UMS Concert Program, Monday Feb. 26 To Mar. 16: University Musical Society: 1996 Winter - Monday Feb. 26 To Mar. 16 --
Season: 1996 Winter
University Of Michigan, Ann Arbor
University Musical Society
of the University of Michigan Ann Arbor
The iqq6 Winter Season
Dear UMS Patrons
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 199596 season comes to a close this spring, the UMS will have brought to the community 65 performances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understand?ing and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a Midwest community of 110,000 can support the number and quality of performances that the UMS brings to Ann Arbor. They want to know how we do it, and I'm proud to tell them. Here's what I say:
O First, and most important, the people in Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they are among the most informed, engaged and appreciative audiences in the country.
O It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
O Our special relationship with one of the country's leading educational institutions, the University of Michigan, has allowed us to maintain a level of independence which, in turn, affords us the ability to be creative, bold and entrepreneurial in bringing the best to Ann Arbor. While the UMS is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, UMS is a separate not-for-profit organization which supports itself from ticket sales, other earned income, grants, and contributions.
O The quality of our concert halls means that artists love to perform here and are eager to accept return engagements. Where else in the U.S. can Cecilia Bartoli perform a recital before 4,300 people and know that her pianissimos can be heard unamplified by everyone
O Our talented, diverse, and dedicated Board of Directors drawn from both the University and the regional community provides outstanding leadership for the UMS. The 200-voice UMS Choral Union, 55-member Advisory Committee, 275-member usher corps, and hundreds of other volunteers and interns contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
O Finally, I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks for coming, and let me hear from you if you have any suggestions, complaints, etc. Look for me in the lobby or give me a call at 313.747.1174.
Kenneth C. Fischer Executive Director
Thank You Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support of UMS though their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business com?munity.
Their generous support provides a solid base from which we are better able to present outstanding performances for the varied audiences of this part of the state.
We are proud to be associated with these companies. Their significant participation in our underwriting program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University Musical Society.
Kenneth C. Fischer Executive Director University Musical Society
James W. Anderson, Jr. President, The Anderson Associates Realtors The arts represent the bountiful fruits of our many rich
cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commend?ed for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Howard S. Holmes President, Chelsea Milling Company "The Ann Arbor area is very fortu?nate to have the
most enjoyable and outstanding musi?cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Chelsea Milling Company
Douglas D. Freeth President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group
in our community which perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
O FIRST?F AMRICV
Carl A. Bra lier, Jr.
"Music is a gift from
God to enrich our
lives. Therefore, I
enthusiastically support the University Musical Society in bringing great music to our community."
Joseph Curtin and Greg Alf
Owners, Curtin & Alf "Curtin & AlFs support of the University Musical Society is both a
privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural oppor?tunities set new standards of excellence across the land.'V" V
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."
David G. Loesel
T.M.L Ventures, Inc.
support of the
Programs is an honor and a privilege. Together we will enrich and empower our community's youth to carry for?ward into future generations this fine tradition of artistic talents."
Paul M. Montronc President and Chief Executive Officer; Fisher Sdendfic 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, ils concerts, and the educational programs that contribute so much to Southeastern Michigan."
William E. Odnni
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."
Chairman ami Chief
"Our community is
enriched bv the
University Musical Society. We warmly support the cultural events it brings to our area."
John E. Lobbia Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organi-
zatiom that make the Ann Arbor com?munity a world-renowned center for the arts. The entire community shares in the countless benefits of the excel?lence of these programs."
@@@@DETROTT EDISO FOUNErtTlON
Robert J. Delonis Chairman and Chief Executive Officer, Great Iuikes 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."
Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud
lo support the University Musical Society and the cultural contribution it makes to the community."
3E mcKjnley associates inc.
Frank A. Olson, Chairman and CEO The Hertz Corporation "Hertz, as a global company, supports the University of Michigan Musical
Society mission of providing program?ming 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 li. McMullen Co., Inc. "I used to feel that a U of M Notre Dame football ticket
was the best ticket in Ann Arbor. Not anymore. The UMS provides the best in educational entertainment."
Joe E. O'Neal
"A commitment to
quality is the main
reason we are a
provid supporter of
the University Musical Society's efforts to bring the finest artists and special events to our community."
President, Philips Display Components Company "Philips Display Componcnis
Company is proud to support the University Musical Society and the artistic value it adds to the community."
Sue S. Lee
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding
organization as the Musical Society at the University of Michigan."
R?GEN(Y TRAVEL INC
Larry McPherson President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the
University Musical Society. While we've only been in the Ann Arbor area for the past 82 years, and the UMS has been here for 116,'we can still appreciate the history they have with the city -and we are glad to be part of that history."
George H. Cress Chairman, President, and Chief Executive Officer, Society Bank, Michigan The University Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
Ronald M. Cresswell, Ph.D. Vice President and Chairman, Pharmaceutical Division, Warner Ijimbert 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 lo the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
PEPPER, HAMILTON & SCHEETZ
ATTORNEYS AT LAW
The Edward Surovell
"Our support of
Musical Society is
based on the belief that the quality of the arts in the community reflects the quality of life in diat community."
Dr. James R. Irwin
Chairman artd CK()t The Inoin 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 oj Michigan
Board of Directors Herbert Amster
President F. Bruce Kulp
Vice-President Carol Shalita Smokier
Secretary Richard Rogel
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell James J. 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
Robert G. Aldrich Richard S. Berger Carl A. Brauer, Jr. Allen P. Bhtton 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. Pierpom John Psarouthakis Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thursion Thieme Jerry A. Weisbach Eileen Lappin Weiscr Gilbert Whitaker
Kenneth Fischer Executive Director
Catherine Arcure Edith Lcavis Bookstein Betty Byrne Yoshi Campbell Dorothy Chang Sally A. Cushing David B. Devore Erika Fischer Susan Fitzpatrick Rachel Folland Greg Fortner Adam Glaser Michael L. Cowing Philip Guire Jessie I lalladay 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 Stanton Lori Swanson
Work StudyInterns Laura Birnbryer Steven Chavez Rebecca DeStefano Jessica Flint Ann Hidalgo Jerry James Emily Johnson Naomi Kornilakis Janet Maki Odetta Norton Tansy Rodd James Smart Risa Sparks Ritu Tuleja Scott Wilcox
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-Hsich Phil Cole Peter deLoof Rosannc Duncan H. Michael Endres Don Fabcr Penny Fischer Barbara Gelehrter Beverley Geltner Margo Halsted Esther Heitler Deborah B. Hildebrandt Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Kahn
Mercy Kasle Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Levitan Doni Lystra Kathleen Beck Maly Howard Markel Margaret McKinley Clyde Metzgcr Ronald G. Miller Len Niehoff Karen Koykka O'Neal Marysia Ostafin Wendy Palms leva Rasmussen Maya Savarino Janet Shatusky Aliza Shevrin Shicla Silver Rita Simpson Ellen Stross James Telfer, M.D. Kathleen Treciak-Hill Susan B. Ullrich Dody Viola Jerry Weidenbach Jane Wilkinson Elizabeth Yhouse
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
The University Musical Society is an Equal Opportunity Employer and provides programs and services xtrithout regard to race, color, religion, national origin, age, sex, sexual orientation, or handicap.
The University Musical Society is a member of the International Society for the Performing Arts, Association of Performing Arts Presenters, Chamber Music America, Arts Action Alliance, and Washtenaw Council for the Arts.
University Musical Society
A udiloria Directory & Information
Hill Auditorium: Coat rooms arc located on the east and
west sides of the main lobby and are open only during the
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of die inner lobby.
Power Center Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 3 13.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMember Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children We welcome children, but very young chil?dren can be disruptive to a performance. Children should be able to sit quietly in their own seats through?out a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction Please turn off or suppress electronic beeping and chiming digital watches or pagers during performances.
Cameras and Recorders Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends A silent auditorium with an expec?tant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of pro?gram pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Fax Orders 313.747.1171
Visit Our Box Office in Person At Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
Gift Certificates Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount
Returns If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduc?tion as refunds are not available. Please call 313.764.2538, 10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
Now in its 117th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as the Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affili?ated with the University of Michigan. Professor Frieze, who at one lime served as acting president of the University, became the first president of the Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, the Choral Union refers not only to the chorus but the Musical Society's acclaimed ten-concert series in Hill Auditorium. Through the Chamber Arts Series, Choral Union Series, Jazz Directions, World Tour, and Moving Truths Series, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring the world's finest dance companies,
opera, theater, popular attractions, and presentations from diverse cultures. The University Musical Society has flourished these 117 years with the support of a generous musicand arts-loving community, which has gathered in Hill and Rackham Auditoria, Power Center, and The Michigan Theater to experience the artistry of such outstanding talents as Leonard Bernstein, the Berlin and Vienna Philharmonic Orchestras, Sweet Honey in the Rock, the Martha Graham Dance Company, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, The Stratford Festival, The Beaux Arts Trio, Cecilia Bartoli, and the Chicago Symphony Orchestra.
Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strength?ened through educational endeavors, commissioning of new works, programs for young people, artists' residencies such as the Martha Graham Centenary Festival and the Society Bank Cleveland Orchestra Weekend, and through other collaborative projects.
While it is proudly affiliated with the University of Michigan, is housed on the Ann Arbor campus, and collaborates regularly with many University units, the Musical Society is a separate, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
The University Musical Society Choral Union has performed throughout its 117-year history with many of the world's distinguished orches?tras and conductors.
In recent years, the chorus has sung under the direction of Neeme Jarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano and David iiu 11,111 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 et 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, the Choral Union will again join the Toldeo Symphony for performances of Bach's Mass in b minor under conductor Thomas Sheets, and the Berlioz Requiem with Andrew Massey.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion a love of the choral art.
Completed in 1913, this renowned concert hall was inaugurated at the 20th Annual Ann Arbor May Festival and has since been home to thousands of University Musical Society concerts, including the annual Choral Union Series, through?out its distinguished 82-year history.
Former U-M regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings. Hill bequested $200,000 for construction of the hall, and Charles Sink, then UMS president, raised an additional $150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial Organ above the stage. UMS obtained this organ in 1894 from the Chicago Colombian Exposition and installed it in old University Hall (which stood behind present Angell Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes in appearance, but were restored to their original stenciling, coloring, and layout in 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 badiroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
For over 50 years, this intimate and unique con?cert hall has been the setting for hundreds of world-acclaimed chamber music ensembles pre?sented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and pre?sented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 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).
FORD, MERCURY, LINCOLN, FORD TRUCKS
The Michigan Theater
The historic Michigan Theater opened its doors January 5, 1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior were then, as now, a marvel practi?cally unrivaled in Michigan. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, the Theater has undergone many changes. Talkies" replaced silent films just one year after the Theater opened, and vaudeville soon disap?peared from the stage. As Theater attendance dwindled in the '50s, both the interior and exterior of the building were remodeled in an architecturally inappropriate style.
Through the '60s and '70s the 1800-seat theater struggled against changes in the film industry and audiences until die 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 ig2o until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donated labor, materials, and funds to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live per?formance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 3-m-
University Musical Society 1996 Winter Season
St. Louis Symphony Leonard Slatkin, conductor Linda Hohenfeld, soprano Thursday, January 18, 8pm Hill Auditorium
Philips Educational Presentation: Steven Moore Whiting. Assistant Professor of Musicology, "Classics Reheard", first in a series in which Professor Whiting discusses the can-cert repertoire, Michigan league, 7pm.
St. Petersburg Philharmonic Yuri Temirkanov, conductor Pamela Frank, violin Friday, January 26, 8pm Hill Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Muskology, "Classics Rfheard", second in a series in which Professor Whiting discusses the con?cert repertoire, Michigan league, 7pm.
Made possible by a gift from Pepper, Hamilton 6s Scheetz.
The Guthrie Theater of Minneapolis
January 27-28, 1996 k. (Impressions from Kafka's The Trial)
Saturday, January 27, 8pm Sunday, January 28, 2pm Power Center Harold Pinter's Old Times Sunday, January 28, 7pm Power Center PhiUps 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 Westmaasfones, will join distinguished University of Michigan professors, indicated below, for panel discussions: Saturday, January 21 joe Dowling, Artistic Director of the Guthrie Theater, "The Guthrie and Trends in Theater", 3rd Floor Michigan league, Koessler Library, 7pm. Saturday, January 27 (following the 8pm performance ofk.) Post-Performance Panel Discussion on stage with Ingo Seidler, UM Professor of German, and Fred Peters, UM Residential College Chair of Comparative Literature. Sunday, January 28 (following the 2pm performanc ofk.) Post-Performance Panel Discussion, Power Center Green Room, with Professors Seidler and Peters (see above). Sunday, January 28 (following the
7pm performance oOld Times) Post-Performance Panel Discussion on stage, with Martin Walsh, UM Residential College lecturer in Drama and Head of Drama Constitution, and Enoch Brater, UM Professor of English language and literature and Professor of Theater. The Guthrie Theater tour is sponsored by AT&T. Special support and assis?tance are provided by the National Endowment for the Arts, Arts Midwest, and Mid-America Arts Alliance.
Wynton 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. McMuUen Company.
Feel the Spirit An Evening
of Gospel Music
The Blind Boys of Alabama
featuring Clarence Fountain,
The Soul Stit i ii s. and Inez
Thursday, February 1, 8pm
The King's Singers Saturday, February 3, 8pm Hill Auditorium Made possible by a gift from First of America.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Recital V)
Sunday, February 4, 4pm Rackham Auditorium Philips Educational Presentation: Garrick Ohlsson, "Chopin In Our Time", Saturday, February 3, Ratkham -flit Floor Assembly Hail, 4pm. Made possible by a gift from Regency Travel, Inc.
Boston Symphony Orchestra Seiji Ozawa, conductor
Wednesday, February 7, 8pm Mill Auditorium Philips Educational Presentation: 'The BSO: All the Questions You've Ever Wanted to Ask", an interview and audience Q & A with: Leone Buyse, UM Professor of Flute and Former Principal Flute, BSO; Daniel Gustin, Manager of Tanglewood; I m 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 Mill Auditorium Philips Educational Presentation: Dr. Alberto Nacif Percussionist and WEMU Radio Host, "A Ucture Demonstration of Afro-Cuban Rhythms", Michigan League, 7pm. 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 Surovell Co.Realtors.
Saturday, February 17, 8pm Sunday, February 18, 4pm Power Center
Made possible by a gift from Regency Travel, Inc.
New York City Opera National Company Verdfs La Traviata Wednesday, February 21, 8pm Thursday, February 22, 8pm Friday, February 23, 8pm Saturday, February 24, 2pm
(Family Show) Saturday, February 24, 8pm Power Center Philips Educational Presentations: February 21 Helen Siedel, UMS Education Specialist, "Know Before You Go: An AudioVisual Introduction to 'La Traviata", Michigan league, 6:45pm; February 23 Martin Katz, Accompanist-Coach-Condutor, "The Specific Traviata", Michigan league, 7pm; February 24 Helen Siedel, UMS Education Specialist, "Especially for Kids The Story of La Traviata', explained with music and videos. Green Room, 1:15-1:45pm, Power Center; Made possible by a gift from TriMas Corporation.
The Music of Hildegard von
Sunday, February 25, 7pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: James M. Borders, Associate Professor of Musicology, "Medieval Music for a Modern Age', St. Francis of Assisi Church, 6pm.
Tokyo String Quartet Pinchas Zukerman,
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
Philips Educational Presentation: Jim Isonard, Manager, SKR Classical, "Mahler in Ijave: the Fifth Symphony", Michigan league, 7pm. Made possible by a gift from McKinley Associates, Inc.
The Complete Solo Piano Music of Frederic Chopin (..ii i irk Ohlsson, piano (Grand Finale Recital VI) Saturday, March 16, 8pm Hill Auditorium
Made possible by a gift from the Estate of William R. 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 IJbrary, 7pm. Dr. Ijorna McDaniet, Associate Professor of Music, University of Michigan, "The Musical Influences of Alvin Ailey", March 21, Michigan
league, Koessler Library, 7pm. Christopher Zunner, Alvin Ailey (Company Manager, and Company Member, "The Alvin Ailey American Dance Theater", March 22, Michigan League, Koessler Ubrary, 1pm. This project is supported by Arts Midivest members and friends in partnership with Dance on Tout
Borodin String Quartet LudmiUa 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 Scholars 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 Orchestra
littiti 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 Dtfohn Psarouthakis, the Paiedeia Foundation, andJPEinc,
Purcell's Dido and Eneas Mark Morris Dance Group Boston Baroque Orchestra and Chorus
Martin Pearlman, conductor with Jennifer Lane, James Maddalena, Christine Brandes and Dana Hanchard Fri day-Sa turday, April 19-20, 8pm Sunday, April 21, 4pm Michigan Theater Philips Educational lresentation: Steven Moore Whiting, Assistant Professor of Musicology, University of Michigan, "Classics Reheard", fifth in a series in which Profesor Whiting discusses the concert repertoire, SKH Classical, 7pm.
This project is supported by Arts Midwest members and friends in partnership with Dance on Tour.
Ensemble Modern John Adams, conductor featuring the music of John Adams and Frank Zappa Tuesday, April 23, 8pm Rackham Auditorium Philips Educational Presentation: James M. Borders, Associate Professor of Musicology, "The Best Instrumental Music You Never Heard In Your Life", Michigan league, 7pm.
