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UMS Concert Program, Saturday Mar. 30 To Apr. 13: University Musical Society: 1996 Winter - Saturday Mar. 30 To Apr. 13 --

UMS Concert Program, Saturday Mar. 30 To Apr. 13: University Musical Society: 1996 Winter - Saturday Mar. 30 To Apr. 13 --  image UMS Concert Program, Saturday Mar. 30 To Apr. 13: University Musical Society: 1996 Winter - Saturday Mar. 30 To Apr. 13 --  image UMS Concert Program, Saturday Mar. 30 To Apr. 13: University Musical Society: 1996 Winter - Saturday Mar. 30 To Apr. 13 --  image UMS Concert Program, Saturday Mar. 30 To Apr. 13: University Musical Society: 1996 Winter - Saturday Mar. 30 To Apr. 13 --  image UMS Concert Program, Saturday Mar. 30 To Apr. 13: University Musical Society: 1996 Winter - Saturday Mar. 30 To Apr. 13 --  image UMS Concert Program, Saturday Mar. 30 To Apr. 13: University Musical Society: 1996 Winter - Saturday Mar. 30 To Apr. 13 --  image UMS Concert Program, Saturday Mar. 30 To Apr. 13: University Musical Society: 1996 Winter - Saturday Mar. 30 To Apr. 13 --  image UMS Concert Program, Saturday Mar. 30 To Apr. 13: University Musical Society: 1996 Winter - 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Day
30
Month
March
Year
1996
Download PDF
Rights Held By
University Musical Society
OCR Text

Season: 1996 Winter
University Of Michigan, Ann Arbor

University Musical Society
of the University of Michigan Ann Arbor
The 1996 Winter Season
Dear UMS Patrons
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 199596 season comes to a close this spring, the UMS will have brought to the community 65 performances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understand?ing and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a Midwest community of 110,000 can support the number and quality of performances that the UMS brings to Ann Arbor. They want to know how we do it, and I'm proud to tell them. Here's what I say:
O First, and most important, the people in Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they are among the most informed, engaged and appreciative audiences in the country.
O It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
O Our special relationship with one of the country's leading educational institutions, the University of Michigan, has allowed us to maintain a level of independence which, in turn, affords us the ability to be creative, bold and entrepreneurial in bringing the best to Ann Arbor. While the UMS is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, UMS is a separate not-for-profit organization which supports itself from ticket sales, other earned income, grants, and contributions.
O The quality of our concert halls means that artists love to perform here and are eager to accept return engagements. Where else in the U.S. can Cecilia Bartoli perform a recital before 4,300 people and know that her pianissimos can be heard unamplified by everyone
O Our talented, diverse, and dedicated Board of Directors drawn from both the University and the regional community provides outstanding leadership for the UMS. The 200-voice UMS Choral Union, 55-member Advisory Committee, 275-member usher corps, and hundreds of other volunteers and interns contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
O Finally, I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks for coming, and let me hear from you if you have any suggestions, complaints, etc. Look for me in the lobby or give me a call at 313.747.1174.
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 All
Owners, Curtin C!f Alf "Curtin & Alfs support of the University Musical Society is both a
privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural oppor?tunities set new standards of excellence
111
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. uWe know the Uni?versity of Michigan
will enjoy the Boston Symphony as much as we New Englanders do. We salute the University Musical Society for making these performances possible."
Alex Trotman Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ-
ation with the University Musical Society, its concerts, and the educational programs that contribute so much to Southeastern Michigan."
William E. Odom
Chairman,
Ford Motor Crnli!
Company
The people of
Ford Credit are very
proud of our con-
tinning association with the University Musical Society. The Society's long-established commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
John Psarouthakis,
Ph.D.
Chairman and Chief
Executive Officer,
7.7m.
"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."
DETROIT EDISCXv .FOUNDATION
Robert J. Delonis Chairman and Chief Executive Officer, Great Lakes Bancorp "As a long-standing member of the Ann Arbor commii-
nity. Great Lakes Bancorp and the University Musical Societ)' share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
Mark K. Rosenfeld President',
Jacobson Stores Inc. "We are pleased to share a pleasant relationship with the University
Musical Society. Business and the arts have a natural affinity for community commitment.
Jacobson's
Ronald Weiser
Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud
to support the University Musical Society and the cultural contribution it makes to the community."
(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."
Hertz
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 R. McMullen Co., Im. "I used to feel that a U of M Notre Dame football ticket
was the best ticket in Ann Arbor. Not anymore. The UMS provides the best in educational entertainment."
Joe E. O'Neal
President,
O'Neal Constitution
"A commitment to
quality is the main
reason we arc a
proud supporter of
the University Musical Society's efforts to bring the finest artists and special events to our community."
Iva M. Wilson
President,
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."
RCGCNCy TRAVEL INC
Larry McPherson President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the
University Musical Society. White 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 organizaiion that continu?ally displays such a commitment to excellence.
Society
Ronald M. Cresswell, Ph.D. Vice President and Chairman, Pharmaceu tical Division, Warner iMtnbert 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."
WARtlER
Michael Staebler Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz con?gratulates the
University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
PEPPER, HAMILTON & SCHEETZ
ATTORNEYS AT LAW
Edward Surovell
President,
The Edward Surovell
Co.Reallors
"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."
DWARD ROVELL
CO 'REALTORS
Dr. James R. Irwin Chairman and CEO, The Inrin 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
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 LelitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell JamesJ. Duderstadt
Walter M. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper Rebecca McGowan Joe O'Neal John Psarouthakis George I. Shirley John O. Simpson Herbert E. Sloan Edward D. Surovell Marina v. N. Whitman Iva Wilson Elizabeth Yhouse
Gail W. Rector President Emeritus
IMS Senate Robert G. Aldrich Richard S. Berger Carl A. Brauer.Jr. Allen P. Britton Douglas D. Crary John D'Arms Robben W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long Judyth Maugh
Paul W. McCracken Alan G. Merlen John D. Paul Wilbur K. Pierponl 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
Staff
Kenneth Fischer Executive Director
Catherine Arcure I dull Leavis Bookstein Betty Byrne Yoshi Campbell Dorothy Chang Sally A. Cushing David B. Devore Erika Fischer Susan Fitzpatrick Rachel Folland Greg Former Adam Glaser Michael L. Cowing Philip Guire Jessie Halladay Elizabeth Jahn BenJohnson John B. Kennard.Jr. Michael J. Konziolka Ronald J. Reid Henry Reynolds
R. Scott Russell Thomas Sheets Anne Griffin Sloan Jane Stanton Lori Swanson
Work StudyInterns
Laura Birnbryer Steven Chavez Rebecca DeStefano Jessica Flint Ann Hidalgo Jerry James Emily Johnson Naomi Kornilakis Janet Maki Odctta 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. del-oof, Treasurer
Gregg Alf Paulctt Banks Milli Baranowski Janice Stevens Botsford Jeanninc Buchanan Letitia Byrd Betty Byrne, Staff Pat Chatas Chen Oi Chin-Hsich Phil Cole Peter deLoof Rosanne Duncan H. Michael Endres Don Faber Penny Fischer Barbara Gelehrter Beverley Geltner Margo Halsted Esther Heiller Deborah B. Hildebrandt Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Kahn
Mercy Kaslc Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Lcvitan Doni Lystra Kathleen Beck Maly Howard Markel Margaret McKinley Clyde Metzger Ronald G. Miller Lcn NiehofT Karen Koykka O'Neal Marysia Ostafm 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 Yhouse
The University Musical Society is an equal opportunity affirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
The University Musical Society is an Equal Opportunity Employer and provides programs and services urithout 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 W'ashtenaw Council for the Arts.
General Information
University Musical Society Auditoria Directory & Information
Coat Rooms
Hill Auditorium: Coat rooms arc located on the cast and
west sides of the main lobby and are open only during die
winter mondis.
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 are located in the
center of the main floor lobby.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking
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 the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the sealing areas.
Restrooms
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of die main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
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.
UMSMember Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
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
1.8OO.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 die University of Michigan. Professor Frieze, who at one time served as acting president of the University, became the first president of the Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, the Choral Union refers not only to the chorus but the Musical Society's acclaimed ten-concert series in Hill Auditorium. Through the Chamber Arts Series, Choral Union Series, Jazz Directions, World Tour, and Moving Truths Series, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring the world's finest dance companies,
opera, theater, popular attractions, and presentations from diverse cultures. The University Musical Society has flourished these 117 years with the support of a generous musicand arts-loving community, which has gathered in Hill and Rackham Auditoria, Power Center, and The Michigan Theater to experience the artistry of such outstanding talents as Leonard Bernstein, the Berlin and Vienna Philharmonic Orchestras, Sweet Honey in the Rock, the Martha Graham Dance Company, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, The Stratford Festival, The Beaux Arts Trio, Cecilia Bartoli, and the Chicago Symphony Orchestra.
Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strength?ened through educational endeavors, commissioning of new works, programs for young people, artists' residencies such as the Martha Graham Centenary Festival and the Society Bank Cleveland Orchestra Weekend, and through other collaborative projects.
While it is proudly affiliated with the University of Michigan, is housed on the Ann Arbor campus, and collaborates regularly with many University units, the Musical Society is a separate, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
The University Musical Society Choral Union has performed throughout its 117-year history with many of the world's distinguished orches?tras and conductors.
In recent years, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society of the University of Michigan the 180-voice Choral Union remains best known for its annual performances of Handel's Messiah each December. Two years ago, the Choral Union further enriched that tradition through its appointment as resident large chorus of the Detroit Symphony Orchestra. In January 1994 the Choral Union collaborated with Maestro Jarvi and the DSO in the chorus' first major commercial recording, Tchaikovsky's Snow Maiden, released by Chandos Records in October of that year. Last season, the ensemble joined forces with the DSO for subscrip?tion performances of Ravel's Daphnis et Chloe and Mahler's Symphony No. 2 (Resurrection). In 1995, the Choral Union established an artistic association with the Toledo Symphony, inaugurating the new partnership with a performance of Britten's War Requiem under the baton of Andrew Massey. This season, the Choral Union will again join the Toldeo Symphony for performances of Bach's Mass in b minor under conductor Thomas Sheets, and the Berlioz Requiem with Andrew Massey.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion a love of the choral art.
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 1986.
Currendy, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Rackham Auditorium
For over 50 years, this intimate and unique con?cert hall has been the setting for hundreds of world-acclaimed chamber music ensembles pre?sented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and pre?sented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
POWER CENTER for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation--Marcel Marceau.
The fall of 1991 marked the twentieth anniver?sary of the Power Center. The Power Family-Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip-contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,380 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS hosted its annual week-long theater resi?dency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20, 1994.
In October 1994, UMS, the Martha Graham Dance Company, and ten institutional partners hosted
"In the American Grain: The Martha Graham Centenary Festival" commemorating the 100th anniversary of Martha Graham's birtli. The Power Center was the site of open rehearsals, exhibits, workshops, and performances, including the 50th anniversary celebration of the premiere of the Martha GrahamAaron Copland collaboration Appalachian Spring (Ballet for Martha).
The Michigan Theater
The historic Michigan Theater opened its doors January 5, 1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior were then, as now, a marvel practi?cally unrivaled in Michigan. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, die Theater has undergone many changes. "Talkies" replaced silent films just one year after the Theater opened, and vaudeville soon disap?peared from the stage. As Theater attendance dwindled in the '50s, both the interior and exterior of the building were remodeled in an architecturally inappropriate style.
Through the '60s and '70s the 1800-seat theater struggled against changes in the film industry and audiences until the non-profit Michigan Theater Found?ation stepped in to operate the failing movie house in 1979.
After a partial renovation which returned much of its prior glory, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. The Michigan Theater is also the home of the Ann Arbor Symphony Orchestra.
St. Francis of Assisi Catholic Church
In June of 1950, Edward Cardinal Mooney appointed Father Leon Kennedy pastor of a new parish in Ann Arbor. Sunday Masses were first celebrated at Pittsfield School until the first building was ready on Easter Sunday, 1951. The parish num?bered 248 families. Ground was broken in 1967 to build a permanent church building, and on March 19, ig6g,John Cardinal Dearden dedicated the new St. Francis of Assisi Church. In June of 1987, Father Charles E. Irvin was appointed pastor.
Today, St. Francis of Assisi Catholic Church is composed of 2,800 families. The present church seats 800 people and has ample free parking. Since 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 1 o: 15 to 10:45 a.m.
University Musical Society 1996 Winter Season
St. Louis Symphony Leonard Sl.ukin. conductor Linda Hohenfeld, soprano
Thursday, January 18, 8pm Hill Auditorium Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", first in a series in which Professor Whiting discusses the con?cert repertoire, Michigan league, 7pm.
St. Petersburg Philharmonic Yuri Temirkanov, conductor Pamela Frank, violin
Friday, January 26, 8pm Mill Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard'', second in a series in which Professor Whiting discusses the con?cert repertoire, Michigan League, 7pm,
Made possible by a gift from Pepper, Hamilton & 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: Following each performance by the Guthrie Theater, members of the com?pany, along with Guthrie Education Coordinator Sheila Livingston and Guthrie Study Guide Editor Belinda Westmaas Jones, will join distinguished University of Michigan professors, indicated below, for panel discussions: Saturday, January 21 Joe Dowling, Artistic Director of the Guthrie Theater, "The Guthrie and Trends in Theater", 3rd Floor Michigan League, Koessln Library, 7pm. Saturday, January 27 (following the 8pm performance ofk.) Post-Performance Panel Discussion on stage with Ingo Sadler, UM Professor of German, and Fred Peters, UM Residential College Chair of Comparative Literature. Sunday, January 28 (Jollowing 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 of Old Times) Post-Performance Panel Discussion on stage, with Martin Walsh, UM Residential College Lecturer in Drama and Head of Drama Constitution, and Enoch Brater, UM Professor of English Language and IJteratwr and Professor of Theater. The Guthrie Theater tour is sponsored by AT&T. Special support and assis?tance are provided by the National Endowment for the Arts, Arts Midwest, and Mid-America Arts Alliance.
Wynton MarsalisLincoln Center Jazz Orchestra Octet Jazz at Lincoln Center Presents, "Morton, Monk, Marsalis
Wednesday, January 31, 8pm Michigan Theater The UMSJazz Directions Series is pre?sented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University. Made possible by a gift from Thomas B. McMutlen Company.
Feel the Spirit An Evening
of Cospel 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: Garrick Ohlsson, "Chopin In Our Time", Saturday, February 3, Rackham 4th Floor Assembly Hall, 4pm. Made possible by a gift from Regency Travel, Inc.
Boston Symphony Orchestra Seiji Ozawa, conductor
Wednesday, February 7, 8pm Hill Auditorium
Philips Educational Presentation: "The BSO: All the Questions You W Ever Wanted to Ask", an interview and audience Q_ & A with: Leone Buyse, UM Professor of Flute and Former Principal Flute, BSO; Daniel Gustin, Manager of Tanglewood; Lois Schaefer, Emeritus Piccolo Principal, BSO; and Owen Young, Cellist, BSO; Michigan league, 7pm. Made possible by a gift from Fisher Scientific International
Latin Jazz Summit featuring Tito Puente, Arturo Sandoval, and Jerry Gonzalez and The Fort Apache Band
Saturday, February 10, 8pm Hill Auditorium
Philips Educational Presentation: Dr. Alberto Nacif Percussionist and WEMU Radio Host, 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 Edward Surovell Co.Realiors.
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 Thaviata Wednesday, February 21, 8pm Thursday, February 22, 8pm Friday, February 23, 8pm Saturday, February 24, 2pm
(Family Show) Saturday, February 24, 8pm Power Center
Philips Educational Presentations: February 21 Helen Siedel, UMS Education Specialist, "Know Before You Go: An AudioVisual Introduction to 'La Traviata'", Michigan League, 6:45pm; February 23 Martin Knit. Accompanist-Coach-Condutor, The Specific Traviata", Michigan League, 7pm; February 24 ? Helen Siedel, UMS Education Specialist, "Especially for Kids ? The Story of La Traviata", explained with music and videos, Grren Room, 1:15-1:45pm, Power 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 Assist 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 Isonard, Manager, SKR Classical, "Mahler in Ijjue: the Fifth Symphony", Michigan league, 7pm. Made possible by a gift from McKinley Associates, Inc.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano {Grand Finale Recital VI) Saturday, March 16, 8pm Hill Auditorium Made possible by a gift from the Estate of William II Kinney.
Alvin Ailey American Dance Theatre
Tuesday, March 19, 7pm
(Family Show) Wednesday, March 20, 8pm Thursday, March 21, 8pm Friday, March 22, 8pm Power Center Philips Educational Presentatiom: Robin Wilson, Assistant Professor of Dance, University of Michigan, The Essential Alvin Ailey: His Emergence and Ijegacy as an African American Artist", March 20, Michigan league, Koessler Library, 7pm. Dr. tjjrna McDaniel, Associate Professor of Music, University of Michigan, "The Musical Influences of Alvin Ailey", March 21, Michigan
league, Koessler library, 7pm. CJirislophrr Zunner, Alvin Ailey Company Manager, and Company Member, "The Alvin Ailey American Dance Theater', March 22, Michigan League, Koessler Library, 1pm. This project is supported by Arts Midwest members and friends in partnership with Dance on Tour.
