UMS Concert Program, Tuesday Mar. 19 To 26: University Musical Society: 1996 Winter - Tuesday Mar. 19 To 26 --

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UMS Concert Programs, Season CXVII (1995-1996)

Day

19

Month

March

Year

1996

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programs_19960319b.pdf

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University Musical Society

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Season: 1996 Winter
University Of Michigan, Ann Arbor

University Musical Society
of the University of Michigan Ann Arbor
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 igg5g6 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:
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.
Sincerely,
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 AMRICA
Carl A. Brauer, Jr. Owner,
Brauer Investment ? Company
"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 Clf Alf "Curtin & Airs support of the University Musical Society is both a
privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural oppor?tunities set new standards of excellence
Curtin&Alf
L.Thomas Conlin Chairman of the Board and Chief Executive Officer, Conlin-Faber Travel The University Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
Conlin -Faber Travel
David G. Loesel
President,
T.M.L. Ventures, Inc.
"Cafe Marie's
support of the
University Musical
Society Youth
Programs is an honor and a privilege. Together we will enrich and empower our community's youth to carry for?ward into future generations this fine tradition of artistic talents."
Paul M. Montrone President and Chief Executive Officer, Fisher Scientific International, Inc. "We know the Uni?versity of Michigan
will enjoy the Boston Symphony as much as we New Englanders do. We salute the University Musical Society for making these performances possible."
Alex Trotman Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ-
ation with the University Musical Society, its concerts, and the educational programs that contribute so much to Southeastern Michigan."
William E. Oilom
Chairman,
Ford Motor Credit
Company
The people of
Ford Credit arc very
proud of our con-
tinning association with the University Musical Society. The Society's long-established commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
John Psarouthakis, Ph.D.
Chairman and Chief
Exeat live Officer,
JPEinc.
"Our community is
enriched by the
University Musical Society. We warmly support the cultural events it brings to our area."
John E. Lobbia
Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organi-
zations that make the Ann Arbor com?munity a world-renowned center for the arts. The entire community shares in the countless benefits of the excel?lence of these programs."
DemonErase tounditon
Robert J. Delonis
Chairman and Chief Executive Officer, Great Lakes Bancorp "As a long-slanding member of the Ann Arbor cominu-
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."
=.GRFAT LAKES BANCORP
Mark K. Rosenfeld IWsident,
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."
Jacobson's
Ronald Weiser Chairman and Chief Executive Officer, McKintty Associates, Inc.
"McKinley Associates is proud
to support the University Musical Society and the cultural contribution it makes to the community."
OE 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 B. McMullen Co., Inc. "I used lo feel that aUofM-Notrc Dame football ticket
was the best tickel in Ann Arbor. Not anymore. The UMS provides the best in educational entertainment."
Joe E. O'Neal
President,
O'Neal Construction
"A commitment to
quality is the main
reason we are a
proud supporter of
the University Musical Society's efforts to bring the finest artists and special events to our community."
Iva M.Wilson
Iresident,
Philips Display
Components
Company
"Philips Display
Components
Company is proud to support the University Musical Society and the artistic value it adds to the community."
Sue S. Lee
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding
organization as the Musical Society at the University of Michigan."
Larry McPherson President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the
University Musical Society. While we've only been in the Ann Arbor area for the past 82 years, and the UMS has been here for 116, we can still appreciate the history they have with the city -and we are glad to be part of that history."
George H. Cress
Chairman, President,
and Chief Executive
Officer, Society Bank,
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 Lambert Company
"Warner Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Michael Staebler Managing Partner, Pepper, HamiUon & Scheetz
"Pepper, Hamilton and Scheetz con?gratulates the
University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Edward Surovell
President,
The Edward Surovell
Co. Realtors
"Our support of
the University
Musical Society is
based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Dr. James R. Irwin
Chairman an1 (TO. The Irwin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Staffing
began its support of the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
The University Musical Society of the university of Michigan
Board of Directors Herbert Amster
President F. Bruce Kulp
Vice-President Carol Shalita Smokier
Secretary Richard Rogel
Treasurer
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell James J. Duderstadt
UMS Senate Robert G. Aldrich Richard S. Berger Carl A. Brauer, Jr. Allen P. Britton Douglas D. Crary John D'Arms Robben W. Fleming 1 l.ii 1.in H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long Judyth Maugh
Staff
Kenneth Fischer Executive Director
Catherine Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Dorothy Chang Sally A. dishing David B. Devore Erika Fischer Susan Fitzpalrick Rachel Folland Greg Former Adam Glaser Michael L. Gowing Philip Guire Jessie Halladay Elizabeth Jahn Ben Johnson John B. Kennard.Jr. Michael J. Konziolka Ronald J. Reid Henry Reynolds
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
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
R. Scott Russell Thomas Sheets Anne Griffin Sloan Jane Stanton Lori Swanson
Work StudyInterns Laura Birnbryer Steven Chavez Rebecca DeStefano Jessica Flint Ann Hidalgo Jerry James Emily Johnson Naomi Kornilakis Janet Maki Odetta Norton Tansy Rodd James Smart Risa Sparks Ritu Tuteja Scott Wilcox
Donald Bryant
Conductor Emeritus
1995-96 Advisory Committee Susan B. Ullrich, Chair Maya Savarino, Vice-Chair Kathleen Beck Maly, Secretary Peter H. deLoof, Treasurer
Gregg Alf Paulcti Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan I i-iiii.i Byrd Betty Byrne, Staff Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter deLoof Rosanne Duncan H. Michael Endres Don Faber Penny Fischer Barbara Gelehrter Beverley Geltner Margo Halsted Esther Heitler Deborah B. Hildebrandt Matdiew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Kahn
Mercy Kaslc Steve Kasle Heidi Kerst Nat Lacr Maxine Larrouy Barbara Lcvitan Doni Lystra Kathleen Beck Maly Howard Markel Margaret McKinley Clyde Metzger Ronald G. Miller Len NiehofT Karen Koykka O'Neal Marysia Ostafin Wendy Palms leva Rasmussen Maya Savarino Janet Shatusky Aliza Shevrin Shiela Silver Rita Simpson Ellen Stross James Telfer, M.D. Kathleen Treciak-Hill Susan B. Ullrich Dody Viola Jerry Weidenbach Jane Wilkinson Elizabeth Yhousc
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 without regard to race, color, religion, national origin, age, sex, sexual orientation, or handicap.
The University Musical Society is a member of the International Society for the Performing Arts, Association of Performing Arts Presenters, Chamber Music America, Arts Action Alliance, and Washtenaw Council for the Arts.
General Information
University Musical Society Auditoria Directory & Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and arc open only during the
winter months.
Rackham Auditorium: Coat rooms arc located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
restrooms.
Michigan Theater: Drinking fountains arc located in the
center of the main floor lobby.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 3 13.764.2538.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
lobby.
Michigan Theater: Pay phones are located in the lobby.
Refreshments
Refreshments are served in die 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.
Restrooms
Hill Auditorium: Men's rooms arc 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 resirooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Tours
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMeviber Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children We welcome children, but very young chil?dren can be disruptive to a performance. Children should be able to sit quietly in their own seats through?out a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction Please turn off or suppress electronic beeping and chiming digital watches or pagers during performances.
Cameras and Recorders Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends A silent auditorium with an expec?tant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of pro?gram pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Ticket Services
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
3i3.764.2538
From outside the 313. area code, call toll-free
l8OO.221.1229
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Fax Orders 313.747.1171
Visit Our Box Office in Person At Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
Gift Certificates Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
Returns If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduc?tion as refunds are not available. Please call 313.764.2538, 10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
Now in its 117th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as the Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affili?ated with the University of Michigan. Professor Frieze, who at one time served as acting president of the University, became the first president of theSociety. 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, die chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of die 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, die Choral Union further enriched that tradition through its appointment as resident large chorus of the Detroit Symphony Orchestra. In January 1994 die Choral Union collaborated widi Maestro Jarvi and the DSO in the chorus' first major commercial recording, Tchaikovsky's Snow Maiden, released by Chandos Records in October of diat year. Last season, the ensemble joined forces with the DSO for subscrip?tion performances of Ravel's Daphnis el Chloe and Mahler's Symphony No. 2 (Resurrection). In 1995, the Choral Union established an artistic association with the Toledo Symphony, inaugurating the new partnership with a performance of Britten's War Requiem under the baton of Andrew Massey. This season, 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 die 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. Pardcipation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of die Choral Union share one common passion a love of the choral art
Hill Auditorium
Completed in 1913, this renowned concert hall was inaugurated at the 20th Annual Ann Arbor May Festival and has since been home to thousands of University Musical Society concerts, including the annual Choral Union Series, through?out its distinguished 82-year history.
Former U-M regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings. Hill bequested $200,000 for construction of the hall, and Charles Sink, then UMS president, raised an additional $ 150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial Organ above the stage. UMS obtained this organ in 1894 from the Chicago Colombian Exposition and installed it in old University Hall (which stood behind present Angell Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes in appearance, but were restored to their original stenciling, coloring, and layout in ig86.
Currently, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Rackham Auditorium
For over 50 years, this intimate and unique con?cert hall has been the setting for hundreds of world-acclaimed chamber music ensembles pre?sented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and pre?sented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
POWER CENTER for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation--Marcel Marceau.
The fall of 1991 marked the twentieth anniver?sary of the Power Center. The Power Family-Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip-contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,380 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS hosted its annual week-long theater resi?dency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20, 1994.
In October 1994, UMS, the Martha Graham Dance Company, and ten institutional partners hosted
"In the American Grain: The Martha Graham Centenary Festival" commemorating the 100th anniversary of Martha Graham's birth. The Power Center was the site of open rehearsals, exhibits, workshops, and performances, including the 50th anniversary celebration of the premiere of the Martha GrahamAaron Copland collaboration Appalachian Spring (Ballet for Martha).
St. Francis of Assisi Catholic Church
...........................................................................................
In June of 1950, Edward Cardinal Mooney appointed Father Leon Kennedy pastor of a new parish in Ann Arbor. Sunday Masses were first celebrated at Pittsfield School until the first building was ready on Easter Sunday, 1951. The parish num?bered 248 families. Ground was broken in 1967 to build a permanent church building, and on March 19, 1969, John Cardinal Dearden dedicated the new St. Francis of Assisi Church. In June of 1987, Father Charles E. Irvin was appointed pastor.
Today, St. Francis of Assisi Catholic Church is composed of 2,800 families. The present church seats 800 people and has ample free parking. Since 1987 Janelle O'Malley has served as Music Director of St. Francis. Through dedication, a commitment to superb liturgical music and a vision into the future, the parish improved the acoustics of the church building. A splendid 3 manual "mechanical action" instrument of 34 stops and 45 ranks was built and installed by Orgues Letourneau from Saint-Hyacinthe, Quebec. The 1994 Letourneau Organ (Opus 38) was dedicated in December of 1994.
Burton Memorial Tower
A favorite campus and Ann Arbor landmark, Burton Memorial Tower is the familiar .mailing address and box office location for UMS concertgoers.
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 1920 until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donated labor, materials, and funds to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live per?formance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 a.m.
University Musical Society 1996 Winter Season
St. Louis Symphony Leonard Slat kin. conductor Linda Hohenfcld, soprano
Thursday, January 18, 8pm Hill Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", first in a series in which Professor Whiting discusses the con?cert repertoire, Michigan league, 1pm.
St. Petersburg Philharmonic Yuri Temirkanov, conductor Pamela Frank, violin Friday, January 26, 8pm Hill Auditorium Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", second in a series in which Professor Whiting discusses the con?cert repertoire, Michigan League, 7pm.
Made possible by a gift from Pepper, Hamilton & 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
Philips Educational Presentations: Eollowing each performance by the Guthrie Theater, members of the com?pany, along with Guthrie Education Coordinator Sheila Livingston and Guthrie Study Guide Editor Belinda W'estmaas Jones, will join distinguished University of Michigan professors, indicated below, for panel discussions: Saturday, January 27 Joe Dmoling, 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 IJterature. 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 TimcsJ 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 UMSJaxz Directions Series is pre?sented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University. Made possible by a gift from Thomas B. McMullen Company.
Feel the Spirit An Evening
of Gospel Music
The Blind Boys of Alabama
featuring Clarence Fountain,
The Soul Stirrers, and Inez
Andrews
Thursday, February 1, 8pm
Hill Auditorium
The King's Singers Saturday, February 3, 8pm Hill Auditorium Made possible by a gift from First of America.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Recital V)
Sunday, February 4, 4pm Rackham Auditorium
Philips Educational Presentation: Carrick Ohlsson, "Chopin In Our Time", Saturday, February 3, Rackham -4th Floor Assembly Hall, 4pm. Made possible by a gift from Regency Travel, Inc.
Boston Symphony Orchestra Seiji Ozawa, conductor
Wednesday, February 7, 8pm Hill Auditorium
Philips Educational Presentation: The BSO: All the Qjtestions You ve Ever Wanted to Ask", an interview and audience Q & A with: Leone Buyse, UM Professor ofElute and Eormer Principal Flute, BSO; Daniel Gustin, Manager of Tanglewood; Lots Schaefer, Emeritus Piccolo Prinripal, BSO; and Owen Young, Cellist, BSO; Michigan League, 7pm. Made possible by a gift from Fisher Srientific International.
Latin Jazz Summit featuring Tito Puente, Arturo Sandoval, and Jerry Gonzalez and The Fort Apache Band
Saturday, February 10, 8pm Hill Auditorium
Philips Educational Presentation: Dr. Alberto Nacif, Percussionist and WEMU Radio Host, mA Lecture Demonstration of Afro-Cuban Rhythms", Michigan League, 7pm. The UMSJazz 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 Edxvard Surovell Co.Realtors.
SamulNori
Saturday, February 17, 8pm
Sunday, February 18, 4pm
Power Center
Made possible by a gift from
Regency Travel, Inc.
New York City Opera National Company Verdi's La TYaviata Wednesday, February 21, 8pm Thursday, February 22, 8pm Friday, February 23, 8pm Saturday, February 24, 2pm
(Family Show) Saturday, February 24, 8pm Power Center Philips Educational Presentations: February 21 Helen Sudd, 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 Siedet, UMS Education Specialist, 'Especially for Kids ? The Story of Iji Traviata", explained with music and videos, Gnrn Room, I:l5-l;45pm, Pmoer Center; Made possible by a gift from TriMas Corporation.
Sequentia
The Music of Hildegard von
Bingen
Sunday, February 25, 7pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: James M. Borders, Associate Professor of Musicology, "Medieval Music for a Modern Age", St. Francis of Assisi Church, 6pm.
Tokyo String Quartet Pinchas Zukerman, violinviola
Monday, February 26, 8pm Rackham Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, 'Classics Reheard ", third in a series in which Professor Whiting discusses the concert repertoire, Michigan League, 7pm. Made possible by a gift from KMD Foundation.
John Williams, guitar Tuesday, February 27, 8pm Rackham Auditorium
San Francisco Symphony Michael Tilson Thomas, conductor
Friday, March 15, 8pm Hill Auditorium
Philips Educational Presentation: Jim Leonaid, Manager, SKR Classical, "Mahler in Ijnie: the Fifth Symphony", Michigan league, 7pm. Made possible by a gift from MrKtnley Associates, Inc.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Grand Finale Recital VI) Saturday, March 16, 8pm Hill Auditorium
Made possible by a gift from the Estate of William R. Kinnty.