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society 1994-95 Season: dancer Arthur Aviles of the Bill T. JonesArnie Zane Dance Company in StillHere, pianist Garrick Ohlsson onstage at Rackham Auditorium for one installment of his six-recital cycle of the Complete Solo Piano Music of Frederic Chopin; ilie clarinets of Giora Feidman, featured in Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind, a work cocommissioned by the University Musical Society which won first prize at this year's Kennedy Center Friedheim Awards.
of the University of Michigan 1996 Winter Season
Event Program Book
Monday, February 26, 1996
Saturday, March 16, 1996
117th Annual Choral Union Series Hill Auditorium
33rd Annual Chamber Arts Series Rackham Auditorium
25th Annual Choice Events Series
Tokyo String Quartet
with PlNCHAS ZUKERMAN, VIOLIN AND VIOLA
Monday, February 26, 1996, 8:00pm Rackham Auditorium
John Williams i 1
Tuesday, February 27, 1996, 8:00pm Rackham Auditorium
San Francisco Symphony 17
Friday, March 15, 1996, 8:00pm Hill Auditorium
The Complete Solo Piano Music of Frederic Chopin, Part II
Garrick Ohlsson 25
Saturday, March 16, 1996, 8:00pm Hill Auditorium
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quiedy 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.
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While in the Auditorium
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Please take this opportunit)' 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 Tokyo String Quartet
with Pinchas Zukerman, violin and viola
Peter Oundjian, violin Kikuei Ikeda, violin Kazuhide Isomura, viola Sadao Harada, cello
With special thanks to first xno-linist Andrew Dawesfor his guest appearances during Mr. Oundjian's 1995-96 sabbatical.
Monday Evening, February 26, 1996 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Forty-second concert of the nyth season
33rd Annual Chamber Arts Series
String Trio in B-flat Major, D. 471
ZUKERMAN, ISOMURA, HARADA
No. 26 Teasing Song (Scherzando)
No. 35 Ruthenian Kolomejka (Allegro)
No. 28 Sorrow (Lento, Poco Rubato)
No. 37 Prelude and Canon (Lento Allegro Molto)
No. 38 Rumanian Whirling Dance (Allegro)
No. 39 Serbian Dance (Allegro Molto)
No. 40 Walachian Dance (Comodo)
No. 42 Arabian Song (Allegro)
Lento Piu Fluido
Ludwig van Beethoven
Viola Quintet in C Major, Op. 29 "Storm Quintet"
Allegro moderato Adagio molto espressivo Scherzo: Allegro Presto
Special thanks to KMD Foundation for helping to make this performance possible.
Thank you to Steven Moore Whiting, Assistant Professor of Musicology, University of Michigan, speaker for this evening's Philips Educational Presentation.
The Tokyo String Quartet has recorded for Angel-EMI, CBS Masterworks, Deutsche Grammophon, Vox Cum Laude. They noiv record exclusively for BMG ClassicsRCA Victor Red Seal
Mr. Zukerman has recorded for CBS Masterworks, Philips, Angel, and Deutsche Grammophon and is currently an exclusive artist with BMG ClassicsRCA Victor Red Seal.
Exclusive Representation for the Tokyo String Quartet and Pinchas Zukerman: Shirley Kirshbaum and Associates, New York, NY
The Quartet members are artists-in-residence at Yale University and at College Conservatory of Music, University of Cincinnati.
Large print programs are available upon request from an usher.
String Trio in B-flat Major, D. 471
Born January 31, ijgy in Himmelpfortgrund
(Vienna) Died November 19, 1828 in Vienna
If a string quintet is a departure from the classic chamber-music combination, the quartet, so is a string trio, only in the oppo?site sense. In the classical and romantic eras, both were the exception rather than the rule. It is reasonable to assume that an increase in performing forces suggests a search for a special sound quality that four instruments could not provide. The reduc?tion of the number of players may similarly indicate that a lighter sonority was intended, but it is more likely that a trio was chosen because the full complement of four strings was simply unavailable at the moment. Mozart wrote only one work for violin, viola, and cello; in this sublime Trio (K. 563), he was able to handle his forces in a way that more than compensated for the absence of a second violin. Beethoven's five string trios all date from his early period. Schubert composed two such works (one of them unfinished) before the age of twenty-one, and never returned to the combination again.
The first of the string trios was written in September 1816, when Schubert was nineteen years old. It consists of a single movement (a second movement was begun but not completed). On the surface, it is an essay in sonata form a la Mozart, who might well have written the first dozen or so mea?sures. Then, however, the music takes a dis?tinctly Schubertian turn, as we hear more and more of those wonderfully sweet altered harmonies (often with notes borrowed from the minor mode), one of the things that make Schubert's style so special.
Born March 25, 1881 in Nagyszentmiklos (now
Sinnicolau Mare, Rumania)
Died September 26, 1945 in New York City
Bela Bartok's love of the violin was equalled only by his devotion to his own instrument, the piano. During his career as a composer, he worked with, and wrote works for, many of the greatest violinists of his time, including Joseph Szigeti and Yehudi Menuhin. His 44 duos for two violins are the only instructive series he ever wrote for an instrument other than the piano. Composed at the request of German violin pedagogue Erich Doflein in 1931, thirty-two of the duos were published in Doflein's vio?lin method (Geigen-Schulwerk) in 1932. The entire cycle was published in two volumes by Universal Edition, Vienna, in 1933.
Like Bartok's six-volume Mikrokosmos for piano (1926-1939), the violin duos are arranged in an order of increasing technical difficulty. Otherwise, they resemble the early four-volume set For Children (1909-11) in that the pieces are based on folksongs. Only two of the duets (Nos. 35 and 36) are not folksong arrangements, but even they imitate folk style. Whereas in For Children, Bartok had used only Hungarian and Slovak songs, the ethnic backgrounds of the 44 duos include Romanian, Ruthenian, Serbian and Arabic as well.
We shall hear eight of the 44 duos at this concert.
No. 26 ('Teasing Song") is a typical Hungarian folksong whose second half is identical to the first, played a fifth lower. The two violins play the tune in imitation, taking turns being the leader.
No. 35 ("Ruthenian Kolomejka") is Bartok's original re-creation of a dance tune popular among the Ukranians of the
Carpathian region. Note the prominent augmented seconds in the melody, the play?ful off-beat accents of the accompaniment, and the brief pensive moment at the end, cut short by the abrupt conclusion.
No. 28 ("Sorrow") is one of the most beautiful pieces in the collection. A Hungarian "parlando-rubato" melody (performed in a speech-like, free rhythm) is framed by a short refrain and adorned with wonderfully expressive, gripping harmonies.
No. 37 ("Prelude and Canon") treats a rather simple Hungarian song in a multitude of ways, always emphasizing the opening interval, the descending perfect fourth. The "prelude" is slow and introspective and already contains imitative elements. But the real canon does not begin until the second half, when the tempo begins to speed up. Now the two instruments play the melody in identical form, but starting at different pitches and staggering their entrances first by one beat, then by two and finally three beats. The piece ends with a proclamation of the descending perfect fourth by both violins in unison.
No. 38 ("Romanian Whirling Dance") uses a four-measure dance tune and "whirls it around" in various registers and harmo?nizations.
No. 39 ("Serbian Dance") resembles the previous piece in the basic rhythm of its underlying melody, but there are some unexpected moments where the dancers definitely have to watch out!
No. 40 ("Walachian Dance") repeats its melody three times, in different tempos (medium slower medium [with some interpolated rests in the melody]). Then the tempo speeds up for the ending.
No. 42 ("Arabian Song") is largely based on two "exotic" intervals: the aug?mented second and the diminished fifth (tritone). Melody and accompaniment become more and more rhythmically entan?gled before the two instruments end up on
a final unison. The piece features the famous "Bartok pizzicato," played with such force that the string strikes against the finger?board.
Bartok used the older English spelling "Rumanian."
Born September 24, 1946 in New York City
Currently living in Sante Fe, New Mexico
The String Quintet was composed in 1994 for the Tokyo String Quartet. It stems from an old interest of mine to explore what happens when a string quartet is enlarged by adding a viola. This combination has been historically seldom used, but to great effect, as witnessed by Mozart's incredible set of quintets. I found that the textures changed dramatically from quartet writing. This is in part due to a filling out of the spacing, but also to the need for more soloistic writing as opposed to ensemble. These considerations became the focus of the piece.
The opening is a ritornello which appears at various times in the work's three movements and serves as an anchor for the departures of other episodes. This opening ritornello presents the genesis of the piece, a single tone which expands in both direc?tions. This expansion is an integral facet of the entire work and is employed not only in the intervals but also in the entire texture.
The first movement is composed of alternating passages of two developing tex?tures. One is a rhapsodic, cadenza-like tex?ture consisting of soloistic passages for the first violin, the cello and different increasing combinations of the instruments. The other is a mechanical, rhythmically driving tutti texture. After both textures reach their
apex, the ritornello closes the movement.
The second movement is structured to highlight a particular passage of great lyrical depth and intensity. The entire movement culminates by placing this passage to its best advantage, both in the structure and in its emotional context.
The third movement opens with the ritornello in a different manifestation. This is followed by an alternating set of episodes releated to the first movement. This time they are more akin to jazz. Tutti textures are followed by solos which again accumulate to the climax. A final ritornello closes the piece in its anchor position, albeit with a very different sense of the journey undertaken.
Note by Marc Neikrug
String Quintet in C Major, Op. 29
Ludwig van Beethoven
Born c. December 15, ijjo in Bonn, Germany
Died March 26, 182J in Vienna
In the last years of his life, Mozart began to "outgrow" the string quartet, adding a second viola to the ensemble for a fuller, darker sound. Although he continued to write quartets right up to 1790 (the year before his death), his late chamber music style culminates in the four magnificent quintets (K. 515, 516, 593, and 614) written between 1787 and 1791.
It was left to Beethoven to show how much could still be done with four string instruments. His seventeen quartets, written over a period of nearly thirty years, undoubtedly represent the pinnacle of the genre's history. Beethoven did try his hand at the quintet, but for him, writing for the larger ensemble could never replace the quartet to which he remained forever devoted.
Beethoven arranged two of his chamber compositions for string quintet. Thus, his early octet for winds and his Piano Trio Op. 1, No. 3 were each published as string quintets. The quintet on the present program is Beethoven's only work originally conceived for this particular combination, aside from a short fugue written in 1817 and printed only after the composer's death.
The C-Major Quintet was written in 1800-01 and published in 1802. It came shordy after the six string quartets Op. 18, the First Symphony, the ballet The Creatures of Prometheus and the "Spring" Sonata for violin and piano. These were crucial years in Beethoven's development: he was leaving behind his early period, strongly influenced by Mozart, and moving boldly into unchart?ed musical territory. The Quintet shows Beethoven at a pivotal stage in his career, still indebted to the past to some extent but already at the threshold of a more dramatic new style.
The rise of the first movement's opening theme from the note C to D, through die intermediary of C-sharp, echoes such works as die First Symphony and the Prometheus Overture. The dolce ("sweet") second dieme appears, as if from a distance, in die remote key of A Major. These two diemes dominate proceedings to the end of the movement, when, suddenly, time seems to be briefly suspended: one, two, and finally diree instruments play an extended trill -a device Beedioven was to use with some frequency in his later works to build tension just before ending a piece or movement.
The second movement is a songful Adagio whose main theme undulates gendy over an unusually wide range of two octaves. The second dieme, an anguished violin melody with an agitated accompaniment, returns at the end of die movement as a pas?sionate outburst, followed by a few conclud?ing measures where die music resumes die calm of die beginning.
The dashing Scherzo derives all its energy from a single short motif (its rhythm is not unlike that of the scherzo in the Second Symphony, one of Beethoven's next major works). The excitement continues unabated in the Trio, despite the presence of a more lyrical melody.
The Finale is certainly the most unusual movement of the Quintet. It abounds in "storm" effects with a lightning-like first violin part and a tremolo accompaniment (consist?ing of very quick reiterations of the same notes) that will have you on the edge of your seats. Indeed, the entire quintet used to be known as The Storm" on account of this opening. Yet that is not all there is to this finale, which also includes a remarkable march tune added to the storm music as a counterpoint, and -even more unexpected?ly -two instances of an innocent little minuet tune appearing in the middle of the turmoil. Beethoven may have been inspired here by Mozart's two E-flat Major piano con?certos (K. 271 and 482), both of which contain slow minuet episodes in their finales. The work ends with a return to the stormy opening theme.
Schubert, Bartok and Beethoven notes by Peter Laki, program annotator for The Cleveland Orchestra
The Tokyo String Quartet is one of the supreme chamber ensembles of the world. Praised for its exceptional technical command and dynamic performance style, the quartet has received extraordinary acclaim since its founding in 1969. They perform over one hundred concerts each year across the United States, Canada, Europe, Scandinavia, South America and the Far East. During this season, the Tokyo Quartet
continues to perform in the leading concert halls throughout the United States and abroad. In September, they traveled to South America, where they gave perfor?mances in Buenos Aires, Santiago, Rio de Janeiro and Sao Paolo. Pinchas Zukerman joined the ensemble on an international tour, performing the premiere of Marc Neikrug's Viola Quintet, beginning in October and continuing through this con?cert and into the spring. This project has been commissioned by: Great Performers Series at Lincoln Center in New York; George Mason University in Fairfax, VA; Krannert Center of University of Illinois in Urbana-Champaign; Wisconsin Union Theater at the University of Wisconsin; Hancher Auditorium at The University of Iowa; Stanford University; Arizona State University; Celebrity Series of Boston; Center for the Arts and Technology at Governor's State University in Chicago, IL; and the Manitowac Symphony Orchestra in Wisconsin.
The members of the Quartet continue to hold the post as Artists-in-Residence at Yale University and the University of Cincinnati College-Conservatory of Music.
Recording exclusively for BMG ClassicsRCA Victor Red Seal, the Tokyo
Tokyo String Quartet
Quartet has released a landmark series of recordings. Their most recent discography includes the complete Beethoven String Quartets and a BrahmsWeber disc with Richard Stoltzman. A recording of the com?plete Bartok quartets, coupled with two Janacek quartets, was released in the fall.
From 1993-95, to commemorate its twenty-fifth anniversary, the Tokyo String Quartet embarked on a two-year project per?forming the complete Beethoven String Quartets throughout the world. The ensem?ble designated Classical Action: Performing Arts Against AE)S the beneficiary of proceeds from the six New York City performances.
The Quartet traces its origins to the Toho School in Tokyo, where several of the founding members were profoundly influ?enced by Professor Hideo Saito. Instilled with a deep commitment to chamber music, the original members of what would become the Tokyo Quartet, including violist Kazuhide Isomura and cellist Sadao Harada, eventually came to America for further study with Robert Mann, Raphael Hillyer and Claus Adam. In 1969 the ensemble was officially created and scholarships were awarded by The Juilliard School. Soon after, the Quartet won First Prize at the Coleman Audition in Pasadena, the Munich Competition and the Young Concert Artists International Auditions, which brought them worldwide attention. Kikuei Ikeda, who was also at the Toho School, joined the Quartet as second violinist in 1974, and Peter Oundjian, who studied with Ivan Galamian, Itzhak Perlman and Dorothy DeLay, became first violinist in 1981.
The Japan Music Foundation has loaned the Tokyo four remarkable Stradivarius instruments known as "The Paganini Quartet." The virtuoso Niccolo Paganini had acquired and played the instruments during the nineteenth century. The ensem?ble will perform on the Strads throughout this season.
The Tokyo String Quartet has been featured on numerous major television pro?grams including PBS's Great Performances, Sesame Street, CBS Sunday Morning and a taped concert from the Corcoran Gallery of Art in Washington, broadcast nationally on public television.
This evening's performance marks the Tokyo String Quartet's sixth appearance under UMS auspices.
iiu has Zukerman is recog?nized throughout the world for his exceptional artistic standards. With three decades of critical acclaim for his musical genius and prodigious technique, his incomparable musicianship marks him as one of the masters of our time. He is equal?ly acclaimed as a violinist, violist, conductor, pedagogue and chamber musician.
Born in Tel Aviv in 1948, Mr. Zukerman began musical training with his father, first on recorder, then clarinet, and ultimately violin. At the age of eight, he began studying with Ilona Feher at the Israel Conservatory and the Academy of Music in Tel Aviv. With the guidance of Isaac Stern and Pablo Casals, the support of the America-Israel Cultural Foundation, and scholarships from The Juilliard School and Helena Rubinstein Foundation, he came to America in 1962 to study with Ivan Galamian at Juilliard. In 1967, Mr. Zukerman won First Prize in the Twenty-fifth Leventritt International Competition, setting the stage for his solo career.
Mr. Zukerman has amassed a prolific discography which numbers more than ninety-two releases, and is widely representa?tive of the violin and viola repertoire. His catalogue of recordings for Angel, CBS, Deutsche Grammophon, London, Philips,
and RCA contains twenty-one Grammy nominations and two Grammy awards: "Best Chamber Music Performance" in 1980 and "Best Classical Performance -International Soloist with Orchestra" in 1981.