Borodin String Quartet Ludmilla Berlinskaya, piano
Friday, March 22, 8pm Rackham Auditorium
Made possible by a gift from The Edward Surovell Co.ReaUon.
Guitar Summit II Kenny Burrell, jazz; Manuel Barrueco, classical; Jorma Kaukonen, acoustic blues; Stanley Jordan, modern jazz Saturday, March 23, 8pm Rackham Auditorium
Faculty Artists Concert Tuesday, March 26, 8pm Rackham Auditorium
The Canadian Brass Saturday, March 30, 8pm Hill Auditorium
Made possible by a gift from Great Lakes Bancorp.
Bach's b-minor Mass The UMS Choral Union The Toledo Symphony Thomas Sheets, conductor Sunday, March 31, 2pm Hill Auditorium
Tallis Scholars
Thursday, April 11, 8pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: Louise Stein, Associate Professor of Musicology, University of Michigan, "To draw the hearer by chains of gold by the ears...": English Sacred Music in the Renaissance, St. Francis of Assisi Catholic Church, 7pm.
Ravi Shankar, sitar Saturday, April 13, 8pm Rackham Auditorium
Philips Educational Presentation: Rajan Sachdeva, Sitar Artist and Director, Institute of Indian Music, "A lectureDemonstration of Indian Classical Music on Sitar", Michigan League, 6:30pm.
Israel Philharmonic
Orchestra
Zubin Mehta, conductor
Thursday, April 18, 8pm Hill Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", fourth in a series in which Professor Whiting discusses the concert repertoire, Michigan league, 7pm. Made possible by a gift from Dr. John Psarouthakis, the Paiedeia Foundation, andJPEinc.
Purcell's Dido and JEneas
Mark Morris Dance Group
Boston Baroque Orchestra
and Chorus
Martin Pearlman, conductor
with Jennifer Lane, James
Maddalena, Christine
ISr.miles and Dana Hanchard
Friday-Saturday,
April 19-20, 8pm
Sunday, April 21, 4pm
Michigan Theater
Philips Educational Presentation: Steven Moore Whiting. Assistant Professor of Musicology, University of Michigan, "Classics Reheard", fifth in a series in which Pmfesor 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: fames M. Borders, Associate Professor of Musicology, "The Best Instrumental Music You Never Heard In Your Life', 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 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society 1994-95 Season: dancer Arthur Aviles of the Bill T. JonesArnie Zane Dance Company in StillHere, pianist Garrick Ohlsson onstage at Rackham Auditorium for one installment of his six-recital cycle of the Complete Solo Piano Music of Frederic Chopin; I the clarinets of Giora Feidman, featured in Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind, a work nxommissioned 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
Saturday, March 30, igg6
through
Saturday, April 13, 1996
ijth Annual Choral Union Series Hill Auditorium
33rd Annual Chamber Arts Series Rachham Auditorium
25th Annual Choice Events Series
The Canadian Brass
Saturday, March 30, 1996, 8:00pm Hill Auditorium
Bach's b-minor Mass
Sunday, March 31, 1996, 2:00pm Hill Auditorium
Tallis Scholars 19
Thursday, April 11, 1996, 8:00pm St. Francis of Assisi Catholic Church
Ravi Shankar 25
Saturday, April 13, 1996, 8:00pm Hill Auditorium
General Information
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time
Every attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audito?rium and scat 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.
Musical
The Ford Honors Program
featuring
VAN CLIBURN
First Recipient of the
UNIVERSITY MUSICAL SOCIETY DISTINGUISHED ARTIST AWARD
The University Musical Societ) invites
you to attend a special evening as we
honor legendary pianist Van Clihurn
with the University Musical Society
Distinguished Artist Award as part
of the first Ford Honors Program,
a new IMS 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 the recital will be a
tribute to Mr. Clilmrii involving: Him.
musical presentations. sjircrhr.
and several surprise guests.
At 8:00pm, after the Mill Auditorium
event, there will he a dinner in Mr.
Cliburn's honor with entertainment and
dancing at the Rackham Building
(black tie optional). Space is limited.
For more information about the
(iala 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. 22 1.1 229
University
Musical
Society
and
Great Lakes Bancorp
pres en I
The Canadian Brass
Frederick Mills, trumpet Ronald Romm, trumpet David Ohanian, french horn Eugene Watts, trombone Charles Daellenbach, tuba
Program
Saturday Evening, March 30, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
George Frideric Handel (arr. Howard Cable)
Andante and Allegro from Concerto Grosso, Op. 3, No. 4
Henry Purcell (arr. Cable)
Fantasia on One Note
Handel (arr. Cable)
Arrival of The Queen of Sheba (from Solomon)
Giovanni Gabrieli (arr. John Serry)
Canzona per sonare No. 3
Johann Sebastian Bach (arr. Fred Mills) TOCATTA AND FUGUE IN D MINOR, BWV 565
Swingtime!
Dave Brubeck (arr. C. Dedrick)
Blue Rondo a la Turk
Thelonius Monk (arr. Dedrick)
'Round about Midnight
Clarence Williams and Lucy Fletcher (arr. Luther Henderson)
Sugar Blues
Intermission
George Gershwin (arr. Henderson)
Selections from Porgy and Bess
Summertime It Ain't Necessarily So Bess, You Is My Woman Now I'm On My Way
Samuel Barber (arr. Stephen McNeff)
Adagio
Georges Bizet (arr. Mills)
Highlights from Carmen
Overture Habanera Interlude Seguidilla Toreadors' Song
Fifty-third concert of the 117th season
24th Annual Choice Events Series
Special thanks to Robert J. Delonis, Chairman and Chief Executive Officer, Great Lakes Bancorp for helping to make this performance possible.
This evening's pre-concert carillon recital ivas played by Brandon Blazo, senior, majoring in English and Political Science.
The Canadian Brass records exclusively for RCA Victor & Red SealBMG Classics. Recordings also available on Philips Classics and CBS Master-works.
The Canadian Brass appears by arrangement with IMG Artists.
The Canadian Brass performs on hand-crafted instruments of their own design, marketed by their company, Canadian Brass Musical Instruments, as the Canadian Brass Collection (1-800-488-2378).
Visit The Canadian Brass World Wide Web site (http:www. can-brass.com) or via e-mail (info@canbrass.com).
Large print programs are available upon request from an usher.
Since their first appearance on the music scene in 1970, The Canadian Brass have revolu?tionized brass music and established the brass quintet as a vital force in the music world. Over the past twenty-five years, these classically trained virtuoso musicians have transformed a previously neglected group of instruments with a limited repertoire into an exciting and versatile ensemble which performs everything from Bach and Mozart to Gershwin and Dixieland. With their unique blend of virtuosity, spon?taneity and humor, The Canadian Brass have paved the way for many other brass groups, but clearly, they remain in a class by themselves.
The key to The Canadian Brass' perfor?mance style is communication between the artists and their audiences. The players feel strongly that it is important to involve the audience in their concerts, both to enhance the people's enjoyment of the music and to ensure that they have fun. Internationally acclaimed for their "brilliant virtuosity and ensemble playing of remarkable unanimity" (New York Times), The Canadian Brass also add appropriate commentary and tasteful touches of humor to their concerts. Their dazzling performances, combined with eclectic programming, have enabled them to bring classical music to vast new audiences, while providing some of the best musical entertainment to be found anywhere.
The Canadian Brass, who were the first chamber ensemble ever to tour the People's Republic of China, have delighted audi?ences throughout North America, Europe, Japan, Australia, the Middle East and the former Soviet Union. Each season they give over 130 concerts in North America alone, performing from coast to coast at such major halls as New York's Carnegie Hall (where they appeared four times in one season), Orchestra Hall in Chicago, the Academy of
Music in Philadelphia, Ambassador Auditorium in the Los Angeles area, and the Kennedy Center in Washington, D.C. (where their concerts were sold out three times in one season). The Canadian Brass have appeared as featured guest artists with many leading U.S. orchestras, including those of Cleveland, Detroit, Minnesota, Pittsburgh, Saint Louis, San Francisco, the National Symphony and the Boston, New York and Philadelphia Pops. They are also a popular attraction at many summer music festivals including Tanglewood, Mostly Mozart, Wolf Trap, Ravinia, Interlochen, Blossom and the Hollywood Bowl, all of which hosted the highly successful joint concerts with Star of Indiana, the nation's premier brass and per?cussion corps.
Highlights of The Canadian Brass' exten?sive North American itinerary for the 1995-96 season included a holiday concert with members of the New York Philharmonic brass at Avery Fisher Hall, and recitals in such cities as Boston, Chicago, Cleveland, Minneapolis, Ann Arbor, West Palm Beach and Portland, OR. They will also appear with numerous orchestras, including the Baltimore Symphony, Utah Symphony and the San Jose Symphony, among others. In Europe, they will give recitals in London, Stuttgart, Hamburg, Cologne, Berlin, Leipzig, Dresden, Munich as well as various cities throughout Italy.
Following a 1990 Kennedy Center per?formance by The Canadian Brass, the Washington Post said: "Blending virtuosity, musicality, comedy and wit, they inspired equal measures of laughter and admiration from the packed house, ultimately receiving the inevitable -and totally deserved -standing ovation." Having forged a new road for generations of brass players to come, The Canadian Brass can look back on their first quarter-century as a prelude to even greater levels of achievement in the future.
This evening's performance marks The Canadian Brass' eighth appearance under UMS auspices.
University
Musical
Society
presents
Mass in b minor
University Musical Society Choral Union
The Toledo Symphony
Thomas Sheets, conductor
with
Dominique Labelle, soprano
Paula Rasmussen, mezzo-soprano
David Gordon, tenor
Kevin Deas, bass-baritone
Program
Sunday Afternoon, March 31, 1996 at 2:00
Hill Auditorium Ann Arbor, Michigan
Johann Sebastian Bach
Mass in b minor
Kyrie Gloria
INTERMISSION
Credo Sanctus Agnus Dei
Fifty-fourth concert of the 117th season
25th Annual Choice Events Series
The Toledo Symphony appears with support from Arts Midwest.
Thank you to Penelope Peterson Fischer, speaker for this afternoon's Philips Educational Presentation.
The pre-concert carillon recital was performed byfudy Ogden, University of Michigan Lecturer in Health Law.
Large print programs are available upon request from an usher.
Johann Sebastian Bach
Born March 21, 1685 in Eisenach Died July 28, 1750 in Leipzig
In 1817 the Swiss critic Hans-Georg Nageli praised Bach's Mass in b minor as "the greatest work of music of all ages and of all people." Despite the obvious hyperbole, Nageli's assessment typifies the remarkable veneration afforded this monument of west?ern art music. The scope and proportions of the b minor Mass are as colossal as its reputation: it is an uncontested masterpiece. It encapsulates as does no other composition Bach's choral artistry, and offers a musical spectrum whose breadth and depth reveal both academic and spiritual penetration. All the more intriguing, then, is that it arose from rather mundane circumstances, and was completed only near the end of Bach's life as an intimate and private offering of faidi.
On July 27, 1733, Bach wrote a letter to Friedrich August II, the new Elector of Saxony at the court in Dresden, stating: "In deepest Devotion I present to your Royal Highness this trifling product of that science which I haVe attained in Music. . ." This "trifling product" was a beautifully prepared score of a Missa, comprising the Kyrie and Gloria sections of what is now known as the Mass in b minor. Bach hoped to receive in return some kind of honorary title (it was eventually bestowed on him in 1736) which he could use as leverage in the ongoing tussle with his employers in Leipzig. The Missa pairing of Kyrie and Gloria was an acceptable mode for Lutheran worship in the early eighteenth century, and this form allowed Bach to compose a sacred piece of music suitable for the Catholic court at Dresden without transgressing the boundaries of the Lutheran faith. Bach scholar and enthusiast Joshua Rifkin speculates that this Missa was composed in haste, and that most, if not all
of it was based on earlier works: 'To write the Missa, therefore, Bach had little to do but select an appropriate series of movements and fit them to the requisite portions of the Mass text." Bach delivered the elegant score and individual parts to his patron in Dresden in person, but kept a copy of the full score for himself.
Between 1747 and 1749, near the end of his creative career, Bach seems to have become interested in completing a Missa tola, or setting of the complete text of the Mass Ordinary, using the Dresden Missa of 1733 as the starting point. In the process of adding the other movements of the Roman Mass (the Credo, Sanctus and Agnus Dei) Bach nevertheless created a work that was not performable in the liturgy of either the Roman or Lutheran churches, perhaps not even intended for performance at all. Rifkin claims that this complete Mass "could equally well have represented a composition that unfolds as a totality not in concrete time but on a conceptual plane alone." The manu?script for this Missa tola, the largest work Bach ever wrote, is without a title, but for more than fifty years before the first edition was even published in 1845 musicians had already begun to refer to it as Bach's Mass in b minor.
It is only superficially odd that Bach, a committed Lutheran, should have composed a Roman High Mass. While Luther had sought to reform points of doctrine, he did not oppose the liturgy of the Roman Church. His Formulae Missae of 1523 retained the five musical portions of the Latin Mass Ordinary (Kyrie, Gloria, Credo, Sanctus and Agnus Dei). Although Luther's Deutsche Messe of 1526 provided an alternate German vernacular mass, he almost certainly considered the Latin Mass a higher form of worship. But the immense dimensions alone of the Mass in b minor disqualify it from the Lutheran service. Even in Bach's day when the main church services lasted approximately three
hours there would have been insufficient time to present a work of this scope (the sermon itself usually lasted more than an hour.) Neither is the work, though nominally in the form of the Roman Mass, suitable for the liturgy of the Roman Church. Bach re?ordered the five sections of the Mass Ordinary into an idiosyncratic arrangement of four sections, combining the Kyrie and Gloria and shifting the "Osanna" and "Benedictus" movements from the Sanclus into the Agnus Dei. By making the Mass non-performable in either church's rite, Bach focuses very personally on the contem?plation of Christianity's central mystery, which transcends denomination. As Wilfred Mellers notes, Bach at this time "was compos?ing for no master, but for himself and God, as a servant of the church universal."
The Mass in b minor is often juxtaposed with Bach's other great sacred utterances, the Passion settings, as representative of his Catholic and Lutheran learnings respectively. If the Passion presents the story of the Christian Church, then the Mass encapsu?lates it's doctrine. For Bach, though, drama and dogma were not opposed poles, and the Mass in b minor is as much a synthesis of these elements as it is of the Catholic and Protestant rites, of human frailties and infal?lible divine order, of the physical and the metaphysical.
The broad scope of the complete Mass setting can be seen in summary in the struc?ture of the Dresden Missa from 1733. The expansive five-part choral writing, the large orchestral forces and the varied organization of individual movements prefigure the breadth and magnitude of the b minor Mass as a whole. The initial "Kyrie eleison" bears a similarity to the opening of the St. John Passion, representing humanity's joint plea for mercy. The opening stately chords were apparently a later addition to the movement, and lead directly into an expansive fugue with obligato orchestral accompaniment.
The "Christe eleison" is cast in the style of a Baroque operatic duet, perhaps in reference to the duality of Christ's divine and human natures, and his position as second member in the Trinity. The final "Kyrie eleison" returns to an older style of vocal polyphony, this time the orchestral parts simply doubling the voices.
Scholars have questioned whether the Mass in b minor is really the key of b minor, perhaps a trivial point, but certainly the issues of key and harmonic relationships figure importandy in the work, especially in this opening tripartite Kyrie. The three sections, differentiated in style and composi?tional technique, establish a sequence of key-relationships, b minor, D Major, and f-sharp minor, built on the notes of die b-minor triad. Bach also seems to have asso?ciated specific affects or emotional charac?teristics with certain keys, and b minor is his key of passive human suffering, the natural state of all humanity as they implore God's mercy in the Kyrie. But in the Mass as a whole the key of D, die relative major of b minor, is an equally important harmonic center, and is Bach's key of power and glory. Aldiough die Mass begins in b minor, it ends in D Major, synthesizing suffering and glory as central tenets of Christian belief.
The Gloria continues the stylistic diversity of the Kyrie, and in addition to the four large choral movements ("Gloria in excelsis DeoEl in terra pax," "Gratias agimus tibi" "Qui tollis peccata mundi" "Cum sancto spirilu") contains four equally large solo or duet movements with different instrumental obligatos (violin, flute, oboe and horn). This arrangement was important to the musical unity of the 1733 Missa, as the Kyrie and Gloria sections together contain at least one solo part for each of the five voices as well as a solo obligato from each orchestral group.
When Bach set about composing the Credo or "Symbolum Nicenum" some time
between 1747 and 1749, he conceived it as a nine-movement symmetrical structure. The pairs of choral movements at the beginning and end of the Credo section are based on liturgical chant melodies, used as a canlus firmus. Contained within these outer fram?ing sections are two solo movements which surround the Christological nucleus of the Credcr. three choruses on the incarnation of God ("Et incarnatus est"), the crucifixion ("Cruafixus"), and the resurrection ("Et res-urrexif). Stephen Daw writes that this Credo "somehow involves the community musically: its performance is ours even as we listen, whereas all that has gone before has been sung and played on our behalf."
