary K. Cordes
Alan and Bctte Cotzin
CtifTord 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 Deitch
Elena and Nicholas Delbanco
Benning and Elizabeth Dexter
Macdonald and Carolin Dick
Tom Doane and
Patti 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 Faber
Dr. and Mrs. Stefan Fajans Elly and Harvey Falit Dr. and Mrs. John A. Faulkner Inka and David Felbeck Reno and Nancy Fctdkamp Dr. James F. Filgas Sidney and Jean Fine Herschcl and Annette Fink Mrs. BcthJ. Fischer Susan Fisher and John Waidley Linda W. Fitzgerald Ray and Patricia Fitzgerald Stephen and Suzanne Fleming Jennifer and Guillermo Flores Ernest and Margot Fonthcim Mr. and Mrs. George W. Ford James and Anne Ford llene H. Forsyth Phyllis W. Foster Paula L. Bockcnstedt and
David A. Fox
Deborah and Ronald Frecdman David Fugcnschuh and
Karey Leach
Harriet and Daniel Fusfcld Gwyn and Jay Gardner Del and Louise Garrison
Professor and Mrs. David Gates Wood and Rosemary Gcisi Henry and Beverly Gershowilz Elmer G. Gilbert and
Lois M. Vcrbruggc Fred and Joyce Ginsberg IrwinJ. Goldstein and Marty Mayo Dr. Alexander Gotz J. Richard Goulet, M.D. Mrs. William C. Grabb Jerry and Mary K. Gray Dr. John and Rcnee M. Greden 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 Heflcy Kenneth and Jeanne Heininger John 1 . and
Jacqueline Stearns Henkel Herb and Dec Hildcbrandt ClaudcttcJ. Stern and
Michael Hogan John and Maurita Holland Mary Jean and Graham Hovey Drs. Linda Samuelson and
Joel Howell Mrs. V. C. Hubbs David and Dolores Humes Mrs. Hazel Hunschc Robert B. and Virginia A. Ingling Ann K. Irish John and Joan Jackson Mr. and Mrs. Donald E.Jahncke Wallie and Janet Jeffries Mr. and Mrs. James W.Jensen Donald andjanicejohnson Mi s 1 lien ( '.. Johnson Stephen G.Josephson and
Sally C. Fink
Dr. and Mrs. Mark S. Kaminski Professor and Mrs. Wilfred Kaplan Herb kit Anna M. Kauper Mr. and Mrs. Jacob Kcllman Don and Mary Kiel Paul and Leah Kilcny Richard and Pat King Mr. and Mrs. Thomas C. Kinncar Paul Kissncr, M.D. and
Dana Kissncr, M.D. Hermine R. Klingler Philip and Kathryn Klintworth Jo.seph and Marilvnn Kokoszka Dimitri and Suzanne Kosachcff Samuel and Marilyn Krimm Alan and Jean Krisch Mac and Arthur Lanski Mr. and Mrs. Henry M. Lapeza John K. Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann M. Leidy Myron and Bobbie Lcvinc Jacqueline H. Lewis Evic and Allen lichtcr Jody and Leo Lighihammcr Mark lindley
Vi-Cheng 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 Lysira Frederick C. and
PamclaJ. Mackintosh Sadie C. Maggio Steve and Ginger Maggio Virginia Mahlc Alan and Carla Mandcl Melvin and Jean Manis Eddie and Cathy Marcus Gcraldine and Sheldon Market Lee and Greg Marks Kin id.i and William Marlel Sally and Bill Martin Dr. and Mrs.Josip Matovinovic Mary and Chandler Matthews Margaret and Harris McCIamroch Bruce and Mary McCuaig Griff and Pat McDonald Elaine J. McFadden Bill and Ginny McKeachie Margaret McKinley Daniel and Madelyn McMurtric Jerry and Rhona Mcislik Walter and Ruth Meizger Charles and Helen Metzner I'nin and Dcanna 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. Era L. Mueller Hillary Murt and
Bruce A. Friedman Dr. and Mrs. Gunder A. Myran Gcri Chipauh and Fred Neidhardt Sharon and Chuck Newman Mr. and Mrs. Marvin L. Nichuss Virginia and Gordon Nordby Richard S. Nottingham Marylcn and Harold Obcrman Patricia O'Connor Dr. and Mrs. Frederick C. O'Dell 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. Perlman Virginia Zapf Person Frank and Nelly Peirock Lorraine B. Phillips Sharon McKay Pignanclli Barry and Jane Pitt Randall and Mary Piiunan Donald and Evonnc Plantinga Steven and Tina Pollock Cynthia and Roger Postmus Mrs.J. D. Prendergast Larry and Ann Prcuss Charleen Price Richard H. and Mary B. Price
Jerry and Millard Pryor I t.i ill and Stephanie Pyne I Kind J. and
Elizabeth Quackcnbush Hugo and Sharon Quiroz Mrs. Joseph S. Radom Homayoon Rahbari, M.D. Jim and leva Rasmusscn Kathcrinc R. Rccbcl La Vonnc 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 Elva M. Rosenzwcig Dr. Nathaniel H. Rowe Jerome M. and Lee Ann Salle Ina and Terry Sandalow Gcorgiana M. Sanders Dr. and Mrs. Michael G. Sarosi Dr. Albert J. and Jane K. Saycd Mary A. Schicve and
Andy Achcnbaum David and Marcia Schmidt Elizabeth L. Schmitt Dr. and Mrs.