Mr. Zukerman has initiated commis?sions and championed composers which resulted in three consecutive ASCAP awards from the American Symphony Orchestra League. He continues to build his own cata?logue of twentieth-century masterpieces with recordings and films of works by Bartok, Berg, Schoenberg, Stravinsky, Prokofiev, Boulez, Knussen, Lutoslawski, Neikrug, Norgaard and Takemitsu.
As a chamber musician, Pinchas Zukerman has collaborated with prominent artists and colleagues around the world for over twenty years. Included among these musicians are Daniel Barenboim, the late Jacqueline Du Pre, Jean-Pierre Rampal, Isaac Stern, the Guarneri Quartet, the Tokyo Quartet, Midori, Yo-Yo Ma, Emanuel Ax, Yefim Bronfman, Ralph Kirshbaum and Shlomo Mintz. In 1989, Mr. Zukerman and a group of colleagues created a performance ensemble that continues to tour throughout South America, Europe, Israel, Mexico and the United States.
Highlights of Mr. Zukerman's 1995-96 season includes conducting engagements with the Chicago, Toronto, Pittsburgh, Milwaukee and San Diego Symphonies, St. Paul Chamber Orchestra and Calgary Philharmonic. In addition, he will appear as soloist with the Philadelphia Orchestra, Los Angeles Philharmonic, Atlanta Symphony, National Symphony, Florida Philharmonic and Oregon Symphony, and abroad with the Israel Philharmonic and London Symphony. Following the success of his first world tour as conductor and soloist of the English Chamber Orchestra in the fall of 1994, Mr. Zukerman rejoins the orchestra for its Japanese and European tours in the spring of 1996. As guest violin-
ist and violist with the Tokyo String Quartet, Mr. Zukerman will visit sixteen cities in the United States and Europe, performing works by Schubert, Bartok and Beethoven, as well as world-premiere performances of Marc Neikrug's String Quintet. Commissioners for this project will be the Great Performer's Series at Lincoln Center in New York; George Mason University in Fairfax, Virginia; the Krannert Center, University of Illinois at Champaign-Urbana; Wisconsin Union Theater at the University of Wisconsin; Hancher Auditorium at the University of Iowa; Stanford University; Arizona State University; Bank of Boston
Celebrity Series; the newly built Smart Center in Chicago, Illinois; and the Manitowoc Symphony Orchestra in Wisconsin. Mr. Zukerman and Mr. Neikrug will perform recitals throughout Spain, Italy, Germany, Austria, Sweden and the United States. The duo will also conduct master-classes and children's concert performances as part of Mr. Zukerman's commitment to the education of future classical music lis?teners and performances.
This evening's performance marks Mr. Zukerman's seventh appearance under UMS auspices.
Tuesday Evening, February 27, 1996 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Three Dances from "Terpischore"
Courante Ballet La Volta
Johann Sebastian Bach CHACONNE (from Violin Partita No. 2 in d minor)
asuturias Mallorca Sevilla Cordoba
Nicolo Paganini ROMANZA
Caprice No. 24
The Midst of Life
(TOMBEAU FOR TlM STEVENSON)
Agustin Barrios Mangore
Una Limosna por el amor de Dios
Choro de Saudade sueno en la floresta
transcribed by John Williams
Forty-third concert of the 117th season
25th Annual Choice Events
Mr. Williams will deliver oral program notes from the stage for tonight's program.
Exclusive Management: Shaw Concerts, Inc.
Large print programs are available upon request from an usher.
The Midst of Life
(TOMBEAU FOR TlM STEVENSON)
Born March iy, 1924 in London
Now living in London
This music was first conceived (in the winter of 199394) zs tne gradual resolution of nervous activity and dramatic stress into an enveloping quietness and peace. Its lim?ited thematic stock would undergo transfor?mation but would remain easily recogniz?able throughout. In terms of "meaning" there was nothing more specific to it than that. It simply appealed to me as a musical concept, as I believed it might to its intend?ed performer.
But all this changed when, with the work now well advanced, I received the tragic news of the sudden death of a young, highly talented composer, Tim Stevenson.
I somehow could not escape the connec?tion between by unfinished music and this active and outgoing life and the peace and stillness which had so swiftly overtaken it. This connection struck with such force that my incomplete sketches took a new and more telling direction, and within a month of the tragedy, the piece was complete.
The title -and the subtitle -are spe?cially chosen to reflect this history.
O Stephen Dodgson
ne of the leading W k musicians of oui day,
m A guitarist John
I Williams' eagerly
H m awaited return to
L m North America
includes recitals at Chicago's Orchestra Hall, Toronto's Ford Centre for the Performing Arts and tonight's Ann Arbor appearance, as well as performances with the New York Chamber Symphony at the 92nd Street Ys Tisch Center for the Performing Arts and Lincoln Center's Alice Tully Hall with Julius Rudel conducting. Mr. Williams last appeared in North America during the 1993-94 season which included a series of three recitals at New York's Tisch Center for the Performing Arts, and engagements at Toronto's Ford Centre, Boston's Jordan Hall, Chicago's Orchestra Hall, Pasadena's Ambassador Auditorium, San Francisco's Herbst Theatre, The Krannert Center at the University of Illinois at Urbana, and the University of Texas at Austin.
Born in Australia in 1941, John Williams was taught the guitar by his father from the age of four. When his family moved to London in 1952, he met and studied with Segovia, who recommended he enter Italy's Accademia Musicale di Siena where he stud?ied for five summers on scholarship. At the request of his fellow students, he received the unprecedented honor of giving the first complete solo recital by a student of any instrument. In England he attended the Royal College of Music where he studied piano and music theory.
John Williams made his London'debut at Wigmore Hall in 1958. Highly successful debuts followed in Paris and Madrid, and in 1962 he toured the former Soviet Union with great success. The following year brought his debuts in Japan and the United States where he since has been a regular visitor,
having quickly gained an exclusive record?ing contract with CBS Records (now Sony Classical), for whom many of his albums, including recently John Williams Plays Vivaldi Concertos and Iberia, have been best-sellers. Mr. Williams has now appeared all over the world, having toured Australia and the Far East, North and South America, and throughout Europe on a regular basis. He has played with most British orchestras and at most British festivals.
John Williams' talents have stimulated many composers to write for him, including Leo Brouwer, Stephen Dodgson, Andre Previn and Peter Sculthorpe. In 1984 he performed the world premiere of Japanese composer Toru Takemitsu's concerto for guitar and oboe d'amour, Vers I'arc-en-ciel, with Simon Rattle and the City of Birmingham Symphony Orchestra which had commissioned the work. The 1993-94 season included a tour of the UK with the Bournemouth Symphony premiering Richard Harvey's Concerto Anlico which will be featured in Mr. Williams' performances with Julius Rudel and the New York Chamber Symphony this spring, and which Mr. Williams has just recorded for Sony Classical.
His performances of the music for such films as The Deer Hunterand his many televi?sion appearances have made John Williams a household name. In addition to countless appearances on British and Australian televi?sion, he also has appeared on NBC's The Tonight Show. He often has performed with such friends asjuilian Bream, Paco Pena, Barny Kessel, Itzhak Perlman, Andre Previn, Cleo Laine and John Dankworth. His pas?sionate belief that music should be available to the widest public led him to be one of the first classical musicians to play at London's famed Ronnie Scott's Jazz Club, and prompted the formation of his five-member group SKY in 1979. Its live, televised and recorded performances earned great
renown throughout the United Kingdom, and in October 1979 the group gave twenty-six concerts in twenty-eight days, including a week at the London's Dominion Theatre. Since leaving SKY in 1984, John Williams continued to divide his time with his group John Williams and Friends. Following the 1983 release of their CBS recording The Guitar is the Song, John Williams and Friends made three tours of the UK, visiting the major British and Irish festivals. In 1987 the group gave a concert at London's Barbican Centre, and toured Italy, including perfor?mances in Milan, Venice, Florence and Rome.
John Williams was Artistic Director and Music Advisor of London's South Bank Summer Music Festival for two years. During 1986 he toured Spain with the Academy of St. Martin-in-the-Fields, appeared in recital at Paris' Salle Pleyel, and made a triumphant return to America after a thirteen-year absence. He also performed with Simon Rattle and the City of Birmingham Symphony Orchestra in a live broadcast marking the tenth anniversary of the National Exhibition Centre in Birmingham. In 1987 he was Artistic Director of the Melbourne Arts Festival and performed the world premiere of Leo Brouwer's Fourth Guitar Concerto at the Toronto International Guitar Festival, and that summer toured the UK with the National Youth Jazz Orchestra.
During the 1989-90 season he toured Australia with the Australian Chamber Orchestra, premiering Peter Sculthorpe's Second Guitar Concerto, and he also visited Hong Kong for two concerts celebrating the opening of the Hong Kong Cultural Centre. 1990-91 included performances at Queen Elizabeth Hall with the Australian Chamber Orchestra and the Barbican Centre with the Royal Philharmonic Orchestra, and the fol?lowing fall he returned for a coast-to-coast North American tour, including a special
gala performance of Vivaldi and Sculthorpe concertos with the Australian Chamber Orchestra at Carnegie Hall.
During 1992 he formed a group, John Williams' ATTACCA, with six other Australian and British musicians who toured the UK that summer, performing works specially commissioned for the group. They also toured Australia, culminating in a concert at the Sydney Opera House. 1992-93 included the European premiere performances of Antarctica, a new work for guitar and orches?tra by Nigel Westlake, at the Barbican with Kent Nagano and the London Symphony Orchestra, a work now recorded for Sony Classical. During 1993 Mr. Williams worked extensively on a documentary film about his life and work shot on location in England, Spain and Australia that was first shown on
London Weekend Television's South Bank Show, and now is available on video, laser disc and CD titled The Seville Concert. After completing an album of comtemporary Australian works for Sony Classical during the summer of ig94,John Williams' 1994-95 season included a trip to Paraguay for concerts marking the fiftieth anniversary of the death of Paraguayan composer and guitarist Agustin Barrios Mangore, and Sony issued his new recording of the works of Barrios, From the Jungles of Paraguay, during the spring of 1995. Other recent high?lights included a tour of Japan, performances at Australia's Darwin Guitar Festival and in Barcelona and Amsterdam, and later this
season he will make a trip to China. This spring Sony will issue Mr. Williams' latest album, recorded with his Australian duo partner Timothy Kain with whom he will tour next summer in the UK and Australia, and he will open his 1996-97 season with a recital tour of Germany..
John Williams lives in London. His extramusical interests include people, politics, table tennis (quite good), tennis (rather bad), chess (good), and talking, not necessarily in that order.
This performance marks Mr. Williams' third appearance under UMS auspices.
McKinley Associates, Inc.
The San Francisco Symphony
Michael Tilson Thomas, Music Director
March 15, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Symphony No. 5 in c-sharp minor
Funeral march: With measured step
Strict--Like a cortege
Stormily--With greatest vehemence
Scherzo: Vigorously, not too fast
Adagietto: Very slow
Rondo-Finale: Allegro giocoso. Lively
Forty-fourth concert of the 11 nth season
117th Annual Choral Union Series
Special thanks to Eileen Weiser and to Ronald Weiser, Chairman and Chief Executive Officer, McKinley Associates, Inc. for helping to make this performance possible.
Thank you to Jim Leonard, Manager, SKR Classical, speaker for this evening's Philips Educational Presentation.
Columbia Artists Management, Inc., SheldonConnealy Division, New York, New York
Michael Tilson Thomas and the San Francisco Symphony record together exclusively for BMG ClassicsRCA Victor Red Seal. The Orchestra may also be heard on Deutsche Grammophon, ECM, London, Nonesuch, Philips, and Telarc records.
Large print programs are available upon request from an usher.
Born November 14, 1900 in Brooklyn, New York
Died December 2, 1990 in Peekskill, Neiu York
The Symphonic Ode was first performed on 19 February 1932 by Serge Koussevitzky and the Boston Symphony. The revised version, which we hear this evening, was introduced by the Boston Symphony with Charles Munch conducting on 3 February 1956. The work is dedicated to the memory of Natalie and Serge Koussevitzky. The score calls for two piccolos (first doubling third flute) and two flutes, three oboes and English horn, two B-flat clarinets with E-flat clarinet and bass clarinet, three bassoons and contrabassoon, eight horns (of xuhich four are ad lib.), four trum?pets, three trombones, tuba, timpani, tam-tam, snare drum, bass drum, glockenspiel, Chinese blocks, cymbals, field drum, wood block, xylo?phone, triangle, slapstick, piano, and strings.
Aaron Copland had begun by trying to learn harmony from a correspondence course. His first "real" teacher, Rubin Goldmark (nephew of the Viennese com?poser Karl Goldmark), had a lot to teach by way of traditional theory and form, but soon the young man knew that he needed to move on. Copland was in the first wave of Americans to go to Paris for studies with Nadia Boulanger. Roy Harris, Walter Piston, Marc Blitzstein, Virgil Thomson, Douglas Moore, Elliott Carter, David Diamond, Irving Fine, Arthur Berger, Harold Shapero, Easley Blackwood, and Philip Glass were among those who followed.
Boulanger did more for Copland than help him develop the technique that freed him to be himself. It was through her that he met Serge Koussevitzky, who became con?ductor of the Boston Symphony in 1924. Koussevitzky was a good friend to acquire. He believed passionately in the cause of new music and in his obligation as head of one of America's most important musical institu-
tions to support American musicians. He presented Copland's Organ Symphony and went on to give the first performances of his Music for the Theater'm 1925, the Piano Concerto in 1927, and the Symphonic Ode'm 1932.
Part of what spurred Copland on to begin his Ode was the announcement of a $25,000 prize -an immense sum then -offered by the RCA Victor record company for a symphonic work. As the deadline approached, Copland realized he would not be able to finish the Symphonic Ode in time, and so, recycling material from his unpub?lished 1925 ballet score Grohg, he put together and submitted his Dance Symphony. The prize was split five ways among four composers. Robert Russell Bennett won two-fifths for his Abraham Lincoln Symphony and Copland's Dance Symphony was awarded a one-fifth share of $5,000.
As for the Symphonic Ode, Koussevitzky came to the rescue by offering Copland a commission for a work to celebrate the Boston Symphony's fiftieth anniversary. That Copland planned something grandiose suited Koussevitzky perfectly. But when the Ode went into rehearsal at the end of March 1930, conductor and orchestra experienced tremendous difficulty with the constant changes of tempo and meter. Copland worked hard to simplify the notation, but he suggested the premiere be postponed so he could clarify the appearance of the music on the page still more. When Koussevitzky was finally able to introduce the work, it was generally well-received in the press, though some audiences shrank from its dissonances.
A performance in 1932 in Mexico City under Carlos Chavez went well, but the Ode was not heard again until Thor Johnson conducted it at The Juilliard School in 1946. The Boston Symphony's seventy-fifth anniversary provided an occasion to revise the score. This time, reviews were thorough?ly negative, and Copland found Munch's conducting "stiff and unconvincing. . . .
I sure do wish I could hear it conducted by an American."
The Ode was one of Copland's favorites among all his works. He thought of it as the piece in which he announced that he had grown up, and many years after its composi?tion he tried to step back and paint its por?trait: "The Ode resembles me at the time [of my thirtieth birthday], full of ideas and ideals, introspective and serious, but still showing touches of youthful jazz days, reflections of a Jewish heritage, remnants of Paris (Boulanger's la grande ligne), influences of Mahler (the orchestration) and Stravinsky (motor rhythms). Looking ahead, one can hear. . .the beginnings of a purer, non-pro?grammatic style, an attempt toward an econ?omy of material and transparency of texture that would be taken much further in the next few years in the Piano Variations, the Short Symphony, and Statements for Orchestra. . . . I was attempting to write a piece of music with an unbroken logic so thoroughly unified that the very last note bears a relation to the first. I used a two-measure blues motif (from my Nocturne for violin and piano of 1926) as the musical basis of all five sections." Copland was often asked about the tide, and he explained that it was "not meant to imply connection with a literary idea. It is not an ode to anything in particular, but rather a spirit that is to be found in the music itself."
The Ode begins in what composer Phillip Ramey has called Copland's "laying-down-the-law" mood, with trumpets and trombones, soon joined by horns, filling the hall with their proclamations. Before long, they involve the whole orchestra in their rhetoric. The lines are jagged, and their combination yields some fiercely dissonant harmonies, although brilliant and insistent major triads are also part of the vocabulary. After a while, a more lyric temper prevails, initiated by a single muted trumpet. As the strings develop some beautifully gauged contrapuntal textures, the speed increases,
eventually landing in a real Allegro.
Here, I imagine, is where Koussevitzky and the 1930 Boston Symphony broke down. Players today are reared on tricky rhythms like these, but this music remains extremely difficult. This is a scherzo with constant shifts between 38, 44, 58, 34, and 78. The music is capricious, exuber?ant, humorous, very physical and athletic.
Suddenly the slow music from the beginning returns, though the ordering of events is much rearranged. Then the scherzo reappears, but hushed, and punctuated by brush strokes on a cymbal. This time it leads to a hootchy-kootchy dance, begun by timpani and piano, with violists pretending they are percussionists too. A grand slowing down brings us back to the original slow tempo, and, organizing a mountainous pileup of sonorities that indicates he had studied the close of the Mahler Second well, Copland brings his Symphonic Ode to its grandilo?quent close.