Throughout the entire Mass, but particu?larly in the Credo, Bach encodes the music with hidden references, using numerology and the natural number alphabet: a=i, b=2, c=3, and so on. According to this numerical alphabet, the number of the word credo is 43 (c=3. R=17 E=5. 0=4, 0=14, remember?ing that I andj had the same number since they were interchangeable in eighteenth-century German). There are forty-three entries on the plainsong melody in the Credo section. Elided with the "Patrem omnipoten-tem" that follows there are 129 measures of music, or the credo number multiplied by the number of the Trinity (43 x 3). By this Bach encodes the profession of faith, "I believe in one God," with the implicit doc?trine of the godhead as a Trinity. Likewise, the number for the word christus is 112, and the Credo section taken as a whole has 784: the christus number multiplied by 7, die traditional number of the Church and also the number of times the word "Christus" is repeated in the text. These inter-relation?ships of number and doctrine were not at all meant to be perceived by the listener, but rather were an intensely private form of devo?tion Bach incorporated into the music, intend?ed perhaps only to be understood by himself and his God.
The Sanctus and following movements also belong to the 1747-1749 completion of the Mass, but nearly all have earlier origins. The Sanctus itself was written for a Christmas service in 1724, in aversion for three sopranos, alto, tenor and bass. The "Osanna" is the only double-chorus in the Mass, and is a remodeling of the opening chorus from the secular cantata "Preisedein Gliicke" bwv 215. The " Benedictus" is presumed to be a rework?ing of a now-lost piece. The "Agnus DeT began as a parody of a movement from the Ascension Oratorio, bwv 11, but in addition to some radical alterations there are extensive passages of newly-composed material. This concluding "Dona nobis pacem" repeats the music of the "Gratias agimus libi," emphasiz?ing Bach's conception of this movement as an expression of gratitude. The celebratory musical style for this final chorus still alludes to the particulars of its model: a chorus from a cantata celebrating the 1731 election of the Leipzig Town Council.
The original manuscript of the Mass in b minor concludes with the simple inscription "dsg," signifying Deo soli gloria, or 'To God, alone, the glory." Perhaps that devotion, above all else, is what inspired Bach to com?pile this grand summa of his sacred composi?tional voice. As the aging composer himself stated," die final aim and reason of all music is nothing other than the glorification of God and the refreshment of the human spirit."
Note by Luke Howard, Ann Arbor, 1996.
Thomas Sheets is an accom?plished and versatile con?ductor whose work with community choruses, academic institutions and opera companies has received widespread acclaim.
Appointed Music Director of the University Musical Society Choral Union in 1993, he is the tenth conductor to hold this position in the ensemble's 117-year history. In the past two seasons, he has prepared the UMS Choral Union for several notable per?formances given by the Detroit Symphony Orchestra under the direction of Neeme Jarvi and Jerzy Semkow, and by the Toledo Symphony under the direction of Andrew Massey.
In addition to conducting performances of Handel's Messiah with the Ann Arbor
Symphony Orchestra, Mr. Sheets conducts the Choral Union in these performances of Bach's Mass in b minor with the Toledo Symphony. In February, he collab?orated with the University Dance Company, faculty choreographer Bill
DeYoung and guest stage designer John Schak, conducting four performances of OrfFs Carmina Burana in which dancers joined the established musical forces.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William Hall Chorale and the Master Chorale of Orange County, both conducted by his mentor, the distinguished choral conductor William Hall. During that time, he assisted in preparing all the major choralorchestral works in the current repertoire, in some instances for performances led by Robert
Thomas Sheets
Shaw, Jorge Mester.Joann Faletta and Michael Tilson Thomas. As chorusmaster in 1988 for Long Beach Opera's highly acclaimed American premiere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four continents. He was engaged in the same role in 1992 for that company's staging of Simon Boccanegra, where the chorus again received singular plaudits.
Thomas Sheets is also Music Director of the 120-voice Toledo Symphony Chorale. He received the degree of Doctor of Musical Arts from the University of Southern California and has held appointments as Director of Choral Activities at several colleges and universities. Mr. Sheets is a frequent conference leader and clinician; his editions of choral music are published by Augsburg-Fortress, and he is a regular contributor of articles on choral music per?formance.
This performance marks Dr. Sheets' seventh appearance under UMS auspices.
Soprano Dominique Labelle is known for the luminous beauty of her voice, her com?mitted stage presence and the impeccable musicianship which she brings to her appearances in opera, concert and recital.
Engagements in Dominique Labelle's 1995-96 season included performances of the role of Michal in Handel's Saul with the Philharmonia Baroque and Nicholas McGegan, Micaela in concert performances of Carmen with the San Antonio Symphony, Haydn's The Seasons with the Cantata Singers in Boston, a recital of French repertoire under the auspices of the New York Festival of Song at New York's 92nd Street Y, Handel's Messiah with Boston's Handel and Haydn Society and Christopher Hogwood
and "Viennese Evening" concerts with the San Francisco Symphony, a recital at Boston's Fine Arts Museum, the world premiere of American composer John Mustro's orches?trated version of Dove Sla Amore and Charles Griffes' Three Poems of Fiona McLeod with the Jacksonville (Florida) Symphony, Mozart's Requiem and Vesperae solennes de confessore with the Orchestra of St. Luke's at New York's Carnegie Hall and these performances of Bach's b-minor Mass with the Toledo
Symphony in both Ann Arbor and Toledo. In the summer of 1996 she will perform the role of Marzelline in concert performances of Fidelio in a return engagement with the New York Philharmonic and Kurt Masur at the Lincoln Center Festival
followed by an appearance at the Hollywood Bowl performing Mozart's Requiem and Bach's Magnificat with the Los Angeles Philharmonic and Nicholas McGegan.
In the 1994-95 season Miss Labelle sang the role of Gilda in Rigoletto with Boston Lyric Opera, performances of Brahms' German Requiem with the Saint Louis Symphony and Franz Welser-Most, Handel's Messiah under the auspices of the University Musical Society, a concert with the American Symphony Orchestra at New York's Avery Fisher Hall and Honneger'si7in d'Arc au bucherwith Charles Dutoit amd the orchestras of Philadelphia (including a performance in New York's Carnegie Hall), Pittsburgh and Montreal. She also appeared in recital under the auspices of the Boston Celebrity Series "Emerging Artist" series at Jordan Hall.
A native of Montreal, Canada, Dominique Labelle attended Boston University on a Dean's Scholarship and in the summer of 1988 was a Vocal Fellow at the Tanglewood Music Center. She was a winner of the 1 g8g
Metropolitan Opera National Council Competition.
This afternoon's performance marks Ms. Labelle's third appearance under UMS auspices.
A native of California, Paula Rasmussen per?forms frequently with the Los Angeles Music Center Opera, where most recently she appeared as Zerlina in Don Giovanni, Amastre in Handel's Xerxes, Cherubino in Le nozze di Figaro, Suzuki in Madama Butterfly and covered the role of Octavian in Der Rosenkavalier. In previous seasons with that company she has appeared in such roles as Hippolyta in A Midsummer Night's Dream, the Composer in Ariadne Auf Naxos (with Christoph Perick conducting), Anna in Les Troyens under the direction of Francesca Zambello and the baton of Charles Dutoit, Nancy in Albert Herring and Hansel in Hansel and Gretel
Operatic engagements in Miss Rasmussen's 1995-96 season include covering the title role of Handel's Xerxes
with the Lyric Opera of Chicago and a return to Dallas Opera to sing the role of Stephano in Romeo et Juliette. Her concert engagements this season include Stravinsky's Pulcinella with the St. Paul Chamber Orchestra
and Hugo Wolff at New York's Avery Fisher Hall, Bach's Mass in b minor with the Toledo Symphony in Toledo and Ann Arbor, Hadyn's Paukenmesse with the Los Angeles Philharmonic and Esa-Pekka Salonen and a recital at the gand Street Yin New York.
Future engagements include a return to Los Angeles Music Center Opera in the igg6-g7 season as Minerva in Monteverdi's Ritorno D'Ulisse in Palria and Cherubino in
Dominique Labelle
Paula Rasmussen
Le nozze di Figaro and a return to Dallas Opera as Varvara in Janacek's Katya Kabanova.
In the summer of 1995 Paula Rasmussen performed the role of Zerlina in Don Giovanni with Glimmerglass Opera and the Beethoven Ninth Symphony at the Hollywood Bowl under Roger Norrington. Other recent operatic engagements include singing student per?formances and covering Cecilia Bartoli in the title role of La Cenerentola with Dallas Opera and Siebel in Faust with Opera Pacific; with Long Beach Opera she has performed the role of Lola in Cavalleria Rusticana.
Miss Rasmussen is a Regional Winner of the 1992 Metropolitan Opera Competition and is a winner of a 1994 MacAllister Award.
This afternoon's performance marks
Ms. Rasmussen's debut appearance under
UMS auspices.
Described by the Washington Post as "a model of style and charm, and an irresistible per?former," tenor David Gordon has appeared as soloist with virtually every major North American symphony orchestra, and with other prestigious orchestras and festivals on four continents. On the stages of the San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Washington Opera, Hamburg Staatsoper, and other companies, he has performed more than six-hundred performances of fifty-nine operatic roles encompassing the music of Monteverdi, Handel, Haydn, Mozart, Smetana, Wagner, Moussorgsky, Leoncavallo, Verdi, Puccini, Strauss and Stravinsky.
Hailed as "one of the world's great Bach tenors," (Chicago Tribune), David Gordon has won special praise for his vibrant, stylish and communicative portrayal of Bach's Evangelist roles in hundreds of performances in North America, Europe and Japan. His recent St. Matthew Passion credits include the Los
Angeles Philharmonic under the baton of Peter Schreier; Musica Sacra at Carnegie Hall; the Berlin Radio Symphony; and at the Carmel Bach Festival and the Bethlehem Bach Festival. He also recently portrayed the St. John Passion
Evangelist with the St. Paul Chamber Orchestra under Christopher Hogwood; with the German Chamber Orchestra, the Bach Choir of Bethlehem and at the Carmel Bach Festival.
Mr. Gordon's other recent engagements include the Simpleton in Boris Gudunov at the Lyric Opera of Chicago; Schumann's Faust with the American Symphony Orchestra at Lincoln Center; Wagner's Das Rheingold with The Cleveland Orchestra under Christoph von Dohnanyi; Bardolfo in Verdi's Falstafj'with Seiji Ozawa and the Boston Symphony and in Tokyo and Osaka with Maestro Ozawa and the New Japan Philharmonic; Tamino in Die Zauberflote with the Cincinnati Symphony under Lopez-Cobos; the Britten Serenade with the Kansas City Symphony; Rossini's Messa di Gloria with the Berlin Philharmonic; Britten's War Requiem with The Cleveland Orchestra; Monteverdi's 1610 Vespers with Helmuth Rilling and the Czech Philharmonic; and the world premiere of Charles Fueesll's Fu'nf Goethe-Lieder, written for Mr. Gordon and the Seattle Symphony.
Among David Gordon's engagements in the 1995-96 season are Messiah with the Handel and Haydn Society under Christopher Hogwood; the St. Matthew Passion Evangelist at the Baldwin-Wallace Bach Festival; Music of Haydn and Handel with the Handel Festival Orchestra at the Kennedy Center; and the Christmas Oratorio at the Carmel Bach Festival in California, and these b minor Mass performances. For the sixth consecutive
David Gordon
season he is a principal tenor soloist in Carmel, member of the artistic staff and cre?ator and director of an intensive three-week coaching and training program for young professional singers.
This afternoon's performance marks Mr. Gordon's third appearance under UMS auspices.
In the past several years, bass-baritone Kevin Deas has become a much sought-after concert and opera singer. In the 1995-96 season he will appear with the Chicago Symphony under the baton of Sir Georg Solti in Die Meistersinger, which will be recorded by DeccaLondon. Recently he has also been engaged by conductors Zubin Mehta, Richard Westenburg, the late Christopher Keene,John Nelson, David Randolph, James Richman, Margaret Hillis.John Daly-Goodwin, Dennis Keene, Michael Korn, Joseph Flummerfelt, Russell Gloyd, Michael Morgan, Sergiu Comissiona and Yuri Temirkanov. Other orchestra engage?ments for the 1995-96 season include per?formances of Tippet's Child of our Time with the Vancouver Symphony, Messiah with the Colorado Symphony and the St. Cecilia Chorus and Orchestra, and Beethoven's
Symphony No. 9 with the
Eugene Symphony and the Long Island Philharmonic. He will also appear with the Brooklyn Philharmonic, the Dallas Bach Society and the Princeton Pro Musica this season. Mr. Deas made recent debuts with the New
York Philharmonic, the Philadelphia Orchestra, the Portland (Maine) Symphony, L'orchestre de la Suisse Romande, the Orchestra of St. Luke's, the Philharmonia Virtuosi, the Grenoble Symphony and the
Concerto Soloists. In 1992, he debuted with the Chicago Symphony in a concert version of X: the Life and Times of Malcolm X by Anthony Davis.
Recent engagements include Boaz in Noa Ain's The Outcast at the Brooklyn Academy of Music, three roles in Rameau's Le Temple de la Gloire at the Alliance Francaise, five appearances at Carnegie Hall as soloist in Messiah with the Masterwork Chorus, the Haydn St. Cecilia Mass with the St. Cecilia Chorus, and the Lord Nelson Mass with the New York Choral Society.
Mr. Deas is a graduate of The Juilliard School, and is presently on the faculty of both the Westminster Choir College and Princeton University.
This afternoon's performance marks Mr. Deas' debut appearance under UMS auspices.
The University Musical Society Choral Union has performed throughout its 117-year history with many of the world's distin?guished orchestras and conductors.
The chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa 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. In 1993, the Choral Union was appointed the resident large chorus of the Detroit Symphony Orchestra.
Based in Ann Arbor, Michigan, under the aegis of the University Musical Society, the 170-voice Choral Union remains best known for its annual performances of Handel's Messiah. In January 1994 the Choral Union collaborated with Maestro Jarvi and the DSO in the chorus' first recording,
Kevin Deas
Tchaikovsky's Snow Maiden, released by Chandos Records in October of that year.
The long tradition of the UMS Choral Union 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. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
The UMS Choral Union makes its three-hundred sixty-ninth appearance under UMS aupsices with this afternoon's performance.
1995-96 launches The Toledo Symphony
into its fifty-second season. In this banner year, the orchestra will present over five hundred performances, including educa?tional programs, outreach activities and music services for everyone in the larger community. Audiences will top 250,000, including over 100,000 school children. In classrooms, concert halls, churches, audito?riums, senior centers and theaters, perfor?mances will take place in three states and in nearly one hundred communities.
In 1838, when Toledo was only one year old, an ensemble called the Mozart Society performed its first concert. Though many colorful organizations rose and declined in the intervening century, professional con?cert-making took root only with the 1955 arrival of Joseph Hawthorne. As Music Director, he awakened the city to the necessity of civic, corporate and private investment in top-quality musicians. His successors Serge Fournier (1964-1979) and Yuval Zaliouk (1980-1989) expanded the variety and quality of concerts and guest artists and established a permanent core orchestra of full-time musicians. Andrew Massey, Music Director since 1991, has increased the
orchestra's vigor and precision. His charm on and off the podium creates new friends wherever he goes, and has attracted many new young listeners to "serious" music.
The Toledo Symphony has been recog?nized by the National Endowment for the Arts as one of the best regional orchestras in the United States. The American Society of Composers, Authors and Publishers has twice awarded it the Contemporary Music Programming Prize. A recent premiere of Charles Wourinen's Mission of Virgin was laud?ed in the Wall Street Journal and the Detroit Free Press. Major soloists like Van Cliburn, as well as fresh young stars like Nadja Salerno-Sonnenberg and Simone Pedroni, bring the international music world to Toledo.
The orchestra performs in many concert halls, each one suited to different occasions: Classics Concerts at the Toledo Museum of Art, Pops, Casual and Young People's Concerts at The Stranahan Theater, Mainly Mozart at the Franciscan Center, Chamber Concerts at the Toledo Club, Music of Today at the University of Toledo Center for the Performing Arts and large special events at the Seagate Convention Centre. Churches, schools and theaters througout the region provide cultural partnerships through annual Symphony appearances. Other organizations whose orchestra needs are filled by the Toledo Symphony musicians include the Toledo Ballet, Toledo Opera, Toledo Repertory Theatre, Toledo Choral Society and "Music Under the Stars."
Managing Director Robert Bell recently received the 1993 Governor's Award for Arts Administration recognizing the Symphony's accomplishments in education, local and regional outreach and philanthropic support. In its commitment to reach the largest possi?ble audience, The Toledo Symphony is determined to remain an essential force of life througout the region.
The Toledo Symphony makes its debut appearance under UMS auspices urith this afternoon's perfor?mance. ?