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 Dana, University of Michigan, "The Essential Alvin Ailey: His Emergence and Legacy as an African American Artist", March 20, Michigan League, Koessler Library, 7pm. Dr. Lorna McDanieU Associate Professor of Music, University of Michigan, "The Musical Influences of Alvin Ailey", March 21, Michigan
league, Koessler IJbrary, 7pm. Christopher Zunner, Alvin Alley Company Manager, and Company Member, "The Alvin Ailty American Dance Theater", March 22, Michigan league, Koessler Library, 7pm. This project is supported by Arts Midwest members and friends in partnership with Dance on Tour.
Borodin String Quartet Ludmilla Berlinskaya, piano Friday, March 22, 8pm Rackham Auditorium Made possible by a gift from The Edward Surovfll 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 Ijikes Bancorp.
Bach's t min.n Mass The UMS Choral Union The Toledo Symphony Thomas Sheets, conductor Sunday, March 31, 2pm Hill Auditorium
Taltis Scholars Thursday, April 11, 8pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: Louise Stein, Associate Professor of Musicobgy, University of Michigan, "To draw (he hearer by chains of gold by the ears... ": English Sacred Music in the Renaissance, St. Francis of Assisi Catholic Church, 7pm.
Ravi Sh.tnk.tr. sit.ii 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
nliii Mehta, conductor Thursday, April 18, 8pm Hill Auditorium Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", fourth in a series in which Professor Whiting discusses the concert repertoire, Michigan League, 7pm. Made possible by a gift from Dr.fohn Psaroutkakis, the Paiedeia Foundation, andfPFAnc.
Purcell's Dido and JEneas
Mark Morris Dance Group
Boston Baroque Orchestra
and Chorus
Martin Pearlman, conductor
with Jennifer Lane, James
Maddalena, Christine
Brandes and Dana Hanchard
Friday-Saturday,
April 19-20, 8pm
Sunday, April 21, 4pm
Michigan Theater
Philips Educational Presentation:
Steven Moore Whiting, Assistant
Professor of Mustcology, University of
Michigan, "Classics Reheard", fifth
in a series in which Profesor Whiting
discusses the concert repertoire, SKR
Classical, 7pm.
This project is supported by Arts
Midwest members and friends in
partnership with Dance on Tour.
Ensemble Modern John Adams, conductor featuring the music of John Adams and Frank Zappa Tuesday, April 23, 8pm Rackham Auditorium
Philips Educational Presentation: James M. Borders, Associate Professor of Musicology, "The Best Instrumental Music You Never Heard In Your Ufe", Michigan League, 7pm.
Acknowledgements
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a igg6 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society 1994-95 Season: dancer Arthur viles of the Bill T. JonesArnie Zane Dance Company 111 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; ihe clarinets of Giora Feidman, featured in Osvaldo [lolijov'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.
University
Musical
Society
of the University of Michigan 1996 Winter Season
Event Program Book
Tuesday, March 19, 1996
through
Tuesday, March 26, 1996
1 iyth Annual Choral Union Series Hill Auditorium
33rd Annual Chamber Arts Series Rackham Auditorium
25th Annual Choice Events Series
Alvin Ailey American Dance Theater
Tuesday, March 19, 1996, 7:00pm 3
(Family Show)
Wednesday, March 20, 1996, 8:00pm Q
Thursday March 21, 1996, 8:00pm 13
Friday, March 22, 1996, 8:00pm 1 7 Power Center
Borodin String Quartet 27
Friday, March 22, 1996, 8:00pm Rackham Auditorium
Guitar Summit II 35
Saturday, March 23, 1996, 8:00pm Rackham Auditorium
Faculty Artists Concert 41
Tuesday, March 26, 1996, 8:00pm Rackham Auditorium
General Information
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time
Every attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audito?rium and seat location and ask them to call University Security at 763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS per?formances included in this edition. Thank you for your help.
University
Musical
Society
presents the
Alvin Ailey American Dance Theater
Alvin Ailey, Founder Judith Jamison, Artistic Director Masazumi Chaya, Associate Artistic Director Sharon Gersten Luckman, Executive Director
Program
Tuesday Evening, March 19, 1996 at 7:00
Power Center
Ann Arbor, Michigan
Family Show
The River (1970)
Spring
Meander
Giggling Rapids
Lake
Falls
Vortex
Riba (Mainstream)
Twin Cities
Intermission
Revelations (i960)
Pilgrim of Sorrow Take Me to the Water Move, Members, Move
Forty-sixth performance of the 11 jth season
25th Annual Choice Events
There will be a Dance Jam for Kids immediately following the perfor?mance. Thanks to Robin Wagner, University of Michigan Assistant Professor of Dance, and Community High School dance students for their assistance.
This project is supported by Arts Midxuest members and friends in partnership with Dance on Tour, a National Endowment for the Arts Program.
Alvin Ailey American Dance Theater is sponsored by Philip Morris Companies, Inc.
Large print programs are available upon request from an usher.
The River
(197?)
"... of birth... of the well-spring of life...
of reaffirmation... of the heavenly anticipation of
rebirth. . . " -Duke Ellington
Tuesday and Thursday evening
Choreography by
Alvin Ailey
Restaged by
Masazumi Chaya
Original Score by
Duke Ellington (The River)
Original Music Coordination
? Martha Johnson
Costumes by
A. Christina Giannini
Lighting by
Chenault Spence
Spring
Meander
Giggling Rapids
Leonard Meek (Tuesday), Don Bellamy (Thursday) Solange Sandy (Tuesday and Thursday), Lisa Johnson, Mucuy Bolles, DeeAnna Hiett, Dwana Smallwood, Guillermo Asca, Richard Witter, Uri Sands, Evan Williams, Bernard Gaddis
Solange Sandy (Tuesday), Vikkia Lambert (Thursday), Michael Joy, Evan Williams (Tuesday), Bernard Gaddis (Thursday)
Karine Plan tadit-Bageot, Jonathan Phelps (Tuesday) Mucuy Bolles, Matthew Rushing (Thursday)
Lake
Linda-Denise Evans, Duane Cyrus and Company (Tuesday) Renee Robinson, Leonard Meek and Company (Thursday)
Falls
Evan Williams, Michael Thomas, Guillermo Asca, Troy Powell (Tuesday) Bernard Gaddis, Richard Witter, Guillermo Asca, Matthew Rushing (Thursday)
Vortex
Vikkia Lambert (Tuesday) Linda-Denise Evans (Thursday)
Riba (Mainstream)
Troy Powell and Company
Twin Cities
Toni Pierce, Leonard Meek and Company (Tuesday) Elizabeth Roxas, Don Bellamy and Company (Thursday)
The production of The River was made possible, in part, with public funds from the National Endowment for the Arts and the New York State Council on the Arts, and by a grant from The Ford Foundation.
Originally commissioned by American Ballet Theatre and performed in 1970, The River represented the major collaboration between Duke Ellington and Alvin Ailey. The music was to depict the rise and course of a river from source to sea, with attention given to events on either bank. Characteristically, Ellington improvised on this idea, translating it into an allegory on birth, life, and rebirth.
Born in Washington, DC in 1899, American composer, pianist and jazz-band leader, Duke Ellington is one of the most influential figures in the history of music. In the early 1930's his band became renowned at the legendary Cotton Club in Harlem. Later the band toured nationally and internationally. The "Duke" wrote over 900 compositions before his death in 1974; among his classics are Mood Indigo, Solitude, Caravan, Sophisticated Lady, and Black, Brown, and Beige.
Revelations
(i960)
Tuesday, Wednesday and Friday evening
Choreography by
Alvin Ailey
Music
Traditional
Decor and Costumes by
Ves Harper
Lighting by
Nicola Cernovitch
This year celebrates the 35th anniversary of Revelations, Alvin Alley's acknowledged masterpiece and one of the most beloved and monumental works in the history of dance.
Michael Joy in Revelations
Pilgrim Of Sorrow
I Been 'Buked
The Company Arranged by Hall Johnson
Didn't My Lord Deliver Daniel
Duane Cyrus, Danielle Gee, Dwana Smallwood (Tuesday) Duane Cyrus, Desiree Vlad, Lydia Roberts (Wednesday) Jonathan Phelps, Desiree Vlad, Karine Plantadit-Bageot (Friday)
Arranged by James Miller
Fix Me, Jesus
Mucuy Bolles, Don Bellamy (Tuesday) Elizabeth Roxas, Leonard Meek (Wednesday) Toni Pierce, Duane Cyrus (Friday) Arranged by Hall Johnson
Take Me to the Water
Processional
Michael Thomas, DeeAnna Hiett, Evan Williams, Roger Bellamy (Tuesday)
Michael Thomas, Karine Plantadit-Bageot, Jonathan Phelps, Matthew Rushing (Wednesday)
Guillermo Asca, DeeAnna Hiett, Evan Williams, Uri Sands (Friday)
Wade in the Water
Marilyn Banks, Bernard Gaddis, Vikkia Lambert (Tuesday)
Marilyn Banks, Michael Joy, Renee Robinson (Wednesday) Nasha Thomas, Don Bellamy, Renee Robinson (Friday)
"Wade in the Water" sequence by Ella Jenkins. "A Man Went Doxun to the River" is an original composition by Ella Jenkins.
I Want to be Ready
Dudley Williams (TuesdayWednesday)
Michael Joy (Friday) Arranged by James Miller
Move, Members, Move
Sinner Man
Roger Bellamy, Jonathan Phelps, Guillermo Asca (Tuesday)
Bernard Gaddis, Matthew Rushing, Troy Powell (Wednesday) Uri Sands, Matthew Rushing, Michael Thomas (Friday)
The Day is Past and Gone
The Company
You May Run On
The Company
Arranged by Brother John Sellers and Howard Roberts Sung by Brother John Sellers
Rocka My Soul in the Bosom of Abraham
The Company
All arrangements by Howard Roberts unless otherwise noted.
Used by special arrangement with Galaxy Music Corporation, New York City
All performances of Revelations are permanently endowed by a generous gift from Donald L. Jonas in celebration of the birthday of his wife Barbara and her deep commitment to the Alvin Ailey American Dance Theater.
University
Musical
Society
presents the
Alvin Ailey American Dance Theater
Alvin Ailey, Founder Judith Jamison, Artistic Director Masazumi Chaya, Associate Artistic Director Sharon Gersten Luckman, Executive Director
Program
Wednesday Evening, March 20, 1996 at 8:00
Power Center
Ann Arbor, Michigan
Riverside (1995)
Mornin'
Homage
Gome
Trio
Six Guys
Tryst
Evenin'
Intermission
Fandango (1990)
Intermission
Revelations (1960)
Pilgrim of Sorrow Take Me to the Water Move, Members, Move
Forty-seventh performance of the 117th season
25th Annual Choice Events
Thank you to Robin Wilson, Assistant Professor of Dance, University of Michigan, speaker for this evening's Philips Educational Presentation.
Thank you to John O. Perpener III for his lecture entitled "African Roots in African American Modern Dance, " held today at the Residential College. Mr. Perpener's visit is sponsored by The Office of the Vice Provost for Academic and Multicultural Affairs.
This project is supported by Arts Midwest members and friends in part?nership with Dance on Tour, a National Endowment for the Arts Program.
Alvin Ailey American Dance Theater is sponsored by Philip Morris Companies, Inc.
Large print programs are available upon request from an usher.
Riverside
O995)
Wednesday and Friday evening
Choreography by
Judith Jamison
Music composed by
Kimati Dinizulu
Lighting by
Tim Hunter
Costumes by
Toni Leslie James
Sets by
Tim Hunter
Assistant to Ms. Jamison
Lee Priestly
Folklorists
Cheryl Johnson (Georgia), Infama Arson (Louisiana)
Research Assistant to Mr. Dinizulu Odiya Oyo
Members of the Company in Riverside
Mornin'
Homage
Gome
Trio
Six Guys
Karine Plantadit-Bageot, Danielle Gee, Lydia Roberts, Vikkia Lambert, Mucuy Bolles, DeeAnna Hiett, Dwana Smallwood, Linda-Denise Evans, Leonard Meek, Don Bellamy, Matthew Rushing, Uri Sands, Guillermo Asca, Richard Witter, Bernard Gaddis
Danielle Gee, Linda-Denise Evans, Lydia Roberts, Richard Witter, Uri Sands
The Company
DeeAnna Hiett, Karine Plantadit-Bageot, Lydia Roberts
Guillermo Asca, Matthew Rushing, Richard Witter, Leonard Meek (Wednesday), Michael Joy (Friday), Uri Sands, Bernard Gaddis
Tryst
Evenin'
Vikkia Lambert, Don Bellamy
The Company
The creation of Riverside is part of The Alvin Ailey Women's Choreography Initiative, which is sponsored by AT&T.
Additional support has been provided, in part, by the Live Music for Dance program of the Mary Flagler Cary Charitable Trust, The Rockefeller Foundation's Multi-Arts Production Fund, The Harkness Foundations for Dance, The Eleanor Naylor Dana Charitable Trust and with public funds from The National Endowment for the Arts.
Alvin Ailey Dance Theater Foundation extends its special thanks to William H. Cosby, Jr. and Camille O. Cosby, Joyce and Ronald Nelson and Sara Lee and Axel Schupf for their major support of this new work.
Fandango
(99?)
Wednesday and Friday evening
Choreography by
Lar Lubovitch
Music composed by
Maurice Ravel (Bolero)
Original Lighting Design by
Craig Miller
Lights Recreated by
Clifton Taylor
Linda-Denise Evans, Don Bellamy (Wednesday) Elizabeth Roxas, Leonard Meek (Friday)
This production of Fandango was made possible, in part, with public funds from The National Endowment for the Arts.
Lar Lubovitch has choreographed over 50 dances for die Lar Lubovitch Dance Company, which has toured virtually all 50 states and more than 30 countries worldwide. The PBS telecast of the company's film version of Fandango was honored with an International Emmy Award in 1992. Currently, the company is focusing on creating new dances (rather than on touring.) Mr. Lubovitch's dances, renowned for their rhapsodic style and deeply humanistic voice, have been performed by many other major companies, including American Ballet Theater, the New York City Ballet and Paris Opera Ballet. One of the country's most versatile and popular choreographers, Mr. Lubovitch has also made notable contributions to choreography in the field of ice-dancing and on Broadway, where he made his debut with the musical staging for Into the Woods, for which he received a Tony nomination. In 1994 he received the Astaire Award for choreographing The Red Shoes.
Please seepage 6 for program notes on Revelations.
University
Musical
Society
presents the
Alvin Ailey American Dance Theater
Alvin Ailey, Founder
Judith Jamison, Artistic Director
Masazumi Chaya, Associate Artistic Director Sharon Gersten Luckman, Executive Director
Program
Thursday Evening, March 21, 1996 at 8:00
Power Center
Ann Arbor, Michigan
The River (1970)
Spring
Meander
Giggling Rapids
Lake
Falls
Vortex
Riba (Mainstream)
Twin Cities
Intermission
Shelter (1988)
Intermission
The Winter in Lisbon (1992)
Opening Theme San Sebastian Lisbon Manteca
Forty-eighth performance of the nyth season
25th Annual Choice Events
Thank you to Dr. Lorna McDaniel, Assistant Professor of Music, University of Michigan, speaker for this evening's Philips Educational Presentation.