Charles R. Schmitter.Jr. I ).iui I E. and
Monica N. Schteingart
Sii.uinr Sclig
Joseph and Patricia Settimi Mr. Thomas Sheets Ingrid and ClifTord Sheldon Hollis and Martha Showaltcr Dr. Bruce M. Sicgan Scoit and Joan Singer Mrs. Lorctta M. Skewes John W. Smillie, M.D. Alene M. Smith Carl andjari Smith George and Mary Elizabeth Smith Dr. and Mrs. Michael W. Smitli Mr. and Mrs. Robert W. Smitli Susan M. Smith Virginia B. Smith Mr. and Mrs. Edward Sopcak Cynthia J. Sorcnscn Juanita and Joseph Spatlina Mien and Mary Sptvcy Irving M. Stahl and Pamela M. Rider David and Ann Staigcr Mrs. Ralph L. Stcflck Dr. and Mrs. Man Stciss Thorn and Ann Sterling Professor Louis and Glennis Stout Dr. and Mrs. Stan Strasius Aileen and Clinton Strocbcl Charlotte Sundelson Ronald and Ruth Sutton Dr. Jean K. Takeuchi Brian and Lee Talbot Jerry and Susan Tarplcy Eva and Sam Taylor Mary D. Teal
James L. and Ann S. Tclfcr George and Mary Tewksbury Edwin J. Thomas Tom and Judy Thompson
Ted and Marge Thrasher Hugo and Karla Vandersypen Jack and Marilyn van dcr Vcldr Rebecca 'an Dyke Mr. and Mrs.
Douglas Van Houweling Michael L. Van Tassel William C. Vassell Carolyn S. and Jerry S. Voight Mr. and Mrs. Timothy Wadhams Warren Herb Wagner and
Florence S. Wagner Mr. and Mrs. Norman C. Wail Robert D. and liina M. Wallin Dr. and Mrs. Jon M. Wardner Ruth and Chuck Watts Robin and Harvey Wax Willcs and Kathleen Weber Deborah Webster and
George Miller Lawrence A. We is and
Sheila Johnson
R.uml WVisman and Ann Friedman Walter L. Wells Dr. Steven W. Werns Ruth and Gilbert Whitaker B. Joseph and Mary White William and Crislina Wilcox Mr. and Mrs.
R, Jamison Williams Jr. Mrs. Elizabeth Wilson Mr. and Mrs. William Wilson Beth and L W. Winstcn Marion T. Wirick Grant J. Withey, M.D. Charlotte Wolfe Dr. and Mrs. Ira Wollner Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wright Phyllis B. Wright Don and Charlotte Wyche Rytizo Yamamoto Mr. and Mrs. Edwin H. Young R. Roger and Bcttc F. Zauel Mr. and Mrs. Martin Zeile 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, Canncld. Paddock
and Stone Republic Bank Sera Restaurant and Market Urban Jewelers
FoundationsAgencies The Richard and Meryl Place Fund
Tim and Leah Adams
Ronald and Judith Adler
Anastasios Alexiou
Gregg T. Alf
Mr. and Mrs. Cordon E. AJlardycc
James and Catherine Allen
Margaret and Wickham Allen
Augustine and Kathleen Amaru
Mr. and Mrs. David Aminoff
Mr. and Mrs. Charles T. Anderson
Urs. James and
Caihleen Culolta-Andonian Bert and Pat Armstrong Mr. and Mrs. Lawrence E. Arneu Michael Avsharian Charlcne and Eugene Axelrod Jonathan and Marlenc Ayers Joseph C. Bagnasco Richard and Julia Bailey Doris I. Bailo Jean and Gaylord Baker Morris and Beverly Baker Dr. and Mrs. Daniel k Balbach Chris and Lesli Ballard John R. Bareham Norman E. Barnctt Donald C. Barneiic, Jr. Margo Barron Leslie and Anita Ba&sett Dr. and Mrs.Jcre M. Bauer Mr. and Mrs. Steven R. Beckert Robert M. Beckley and
Judy Dincsen
David and Mary Anne Beltzman Ronald and Linda Benson Mr. and Mrs. Ib Benttcn-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 N.iiin and Nishta Bhatia Bharat C. Bhushan Shcryl Hirsch and John Billi Richard and Roswitha Bird William and Ilene Birgc Elizabeth S. Bishop Marshall Blondy and Laurie Burry Mr. and Mrs. H. Harlan Bloomer Beverly J. Bole
Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bound! Dr. and Mrs. David Bostian Richard Brandt and
Karina Nicmeyer Representative Li and
Professor Enoch Bratcr Mr. and Mrs. Patrice Brion William and Sandra Broucck Mrs.Jo5cph Brough Olin L. Browder Mr. and Mrs. Addison Brown Mr. Charles C. Brown
Linda Brown and Joel Goldberg Mr. and Mrs. John M. Brueger Mrs. Webster Brumbaugh Dr. and Mrs. Donald T. Bryant Robert and Carolyn Burack Edward and Mary Cady Mrs. Darrell A. Campbell Jan and Sieve Carpman Jeannette and Robert I. Carr Daniel Carroll and Julie A. C Virgo Mr. and Mrs. Dennis Carroll Mr. George Casey Dr. and Mrs. James T. Cassidy Kathran M. Chan Mr. and Mrs.