The UMS Choral Union
Thomas Sheets, conductor David Tang, associate conductor Donald Bryant, conductor emeritus Jean Schneider-Claytor, accompanist Edith Leavis Bookstein, chorus manager
Soprano I
Marie Ankcnbruck-Davis
Marisa Bond
Edith Leavis Bookstein
Lois Briggs-Redissi
Susan F. Campbell
Laura Christian
Kathryn Foster Elliott
Laurie Erickson
Lori Kathleen Gould
Jaya Lakshminarayanan
Kristin Kidd
Carolyn Leyh
Carole Lynch Pennington
Amy C. L. Pennington
Judith A. Prcmin
Jennifer Richardson
Margaret Dearden Robinson
Margaret Warrick
Janet Whalen
Mary Wigton
Linda Kaye Woodman
Soprano II Elizabeth Ballenger Debra Joy Brabenec Kathy Neufeld Dunn Patricia Forsberg-Smith Elizabeth E.Jahn Doreen J. Jessen Meredyth Jones Ann Kalhryn Kuelbs Marilyn Meeker Lyn Melton Sara Peth Tova Pcrlmutter Mary A. Schieve Denise Rae Scramstad Leslie Helen Smith Sue Ellen Straub Barbara Hertz Wallgrcn Rachelle Barcus Warren Kathleen A. Young
Alto I
Yvonne Allen Mary Jo Baynes Carol Beardmore Paula Brostrom Alice Cerniglia Nancy Wilson Celebi Laura Clausen Margaret Counihan Dolores Davidson Deborah Dowson Marilyn Finkbeiner LeAnn Eriksson Guyton Margaret John Suzanne Stepich Lewand Jeannette Luton Erin Mary McFall Carol Milstcin Joan L. Morrison Holly Ann Muenchow Nancy L. Murphy Lisa Michiko Murray Lotta Olvegard Kathleen Operhall Susan Paterson Kristin Pettersen Anne Facione Russell Jari Smith Patricia Steiss Jane Van Bolt Marianne Webster
Alto II
Martha Ause Loree Chalfant Ellen Chien Anne C. Davis Carol Hohnke Nancy Houk Katherine Klykylo Sally A. Kopc Cynthia Lunan Frances I.yman Anne Ormand Lynn Powell Carren Sandall Beverly N. Slater Cynthia J. Sorensen Cheryl Utiger
Tenor I
Charles Cowley
Fr. Timothy J. Dombrowski
Michael Dunn
John Gorman
Lionel R. Guerra
Arthur Gulick
Marius P. Jooste
Paul Lowry
Robert MacGregor
John MacNaughton
Mike Ncedham
Elizabeth Sklar
David Tang
Trevor Young
Tenor II
Chris Bardett Fred L. Bookstein Philip Enns Stephen Erickson John W. Etsweiler III Albert P. Girod.Jr. Roy Glover Henry Johnson Robert Klafike Martin G. Kope Carl Smith Scott Silveira Daniel Sonntag Samuel C. Ursu James Van Bochove Richard Ward
Bass I
Benjamin Broening Thomas Bress John M. Brueger John Dryden C. William Ferguson Michael Giszczak Donald L. Haworlh Hyung T. Kim George Lindquist Thomas Litow Lawrence Lohr Charles Lovelace Robert A. Markley Joseph D. McCadden Cameron Paterson John Penrod Michael Pratt William Ribbens
Sheldon Sandweiss Edward Schramm Jayme Slayer John T. Sepp Alan Singer Jayme Stayer John Waas Benjamin Williams
Bass II
James David Anderson William Guy Barast Howard Bond Kee Man Chang Harry Bowen Jonathan Burdelte Kee Man Chang I.ewis C. DeFoe George Dentel Don Faber Philip J. Gorman Gene W. Hsu Charles Hudson Donald Kenney Mark KXindley William McAdoo Gerald Miller Marc C. Ricard Richard Rupp Marshall S. Schuster WTilliam Simpson Jeff Spindler Robert Stawski Robert D. Strozier Terril O. Tompkins John Van Boll
For information about auditioning to become a member of the UMS Choral Union, contact Edith Bookstein at 313.763.8997.
The Toledo Symphony
Andrew Massey, Music Director
Violin I
Kirk Toth, Concertmaster Charles Roth,
Assistant Concertmaster Patricia Budner Jillicnnc Bower Timothy Edwards Thomas Sicberg . Loraine Schocnikld Roger Jamini
Violin II
Diana Dyer Anderson
Cheryl A. Trace
Pamela Stuckey
David Dyer
Alice NefT Petersen
Diane Kent
Viola
Denisse Rodriguez
Noah Sepsenwol
John Madison
Reed Anderson
Carl W. VanValkenburg
Bernard Linden
Cello
Martha Reikow Freya Oberle Samuels Sally Dunning Timothy Holley
Double Bass Richard Allcshouse Barton Dunning Peter Guild Derek Weller
Flute
Beverly Crawford
Marjorie Szor
Oboe
Kimbcrly Bryden Kristen Beene Adam de Sorgo
Bassoon Richard Beene Joan Weiler
Horn Lowell Greer
Trumpet David Brown Melvin Harsh Christopher Schaumberg
Timpani Sally Rochotte
Organ
Brad Lehman
Personnel Manager Keith McWatters
Stage Manager & Librarian Raymond Clark
University
Musical
Society
present s
The Tallis Scholars
Peter Phillips, Director
Soprano
Deborah Roberts Tessa Bonner Sally Dunkley Janet Coxwell
Alto
Caroline Trevor
Robert Harre-Jones
Tenor
Robert Johnston
Philip Cave
Bass
Donald Greig
Francis Steele
Program
Thursday Evening, April ii, 1996 at 8:00
St. Francis ofAssisi Catholic Church Ann Arbor, Michigan
John Taverner DUM TRANSISSET SaBBATUM
Thomas Tallis
o salutaris hostia In manus tuas
John Sheppard
In manus tuas II and III Tallis
DUM TRANSISSET SABBATUM
Fayrfax
O Maria plena virtute
Intermission
The Tallis Scholars
William Byrd CUNCTIS DIEBUS
Tallis
In ieiunio et fletu Absterge Domine Derelinquat impius
John Davy
Stabat Mater
Fifty-fifth concert of the 11 ylh season
25th Annual Choice Events Series
The ensemble requests that you kindly hold all applause until the end of each half of the program. Thank you.
Thank you to Louise Stein, Associate Professor of Musicology, University of Michigan School of Music, speaker for this evening's Philips Educational Presentation.
The Tallis Scholars appear by arrangement with The Aaron Concert Management, Boston Massachusetts. '
American Friends of the Tallis Scholars, Inc. is an American not-for-profit organization dedicated to supporting the work of The Tallis Scholars in presenting performances of Renaissance vocal music of the highest quality. For more information on the organization, please contact American Friends of The Tallis Scholars, Inc., P.O. Box 2411, Rockefeller Center Station, Nexv York, Neio York 10185-0021.
Large print programs are available upon request from an usher.
DUM TRANSISSET SABBATUM
John Taverner
Born c. 1490 in South Lincolnshire, England
Died October 18, 1545 in Boston, Lincolnshire
It is often held that John Taverner was the first truly renaissance composer in England. At a time when the great English composers of the late-fifteenth century slowly exhausted the resources of their complex gothic art, and distant Franco-Flemish com?posers such as Josquin des Pres and Heinrich Isaac led the way on the continent, Taverner emerged with a voice of astonishing freshness and depth. Taverner's carefully balanced melodic lines, slower harmonic motion and transparent scoring ultimately laid the stylis?tic foundations for the next generation of English church composers led by Tallis, Tye and Sheppard. The five-part Dum transisset Sabbatum, a respond for Matins on Easter Sunday, is among Taverner's most refined and subtle motets. The work is built around the unadorned plainchant (Dum transisset Sabbatum) which can be heard in the tenor as it moves steadily in note-values slightly longer than the surrounding voices. Tallis approached his setting of Dum Iransisset Sabbatum in a similar manner and with die same scoring as Taverner, although Tallis placed the plainchant in the highest voice part where it hovers like a halo over the more rhythmically active voices beneath it.
o salutaris hostia
In manus tuas
dum transisset sabbatum
In ieiunio et fletu
Absterge Domine
Thomas Tallis
Born c. 1505 in England
Died November 25, 1585 in Greenwich
Thomas Tallis, like his slightly younger contemporary John Sheppard, began com?posing during the end of Taverner's lifetime. Thus, their early works were written for the Sarum rite, the English form of Catholicism. Thereafter their careers were shaped by the remarkable changes in English liturgical observance surrounding the Reformation between the years c. 1530-1650; changes as broad as the strict implementation of the Anglican liturgy in the Prayer Book of 1549 to the sudden reversion to Catholicism under Queen Mary Tudor. Along with the changes in liturgy came changes in musical emphasis. During the 1540s there was a growing interest in psalm-settings and a corresponding scaling-down of masses and antiphons which were beginning to be received with scepticism at the end of Henry vm's reign. With Mary's accession in 1553, however, came a zealous revival of lavish set?tings of mass, Magnificat and votive antiphon which harked back to the early decades of the century. With Elizabeth 1 came a cautious acceptance of Latin music and while she was the monarch English sacred music, at least within the protected walls of the Chapel Royal, flourished for more than four decades.
Tallis's 0 salutaris hoslia and In manus tuas were written during Queen Elizabeth's reign and are set in a style that owes a good deal to the imitative techniques cultivated by continental composers. In both pieces very brief and adaptable motifs are combined to form a tight musical mosaic. O salutaris hos-
tia is unique in the way short motifs are stat?ed and then passed to the next lowest voice, creating a cascading effect which can be fol?lowed visually by the listener as the little themes make their way from left to right among the singers.
In manus tuas II and III
John Sheppard Born c. 1515 Died c. 1559
In stylistic contrast to Tallis's In manus tuas are the two settings of the same respond by John Sheppard. Sheppard's ver?sions surely date from earlier in the century and, unlike Tallis's, are based on the plain-chant. The mysterious musical atmosphere, which alternates between chant and com?posed polyphony, affirms that these works were written for ceremonial use, more specifically, for Compline sung from Passion Sunday through to Maundy Thursday. Sheppard's In manus tuas III is the most serene and inward-looking of his three known settings of diis respond. Here the simplicity and humility of the miniature text are beautifully conveyed by Sheppard, par?ticularly at the words "commendo spiritum meum" (I commend my spirit) where his sub?lime sense of dissonance is put to the most heartfelt use.
O Maria plena virtuta
Robert Fayrfax
Born April 23, 1464 in Deeping Gate,
Lincolnshire, England Died October 24, 1521 in St. Alban, Hertfordshire
Robert Fayrfax was possibly the most esteemed English composer of the generation
before John Taverner. He was favoured by Henry vm, who awarded him substantial benefices and made him a Knight of the King's Alms. Twenty-nine works by Fayrfax have survived, more than any other composer of his time, and some of his earliest works are contained in the magnificent Eton Choirbook. Together with his distinguished colleague, William Cornysh, Fayrfax helped in simplifying the overtly technical style typi?cal of late-fifteenth century English church music. He was often inclined to use sonorous harmonies as the key structural component in his music, rather than contra?puntal devices, and this afforded his music a particular appeal. As a result, Fayrfax's works enjoyed a healdiy currency in England for nearly a century after his death. Maria plena virlute is one of Fayrfax's most mature works, both in its harmonic and contrapuntal language. Perhaps the most unique aspect of the work is the consistent and varied use of elaborate duets.
CUNCTIS DlEBUS
William Byrd
Born 1543 in Lincoln, England Died July 4, 1623 in Stondon Massey, Essex, England
The composers of Fayrfax's generation enjoyed a rich legacy in England, and a somewhat nostalgic facet of English sacred music during the later sixteenth century was the occasional use of techniques reminiscent of these early-Tudor musicians. Not only did English composers continue to write Latin-texted music after the Reformation, they even produced works which took delight in just the type of late-medieval artifice that Protestantism was ostensibly trying to do away with. An example is William Byrd's impressive motet Cunctis diebus, first published in 1591 but probably composed slightly ear-
Her. This piece clearly pays homage to com?posers of the pre-Taverner generation, its formal structure resembling the votive antiphons of the early-sixteenth century. Obviously it could never be mistaken for a piece written 75 or 100 years earlier, yet there can be no doubt that Byrd was well aware of the connotations. One senses that Byrd, a Cadiolic in a country gone Protestant, was attempting to preserve his true musical ancestry.
Although Tallis and Byrd remained tena?ciously loyal Catholics after the Reformation and did compose a number of Latin pieces destined from clandestine services by recu?sants, many of their Latin-texted compositions might even have been used from time to time in Anglican services. In the Chapel Royal and collegiate chapels, Latin was both understood and allowed and this would help explain why Queen Elizabeth herself accepted the dedication of the 1575 Cantiones sacrae, a collection of 34 Latin motets by Byrd and Tallis published after the two of them were granted a monopoly on printed music. The very title of the collection helps to diffuse any possibility of a distinctly liturgical catholic function; it reads "Cantiones, quae ab argumento sacrae vocantuf (Songs, which by their argument are called sacred).
The following three motets by Tallis come from the Cantiones sacrae. In ieiunio etfletu, whose text is a dramatic plea to God to spare his people, shows Tallis clearly aligning his music to the sentiment of the words. Tallis often maintained an emotional distance from even the most penitential texts, but here his striking harmonies achieve a biting poignancy. Derelinquat impius opens with a remarkable use of word-painting very rare in Tallis's works; the inability of the godless to find their paths is depicted by the wayward opening melody which is taken up by each voice on unexpected degrees of the scale. The prayer Absterge Domine is a very lengthy work which is sometimes criticised for a lack
of cadences, a feature which was actually quite advanced for the time, particularly among Flemish composers such as Gombert and Clemens.
Stabat Mater
Richard Davy Born c. 1467 Died 1516
This program concludes with a work from the Eton Choirbook, a setting of the Stabat Mater by Richard Davy. The current reputation of English sacred music in Davy's time is based largely on the Eton repertoire. Surely there were many similar manuscripts at the time, but it is the only one to have come down to us. When it was compiled the Eton Choirbook contained nearly 100 compositions, but it has suffered consider?able damage and today only 54 pieces remain, only 43 of which are in perfect condition. The music of the Eton school reveals the great interest among late-medieval English composers in texts related to the Virgin Mary. This is not totally surprising, however, as the statutes of Eton College required the scholars to sing an antiphon dedicated to Mary before leaving school each day and, later in the evening, to sing an antiphon before the Virgin's image.
Davy's Stabat Mater is a lengthy motet scored in five voices and divided into several well-defined sections. The piece begins with a passage for just two voices which is in turn punctuated by a more forceful passage for the full choir. An alternation between smaller combinations of voices and the full chorus is then maintained throughout the course of the work yielding a musical struc?ture which frequently alters its scoring and sonority. This formal layout is typical of the Eton repertoire as a whole, and represents an approach to composition that is distinctly
English. The Eton Choirbook, like the chapel for which it was created, is one of the great treasures of medieval England.
O Dirk Freymulh, 1996
ince their founding by Peter Phillips in 1973, the Tallis Scholars have earned an unparalleled reputation as , the finest singers of Renaissance sacred polyphony. This London-based ensemble derives its name from sixteenth-century composer Thomas Tallis. While the music of Tallis and other well-known English, Franco-Flemish and Italian composers forms the foundation of the group's repertoire, the Tallis Scholars also explore and perform the works of lesser-known Renaissance masters of the Portuguese, Spanish and Russian schools.
In February of 1994, the Tallis Scholars were invited to Rome by the Vatican to per?form in the Sistine Chapel and at the historic Basilica of Santa Maria Maggiore to celebrate the four-hundredth anniversary of Palestrina. The concert at the Basilica was filmed and released by Gimell Records as a stunning video. The ensemble has over thirty inter?nationally award-winning recordings on the Gimell label, which exists solely to record the work of the Tallis Scholars. In 1987 the group's recording of Josquin des Pres' Missa Pange lingua and Missa La sol fa re mi won Gramophone Magazine's Record of the Year, the first ever in its Early Music category to win that distinction. Other awards have included the top prize in Gramophone's Early Music Category (1991, 1994), the International Record Critics' Award, Prix Diapason D'or, and Premio Internazionale del Disco Antonio Vivaldi. In addition to a 1994 Christmastime appearance on ABC TV's Good Morning America show, the Tallis Scholars have been featured in British televi?sion documentaries including the popular South Bank Show. The ensemble's year-round touring schedule takes them throughout all of western Europe, Australia, Israel, the Far East and North America, as well as to major festivals across the globe.
Peter Phillips, educated at Oxford, has made an impressive reputation for himself as director of the Tallis Scholars, as well as the internationally respected scholar, broad?caster, author and entrepreneur. His first book English Sacred Music 1549-1649, was published by Gimell in 1991; he has also been a columnist for London's The Spectator, and is currendy Advisory Editor of The Musical 7tmesjournal. Phillips is also co-founder of Gimell Records (established 1981).
This evening's performance marks Mr. Phillips and the Tallis Scholars' debut appearance under UMS auspices.