This project is supported by Arts Midwest members and friends in part?nership with Dance on Tour, a National Endowment for the Arts Program.
Alvin Ailey American Dance Theater is sponsored by Philip Morris Companies, Inc.
Large print programs are available upon request from an usher.
Please seepage 4 for program notes on The River.
Shelter
(1988)
Thursday evening
Choreography by
Jawole Willajo Zollar
Music by
Junior "Gabu" Wedderburn
Texts
Betxueen a Rock and a Hard Place at the Intersection of Reduced Resources and Reverberating Rage by Hattie Gossett Elmina Blues Opus 3 (Pigin Drum Song) by Carl Hancock Rux Belongo by Laurie Carlos Endangered Species drawn from various news sources
Text performed by
Carl Hancock Rux
Costumes by
Tracy Inman
Lighting by
Meg Fox
Michael Thomas, Troy Powell, Matthew Rushing, Bernard Gaddis, Michael Joy, Uri Sands
This production was made possible, in part, by the generous support of the Kansas City Friends of Alvin Ailey and public funds from the National Endowment for the Arts and the New York State Council on the Arts.
Jawole Willajo Zollar, born in Kansas City, Missouri, began her dance train?ing with Joseph Stevenson. She received a B.A. from the University of Missouri and an M.F.A. from Florida State University. In 1984, Ms. Zollar established Urban Bush Women. Through movement, live music and the drama and wit of the spoken word, Urban Bush Women brings to the stage its concerns with the struggles and strengths of African-Americans.
The Winter in Lisbon (1992)
This work is dedicated to the memory of Gary Deloatch Thursday evening
Choreography by
Billy Wilson
Music by
Dizzy Gillespie
Costumes by
Barbara Forbes
Lighting by
Chenault Spence
Opening Theme
Dwana Smallwood, Vikkia Lambert, Mucuy Bolles, Lisa Johnson, Solange Sandy, Uri Sands, Roger Bellamy, Duane Cyrus, Jonathan Phelps, Michael Joy, Guillermo Asca
San Sebastian
Troy Powell, Leonard Meek, Richard Witter, Lydia Roberts, Karine Plantadit-Bageot
Lisbon
Linda-Denise Evans and Leonard Meek
Manteca
The Company
This work was made possible, in part, with commissioning funds from the New York State Council on the Arts and support from The Harkness Foundations for Dance and the National Endowment for the Arts.
"Opening Theme" (Magic Summer) by Charles Fishman.
"Opening Theme," "Sebastian" and "Lisbon" arranged by Slide Hampton.
"Manteca" arranged by Mike Crotty.
Billy Wilson, internationally known choreographer and director, studied bal?let with Antony Tudor and Karel Shook. He appeared on Broadway in Bells Are Ringing and Jamaica, and in the original London production of West Side Story. He was associated with the dance departments of Brandeis University, the National Center of Afro-American Artists and was an Associate Professor at Carnegie Mellon University's School of Drama. In addition to choreo?graphing the award-winning children's television show, Zoom, Mr. Wilson choreographed Broadway's Odyssey, Bubbling Brown Sugar and directed and choreographed Guys and Dolls. He received numerous awards for his work, including two Emmy Awards and three Tony Award nominations. Billy Wilson died in August, 1994.
University
Musical
Society
presents the
Alvtn Ailey American Dance Theater
Alvin Ailey, Founder Judith Jamison, Artistic Director Masazumi Chaya, Associate Artistic Director Sharon Gersten Luckman, Executive Director
Program
Friday Evening, March 22, 1996 at 8:00
Power Center
Ann Arbor, Michigan
Riverside (1995)
Mornin'
Homage
Gome
Trio
Six Guys
Tryst
Evenin'
(Program notes appear on page io.)
Intermission
Fandango (1990)
(Program notes appear on page 12.) Intermission
Revelations (1960)
Pilgrim of Sorrow Take Me to the Water Move, Members, Move
(Program notes appear on page 6.)
Fiftieth performance of the nyth season
25th Annual Choice Events
Thank you to Christopher Zunner, Alvin Alley Company Manager and Company Member, Alvin Ailey American Dance Tlieater, speaker for this evening's Philips Educational Presentation.
This project is supported by Arts Midwest members and friends in partnership with Dance on Tour, a National Endowment for the Arts Program.
Alvin Ailey American Dance Theater is sponsored by Philip Morris Companies, Inc.
Large print programs are available upon request from an usher.
Alvin Ailey American Dance Theater
Founder Alvin Ailey
Artistic Director Judith Jamison
Associate Artistic Director Masazumi Chaya
Company Members
Guillermo Asca, Marilyn Banks, Don Bellamy, Roger Bellamy, Mucuy Bolles, Duane Cyrus, Linda-Denise Evans, Bernard Gaddis, Danielle Gee, DeeAnna Hiett, Lisa Johnson, Michael Joy, Vikkia Lambert, Leonard Meek, Jonathan Phelps, Toni Pierce, Karine Plantadit-Bageot, Troy Powell, Lydia Roberts, Renee Robinson, Elizabeth Roxas, Matthew Rushing, Uri Sands, Solange Sandy, Dwana Smallwood, Michael Thomas, Nasha Thomas, Desiree Vlad, Evan Williams, Richard Witter and Dudley Williams
?Recipient of the 1995 Princess Grace Award
The Alvin Ailey American Dance Theater is produced by Dance Theater Foundation, Inc. Sharon Gersten Luckman, Executive Director
The Board of Trustees of Dance Theater Foundation, Inc. gratefully acknowledges the generous support provided by the National Endowment for the Arts, New York State Council on the Arts, the Department of Cultural Affairs of the City of New York, the American Express Company and The Andrew W. Mellon Foundation.
Dance Theater Foundation has been awarded a grant in the Lila Wallace-Reader's Digest Arts Stabilization Initiative, a joint venture of the Lila Wallace-Reader's Digest Fund, the Department of Cultural Affairs of the City of New York and the National Arts Stabilization Fund.
All About Ailey
The Alvin Ailey American Dance Theater grew from a now fabled per?formance of March, 1958, at the 92nd Street Young Men's Hebrew Association in New York. Led by Alvin Ailey and a group of young black modern dancers, that performance changed forever the perception of American dance. The Ailey Company has gone on to perform for an estimated eighteen million people in forty-eight states and in sixty-seven countries on six continents, earning a repu?tation as one of the most acclaimed interna?tional ambassadors of American culture, promoting the preservation and enrichment of the American modern dance heritage and the uniqueness of black cultural expres?sion.
Born in Rogers, Texas on January 5, 1931, Alvin Ailey was introduced to dance by performances of the Katherine Dunham Company and the Ballet Russe. His formal dance training began with an introduction to Lester Horton's classes by his friend, Carmen de Lavallade.
When Mr. Ailey began creating dance, he drew upon his "blood memories" of Texas, the blues, spirituals and gospel as inspiration, resulting in the creation of two of his most popular and critically acclaimed works -Blues Suite and Revelations.
Although he created seventy-nine ballets over his lifetime, Alvin Ailey maintained that his Company was not exclusively a repository for his own work. Today, the Company continues Mr. Ailey's legacy of presenting important works of the past and commis?sioning new ones. In all, more than one-hundred seventy works by sixty-three chore?ographers have been performed by the Ailey Company.
In 1989, after the death of Alvin Ailey, Judith Jamison was appointed Artistic Director of the Alvin Ailey American Dance Theater. Ms. Jamison wrote in her recent autobiography, Dancing Spirit, "I hope I'm a continuation of Alvin's vision. He has left me a road map. It's very clear. It works."
These performances mark the Alvin Ailey American Dance Theaters eighth visit to Ann Arbor, totaling twenty-one performances under the auspices of the UMS.
You can also catch Ailey...
At the 1996 Olympic Arts Festival, the arts & cultural component of the 1996 Olympic Games in Atlanta, Georgia, at the Atlanta Civic Center on July 17-18 at 8:00pm and July ig-2oth at 3:00pm. For more informa?tion, call (404) 224-1835.
On the Internet, debuting on the World Wide Web at http:www.alvinailey.org. The site will include general information, tour schedules for both companies and applica?tion information for the Alvin Ailey American Dance Center.
Lincoln Center Festival 96, featuring the world premiere of a collaborative piece by Judith Jamison and Wynton Marsalis, August 7-11, 1996, New York State Theater.
Discovered by Agnes de Mille, Judith Jamison made her New York debut with the American Ballet Theatre. Her dance studies began with Marion Cuyjet and continued with Antony Tudor, John Hines, Delores Browne, John Jones and Joan Kerr. After attending Fisk University as a psychology major, Ms. Jamison transferred to the University of the Arts in Philadelphia. Ms. Jamison became a member of the Alvin Ailey American Dance Theater in 1965 and toured the world, thrilling audiences throughout her fifteen-year tenure.
From the Ailey Company, Ms. Jamison went on to appear with ballet companies worldwide as a guest artist and choreographer and to star in the hit Broadway musical Sophisticated Ladies. In 1988, Ms. Jamison debuted her own company, The Jamison Project, and embarked on a critically acclaimed U.S. tour one year later. Her PBS special, Judith Jamison: The Dancemaker, aired nationally in the same year.
In 1989, Ms. Jamison was named Artistic Director of die Alvin Ailey American Dance Theater and the Alvin Ailey American Dance Center.
In recognition of her achievements, Ms. Jamison has received numerous awards and
Alvin Ailey
Judith Jamison
honorary doctorates. Always in demand as a choreographer, lecturer and master teacher, her latest addition to a long list of accomplish?ments is the publication of her autobiography, Dancing Spirit, published by Doubleday.
Masazumi Chaya was born in Fukuoka, Japan, where he began his classical ballet training. Upon moving to New York, he studied modern dance and performed widi the Richard Englund Repertory Company. Mr. Chaya joined the Alvin Ailey American Dance Theater in 1972 and performed with the Company for fifteen years. In 1986, he became the Assistant to the Rehearsal Director and two years later became the Company's Rehearsal Director. In 1991, Mr. Chaya was named Associate Artistic Director of the Company.
Mr. Chaya has staged numerous ballets including Alvin Ailey's Flowers for the Missouri Ballet Company (1990), The River for the Royal Swedish Ballet (1993), Ballet Florida (1995) and National Ballet of Prague (1995). He also restaged Pas de Duke, The River and The Mooche for die Ailey Company. In 1991. Mr. Chaya restaged Ailey's Fof 'Bird'With Love for a Dance in America program entitled Alvin Ailey American Dance Theater Steps Ahead. Mr. Chaya provides invaluable creative assistance in all facets of the Company. He recently assisted in the creative development of an American Express commercial featuring the Alley Company and each year provides cre?ative direction for Company photo shoots. Mr. Chaya has also appeared on Japanese television in both dramatic and musical pro?ductions.
A master teacher both on tour with the Company and in Japan. Mr. Chava has also served as choreographic assistant to Alvin Ailey and John Butler. Mr. Chaya wishes to recognize the artistic contribution and spirit of his late friend and fellow artist. Mkhihiko Oka.
Who's In the Company
Guillermo Asca (Rego Park, NY), or "Moe" as he is affectionately known, was awarded a scholarship to the Alvin Alley American Dance Center and has danced with the Alvin Ailey Repertory Ensemble, Ballet Metropolitano de Caracas, Ballet Hispanico, Dance Compass and Foot Prints Dance Project. Mr. Asca joined the Ailey in 1994.
Marilyn Banks (Brooklyn, NY), a gradu?ate of Thejuilliard School, began studying dance at the John F. Kennedy Community Center in Brooklyn and continued her studies at the Clark Center for the Performing Arts. Her performance credits include the Chuck Davis Company, Fred Benjamin Dance Company and the companies of Eleo Pomare, Morse Donaldson and Glen Brooks. She also appeared in the 1986 film Angel Heart. Ms. Banks joined the Ailey in 1977.
Don Bellamy (Washington, DC) studied dance at the Duke Ellington School of the Arts. He has danced with the Capitol Ballet Company under the direction of Doris W. Jones and Billy Wilson. He appeared in the 1993 Broadway musical, The Red Shoes, chore?ographed by Lar Lubovitch. Mr. Bellamy was a member of the Ailey from 1989 to 1992 and rejoined the Company in 1994.
Roger Bellamy (Washington, DC) studied dance at the Duke Ellington School of the Arts. He received a scholarship to the Alvin Ailey American Dance Center and later danced with the Alvin Ailey Repertory Ensemble. 1 Ithas worked with such choreographers as Milton Myers, James Truitte and Louis Johnson. Mr. Bellamy joined the Ailey in 1992.
Mucuy Bolles (Komchen. Mexico) grad?uated from the Walnut Hill School for the Arts in Massachusetts and was awarded the Brat level award in modern dance by the National Foundation lor the Arts. She danced with 1'eUl Ballets NY, Elisa Monte Dame Company and also appealed in the loo;; Uio.ulu.ix musical I'hr Hint Shots. Mv Bolles joined the AHry in 1994.
Duane Cyrus (Bronx, NY) began his dance training with Gallman's Newark Dance Theater School. He is a graduate of Bronx High School of Science and received a B.F.A. from The Juilliard School. Mr. Cyrus was a principal member of Gallman's Newark Dance Theater and the Martha Graham Dance Company. Mr. Cyrus chore?ographs and teaches throughout Asia, Europe and in the U.S. In 1992, he received the Princess Grace Foundation Award. He was a member of the Ailey in 1989 and rejoined the Company in 1993.
Linda-Denise Evans (Baltimore, MD) began her dance training at the Baltimore School for the Arts and studied at the Alvin Ailey American Dance Center. She received first place in the National ACT-SO Competition sponsored by the NAACP and a National Foundation for the Arts Award. Mrs. Evans has performed with the Capitol Ballet, Hubbard Street Dance Company and joined the Ailey in 1992.
Bernard Gaddis (Philadelphia, PA) is a graduate of the Creative and Performing Arts High School and received scholarships to Dance Theatre of Harlem, Pennsylvania Ballet and Alvin Ailey American Dance Center. He has performed with Leja Dance Theatre, Koresh Dance Company and Philadanco. He is also a former artistic director and founder of Philadanco's second company. Mr. Gaddis joined the Ailey in
Danielle Gee (Philadelphia, PA) is a graduate of the Performing Arts School of Philadelphia. At the age of fifteen, she joined the Philadelphia Dance Company and became one of its leading soloists. She has made guest appearances with the Philadelphia Civic Ballet and represented Philadanco in the 1990 and 1991 International Black Dance Conferences. Ms. Gee joined the Ailey in 1991-
Deeanna Hiett (Whiiohouse, TX) began her dance training at the Dance Factory in Whitehou.sc, TX. She studied at the Alvin
Ailey American Dance Center and has danced with the Alvin Ailey Repertory Ensemble and The Jamison Project. Ms. Hiett was a member of the Ailey from 1990-igg2 and rejoined the Company in 1995.
Lisa Johnson (Washington, DC) is a graduate of the Duke Ellington School of the Arts and the University of the Arts in Philadelphia. She has danced with the Capitol Ballet, Donald ByrdThe Group and Cleo Parker Robinson Dance Ensemble. She also appeared with the Washington Opera and in the PBS special Judith Jamison: The Dancemaker. Ms. Johnson joined the Ailey in 1994.