Nicholas G. Chapekis, Sr. Mr. James S. Chen Robert and Eileen Choatc Pat Clapper
Brian and Cheryl Clarkson John and Kay Clifford Roger and Mary Coe Mr. and Mrs. Edward and
Catherine Colone Mr. and Mrs. Craig Common Marjoric A. Cramer Mr. and Mrs. Richard Crawford Mr. and Mrs. Win ton L. Crawford KadilcenJ. Crispell and
Thomas S. Porter Margo Crist Lawrence Crochier 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 Daniclson Jane and Gawaine Dart Mr. and Mrs. Arthur W. Davidgc Lauing 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 Didier A. Nelson Dingle Dr. Edward R. Doezema Thomas and Esther Donahue Mr. Thomas Downs Roland and Diane Drayson Mr. and Mrs. Harry Dreffs John Drydcn and Diana Raimi James and Anne Dudcrstadt Dr. and Mrs. Cameron B. Duncan Rosanne and Sandy Duncan Michael R. Dungan Robert and Connie Dunlap Jean and Russell Dunnaback Edmund H. and Mary B. Durfce George C. and Roberta R. Earl Mr. and Mrs. William G. Earlc Jacquclynne S. Eccles Mr. and Mrs. John R. Edman David A. Eklund Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis
Mrs. Genevicve Ely
Mackenzie and Marcia Endo
Bit! and Karen Ensminger
Stephen Ernst and Pamela
Raymond Ernst
Dorothy and Donald F. Eschman
Joel Evilsizcr
Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr.
Mark and Karen Falahec
Dr. and Mrs. Cyrus Farrchi
David and Joanna Featherman
Dr. and Mrs. Irving Feller
Phil and Phyllis Fellin
Carol Finerman
C. Peter and Bcv A. Fischer
Dr. and Mrs. John Fischer
Jon Fischer
Barbara and James Fitzgerald
Dr. and Mrs. Melvin Flamenbaum
Jon Flicgel
Wayne and Lynnctte Forde
Doris E. Foss
Lucia and Doug Freeth
Richard andjoann Freethy
Linda and Larry French
Richard and Joanna Friedman
Gail Frames
LclaJ. Fucsier
Carol Gagliardi and David
Jane Galantowicz
Bernard and Enid Gallcr
Joyce A. Gamm
Mrs. Don Gargaro
Mrs. Shirley H. Garland
Stanley and Priscilla Gam
Drs. Steve Geiringer and
Karen Bantel
Bruce and Anne Genovese Michael Gerstenbcrger W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Gcnnc and Allan Gibbard David and Maureen Ginsberg Albert and Almeda Girod Robert and Barbara Gockel Dr. and Mrs. Howard S. Goldberg Mary L. Golden Ed and Mona Goldman Steve and Nancy,Goldstein Mrs. Eszter Gombosi Elizabeth N. Goodenough and
James G. Leaf Mitch and Barb Goodkin Mr. and Mrs. Jon L. Gordon Mr. Adon A. Gordus VI11i,i and Albert Gorlin Naomi Gottlieb Michael L. Cowing Christopher and Elaine Graham Elizabeth Nccdham Graham Whit and Svea Gray Harry Greenberg and
Anne Brockman Dr. and Mrs. LazarJ. Greenfield Bill and Louise Gregory Linda and Roger Grekin Susan and Mark Griffin Werner H. Grilk Robert M. Grover Mr. Philip Guire Arthur W. Gulick, M.D.
Margaret Gutowski and
Michael Marietta Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Claribcl Halsiead Margo Halstcd
Mr. and Mrs. Herbert R. Harjcs Stephen G. and Mary Anna Harper Antonio Harris Jean Hartcr Elizabeth C. Hassinen James B. and Roberta T. Hausc 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. Herrington, M.D. Elfrida H. Hicbert and
Charles W. Fisher Lorna and Mark Hildebrandt Mi. and Mrs. Jerry Leigh Hill Peter G. Hinman and
Elizabeth A. Young Joanne and Charles Hocking Louise Hodgson Jane and Dick Hocrncr Carol and Dieter Hohnkc 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. Hulce Ann D. Hungerman Mr. and Mrs. Russell L. Hurst Eileen and Saul Hymans Margaret and Eugene Ingram Edgar F. and M. JaniceJacobi Harold and Jean Jacobson Jim and Dale Jerome Tom and Marie Justcr Mary B. and Douglas Kahn Mary Kalmes and Larry Friedman Steven K Kali 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 Kenncy Benjamin Renter Heidi and Josh Kerst William and Betsy Kincaid Howard King and Elizabeth
Sayrc-King Esther Kirshbaum James and Jane Kister Mm .1 and Steve Klein Gerald and Eileen Klos Mr. and Mrs. Edward KJum Jolcne and Gregory Knapp Glenn and Shirley Knudsvig Charles and Linda Koopmann Melvyn and Linda Korobkin Mr. and Mrs. E.J. Kowaleski Jean and Dick Kraft David and Martha Krchbiel
William J. Bucci and Janet Kreiling
Alexander Krczcl
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
Laurie and Bob LaZcbnik
Mrs. Kent W. Leach
Sue Leong
Margaret E. Leslie
Richard LeSueur
Deborah S. Lewis
Nathan and Eleanor Lipson
Rod and Robin LJtUe
Dr. Jackie Uvesay
Peter Lo
Naomi E. Lohr
Diane and Dolph Lohwasscr
Ronald Longhofer
Leslie and Susan Loomans
Mr. and Mrs. Richard S. Lord
Bruce and Pat Loughry
Ross E. Lucke
Lynn Luckcnbach
Robert and Pearson Macek
Susan E. Macias
Charlenc and William MacRitchie
initi I. Man
Geoffrey and Janet Maher
Suzanne and Jay Mahler