The Tai.i.is Scholars
Program
Saturday Evening, April 13, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Fifty-sixth concert of the 11 yth season
25th Annual Choke Events Series
The program selections will be announced from the stage.
Thank you to Rajan Sachdeva, Sitar Artist and Director, Institute of Indian Music, speaker for this evening's Philips Educational Presentation.
The rugs in this evening's performance were provided by Persian House of Imports: Importer of Fine Oriental Rugs, 320 East Liberty, Ann Arbor, serving Ann Arbor for over txoenty-five years.
Large print programs are available upon request from an usher.
About Indian instruments
The sitar is the most popular stringed instrument of India. It has existed there in its present form for approximately seven hundred years. It is fashioned from a seasoned gourd and teakwood. It has a track of twenty metal frets, with six or seven main playing strings above them and thirteen sympathetic resonating strings placed below. The sympa?thetic strings are strummed upon occasion with the little finger of the right hand insert?ed in the main strings. The instrument is tuned to the raga being played, and the main strings are plucked by a plectrum worn on the index finger of the right hand.
The tabla is the two-piece drum of India. The right-hand drum (the tabla) is tuned to the tonic, dominant and sub-dominant, and is often re-tuned with a hammer during a performance. The left-hand drum (or bayan) acts as the bass drum and is capable of many tones which can be varied by degrees of pressure from the base of the left palm.
The tamboura is a fouror five-stringed instrument which gives an essential drone background to all Indian music. It is tuned to the raga being performed and emphasizes the tonic, dominant and sub-dominant.
About Indian music
The system of Indian classical music known as Raga Sangeet can be traced back nearly two thousand years to its origin in the Vedic hymns of the Hindu temples. Unlike Western classical music, as much as ninety percent of Indian music may be improvised, depending on the artistic facility and creative imagina?tion of the performer. Our musical tradition is an oral one taught directly to the student by his guru rather than by the system of written notation used in the West.
The very heart of Indian music is the raga: the melodic form upon which the artist improvises his performance. A raga is a scientific, precise, subtle and aesthetic melodic form with its own specific ascending and descending movement consisting of either a full seven-note octave, or a series of six or five notes.
There are seventy-two basic melas, or parent scales, on which all ragas are based. The subtle difference in the order of notes, an omission of a dissonant note, an emphasis on a particular note and the use of micro-tones and other effects, all distinguish one raga from the other.
Every raga is also characterized by its own particular rasa or principal mood. The acknowledged order of these nine sentiments, or emotions, is as follows: romantic and erotic; humorous; pathetic; anger; heroic; fearful; disgustful; amazement; and peaceful. Each raga, in addition to being associated with a particular mood, is also closely con?nected to a particular time of day or a season of the year. Thus, via the rich melodies and rhythm of Indian music, every human emo?tion, every subtle feeling in man and nature, can be musically expressed and experienced.
In terms of aesthetics, a raga is the pro?jection of the artist's inner spirit: a manifes?tation of his most profound feelings and sensibilities. The musician must breathe life into each raga as he unfolds and expands it so that each note shimmers and pulsates with life and the raga is revealed vibrant and incandescent with beauty.
Next to be considered are the talas, or rhythmic cycles of a raga. There is a unique intricacy and rhythmic sophistication in Indian music. There are talas ranging from a three-beat cycle to 108 beats within a cycle! The divisions in a tala and the stress on the first beat, called sum, are the most important features.
Talas with the same number of beats may have stress on different beats (example: a bar of ten beats may be divided as 2-3-2-3 or 3-3-4 and 3-4-3). Within the framework of the fixed beats the drummer can improvise to the same extent as the main artists. The most exciting moment for a seasoned listener is when both musicians, after their individual improvisations, come back together on the sum. The most popular talas are:
Dadra: cycle of six beats divided 3-3 Rupak: cycle of seven beats divided 3-2-2 Jhaptal: cycle often beats divided 2-3-2-3 Ektal: cycle of twelve beats divided 4-4-2-2 Ada Chautal: cycle of fourteen beats divided
2-4-4-4 Teental: cycle of sixteen beats divided
4-4-4-4
Although overtones are very much a part of Indian music, there are no deliberate modu?lations and harmonies as in Western music. The existing harmony is in its simplest form and is more inherent to forget counterpoint, harmony and mixed color tones when he hears our music and to relax into the rich melody and rhythm of our ancient art. With an open mind, he will be introduced to a whole world of sound, of tones and micro-tones never heard before.
About the Classical Recital
The improvisational nature of Indian music requires the artist to take into consideration the setting, time allowed for his concert, his mood and the feeling he discerns in the audience before he begins to play.
Since our music is spiritual in origin, it is devotional in performance. The traditional recital begins with the alap section -the stately and serene exploration of the chosen
raga. After this slow, introspective, heartfelt, sometimes sad beginning, die musician moves on to the jor. In this part, rhythm enters and is developed and innumerable variations on the raga's basic theme are elaborated. There is no drum accompaniment in either the alap or the jor.
The alap and the jor evolve into the gat, the fixed composition of the raga. Here the drums enter with the wonderful rhythmic structure of the gat and its time cycle, the tala. A gat can be in any tala, either in slow, medium or fast tempo. The musician improvises on a variety of taans (musical phrases in different speeds) and todas (a combination of plucked passages). The gat (which can be anything between four to sixteen bars of fixed composition) is the vehicle the artist must return to after his improvisation.
While the Indian musician has complete freedom to improvise as he wishes, he may do so only as long as he does not depart from the format of the raga and tala.
The step-by-step acceleration of the rhythm in the gat finally culminates in die jhala: the final movement and climax of the raga. Here the music becomes more and more playful and exciting. Sawal jabab, the dazzling interplay and rapid exchange between the sitar and tabla, has the power to enthrall and amaze even the most uniniti?ated listener as it brings the raga to its con?clusion.
Often, at the conclusion of a recital, die musician may choose to play a thumri or dhun. This semi-classical style is much freer and is completely romantic, sensual and erotic.
Today, Indian classical music is a perma?nent part of Western culture. Many composers and musicians have been influenced by Indian music. The openness, willingness to learn, and sincere enthusiasm of Western audiences are a continuing source of inspi?ration and delight.
""? avi Shankar, the legendary A sitarisl and composer, is m India's mosl esteemed B musical Ambassador and a singular phenomena in k the classii al music woi Ids JL. Bni the Easi and West. As a performer, composer, teacher and writer, he has done more for Indian music than any other musician. He is well known for his pioneer work in bringing Indian music to Western culture. Before making a name for himself in India, he spent long years of dedicated study under his illustrious guru Bab Allaudin Khan learning the sitar and surbahar.
Always ahead of his time, Ravi Shankar has written two concertos for sitar and orchestra, violin-sitar compositions for Yehudi Menuhin and himself, music for flute virtuoso Jean-Pierre Rampal, music for Hosan Tamamoto, master of the Shakujachi and Musumi Miyashita -Koto virtuoso. He has composed many film scores (including Charlie, Gandhi and Genesis) and music for ballets and musicals. Raviji is an honorary member of the American Academy of Arts and Letters and is also a member of the United Nations International Rostrum of Composers. He has received many awards and honors from his own country and from all over the world, including eight doctorates, the Fukuoka Asian Cultural Grand Prize, the Padma Vibhushan and Desikottam. In 1986 he was appointed to Rajya Sabha, the upper house of the Indian Parliament.
The love and respect he commands both in India and throughout the world is unique in the history of music. He made is American debut in 1956 and quickly became an idol to the youth of America. He continues to perform regularly throughout the world at major universities and festivals. In 1989, this remarkable musician celebrated his fiftieth year of touring and the City of Birmingham Touring Opera Company com?missioned him to do a music theater piece. Thus was born Ghanashyam -A Broken Branch which created history on the British arts scene.
Perhaps no greater tribute can be paid to this genius than the words of his colleague, Yehudi Menuhin. "Ravi Shankar has brought me a precious gift and through him I have added a new dimension to my experience of music. To me, his genius and his humanity can only be compared to that of Mozart's."
This evening's performance marks Mr. Shankar's debut appearance under UMS auspices.
outh Program
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in die 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 die Alvin Ailey American Dance Theater for middle and high school students, two opera performances for fourth graders by the New York City Opera National Company, a performance by Wynton Marsalis and the Lincoln Center Jazz Orchestra Octet, in-school workshops with a variety of other artists, as well as discounted tickets to every concert in die UMS season.
As part of its Ann Arbor residency, the Alvin Ailey American Dance Theater will present a special youth program to middle and high school students, and a family performance, both on March 19, 1996.
On Friday February 24, 1996, 2700 fourth-graders will visit die Power Center for abbreviated one-hour performances of Verdi's La Traviata. These performances allow children to experience
opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
On January 31, 1996, Wynton Marsalis and the Lincoln Center Jazz Orchestra Octet will perform a special youth performance at the Michigan Theater.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call the Education and Audience Development Director at 313.764.61 79.
JVOLUNTEERS & INTERNS
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educational materials for teachers, greeting and escorting students to seats at performances, and serving as good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 936.6837 or pick up a volunteer applica?tion form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, promotion, and production. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in a UMS Marketing Internship should call (313) 764-6199, and those interested in a UMS Production Internship should call (313) 747-1173 for more information.
College Work-Study
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538 or 764-6199.
UMS Ushers
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
For more information about joining the UMS usher corps, call 313.913.9696
Dining Experiences To Savor: The Second Annual "Delicious Experiences"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds benefiting UMS programs, to continue the fabulous music, dance, drama, and educational programs that add so much to the life of our community. Wonderful friends and supporters of the University Musical Society are offering unique donations by hosting a delectable variety of dining events, including elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. Treat Yourself! Give the gift of tickets, purchase an entire event, or come alone meet new people and join in the fun while supporting UMS! Although some Delicious Experiences are sold out {A Valentine Brunch, Burmese Feast and "A Taste of Spring" Garden Dinner), space is still available for Dinner at Cousin's Heritage Inn (Jan 13), Mardi Gras Madness (Feb 24), An Elegant Dinner for Eight (Mar 2), Great Lakes Dinner (Mar 3), Great Wines and Many Courses (Apr 5), and Lazy Day Sunday Brunch (Apr 7). For the most delicious experiences of your life, call us at 313.936.6837.
UMS Card
Series ticket subscribers andor UMS Members at the $100 level and above, receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases. Participants for the 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 that we can continue to bring you the program notes, artists' biographies, and general information that illuminate each UMS presentation. For information about how your business can become a UMS advertiser, call (313) 747-4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, religious congregation or conference participants, family or guests, by calling
3I3-763-3IO?-
Start by saving big! When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 15 to 25 off the price of every ticket, along with 1-2 complimentary tickets to thank you for bringing your group to a UMS event:
20 or more Adults earn a 15 discount, and
1 complimentary ticket;
47 or more Adults earn a 20 discount, and
2 complimentary tickets;
10 or more Students earn a 20 discount, and 1 complimentary ticket.
io or more Senior Citizens earn a 20 discount, and 1 complimentary ticket.
For selected events, earn a 25 discount and 1 complimentary ticket.
Next, sit back and relax. Let the UMS Group Sales Coordinator provide you with complimentary promotional materials for the event, FREE bus park?ing, reserved block seating in the best seats available, and assistance with dining arrangements at a facility that meets your group's culinary criteria.
UMS provides all the ingredients for a success?ful event. All you need to supply are the partici?pants! Put UMS Group Sales to work for you by call?ing 3l3-763-3ioo.
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 die volun?teer corps to support die Society but also as a fund-raising component as well. The Advisory Committee is a 55-member organization which raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, gala dinners and dances, season opening and preand post-concert events. The Advisory Committee has pledged to donate $110,000 this current season. In addition to fund raising, this hard-working group generously donates valuable and innumerable hours in assisting with the educational programs of UMS and the behind-the-scenes tasks associated with every event UMS presents.
If you would like to become involved with this dynamic group, please give us at call at 313.936.6837 for information.
Thank You!
Great performances--the best in music, theater and dance--are present?ed by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current contributors as of December 1, 1995. If there has been an error or omission, we sincerely apologize and would appreciate a call to correct this at your earliest con?venience. (313.747.1178).
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tmver 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
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 Isabelle 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 Katharine and Jon Cosovich Ronnie and Sheila Cresswell Gregg Alf and Joseph Curtin Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Charles and Mary Fisher Mr. Edward P. Frohlich Sue and Carl Gingles Ruth B. and Edward M. Gramlich Keki and Alice Irani Robert and Gloria Kerry Judythe and Roger Maugh Paul and Ruth McCracken Dr. and Mrs. Joe D. Morris John M. Paulson John W. and Dorothy F. Reed Prudence and Amnon Rosenthal John Wagner
Mr. and Mrs. Conrad Walburger Elisc 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 Botsford Drs. Barbara Everitt and John H. Bryant Mr. and Mrs. Richard J. Burslein Jean M. and Kenneth L. Casey Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Maurice Cohen
Roland J. Cole and Elsa Kircher Cole Pedro and Carol Cuatrecasas Robert and Janice DiRomualdo Jack and Alice Dobson Martin and Rosalie Edwards Dr. Stewart Epstein Richard and Marie Flanagan Robben and Sally Fleming John and Esther Floyd Sara and Michael Frank Judy and Richard Fry Lourdes and Otto Gago William and Ruth Gilkey Drs. Sid Gilman and Carol G. Barbour Vivian Sosna Gotdieb and
Norm Gottlieb
Mr. and Mrs. Robert C. Graham Linda and Richard Greene [ester Hairston Harold and Anne Haugh Debbie and Norman Herbert Janet Bowe Hoeschler Robert M. and Joan F. Howe Stuart and Maureen Isaac Chuck and Heidi Jacobus Mercy and Stephen Kasle Thomas and Shirley Kauper Bud and Justine Kulka David Lebenbom Carolyn and Paul Lichter Patrick B. and Kathy Long Joseph McCune and Georgiana Sanders Rebecca McGowan and
Michael B. Staebler H. Dean and Dolores H. Millard Dr. and Mrs. Andrew and
Candice Mitchell Ginny and Cruse Moss George and Barbara Mrkonic
William A. Newman Bill and Marguerite Oliver Mark and Susan Orringer Dory and John Paul Maxine and Wilbur K. Pierpont Christine Price Tom and Mary Princing Bonnie and Jim Reece Elisabeth J. Rees Mr. and Mrs. Raymond Reilly Glenda Renwick Katherine and William Ribbens Mr. and Mrs. Charles H. Rubin Judith Dow Rumelhart Richard and Norma Sarns Genie and Reid Sherard Victor and Marlene Stoeffler Dr. and Mrs. E. Thurston Thieme Jerrold G. Utsler Mary and Ron Vanden Belt Dr. and Mrs. Francis V. Viola HI 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 Barfield CompanyBartech Borders Books and Music Comerica Bank Creditanstalt-Bankverein Kitch, Drutchas, Wagner, & Kenney, PC. Matthew C. Hoffmann Jewelry Design NBD Ann Arbor N.A. 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.
Paulelt 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. Beuder
Joan Binkow
Ronald and Mimi Bogdasarian
Charles and Linda Borgsdorf
Mr. and Mrs. Robert S. Bradley
Allen and Veronica Britton
David and Sharon Brooks
Jeannine and Robert Buchanan
Lawrence and Valerie Bullen
LetitiaJ. Byrd
Jean W. Campbell
Bruce and Jean Carlson
1 civ.in 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. LcFauve and
Mary F. Rabaut-LeFauve Leo A. Legatski
Mr. and Mrs. Fernando S. Leon Dean S. Louis, M.D. Mr. and Mrs. Carl J. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Peggy and Chuck Maitland Mr. and Mrs. Damon L. Mark Marilyn Mason and William Steinhoff Kenneth and Martha McClatchey John F. McCuen
Kevin McDonagh and Leslie Crofford Charlotte McGeoch Robert and Ann Meredith Barry Miller and Gloria Garcia Ronald Miller
Grant Moore and Douglas Weaver Mr. Erivan R. Morales and
Mr. Seigo Nakao
M. Haskell and Jan Barney Newman Len and Nancy Niehoff Karen Koykka O'Neal and Joe O'Neal Randolf Paschke Mr. and Mrs. William J. Pierce Eleanor and Peter Pollack Mrs. Gardner C. Quarton Stephen and Agnes Reading Mr. Donald H. Regan and Ms.