Symphony No. 5 in c-sharp minor
Born July j, i860 in Kalischt (Kaliste), near the
Moravian border of Bohemia, Died May 18, 1911 in Vienna
Mahler composed the Symphony No. 5 in 1901-02 and led the first performance with the Giirzenich Orchestra in Cologne on 18 October 1904, having conducted a read-through with the Vienna Philharmonic earlier that year. Frank van der Stucken conducted the first American performance with the Cincinnati Symphony on 25 March 1905. The score calls for four flutes (two doubling piccolo), three oboes and English horn, three clarinets and bass clarinet, three bassoons and contrabassoon, six horns, four trumpets, three trombones, tuba, timpani, cymbals, bass drum, bass drum with
cymbals attached, snare drum, triangle, glocken?spiel, tam-tam, slapstick, harp, and strings.
In 1901, at the juncture of completing his Fourth Symphony and beginning the Fifth, Mahler was acutely conscious of taking a new path. After a run of eccentric sym?phonies, he came back to a more "normal" design, one that could be described as con?centric as well as symmetrical. The Second, Third, and Fourth symphonies had included singing, but the Fifth is an instrumental conception. The music is also leaner and harder. Around 1901, when he began work on the Fifth Symphony, Mahler had acquired the complete edition of Bach, and his excited discovery of what was in those volumes led him to create more polyphonic textures in his own music. But this new "intensified polyphony," as Bruno Walter called it, demanded a new orchestral style, and that did not come easily. Mahler conducted the premiere of the Fifth Symphony with the Gurzenich Orchestra in Cologne on 18 October 1904, but he made alterations until at least 1907 (his final version, which is what you hear this evening, was published for the first time in 1964 by the International Gustav Mahler Society, Vienna).
"Heavens, what is the public to make of this chaos in which new worlds are for ever being engendered, only to crumble into ruin the next moment" Mahler wrote his wife, Alma, after the first rehearsal. "What are they to say to this primeval music, this foaming, roaring, raging sea of sound, to these dancing stars, to these breathtaking, iridescent, and flashing breakers" For the composer Ernst Krenek, the Fifth Symphony is the work with which Mahler enters "upon the territory of the 'new' music of the twen?tieth century."
Mahler casts the work in five movements, but some very large Roman numerals in the score indicate a more basic division into three sections, consisting respectively of the
first two, the third, and the last two move?ments. At the center stands the Scherzo, and its place in the design is pleasingly ambiguous in that it is framed between larger structural units (Sections I and III) but is itself longer than any other single movement.
Mahler begins with funeral music, start?ing with the summons of a trumpet. Most of the orchestra is drawn into this darkly sonorous exordium, whose purpose is to prepare a lament sung by violins and cellos. At least that is how it is sung to begin with, but it is characteristic of Mahler's scoring that colors and textures, weights and bal?ances, degrees of light and shade shift from moment to moment. Something else that changes is the melody itself. Ask six friends who know this symphony to sing this dirge for you and you may well get six versions, no two identical but all correct. It is a wonder?ful play of perpetual variation.
The opening music comes back. Again the summons leads to the inspired threnody, unfolded this time at greater breadth and with a more intense grieving. Yet again the trumpet recalls the symphony's first bars, but this time, suddenly, with utmost violence and across a brutally simple accompaniment, violins fling forth a whipping downward scale and the trumpet is pushed to scream its anguish. An attempt to introduce a loftier strain is quickly swept aside. Gradually Mahler returns to the original slow tempo and to the cortege we have come to associ?ate with it. When the whipping violin scale returns it is in the context of the slow tempo, and the movement disintegrates in ghostly reminders of the fanfare and a sav?agely final punctuation mark.
What we have heard so far is a slow movement with a fast interruption. There follows its inversion, a quick movement that returns several times to the tempo of the funeral march. These two parts of Section I actually share thematic material. Still more variants of the great threnody appear, and
the grieving commentary that accompanied the melody in the first movement moves more insistently into the foreground, to the point even of transforming itself for a moment into a march of unseemly jaunti-ness. Mahler uses yet another transforma?tion of that motif with its upward-thrusting ninth to say that there will be an end to tears and to lamentation; for now trumpets and trombones intone a chorale, the sym?phony's first extended music in a major key. But it is too soon for victory. The grand proclamation vanishes as though it had never been.
Four horns in unison declare the open?ing of the Scherzo. The voice of a single horn detaches itself from that call, the beginning of a challenging obbligato for the principal player. This is country music, by turns ebullient, nostalgic, and a mite paro-distic. There is room even for awe as horns speak and echo across deep mountain gorges. It is exuberantly inventive too, its energies fed by the bold ingenuity of Mahler's polyphony (four themes sound at once in the coda), and it is brilliantly set for the orchestra.
The diminutive in the title of the famous fourth movement refers to its brevity. If any single movement can convey the essence of Mahler's heartache, the Adagietto is it. The orchestra is reduced to strings with harp, and one could go on learning forever from the uncanny sense of detail with which Mahler moves those few strands of sound. The Adagietto is cousin to one of Mahler's first Ruckert songs -"Ich bin der Welt abhan-den gekommen" (I am lost to the world). It is not so much a matter of quotation as of drawing twice from the same well. Adagietto and song share characteristic features, and our knowledge of the song, which ends with the lines "I live alone in my heaven, in my loving, in my song," confirms our sense of what Mahler wishes to tell us in this page of his symphony.
After the brightness of the Scherzo, Mahler had set the Adagietto in a darker key. Now, in a most delicately imagined passage, he finds his way back to the light. A single horn reintroduces the winds and takes us back to the territory of the horn-dominated Scherzo, to music before the lost-to-the-world Adagietto brought time to a stop. Softly the violins confirm the horn's recollection. The horn attacks it again, this time with more vigor, and the bassoon treats it as a note against which a cheery song might be introduced.
As abruptly as he had moved from the tragedy of the first two movements into the joyous vitality of the Scherzo, Mahler now leaves behind the hesitations and cries of his Adagietto to dive into the radiant, abundant finale. It is, most of it, superb comedy, so vigorous that it can even include the melody of the Adagietto -in quick tempo -as one of its themes. The brass chorale from the second movement comes back, this time in its full extension, as a gesture of triumph and as a structural bridge across the sym?phony's great span. When all is done, though, no one is in the mood for an exalt?ed close, and the symphony ends on a shout of laughter.
Notes by Michael Steinberg, program annotator for the San Francisco Symphony and the New York Philharmonic. O 1996 San Francisco Symphony.
?B he San Francisco
1 Symphony was born in the wake of the 1906 earthquake, when estab?lishment of a permanent orchestra was high on afl the civi( agenda. I 11 Orchestra gave its first concerts in December 1911 and almost immediately revitalized the city's cultural life with programs that offered
a kaleidoscope of classics and new music. The San Francisco Symphony grew in stature and acclaim under a succession of distin?guished music directors: Henry Hadley, among the foremost American composers of his era, Alfred Hertz (who had led the American premieres of Parsifal, Salome, and Der Rosenkavalier at the Metropolitan Opera), Basil Cameron, Issay Dobrowen, the legendary Pierre Monteux (who introduced the world to The Rile of Spring and Petrushka), Enrique Jorda, Josef Krips, Seiji Ozawa, Edo de Waart, and Herbert Blomstedt (who, after a decade-long tenure that began in 1985, now serves as Conductor Laureate). Michael Tilson Thomas, one of the world's most prominent musicians, assumed his post as Music Director at the beginning of the current season. Together, he and the San Francisco Symphony have entered into a partnership that will extend into the next century.
In recent seasons the San Francisco Symphony has won some of the world's most prestigious recording awards, including France's Grand Prix du Disque, Britain's Gramophone Award, Japan's Record Academy Award, a Grammy (Best Choral Recording) for Carmina burana, and a Grammy nomina?tion (Best Classical Album) for Mahler's Symphony No. 2. Michael Tilson Thomas and the San Francisco Symphony now record exclusively for BMG ClassicsRCA Victor Red Seal, and their first recording, of scenes from Prokofiev's Romeo and Juliet, was released last month. The ambitious touring program ini?tiated during the Blomstedt years -four trips to Europe, including a stunning debut at the 1990 Salzburg Festival -three Asian tours, and performances throughout California and on the East Coast, continues with this current tour, which takes the Orchestra to the Midwest, Washington D.C., and Florida.
Some of the most important conductors of our time have been guests on the San Francisco Symphony podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein, Sir Georg Solti, and Kurt Masur,
and the list of composers who have led the Orchestra is a who's who of twentieth-centu?ry music, including Igor Stravinsky, Serge Prokofiev, Maurice Ravel, Arnold Schoenberg, Paul Hindemith, Aaron Copland, and John Adams. In recent years the Symphony has been honored seven times by the American Society of Composers, Authors and Publishers for adventuresome programming of new music. And in 1979, the appointment of John Adams as New Music Adviser became a model for a composer-in-residence program since adopted by major orchestras across America (Adams served as Composer-in-Residence until 1985, Charles Wuorinen held the post from 1985 until 1989, and George Perle served from 1989 until 1991).
In ig8o, the Orchestra moved into the newly built Louise M. Davies Symphony Hall, which in 1992 underwent an extensive acoustic renovation. 1980 also saw the founding of the San Francisco Symphony Youth Orchestra, winner in 1985 of the
world's highest honor for a young musicians' ensemble, the City of Vienna Prize. The San Francisco Symphony Chorus has been heard around the world not only on SFS recordings but on the soundtracks of three major films, Amadeus, The Unbearable
Lightness of Being, and Godfather III.
Through its radio broadcasts, the first in America to feature symphonic music when they began in 1926, the San Francisco Symphony is heard throughout the country on more than 225 stations, confirming an artistic vitality whose impact extends throughout American musical life.
This evening's performance marks the San Francisco Symphony's third appearance under UMS auspices.
Michael Tilson Thomas
ichael Tilson Thomas assumed his post as the San Francisco Symphony's Music Director at the i beginning of the igg5-g6 season, consolidating a relationship with the Orchestra that began with his SFS debut in 1974. A Los Angeles native, he studied piano with John Crown and compo?sition and conducting with Ingolf Dahl at the University of Southern California, becoming Music Director of the Young Musicians Foundation Debut Orchestra at nineteen and working with Stravinsky, Boulez, Stockhausen, and Copland on premieres of their compositions at the famed Monday Evening Concerts. He was pianist and con?ductor for master classes given by Piatigorsky and Heifetz and, as a student of Friedelind Wagner, an assistant conductor at Bayreuth. In ig6g, at twenty-four, Mr. Tilson Thomas won the Koussevitzky Prize and was appointed Assistant Conductor of the Boston Symphony. Ten days later he came to international recognition, replacing Music Director William Steinberg in mid-concert at Lincoln Center. He went on to become the BSO's Associate Conductor, then Principal Guest Conductor, and he has also served as Chief Conductor and Director of the Ojai Festival, Music Director of the Buffalo Philharmonic, a Principal Guest Conductor of the Los Angeles Philharmonic, and Principal Conductor of the Great Woods Music Festival. He has toured the world with the London Symphony Orchestra, of which he became Principal Conductor in ig88 and now serves as Principal Guest Conductor. Since iggo, when he and Leonard Bernstein inaugurated the Pacific Music Festival in Sapporo, Japan, he has been the Festival's Artistic Director, and he con?tinues to serve as Artistic Director of the
New World Symphony, which he founded in ig88. The breadth of his recorded repertory reflects wide-ranging interests arising from his work as conductor, composer, and pianist: Bach and Beethoven to Mahler, Reich, and classics of the American musical theater, such as his Gramophone Award-winning recording of Bernstein's On the Town. On television, he has been featured in a series widi the London Symphony Orchestra for the BBC, a PBS documentary with the New World Symphony, and the series Concerto! with the LSO, distinguished soloists, and host Dudley Moore. A committed educator, he led the New York Philharmonic Young People's Concerts on CBS-TV from 1971 to 1977. He conceived the New World Symphony, a train?ing orchestra for the most gifted graduates of America's conservatories, and his many tours with the ensemble included UNICEF benefit performances in which Audrey Hepburn narrated his From tlie Diary of Anne Frank. He led that work to open the Israel Philharmonic's season in 1994, and in Washington and New York last May with actress Debra Winger, marking die 50th anniversary of Anne Frank's death. Last June he conducted the LSO in a concert honoring relief workers and earthquake survivors in Kobe, Japan. In August 1995 he led the Pacific Music Festival Orchestra in the world premiere of a work he wrote commemorat?ing the 50th anniversary of the bombing of Hiroshima. Viva Voce, his volume of conver?sations with critic Edward Seckerson, was published in the United Kingdom by Faber & Faber in 1994 and in the United States last year. Mr. Tilson Thomas's many honors include Columbia University's Ditson Award for services to American music, and he was named 1995 Conductor of the Year by Musical America.
This evening's performance marks Maestro Tilson Thomas 'fifth appearance under UMS auspices.
San Francisco Symphony
Michael Tilson Thomas, Music Director
Herbert Blomsteat, Conductor iMttreate AI.imI.ui Neale, Associate Conductor Vance George, Chorus Director
Raymond Koblcr Concertmaster Naoum Blinder Chair
Nadya Tic h man
Associate Concertmaster San Francisco Symphony Foundation Chair
Assistant Concertmaster 75th Anniversary Chair
Catherine Van Hoesen Catherine A. Mueller Chair
Dinner & Swig Families Chair Paul Brancalo
Acting Associate Principal Kum Mo Kim Enrique Bocedi Chun Ming Mo Michael Gerling Gail Schwarzbart Yasuko Hattori Robert Zelnick Margaret Bichteler Frances Jeffrey Qing Hou
Isaac Stern Chair Daniel Kobialka Philip Santos+ Sarn Oliver+ Herbert Holtman Cathryn Down+ Rudy Kremer+
The Katharine Hanrahan Chair in the first violins ami (he Audrey Avis Aasrn-Huli Chair in thf second violins are currrntly unoccupied.
Jewell Chair Yun Jie Liu
Associate Principal Don Ehrlich
Assistant Principal John Schooling Leonid Gesin Wayne Rodcn Nancy Ellis Setli Mausner Nanci Severance David Gaudry Gina Feinauer Roxann Jacobson+ Brian Quincey+
Philip S. Borne Chair Peter Shelton
Associate Principal Diane Farrell
Barrie Ramsay Zesiger Chair Margaret Tait David Goldblatt Jill Rachuy Brindel Lawrence Granger Anne Pinsker Barbara Andres Carolyn Mclntosh Barbara Bogatin Eileen Moon+
Principal Larry Epstein
Associate Principal Stephen Tramontozji
Richard & Rhoda
Goldman Chair William Rilchen Chris Gilbert Brian Marcus Lee Ann Crocker S. Mark Wright Charles Chandler
Flute Paul Rcnzi
Caroline H. Hume Chair Robin McKee
Catherine & Russell dark Chair Linda Lukas
AlndSand Dede Wilsey Chair Catherine Payne
Edo de Waart Chair Roger Wiesmcyer+
Associate Principal Pamela Langford
Dr. William D. Clinite Chair Julie Ann Giacobassi
Joseph & Pauline
Clarinet David Breeden
Principal Luis Baez
E-Jlat Clarinet David Neuman Donald Carroll
Bassoon Stephen Paulson
Principal Steven Dibner
Associate Principal Rob Weir
Peter Hoefer Chair Steven Braunstein
A. David Krehbiel
Jeannik Mequet LittUfield
Chair Robert Ward
Associate Principal Bruce Roberts
Assistant Principal Ixjri Westin
Richard B. Gump Chair Jonathan Ring Douglas Hull+
Trumpet Glenn FischthaJ
William G. Irwin
Charity Foundation Chair Laurie McGaw
Associate Principal Chris Bogios James Dooley+ Timothy Wilson+
Mark H. Lawrence
Robert L. Samter Chair Paul Wclcomer John Engclkes
James Irvine Chair Peter Wahrhaftig+
Douglas Rioth Karen Gottlieb+
Timpani David Herbert
Percussion Jack Van Geem
Carol Franc Buck
Foundation Chair AnthonyJ. Cirone Raymond Froehlich Tom Hemphill Arthur Storeh+
Tour Staff Peter Pastreich
Executive Director Richard Early
General Manager John Kiescr
Director of Operations
Tour Manager Karen Cardell
Public Relations Director Joshua Feldman
Orchestra Personnel Manager John Engelkes
Personnel Manager John Van Winkle
Music Librarian Luree Baker
Stage Technician Dennis DeVost
Stage Technician Vance DeVost
? On leave
+ Acting member of the San Francisco Symphony
The Estate of
William R. Kinney
The Complete Solo Piano Music of Frederic Chopin
Saturday Evening, March 16, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Grand Finale Concert
Impromptu No. 2 in F-sharp Major, Op. 36
Twelve Etudes, Op. 25
No. 1 in A-flat Major
No. 2 in f minor
No. 3 in F Major
No. 4 in a minor
No. 5 in e minor
No. 6 in g-sharp minor
No. 7 in c-sharp minor
No. 8 in D-flat Major
No. 9 in G-flat Major
No. 10 in d minor
No. 1 1 in a minor
No. 12 in c minor
Two Nocturnes, Op. 62
No. 1 in B Major
No. 2 in E Major
Three Mazurkas, Op. 59
No. 1 in a minor No. 2 in A-flat Major No. 3 in f-sharp minor
Polonaise-Fantasie in A-flat Major, Op. 61
Ballade No. 3 in A-flat Major, Op. 47 Three Mazurkas, Op. 50
No. 1 in G Major No. 2 in A-flat Major No. 3 in c-sharp minor
Sonata No. 3 in b minor, Op. 58
Scherzo: Molto vivace
Finale: Presto non tanto
Forty-fourth concert of the njth season
11 yth Annual Choral Union Series
This performance is made possible by a gift from the estate of William R. Kitmey.