Deborah Malamud and Plotkin
Dr. Karl D. Malcolm
Claire and Richard Malvin
Mr. and Mrs. Kazuhiko Manabc
Pearl Manning
Paul and Shari Mansky
Mr. and Mrs. Anthony E. Mansueto
Michael and Pamela Marcovitz
Dr. Howard Market
Marjoric and Robert Marshall
Dr. and Mrs. J. E. Martin
Rebecca Martin
Margaret Massialas
TamoLsu Matsumoto
Marilyn Mazanec Benedict
Margaret E. McCarthy
Ernest and Adelc McCarus
David G. McConnell
Caihryn S. and
Ronald G. McCready Dores M. McCrce Mary and Norman Mclver Robert E. and Nancy A. Mcader Mr. and Mrs. John Mcrrificld Henry D. Mcsser and
Carl A. House Robert and Bctlic 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 Milstcin 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 Muchlig Janet ??'?? iii Eadic and
Barbara Murphy Rosemarie Nagcl Tatsuyoshi Nakamura Dr. andMrs.J.V. Ncel Nancy Nelson Martin Nculicp and
Patricia Pancioli Richard E. Nisbctt and
Susan I. Nisbett Jack and Kerry Kelly-Novick Lois and Michael Okscnberg Robert and Elizabeth Oneal Lillian G. Ostrand Mrs. Barbara H. Outwater Anneke dc Bruyn Overseth nlic and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K Pandit James and Bella Parker Mr. and Mrs. Brian P. Patchcn Eszther T. Pattantyus 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 Robcn and Mary Ann Pierce Dr. and Mrs. James Pikulski Martin A. Podolsky Drs. Edward and Rhoda Powsncr Ernst Pulgram Michael and Helen Radock Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert Rasmusscn Jim and Toni Reese Anthony L. Reffells and
Elaine A. Bennett Dorothy and Stanislav Rehak JoAnnc C. Rcuss David Reynolds John and Nancy Reynolds Alice Rhodes Jesse Richards Elizabeth G. Richart Frances Grcer Rilcy Constance Rinchart Joe and Carolyn Roberson Peler and Shirley Roberts Richard C. Rockwell VVillard and Mary Ann Rodgers Mr. and Mrs. Stephen J. Rogers Yelena and Michael Romm Elizabeth A. Rose Dr. Sus.ii i M. Rose Drs. Stephen Rosenblum and
Rosalyn Sarvcr
Gustave and Jacqueline Rossccis Dr. and
Mrs. Raymond W. Ruddon.Jr.
Kenneth Rule John Paul Rutherford Tom and Dolores Ryan Mitchell and Carole Rycus James and Ellen Saalberg Theodore and Joan Sachs Arnold Sameroff 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 Schnuilt Gerald and Sharon Schrcibcr Albert and Susan Schultz Michelle Schultz, 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 Scdlander John and Carole Segall Louis and Sherry Senunas Richard Shackson Nancy Silver Shalit Dr. and Mrs.J. N. Shanberge David and Elvera Shappirio Dr. and Mrs. Ivan Shcrick Cynthia Shevel Jean and Thomas Shope Mr. and Mrs. Ted Shultz John and Arlene Shy Milton and Gloria Siegel Ken Silk and Peggy Buttenheim Dr. Albert and
Mrs. Halina Silvcrman Frances and Scott Simonds Donald and Susan Sinta Dr. and Mrs. Michael W. Smith Drs. Peter Smith and
Diane Czuk-Smith Judy Z. Somers Katharine B. Soper Dr. Yoram Sorokin Mr. and Mrs. Robert E. Spence Anne L. Spcndlovc James P. Spica Jeff Spindler Curt and Gus Stager Betty and Harold Stark Mr. and Mrs. John C. Stcgeman Virginia and Eric Stein Frank D. Stella John and Beryl Stimson Mr. James L. Stoddard Robert and Shelly Stoler Wolfgang F. Stolpcr Anjanettc 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
Thelma and Richard Tolbcrt
Donna K Tope
Dr. and Mrs. Merlin C. Townley
Angic and Bob Trinka
Sarah Trinkaus
Marilyn Tsao and Steve Gao
Yukiko Tsunoda
William H. and Gcrilyn K. Turner
Taro Ucki
Alvan and Katharine Uhle
Gaylord E. and
Kathryn ". Underwood Madeleine Vallicr Carl and Sue Van Appledorn Rob and Tanja Van der Voo Robert and Barbara Van Ess Marie B. and Theodore R. Vogt Sally Wacker
Delia DiPietro and Jack Wagoner Gregory and Annette Walker Eric and Sherry Warden Mr. and Mrs. Barrett Wayburn Joan M. Weber Jack and Jerry Wcidenbach Donna G. WcUman Barbara Weiss Mrs. Sunfield M. Wells, Jr. David and Rosemary Wesenberg Ken and Cherry Westerman Susan and Peter Westerman M.ii n Marilyn L. Wheaton and Paul Dufly Esther Redmoum and
Harry White Janel F. While
Mr. and Mrs. Nathaniel Whitcsidc Mrs. Clara G. Whiting Douglas u 11 iis Jane Wilkinson Reverend Francis E. Williams John Troy Williams Shelly F. Williams Dr. and Mrs. S. B. Winslow Charles Witke and Aileen Gatten Jeff and Linda Witzburg Noreen Ferris and Mark Wolcott Patricia and Rodger WolfT David and April Wright Dr. and Mrs. Clyde Wu Carl and Mary Ida Yost Shirley Young Ann and Ralph Youngrcn Frederic and Patricia Zcisler Mr. and Mrs. David Zuk David S. and Susan H. Zurvalec and several anonymous donors
Adistra Corporation
Coffee Beancry -Briarwood Mall
Cousins Heritage Inn
Development Strategics I'lus
Garris, Garris, Garris & Garris, P.C.