Elizabeth Axelson Dr. and Mrs. Rudolph E. Reichert Maria and Rusty Restuccia Jack and Margaret Ricketts Mrs. Bernard J. Rowan Peter Schaberg and Norma Amrhein Mrs. Richard C. Schneider Rosalie and David Schottenfeld Professor Thomas J. and
Ann Sneed Schriber George and Mary Sexton Julianne and Michael Shea Constance Sherman Dr. and Ms. Howard and Aliza Shevrin Mr. and Mrs. George Shirley Edward and Marilyn Sichler George and Helen Siedel Lloyd and Ted St. Antoine Dr. and Mrs. Jeoffrey K. Stross Nicholas Sudia and Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter Mr. and Mrs. Terril O. Tompkins Kathleen Trcciak-Hill Herbert and Anne Upton Joyce A. Urba and David J. Kinsella Charlotte Van Curler Don and Carol Van Curler Bruce and Raven Wallace Karl and Karen Wcick
Angela and Lyndon Welch Marcy and Scott Westerman Brymer and Ruth Williams Frank E. Wolk
Walter P. and Elizabeth B. Work, Jr. and several anonymous donors
Corporations
Ann Arbor Stage Employees, Local 395 Michigan National Bank Sarns, 3M Health Care
Foundations Agencies
The Power Foundation Miii I mi.hi 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 Andrcsen
Harlene and Henry Appelman
Mr. and Mrs. Arthur J. Ashe
Eric M. and Nancy Auppcrle
Erik W. and Unda 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 Bardctt
Astrid B. Beck and David Noel Frecdman
Ni-.il Bedford and Gerlinda Melchiori
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
Mr. and Mrs. S. E. Bcrki
Maureen Foley and John Blankley
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 Braler
Professor and Mrs. Dale E. Briggs
Gerald and Marcelinc Bright
June and Donald Brown
Morion B. and Raya Brown
Arthur and Alice Burks
Phoebe R. Burt
Roscmarie and Jurg Caduff
Mrs. Theodore Cage
Freddie Caldwcll
H. D. Cameron
Mr. and Mrs. Robert Campbell
Charles and Martha Cannell
Jim and Priscilla Carlson
John and Patricia Carver
Shelly and Andrew Caughcy
Tsun and Siu Ying Chang
Dr. Kyung and Young Cho
Nancy Cillcy
Janice A. Clark
John and Nancy Clark
Alice S. Cohen
Wayne and Melinda Colquitt
Edward J. and Anne M. Comeau
Gordon and Marjoric Comfort
Sandra S. Conncllan
Maria and Carl Constant
Lolagene C. Coombs
Gage R. Cooper
Mary K. Cordes
Alan and Bctte Cotzin
Clifford and Laura Craig
Merle and Mary Ann Crawford
W. P. Cupples
Peter and Susan Darrow
Dr. and Mrs. Charles Davenport
Ed and Ellie Davidson
Jean and John Debbink
Laurence and Penny Deitch
Elena and Nicholas Detbanco
Benning and Elizabeth Dexter
Macdonald and Carolin Dick
Tom Doane and
Patti Marshall-Doane Dr. and Mrs. Edward F. Domino William G. and Katherine K Dow Nancy Griflin DuBois J. W. Durstine Sally and Morgan Edwards Dr. Alan S. Eiser Emil andjoan Engel Mark and Patricia Enns Ellen C. Wagner and
Richard Epstein Don Faber
Dr. and Mrs. Stefan Fajans Elly and Harvey Falil Dr. and Mrs. John A. Faulkner Inkn and David Felbeck Reno and Nancy Feldkamp Dr. James F. Filgas Sidney and Jean Fine Hcrschel 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 Fontheim Mr. and Mrs. George W. Ford James and Anne Ford Hene H. Forsyth Phyllis W. Foster Paula L Bockcnstedi and
David A. Fox
Deborah and Ronald Freedman David Fugenschuh and
Karcy Leach
Harriet and Daniel Fusfcld Gwyn and Jay Gardner Del and Louise Garrison
Professor and Mrs. David Gales Wood and Rosemary Gcist Henry and Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbruggc Fred and Joyce Ginsberg Irwin J. Goldstein and Marty Mayo Dr. Alexander Gotz . Richard Goulet, M.D. Mrs. William C. Grabb Jerry and Mary K. Gray Dr. John and Rcnce 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 Hart J. Theodore Hcflcy Kenneth and Jeanne Heininger John L. and
Jacqueline Stearns Hcnkel Herb and Dee Hildebrandt ClaudetteJ. Stern and
Michael Hogan ]hn and Maurita Holland Mary Jean and Graham Hovey Drs. Linda Samuclson and
Joe) Howeli 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 Wallie and Janet Jeffries Mr. and Mrs. James W.Jensen Donald and Janice Johnson Mrs. Ellen C.Johnson Stephen G.Joscphson and
Sally C. Fink
Dr. and Mrs. Mark S. Kaminski Professor and Mrs. Wilfred Kaplan Herb Katz Anna M. Kaupcr Mr. and Mrs. Jacob Kellmun 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. Herminc R. Klingler Philip and Kathryn KHntworth Joseph and Marilynn Kokoszka Dimitri and Suzanne Kosacheff Samuel and Marilyn Krimm Man and Jean Krisch Mac and Arthur Lanski Mr. and Mrs. Henry M. Lapcza John K. Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann M. Lcidy Myron and Bobbie Lcvine Jacqueline H. Lewis Evie and Allen Lichtcr Jody and Leo Lighthammer Mark Li ml Icy
Vi-Chcng 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 Mahle Alan and Carla Mandel Mclvin and Jean Manis Eddie and Cathy Marcus Geraldinc and Sheldon Market Lee and Greg Marks Rhoda and William Martcl Sally and Bill Martin Dr. and Mrs.Josip Matovinovic Mary and Chandler Matthews Margaret and Harris McClamroch Bruce and Mary McCuaig Griff and Pat McDonald Elaine J. McFaddcn Bill and Ginny McKeachic Margaret McKinlcy Daniel and Madclyn McMurtric Jerry and Rhona Mcislik Walter and Ruth Metzger Charles and Helen Meizncr Pioir and Dcanna Michalowski Leo and Sally Miedler James and Kathleen Mitchiner Lester and Jeanne Monts James N. Morgan Dr. and Mrs. George W. Morlcy A. A. Moroun Cyril and Rona Moscow Dr. Era L. Mueller Hillary Murt and
Bruce A. Friedman Dr. and Mrs. Gunder A. Myran Gcri Chipault and Fred Ncidhardt Sharon and Chuck Newman Mr. and Mrs. Marvin L. Nichuss Virginia and Gordon Nordby Richard S. Nottingham Marylen and Harold Obcrman Patricia O'Connor Dr. and Mrs. Frederick C. O'Dcll Judith S. Olson
Constance L. and David W. Osier Richard and Miranda Pao William C. Parkinson Ara and Shirley Paul Dr. Owen Z. and
Barbara A. Pcrlman Virginia Zapf Person Frank and Nelly Petrock Lorraine B. Phillips Sharon McKay PignanclH Barry and Jane Pitt Randatt and Mary Pittman Donald and Evonnc Plantinga Steven and Tina Pollock Cynthia and Roger Posunus Mrs.J. D. Prcndergast Larry and Ann Preuss Charlcen Price Richard H. and Mary B. Price
Jerry and Mi Hard Pryor David and Stephanie Pync Lcland J. and
l.li.ilxih Quackcnbush Hugo and Sharon Quiroz Mrs. Joseph S. Radom Homayoon Rahbari, M.D. Jim and leva Rasmussen Kathcrinc R. Rccbel La Vonnc and Gary Reed Mr. and Mrs. H. Robert Reynolds Dave and Joan Robinson John H. Romani and
Barbara A. Anderson Mrs. Irving Rose Gay and George Roscnwald Elva M. Rosenzweig Dr. Nathaniel H. Rowe Jerome M. and Lee Ann Salic Ina and Terry Sandaluw Gcorgiana M. Sanders Dr. and Mrs. Michael G. Sarosi Dr. Albert J. and Jane K. Sayed Mary A. Schieve and
Andy Achenbaum David and Marcia Schmidt Elizabeth L. Schmilt Dr. and Mrs.
Charles R. Schmitter.Jr. David E. and
Monica N. Schteingart Suzanne Sclig Joseph and Patricia Scltimi Mr. Thomas Sheets Ingrid and Clifford Sheldon Hollis and Martha Showalter Dr. Bruce M. Siegan Scott and Joan Singer Mrs. Lorctta M. Skcwcs John W. Smillie, M.D. Alcnc M. Smith Carl andjari Smith George and Mary Elizabeth Smith Dr. and Mrs. Michael W. Smith Mr. and Mrs. Robert W. Smith Susan M. Smith Virginia B. Smith Mr. and Mrs. Edward Sopcak Cynthia J. Sorcnscn 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 Stciss Thorn and Ann Sterling Professor Louis and Glennis Stout Dr. and Mrs. Stan Slrasius Ailccn and Clinton Stroebel Charlotte Sundelson Ronald and Ruth Sutton Dr. Jean K. Takcuchi Brian and Lee Talbot Jerry and Susan Tarplcy E-a and Sam Taylor Mary D. Teal
James L. and Ann S. Telfer George and Mary Tewksbury Edwin J. Thomas Tom and Judy Thompson
Ted and Marge Thrasher Hugo and Karla Vandcrsypen Jack and Marilyn van dcr Veldt Rebecca Van Dyke Mr. and Mrs.
Douglas Van Houwcling Michael L. Van Tassel William C. Vassell Carolyn S. and Jerry S. Voight Mr. and Mrs. Timothy Wadhams Warren Herb Wagner and
Florence S. Wagner Mr. and Mrs. Norman C Wail Robert D. and LJina M. Wallin Dr. and Mrs. Jon M. Wardncr Ruth and Chuck Walls Robin and Harvey Wax Willes and Kathleen Weber Deborah Webster and
George Miller Laurence A. Weis and
Sheila Johnson
Raoul Weisman and Ann Friedman Waller L. Wells Dr. Steven W. Werns Ruth and Gilbert Whitaker B. Joseph and Mary White William and Cristina Wilcox Mr. and Mrs.
R-Jamison Williams Jr. Mrs. Elizabeth Wilson Mr. and Mrs. William Wilson Bcih and I. W. Winsien Marion T. Wirick Grant J. Withey, M.D. Charlotte Wolfe Dr. and Mrs. Ira Wollncr Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wright Phyllis B. Wright Don and Charlotte Wychc Ryuzo Yamamoto Mr. and Mrs. Edwin H. Young R. Roger and Bctte F. Zaucl Mr. and Mrs. Martin Zeile and snvrat anonymous donors
Corporations
Adas Tool, Inc.
Briarwood Shopping Center
Chelsea Flower Shop
Dough Boys Bakery
Edwards Brothers, Inc.
Gandy Dancer
Kcrrytown
King's Keyboard House
Miller, Canficld, Paddock
and Stone Republic Bank Sera Restaurant and Market Urban Jewelers
FoundationsAgencies
The Richard and Meryl Place Fund
Patrons
Individuals
Tim and Leah Adams Ronald and Judith Adler
Anasiasios Atexiou
Gregg X Alf
Mr. and Mrs. Gordon E. Allardyce
James and Catherine Allen
Margaret and Wickham Allen
Augustine and Kathleen Amaru
Mr. and Mrs. David AniinofF
Mr. and Mrs. Charles T. Anderson
Drs. James and
Cathleen Culotm-Andonian Ben and Pat Armstrong Mr. and Mrs. Lawrence E. Arnett Michael Avsharian Charlcne and Eugene Axelrod Jonathan and Marlenc Aycrs Joseph C. Bagnasco Richard and Julia Bailey Doris 1. Bailo Jean and Gaylord Baker Morris and Beverly Baker Dr. and Mrs. Daniel R. Balbach Chris and Lcsli Ballard John K I'..iii-l).ini Norman E. Barnett Donald C. Barneltc.Jr. Margo IS.it ii-1 Leslie and Anita Bassett Dr. and Mrs.Jere M. Bauer Mr. and Mrs. Steven R. Beckert Robert M. Beckley 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 Lawrence S. Berlin Abraham and Thelma Berman Gene and Kay Berrodin Andrew H. Berry, D.O. R. Bezak and R. Halstead Naren and Nishta Bhatia Kli.ii .if C. I11iun1i.hi Sheryl Hirsch and John Billi Richard and Roswitha Bird William and Ilenc 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 Bonnell Dr. and Mrs. David Bostian Richard Brandt and
Karina Niemcycr Reprcscniative 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 Sieve Carpman Jeannctte and Robert I. Carr Daniel Carroll and Julie A. C Virgo Mr. and Mrs. Dennis Carroll Mr. George Casey Dr. and Mrs. James T. Cassidy Kathran M. Chan Mr. and Mrs.
Nicholas G. Chapekis, Sr. Mr. James S. Chen Robert and Eileen Choatc Pat Clapper
Brian and Cheryl Clarkson John and Kay Clifford Roger and Mary Coe Mr. and Mrs. Edward and
Catherine Colone Mr. and Mrs. Craig Common Marjorie A. Cramer Mr. and Mrs. Richard Crawford Mr. and Mrs. Winton L. Crawford KathlccnJ. Crispell and
Thomas S. Porter Margo Crist Lawrence Crochier Mr. and Mrs. James I. Crump Mary R. and John G. Curtis Mr. and Mrs. John R. Dale Mr. William H. Damon III Millie and Lee Daniclson Jane and Gawaine Dart Mr. and Mrs. Arthur W. Davidge leaning 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 DeGrood Elizabeth and Edmond DcVme Meg Diamond Martha and Ron DiGecco 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 Dreffs John Dryden 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. Durfec George C. and Roberta REarl Mr. and Mrs. William G. Earlc Jacquclynne S. Eccles Mr. and Mrs. John R. Edman David A. Eklund Judge and Mrs. S.J. Elden Ethel and Sheldon Ellis
Mrs. Gcncvieve Ely
Mackenzie and Marcia Endo
Bill and Karen Ensminger
Stephen Ernst and Pamela
Raymond Ernst
Dorothy and Donald F. Eschman
Joel Evilsizcr
Adclc Ewell
Mr. and Mrs. Robert B. Fair, Jr.
Mark and Karen Falahec
Dr. and Mrs. Cyrus Farrehi
David and Joanna Featherman
Dr. and Mrs. Irving Feller
Phil and Phvilis Fellin
Carol Finer man
C. Pcier and Bev A. Fischer
Dr. and Mrs. John Fischer
Jon Fischer
Barbara and James Fitzgerald
Dr. and Mrs. Melvin Flamenbaum
Jon Flicgcl
Wayne and Lynnettc Forde
Doris E. Foss
Lucia and Doug Frccth
Richard andjoann Freethy
Linda and Larry French
Richard and Joanna Friedman
Gail Frames
LelaJ. Fuesler
Carol Gagliardi and David
Flcshcr
Jane Galantowicz
Bernard and Enid Gallcr
Joyce A. Gamm
Mrs. Don Gargaro
Mrs. Shirley H. Garland
Stanley and Priscilla Garn
Drs. Sieve Gciringcr and
Karen Bantel
Bruce and Anne Genovese Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Gennc and Allan Gibbard David and Maureen Ginsberg Albert and Almeda Girod Robert and Barbara Gockcl Dr. and Mrs. Howard S. Goldberg Mary L. Golden Ed and Mona Goldman Steve and Nancy Goldstein Mrs. Esztcr Gombosi Elizabeth N. Goodenough and
James G. Leaf Mitch and Barb Goodkin Mr. and Mrs. Jon L. Gordon Mr. Adon A. Gordus Selma and Albert Gorlin Naomi Gottlieb Michael L. Gowing Christopher and Klaine Graham Elizabeth Nccdham Graham Whit and Svea Gray Harry Grccnbcrg and
Anne Brockman Dr. and Mrs. LazarJ. Greenfield Bill and Louise Gregory Linda and Roger (in-kin Susan and Mark Griffin Werner H. Grilk Robert M. Grover Mr. Philip Guire Arthur W. Gulick, M.D.
Margaret Gulowski and
Michael Marietta Don P. Hacfner and
Cynthia J. Stewart Helen C. Hall Claribcl Halslead Margo Halstcd
Mr. and Mrs. Herbert R. Harjcs Stephen G. and Mary Anna Harper Antonio Harris Jean Harter Elizabeth C. Hassincn James B. and Roberta T. Hause Mr. and Mrs. George Hawkins Rose andjohn Henderson Mr. and Mrs. Richard Henderson Mr. and Mrs. Karl P. Henkcl Dr. and Mrs. Keith S. Henley Jeanne Hernandez Ramon and Fern Hernandez Tatiana Herrero Bernstein C. C. Herrington. M.D. ElfridaH. Hicbcrt and
Charles W. Fisher I.orna and Mark Hildcbrandt Mr. and Mrs. Jerry Leigh Hill Peter G. I hum.in and
Elizabeth A. Young Joanne and Charles Hocking Louise Hodgson Jane and Dick Hoerner Carol and Dieter Hohnke Ken and Joyce Holmes John F. and Mary Helen Holt Dr. and Mrs. Frederic B. House Drs. Richard and Diane Howlin Charles T. Hudson Harry and Ruth Huff Joanne W. Hulcc Ann D. Hungerman Mr. and Mrs. Russell L. Hurst Eileen and Saul Hymans Margaret and Eugene Ingram Edgar F. and M. Janice Jacobi Harold and Jean Jacobson Jim and Dale Jerome Tom and Marie Jusicr Mary B. and Douglas Kahn Mary Kalmcs and Larry Friedman Steven R. Kail Mr. and Mrs. Irving Kao David J. Katz
Kurt and Marilcc Kaufman Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy I mil.i Atkins and Thomas Kcnncy Benjamin Kerncr Heidi and Josh Kerst William and Betsy Kincaid Howard King and Elizabeth
Sayrc-King Esther Kirshbaum James and Jane Kister Shira and Steve Klein Gerald and Eileen Klos Mr. and Mrs. Edward Klum olcnc and Gregory Knapp Glenn and Shirley Knudsvig Charles and Linda Koopmann Melvyn and Linda Korobkin Mr. and Mrs. E.J. Kowalcski Jean and Dick Kraft David and Martha Krehbicl
William J. Bucci and Janet Krciling
Alexander Krezel
William G. Kring
John A. and Justine Krsul
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
Mr. and Mrs. Seymour Lampert
Henry and Alice Landau
Marjoric Lansing
Beth and George Lavote
Ted and Wendy Lawrence
Laurie and Bob LaZcbnik
Mrs. Kent W. Leach
Sue Lcong
Margaret E. Leslie
Richard LcSueur
Deborah S. Lewis
Nathan and Eleanor Lipson
Rod and Robin Little
Dr. Jackie Livesay
Peter Lo
Naomi E. Lohr
Diane and Dolph Lohwasscr
Ronald Longhofer
Ix'slie and Susan Loomans
Mr. and Mrs. Richard S. Lord
Bruce and Pat Loughry
Ross E. Luckc
Lynn Luckenbach
Robert and Pearson Macck
Susan E. Macias
Gharlcne and William MacRitchie
Chun I. Mah
Geoffrey and Janet Maher
Suzanne and Jay Mahler
Deborah Malainud and Ncal Plolkin
Dr. Karl D. Malcolm
Claire and Richard Malvin
Mr. and Mrs. Kauhiko Manabe
Pearl Manning
Paul and Shari Mansky
Mr. and Mrs. Anthony E. Mansucto
Michael and Pamela Marcovitz
Dr. Howard Markel
Marjorie and Robert Marshall
Dr. and Mrs. J. E. Martin
Rebecca Martin
Margaret Massialas
I .inn it-n Matsumoto
M.u ilvn M.i.tnn hnirdii I
Margaret E. McCarthy
Ernest and Adelc McCarus
David G. McConncll
Cathryn S. and
Ronald G. McCready Dorcs M. McCrce Mary and Norman Mclver Robert E. and Nancy A. Meadcr Mr. and Mrs. John Mcrrificld Henry D. Messer and
Carl A. House Robert and Bettie Metcalf Professor and
Mrs. Donald Meyer Dr. and Mrs. Robert A. Meyers Helen M. Michaels Carmen and Jack Miller Mr. and Mrs. Milton J. Miller Dr. Robert R. Miller Bob and Carol Milstein Thomas and Doris Miree Mr. and
Mrs. William G. Moller.Jr.
Arnold and Gail Morawa Sophie and Robert Mordis Kenneth and Jane Moriarty John and Michelle Morris Mclinda and Bob Morris Brian andjacqucline Morton Mrs. Erwin Muehlig Janet Muhlcman Gavin Eadic and
Barbara Murphy Rosemarie Nagcl Tatsuyoshi Nakamura Dr. andMrs.J.V. Nccl Nancy Nelson Martin Nculicp and
Patricia Pancioli Richard E. Nisbctt and
Susan I. Nisbctt Jack and Kerry Kelly-Novick Lois and Michael Okscnberg Robert and Elizabeth OneaJ Lillian G. Ostrand Mrs. Barbara H. Outwater Annckc de Bruyn Overseth Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K Pandit James and Bella Parker Mr. and Mrs. Brian P. Patchcn Eszthcr T. Pattantyus Nancy K. Paul
Elizabeth and Beverly Payne Ruth and Joe Payne Agnes and Raymond Pearson F.Johanna Peltier Bradford Perkins Susan A. Perry Ellsworth M. Peterson Mr. and
Mrs. Frederick R. Pickard Robert and Mary Ann Pierce 111. .likI Mi s amt's i'ikuhki Martin A. Podolsky Drs. Edward and Rhoda Powsner Ernst Pulgram Michael and Helen Radock Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert Rasmussen Jim and Toni Reese Anthony L. Reflells and
Elaine A. Bennett Dorothy and Stanislav Rehak JoAnne C. Reuss David Reynolds John and Nancy Reynolds Alice Rhodes Jesse Richards Elizabeth G. Richart Frances Grccr Rilcy Constance Rinehart Joe and Carolyn Robcrson Peter and Shirley Roberts Richard C. Rockwell Willard and Mary Ann Rodgers Mr. and Mrs. Stephen J. Rogers Yclena and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Drs. Stephen Rosenblum and
Rosalyn Sarver
Gustave andjacqucline Rosseels Dr. and
Mrs. Raymond V. Ruddon, Jr.
Kenneth Rule John Paul Rutherford Tom and Dolores Ryan Mitchell and Carole Rycus James and Ellen Saalbcrg Theodore and Joan Sachs Arnold Sameroff and
Susan McDonough Howard and Lili Sandier John and Rc-da Santinga Dr. and Mrs. Edward C Sarkisian Ms. Sara Savarino Courtland and Inga Schmidt Charlcne and Carl Schmtilt Gerald and Sharon Schrcibcr Albert and Susan Schult Michelle Schultz, M.D. Alan and Marianne Schwartz Sheila and Ed Schwartz Patricia Schwartz Kroy Jane and Fred Schwarz Ruth Scodel Jonathan Brombcrg and
Barbara Scott
Douglas and Carole B. Scott Joanna and Douglas Scott Mary and John Scdlander John and Carole Scgall Louis and Sherry Scnunas Richard Shackson Nancy Silver Shalil Dr. and Mrs. J. N. Shanbergc David and Elvera Shappirio Dr. and Mrs. Ivan Sherick Cynthia Shcvel Jean and Thomas Shopc Mr. and Mrs. Ted Shultz John and Arlene Shy Milton and Gloria Siegel Ken Silk and Peggy Bultenhcim Dr. Albert and
Mrs. Halina Silvcrman Frances and Scott Simonds Donald and Susan Sinta Dr. and Mrs. Michael W. Smith Drs. Peter Smith and
Diane Czuk-Smith Judy Z. Somers Katharine B. Sopcr Dr. Yoram Sorokin Mr. and Mrs. Robert E. Spence Anne L. Spendlove James P. Spica JefFSpindler Curt and Gus Stager Betty and Harold Stark Mr. and Mrs. John C. Stcgcman Virginia and Eric Stein Frank D. Stella John and Beryl Stimson Mr. James L. Stoddard Robert and Shelly Stolcr Wolfgang F. Stolpcr Anjancttc M. Stoliz, M.D. Mrs. William H. Stubbins Jenny G. Su Valerie Y. Suslow Mr. and Mrs. Earl G. Swain Mr. and Mrs. Robert S. Swanson Richard and June Swartz Lois A. Thcis Carol and Jim Thiry Catherine and Norman Thoburn
Mr. and Mrs. James W. Thomson
Charles and Peggy Tieman
Thelma and Richard Tolbcrt
Donna K. Tope
Dr. and Mrs. Merlin C. Townlcy
Angic and Bob Trinka
Sarah Trinka us
Marilyn Tsao and Steve Gao
Yukiko Tsunoda
William H. and Gcrilyn K. Turner
Taro Ueki
Alvan and Katharine Uhlc
Gaylord E. and
Kathryn W. Underwood Madeleine Vallicr Carl and Sue Van Appledorn Rob and Tanja Van dcr Voo Robert and Barbara Van Ess Marie B. and Theodore R. Vogt Sally Wacker
Delia DiPietro and Jack Wagoner Gregory and Annette Walker Eric and Sherry Warden Mr. and Mrs. Barrett Wayburn Joan M. Weber Jack and Jerry Wcidenbach Donna G. Wcisman Barbara Weiss Mrs. StanfictdM. Wells, Jr. David and Rosemary Wcscnberg Ken and Cherry Wcsterman Susan and Peter Wcsterman Marjoric Westphal Marilyn L. Wheaton and Paul Duffy Esther Rcdmouni and
Harry White Janet F. White
Mr. and Mrs. Nathaniel Whiteside Mrs. Clara G. Whiting Douglas Wickens Jane Wilkinson Reverend Francis E. Williams John Troy Williams Shelly F. Williams Dr. and Mrs. S. B. Winslow Charles Witkc and Ailcen Gaticn Jeff and Linda Witzburg Norecn Ferris and Mark Wolcott Patricia and Rodger Wolff David and April Wright Dr. and Mrs. Clyde Wu Carl and Mary Ida Yost Shirley Young Ann and Ralph Youngren Frederic and Patricia Zcislcr Mr. and Mrs. David Zuk David S. and Susan H. Zurvalec and several anonymous donors
Corporations
Adistra Corporation
Coffee Beancry-Briarwood Mall
ConCcp
Cousins Heritage Inn
Development Strategics Plus
Garris, Garris. Garris & Garris, P.C
Great Lakes Cycling & Fitness
Jeffrey Michael Powers Beauty Spa
Junior League of Ann Arbor
Michigan Opera Theatre
Patrons, continued
SKR Classical University Microfilms
International Van Bovcn Inc.
FoundationsAgencies
The Shapcro Foundation
Donors
Individuals
Sue and Michael Abbott Mr. Usama Abdali and
Ms. Kisook Park Philip M. ln um Chris and Tena Achcn Bob Ainsworth
Michihiko and Hiroko Akiyama Roger Albin and Nili Tannenbaum Michael and Siizan Alexander Harold and Phyllis Allen Forrest Alter
Jim Anderson and Lisa Walsh Catherine M. Andrea Julia Andrews Hiroshi and Matsumi Arai Mary C. Arbour
Thomas J. and Jill B. Archambeau Eduardo and Nancy Arciniegas Thomas J. and Mary E. Armstrong Rudolf and MaryArnhcim Margaret S. Athay Mr. and Mrs. Dan E. Atkins HI John and Rosemary Austgcn Drs.John and Lillian Back Bill .iml u.in 11 Baker Laurence A. and Barbara K. Baker Mr. and Mrs. Richard P. Baks Ann Bardcn
David and Monika Barcra -Maria Kardas Barna Laurie and Jeffrey Barnctt Joan W. Barth Beverley M. Baskins Ms. Maria do Carno Bastos Dorothy W. Bauer Thomas and Sherri L. Baughman Harold F. Baut Mary T. Beckcrman Robert B. Beers Dr. and Mrs. Richard Beil Dr. and Mrs. Waller Benenson Mcrctc and
1 i lint; Blondal Bengtsson Alice R. Bcnsen Dr. Rosemary R. Bcrardi James K. and Lynda W. Berg T.J.andM. R-Bcllcy Ralph and Mary Bcuhler Maria T. Bcyc
John and Marguerite Biancke Eric and Doris Billcs Jack and Anne Birchfleld lii. Ronald C. and
Nancy V. Bishop Bill and Sue Black
Jane M. Bloom
Karin L Bodycombe
Dr. and Mrs. Frank Bongiorno
Robert and Shirley Boone
Edward G. and Luciana Borbely
LolaJ. Borchardt
Paul D. Borman
Reva and Morris Bornstein
John D. and M. Lcora Bowdcn
Jan and Bob Bower
Sally and Bill Bowers
David G. Bowman and
Sara M. Rimer Dennis and Grace Bowman William F. and
Joyce E. Bracuninger Cy and Luan Briefer John and Amanda Brodkin AmyJ. and Clifford L Broman Razelle and George Brooks Mr. and Mi v
Edward W. Browning Phil Bucksbaum and
Roberta Morris Trudy and Jonathan Bulklcy Miss Frances Bull Mrs. Sibyl Burling Mrs. Betty M. Bust Dr. and Mrs. Robert S. Butsch Barbara and Albert Cam Louis and Janet Callaway, Jr. Father Roland Calvert Susan and Oliver Cameron Dr. Ruth Cantieny Dennis and Kathleen Cantwcll Susan Cares George R. Carignan Carolyn M. Carty and
Thomas H. Haug Jack Cederquist David and Ilcne Chait Mary Chambers Bill and Susan Chandler Ida K. Chapin and Joseph Spindel Belle H. Chen Joan and Mark Cheslcr Edu-ard and Rebecca Chudacoff Ching-wci Chung Joan F. Cipcllc Arthur and Alice Cofcr Dorothy Burke Coffcy Hilary and Michael Cohen Howard and Vivian Cole Kevin and Judy Compton Nan and Bill Conlin Dr. and Mrs. William W. Coon Herbert Couf Joan and Roger Craig Mary Crawford Donald Cress Mary C. Crichton Thomas A. Crumm Ms. Carolyn Rundell Culotta Ms. Carolyn Cummisky Richard J. Cunningham Frank and Lynn Curtin Mr. Joseph Curtin Suzanne Curtis Dr. and Mrs. Harold J. Daitch Ms. Marcia Dalbcy Marylee Dalton Joanne Danto Honhart Dean and Mrs. John H. D'Arms
Mildred and William B. Darnlon Dai-Linda and Robert Dascola Ruth E. I).ii Jennifer Davidson Morris and May Davidson Nancy Davis
Dean and Cynthia DcGalan Elizabeth Delaney Ms. Margaret H. Demant Michael T. DePionty Raymond A. Detler Mr. David Digirolamo Linda Dintcnfass Douglas and Ruth Doane Dick, and Jane Dorr Ruth P. Dorr
Dr. and Mrs. Charles H. Duncan Elsie Dyke John Ebcnhoeh Dwight and Mary Ellen Ecklcr Ruth Eckstein Ingrid Eidnes
Mr. and Mrs. Charles Eisendrath Sol and Judith Elkin Dr. and Mrs. Charles Ellis James H. Ellis and Jean A. Lawton Dick and Helen Emmons Mr. and Mrs. H. Michael Endres Jim and Sandy Eng Mr. and Mrs. C. E. Evans Paul and Mary Fanchcr Dr. Cheryl C. Farmer, Mayor of Ypsilanti Peter Farrchi
Damian and Katharine Farrell Dorothy Gittleman Feldman George J. and Bcnita Feldman Yi-tsi M. Feuerwerker Ruth Fiegel Clay Finkbeiner Howard G. Finkel Mrs. Carl H. Fischer Eileen Fisher Winifred Fisher Linda and Tom Fitzgerald Jessica Fogcl and Lawrence Weiner
Daniel R. Folcy George and Kaihryn Foltz Bill and Wanita Forgacs David J. Fraher Mr. and Mrs. Maris Fravel Ms. Julia Freer Mr. and Mrs. Otto W. Freitag Bart and Fran Frueh Bruce and Rebecca Gaffney Arthur Gallagher Edward Gamachc and Robin Baker
C.J. Gardiner
Leonard and Mary Alice Gay Mr. and Mrs. Ralph J. Gerson Beverly Jeanne Giltrow Ilan Gittlcn
Dr. and Mrs.J. Globerson Peter and Roberta Gluck Dr. Ben Gold Mr. and Mrs. Robert Gold Albert L. Goldberg Dr. and Mrs. Edward Goldberg Edie Goldenbcrg Anita and Albert Goldstein Mr. and Mrs. David N. Goldsweig
C. Ellen Gomer
M. Sarah Gonzalez
Graham Gooding
Enid M. Gosling
Sin Gottlieb
Larry and Martha Gray
Elizabeth A. H. Green
G. Robinson and Ann Gregory
Sally Grcve and Walter Fisher
Mr. and Mrs. JamesJ. Cribble
Mrs. AUee L. Grillot
Melissa Gross
Cyril Grnm and Cathy Strachan
Dr. Carol J. Guardo
Ms. Kay Gngala
Cheryl Guinper
Mr. and Mrs. Lionel Gnregian
Debra Haas
Gary L. Hahn and
Deborah L. Hahn J. M. Hahn Marga S. Hampcl Mr. and Mrs. Carl T. Hanks David and Patricia Hanna Mr. and Mrs. Glenn A. Harder R.J. Harmon Jane A. Harrell Connie Harris Laurelynnc Daniels and
George P. Harris Robert Glen Harris Mr. and Mrs. Robert B. Harris Caroll and Beth Hart Jerome P. Hartwcg Carol and Steve Harvath Mr. and Mrs. Eugene Hcffelfinger Dr. John D. Hcidkc Miriam Hcins Jeff and Karen Helmick Gary L. Henderson Leslie and William Hennessey Mr. and Mrs. Ralph Herbert Mr. and Mrs. Albert Hermalin Emily F. Hicks Ms. Betty Hicks Jozwick Mark and Debbie Hildebrandt Aki Hirata
Deborah and Dale Hodson Melvin and Verna Hollcy Hisato and Yukiko Honda Mr. and Mrs. Harry Hopkins Jack and Davctta Horner Dr. Nancy Houk Jim and Wendy Fisher House Kenneth and Carol Hovey Barbara Hudgins Mr. and Mrs. William Hufford Ling Hung Diane Hunter Stephen and Diane Imredy Edward C. Ingraham Perry Elizabeth Irish Earl Jackson M. Janice Jacobt Dr. and Mrs. Manuel Jacobs Marilyn G.Jeffs JoannJ. Jeromin Wilma M.Johnson Helen Johnstone Elizabeth M.Jones Dr. Marilyn S. Jones PhillipS. Jones John and Linda K.Jonidcs
Chris and Sandy Jung
Professor and Mrs. Fritz Kaenzig
William and Ellen Kahn
Lorcc K. KalUaincn
Thomas and Rosalie Knrunas
Bob N. Kashino
Franklin and Judith Kaslc
Alex F. and Phyllis A. Kato
Miixinc and David Katz
Martin and Helen Katz
Julia and Philip Kearney
Janice Keller
Mr. and Mrs. Charles Kclterman
Mary Kemme
Lawrence Kestenbaum and
Janice Gutfreund Robert and Lois Ketrow Jeanne Kin
Robert and Vicki Kiningham Klair H. Kissel James Kilmer Alexander Klos
Dr. and Mrs. William L. Knapp Dr. Barbel Knauper Sharon L. Knight Lester Kobylak Seymour Koenigsberg Michael and Paula Koppisch Alan A. and Sandra L. Kortesoja Ann Marie Kotre Sheryl E. Krasnow Robert Krasny Ethel and Sidney Krause Doris and Donald Kraushaar Edward and Lois Kraynak Kenneth C. Krcger Syma and Phil Kroll Lawrence B. Kuczmarski Jane Kulpinski Eli and Lily Ladin Celc and Martin Landay Patricia M. Lang Walter and Lisa Langlois Guy and Taffy Larcom Christine Larson Carl and Ann LaRue Ms. Olya K Lash RuthJ. Lawrence Sue C. Lawson Judith andjcrold Lax Fred and Ethel Lee Stephanc Legault Paul and Ruth Lehman Mr. C. F. Lehmann Dr. and Mrs. Morton B. Lesser Diane Lester and
Richard Sullivan Carolyn Dana Lewis Thomas and Judy Lewis Dr. David J. Lieberman Ken and Jane Lieberthal Ying-Chu Lin
Dr. and Mrs. Richard H. LJncback Andi Lipson and Jerry Fishman Rebecca and Lawrence Lohr Barbara R. Lott Donna and Paul Lowry Jeannette Luton John J. Lynch, Atty. Dr. and Mrs. Cecil Mackcy Gregg and Merilec Magnuson Ronald Majewski and Mary Wolf Donna and Parke Malcolm
Allen Malinoff
Alice and Bob Marks
Erica and Harry Marsden
Yasuko Matsudo
Drln,i Maiuson
Robert and Betsy Maxwell
John M. Allen and
Edith A. Maynard Dr. and Mrs. David McCubbrey Bernard and MaryAnn McCulloch James and Kathleen McGauley Scott McGlynn James M. Beck and
Robert J. McGranaghan Louise E. McKinney Donald and Elizabeth McNair Anthony and Barbara Medeiros Dr. and Mrs. Donald A. Meier Samuel and Alice MeUcIs Norman and Laura Mcluch Helen F. Mcranda Rev. Harold L. Merchant Mr. and Mrs. John F. Metzler Valeric D. Meyer Mr. and Mrs. Herbert M. Meyers Dick and Georgia Meycrson William M. Mikkelsen Ms. Virginia A. Mikola John Milford Gerald A. Milk-r Dr. and Mrs. Josef M. Miller Mr. and Mrs. Murray H. Miller Charles and Elizabeth Mitchell Wakaki Miyaji Ruth M. Monahan Kent and Roni Moncur Gail Monds P. Montgomery Ellyne and Arnold Monto Rosalie E. Moore Kittie Bergcr Morelock Mr. and Mrs. Thomas D. Morrow Bcrnhard and Donna Mullcr Lora G. Myers Yoshiko Nagamauu Louis andjulic Nagcl Ruth Nagler R. andj. Needleman Nikki E. Neustadt Martha K. Nitand Gene and Pat Nissen Laura Nitzbcrg Joan and John Nixon Jolanta and Andrzcj Nowak John and Lcxa O'Brien Thomas P. O'Connor Michael and Jan O'Donncll Ncls and Mary Olson Kaoru Onishi Fred Ormand Mr. James J. Osebold Heiju Oak and James Packard George Palty
Mr. and Mrs. Kenneth Pardonnet Michael P. Parin Janet Parkcs
Evans and Charlcne Parrott Roger Paull
Vassiliki and Dimitris Pavlidis Edward J. Pawlak Edwin and Sue Pear
of .mil Jor I'l-.itM.n
Donald and Edith Pclz
Mr. William A. Pcnncr. Jr.