This evening's floral art is made possible by Cherie Rehkopfand John Ozga, Fine Flowers, Ann Arbor.
The pre-concert carillon recital was performed by Pat Makoska.
The use of the Bosendorfer piano in this evenings performance is made possible by an endowment established by Mary and William Palmer and by Evola Music.
Tonight we honor Alva Gordon Sink, wife of the late Charles A. Sink, Executive Director and President of the University Musical Society from 1927 to 1957. Mrs. Sink celebrated her 100th birthday this December.
Shaw Concerts, Inc., New York, New York Angel, Arabesque and Telarc Recordings
Large print programs are available upon request from an usher.
Born c. March I, 1810 in Zelazoiva Wola,
Died October 27, 1849 in Paris
With this program's magnificent reper?toire, Garrick Ohlsson draws to its close his historic series of recitals devoted to the deathless, beloved music of Frederic Chopin. Mr. Ohlsson's project has drawn thousands of listeners into firsthand contact with the products of one of the Romantic Era's most amazing musical imaginations -in the setting of public recitals where the excitement of audience-and-artist interac?tion allows the music to be experienced with all the freshness of the moment. Infinitely more valuable than recordings (which end?lessly repeat the same performance), live performances such as these provide for intensely focused communication between composer and listener via an interpreter whose unique view of each work heightens our sense of the music, lifts our spirits, and results in wonderful memories. Thus, we celebrate here the conclusion of a major musical undertaking and the beginning of our new perceptions of Chopin's greatness. The Impromptu No. 2 is the second of four works which were Chopin's contribu?tion to the development of a type of compo?sition inaugurated by the Bohemian com?poser Jan Vorisek in 1822. Based on the idea of spontaneous inspiration, these pieces with their simple ABA form and apparently extemporized figures exercise a peculiar charm. This one, which appeared in 1840 when Chopin was 30, has a purling Coda to add to its effect. Noteworthy is the left hand's six-bar introduction, for its upper line contains some of the notes which appear in the melody to come in the right hand. Thus accompaniment becomes melody and an indissoluble link is estab?lished between the two. It is a secret of
come of Chopin's most subtle counterpoint.
The Twelve Etudes, Op. 25 were pub?lished in a single volume in 1837, when Chopin was 27 (although seven of them had been completed by 1834). Here the word genius again is aptly applied, since the only precedent for etudes as original, as musical and as difficult was provided by Chopin's Op. 10, written at the age of 23! Curiously, the new set was dedicated to the Countess Marie d'Agoult, mistress of the dedicatee of the first set, Franz Liszt. Although intensive scholarship has failed to discover the reason why, it is amusing to note that the recent motion picture Impromptu (with Hugh Grant as Chopin and Bernadette Peters as Marie) implied a liaison between Chopin and the titled lady -these Etudes being her reward.
No. 1 with its murmuring arpeggios and pastoral melody -has been known var?iously as The Shepherd Boy and The Aeolian Harp, with authentic stories to support each. Chopin told a pupil, "Imagine a little shep?herd who takes refuge in a peaceful grotto from an approaching storm. In the distance rushes the wind and the rain, while the shepherd gently plays a melody on his flute." Schumann, who heard Chopin play the piece, wrote, "Imagine that an Aeolian harp possessed all the musical scales and that the hand of an artist were to cause them to intermingle in all sorts of fantastic embellishments, yet in such a way as to leave everywhere audible a deep fundamental tone and a soft continuously singing upper voice, and you will get an idea of Chopin's playing. When the etude was ended, we felt as though we had seen a radiant picture in a dream which, half awake, we ached to recall."
No. 2 a tiny toccata in understated, whirring triplets -has always been known in France as Les Abeilles (The Bees), yet Schumann heard it "as the song of a sleep?ing child", an observation which Huneker supports with this beautiful thought: "No
comparison could be prettier, for there is a sweet, delicate drone that sometimes issues from childish lips, having a charm for ears not attuned to grosser things."
No. 3 takes a novel pattern of capricious, almost jerky gestures-inopposition between the two hands and makes music with it which is so bravura an expression of happiness that we scarcely notice its technique. When viewed closely, a marvel is beheld -four differing little motives occurring simultaneously on every beat!
No. 4 is, in E. Robert Schmitz' opinion, a "very modern composition. . .a brilliant predecessor and forerunner of a syncopated age." A fundamental rhythm in the left hand sets off staccato melodic chords placed strategically between the beats -for a curi?ously restless effect. Huneker tells us that "Stephen Heller remarked that this study reminded him of the first bar of the Kyrie -rather the 'Requiem Aeternam' of Mozart's Requiem."
No. 5, being a study -kggiero and scherzando -of grace notes (on the beat, then ahead of the beat) and accented pass?ing tones, sounds even odder than No. 4 until relief is provided by a ravishingly beau?tiful melody that appears in the middle part (under a pattern of rich embroidery in the treble). At the end, only the grace notes remain. We hear them struck six times insis?tently before they turn into a trill and are swept away by a loud, slow arpeggio up the keyboard. Some people have heard the outer parts as suggestive of a mazurka and the central one as reminiscent of a barcarolle.
No. 6 treats the technical problem of executing rapid right-hand thirds not for brilliant display but, rather, for poetic melo?diousness (there being no tangible melody). Louis Ehlert recognized Chopin's achieve?ment thus: "He deprives every passage of all mechanical appearance by promoting it to become the embodiment of a beautiful thought, which in turn finds graceful
expression in its motion." This is one of the greatest of Chopin's alchemical transmuta?tions of the etude-idea for, in it, the lead of mere physical prowess has become pure musical gold.
No. 7 gives vent to a magnificent display of expression via an impassioned duet -molto cantabile -in the treble and bass lines while, somehow, a soft accompaniment mur?murs in between. It is as though a flute and a cello of supernatural range were, in Chopin's mind, the protagonists of this drama -with a string quartet in the back?ground. Heller wrote of the work, "It engenders the sweetest sadness, the most enviable torments, and if in playing it one feels oneself insensibly drawn toward mourn?ful and melancholy ideas, it is a disposition of the soul which I prefer to all others. Alas! How I love these sombre and mysterious dreams, and Chopin is the god who creates them."
No. 8 takes the pianist's right hand into virtuosic combat with sixths. Hans von Bulow considered this surging piece to be "the most useful exercise in the whole range of etude literature." Certainly, its perpetual motion can only be rendered by a fully developed master of the keyboard, one whose ears are as sensitive to Chopin's daring harmonies as his fingers are to its technical demands.
No. 9 is known as The Butterfly, although Chopin gave it no name. Perhaps its graceful right-hand flutterings suggested to someone sunlight flashing on the iridescent wings of certain diurnal insects. In any case, the pianist faces the problem of flicking from his wrist a broken chord and two leggiero octaves on every beat (except two -when his musical lepidopteran alights ever so delicately, one imagines, on a flower.)
No. 10 empowers legato chromatic octaves-in-unison with the force of Nature, unleashing tumultuous surges of tone. Schmitz likened it to "a powerful surf with
its overlapping onrushes and its sudden breaking turns." Poised between the work's two such tidal waves is the exquisite lyricism of the central section, also in octaves for the right hand and containing an embryonic chorale tucked into an inner voice. Frederick Niecks, a late nineteenth-century biographer of Chopin, describes the piece as "a real pandemonium; for a while holier sounds intervene, but finally hell prevails."
No. 11 -known to everyone as The Winter Wind -is really a magnificent march based, as we hear from a pair of quiet phrases that introduce the work, on a motive almost identical to Chopin's Funeral March. This cortege-V.e theme is ever present, proceeding grandly and implacably against icy gales of figurations hurtling across the treble. Huneker is right when he says, "It takes prodigious power and endurance to play this work, prodigious power, passion and no little poetry. It is open air music, storm music, and at times moves in processional splendor. Small souled men, no matter how agile their fingers, should avoid it." Chopin warned a pupil that such music "can be treacherous and dangerous for the uninitiated."
No. 12 often called The Ocean -employs parallel arpeggios in both hands up and down the keyboard with an effect suggesting the mighty waves of an ocean. Huneker, never at a loss for good descriptive phraseol?ogy, felt in it "the thunder and spray of the sea when it tumbles and roars on some sullen and savage shore." Essentially a study in pianistic resonance, the music is at base a chorale which Chopin has expanded into what Schmitz reckoned as "a gigantic play of chimes." Others have heard in it "the sound of great guns." Whatever Chopin's inten?tion, this epic of pianism -with its tri?umphant major-key ending -never fails to sweep away its hearers' imaginations as it sweeps them to their feet.
Two Nocturnes, Op. 62 of 1846 were Chopin's last in the genre. No. 1, dubbed
the 'Tuberose Nocturne" by Huneker, revels in pianistic jewelry when the main theme returns sheathed in trills -a ravishing effect which is in keeping with the glories of two other sonorous masterworks from the same year, the Barcarolle and the Polonaise-Fantasy. No. 2, written just before Chopin abandoned Sand's house at Nohant (never to return), treats its warm, consolatory melody to three variations before evolving into an agitato which is destined to generate material for the work's epilogue.
Three Mazurkas, Op. 59 date from 1845. Thirteen years had passed since Chopin began publishing his little Polish dances of this sort. The rousing bouyance of earlier mazurkas -so popular in Parisian salons when Chopin was present to play them -had begun to ebb in him, with an increase in poetic content and sophistication of form. No. 1 opens the set by venturing, as Huneker put it, "off the familiar road to some strange glade, wherein the flowers are rare in scent and color." This result comes from the music's curious shifting of keys by wholly novel means. No. 2, which Hadow called "perhaps the most beautiful of all the mazurkas," has an extraordinary chain of chromatic harmonies just before the return of its main theme -then it all vanishes qui?etly. No. 3 is less wistful, making its way amusingly from the start with an accent on the last beat of several bars in a row. This little "kick" occurs later just for a moment or two, reminding us of our point of depar?ture, then the music's subtle Coda carries us from the imaginary dance floor back to our seats.
With his Polonaise-Fantasie, Op. 64, pub?lished one year after the Mazurkas we have just heard, Chopin brought to a magnificent conclusion his pageant of polonaises. "I have composed something that I do not know how to name," he wrote. Perhaps the recollection of his Fantasy-Impromptu (1835) suggested the merger of two concepts here,
the dance form with its throbbing pulse and the free fantasy laden with emotion. But the scale here is very different -far larger, in fact, than any other of his dance-inspired compositions. Chopin seems to stretch the very idea of a polonaise to greater capacity than anyone (except he) could imagine. A sinuous introduction, apparently impro?visatory but actually a key part of the struc?ture, prepares for the emergence of the polonaise proper (with its fascinating, fluid excursions away from and back to the rhyth?mic dance) and inaugurates the tremendous apotheosis which is the work's Coda. Thus Chopin's valedictory polonaise, having lifted the genre to a totally different plane, proves its composer to be both the master of unique musical material and one of the most original creators of musical form in the entire Romantic Era. This masterpiece has no twin anywhere in die repertoire. That Chopin never again chose to express himself through a polonaise may mean that he knew his pen had left nothing unsaid or unsung from the realm of innermost feelings for Polish form, spirit and destiny.
Chopin's Ballade No. 3, unlike its cele?brated precursors with their long gestation times, required less than twenty-four months from its start in 1840 to its completion and publication in 1841. These months marked a high point in Chopin's Parisian career as well as in his doomed affair with Mme. Sand. Accounts exist of at least three public per?formances by Chopin of this work. Because Chopin told Robert Schumann that there was a literary source behind his inspiration -one rooted deep in Polish nationalism: the ballades of the composer's friend, the poet Adam Mickiewicz -Alfred Cortot linked this work to a specific poem. A summary by Cortot helps the listener to appreciate the narrative tone of this impas?sioned work:
Ondine takes place beside the Lake of the Wilis, where a young man pledges his fideli?ty to a young girl he has seen there. Doubling the constancy of men and despite her suitor's protests, she withdraws and reap?pears as a charming Ondine. Scarcely has she tempted the young man than he suc?cumbs to her enchantment. Cursed, he is drawn into the watery abyss and condemned to pursue her slippery, flickering image forever.
Three Mazurkas, Op. 50 belong to the year 1842, when Chopin was 32. They share with those of Op. 59 (heard earlier tonight) a certain nostalgia for what had gone before yet have their own piquant points to make. No. 1 begins vivaciously enough, enjoys an ample first section, hops into other tonalities during a short, jerky central section, then slips back quietly to the opening idea -only to end with a bang. No. 2 behaves sim?ilarly, but ends quietly. With No. 3, Chopin provides a touch of canonic imitation a la Bach to launch a form of great originality. Its several themes occur in rotation and receive intriguing little variations before Chopin has had enough and ends with a musical "So there!"
When Chopin composed his Sonata No. 3, his previous Sonata lay five years in die past. Besides assorted impromptus, mazurkas, nocturnes, polonaises and waltzes, his union with the remarkable woman known as George Sand had produced three Ballades, two Scherzi, the Heroic Polonaise in A-flat Major, the great Fantasy in f-minor and the exquisite Berceuse. This level of musical creativity could only be exceeded by another Sonata, or so we may assume that Chopin felt. Nothing at all is known of the work's genesis, only that it was completed in 1844 and published the next year after. No account has been found of a performance by the composer.
Chopin's Sonata No. 3 luxuriates in fabu?lously textured writing. Banished are the austerity and sepulchral associations of its celebrated predecessor, the Funeral March Sonata; present are equality of balance between the emotional forces of major and minor keys, between the elements of neces?sarily contrasting matrials and among ele?ments of line, harmony and free counter?point. Moreover, there is a wealth of lyric impulse verging on the most nobly operatic. The unbounded, enthusiastic "Allegro maestoso" is marked formally by an exten?sive second subject (which figures in the Coda) and the absence from its recapitula?tion of the first subject (as in Sonata No. 2). The "Scherzo" is the fleetest flight of fancy imaginable, with a Trio of quiet mystery. The "Largo," in ABA form, is cut from the cloth of Chopin's most serene nocturnes. The "Finale," one of pianism's most excit?ing, is a rondo whose theme recurs with ever-increasing dynamism to conclude in a blaze of tonic major glory.
Mr. Ohlsson's journey through the works of Frederic Chopin is now complete. Before we exit this hall to re-enter everyday life, it may be appropriate to cite a pair of wonder?fully-wrought observations about the man whose works have held us in such thrall through six programs. The first comes from Franz Liszt, who knew Chopin as "one of those original beings...adrift from all bondage." The second belongs to Alfred Cortot, who described Chopin's hands as having "a skin through the pores of which everything ignoble has evaporated."
Frank Cooper, program annotatorfor this cycle of Chopin recitals, teaches at Miami's New World School of the Arts and at the University of Miami in Coral Gables, Florida.
Pianist Garrick Ohlsson is an interpreter of great original?ity, whose playing combines supreme elegance with extraordinary tonal projec?tion. These qualities have placed him among the ranks of the world's foremost pianists.
A pianist of enormous musical and tech?nical resource, Mr. Ohlsson commands an unusually wide and eclectic repertoire, which ranges from the works of Mozart, Beethoven, Chopin, and Brahms, to twenti?eth-century masters such as Busoni, Prokofiev, Ravel, Rachmaninoff, and Bartok. His concerto repertoire alone numbers some seventy works for piano and orchestra.
Mr. Ohlsson is considered to be one of today's finest interpreters of the music of Frederic Chopin. In January 1995, Mr. Ohlsson embarked on this six-concert series devoted exclusively to Chopin's works for solo piano. These performances are taking place in Ann Arbor under University Musical Society auspices, at SUNY Purchase, and at Alice Tully Hall under the auspices of Lincoln Center's distinguished "Great Performers" Series. In addition, this season, Mr. Ohlsson will initiate the complete cycle in North York (Toronto) Canada. He has also programmed all-Chopin recitals in Buffalo, at Bucknell University and George Mason University, as well as recitals in Paris and in the Czech and Slovak Republics.
Mr. Ohlsson's orchestral appearances in North America and Europe this season will include performances in Liverpool, London and Birmingham with the Royal Liverpool Philharmonic Orchestra; in Monte Carlo with the Monte Carlo orchestra; in Paris and Amsterdam with the Royal Philharmonic Orchestra; in Prague with the Czech Philharmonic; at Carnegie Hall in New York with the Detroit Symphony; with the
Cleveland and Philadelphia Orchestras; the Atlanta, Houston, Jacksonville, Milwaukee, Phoenix, Portland (OR), San Francisco and Seattle Symphonies; and the St. Paul Chamber Orchestra.