Great I.akes Cycling 8c Fitness
Jeffrey Michael Powers Beauty Spa
Junior League of Ann Arbor
Michigan Opera Theatre
Patrons, continued
SKK Classical University Microfilms
International Van Boven Inc.
FoundationsAgencies The Shapero 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 Mien Forrest Alter
Jim Anderson and Lisa Walsh Cadicrine M. Andrea Julia Andrews Hiroshi and Matsumi Arai Mary C. Arbour
Thomas J. and Jill B. Archambeau 1 .lu.i! ill i and Nancy Arcinicgas Thomas J. and Mary E. Armstrong Rudolf and Mary Arnheim Margaret S. Athay Mr. and Mrs. Dan E. Atkins III John and Rosemary Austgcn Drs.John and Lillian Back Bill andjoann Baker Laurence A. and Barbara K. Baker Mr. and Mrs. Richard P. Baks Ann Bardcn
David and Monika Barcra Maria Kardas Barna Laurie and Jeffrey Barnctt Joan W. Barth Bevcrlcy M. Baskins Ms. Maria do Carno Bastos Dorothy W. Bauer Thomas and Shcrri L. Baughman Harold F. Baut Mary T. Beckerman Robert B. Beers Dr. and Mrs. Richard Beil Dr. and Mrs. Walter Benenson Merctc and
Erling Blondal Bengtsson Alice K Bensen Dr. Rosemary R. Berardi James K. and Lynda W. Berg T.J.andM. R. Betlcy Ralph and Mary Bcuhlcr Maria T. Beye
John and Marguerite Bianckc Eric and Doris Billes Jack and Anne Birchfield Drs. Ronald C. and
Nancy V. Bishop Bill and Sue Black
Jane M. Bloom
K.ii in L Bodycombc
Dr. and Mrs. Frank Bongiorno
Robert and Shirley Boone
Edward G. and Luciana Borbcly
I l.i [ Borchardt
Paul D. llm man
Rcva and Morris Bornstcin
John D. and M. Leora Bowdcn
Jan and Bob Bower
Sally and Bill Bowers
David G. Bowman and
Sara M. Rimer Dennis and Grace Bowman William F. and
Joyce E. Bracuninger Cy and Luan Briefer John and Amanda Brodkin AmyJ. and Clifford L. Broman Razcllc and George Brooks Mr. and Mrs.
Edward W. Browning Phil Bucksbaum and
Roberta Morris Trudy and Jonathan Bnlklcv Miss Frances Bull Mrs. Sibyl Burling Mrs. Betty M. Bust Dr. and Mrs. Robert S. Butsch Barbara and Albert Cain Louis and Janet Callaway, Jr. Father Roland Calvert Susan and Oliver Cameron Dr. Ruth Cantieny Dennis and Kathleen Cantwell Susan Cares George R. Carignan Carolyn M. Carty and
Thomas H. Hang Jack Cederquist David and Ilene Chait Mary Chambers Bill and Susan Chandler Ida K. Chapin and Joseph Spindcl Belle H. Chen Joan and Mark Cheslcr Edward and Rebecca Chudacoff Ching-wci Chung Joan F. Cipclle Arthur and Alice Cofer Dorothy 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 Rundell Culotta Ms. Carolyn Cummisky Richard J. Cunningham Frank and Lynn Curtin Mr. Joseph Curtin Suzanne Curtis Dr. and Mrs. Harold J. Daitch Ms. Marcia Dalbey Marylec Dalton Joanne Danio Honhart Dean and Mrs. John H. D'Arms
Mildred and William B. Darnion DarLinda and Robert Dascola Ruth E. Datz Jennifer Davidson Morris and May Davidson Nancy Davis
Dean and Cynthia DcGalan Elizabeth Delaney Ms. Margaret H. Demant Michael T. DcPlonty Raymond A. Dettcr Mr. David Digirolamo Linda Dintcnfass Douglas and Ruth Doane Dick and Jane Dorr Ruth P. Dorr
Dr. and Mrs. Charles H. Duncan Elsie Dyke John Ebcnhoeh Dwight and Mary Ellen Ecklcr Ruth Eckstein Ingrid Eidnes
Mr. and Mrs. Charles Eisendrath So] and Judith Elkin Dr. and Mrs. Charles Ellis James H. Ellis andjean A. Lawton Dick and Helen Emmons Mr. and Mrs. H. Michael Endrcs Jim and Sandy Eng Mr. and Mrs. C. E. Evans Paul and Mary Fancher Dr. Cheryl C. Farmer, Mayor of Ypsilanti Peter Farrehi
Damian and Katharine Fancll Dorothy Ghdeman Feldman George J. and Benita Feldman Yi-tsi M. Feuerwerker Ruth Fiegel Clay Fmkbeiner Howard G. Finkel Mrs. Carl H. Fischer Eileen Fisher Winifred Fisher Linda and Tom Fitzgerald Jessica Fogcl and Lawrence Weiner
Daniel K Foley George and Kathryn Foliz Bill and Wanita Forgacs David J. Fraher Mr. and Mrs. Maris Fravel Ms. Julia Freer Mr. and Mrs. Otto W. Freilag Bart and Fran Fruch Bruce and Rebecca Gaffney Arthur Gallagher Edward Gamachc and Robin Baker