Michael Joy (Dover, NJ) began his dance training as a certificate and scholarship recipient to the Alvin Ailey American Dance Center. He has danced with the Alvin Ailey Repertory Ensemble, Elisa Monte Dance Company and Dennis Wayne's Dancers. He has appeared on television, in film and in numerous theater productions, and he has worked as an assistant to Talley Beatty. Mr. Joy joined the Ailey in 1989.
Vikkia Lambert (Philadelphia, PA) stud?ied with Philadanco and the Pennsylvania School of Ballet. She trained at the North Carolina School for the Arts under Melissa Hayden and was a scholarship student at the Alvin Ailey American Dance Center. Ms. Lambert was a member of the Alvin Ailey Repertory Ensemble before joining the Ailey in 1993.
Leonard Meek (New York, NY) graduated with honors from the High School of the Performing Arts and is an alumnus of the Alvin Ailey American Dance Center. He began his professional dance career with the Lar Lubovitch Dance Company. He has also performed with Donald ByrdThe Group and Elisa Monte Dance Company. Mr. Meek was a member of the Ailey in 1986 and rejoined the Company in 1991.
Jonathan Phelps (Harrisburg, PA) began his professional dance career with The Jamison Project and Donald ByrdThe
Group. He studied on scholarship at the School of American Ballet, The Pennsylvania Ballet and the Alvin Ailey American Dance Center. He is a B.F.A. graduate of the University of the Arts and appeared in the PBS special Judith Jamison: The Dancemaker. Mr. Phelps has choreographed and received grants for numerous works on companies in The Northeast Regional Ballet Association and is an alumnus of The Carlisle Project choreographic conference. Mr. Phelps joined the Ailey in 1992.
Toni Pierce (St. Paul, MN) began her training with Locye Houlten Minnesota Dance Theater. She performed with the Alvin Ailey Repertory Ensemble and later joined the Ailey. Ms. Pierce has also danced with Rick Odums Company in Paris and Tanz Form Company in Germany. She rejoined the Ailey 1991.
Karine Plantadit-Bageot (Aubusson, France) was raised in Cameroon, Africa, where she began her dance training. At the age of fifteen, she studied at the Rosella Hightower Center in Cannes, France. Ms. Plantadit-Bageot received a scholarship to the Alvin Ailey American Dance Center and later toured Europe with Les Ballets Jazz de Paris. She has also danced with The Jamison Project. Ms. Plantadit-Bageot joined the Ailey in 1990.
Troy O'Neil Powell (New York, NY) graduated from the High School of the Performing Arts. At the age of nine, he began his dance training with the Alvin Ailey American Dance Center. He was a recipient of the National Foundation of the Arts Award. He has assisted choreographers Judith Jamison, Louis Johnson and Ralph Lemon and has danced with the Alvin Ailey Repertory Ensemble. Mr. Powell joined the Ailey in 1991.
Lydia Roberts (Chesapeake, VA) began her training at the age of four under the direction of Thaddeus Hayes. She was an
Alvin Ailey American Dance Center scholar?ship student and danced with the Alvin Ailey Repertory Ensemble. Ms. Roberts was a member of The Jamison Project and joined the Ailey in 1990.
Renee Robinson (Washington, DC) began her training in classical ballet at the Jones-Haywood School of Ballet. She was the recipient of two Ford Foundation schol?arships to the School of American Ballet and was awarded full scholarships to the Dance Theatre of Harlem and Alvin Ailey American Dance Center. Ms. Robinson was a member of the Repertory Ensemble and joined the Ailey in 1981.
Elizabeth Roxas (Manila, Philippines) began her dance training with Ballet Philippines. She received scholarships to thejoffrey Ballet School and the Alvin Ailey American Dance Center. She was a princi?pal dancer with the Joyce Trisler Dance Company before joining the Ailey in 1984.
Matthew Rushing (Los Angeles, CA) attended the Los Angeles County High School for the Arts and trained at the Los Angeles Contemporary Dance Theater, Stanley Holden Dance Center and the Alvin Ailey American Dance Center. He has received the Spotlight Award and the Presidential Scholar of the Arts Award. Mr. Rushing danced with the Alvin Ailey Repertory Ensemble and joined the Ailey in 1992.
Uri Sands (Miami, FL) studied at the New World School of the Arts in Miami under Daniel Lewis. He continued his train?ing at Miami Dance Theatre, Miami Ballet and Contemporary Dance Theatre. He received full scholarships to Miami Ballet, Milwaukee Ballet, Joffrey Ballet and Alvin Ailey American Dance Center. Mr. Sands has danced with Freddick Bratcher Contemporary Dance Theatre, Miami Ballet and Philadanco. Mr. Sands joined the Ailey in 1995.
Solange Sandy (Port-of-Spain, Trinidad) began her dance training at the Caribbean School of Dancing. She is an alumna of the Alvin Ailey American Dance Center and danced with the Alvin Ailey Repertory Ensemble after receiving her B.F.A. from Thejuilliard School. Ms. Sandy joined the Ailey in 1994.
Dwana Smallwood (Brooklyn, NY) has a degree in modern dance from the North Carolina School of the Arts and also trained at the Martha Graham School and LaGuardia High School of Performing Arts. She is a former member of the North Carolina Black Repertory Company and three-time first place winner of the Apollo Theater's Amateur Night. Ms. Smallwood was a member of the Alvin Ailey Repertory Ensemble and joined the Ailey in 1995.
Michael Thomas (Dillon, SC) began dancing with the Columbia Dance Theatre, but received his formal training at the North Carolina School of the Arts, where he received the Chancellor's Award for Excellence. He was a scholarship student at the Alvin Ailey American Dance Center and the Jacob's Pillow Dance Festival. After earning his B.F.A. degree, he danced with The Jamison Project and the Dayton Contemporary Dance Company. Mr. Thomas joined the Ailey in 1991.
Nasha Thomas (New York, NY) began her training with Bernice Johnson and studied at the Alvin Ailey American Dance Center. She is a graduate of The High School of the Performing Arts and Southern Methodist University, as well as a 1980 recipient of the Presidential Scholar of the Arts award. She has appeared in various music videos, soap operas and variety shows on television in the U.S. and abroad. Ms. Thomas is a teacher and choreographer and recently represented the Company as guest artist at the Budapest Opera House. She joined the Ailey in 1986.
Desiree Vlad (New York, NY) began her dance training at St. Thomas School of Dance in the U.S. Virgin Islands, the North Carolina School of the Arts and the Alvin Ailey American Dance Center. She has performed with the Alvin Ailey Repertory Ensemble, Ze'eva Cohen Dance Company and in a production of Emperor Jones starring Cleavon Litde. She joined the Ailey in 1986.
Dudley Williams (New York, NY), a grad?uate of the High School of the Performing Arts, attended The Juilliard School and Metropolitan Opera Ballet School. He performed with the companies of Martha Graham, Donald McKayle and Talley Beatty and has made numerous solo appearances on television both at home and abroad. Mr. Williams joined the Ailey in 1964.
Evan Williams (London, England) began his dance studies at Weekend Arts College and attended the Royal Ballet School. After graduating, he danced with the Birmingham Royal Ballet for four years. Mr. Williams joined the Ailey in 1994.
Richard Witter (Kingston, Jamaica) enrolled in England's Air Training Corps to learn aviation at the age of fourteen. He flew solo for three years before moving on to study at the Northern School of Contemporary Dance. In 1987 he won the Cosmopolitan Dancer of the Year award. Mr. Witter has danced with Dance Theatre of Harlem and joined the Ailey in 1994.
Alvin Ailey Dance Theater Foundation
Board of Trustees
Chairman
Philip Laskawy President
Henry McGee Vice-chairmen
Barbara Jonas
Arthur J. Mirante II
Michael Monaco
Sylvia Rhone
Eleanor Applewhaite, Esq.
C. Stephen Metzler
David N. Barus, Esq.
Martin Monas, Esq.
Carolyn Brody
James J. Morgan
Anthony M. Carvette
William Murray
Judith M. Davenport, D.M.D.
Joyce M. Nelson
Robert P. DiVenere
AlexJ. Plinio
Alphonse Fletcher, Jr.
Julie Ratner
Edward L. Gardner
Richard Speciale
Lauren Dugas Glover
Josey Stamm
Guido Goldman
Lemar Swinney
Judith Jamison
Carmen Thain
Michael M. Kaiser
Liz Thompson
Amy B. Lane
Mrs. C. Carter Walker, Jr
Mrs. Sanford I. Weill
Chairmen Emeriti
Stanley Plesent, Esq. Harold Levine
Alvin Ailey American Dance Theater
General Manager Director of Production
Calvin Hunt Company Manager
Donald Washington Production Stage Manager
Phyllis Schray Tour Manager
Christopher Zunner Costume Supervisor
Zorba D. Soteras Lighting Supervisor
Michele Disco Resident Sound Engineer
David Gibson Master Carpenter
Thomas Gordon Master Electrician
Dean M. Brown Property Master
Ian Britton Stage Manager
Doug Singleton Sound Technician
William Coholan Assistant Electrician
Iris Novick Wardrobe Assistant
Zinda Williams Flyman
Glenn Magnus Production Assistant
Amadea Edwards Company Teachers
Masazumi Chaya
Dudley Williams Rehearsal Assistants
Elizabeth Roxas
Leonard Meek
Director of the Harkness Center for Dance Injuries
Donald J. Rose M.D.
The Artists appearing in this performance are members of the American Guild of Musical Artists AFL-CIO, the labor union representing professional dancers, singers and staging personnel in the United States, and the Inter-national Alliance of Theatrical Stage Employees (IATSE).
North American Touring Contact: Columbia Artists Management Inc. John P. Luckacovic Vice President
International Touring Contact: Paul Szilard Productions, Inc. Paul Szilard President
Musical
The Ford Honors Program
featuring
VAN CLIBURN
First Recipient of the
UNIVERSITY MUSICAL SOCIETY DISTINGUISHED ARTIST AWARD
The University Musical Society invites
you to attend a special evening as we
honor legendary pianist Van Cliburn
with the University Musical Society
Distinguished Artist Award as part
of the first Ford Honors Program,
a new UMS tradition made possible
by the generous support of
Ford Motor Company.
The award recognizes an internationally
acclaimed artist who has a long?standing and significant relationship with the University Musical Society.
The evening will feature a special
Hill Auditorium recital by
Mr. Cliburn at 6:00pm in his first
Ann Arbor appearance in almost
a quarter-century.
Following tlie recital will be a
tribute to Mr. Cliburn involving film,
musical presentations, speeches,
and several surprise guests.
At 8:00pm, after the Hill Auditorium
event, there will be a dinner in Mr.
Clibuni's honor with entertainment and
dancing at the Karkham Building
Ihlark tie optional). Space is limited.
For more information about the
Gala Dinner and Dance, please
call 313.936.6837.
As we honor Mr. Cliburn for his
passionate devotion to music and
to young people, all proceeds from
these events will benefit the
UMS Education Program.
Saturday, May 11, 1996
Hill Auditorium and Rackham Building, Ann arbor
for tickets call 313.764.2538
outside the 313 area code. call toll-free 1.800.221.1229
University
Musical
Society
and
The Edward Surovell Co. Realtors
present
The Borodin String Quartet
Mikhail Kopelman, first violin Andrei Abramenkov, second violin Dmitri Shebalin, viola Valentin Berlinsky, cello
with Ludmilla Berlinskaya, piano
Program
Friday Evening, March 22, 1996 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Sergei Prokofiev
String Quartet No. 2 in F Major, Op. 92
Allegro sostenuto
Adagio -Poco piu animato -Tempo I
Allegro -Andante molto -Tempo I
Alfred Schnittke
Piano Quintet (1972-76)
Moderato
In tempo di valse
Andante
Lento
Moderato pastorale
Intermission
Dmitri Shostakovich
Piano Quintet in g minor, Op. 57
Prelude (Lento) Fugue (Adagio) Scherzo (Allegretto) Intermezzo (Lento) Finale (Allegretto)
Forty-ninth concert of the njth season
33rd Annual Chamber Arts Series
Special thanks to Edward D. Surovell, President, The Edward Surovell Co.Realtors, for helping to make this performance possible.
Exclusive North American management by Mariedi Anders Artists Management, Inc., San Francisco, California.
Large print programs are available upon request from an usher.
String Quartet No. 2 in F Major, Op. 92
Sergei Prokofiev
Born April 27, 1891 in Sontzovka, near
Ekaterinoslav, Russia Died March 5, 1953 in Moscow
In the late summer of 1941, Moscow was coming under increasingly heavy bombard?ment and was in danger of falling to the German army. By early August the Soviet Committee on Artistic Affairs had decided to evacuate a group of leading artists, writers and musicians, including Sergei Prokofiev, to a safer refuge in Nalchik, capital of the Kabardino-Balkaria Autonomous Republic in the foothills of the Caucasus mountains. In Nalchik, freed from the concerns of living in war-torn Moscow, Prokofiev was especially prolific: he completed an orchestral suite (titled The Year 1941), several songs, almost half of his epic opera War and Peace and the String Quartet No. 2 in F Major, Op. 92, "On Kabardian Themes."
The folk music of the Kabardi region was litde known at the time (although Prokofiev's early mentor Sergei Taneyev had assembled an anthology of Kabardian melodies some years earlier) and Prokofiev appeared to relish the challenge of reconciling this folk style with a cultivated art-music form. He wrote: "It seems to me that bringing new and untouched Eastern folklore together with one of the most classical of all classical forms -the string quartet -could yield interesting and unexpected results." This curious amalgam of cultures was manifest in the composition of the Second String Quartet, yet the medium of chamber music was almost as alien to Prokofiev as was the folk music repertoire. Apart from a handful of sonatas for solo instruments and piano, the two string quartets are his only major ventures into the chamber genre. In his orchestral writing, however, Prokofiev had
already developed a distinctive string style, and his success in the string quartet form derives in part from this experience and confidence with idiomatic string technique. As David Avshalomov has noted, Prokofiev's string quartets, though few in number, have remained in the repertoire precisely because "they are in equal parts good string quartets and good Prokofiev."
The musical conventions of "Orientalism," including such stock devices as pentatonic scales and augmented seconds, had become almost standardized in the nineteenthand early twentiethcenturies, particularly in Russia, but they did not appeal to Prokofiev's more ingenuous aesthetic. Instead, as David Fleming has written, his borrowings strove for an honest, even harsh directness, "taking care not to smooth down the rough edges of the folk material." The opening movement, cast in a sonata-allegro pattern, is based on an authentic dance tune, but Prokofiev absorbs and interprets the folk models via his own musical lan?guage, in order to avoid simple quotation. Later in the movement the lower strings imi?tate an accordion-like ostinato over which the violin introduces another folk melody, then a cheerful lyric theme rounds out the exposition. The raw textures in the develop?ment section may have contributed to the occasional criticisms from orthodox officials that Prokofiev had "violated" the folk sources with excessive "barbaric" harmonies. Even Nikolai Miaskovsky, Prokofiev's close friend, deemed the treatment of folk materi?als in this quartet "simply monstrously, even 'nightmarishly' interesting."