A chamber musician who has collaborat?ed with such ensembles as the Cleveland, Emerson, Takacs, and Tokyo String Quartets, Mr. Ohlsson has made numerous chamber music appearances, most recently a concert featuring the Franck Quintet in f minor with the Guarneri Quartet at New York's Alice Tully Hall in April 1994, and a violinpiano recital with Gil Shaham at the Colorado Music Festival in August 1995. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio.
Mr. Ohlsson is a prolific recording artist who can be heard on the Arabesque, Angel, Delos, Nonesuch, Telarc and Virgin Classics labels. He is currendy recording the complete works for solo piano of Frederic Chopin for Arabesque; Volume Six, the Nocturnes was released this year.
Mr. Ohlsson was born in White Plains, New York where be began his piano studies at the age of eight. He attended the Westchester Conservatory of Music and at thirteen he entered The Juilliard School. In high school, Mr. Ohlsson demonstrated an extraordinary aptitude for mathematics and languages, but the concert stage . remained his true career objective.
Mr. Ohlsson's musical development has been influenced in completely different ways by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhevinne, and Irma Wolpe. Although he won First Prizes at the 1966 Busoni Competition in Italy and the 1968 Montreal Piano Competition, it was his 1970 triumph at the Chopin Competition in Warsaw, where he won the Gold Medal, that brought
him world-wide recognition as one of the finest pianists of his generation. Since that time, he has made nearly a dozen tours of Poland where to this day he remains virtually a national hero. Mr. Ohlsson was awarded the Avery Fisher Prize in spring 1994.
When not on tour, Mr. Ohlsson divides his time between New York City and San Francisco.
This evening's recital marks Mr. Ohlsson's sev?enth UMS appearance.
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 19891990 season with special one-hour performances for local fourth graders of Puccini's La Boheme by the New York City Opera National Company.
Now in its seventh year under the Education and Audience Development Department, the UMS Youth Program continues to expand, with performances by the Alvin Ailey American Dance Theater for middle and high school students, two opera performances for 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 the UMS season.
As part of its Ann Arbor residency, the Alvin Ailey American Dance Theater will present a special youth program to middle and high school students, and a family performance, both on March 19, 1996.
On Friday February 24, 1996, 2700 fourth-graders will visit the Power Center for abbreviated one-hour performances of Verdi's La 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 die Lincoln Center Jazz Orchestra Octet will perform a special youth performance at the Michigan Theater.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call the Education and Audience Development Director at 3 13.764.6179.
Volunteers & Interns
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educational materials for teachers, greeting and escorting students to seats at performances, and serving as good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 936.6837 or pick up a volunteer applica?tion form from the Information Table in the lobby. Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, promotion, and production. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in a UMS Marketing Internship should call (313) 764-6199, and those interested in a UMS Production Internship should call (313) 747-1173 for more information.
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538 or 764-6199.
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasandy.
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 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 donadons by hosting a delectable variety of dining events, including elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. Treat Yourself! Give the gift of tickets, purchase an entire event, or come alone meet new people and join in the fun while supporting UMS! Although some Delicious Experiences are sold out (A Valentine Brunch, Burmese Feast and "A Taste of Spring" Garden Dinner), space is still available for Dinner at Cousin's Heritage Inn (Jan 13), Mardi Gras Madness (Feb 24), An Elegant Dinner for Eight (Mar 2), Great Lakes Dinner (Mar 3), Great Wines and Many Courses (Apr 5), and Lazy Day Sunday Brunch (Apr 7). For die most delicious experiences of your life, call us at 313.936.6837.
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.
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, religious congregation or conference participants, family or guests, by calling
Start by saving big! When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 15 to 25 off the price of every ticket, along with 1-2 complimentary tickets to thank you for bringing your group to a UMS event:
20 or more Adults earn a 15 discount, and
1 complimentary ticket;
47 or more Adults earn a 20 discount, and
2 complimentary tickets;
10 or more Students earn a 20 discount, and 1 complimentary ticket.
io or more Senior Citizens earn a 20 discount, and 1 complimentary ticket.
For selected events, earn a 25 discount and 1 complimentary ticket.
Next, sit back and relax. Let the UMS Group Sales Coordinator provide you with complimentary promotional materials for the event, FREE bus park?ing, reserved block seating in the best seats available, and assistance with dining arrangements at a facility that meets your group's culinary criteria.
UMS provides all the ingredients for a success?ful event. All you need to supply are the partici?pants! Put UMS Group Sales to work for you by call?ing 3 3-763-3 IO?-
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.
Great performances--the best in music, theater and dance--are present?ed by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current contributors as of December 1, 1995. If there has been an error or omission, we sincerely apologize and would appreciate a call to correct this at your earliest con?venience. (313.747.1178).
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great traditions of the Society in the future.
Mr. Neil P. Anderson
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
The Graham H. Conger Estate
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Dr. Eva Mueller
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
The Estate of Marie Schlesinger
Dr. Herbert Sloan
Mr. and Mrs. Ronald G. Zollars
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 Wciser and other anonymous donors
Conlin-Fabcr Travel Great Lakes Bancorp The Hertz Corporation JPEinc.The Paideia Foundation Mainstreet Ventures, Inc. McKinley Associates, Inc. Philips Display Components Company Regency Travel, Inc. Society Bank Michigan The Edward Surovell Co.Realtors TriMas Corporation Warner-LambertParke-Davis Research Division
Detroit Edison Foundation Ford Motor Company Fund Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
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. Titicv
Dr. and Mrs. John F. Ullrich Paul and Elizabeth Yhouse and other anonymous donors
The Anderson Associates Brauer Investment Company Cafe Marie Cm tin and Alf
Environmental Research Institute
Ford Motor Credit Company Thomas B. McMullen Co., Inc. NSK Corporation O'Neal Construction Pepper, Hamilton 8c 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 Roscnthal 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 Gotdieb and
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 Lcbenbom 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 Sams Genie and Reid Sherard Victor and Marlene Stoefller 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.
Paulelt and Peler 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
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
Jean W. Campbell
Bruce and Jean Carlson
Edwin F. Carlson
Mrs. Raymond S. Chase
Pat and George Chatas
Jim and Connie Cook
Arnold and Susan Coran
H. Richard Crane
Kenneth and Judith DeWoskin
Molly and Bill Dobson
Jim and Patsy Donahey
Jan and Gil Dorer
Claudine Farrand and Daniel Moerman
Dr. and Mrs. William L. Fox
Beverley and Gerson Geltner
Margaret G. Gilbert
Grace M. Girvan
Paul and Anne Glendon
Dr. and Mrs. William Gracie
Seymour D. Greenstone
John R. and Helen K. Griffith
Mr. and Mrs. Robert Grijalva
Leslie and Mary Ellen Guinn
Mr. and Mrs. Elmer F. Hamel
Walter and Dianne Harrison
Harlan and Anne Hatcher
Fred and Joyce Hershenson
Mrs. W. A. Hiltner
Julian and Diane HofT
Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Che C. Huang and
Teresa Dar-Kuan L. Huang Patricia and John Huniington 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. Landcs Mr. and Mrs. David Larrouy Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Leo A. Legatski
Mr. and Mrs. Fernando S. Leon Dean S. Louis, M.D. Mr. and Mrs. CarlJ. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Peggy and Chuck Maitland Mr. and Mrs. Damon L. Mark Marilyn Mason and William Steinhoff Kenneth and Martha McClatchey John F. McCuen
Kevin McDonagh and Leslie Crofford Charlotte McGeoch Robert and Ann Meredith Barry Miller and Gloria Garcia Ronald Miller
Grant Moore and Douglas Weaver Mr. Erivan R. Morales and
Mr. Seigo Nakao
M. Haskell and Jan Barney Newman Len and Nancy Niehoff Karen Koykka O'Neal and Joe O'Neal Randolf Paschke Mr. and Mrs. William J. Pierce Eleanor and Peter Pollack Mrs. Gardner C. Quarton Stephen and Agnes Reading Mr. Donald H. Regan and Ms.
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
The Power Foundation Shift nun 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
Harlene and Henry Appelman
Mr. and Mrs. Arthur J. Ashe
Eric M. and Nancy Aupperlc
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 Bartlett
Astrid B. Beck and David Noel Freedman
Neal Bedford and Gcrlinda Melchiori
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
Mr. and Mrs. S. E. Bcrki
Maureen Folcy and John Biankley
Donald and Roberta Blitz
Roger and Polly Bookwalter
Robert and Sharon Bordeau
Laurence Boxer, M.D.; Grace J. Boxer. M.D.
Dean Paul C. Boytan
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
Morion B. and Raya Brown
Arthur and Alice Burks
Phoebe R. Burt
Rosemaric and Jurg Caduff
Mrs. Theodore Cage
H. D. Cameron
Mr. and Mrs. Robert Campbell
Charles and Martha Canned
Jim and Priscilla Carlson
John and Patricia Carver
Shelly and Andrew Caughey
Tsun and Siu Ying Chang
Dr. Kyung and Young Cho
Janice A. Clark
John and Nancy Clark
Alice S. Cohen
Wayne and Melinda Colquiit
Edward J. and Anne M. Comeau
Gordon and Marjorie Comfort
Sandra S. Connellan
Maria and Carl Constant
Lolagenc C. Coombs
Gage R. Cooper
Mary K. Cordes
Alan and Bettc Cotzin
Clifford 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 Carotin Dick
Tom Doane and
Patti Marshall-Doane Dr. and Mrs. Edward F. Domino William G. and Kathcrinc K Dow Nancy Griffin DuBois J. W. Durstine Sally and Morgan Edwards Dr. Alan S. Eiser 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 Felbcck Reno and Nancy Feldkamp Dr. James F. Filgas Sidney and Jean Fine Hcrschel and Annette Fink Mrs. BethJ. Fischer Susan Fisher and John Waidlcy Linda W. Fitzgerald Ray and Patricia Fitzgerald Stephen and Suzanne Fleming Jennifer and Guillcrmo Florcs Ernest and Margot Fonthcini Mr. and Mrs. George W. Ford James and Anne Ford Ilene H. Forsyth Phyllis W. Foster Paula L. Bockenstcdt and
David A. Fox
Deborah and Ronald Frcedman David Fugcnschuh and
Harriet and Daniel Fusfcld Gwyn and Jay Gardner Del and Louise Garrison
Professor and Mrs. David Cates Wood and Rosemary Geist Henry and Beverly Gcrshowilz Elmer G. Gilbert and
Lois M. Verbrugge Fred and Joyce Ginsberg Irwin J. Goldstein ;ind Marty Mayo Dr. Alexander Gotz J. Richard Goulct, M.D. Mrs. William C. Grabb Jerry and Mary K. Gray Dr. John and Renee M. Greden Daphne and Raymond Grew I,eslie and Mary Ellen Guinn George N. Hall Marcia and John Hull Mary C. Harms Susan R. Harris Clifford and Alice Hart J. Theodore Hcfley Kenneth and Jeanne Heiningcr John L. and
Jacqueline Stearns Henkel Herb and Dee Hildebrandt ClaudcttcJ. Stern and
Michael Hogun John and Maurita Holland Mary Jean and Graham Hovey Drs. Linda Samuelson and
Joel Howell Mn.V.C Hubbs David and Dolores Humes Mrs. Hazel Hunsche Robert B. and Virginia A. Ingling Ann K. Irish John and Joan Jackson Mr. and Mrs. Donald E.Jahnckc WalHc and Janet Jeffries Mr. and Mrs. James W.Jensen Donald and Jan ice Johnson Mrs. Ellen C.Johnson Stephen G.Joscphson and
Sally C. Fink
Dr. and Mrs. Mark S. Kaminski Professor and Mrs. Wilfred Kaplan Herb Katz Anna M. Kauper Mr. and Mrs. Jacob Kcllman Don and Mary Kiel Paul and Leah Kileny Richard and Pat King Mr. and Mrs. Thomas C. Kinncar Paul Kissncr, M.D. and
Dana Kissncr, M.D. Hcrminc R. Klingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Dimitri and Suzanne Kosacheff Samuel and Marilyn Krimm Alan and Jean Krisch Mae and Arthur I.anski 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 Levine Jacqueline H. Lewis Evic and Allen Lichter Jody and Leo Ughthammcr Mark Lindley
Vi-Chcng and Hsi-Yen I.iu Jane Iombard Dan and Kay Long
Robert g. t-oveii
Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Mr. and Mrs. Donald I.ystra Frederick C. and
PamelaJ. Mackintosh Sadie C. Maggio Steve and Ginger Maggio Virginia Mahle Alan and ' ,u l.i Maiult'I Melvin and Jean Mania Eddie and Cathy Marcus Geraldine and Sheldon Marker) Lex and Greg Marks Rhoda and William Martcl Sally and Bill Martin Dr. and Mrs.Josip Matovinovic Mary and Chandler Matthews Margaret and Harris McClamroch Bruce and Mary McCuaig Griff and Pat McDonald Elaine J. McFaddcn Bill and Ginny McKeachie Margaret McKinlcy Daniel and Madclyn McMurtrie Jerry and Rhona Meislik Walter and Ruth Metzger Chariea and Helen Mctzner Piolr and Dcanna Michalowski Ix'o and Sally Micdler James and Kathleen Mitchiner Lester and Jeanne Monts James N. Morgan Dr. and Mrs. George W. Morlcy A. A. Moroun Cyril and Rona Moscow Dr. Era L. Mueller Hillary Mun and
Bruce A. Friedman Dr. and Mrs. Gunder A. Myran Geri Chipauh and Fred Ncidhardt Sharon and Chuck Newman Mr. and Mis. Marvin I.. Niehuss Virginia and Gordon Nordby Richard S. Nottingham Marylen 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. Pcrlman Virginia Zapf Person Frank and Nelly Petrock Lorraine B. Phillips Sharon McKay Pignanclli Barry and Jane Pitt Randall and Mary Pitunan Donald and Evonnc Planiinga Steven and Tina Pollock Cynthia and Roger Postmus Mrs.J. D. Prcndergast Larry and Ann Preuss Charlcen Price Richard H. and Mary B. Price
Jerry and Milkud Pryor David and Stephanie Pync I .eland J. and
Elizabeth Quackenbush Hugo and Sharon Quiroz Mrs. Joseph S. Radom Homayoon Rahbari, M.D. Jim and leva Rasmusscn Kathcrinc R. Rccbcl La Vonne and Gary Rccd Mr. and Mrs. H. Robert Reynolds Dave and Joan Robinson John H. Rotnani and
Barbara A. Anderson Mrs. Irving Rose Gay and George Roscnwald Elva M. Roscnzweig Dr. Nathaniel H. Rowe Jerome M. and Lcc Ann Salic 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. Schmitler, Jr. David E. and
Monica N. Schtcingart Suzanne Sclig Joseph and Patricia Scltimi Mr. Thomas Sheets Ingrid and Clifford Sheldon Hollis and Martha Showalter Dr. Bruce M. Siegan Scoii and Joan Singer Mrs. Lorclla M. Skevves John W. Smillie, M.D. Alcne M. Smith Carl and Jari Smith George and Mary Elizabeth Smith Dr. and Mrs. Michael W. Smith Mr. and Mrs. Robert W. Smith Susan M. Smith Virginia B. Smith Mr. and Mrs. Edward Sopcak Cynthia J. Sorensen Juanita and Joseph Spallina Allen and Mary Spivcy Irving M. Stahl and
Pamela M. Rider David and Ann Staiger Mrs. Ralph L. Stcffek Dr. and Mrs. Alan Stciss Thorn and Ann Sterling Professor Louis and Glennis Stout Dr. and Mrs. Stan Strasius Aileen and Clinton Stroebcl Charlotte Sundelson Ronald and Ruth Sutton Dr. Jean K. Takeuchi Brian and Lee Talbot Jerry and Susan Tarpley Eva and Sam Taylor Mary D. Teal
James L. and Ann S. Tclfer George and Mary Tewksbury Edwin J. Thomas Tom and Judy Thompson
Ted and Marge Thrasher Hugo and Karla Vandei s p n Jack and Marilyn van dcr Veldc Rebecca Van Dyke Mr. and Mrs.
Douglas Van Houwciing Michael L Van Tassel Wnilam C. Vassell Carolyn S. and Jerry S. Voighi Mr. and Mrs. Timothy Wadhams Warren I ferb Wagner and
Florence S. Wagner Mr. and Mrs. Norman C Wait Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardncr Ruth and Chuck Watts Robin and Harvey Wax Willcs and Kathleen Weber Deborah Webster and
George Miller Lawrence A. Weis and
R.n ml WViMnan and Ann Friedman Waller L. Wells Dr. Steven W. Wcrns Ruth and Gilbert Whitaker B.Joseph and Mary White William and Cristina Wilcox Mr. and Mrs.
R. Jamison Williams Jr. Mrs. Elizabeth Wilson Mr. and Mrs. William Wilson Beth and I. W. Winslen Marion T. Wirick Grant J. Wilhcy, 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 Ryuzo Yamamoto Mr. and Mrs. Edwin H. Young R. Roger and Bette F. Zaucl Mr. and Mrs. Martin .tilt and several anonymous donon
Atlas Tool, Inc.