C.J. Gardiner
Leonard and Mary Alice Gay Mr. and Mrs. Ralph J. Gerson Beverly Jeanne Giltrow ll.m ' .1111'n
Dr. and Mrs.J. Globerson Peter and Roberta Gluck Dr. Ben Gold Mr. and Mrs. Robert Gold Albert L. Goldberg Dr. and Mrs. Edward Goldberg Edic Goldcnberg Anita and Albert Goldstein Mr. and Mrs. David N. Goldswcig
C. Ellen Gonlcr
M. Sarah Gonzalez
Graham Gooding
Enid M. Gosling
Siri Gottlieb
Larry and Martha Gray
Elizabeth A. H. Green
G. Robinson and Ann Gregory
Sally Grave and Waller Fisher
Mr. and Mrs. James J. Gribble
Mrs. Alice L. Grilloi
Melissa Gross
Cyril Grum and Caihy Strachan
Dr. Carol J. Guardo
Ms. Kay Gugala
Cheryl Gumper
Mr. and Mrs. Lionel Gurcgian
Dcbra Haas
Gary L. Hahn and
Deborah L. Hahn J. M. Hahn Marga S. Hampcl Mr. and Mrs. Carl T. Hanks David and Patricia Hanna Mr. and Mrs. Glenn A. Harder R.J. Harmon Jane A. Harrell Connie Harris Laurclynne Daniels and
George P. Harris Robert Glen Harris Mr. and Mrs. Robert B. Harris Caroll and Beth Hart Jerome P. Hariweg Carol and Steve Harvath Mr. and Mrs. Eugene HcfFelfingcr Dr. John D. Heidke Miriam Heins Jeff and Karen Helmick Gary L. Henderson Leslie and William Hennessey Mr. and Mrs. Ralph Herbert Mr. and Mrs. Albert Hcrmalin Emily F. Hicks Ms. Betty Hicks Jozwick Mark and Debbie Hildcbrandt Aki Hii.u.i
Deborah and Dale Hodson Melvin and Verna Holley Hisato and Yukiko Honda Mr. and Mrs. Harry Hopkins Jack and Davetta Horner Dr. Nancy Houk Jim and Wendy Fisher House Kenneth and Carol Hovey Barbara Hudgins Mr. and Mrs. William Huflbrd Ling Hung Diane Hunter Stephen and Diane Imredy 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 Johnstonc Elizabeth M.Jones Dr. Marilyn S. Jones PhillipS. Jones John and Linda K.Jonides
Chris and Sandyjung
Professor and Mrs. Fritz Kaenzig
William and Ellen Kahn
I inee K Kalliaincn
Thomas and Rosalie Karunas
Bob N. Kashino
Franklin and Judith Kasle
Alex F. and Phyllis A. Kato
Maxine and David Katz
Martin and Helen Katz
Julia and Philip Kearney
Janice Keller
Mr. and Mrs. Charles Kellerman
Mary Kcmmc
I .iv.M in -? Kestcnbaum and
Janice Gutfreund Robert and Lois Keirow Jeanne Kin
Robert and Vicki Kiningham Klair H. Kissel James Klimcr Alexander Klos
Dr. and Mrs. William L. Knapp Dr. Barbel Knaupcr Sharon L. Knight Lester Kobylak Seymour Koenigsbcrg Michael and Paula Koppisch Man A. and Sandra L. Kortesoja Ann Marie Kotre Shcryl E. Krasnow Robert Krasny Ethel and Sidney Krause Doris and Donald Kraushaar Edward and Lois Kraynak Kenneth C. Kreger Syma and Phil Kroll i ...]i me B. Kuczmarski Jane Kulpinski Eli and Lily Ladin Cdc and Martin Landay Patricia M. Lang Walter and Lisa Langlois Guy and Taffy Larcom (Christine Larson Carl and Ann LaRuc Ms. Olya K. Lash RuthJ. Lawrence Sue C. Lawson Judith andjerold Lax Fred and Ethel Lee Stcphane Lcgault 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. Licbcrman Ken and Jane Lieberthal Ying-Chu Lin
Dr. and Mrs. Richard H. Uneback Andi Upson and Jerry Fishman Rebecca and Lawrence Lohr Barbara R. Lott Donna and Paul Lowry Jcannette Luton JohnJ. Lynch, Atty. Dr. and Mrs. Cecil Mackey Gregg and Merilce Magnuson Ronald Majcwski and Mary Wolf Donna and Parkc Malcolm
Allen Malinoff Alice and Bob Marks Erica and Harry Marsdcn Yasuko M.itsi Hli i Debra Mattison Robert and Betsy Maxwell John M. Allen and
Edith A. Maynard Dr. and Mrs. David McCubbrcy Bernard and MaryAnn McCulloch James and Kathleen McGauley Scott McGlynn James M. Beck and