The central Adagio movement is based on the Kabardian love song "Synilyaklik Zhir," played by the cello in its high register. Prokofiev also imitates the sound of the kamange, a native Caucasian instrument, in his transformation of the "Islamei" folk dance. The melody itself is later modulated into a highly-ornamented accompaniment
to a shepherd's tune in the violin.
The vigorous agitations heard in the opening movement return in the finale, with the violin adding an uneasy lyrical melody. Prokofiev incorporates into the movement the flexible syncopated episodes, and allusions to previously-heard themes. He adroitly retains the sense of cultural dis?tance connoted by the folk music in this quartet, while at the same time highlighting its emotional immediacy.
Piano Quintet (1972-76)
Alfred Schnittke
Born November 24, 1934 in the German Volga Republic, near Saratov
In the words of Richard Steinitz, Alfred Schnittke's music "flows from a deep vein of humanity marked by intense anguish born of very real suffering." Schnittke has been called a "polystylist," in reference to the broad kaleidoscope of musical styles inte?grated into his works. He often juxtaposes wit, exuberance and theatrical energy in close proximity with sadness, simple beauty or melancholy. Audiences have come to expect surreal distortions of classical patterns in his compositions, as in (fQEin Sommernaclitstraum or the first Concerto Grosso, and the result, while humorous at times, can also be unnerving, even threatening.
For a composer saddled with a reputation for almost schizophrenic eclecticism, Schnittke's Piano Quintet is all the more remarkable for its relentless sobriety, draw?ing intensely as it does on the "very real suf?fering" to which Steinitz referred. Schnittke set about work on the Piano Quintet imme?diately after the death of his mother in September 1972. He writes: "My aim to compose a piece of simple yet at the same time earnest character in her memory set an almost insolvable problem before me. The
first movement of a Piano Quintet had come into being almost without complication. After that it went no further, for I had to transplant everything I wrote from imaginary sonic locations. . .into a psychologically real environment, where tormenting pain has an almost light-hearted effect and where the right to dissonance, consonance and asso?nance must first be fought for."
During the next four years his sketches and experiments yielded little for the project. He envisioned one movement as an instru?mental summary of the Requiem Mass, but found the themes he had devised too palpa?bly vocal; eventually they were turned into an independent composition, the Requiem for chorus and small ensemble. Only in 1976 did Schnittke succeed in completing the final four movements. He notes that in the intervening years spent trying to solve the quintet's problems, "I had changed so much that I now profoundly experienced it rather than composed it."
The opening piano motif in the first movement, a five-note chromatic turning figure, captures some of the personal anguish that afflicted the composer during the Quintet's composition -its recurrence throughout this and other movements func?tions as a constant reminder of the work's mournful genesis. The strings enter together with the same motif, but each in a slightly-altered rhythmic pattern which intensifies the sense of musical and emotional disloca?tion. In one of the more programmatic moments near the end of the movement is a high repeated note in the piano diminuendos until only the noise of the key is heard: life and substance depart, leaving only the mechanics of the body to eventually cease their function.
The chromatic relationships of die B-A-C-H motif in the "unearthly waltz" of the second movement seem integrally related to the turn figure of the first. It is transposed, inverted and augmented by the strings, pro-
viding both melodic and harmonic material for the entire movement, but this waltz is not at all light-hearted, nor even nostalgic. Schnittke remarks on its "sad meditation. . .and the continual recurring intrusion of real tragedy into this meditative tranquillity."
The third movement begins with the same disjunct statement of the chromatic motif heard in the opening, but it is gradu?ally transformed by the introduction of quarter-tones. This intensification of pitch also affects the harmonies, which expand and contract as if breathing, usually tighten?ing into quarter-tone clusters at the end of the phrase. As in the first movement, a puls?ing piano note dies away into nothingness, marked at the end by an audible lifting of the sustain pedal as if to signal the demise of life signs. In the fourth movement the ensemble covers extremes of register and dynamic in a desperate outburst whose real relevance is known only to the composer. He writes: 'The third and fourth movements are based upon situations of genuine grief about which I wish to say nothing more because they are of a highly personal nature and can only be devalued by words."
The passacaglia of the final movement recalls by technique the composer recalled by name in'the second movement, by there is little that is expressly Bach-like or Baroque in it. An arpeggiated theme in D-flat Major, repeated fourteen times, speaks of peaceful resignation or comfort, while, in the words of the composer, "all other sonic events are mere shadows of an already disappeared tragic perception." The final statement of the theme in the piano fades again to key-noise, and this Quintet, infused with so much grief and memory, dies away quietly.
Piano Quintet in g minor, Op. 57
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg
Died August 9, 1975 in Moscow
Dmitri Shostakovich once claimed to have written the g-minor Piano Quintet, Op. 57, just so he could play the piano part and thereby travel on concert tours with famous chamber ensembles. "Now the 'Glazunovs' and the 'Beethovens1 won't be able to do without me," he once said only halfjokingly, "and I'll get a chance to see the world!" Certainly if he wanted to make himself indis?pensable to these groups, the Piano Quintet was a highly promising first step. After its premiere by the Beethoven String Quartet on November 23, 1940, with the composer at the piano, the response was unanimous and wildly enthusiastic. Two of the move?ments (the Scherzo and the Finale) were encored, establishing a practice that soon became so common one critic described the piece as "a work in five movements -of which there are seven." Soon after the pre?miere the Quintet was awarded the Stalin Prize (First Class) amounting to 100,000 rubles -perhaps the largest sum ever paid for a piece of chamber music.
But Shostakovich's real contribution as a chamber musician lay not in his perfor?mance of the Piano Quintet, but in the later composition of fifteen string quartets that set him among the masters of the genre. It was while the Beethoven String Quartet, one of Russia's leading ensembles at the time, was rehearsing Shostakovich's first composi?tion in that medium that they suggested he write a quintet so they might all play together. He composed it during the summer of 1940, and after the auspicious premiere it contin?ued to grow in popularity, becoming one of
his most performed and recorded chamber works (perhaps only surpassed by the String Quartet No. 8).
Like others before him, Shostakovich's turn to chamber music provided an outlet for his most personal utterances. After the stinging condemnation of his works in Pravda, which proclaimed that he wrote "chaos instead of music," Shostakovich assumed an inscrutable public mask, and his large-scale symphonic works avoided, at least superficially, anything that would raise the ire of officialdom. Only in the more inti?mate works does one catch a glimpse of Shostakovich's private face, his deepening melancholy but also the latent incisive wiL
The Piano Quintet's classicist bearing adheres to traditional formal patterns and demonstrates a clarity of expression, border?ing occasionally on stark objectivity. It wavers between parody and homage, yet beneath the laconic surface there are under?currents of powerful emotion. It is all too easy to speculate on the deeper meanings of Shostakovich's music -the hidden messages locked behind those notes -yet listeners need not know to whom the barbs are point?ed, it they indeed exist in this work, to be impressed by its expressive caliber and musical value.
The opening movements form a Prelude and Fugue pairing that brings to mind the keyboard works of Bach. The solemn declamatory chords at the start of the Prelude, contrasted with a lighter two-part counterpoint in the middle section, return at the end, and lead direcdy into the slow string fugue on a related theme. The build?ing of textural intensity as the theme enters on all instruments leads to an impassioned climax before arching back into a relaxed, almost inaudible conclusion.
The Scherzo is brief and high-spirited, yet Shostakovich scholar Ian MacDonald warns against ignoring the "caustic nuances"
that are a part of the whole Quintet's satiri?cal continuity. "The Scherzo is a clumsy rus?tic dance with brutal undertones," aimed direcdy at "Stalin's generation of cultureless country bullies." At die high-point of die movement Shostakovich introduces an unusual timbral coloration in the piano, which plays percussively in the upper regis?ters as if it were a xylophone, while die strings accompany with double-stopped chords.
The staid mood of die first two movements returns in the Intermezzo -a poetically lyrical dialogue that explores the range of warm tone colors in all five instruments. Only in the Finale are the emotional contra?dictions raised by the previous movements resolved. The austerity of die Fugue dissi?pates, and the Scherzo is reiterated with a less sarcastic demeanor. The rhythms hover between dance and march, but this is no sturdily triumphant finale: it expresses a reconciliation won in the midst of turmoil, a subdued and restrained optimism that, despite moments of joy, ends with a non?committal shrug.
Notes by Luke Howard, Ann Arbor, 1996.
ndoubtedly one of the major quartets of today, the Borodin String Quartet was founded in 1945. Emerging from die Moscow Conservatory immediately after the World War II, die quartet was known initially as the Moscow Philharmonic Quartet, changing its name to the Borodin Quartet in 1955. Their early close association with Shostakovich, one of the most important composers of string quartets, played a part in making the
Borodin Quartet's performances of his works so significantly in concert life today. Throughout the 1950's and 1960's, the Borodin Quartet established themselves as one of the most respected ensembles in the Soviet Union, becoming known in the West mainly through recordings. In 1974, Valentin Berlinsky (an original Quartet member) and Dmitri Shebalin (a member since 1954) were joined by a new second violinist, Andrei Abramenkov. Since 1976, when the new leader Mikhail Kopelman joined the Quartet, it has remained unchanged.
The Borodin Quartet plays regularly to capacity houses throughout the world. In 1969, they gave an extremely successful series of performances consisting of the Shostakovich Quartets (at that time twelve quartets were composed) in Vancouver. In 1988, they performed the complete Shostakovich Quartet cycle, (fifteen quartets) in Pasadena, California. It has subsequently been repeated in Amsterdam (1991), Northern California (1992), Ann Arbor, Michigan (1994) -part of a scholarly con?ference entitled Shostakovich: The Man and His Age, New York (1995), London, and
The Borodin Strinc Quartet
Germany (1994). Celebrating their fiftieth anniversary in 1995. the Quartet performed a series of concerts around the world, including concerts with guest artists such as Natalia Gutman, Mstislav Rostropovich and Yuri Bashmet.
From 1990 to igg2, members of the Quartet were aru'sts-in-residence at Aldeburgh. The Quartet played a prominent role in the Aldeburgh Foundation year-round concert series. They also held master classes regu?larly and coached individual students and ensembles from throughout the world attending the Britten-Pears School for Advanced Musical Studies. They maintain a close relationship with the Aldeburgh Foundation, appearing regularly in Festival programs.
The Quartet has an exclusive contract with Teldec Classics International. They have recorded the Tchaikovsky Quartets and Souvenir de Florence (which received the Gramophone Award in 1994), Schubert String Quintet, Haydn's Seven Last Words, and "Russian Miniatures" (selected works for string quartet written by Russian com?posers) .
This evening's performance marks the Borodin Siring Quartet's ninth appearance under UMS auspices.
Born in Moscow in i960, Ludmilla Berlinskaya received her Diploma from the Gnessin School as a pupil of Professor Kantor and from the Moscow Conservatory where she studied with Professor Vaskressenskyi. In 1989, with the Leningrad-Moscow Quintet she won the Grand Prix and the three special prizes (including the prize for the best pianist in the competition) at the Chamber Ensembles Competition in Florence. As a soloist with various ensem?bles, her performances have taken her to France, Portugal, Hungary, Japan, Germany and Italy, performing with numerous artists including Sviatoslav Richter, Yuri Bashmet, Alexander Rudin and the Borodin Quartet.
This evening's performance marks Ms. Berlinskaya's debut appearance under UMS auspices.
University
Musical
Society
presents
Guitar Summit II
Manuel Barrueco Kenny Burrell Stanley Jordan jorma kaukonen
Program
Saturday Evening, March 23, 1996 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Kenny Burrell jorma kaukonen
Intermission
Manuel Barrueco Stanley Jordan
The program selections mill be announced from the stage.
Fifty-first concert of the njth season
25th Annual Choice Events Series
Susan Lamborghini, Company Manager; Fred Stites, Stage ManagerLighing Designer; Charles Trundy, Sound Engineer
Columbia Artists Management, Inc., Beverly Hills, California Large print programs are available upon request
from an usher.
Kenny Burrell may well be the most consis?tently lyrical guitarist in all jazz -one of the reasons he was Duke Ellington's favorite improviser on that instrument. Although his stage demeanor is cool and controlled, Kenny is a romantic, and that's why his tex?tures, though subtle, are so sensuous. And always, there is the singing melodic line -alternately meditative, exultant, wry, and intimate. He is a master technician; whatev?er he hears, he can play. But Kenny does not equate performances with a display of his technique: he is concered with the. music. He knows how to make the silences speak for him.
Kenny Burrell was born in Detroit, Michigan on July 31, 1931 to a musical fam?ily. His mother was a pianist and his father played guitar and banjo; Kenny's three brothers also became musicians. As a kid, he was first attracted to the tenor saxophone after hearing Coleman Hawkins, but that instrument was out of his parents' economic reach. On the radio one day Kenny heard Charlie Christian, and he knew his true call-
ing; other early influences were Muddy Waters and T-Bone Walker. It wasn't long after he started playing guitar that Kenny became an integral part of the exceptionally productive Detroit jazz scene: he played with Hank, Elvin and Thad Jones; Pepper Adams; Tommy Flanagan; Barry Harris; Yusef Lateef; and Donald Byrd.
Burrell went to Wayne State University, where he received his only formal guitar training: one year of lessons on the classical guitar. After he received his B.A. in music, Kenny attracted the attention of Oscar Peterson who hired him to replace Herb Ellis in the spring of 1953. After six months with Peterson, Kenny settled in New York where he was almost immediately accepted as an associate of such formidable musicians as Kenny Clark, Coleman Hawkins and John Coltrane. He free-lanced for years with Benny Goodman as the first guitarist in Goodman's band since Charlie Christian's death in 1942. Kenny was (and still is) in constant demand as a sideman on record dates and as a leader of his own unit on Blue Note and other labels.
Clitar Summit II
For many years, Kenny has continued touring as well as fulfulling one of his most natural talents and desires -teaching. He has taught courses on the music of Duke Ellington at UCLA in addition to conducting clinics and master classes.
Maggie Hawthorne, an astute jazz critic who used to write for the Seattle Post-Intelligencer, has pointed out that "Kenny Burrell plays music that resists labels." Sure, it's jazz, and it certainly has a lot of blues in it, but he does not limit himself to any one stylistic category. His playing encompasses everything from bebop and Latin to rhythm-and-blues and funk.
What has also made Kenny Burrell a survivor, capable of appealing to audiences to any age or background, is the direction of his music. It is uncluttered, as clear as coun?try air. It never stops flowing, and it is never addressed solely to other musicians. Kenny wants to reach his listeners, wants to connect his feelings with theirs, and that's exactly what he does every time he plays.
This evening's performance marks Mr. BurreU's IMS debut.
Manuel Barrueco's rare artistry assures him a place among the handful of acknowledged masters of the guitar. His elegant musician?ship and expressive sensitivity, as well as his brilliant technical command and new approach to his instrument, have won him international acclaim and established him as one of the most important guitarists of his time. Each season his recital and orchestral appearances take him to music centers on four continents. A prize-winning recording artist, Barrueco can be heard in music rang?ing from Bach to twentieth-century Spanish composers on albums for VoxTurnabout and AngelEMI, with whom he now has an exclusive recording agreement.