Briar wood Shopping Center
Chelsea Flower Shop
Dough Boys Bakery
Edwards Brothers, Inc.
King's Keyboard House
Miller, Canficld, Paddock
and Stone Republic Bank Sera Restaurant and Market Urban Jewelers
The Richard and Meryl Place Fund
Tim and Leah Adams
Ronald and Judith Adler
Gregg T. Alf
Mr. and Mrs. Gordon E. AJlardyce
James and Catherine Allen
Margaret and Wickham Allen
Augustine and Kathleen Amaru
Mr. and Mrs. David AminofF
Mr. and Mrs. Charles T. Anderson
Drs. James and
Cathlccn Culotta-Andonian Bert and Pat Armstrong Mr. and Mrs. Lawrence E. Arnetl Michael Avsharian Charlene and Eugene Axclrod Jonathan and Marlene Ayers Joseph C. Bagnasco Richard and Julia Bailey Doris I. Bailo Jean and Gaylord Baker Morris and Beverly Baker Dr. and Mrs. Daniel R. Balbach Chris and Lesli Ballard John K Barcham Norman E. Barnctt Donald C. Barnette.Jr. Margo Barron Leslie and Anita Bassctt Dr. and Mrs. Jere M. Bauer Mr. and Mrs. Steven R. Beckert Robert M. Beckley and
David and Mary Anne Beltzman Ronald and Linda Benson Mr. and Mrs. Ib Bentzcn-Bilkvist Helen V. Berg Barbara Levin Bergman Marie and Gerald Berlin Lawrence S. Berlin Abraham and Thclma Bcrman Gene and Kay Berrodin Andrew H. Berry, D.O. R. Bczak and R. Halstead Naren and Nishta Bhatia Bharat C. Bhushan Sheryl Hirsch and John Billi Richard and Roswitha Bird William and Ilcnc Birge Elizabeth S. Bishop Marshall Blondy and Laurie Burry Mr. and Mrs. H. Hartan Bloomer Beverly J. Bole Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonncll Dr. and Mrs. David Bostian Richard Brandt and
Karina Niemcycr Representative Liz and
Professor Enoch Brater Mr. and Mrs. Patrice Brion William and Sandra Broucck Mrs. Joseph Brought 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 Steve 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 K.iilnan M. Chan Mr. and Mrs.
Nicholas G. Chapekis, Sr. Mr. James S.Chen Robert and Eileen Choate Pal 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 Marjorie A. Cramer Mr. and Mrs. Richard Crawford Mr. and Mrs. Winton L. Crawford Kathleen J. 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 Gawainc Dart Mr. and Mrs. Arthur W. Davidge Laning R. Davidson, M.D. Ruth and Bruce P. Davis James Davis and
Elizabeth Waggoner Mr. and Mrs. R.C. Davis Mr. and Mrs. Ronald G. Dawson Robert and Barbara Ream Debrodt Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Elizabeth and Edmond DcVine Meg Diamond Martha and Ron DiCccco Gordon and Elaine Didicr A. Nelson Dingle Dr. Edward R. Doezcma Thomas and Esther Donahue Mr. Thomas Downs Roland and Diane Drayson Mr. and Mrs. Harry Dreffs John Dryden and Diana Raimi James and Anne Dudersladt 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 K Earl Mr. and Mrs. William G. Earlc Jacquelynnc S. Eccles Mr. and Mrs. John R. Edman David A. Eklund Judge and Mrs. S. J. Eldcn Ethel and Sheldon Ellis
Mrs. Gcnevieve Ely
Mackenzie and Marcia Endo
Bill and Karen Ensminger
Stephen Ernst and Pamela
Dorothy and Donald E Eschman
Mr. and Mrs. Robert B. Fair.Jr.
Mark and Karen Falahee
Dr. and Mrs. Cyrus Farrehi
David and Joanna Fcathcrman
Dr. and Mrs. Irving Feller
Phil and Phyllis Fellin
C. Peter and Bev A. Fischer
Dr. and Mrs. John Fischer
Barbara and James Fitzgerald
Dr. and Mrs. Melvin Flamenbaum
Wayne and Lynnctte Forde
Doris E. Foss
Lucia and Doug Freeth
Richard andjoann Frecthy
Linda and Larry French
Richard and Joanna Friedman
Carol Gagliardi and David
Bernard and Enid Caller
Joyce A. Gamm
Mrs. Don Gargaro
Mrs. Shirley H. Garland
Stanley and Priscilla Garn
Drs. Steve Gciringer and
Bruce and Anne Genovesc Michael Gerstenbergcr W. Scott Gersicnbcrgcr and
Elizabeth A. Sweet Beth Genne 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. Esztcr Gombosi Elizabeth N. Goodcnough and
James G. Leaf Mitch and Barb Goodkin Mr. and Mrs. Jon L. Gordon Mr. Adon A. Gordus Selma and Albert Gorlin Naomi Gottlieb Michael L. Gowing Christopher and Elaine Graham Elizabeth Needham Graham Whit and Svca Gray Harry Grecnberg and
Anne Brockman Dr. and Mrs. LazarJ. Greenfield Bill and Louise Gregory Linda and Roger Grckin Susan and Mark Griffin Werner H. Grilk Robert M. Grovcr Mr. Philip Guirc Arthur W. Gulick, M.D.
Margaret Gutowski and
Michael Marietta Don P. Hacfner and
Cynthia J. Stewart Helen C. Hall Qaribel HaUtcad Marge Halstcd
Mr. and Mrs. Herbert R. Harjcs Stephen G. and Mary Anna Harper Antonio Harris Jean Harter Elizabeth C. Hassincn 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. Henkcl Dr. and Mrs. Keith S. Henley Jeanne Hernandez Ramon and Fern Hernandez Tatiana Herrero Bernstein C. C. Hcrrington, M.D. Elfrida H. Hiebert and
Charles W. Fisher Lorna and Mark Hildcbrandt Mr. and Mrs. Jerry Leigh Hill Peter G. Hinman and
Elizabeth A. Young Joanne and Charles Hocking Louise Hodgson Jane and Dick Hoerner Carol and Dieter Hohnke Ken and Joyce Holmo John F. and Mary Helen Holt Dr. and Mrs. Frederic B. House Drs. Richard and Diane Howhn Charles T. Hudson Harry and Ruth HufT Joanne W. Hulcc Ann D. Hungcrman Mr. and Mrs. Russell L. Hurst Eileen and Saul Hymans Margaret and Eugene Ingrain Edgar F. and M.JaniceJacobi Harold and Jean Jacobson Jim and Dale Jerome Tom and Marie Juster Mary B. and Douglas Kahn Mary Kalmes and Larry Friedman Steven K. Kalt Mr. and Mrs. Irving Kao David J.Katz
Kurt and Marilcc Kaufman Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy Linda Atkins and Thomas Kcnney Benjamin Kcrncr Heidi and Josh Kerst William and Betsy Kincaid Howard King and Elizabeth
Sayre-King Esther Kirshbaum James and Jane Kister Shu.1 and Steve Klein Gerald and Eileen Klos Mr. and Mrs. Edward Klum Jolcne and Gregory Knapp Glenn and Shirley Knudsvig Charles and Linda Koopmann Mclvyn and Linda Korobkin Mr. and Mrs. E.J. Kowalcski Jean and Dick Kraft David and Martha Krchbicl
William J. Bucci andjanei Krciling
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
Bcih and George Lavoie
Ted and Wendy Lawrence
Laurie and Bob LaZcbnik
Mrs. Kent W. Leach
Margaret E. Leslie
Deborah S. Lewis
Nathan and Eleanor Lipson
Rod and Robin Litde
Dr. Jackie Livesay
Naomi E. Lohr
Diane and Dolph Lohwasscr
Leslie and Susan Loomans
Mr. and Mrs. Richard S. Lord
Bruce and Pat Loughry
Ross E. Lucke
Robert and Pearson Macek
Susan E. Macias
Charlcne and William MacRitchie
Chun I. Mah
Geoffrey and Janet Maher
Suzanne and Jay Mahler
Deborah Malamud and Neat Plotkin
Dr. Karl D. Malcolm
Claire and Richard Malvin
Mr. and Mrs. Kazuhiko Manabc
Paul and Shari Mansky
Mr. and Mrs. Andiony E. Mansueto
Michael and Pamela Marcovitz
Dr. Howard Market
Marjorie and Robert Marshall
Dr. and Mrs.J. E. Martin
Marilyn Mazanec Benedict
Margaret E. McCarthy
Ernest and Adele McCarus
David G. McConnell
Cathryn S. and
Ronald G. McCready Dores M. McCree Mary and Norman Mclver Robert E. and Nancy A. Meader Mr. and Mrs. John Merrifield Henry D. Mcsser and
Carl A. House Robert and Bcttic Mctcalf Professor and
Mrs. Donald Meyer Dr. and Mrs. Robert A. Meyers Helen M. Michaels Carmen and Jack Miller Mr. and Mrs. Milton J. Miller Dr. Robert R. Miller Bob and Carol Milstein Thomas and Doris Mirce Mr. and
Mrs. William G. Moller, Jr.
Arnold and Gail Morawa Sophie and Robert Mordis Kenneth and Jane Moriarty John and Michelle Morris Melinda and Bob Morris Brian and Jacqueline Morton Mrs. 1 i uin Muehlig Janet Muhleman Gavin Eadie and
Barbara Murphy Roscmarie Nagel Tatsuyoshi Nakamura Dr. andMrs.J.V. Neel Nancy Nelson Martin Neuliep and
Patricia Pancioli Richard E. Nisbclt and
Susan I. Nisbett Jack and Kerry Kelly-Novick Lois and Michael Oksenberg Robert and Elizabeth Oneal 1 11 [i.i11 G. Ostrand Mrs. Barbara H. Ourwater Annekc dc Bruyn Overseih Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K Pandit James and Bella Parker Mr. and Mrs. Brian P. Patchen 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 Robert and Mary Ann Pierce Dr. and Mrs. James Pikulski Martin A. Podolsky Drs. Edward and Rhoda Powsner Ernst Pulgram Michael and Helen Radock Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert Rasmusscn Jim and Toni Reese Anthony L. RcfTclls and
Elaine A. Bennett Dorothy and Stanislav Rehak JoAnne C. Rcuss David Reynolds John and Nancy Reynolds Mice Rhodes Jesse Richards Elizabeth G. Richart Frances Greer Riley Constance Rinehart Joe and Carolyn Robcrson Peter and Shirley Roberts Richard C. Rockwell Willard and Mary Ann Rodgers Mr. and Mrs. Stephen J. Rogers Yelcna and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Drs. Stephen Roscnblum and
Gustave and Jacqueline Rosseels Dr. and
Mrs. Raymond W. Ruddon.Jr.
Kenneth Rule John Paul Rutherford Tom and Dolores Ryan Mitchell and Carole Rycus James and Ellen Saalberg Theodore and Joan Sachs Arnold Samcroff and
Susan McDonough Howard and I 111 Sandier John and Reda Santinga Dr. and Mrs. Edward C Sarkisian Ms. Sara Savarino Courtland and Inga Schmidt Charlene and Carl Schmult Gerald and Sharon Schreibcr Albert and Susan Schultz Michelle Schulu, M.D. Alan and Marianne Schwartz Sheila and Ed Sihu.ur Patricia Schwartz Kroy Jane and Fred Schwarz Ruth Scodel Jonathan Brombcrg and
Douglas and Carole B. Scott Joanna and Douglas Scott Mary and John Sedlander John and Carole Segall Louis and Sherry Senunas Richard Shackson Nancy Silver Shalit Dr. and Mrs.J. N. Shanbergc David and Elvera Shappirio Dr. and Mrs. Ivan Sherick Cynthia Shevcl Jean and Thomas Shope Mr. and Mrs. Ted Shultz John and Arlene Shy Milton and Gloria Sicgcl Ken Silk and Peggy Buttenheim Dr. Albert and
Mrs. Halina SHverman Frances and Scott Simonds Donald and Susan Sinta Dr. and Mrs. Michael W. Smith Drs. Peter Smith and
Diane Czuk-Smith Judy Z. Somcrs Katharine B. Soper Dr. Yoram Sorokin Mr. and Mrs. Robert E. Spencc Anne L. Spcndlove James P. Spica JefTSpindler 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 Slolcr Wolfgang F. Stolper Anjanctte M. Stoltz, M.D. Mrs. William H. Stubbing Jenny G. Su Valerie Y. Suslow Mr. and Mrs. Earl G. Swain Mr. and Mrs. Robert S. Swanson Richard and June Su.ui Lois A. Thcis Carol and Jim Thiry Catherine and Norman Thoburn
Mr. and Mrs. James V. Thomson
Charles and Peggy Tieman
Thclma and Richard Tolbert
Donna K_ Tope
Dr. and Mrs. Merlin C. Townley
Angic and Bob Trinka
Marilyn Tsao and Steve Gao
William H. and Gcrilyn K. Turner
Alvan and Katharine Uhle
Gaylord E. and
Kaihryn Underwood Madeleine Vallier Carl and Sue Van Applcdorn Rob and Tanja Van der Voo Robert and Barbara Van Ess Marie B. and Theodore R. Vogl 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 Weidenbach Donna G. Weisman Barbara Weiss Mrs. Stanfield M. Wells, Jr. David and Rosemary Wesenbcrg Ken and Cherry Wcsterman Susan and Peter Wcsterman Marjorie Westphal Marilyn IWhcaton and Paul Duffy Esther Rcdmount and
Harry While Janet F. White
Mr. and Mrs. Nathaniel Whitesidc Mrs. Clara G. Whiting Douglas Wickens Jane Wilkinson Reverend Francis E. Williams John Troy Williams Shelly F. Williams Dr. and Mrs. S. B. Winslow Charles Wiike and Ailcen Gattcn Jeff and Linda Witzburg Norecn Ferris and Mark Wolcotl Patricia and Rodger Wolff David and April Wrighl Dr. and Mrs. Clyde Wu Carl and Mary Ida Yost Shirley Young Ann and Ralph Youngren Frederic and Patricia Zeislcr Mr. and Mrs. David Zuk David S. and Susan H. Zurvalec and several anonymous donors
Coffee Bcancry -Briarwood MaJI
Cousins Heritage Inn
Development Strategics Plus
Garris, Garris, Cams 8c Garris, P.C.
Great Lakes Cycling 8c Fitness
Jeffrey Michael Powers Beauty Spa
Junior League of Ann Arbor
Michigan Opera Theatre
SKR Classical University Microfilms
International Van Boven Inc.
FoundationsAgencies The Shapero Foundation
Sue and Michael Abbott Mr. Usama Abdali and
Mv Kisook Park Philip M. Abruzzi Chris and Tcna Achen Bob Ainsworth
Michihiko and Hiroko Akiyama Roger Albin and Nili Tannenbaum Michael and Suzan Alexander Harold and Phyllis Allen Forrest Alter
Jim Anderson and Lisa Walsh Catherine M. Andrea Julia Andrews Hiroshi and Matsumi Aral Mary C. Arbour
Thomas J. and Jill B. Archambeau Eduardo and Nancy Arcinicgas ThomasJ. and Mary E. Armstrong Rudolf and MaryArnhcim Margaret S. Athay Mr. and Mrs. Dan E. Atkins III John and Rosemary Austgen Drs. John and Lillian Back Bill andjoann Baker Laurence A. and Barbara K. Baker Mr. and Mrs. Richard P. Baks Ann Pi.it den
David and Monika linn.? Maria Kardas Barn a Laurie and Jeffrey Barnett Joan W. Barth Beverley M. Baskins Ms. Maria do Carno B;istos Dorothy W. Bauer Thomas and Sherri L. Baughman Harold F. Bam MaryT. Bcckcrman Robert B. Beers Dr. and Mrs. Richard Beil Dr. and Mrs. Walter Bencnson Meretc and
Erling Blondal Bcngtsson Alice R. Ben sen Dr. Rosemary R. Bcrardi James K. and Lynda W. Berg T.J.andM.R.BcUey Ralph and Mary Bcuhler Maria T. Beyc
John and Marguerite Bianckc Eric and Doris Billes Jack and Anne Birchficld Drs. Ronald C. and
Nancy V. Bishop Bill and Sue Black
1. l 11M. Bloom
Karin L. Bodycombc
Dr. and Mrs. Frank Bongiorno
Robert and Shirley Boone
Edward G. and Luciana Borbely
Paul D. IV.i tii,m
Reva .inl Morris Bonutcii)
John D. and M. Leora Bowden
Jan and Bob Bower
Sally and Bill Bowers
David G. Bowman and
Sara M. Rutter Dennis and Grace Bowman William F. and
Joyce E. Braeuningcr Cy and Luan Briefer John and Amanda Brodkin AinyJ. and Clifford L. Broman
K.icllc .111(1 ( n-i)iL;r Ilinuks
Mr. and Mrs.