Robert J. McGranaghan Louise E. McKinney Donald and Elizabeth McNair Anthony and Barbara Medciros Dr. and Mrs. Donald A. Meier Samuel and Alice Mcisels Norman and Laura Mcluch Helen F. Meranda Rev. Harold L. Merchant Mr. and Mrs. John F. Mctzlcr Valerie D. Meyer Mr. and Mrs. Herbert M. Meyers Dick and Georgia Mcycrson William M. Mikkelsen Ms. Virginia A. Mikola John Milford Gerald A. Miller Dr. and Mrs. Josef M. Miller Mr. and Mrs. Murray H. Miller Charles and Elizabeth Mitchell Wakaki Miyaji Ruth M. Monahan Kent and Roni Moncur Gail Monds P. Montgomery Ellyne and Arnold Monto Rosalie E. Moore Kitlic Bcrger Morelock Mr. and Mrs. Thomas D. Morrow Bernhard and Donna Mullcr Lora G. Myers Yoshiko Nagamatsu Louis and Julie Nagel Ruth Nagler R. andj. Necdlcman Nikki E. Neustadt Martha K Niland Gene and Pat Nissen Laura Nitzberg Joan and John Nixon Jolanta and Andrzcj Nowak John and Lcxa O'Brien Thomas P. O'Connor Michael and Jan O'Donnell Ncls and Mary Olson Kaoru Onishi Fred Ormand Mr. James J. Osebold Hciju Oak and James Packard George Palty
Mr. and Mrs. Kenneth Pardonnet Michael P. Parin Janet Parkes
Evans and Charlcne Parrott Roger Paul)
Vassiliki and Dimitris Pavlidis Edward J.Pawlak Edwin and Sue Pear Zoc and Joe Pearson Donald and Edith Pelz
Mr. William A. Pcnner.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. Prall
Jerry Preston
Mr. Richard H. Price
John and Nancy Prince
Julian and Evelyn Prince
Ruth S. Putnam
G. Robina Qualc
Douglass and Debbie Query
Leslie and Doug Quint
Susan M. and Farbod Raam
Mr. and Mrs. Alex Raikhel
Mr. and Mrs.
Alfred G. Raphaelson Dr. and Mrs. Mark Raypori Maxwell and Marjorie Rcade Caroline Rehberg Esther M. Reilly Deanna and Pictcr Relyea Mr. and Mrs. Frederick Remlcy.Jr. Ms. Molly Resnik Mr. and Mrs. Neil Rcssler M. Laurel Reynolds Lou and Sheila Rice Lisa Richardson Judy Ripple
William and Kaye Ritunger Lisa E. Rives and Jason 1. Gollens Janet K. Robinson, Ph.D. Ms. Margaret Dearden Robinson Edith and Raymond Rose Bernard and Barbara Rosen Marilynn M. Rosenthal 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 K Schafer Mr. and Mrs. Alan Schall Mr. and Mrs. F. Allan Schenck Dr. and Mrs. DirkJ. Scholicn Thomas H. Schopmeycr Katherine Collier and
Yizhak Schoticn Sue Schrocdcr Ailcen M. Schulze Dorothy Scully Anne Brantlcy Segall Sylvia and Leonard Segcl Richard A. Seid
Elliot A and Barbara M. Serafin Kirtikant and Sudha Shah Matthew Shapiro and Susan Garctz Kathleen A. Sheehy William J.Sherzcr Ms. Joan D. Showaltcr Janet E. Shullz
Ray and Marylin Shustcr
Barry and Karen Sicgel
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.rgen O. Skoppck
Beverly N. Slater
Tad Slawecki
Haldon and Tina Smith
Richard and Jo-Ann Socha
Arthur and Elizabeth Solomon
James A. Somers
K. Thomas and
Elinor M. Sommcrfeld Mina Diver Sonda Barbara Spencer Jim Spevak and Leslie Bruch L. G. Sprankle Bob and Joyce Squires Mary Stadel
Neil and Burnclte Staeblcr Joan and Ralph Stahman David SteinhofT and
Jayc Schlesingcr Robin Stephenson and
Terry Drent Sieve and Gayle Stewart Ms. Lynette Sundt and
Mr. Craig S. Ross Lawrence and Lisa Stock Mr. and Mrs. James Siokoe Judy and Sam Stulberg An am Sundaram Alfred and Selma 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 Teichcr and
Sharon Gambin
Kenneth and Bcnita Teschendorf Brian and Mary Ann Thelen Neal Tolchin Egons and Susanne Tons Jim Toy
Paul and Barbara Trudgen Jeffrey and Lisa Tulin-Silver Mr. and Mrs. Marshall Tymn Nikolas Tzannctakis Mr. Masaki Ucno Greg Upshur Iris Cheng and Daniel In Dr. and Ms. Samuel C. Ursu Arthur andjudith Vandcr ft) .mi and lia van Leer Phyllis Vcgtcr
Kitty Bridges and David Velleman Ingrid Vcrhamme Mrs. Durwcll Vcilcr 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 Nadclman and
Sidney Warschausky Alice and Martin Warshaw Edward C. Wcbcr Michael Webster and
Leone Buysc Steven P. Weikal Gerane Wcinreich David andjacki Weisman Drs. Bernard and Sharon Weiss Lisa and Sieve Weiss Elizabeth A. Wentzicn Mr. Carl Widmann Mr. and Mrs. Peter H. Wilcox Mr. and Mrs. Michael S. Wilhcln James Williams John and Christa Williams Raymond C. Williams Diane M. Willis Richard C. Wilson Robert and Mary Wind James H. and Mary Anne Wintei Mary Winter