Barrueco has performed in all major North American cities, including appear?ances at New York's Alice Tully Hall, Washington D.C.'s Kennedy Center, Los Angeles' Ambassador Foundation and San Francisco's Herbst Theater. He is heard regularly in recital in the music capitals of Europe, such as Vienna, Berlin, Munich, Hamburg, London, Rome, Milan, Paris, Madrid and Amsterdam. In the Far East he has appeared in Korea, Taiwan, and made his sixth concert tour of Japan in 1993. He has also appeared at the summer festivals of Tanglewood, Mostly Mozart, Schleswig-Holstein, Ludwigsburg, the Avignon Festivals and the Echternach Summer Festival in Luxembourg.
Barrueco has performed with the Boston Symphony Orchestra conducted by Seiji Ozawa, the Baltimore Symphony with David Zinman, Washington D.C.'s National Symphony, the New Jersey Symphony, and in Europe with the Bavarian Radio and Finnish Radio Symphony Orchestras. He has also played with ensembles such as the Prague and Scottish Chamber Orchestras, as well as the Tokyo String Quartet. In addition to his solo recitals and orchestral engage?ments, he has collaborated -in concert and on record -with many outstanding artists, including violinists Frank Peter Zimmermann and Dmitri Sitkovetsky, flutist Ransom Wilson, clarinetist Sabine Meyer and The King's Singers.
In recent seasons, Barrueco's North American engagements included solo recitals and concerts throughout the United States; he has also joined harpist Nancy Allen in a series of duo recitals. In Europe, Barrueco's concert tours brought him to Milan, Berlin, Vienna, Bonn, Munich, Stuttgart and Granada. In the summer of 1993 Manuel Barrueco and Frank Peter Zimmermann performed the world pre?miere of a new concerto written for them by composer Roberto Sierra.
Born in Santiago de Cuba in 1952, Manuel Barrueco began playing popular Latin-American music by ear on the guitar at the age of eight. Encouraged to pursue more formal training, he attended the Esteban Salas Conservatory in Santiago, where at a young age he showed a facility to learn the most difficult repertoire. Barrueco emigrated to the United States with his family in 1967 and studied with Juan Mercadal in Miami and Ray De La Torre in New York. At the Peabody Conservatory he studied with Aaron Shearer and became the first guitarist ever to be awarded a full scholarship to the Peabody Conservatory and to win the Peabody Competition.
In 1974 Manuel Barrueco also became the first guitarist ever to win the prestigious Concert Artists Guild Award, which resulted in his New York debut. The following year he won a top prize in the important Guitar '75 competition in Toronto, and as a result of these triumphs was soon performing extensively in both the United States and Europe.
Barrueco's best-selling recordings have been critically acclaimed worldwide. In the spring of 1988, AngelEMI released his first solo album of Spanish music by de Falla, Rodrigo and Ponce. Subsequently, Angel EMI released four solo albums: Manuel Barrueco plays Mozart and Sor, a recording with Latin-American composers Brouwer, Villa-Lobos and Orbon, Manuel Barrueco plays Bach and De Visee, and a recording of solo guitar music featuring Suite espanola by Albeniz and the complete works for guitar by Turina; as well as an album of Mozart Duets for Flute and Guitar with Ransom Wilson, and a recording with music by Johann Strauss II, On the Beautiful Blue Danube, with The King's Singers and Sabine Meyer. His most recent release is a record?ing of British Folk Songs made in collabora?tion with The King's Singers. Upcoming releases on the AngelEMI label include the
twelve Spanish Dances of Granados, coupled with de Falla's Seven Popular Spanish Songs with soprano Ann Monoyios.
Barrueco is on the faculty of the Peabody Conservatory of Music. He is the father of two young daughters, Anna and Emily.
Mr. Barrueco makes his UMS debut xuith this evenings performance.
Jorma Kaukonen was born in 1940 in Washington, D.C. His father was is the for?eign service, and Jorma spent most of his childhood abroad with his family which gave him the opportunity to gain great cultural insights from all ends of the globe. When he returned to the States at age sixteen, Jorma began playing bluegrass, and during high school he put together a band with his long-time partner, Jack Casady. It wasn't until he attended Ohio's Antioch College that he began mastering the old-time finger-picking that is his stylistic hallmark: "One of my friends, the late Ian Buchanan, really got me started. He took the time and patience to help me dissect things and teach me what fingerpicking was all about. He knew the Reverend Gary Davis, bluesman, quite well." Today, Kaukonen estimates that his acoustic guitar repertoire numbers over 700 songs, many of them old-time country blues num?bers.
In the mid 6o's, when Jorma transferred to the University of Santa Clara, California, he began frequenting a coffeehouse called the Folk Theater. There he metjanisjoplin, who had just migrated from Texas. Kaukonen accompanied her on the guitar at her gigs until one night she missed a show and he was forced to make a solo debut. Around the same time, he also met Paul Kantner through his friends at Santa Clara. Eventually he formed a group with Kantner and Marty Balin; the group was named after a dog
Kaukonen had christened "Blind Thomas Jefferson Airplane." Beginning as a folk group, the band later changed some person?nel, adding Jack Casady on bass, drummer Spencer Dryden, and Grace Slick as vocalist; Jefferson Airplane was the first of the San Francisco bands to become famous in the 1967 acid-rock era. Kaukonen's instrmental composition "Embryonic Journey" on the album Surrealistic Pillow was one of the group's signature pieces. Their ten albums are emblematic milestones of the era.
When the Airplane broke up in 1974, Kaukonen and Casady went on to form the instrumental duo Hot Tuna. Since then, they have released more than twenty-seven albums with incarnations ranging from a four-piece electric sound to a duo acoustic format.
In the midst of all of Jorma Kaukonen's musical triumphs, he also found a great love for teaching. After conducting a masterclass at the New School in New York City, Jorma recorded his first instructional video. He has a successful array of tutorial videos avail?able on Homespun Tapes from Woodstock, New York. This, in turn, led to his dream of opening a guitar school where kids and adults can learn to play and be in an aesthetically pleasing atmosphere. He is doing just that on one of his farms in the rolling Appalachian foothills of southeastern Ohio. 'The process has been a long one, but the results will be from the heart," says Kaukonen.
Jorma Kaukonen is a masterful solo artist. Performing alone or with Hot Tuna, he continues to sell out shows across the country with his unique blues interpreta?tions and folk originals.
This evenings perfomance marks Mr. Kaukonen's UMS debut.
The story of virtuoso guitarist Stanley Jordan's discovery and rise to international acclaim is almost as impressive as his revolu?tionary playing technique. Jordan exploded on the scene when he was named as a last-minute addition to the KOOLJazz Festival in 1984 (his first professional appearance), opening for Wynton Marsalis and Maynard Ferguson. Two days before, he had been playing in the streets of New York City. His fifteen-minute solo prompted the New York Post to headline "Last-Minute Guitarist Steals Show." Before long, Jordan opened for Wynton Marsalis at Avery Fisher Hall, appeared at the Montreuxjazz Festival, and headlined for a week at the Village Vanguard.
By the time his major label debut Magic TouchwiLS released in 1985, Stanley Jordan had been firmly established as one of music's brightest new stars. The album was enthusiastically accepted in jazz circles -it remained the number one hit on Billboard's jazz chart for fifty-one weeks. It was equally embraced by the general public, who viewed Stanley as a "guitarist's guitarist" able to play just about any kind of music to which he set his mind and fingers. Jordan received two Grammy nominations in 1986 for Magic Touch, one for Jazz Album of the Year and the other for Jazz Artist of the Year. Additionally, Guitar Player magazine's Reader's Poll voted him Best New Talent of the year.
Stanley Jordan was born on July 31, 1959, in Chicago. He began studying the classical piano as a child after moving with his family to Palo Alto, California. After switching to the guitar, he studied with Elroy Jones, whom Stanley describes as a "master of the old standards;" Jordan continues his relationship with his teacher to this day. Along with Jones, Jordan names Jimi
Hendrix and Kenny Burrell as his early influences on guitar. Attending Princeton University, Jordan studied music theory and composition with Milton Babbitt and com?puter music with Paul Lansky. He graduat?ed in 1981 with a B.A. in Music.
Magic Touch introduced Stanley's com?mand of the revolutionary "touch" or "tap?ping" technique of guitar playing to the general public. This technique, in which Jordan places both hands on the neck of the instrument so that all his fingers indepen?dently hammer on the strings, allows him to sound like two or three guitarists simultane?ously. After developing this technique entirely on his own, Jordan discovered that the idea had been in the air for some time, as guitarist Jimmy Webster used a similar technique in the 40s and 50s. Although a few guitarists employ a similar style (Emmet Chapman and Eddie Van Halen among them), Stanley Jordan has emerged as the technique's predominant exponent and its premier virtuoso.
In 1988, Jordan released Flying Home, an upbeat collection of dance grooves that revealed yet another side of Jordan's music. 'That album was just another aspect of what I've always been about musically," Jordan says. "In fact, I was playing blues, rock, R&B and even classical before I played jazz. Jazz was like a culmination of everything I had been doing, so to embrace all these styles was quite natural." Jordan has stead-fasdy refused to be categorized, and his open-mindedness toward many diverse schools of music has led him to constandy broaden his stylistic range. Throughout his entire career, Jordan has always placed more value on real musical expression and passion than on "simple" vistuosity or mere academic curiosity. Flying Home also showed that Stanley's focus on the touch technique is by choice, not by limitation. Conventional guitar techniques -flat picking, strumming and plucking the strings -are integrated
with the tap technique which has enabled him to expand the capabilities of the instru?ment to ever great possibilities. His musical sensibility is intact no matter how he choos?es to play the instrument.
On Cornucopia, his 1990 release, Jordan again steps out into several previously unrecorded contexts -a significant amount of live material, some fascinating and heart?felt excursions into electronic and computer music, as well as pure, spontaneous improvi?sation. For Cornucopia, Jordan received his third Grammy nomination -Best Pop Instrumental for "What's Going On." 1991 saw the release of Stolen Moments, recorded live in Japan. 1994's Bolero was truly a tour de force, offering music that ranged from the tide piece, Jordan's arrangement of Ravel's symphonic master work, to arrange?ments of the music of Jimi Hendrix and Herbie Hancock.
In the words of the late Leonard Feather, writing a review for the Los Angeles Times of a Montreal Jazz Festival performance aired on the Bravo cable channel, "Genius is a word too often tossed around in musical circles, but it has been applied rightfully to Stanley Jordan. . .For those who have never caught Jordan in person, the program will serve as a startling eye and ear opener. . . . Switching between jazz and pop standards (from the Beatles and Marvin Gaye to John Coltrane), Jordan is most impressive when he plays two guitars -one, mounted on a stand, for tapping out his lightning single-note melodic lines, and the other slung around his shoulder, for chordal backup. The results are spectacular -and not as a mere gimmick but as a legitimately innova?tive approach."
Mr. Jordan makes his UMS debut xvith this evening's performance.
University
Musical
Society
presents
The Michigan Chamber Players
of the University of Michigan School of Music
Leone Buyse, flute Yizhak Schotten, viola Lynne Aspnes, harp Martin Katz, piano Fred Ormand, clarinet Christopher Neal, xriolin
Andrew Jennings, violin Nicole Divall, viola Anthony Elliot, cello Katherine Collier, piano Erling Blondal Bengtsson, cello
Program
Tuesday Evening, March 26, 1996 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Fifty-second concert of the 11 jlh season
25th Annual Choice Events Series
Maurice Ravel
[Transcription of the piano Sonatine (1903-5) for flute, cello and harp by Carlos Salzedo (1914)]
Sonatine for flute, viola and harp
Modere
Mouvement de menuet
Anime
Leone Buyse, flute, Yizhak Schotten, viola; Lynne Aspnes, harp
Aaron Copland
Sextet for piano, clarinet, two violins, viola and cello
Allegro vivace
Lento
Finale: Precise, rhythmic
Martin Katz, piano; Fred Ormand, clarinet; Christopher Neal, violin; Andrew Jennings, violin; Nicole Divall, viola; Anthony Elliott, cello
Intermission Franz Schubert
Piano Trio in B-flat, Op. 99
Allegro moderato Andante un poco mosso Scherzo: Allegro Rondo: Allegro vivace
Katherine Collier, piano; Andrew Jennings, violin; Erling Blondal Bengtsson, cello
Thank you to Anton Nel, Professor of Piano and Chamber Music, University of Michigan, for his assistance in coordinating this concert.
The pre-concert carillon recital was performed by Ray McLellan, University of Michigan, 1995.
Comprised of faculty members, and occasionally advanced students of the University of Michigan School of Music, the Michigan Chamber Players presents four to six concerts a year, two of which are sponsored by the University Musical Society -Thank you all!
Large print programs are available upon request from an usher.
sonatine for flute, vlola and Harp
Maurice Ravel
Born March 7, 18'75 in Ciboure, Basses-Pyrenees
Died December 28, 193J in Paris
Maurice Ravel's piano music, from the early Menuet Antique to the courtly dances of Le Tombeau de Couperin, never strayed far from the classical aesthetic of balance and restraint. His musical temperament was largely in sympathy with classical principles and ideals, so that when Neoclassicism came into vogue during the early decades of. the century, Ravel's music continued to sound spontaneous and natural while other com?posers often sounded forced and affected. Ravel's Sonatine, completed in 1905, was published immediately by Durand and earned widespread popularity. Even within its reduced proportions, the Sonatine shows Ravel's early confidence in combining tradi?tional classical structures with a modern musical language. Critics have described the work as "slight" and "slender," but not necessarily with disparaging intent, for
much of the Sonatine's appeal lies in its lack of pretension, its concision and clarity. Ravel's biographer Norman Demuth writes that the work's "deft touch, its exquisite verve and grace, all serve to make it a model of its kind."
Ravel often orchestrated works he had originally conceived for solo piano. With that precedent in mind, the French-American harpist and part-time composer, Carlos Salzedo (1885-1961) arranged the Sonatine for flute, viola and harp (an instrumentation that recalls Debussy's sonata for those same instruments, completed in 1917). Salzedo had transcribed for solo harp a number of Ravel's piano works, including the famous Jeux d'eau, and his own original compositions show the unmistakable influence of Ravel's musical style. The two musicians were friends as well as colleagues, and Salzedo's arrangement of the Sonatine met with Ravel's approval.
The first movement ("Modere") is cast in a classical sonata-allegro form of almost text?book clarity. Yet the ingenuity of language and the ingratiating discourse between themes override any sense of rule-bound rigidity. The flute and viola share the melodic material in this movement, while the harp provides the rustling internal filigree and harmonic accompaniment.
In the second movement, titled "Mouvement de menuet, " Ravel captures the essence and feeling of that stately dance while omitting the trio section that customar?ily accompanied a minuet. The harmonies glide effortlessly through numerous tonal areas, and the movement as a whole demon?strates Ravel's aptitude for neatness, nuance and sensitivity. Salzedo assigns the melodic interest in this movement to the flute, around which the viola weaves counter-melodies, the harp contributing with gentle chordal support.
It is in the concluding "Anime" move?ment that the harp finally takes the lead in the ensemble. The virtuosic brilliance and
rapid figuration provide a showcase for the harpist, while the other instruments add snappy, rhythmic accents. Occasional snatches of melody in this whirl of efferves?cence hint at themes from the previous movements without actual quotation. This finale also adheres to the sonata-allegro principle but, as in the first movement, the energy and rhythmic activity discreetly mask the perception of classical structural patterns.