C. Anlhony and Marie Phillips
Nancy S. Pickus
Daniel G. Picsko
Mr. and Mrs. Robert H. Plummcr
Mr. and Mrs. John R. Politzcr
Mr. and Mrs. Gerald Powrozck
Mary and Robert Pratt
Roland W. Prait
Jerry Preston
Mr. Richard H. Price
John and Nancy Prince
Julian and Evelyn Prince
Ruth S. Putnam
G. Robina Quale
Douglass and Debbie Query
Leslie and Doug Quint
Susan M. and Farbod Raam
Mr. and Mrs. Alex Raikhcl
Mr. and Mrs.
Alfred C. Raphaclson Dr. and Mrs. Mark Rayport Maxwell and Marjorie Rcadc Caroline Rehberg Esther M. Reilly Deanna and Pictcr Rclyea Mr. and Mrs. Frederick Remley.Jr. Ms. Molly Resnik Mr. and Mrs. Neil Ressler M. Laurel Reynolds Lou and Sheila Rice Lisa Richardson Judy Ripple
William and Kayc Rhtinger Lisa E. Rives and Jason I. Collcns Janet K. Robinson, Ph.D. Ms. Margaret Dearden Robinson Edith and Raymond Rose Bernard and Barbara Rosen Marilynn M. Roscnthal Charles W. Ross
Jennifer Ross and Charles Daval Dr. and Mrs. David Roush Mr. and Mrs. John P. Rowc George and Matilda Rubin Mabel E. Rugcn Sandra and Doyle Samons Dr. Anna M. Santiago Harry W. and Elaine Sargous Elizabeth M. Savage June and Richard Saxc Jochen and Helga Schacht Michael Joseph Schactzle Bonnie R. Schafcr Mr. and Mrs. Alan Schall Mr. and Mrs. F. Allan Schenck Dr. and Mrs. DirkJ. Scholten Thomas H. Schopmcyer Kathcrinc Collier and
Yizhak Schottcn Sue Schroeder Ailecn M. Schulze Dorothy Scully Anne Brantlcy Segall Sylvia and Leonard Scgcl Richard A. Scid
Elliot A. and Barbara M. Scrafin Kirtikant and Sudha Shah Matthew Shapiro and Susan Garctz Kathleen A. Shcehy William J. Sherzer Ms. Joan D. Showalter Janet E. Shultz
Ray and Marylin Shustcr
Barry and Karen Sicgcl
Enrique Signori
Drs. Dorit Adlcr and Terry Silver
Fran Simck
Sandy and Dick Simon
Bob and Elaine Sims
Alan and Eleanor Singer
Jane Singer
Nora G. Singer
Jack and Shirley Sirotlun
II in.i Ski. n.ii
J.rgcn O. Skoppek
Beverly N. Slater
Tad Slawecki
Haldon and Tina Smith
Richard and Jo-Ann Socha
Arthur and Elizabeth Solomon
James A. Somcrs
R. Thomas and
Elinor M. Sommcrfcld Mina Diver Sonda Barbara Spencer Jim Spcvak and Leslie Bruch L. C. Sprankle Bob and Joyce Squires Mary Stadel
Neil and Burnette Stacblcr Joan and Ralph Stahman David SteinhofTand
Jaye Schlesinger Robin Stephenson and
Terry Drent Steve and Gaylc Stewart Ms. Lynette Stindt and
Mr. Craig S. Ross Lawrence and Lisa Stock Mr. and Mrs. James Stokoc Judy and Sam Stulbcrg Anant Sundaraxn Alfred and Selma Sussman Mary Margaret and
Robert Sweeten Yorozu Tabata K. Boyer and S. Tainter junko Takahashi Larry and Roberta Tankanow Professor and
Mrs. Robert C. Taylor Robert Teichcr and
Sharon Gambin
Kenneth and Bcnita Tcschcndorf Brian and Mary Ann Thelcn Ncal Tolchin Egons and Susannc Tons Jim Toy
Paul and Barbara Trudgen Jeffrey and Lisa Tulin-Silvcr Mr. and Mrs. Marshall Tymn Nikolas Tzannctakis Mr. Masaki Ueno Greg Upshur Iris Cheng and Daniel Uri Dr. and Ms. Samuel C. Ursu Arthur and Judith Vander Bram and Lia van Leer Phyllis Vcgtcr
Kitty Bridges and David Vcllcman Ingrid Verhammc Mrs. Durwcll Vcttcr Brent Wagner
Wendy L. Wahl and William R. Lee Mr. and Mrs. David C. Walker
Donors, continued
Patricia Walsh Margaret Walter Karen and Orson Wang Margaret Warrick Lorraine Nadclman and
Sidney Warschausky Alice and Martin Warshaw Edward C. Weber Michael Webster and
Leone Buysc Steven P. Weikal Gerane Weinrcich David andjacki Weisman Drs. Bernard and Sharon Weiss Lisa and Steve Weiss Elizabeth A. Wcntzien Mr. Carl Widmann Mr. and Mrs. Peter H. Wilcox Mr. and Mrs. Michael S. Wilhelm James Williams John and Christa Williams Raymond C. Williams Diane M. Willis Richard C. Wilson Robert and Mary Wind James H. and Mary Anne Winter Mary Winter
Dr. and Mrs. Lawrence D. Wise Don Wismcr
Esther and Clarence Wisse Joyce Guior Wolf, M.D. Mr. C. Christopher Wolfe and
Ms. Linda Kidder Muriel and Dick Wong Barbara H. Wooding Stewart and Carolyn Work Israel and Fay Woronoff Robert E. Wray. Ill Ernst Wuckert Patricia Wulp Fran and Ben Wylie Mrs. Antonette Zadrozny Dr. Stephen C. Zambito Robert and Charlene R. Zand Bertram and Lynn Zhcutlin George and Nana Zissis and several anonymous donors
Corporations
ApplausePerfect Ten
Bally's Vic Tanny
Callinetics by Diane
Courtney and Lovell
Crown Steel Rail Company
Gallery Von Glahn
Great Harvest Bread Company
Paesano's Restaurant
Pas labilities
Sweet Lorraine's Cafe & Bar
Whole Foods Market
The
Charles A. Sink
Society
Honoring members with cumulative giving totals over $15,000.
Individuals
Dr. and Mrs. Robert G. Aldrich Herb and Carol Amsicr Jim Botsford and
Janice Stevens Botsford Carl and Isabelle Brauer Mr. Ralph Conger Margaret and Douglas Crary Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Dale and Marilyn Fosdick Sue and Carl Ginglcs Mr. and Mrs. Peter N. Heydon Mr. and Mrs. Howard S. Holmes Elizabeth E. Kennedy Mr. and Mrs. William C. Martin Judythc and Roger MaOgh Charlotte McGeoch Karen Koykka O'Neal and
Joe O'Neal
Mr. and Mrs. William B. Palmer Maxinc and Wilbur K. Pierpont John Psarouthakis Richard and Susan Rogel Maya Savarino and
Raymond Tanter Dr. Herbert Sloan Carol and Irving Smokier Mr. Helmut F. Stem Dr. and Mrs. E. Thurston Thiemc Estelle Titiev Paul and Elizabeth Yhousc
Corporations
Dahlmann Properties
The Edward Surovell Co.Reallors
First of America Bank
Ford Motor Credit Company
Ford Motor Company
Great Lakes Bankcorp
Jacobson Stores, Inc.
JPEinc.The Paideia Foundation
Mainstrcct Ventures
Me Kin ley Associates
Philips Display Components
Company Society Bank Trimas Corporation Warncr-LambertParke Davis
Research Division Wolverine Temporaries, Inc.
FoundationsAgencies
The Ann Arbor Area
Community Foundation
Arts Midwest
The Benard L. Maas Foundation
The Grayling Fund
1 il.i Wallace-Reader's Digest Fund
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Memorials
Gigi Andrescn
Chase and Delphi Baromes
Dean Bodley
A. A. (Bud) Branson
Graham Conger
Pauline M. Conger
Joanna Cornell
Horace Dewey
Alice Kclsey Dunn
Robert S. Fcldman
Isabelle M. Garrison
Ed Gilbert
Florence Griffin
Eleanor Groves
Ralph Herbert
Charles W. Hills
George R. Hunschc
Hazel Hill Hunt
Virginia Ann Hunt
Virginia Elinor Hunt
Earl Meredith Kempf
Edith Stacbler Kcmpf
R. Hudson Ladd
John Lewis
Robert Lewis
Carol Lighthall
Lorenc Crank Lloyd
Katherine Mabarak
Frederick C. Matthaei, Sr.
Arthur Mayday, Jr.
Earl Meredith
Mr. and Mrs. Merle Elliot Myers
Martha P. Palty
Elizabeth Pcebler
Gwcn and Emerson Powric
Steffi Reiss
Percy Richardson
James H. and Cornelia M. Spencer
Ralph L Steffek
Charlcnc Parker Stern
Jewel B. Stockard
Mark Von Wyss
Barbara Woods
Peter H. Woods
Inkind Gifts
Sue and Michael Abbott
Ricky Agranoff
Catherine Arcure
Paulctt and Peter Banks
Ms. Janice Stevens Boisford
James and Betty Byrne
Mr. Phil Cole
Cousins Heritage Inn
Curtin and Alf
Ken Fischer
Susan Fitzpatrick
The Candy Dancer
Bob Crijalva
Leslie and Mary Ellen Guinn
Margo Halstcd
Matthew C. Hoffman and
Kerry McNulty Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa Bob and Gloria Kerry Howard King and
Elizabeth Sayrc-King Bruce Kulp Maggie Long
Perfectly Seasoned Catering Mr. and Mrs. Donald LystraDough Boys Bakery Steve and Ginger Maggio Regency Travel Maya Savarino Thomas Sheets SKR Classical David Smith Photography Ncsta Spink
Edward Surovcll and Natalie Lacy Janet Torno
Dr. and Mrs. John F. Ullrich Paul and Elizabeth Yhousc
Giving Levels
The Charles Sink Society cumulative giwng totals of more than $15,000.
Bravo Society $10,000 ormore Conccrtmastcr $5,000 9,999 Leader $2,000 -4,999 Guarantor $1,000 -1,999 Sponsor $500 999 Benefactor ?200 499 Patron $100 199 Donor $50-99
Advertiser's Index
21 After Words, Inc.
18 Alexa Lee Gallery
32 Anderson and Associates
11 Ann Arbor Acura
11 Ann Arbor Art Association
25 Ann Arbor Reproductive
Medicine 40 Ann Arbor Symphony
Orchestra 37 Arbor Hospice
9 Argiero's Restaurant
14 ATVS
55 Beacon Investment Company
17 Benefit Source
15 Bodman, Longley and
Dahling 54 Butzel Long
10 Cafe Marie
30 Center for Facial and Cosmetic Surgery
18 Charles Reinhart Company 13 Chelsea Community
Hospital
35 Chris Triola Gallery 39 DeBoer Gallery 21 Detroit Edison 20 Dickinson, Wright, Moon,
VanDusen and Freeman 27 Dobb's Opticians 17 Dobson-McOmber Agency
19 Dough Boys Bakery
35 Emerson School
26 Englandcr's Other Place 17 ERIM
34 First Martin Corporation
29 First of America Bank
19 Ford Motor Company
27 Fraleigh's Landscape 32 General Motors
Corporation 34 Glacier Hills 29 Great I-akcs Fitness and
Cycling
13 Hagopian World of Rugs 37 Harmony House
36 Hill Auditorium
Campaign and Seat Sale
39 Interior Development, Inc.
2 Jacobson's
20 Jet-Away Travel
39 John Leidy Shops
13 Katherine's Catering and Special Events
40 King's Keyboard House
15 Lewis Jewelers 12 M-Care
29 Marty's Menswear
56 Matthew C. Hoffmann
16 Maude's
42 Miller, Canfield, Paddock
and Stone
25 Mundus and Mundus, Inc. 8 NBD Bank, Trust Division 31 Nichols, Sacks, Slank
and Sweet
42 Overture Audio
17 Plymouth Guitar Gallery
34 Professional Automotive
Technicians
35 Red Hawk Bar and Grill
30 Regrets Only
12 SchlandcrerJewelry 37 Seva Restaurant 28 SKR Classical
23 Society Bank
33 Sweet Lorraine's 20 Sweetwaters Cafe 4 The Edward Surovell
Company 54 Toledo Museum of Art
31 Top Drawer
33 Ufer and Company Insurance
37 Ulrich's Bookstore
39 University of Michigan Matthaci Botanical Gardens
30 University Productions
24 WDET
38 WEMU
43 Whole Foods Market 33 WQRS
27 Wright, Griffin, Davis and Company
41 WUOM

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