Edward W. Browning Phil Bucksbaum and
Roberta Morris Trudy and Jonaihan Bulkley 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 Calvcri Susan and Oliver Cameron Dr. Ruth Canticny Dennis and Kathleen Can well Susan Cares George R. Carignan Carolyn M. Carty and
Thomas H. Haug Jack Cederquist I.inl and Mi in Chait Mary Chambers Bill and Susan Chandler Ida K Chapin and Joseph Spindel Belle H. Chen Joan and Mark Cheslcr Edward and Rebecca Chudacoff Ching-wci Chung Joan F. Cipcllc Arthur and Alice Gofer Dorothy Burke Coffcy 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 lv ( ,t11Kn Rundcll Culotta Ms. Carolyn Cummisky Richard J. Cunningham Frank and Lynn Curtin Mr. Joseph Curun Suzanne Curiis Dr. and Mrs. Harold J. Daitch Ms. Marcia Dalbey Marylcc Dalton Joanne Danto Honhari Dean and Mrs. John H. D'Arms
Mildred and William B. Darnton DarLinda and Robert Dascola Ruth ?. Dau Jennifer Davidson Morris and May Davidson Nancy Davis
Dean and Cynthia DcGalan Elizabeth Dclancy Ms. Margaret H. Demant Michael T. DePlonty Raymond A. Detter 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 Ebenhoeh Dwight and Mary Ellen Eckler Ruth Eckstein Ingrid Eidnes
Mr. and Mrs. Charles Eisendrath Sol and Judith Elkin Dr. and Mrs. Charles Ellis James H. Ellis and Jean A. Lawton Dick and Helen Emmons Mr. and Mrs. H. Michael Endres Jim and Sandy Eng Mr. and Mrs. C. E. Evans Paul and Mary Fanchcr Dr. Cheryl C. Farmer, Mayor of Ypsilanti Peter Farrehi
I).iiiii.iii and Katharine Farrell Dorothy Gitdeman Feldman George J, and Bcnita Feldman Yi-tsi M. Fcuerwerker Ruth Fiegel Clay Finkbcincr Howard G. Finkcl Mrs. Carl H. Fischer Eileen Fisher Winifred Fisher Linda and Tom Fitzgerald Jessica Fogel and Lawrence Weiner
Daniel R. Foley George and Kathryn Folu Bill and Wanita Forgacs David J. Fraher Mr. and Mrs. Maris Fravel Ms. Julia Freer Mr. and Mrs. Otto W. Freitag Bart and Fran Frueh Bruce and Rebecca Gaffncy Arthur Gallagher Edward Gamache and Robin Baker
Leonard and Mary Alice Gay Mr. and Mrs. Ralph J. Gcrson Beverly Jeanne Giltrow Ilan Gitdcn
Dr. and Mrs.J. Globcrson Peter and Roberta Gluck Dr. Ben Gold Mr. and Mrs. Robert Gold Albert L. Goldberg Dr. and Mrs. Edward Goldberg Edic Goldenberg Anita and Albert Goldstein Mr. and Mrs. David N. Goldsweig
C. Ellen Gonter
M. Sarah Gonzalez
Enid M. Gosling
Larry and Martha Gray
Elizabeth A. H. Green
G. Robinson and Ann Gregory
Sally Greve and Walter Fishci
Mr. and Mrs. James J. Gribblc
Mrs. Alice L. Grillm
Cyril Grnm and Cathy Strachan
Dr. Carol J. Guardo
Ms. Kay Gugala
Cheryl Gum per
Mr. and Mrs. Lionel Guregian
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 ( .u.-II and Beth Hart Jerome P. Hartwcg Carol and Steve Harvath Mr. and Mrs. Eugene Hcflclfingcr 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 Hermalin Emily F. Hicks Ms. Betty Hicks jozwick Mark and Debbie Hildcbrandi AkiHirata
Deborah and Dale Hodson Mclvin and Vcrna Holley Hisato and Yukiko Honda Mr. and Mrs. Harry Hopkins Jack and Davetta Horncr Dr. Nancy Houk Jim and Wendy Fisher House Kenneth and Carol Hovey Barbara Hudgins Mr. and Mrs. William Hufford Ling Hung Diane Hunter Stephen and Diane Imrcdy Edward C. Ingraham Perry Elizabeth Irish Earl Jackson M. Janice Jacobi Dr. and Mrs. Manuel Jacobs Marilyn G. Jeffs JoannJ.Jcromin
Wilma l lm.....
1 li.tln ill M.Jones
Dr. Marilyn S. Jones
John and Linda K-Jon ides
Chris and Sandy Jung
Professor and Mrs. Fritz Kacnzig
William and Ellen Kahn
I i ii it K. Kalliaincn
Thomas and Rosalie Karunas
I'.iili N. Kashino
Franklin and Judith Kasle
Alex F. and Phyllis A. Kato
Maxine and David Katz
Martin and Helen Katz
Julia and Philip Kearney
Mr. and Mrs. Charles Kellerman
Lawrence Kestcnbaum and
Janice Gutfrcund Robert and Lois Ketrow Jeanne Kin
Robert and Vicki Kiningham Klair H. Kissel James Klimer Alexander Klos
Dr. and Mrs. William L. Knapp Dr. Barbel Knauper Sharon I . Knight Lester Kobylak Seymour Kocnigsbcrg Michael and Paula Koppisch Alan A. and Sandra L. Kortcsoja Ann Marie Kotrc Sheryl E. Krasnow Robert Krasny Ethel and Sidney Krause Doris and Donald Kraushaar Edward and Lois Kraynak Kenneth C. Kreger Syma and Phil Kroll Lawrence B. Kuczmarski Jane Kulpinski EH and Lily Ladin Cele and Martin Landay Patricia M. Lang Walter and Lisa Langiois Guy and Taffy Larcom Christine Larson Carl and Ann LaRue Ms. Olya K. Lash RuthJ. Lawrence Sue C. Lawson Judith andjcrold Lax Fred and Ethel Lee Stcphanc Legault Paul and Ruth Lehman Mr. C. F. Lehmann Dr. and Mrs. Morton B. Lesser Diane Lester and
Richard Sullivan Carolyn Dana Lewis Thomas and Judy Lewis Dr. DavidJ. Licbcrman Ken and Jane Lieberthal Ying-Chu Lin
Dr. and Mrs. Richard H. Lineback Andi Lipson and Jerry Fishman Rebecca and Lawrence Lohr Barbara R. Ioit Donna and Paul Lowry Jeannette Luton John J. Lynch, Ally. Dr. and Mrs. Cecil Mackey Gregg and Mcrilec Magnuson Ronald Majewski and Mary Wolf Donna and Parkc Malcolm
Allen Malinoff Alice and Bob Marks Erica and Harry Marsden Yasuko M.itMidii Dcbm Mattison Robert and Betsy Maxwell John M. Allen and
Edith A. Maynard Dr. and Mrs. David McCubbrey Bernard and MaryAnn McCulloch James and Kathleen McGauley Scott McGlynn James M. Beck and
RobertJ. McGranaghan Louise E. McKinncy Donald and Elizabeth McNair Anthony and Barbara Medeiros Dr. and Mrs. Donald A. Meier Samuel and Alice Meisels Norman and Laura Meluch Helen F. Meranda Rev. Harold L. Merchant Mi and Mi s. ohn h Mciht Valeric D. Meyer Mr. and Mrs. Herbert M. Meyers Dick and Georgia Meyerson William M. Mikkclscn Ms. Virginia A. Mikola John Milford Gerald A. Miller Dr. and Mrs. Josef M. Miller Mr. and Mrs. Murray H. Miller Charles and Elizabeth Mitchell Wakaki Miyaji Ruth M. Monahan Kent and Roni Moncur Gail Monds P. Montgomery IIK inand Arnold Monto Rosalie E. Moore Kittie Berger Morelock Mr. and Mrs. Thomas D. Morrow Bcrnhard and Donna Muller 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 Nitzbcrg Joan and John Nixon Jolanta and Andrzej Nowak John and Lexa O'Brien Thomas P. O'Connor Michael and Jan O'Donncll Ncls and Mary Olson Kaoru Onishi Fred Ormand Mr. James J. Oscbold Heiju Oak and James Packard George Palty
Mr. and Mrs. Kenneth Pardonnct Michael P. Parin Janet Parkes
Evans and Charlcnc Parrott Roger Paull
Vassiliki and Dimitris Pavlidis Edward J. Pawlak Edwin and Sue Pear Zoc and Joe Pearson Donald and Edith Pelz
Mr. William A. Penner, Jr.
C. Anthony and Marie Phillips
Nancy S. Pickus
Daniel G. Piesko
Mr. and Mrs. Robert H. Plummer
Mr. and Mrs. John R. Politzcr
Mr. and Mrs. Gerald Powrozek
Mary and Robert Pratt
Roland W. Pralt
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 Raikhcl
Mr. and Mrs.
Alfred C. Rnphaelson Dr. and Mrs. Mark Rayport Maxwell and Marjorie Reade Caroline Rehbcrg Esther M. Reilly Dcanna and Pieter Relyea Mr. and Mrs. Frederick Rcmlcy.Jr. Ms. Molly Resnik Mr. and Mrs. Neil Resslcr M. Laurel Reynolds Lou and Sheila Rice Lisa Richardson Judy Ripple
William and Kaye Rittinger Lisa E. Rives and Jason I. Collcns Janet K. Robinson, Ph.D. Ms. Margaret 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. Rowe 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 Saxc 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. Scholten Thomas H. Schopmcycr Kathcrinc Collier and
Yizhak Schotten Sue Schroeder Ailcen M. Schulze Dorothy Scully Anne Brantlcy Scgall Sylvia and Leonard Scgcl Richard A. Seid
Elliot A. and Barbara M. Scrafin Kirtikant and Sudha Shah Matthew Shapiro and Susan Garetz Kathleen A. Sheehy William J.Sherzer Ms. Joan D. Showalter Janet E. Shultz
Ray and Marylin Shustcr
Barry and Karen Sicgcl
Drs. Dorit Adlcr and Terry Silver
Sandy and Dick. Simon
Bob and Elaine Sims
Alan and Eleanor Singer
Nora G. Singer
Jack and Shirley Sirotkin
J.rgcn O. Skoppck
Beverly N. Slater
Haldon and Tina Smith
Richard andJo-Ann Socha
Arthur and Elizabeth Solomon
James A. Somers
R. Thomas and
Elinor M. Sommerfeld Mina Diver Sonda Barbara Spencer Jim Spevak and lxslic Bruch L. G. Spranklc Bob and Joyce Squires Mary Stadel
Neil and Burnette Staebler Joan and Ralph Stahman David StcinhofT and
Jaye Schlcsinger Robin Slcphcnson and
Terry Drcnt Steve and Gayte Stewart Ms. Lynctte Stindt and
Mr. Craig S. Ross Laurence and lisa Stock Mr. and Mrs. James Stokoe Judy and Sam Stulberg Ananl Sundaram Alfred and Sclma Sussman Mary Margaret and
Robert Sweeten Yorozu Tabata K. Boycr and S. Tainter Junko Takahashi Larry and Roberta Tankanow Professor and
Mrs. Robert C. Taylor Robert Teichcr and
Kenneth and Benita Teschendorf Brian and Mary Ann Thclcn Neal Tolchin Egons and Susanne Tons Jim Toy
Paul and Barbara Trudgen Jeffrey and Lisa Tulin-Silvn Mr. and Mrs. Marshall Tymn Nikolas Tzannetakis Mr. Masaki Ueno Greg Upshur Iris Cheng and Daniel Uri Dr. and Ms. Samuel C. Ursu Arthur andjudith Vandcr Bram and Ua van Leer Phyllis Vcgtcr
Kitty Bridges and David Vclleman Ingrid Vcrhamme Mrs. Durwell Vetter Brent Wagner
Wendy L. Wahl and William R. Lcc Mr. and Mrs. David C. Walker
Patricia Walsh Margaret Walter Karen and Orson Wang Margaret Warrick Lorraine Nadclman and Sidney Warschausky Alice and Martin Warshaw Edward C. Weber Michael Webster and
Leone Buyse Steven P. Weikal Gcrane Weinreich David and Jacki Wcisman Drs. Bernard and Sharon Weiss Lisa and Steve Weiss Elizabeth A. Wentzien Mr. Carl Widmann Mr. and Mrs. Peter H. Wilcox Mr. and Mrs. Michael S. Wilhelm James Williams John and Christa Williams Raymond C. Williams
Diane M. Willis
Richard C. Wilson
Robert and Mary Wind
James H. and Mary Anne Winter
Dr. and Mrs. Lawrence D. Wise
Esther and Clarence Wisse Joyce Guior Wolf, M.D.
Mr. C. Christopher Wolfe and Ms. Unda Kidder
Muriel and Dick Wong
Barbara H. Wooding
Stewart and Carolyn Work
Israel and Fay Woronoff
Robert E. Wray, III
Fran and Ben Wylic
Mrs. Antonctte Zadrozny
Dr. Stephen C. Zambito
Robert and Charlene R. Zand
Bertram and Lynn Zhcudin
George and Nana Zissis and several anonymous donors
Bally's Vic Tanny
Callinetics by Diane
Courtney and Lovcll
Crown Steel Rail Company
Gallery Von Glahn
Great Harvest Bread Company
Sweet Lorraine's Cafe 8c Bar
Whole Foods Market
Charles A. Sink
Honoring members with cumulative giving totals over $15,000.
Dr. and Mrs. Robert C. Aldrich Herb and Carol Amster Jim Boisford and
Janice Stevens Botsford Carl and Isabelle Brauer Mr. Ralph Conger Margaret and Douglas Crary Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Dale and Marilyn Fosdick Sue and Carl 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 Maugh Charlotte McGeoch Karen Koykka O'Neal and
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 Smolder Mr. Helmut F. Stem Dr. and Mrs. E. Thurston Thieme Estclle Titiev Paul and Elizabeth Yhouse
The Edward Surovcll Co.Realtors
First of America Bank
Ford Motor Credit Company
Ford Motor Company
Great Lakes Bankcorp
Jacobson Stores, Inc.
JPEinc.The Paideia Foundation
Philips Display Components
Company Society Bank Trimas Corporation Warner-LambertParke Davis
Research Division Wolverine Temporaries, Inc.
The Ann Arbor Area
The Benard L. Maas Foundation
The Grayling Fund
Ula Wallace-Reader's Digest Fund
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Chase and Delphi Baromes
A. A. (Bud) Bronson
Pauline M. Conger
Alice Kelscy Dunn
Robert S. Feldman
Isabellc M. Garrison
Charles W. Hills
George R. Hunsche
Hazel Hill Hunt
Virginia Ann Hunt
Virginia Elinor Hunt
Earl Meredith Kcmpf
Edith Staebler Kempf
K Hudson Ladd
Lorene Crank Lloyd
Frederick C. Matthaei, Sr.
Arthur Mayday, Jr.
Mr. and Mrs. Merle Elliot Myers
Martha P. Palty
Gwcn and Emerson Powrie
Si. 111 Reiss
James H. and Cornelia M. Spencer
Ralph L. Stefick
Charlcnc Parker Stern
Jewel B. Stockard
Mark Von Wyss
Peter H. Woods
Sue and Michael Abbott
Pauleti and Peter Banks
Ms. Janice Stevens Boisford
James and Betty Byrne
Mr. Phil Cole
Cousins Heritage Inn
Curtin and Alt
The Gandy Dancer
Leslie and Mary Ellen Guinn
Matthew C. Hoffman and
Kerry McNulty Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa Bob and Gloria Kerry Howard King and
Elizabeth Sayre-King Bruce Kulp Maggie Long
Perfecdy Seasoned Catering Mr. and Mrs. Donald LystraDough Boys Bakery Steve and Ginger Maggio Regency Travel Maya Savarino Thomas Sheets SKR Classical David Smith Photography Ncsta Spink
Edward Surovell and Natalie Lacy Janet Torno
Dr. and Mrs. John F.Ullrich Paul and Elizabeth Yhousc
The Charles Sink Society
cumulative giving totals of more than $i$tooo.
Bravo Society $10,000 or morr Concertmasier $5,000 9,999 Leader $2,000 4,999 Guarantor $t,ooo -1,999 Sponsor $500 099 Benefactor $200-499 Patron $100 199 Donor $50 99
21 After Words, Inc.
18 Alexa Lee Gallery
32 Anderson and Associates
11 Ann Arbor Acura
11 Ann Arbor Art Association
25 Ann Arbor Reproductive
Medicine 40 Ann Arbor Symphony
Orchestra 37 Arbor Hospice
9 Argiero's Restaurant
55 Beacon Investment Company
17 Benefit Source
15 Bodman, Longley and
Dahling 54 Butzel Long
10 Cafe Marie
30 Center for Facial and Cosmetic Surgery
18 Charles 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 Fralcigh'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.
20 Jet-Away Travel
39 John Leidy Shops
13 Kathcrinc's Catering and Special Events
40 King's Keyboard House
15 Lewis Jewelers 12 M-Care
29 Marty's Menswear
56 Matthew C. Hoffmann
42 Miller, Canfield, Paddock
25 Mundus and Mundus, Inc. 8 NBD Bank, Trust Division 31 Nichols, Sacks, Slank
42 Overture Audio
17 Plymouth Guitar Gallery
34 Professional Automotive
35 Red Hawk Bar and Grill
30 Regrets Only
12 SchlandercrJewelry 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 Ufcr and Company Insurance
37 Ulrich's Bookstore
39 University of Michigan Matthaei Botanical Gardens
30 University Productions
43 Whole Foods Market 33 WQRS
27 Wright, Griffin, Davis and Company