Sextet for Piano, Clarinet, Two Violins and Cello
Aaron Copland
Born November 14, 1900 in Brooklyn, New York Died December 2, 1990 in North Tarryiown, New York
Aaron Copland occasionally referred to the Sextet for clarinet, string quartet and piano as one of his "neglected children:" compositions for which he developed a par?ticular fondness because they received less attention. Certainly he wrote other more famous works that have become classics in the repertoire, well-loved by audiences, but the neglect of the Sextet was not for any lack of interest of appeal. It was simply too difficult to perform.
Copland's Sextet is a transcription of his Short Symphony, a work for expanded chamber orchestra, completed in 1933-Both Leopold Stokowski and Serge Koussevitzky abandoned plans to present the Short Symphony because the relentless meter changes and rhythmic complexities called for too many extra rehearsals. Copland once asked Koussevitzky if the piece was too difficult, to which the famous conductor replied, "No, it's not too difficult. It's impossible!"
The Short Symphony was eventually pre?miered in Mexico under the direction of Carlos Chavez in 1934, but was not per-
formed in the United States until 1944. It would be a further ten years before it was heard a second time. This lack of perfor?mances prompted Copland to arrange the symphony for a smaller ensemble, where the difficulties of rhythmic coordination could be more easily negotiated. The resulting transcription, the Sextet, appeared in 1937 and was premiered by a graduate ensemble from The Juilliard School in 1939. In this reduced setting Copland altered some of the bar-lines and time signatures to simplify 4 3 the notation, but apart from omitting the final repeated chords the Sextet is unchanged from the original Short Symphony.
Copland described the Sextet as one of his most serious compositions: "It is a bare fifteen minutes in length, but. . .those minutes are concentrated in meaning." The nine notes at the start of the first movement constitute, according to Copland, "a kind of row" from which all other melodic figures are derived. Much of the movement is played in unison, and the implied harmonies are triadic, if not quite tonal. The wide leaps and arpeggiations are also a Copland thumbprint, but it is really the playful and frantic athleticism of the rhythmic writing that characterizes the first movement.
Originally Copland planned to call this work The Bounding Line, in reference to the "bounce" of rhythmic energy in the outer sections. The central "Lento" movement is, on the other hand, a study in musical immo?bility. A gently descending pattern that recurs in the clarinet suggests a lament, relieved only temporarily by a delicate dotted note-melody in the middle section. The clarinet figure soon returns with increased harmonic intensity, leading to a brief respite before the vigorous finale.
The closing movement, marked "precise and rhythmic," combines jazz polyrhythms, Stravinskian metric changes, and (for the first time in Copland's music) Mexican rhythms. He also quotes a melody
from the German film Der Kongress Tanzt, but not for any specific extra-musical refer?ence; he was simply fascinated by the notes. In this work's finale, Copland draws on the character of both earlier movements, unit?ing the denser textures of the central "Lento" with the rhythmic vitality of the opening "Allegro vivace," and concluding with a forceful affirmation of the Sextet's rhythmic energy.
Piano Trio in B-flat Major, Op99
Franz Schubert
Born January ji, 1J97 in Himvielpfortgrund
(now a part of Vienna) Died November 19, 1828 in Vienna ?
In Sir Jack Westrup's analysis of Schubert's chamber works he states, "It was natural for Schubert to write chamber music. He had the good fortune to be brought up in a family where it was regularly practiced. . .For Schubert chamber music was not simply a form of self-expression. It was something to be played." This prag?matism by no means implies that Schubert's chamber works are artless or casual, but they generally do avoid the artistic gravity found in compositions like Beethoven's late quartets, with which they are contemporary. Much of Schubert's chamber music was composed for the private musical evenings or "Schubertiades" held at the home of Josef von Spaun in Vienna during the 1820's, where the emphasis was on convivial recre?ation and enjoyment. The Piano Trio in B-flat, which was played at the last of these Schubertiades in March 1828, certainly fits this description. Robert Schumann noted regarding this work, "One glance at it, and the troubles of our human existence disappear and die whole world is fresh and bright again."
Scholars have not been able to date exacdy the composition of the B-flat Piano
Trio, but it was almost certainly composed in late 1827. Schubert had spent some time in the countryside around Graz during September of that year, and the invigorating respite from Viennese society life visibly brightened his health and disposition. This renewed vitality seems to have found musical utterance in the B-flat Piano Trio. If the vernacular cheeriness of this work recalls Schubert's earlier 'Trout" Quintet, it may well be because it, too, was inspired by the provincial landscape around Graz.
Schumann described the Piano Trio's first movement as "a thing of grace, intimate and virginal." The two contrasting themes -one jaunty and swaggering, the other a lyrical cantabile melody in the cello --'? are equally confident in their expression. The leisurely development section leads into one of Schubert's most delightful experiments in tonality: there are three "false" recapitula?tions, beginning in G-flat, and only swinging around to the tonic key when the piano enters and takes charge.
The second movement opens with an exquisite cantilena theme that must be regard?ed as one of Schubert's loveliest. Stated first by the cello, it is then played by the violin and piano in turn, with counter-melodies in the other instruments. After a contrasting middle section, the opening theme returns transformed, but still giving a sense of over?all A-B-A symmetry to the movement.
The Scherzo, true to its name, has been described as "impish," "puckish," and "play?ful." The quirky hesitations and quaint rhythmic games build through each phrase towards a scintillating climax. The Trio section is little more than a brief waltz-like interlude before the Scherzo returns in full vigor.
In the concluding Rondo, according to biographer John Reed, Schubert "plunders the music of the village band to enliven the sobriety of classical form." There is a rural joyfulness to this movement, complete with its "pipe and drum" episodes, that is height?ened in the brisk "Presto" coda.
Youth Program
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 19891990 season with special one-hour performances for local fourth graders of Puccini's La Boheme by the New York City Opera National Company.
Now in its seventh year under the Education and Audience Development Department, the UMS Youth Program continues to expand, with performances by the Alvin Ailey American Dance Theater for middle and high school students, two opera performances for 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 Tmviala. These performances allow children to experience
opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
On January 31, 1996, Wynton Marsalis and the Lincoln Center Jazz Orchestra Octet will perform a special youth performance at the Michigan Theater.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call the Education and Audience Development Director at 313.764.6179.

Volunteers & Interns
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educational materials For teachers, greeting and escorting students to seats at performances, and serving as good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 9366837 or pick up a volunteer applica?tion form from the Information Table in the lobby. Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, promotion, and production. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in a UMS Marketing Internship should call (313) 764-6199, and those interested in a UMS Production Internship should call (313) 747-1173 for more information.
College Work-Study
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538 or 764-6199.
Dining Experiences To Savor: The Second Annual "Delicious Experiences"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds benefiting UMS programs, to continue the fabulous music, dance, drama, and educational programs that add so much to the life of our community. Wonderful friends and supporters of the University Musical Society are offering unique donations by hosting a delectable variety of dining events, including elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. Treat Yourself! Give the gift of tickets, purchase an entire event, or come alone meet new people and join in the fun while supporting UMS! Although some Delicious Experiences are sold out (A Valentine Brunch, Burmese Feast and "A Taste of Spring" Garden Dinner), space is still available for Dinner at Cousin's Heritage Inn (Jan 13), Mardi Gras Madness (Feb 24), An Elegant Dinner for Eight (Mar 2), Great Lakes Dinner (Mar 3), Great Wines and Many Courses (Apr 5), and Lazy Day Sunday Brunch (Apr 7). For the most delicious experiences of your life, call us at 313.936.6837.
UMS Ushers
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill. Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
For more information about joining the UMS usher corps, call 313.913.9696
UMS Card
Series ticket subscribers andor UMS Members at the $100 level and above, receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases. Participants for the 19951996 season include the following fine stores and restaurants: Amadeus Cafe Cafe Marie Gandy Dancer Kerrytown Bistro Maude's SKR Classical The Earle

The UMS Gift Certificate
What could be easier than a University Musical Society gift certificate The perfect gift for every occasion worth celebrating. Give the experience of a lifetime--a live performance-wrapped and delivered with your personal message.
Available in any amount, just visit or call the UMS box office in Burton Tower, 313.764.2538.
Advertising
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 mat we can continue to bring you the program notes, artists' biographies, and general information that illuminate each UMS presentation. For information about how your business can become a UMS advertiser, call (313) 747-4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, religious congregation or conference participants, family or guests, by calling
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 i-a 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 ao discount, and 1 complimentary ticket.
i o 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 13-763-3 100.
Advisory Committee of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society. It's role is a major one not only in providing the volun?teer corps to support the Society but also as a fund-raising component as well. The Advisory Committee is a 55-member organization which raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, gala dinners and dances, season opening and preand post-concert events. The Advisory Committee has pledged to donate $110,000 this current season. In addition to fund raising, this hard-working group generously donates valuable and innumerable hours in assisting with the educational programs of UMS and the behind-the-scenes tasks associated with every event UMS presents.
If you would like to become involved with this dynamic group, please give us at call at 313.936.6837 for information.
Thank You!
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great traditions of the Society in the future.
Mr. Neil P. Anderson
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
The Graham H. Conger Estate
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
The Estate of Marie Schlesinger
Dr. Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Bravo Society Members
Individuals
Mr. Ralph Conger F. Bruce Kulp
Mr. and Mrs. William B. Palmer Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ronald and Eileen Weiser and other anonymous donors
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.
Corporations
Conlin-Faber Travel Great Lakes Bancorp The Hertz Corporation JPEinc.The Paideia Foundation Mainstreet Ventures, Inc. McKinley Associates, Inc. Philips Display Components Company Regency Travel, Inc. Society Bank Michigan The Edward Surovell Co.Realtors TriMas Corporation Warner-Lam bertParke-Davis Research Division
FoundationsAgencies
Arts Midwest
Detroit Edison Foundation Ford Motor Company Fund Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Concert Masters
Individuals
Herb and Carol Amster Maurice and Linda Binkow Carl and Isabellc Brauer Dr. James P. and Betty Byrne David and Pat Clyde Margaret and Douglas Crary Sun-Chicn and Betty Hsiao Dr. and Mrs. James Irwin Mr. David G. and Mrs. Tina M. Loesel Maya Savarino and Raymond Tanter Mrs. M. Titiev
Dr. and Mrs. John F. Ullrich Paul and Elizabeth Yhouse and other anonymous donors
Corporations
The Anderson Associates Brauer Investment Company Cafe Marie Curtin and Alf
Environmental Research Institute
of Michigan
Ford Motor Credit Company Thomas B. McMullen Co., Inc. NSK Corporation O'Neal Construction Pepper, Hamilton & Scheetz Wolverine Temporaries, Inc.
FoundationsAgencies
Chamber Music America
The Benard L. Maas Foundation
Lila Wallace-Readers Digest Fund
Leaders
Individuals
Bradford and Lydia Bates Kathleen G. Charla k.uh.n inr and Jon Cosovich Ronnie and Sheila Cresswell Gregg Alf and Joseph Curtin Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Charles and Mary Fisher Mr. Edward P. Frohlich Sue and Carl Gingles Ruth B. and Edward M. Gramlich Keki and Alice Irani Robert and Gloria Kerry Judythe and Roger Maugh Paul and Ruth McCracken Dr. and Mrs. Joe D. Morris John M. Paulson John W. and Dorothy F. Reed Prudence and Amnon Rosenthal John Wagner
Mr. and Mrs. Conrad Walburger Elise and Jerry Weisbach Marina and Robert Whitman and several anonymous donors
Corporations
Dahlmann Properties Gelman Sciences, Inc. Huron Valley Travel, Inc. Masco Corporation
Guarantors
Individuals
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 Bolsford 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 Ixmrdes and Otto Gago William and Ruth Gilkey Drs. Sid Gilman and Carol G. Barbour Vivian Sosna Gottlieb and
Norm Gottlieb
Mr. and Mrs. Robert C. Graham Linda and Richard Greene Jester Hairston Harold and Anne Haugh Debbie and Norman Herbert Janet Bowe Hoeschler Robert M. and Joan F. Howe Stuart and Maureen Isaac Chuck and Heidi Jacobus Mercy and Stephen Kasle Thomas and Shirley Kauper Bud and Justine Kulka David Lebenbom (Carolyn and Paul Lichter Patrick B. and Kathy Long Joseph McCune and Georgiana Sanders Rebecca McGowan and
Michael B. Staebler H. Dean and Dolores H. Millard Dr. and Mrs. Andrew and
Candice Mitchell Ginny and Cruse Moss tieorge 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 Clenda Renwick Katherine and William Ribbens Mr. and Mrs. Charles H. Rubin Judith Dow Rumelhart Richard and Norma Sarns Genie and Reid Sherard Victor and Marlene Stoeffler Dr. and Mrs. E. Thurston Thieme Jerrold G. Utsler Mary and Ron Vanden Belt Dr. and Mrs. Francis V. Viola III John and Maureen Voorhees Martha Wallace and Dennis White Dr. and Mrs. Andrew S. Watson Mr. and Mrs. Robert O. Weisman Roy and JoAn Wetzel Len and Maggie Wolin Nancy and Martin Zimmerman and several anonymous donors
Corporations
American Tide Company
of Washtenaw
The Barnetd 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
Foundations Agencies
Chrysler Corporation Fund The Mosaic Foundation (of Rita and Peter Heydon)
Sponsors
Individuals
Bernard and Raquel Agranoff M. Bernard Aidinoff Catherine S. Arcure Mr. and Mrs. Essel Bailey Jim and Lisa Baker
Emily W. Bandera, M.D.
Paulett and Peter Banks
M. A. Baranowski
Mrs. Martha K. Beard
Ralph P. Beebe
Mrs. L. P. Benua
Dr. and Mrs. Raymond Bernreuter
Mr. and Mrs. Philip C. Berry
Robert Hunt Berry
Suzanne A. and Frederick J. Beutler
Joan Binkow
Ronald and Mimi Bogdasarian
Charles and Linda Borgsdorf
Mr. and Mrs. Robert S. Bradley
Allen and Veronica Britton
David and Sharon Brooks
Jeannine and Robert Buchanan
Lawrence and Valerie Bullen
LetiliaJ. Byrd
Jean W. Campbell
Bruce and Jean Carlson
Edwin F. Carlson
Mrs. Raymond S. Chase
Pat and George Chatas
Jim and Connie Cook
Arnold and Susan Coran
H. Richard Crane
Kenneth and Judith DeWoskin
Molly and Bill Dobson
Jim and Patsy Donahey
Jan and Gil Dorer
Claudine Farrand and Daniel Moerman
Dr. and Mrs. William L. Fox
Beverley and Gerson Geltner
Margaret G. Gilbert
Grace M. Girvan
Paul and Anne Glendon
Dr. and Mrs. William Gracie
Seymour D. Greenstone
John R. and Helen K. Griffith
Mr. and Mrs. Robert Grijalva
Leslie and Mary Ellen Guinn
Mr. and Mrs. Elmer F. Hamel
Walter and Dianne Harrison
Harlan and Anne Hatcher
Fred and Joyce Hershenson
Bertram Herzog
Mrs. W. A. Hiltner
Julian and Diane HofT
Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Che C. Huang and
Teresa Dar-Kuan L. Huang Patricia and John Huntington Gretchen and John Jackson Robert L. and Beatrice H. Kahn Wilhelm and Sigrun Kast Jim and Carolyn Knake Barbara and Charles Krause Helen and Arnold Kuethe
Sponsors
Barbara and Michael Kusisto Suzanne and Lee E. Landes Mr. and Mrs. David Larrouy Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Leo A. Legatski
Mr. and Mrs. Fernando S. Leon Dean S. Louis, M.D. Mr. and Mrs. CarlJ. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Peggy and Chuck Maitland 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. Haskcll and Jan Barney Newman Len and Nancy Niehoff Karen Koykka O'Neal and Joe ONeal 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. Antoinc 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. Kinsclla Charlotte Van Curler Don and Carol Van Curler Bruce and Raven Wallace Karl and Karen Wcick
Angela and Lyndon Welch Marcy and Scott Westerman Brynicr and Ruth Williams Frank E. Wolk
Walter P. and Elizabeth B. Work, Jr. and several anonymous donors
Corporations
Ann Arbor Stage Employees, Local 395 Michigan National Bank Sarns, 3M Healdi Care
FoundationsAgencies
The Power Foundation Shiffman Foundation Trust
Benefactors
Individuals
Jim and Barbara Adams
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
Howard Ando and Jane Wilkinson
David and Katie Andrea
Tim Andresen
Harlenc and Henry Appelman
Mr. and Mrs. Arthur J. Ashe
Eric M. and Nancy Auppcrlc
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 Bartlcu
Astrid B. Beck and David Noel Freedman
Neal Bedford and Gerlinda Melchiori
Harry and Betty Bcnford
Ruth Ann and Stuart J. Bcrgstein
Mr. and Mrs. S. E. Berki
Maureen Foiey and John Blanklcy
Donald and Roberta Blitz
Roger and Polly Bookwalter
Robert and Sharon Bordcau
Laurence Boxer, M.D.; Grace J. Boxer, M.D.