Dr. and Mrs. Lawrence D. Wise Don Wismer
1 siln i and Clarence Wisse Joyce Guior Wolf, M.D. Mr. C. Christopher Wolfe and
Ms. i m. l.i Kiddcr Muriel and Dick Wong Barbara H. Wooding Slcwari and Carolyn Work Israel and Fay Woronoff Robert E. Wray, III Ernst Wuckert Patricia Wulp Fran and Ben Wylie Mrs. Anlonette Zadrozny Dr. Stephen C. Zambito Robert and Charlenc K. Zand Bertram and Lynn Zheudin George and Nana Zissis and stvtral anonymous donors
ApplausePerfect Ten
Bally's Vic Tanny
Callinetics by Diane
Courtney and Lovcll
Crown Steel Rail Company
Gallery Von Glahn
Great Harvest Bread Company
Paesano's Restaurant
Pas labilities
Sweet Lorraine's Cafe 8c Bar
Whole Foods Markci
Charles A. Sink Society
Honoring members with cumulative giving totals over $15,000.
Dr. and Mrs. Robert G. Aldrich Herb and Carol Amster Jim Botsford and
Janice Stevens Botsford Carl and Isabcllc 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 Ginglcs Mr. and Mrs. Peter N. Hcydon Mr. and Mrs. Howard S. Holmes Elizabeth E. Kennedy Mr. and Mrs. William C. Martin Judythe and Roger Mugh Charlotte McGeoch Karen Koykka O'Neal and
Joe O'Neal
Mr. and Mrs. William B. Palmer Maxine 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 Thicmc Estelle Titiev Paul and Elizabeth Yhousc
Dahlmann Properties
The Edward Surovcll Co.Rcaltors
First of America Bank
Ford Motor Credit Company
Ford Motor Company
Great Lakes Bankcorp
Jacobson Stores, Inc.
JPEinc.Thc Paideia Foundation
Mainstrect Ventures
McKinley 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 Benard L. Maas Foundation
The Grayling Fund
Lila Wallace-Reader's Digest Fund
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Gigi Andrescn
Chase and Delphi Baromcs
Dean Bodlcy
A. A. (Bud) Bronson
Graham Conger
Pauline M. Conger
Joanna Cornett
Horace Dewey
Alice Kelsey Dunn
Robert S. Fcldman
Isabclle M Garrison
Ed Gilbert
Florence Griffin
Eleanor Groves
Ralph Herbert
Charles W. Hills
George R. Hunschc
Hazel Hill Hunt
Virginia Ann Hunt
Virginia Elinor Hunt
Earl Meredidi Kempf
Edith Slaebler Kempf
R. Hudson Ladd
John Lewis
Robert Lewis
Carol Lighthall
Lorene Crank Lloyd
Kadicrine Mabarak
Frederick C. Matthaci, Sr.
Arthur Mayday, Jr.
Earl Meredith
Mr. and Mrs. Merle Elliot Myers
Martha P. Palty
Elizabedi Peebler
Gwen and Emerson Powric
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 Abbott
Ricky Agranoff
Catherine Arcurc
Paulett and Peter Banks
Ms. Janice Stevens Botsford
James and Betty Byrne
Mr. Phil Cole
Cousins Heritage Inn
Curtin and Alf
Ken Fischer
Susan Filz pa trick
The Candy Dancer
Bob Grijalva
Leslie and Mary Ellen Guinn
Margo Halslcd
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
Perfectly 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 Surovell and Natalie Lacy Janet Torno
Dr. and Mrs. John F. Ullrich Paul and Elizabeth Yhouse
Giving Levels
The Charles Sink Society cumulative giving totals of more than $15,000.
Bravo Society $10,000 or more Concertmaster $5,000 9,999 Leader $2,000 4,999 Guarantor $1,000 1,999 Sponsor $500 999 Benefactor $200 499 Patron $100-199 Donor $50 99
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
14 AT5
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 Reinhart 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 Englander's 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 Katherinc's Catering and Special Events
40 King's Keyboard House
15 Lewis Jewelers 12 M-Care
29 Marty's Menswear
56 Matthew C. Hoffmann
16 Maude's
42 Miller, Canfield, Paddock
and Stone
25 Mundus 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 Schlandercr 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 Matthaci Botanical Gardens
30 University Productions
43 Whole Foods Market 33 WQRS
27 Wright, Griffin, Davis and Company

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