Dean Paul C. Boylan
Dr. and Mrs. Ralph Bozell
Paul and Anna Bradley
William R. Brashear
Betsy and Ernest Brater
Professor and Mrs. Dale E. Briggs
Gerald and Marceline Bright
June and Donald Brown
Morion B. and Raya Brown
Arthur and Alice Burks
Phoebe R. Burl
Rosemaric and Jurg Caduff
Mrs. Theodore Cage
Freddie Caldwell
H. D. Cameron
Mr. and Mrs. Robert Campbell
Charles and Martha Cannell
Jim and Priscilla Carlson
John and Patricia Carver
Shelly and Andrew Caughey
Tsun and Siu Ying Chang
Dr. Kyimg and Young Cho
Nancy Cilley
Janice A. Clark
John and Nancy Clark
Alice S. Cohen
Wayne and Mclinda Colquitt
Edward J. and Anne M. Comeau
Gordon and Marjorie Comfort
Sandra S. Conncllan
Maria and Carl Constant
Lolagene C. Coombs
Gage R. Cooper
Mary K. Cordcs
Alan and Bette Cotzin
Clifford and Laura Craig
Merle and Mary Ann Crawford
W. P. Cupples
Peter and Susan Darrow
Dr. and Mrs. Charles Davenport
Ed and ElHc Davidson
Jean and John Debbink
Laurence and Penny Deitch
Elena and Nicholas Dclbanco
Benning and Elizabeth Dexter
Macdonald and Carolin Dick
Tom Doanc and
Paiti Marshall-Doane Dr. and Mrs. Edward F. Domino William G. and Kathcrinc K. Dow Nancy Griffin DuBois J. W. Durslim Sally and Morgan Edwards Dr. Alan S. Eiser I mi] and Joan Engel Mark and Patricia Enns Ellen C. Wagner and
Richard Epstein Don Fabcr
Dr. and Mrs. Stefan Fajans Elly and Harvey Falit Dr. and Mrs. John A. Faulkner Inka and David Felbeck Reno and Nancy Fcldkamp Dr. James F. Filgas Sidney and Jean Fine Herschcl and Annette Fink Mrs. BcthJ. Fischer Susan Fisher and John Waidley Linda W. Fitzgerald Ray and Patricia Fitzgerald Stephen and Suzanne Fleming Jennifer and Guillcrmo Flores Ernest and Margot Fonthcim Mr. and Mrs. George W. Ford James and Anne Ford Hcne H. Forsyth Phyllis W. Foster Paula L. Bockcnstcdt and
David A. Fox
Deborah and Ronald Frcedman David Fugt'n.schuh and
Karcy Leach
Harriet and Daniel Fusfeld Gwyn and Jay Gardner Del and Louise Garrison
Professor and Mrs. David Gates Wood and Rosemary Gcisi Henry and Beverly Gershowitz Elmer G. Gilbert and
Lois M. Vcrbruggc Fred and Joyce Ginsberg lrwinj. Goldstein and Marty Mayo Dr. Alexander Golz ). Richard Goulet, M.D. Mrs. William C. Grabb Jerry and Mary K. Gray Dr. John and Renee M. Grcden Daphne and Raymond Grew Leslie and Mary Ellen Guinn George N. Hall Marcia and John Hall Mary C. Harms Susan R. Harris Clifford and Alice Hari J. Theodore Hcflcy Kenneth and Jeanne Hciningcr John L. and
Jacqueline Stearns Hcnkel Herb and Dec Hildebrandt ClaudctteJ. Stern and
Michael Hogan John and Maurita Holland Mary Jean and Graham Hovey Drs. Linda Samuelson and
Joel Howcll Mrs. 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. Jahncke WallJC and Janet Jeffries Mr. and Mrs. James W.Jensen Donald andjanicejohnson Mrs. Ellen C.Johnson Stephen G. Joscphson and
Sally C. Fink
Dr. and Mrs. Mark S. Kaminski Professor and Mrs. Wilfred Kaplan Herb Katz Anna M. Kaupcr Mr. and Mrs.Jacob Kcllman Don and Mary Kiel Paul and Leah Kileny Richard and Pat King Mr. and Mrs. Thomas C. Kinnear Paul Kissncr, M.D. and
Dana Kissner, M.D. Hermine R. Klingler Philip and Kathryn Klintworth Joseph and Maritynn Kokoszka I mmhii i and Suzanne Kosachcff Samuel and Marilyn Krimm Man and Jean Krisch Mac and Arthur Lanski Mr. and Mrs. Henry M. Lapeza John K. Lawrence Mr. and Mrs. Henry M. Lcc John and Theresa Lcc Ann M. Leidy Myron and Bobbie Levinc Jacqueline H. Lewis Evie and Allen Lichter Jody and Leo Ltghthammcr Mark Lindlcy
Vi-Cheng and Hsi-Ycn Liu Jane Lombard Dan and Kay Long Robert G. Lovell Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Mr. and Mrs. Donald Lystra Frederick C. and
Pamela J. Mackintosh Sadie C. Maggio Steve and Ginger Maggio Virginia Mahlc Alan and Carla Mandel Melvin andjean Manis Eddie and Cathy Marcus Geraldinc and Sheldon Market Lee and Greg Marks Rhoda and William Martel 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 McKcachie Margaret McKinlcy Daniel and Madelyn McMurtrie Jerry and Rhona Mcislik Walter and Ruth Metzger Charles and Helen Meaner I'niii and Dcanna Michalowski Leo and Sally Micdler James and Kathleen Mitchiner Lester and Jeanne Monts James N. Morgan Dr. and Mrs. George W. Morley A. A. Moroun Cyril and Rona Moscow Dr. Eva L. Mueller Hillary Murt and
Bruce A. Friedman Dr. and Mrs. Gunder A. Myran Geri Chipauli and Fred Neidhardt Sharon and Chuck Newman Mr. and Mrs. Marvin L. Nichuss Virginia and Gordon Nordby Richard S. Nottingham Marylen and Harold Oberman 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 Pittman Donald and Evonnc Plantinga Steven and Tina Pollock Cynthia and Roger Posunus Mrs.J. D. Prcndcrgast Larry and Ann Prcuss Charlccn Price Richard H. and Mary B. Price
Jerry and Millard Pryor David and Stephanie Pync Leland J. and
Elizabeth Quackeubush Hugo and Sharon Quiroz Mrs. Joseph S. Rndom Homayoon Rahbari, M.D. Jim and leva Rasmusscn Kathcrinc R. Rcebcl La Vonne and Gary Reed Mr. and Mrs. H. Robert Reynolds Dave and Joan Robinson ohn H. Romani and
Barbara A. Anderson Mrs. Irving Rose Gay and George Roscnwald Elva M. Rosenzweig Dr. Nathaniel H. Rowe Jerome M. and Lee Ann Salic Ina and Terry Sandalow Gcorgiana M. Sanders Dr. and Mrs. Michael G. Sarosi Dr. Albert J. and Jane K. Sayed Mary A. Schievc and
Andy Achcnbaum David and Marcia Schmidt Elizabeth L. Schmitt Dr. and Mrs.
Charles R. Schmitter.Jr. David E. and
Monica N. Schtcingart Suzanne Selig Joseph and Patricia Settimi Mr. Thomas Sheets Ingrid and Clifford Sheldon Hollis and Martha Showalter Dr. Bruce M. Sicgan Scott and Joan Singer Mrs. Lorctta M. Skcwes John W. Smillic, M.D. Alcnc M. Smith Carl andjari Smith George and Mary Elizabeth Smith Dr. and Mrs. Michael W. Smith Mr. and Mrs. Robert V. Smith Susan M. Smith Virginia B. Smith Mr. and Mrs. Edward Sopcak Cynthia J. Sorenscn Juanita and Joseph Spallina Allen and Mary Spivey Irving M. Stahl and
Pamela M. Rider David and Ann Staiger Mrs. Ralph L. Steffck Dr. and Mrs. Alan Steiss Thorn and Ann Sterling Professor Louis and Glennis Stout Dr. and Mrs. Stan Strasius Aileen and Clinton Strocbel Charlotte Sundclson Ronald and Ruth Sutton Dr. Jean K. Takeuchi Brian and Lee Talbot Jerry and Susan Tarplcy Eva and Sam Taylor Mary D. Teal
James L. and Ann S. Tclfcr George and Mary Tcwksbury Edwin J. Thomas Tom and Judy Thompson
7
Ted and Marge Thrasher Hugo and Karla Yandersypcn Jack and Marilyn ran dcr Vcldc Rebecca Van Dyke Mr. and Mrs.
Douglas Van Houweling Michael L. Van Tassel William C. Vasscll Carolyn S. and Jerry S. Voight Mr. and Mrs. Timothy Wadhams Warren Herb Wagner and
Florence S. Wagner Mr. and Mrs. Norman C Wail Robert D. and Ulna M. Wallin Dr. and Mrs. Jon M. Wardner Ruth and Chuck Watts Robin and Harvey Wax Willet and Kathleen Weber Deborah Webster and
George Miller Lawrence A. Weis and
Sheila Johnson
Ramil Weisman and Ann Friedman Walter L. Wells Dr. Steven W. Wcrns Ruth and Gilbert Whitaker B.Joseph and Mary While William and Crisiina Wilcox Mr. and Mrs.
R. Jamison Williams Jr. Mrs. Elizabeth Wilson Mr. and Mrs. William Wilson Beih and I. W. Winsicn Marion T. Wirick Grant J. Withcy, 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 Belle F. Zauel Mr. and Mrs. Martin Zcilc and several anonymous donors
Corporations
Atlas Tool, Inc.
Briarwood Shopping Center
Chelsea Flower Shop
Dough Boys Bakery
Edwards Brothers, Inc.
Gandy Dancer
Kerrytown
King's Keyboard House
Miller, Canficld, Paddock
and Stone Republic Bank Scva Restaurant and Market Urban Jewelers
FoundationsAgencies The Richard and Meryl Place Fund
Patrons
Individuals
Tim and Leah Adams
Ronald and Judith Adlcr
Anastasios Alcxiou
Gregg T. Alf
Mr. and Mrs. Gordon E. Allardycc
James and Catherine Allen
Margaret and Wickham Allen
Augustine and Kathleen Amaru
Mr. and Mrs. David Aminoff
Mr. and Mrs. Charles T. Anderson
Drs. James and
Cathlecn Culotta-Andonian Bert and Pat Armstrong Mr. and Mrs. Lawrence E. Arnctl Michael Avsharian Charlenc and Eugene Axelrod Jonathan and Marlcnc 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 Lcsti Ballard John R. Bareham Norman E. Barnett Donald C. Barnette.Jr. Margo Barron Leslie and Anita Bassett Dr. and Mrs.Jere M. Bauer Mr. and Mrs. Steven RBeckcrt Robert M. Bcckley and
Judy Dinesen
David and Mary Anne Beltzman Ronald and Linda Benson Mr. and Mrs. Ib Bentzen-Bilkvist Helen V. Berg Barbara Levin Bergman Marie and Gerald Berlin tawrence S. Berlin
Abraham and Thelma Bcrman Gene and Kay Berrodin Andrew H. Berry, D.O. R. Bezak and R. Halstead Naren and Nishta Bhatia llh.n .11 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. Harlan Bloomer Beverly J. Bole Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonncll Dr. and Mrs. David Bostian Richard Brandt and
Karma Niemeycr Representative Liz and
Professor Enoch Brater Mr. and Mrs. Patrice Brion William and Sandra Broucck Mrs. Joseph Brough Olin L. Browder Mr. and Mrs. Addison Brown Mr. Charles C. Brown
Linda Brown and Joel Goldberg Mr. and Mrs. John M. Brueger Mrs. Webster Brumbaugh Dr. and Mrs. Donald T. Bryant Robert and Carolyn Burack Edward and Mary Cady Mrs. Darrcll A. Campbell Jan and Steve Carpman JeannettC and Robert I. Carr Daniel Carroll and Julie A. C. Virgo Mi. and Mrs. Dennis Carroll Mr. George Casey Dr. and Mrs. James T. Cassidy Kathran M. Chan Mr. and Mrs.
Nicholas G. Chapekis, Sr. Mr. James S. Chen Robert and Eileen Choatc Pat Clapper
Brian and Cheryl Clarkson John and Kay Clifford Roger and Mary Coe Mr. and Mrs. Edward and
Catherine Colone Mr. and Mrs. Craig Common 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. andjohn G. Curtis Mr. and Mrs. John R. Dale Mr. William H. Damon III Millie and Lee Danielson Jane and Gawaine Dart Mr. and Mrs. Arthur W. Davidge Laning R. Davidson, M.D. Ruth and Bruce P. Davis James Davis and
Elizabeth Waggoner Mr. and Mrs. R.C. Davis Mr. and Mrs. Ronald G. Dawson Robert and Barbara Ream Dcbrodt Dr. and Mrs. Raymond F. Decker Rossanna and George DcGrood Elizabeth and Edmond DcVinc Meg Diamond Martha and Ron DiCecco Gordon and Elaine Didicr A. Nelson Dingle Dr. Edward R. Doezema Thomas and Esther Donahue Mr. Thomas Downs Roland and Diane Drayson Mr. and Mrs. Harry Drefls John Drydcn and Diana Raimi James and Anne Duderstadt Dr. and Mrs. Cameron B. Duncan Rosannc and Sandy Duncan Michael R. Dungan Robert and Connie Dunlap Jean and Russell Dunnaback Edmund H. and Mary B. Durfcc George C. and Roberta R. Earl Mr. and Mrs. William G. Earle Jacquelynne S. Ecclcs Mr and Mrs. John R. Edman David A. Eklund Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis