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UMS Concert Program, Thursday Apr. 18 To 24: University Musical Society: 1996 Winter - Thursday Apr. 18 To 24 --

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

University Musical Society
of the University of Michigan Ann Arbor
The 1996 Winter Season
Dear UMS Patrons
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 199596 season comes to a close this spring, the UMS will have brought to the community 65 performances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understand?ing and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a Midwest community of 110,000 can support the number and quality of performances that the UMS brings to Ann Arbor. They want to know how we do it, and I'm proud to tell them. Here's what I say:
O First, and most important, the people in Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they are among the most informed, engaged and appreciative audiences in the country.
O It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
O Our special relationship with one of the country's leading educational institutions, the University of Michigan, has allowed us to maintain a level of independence which, in turn, affords us the ability to be creative, bold and entrepreneurial in bringing the best to Ann Arbor. While the UMS is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, UMS is a separate not-for-profit organization which supports itself from ticket sales, other earned income, grants, and contributions.
O The quality of our concert halls means that artists love to perform here and are eager to accept return engagements. Where else in the U.S. can Cecilia Bartoli perform a recital before 4,300 people and know that her pianissimos can be heard unamplified by everyone
O Our talented, diverse, and dedicated Board of Directors drawn from both the University and the regional community provides outstanding leadership for the UMS. The 200-voice UMS Choral Union, 55-member Advisory Committee, 275-member usher corps, and hundreds of other volunteers and interns contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
O Finally, I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks for coming, and let me hear from you if you have any suggestions, complaints, etc. Look for me in the lobby or give me a call at 313.747.1174.
Kenneth C. Fischer Executive Director
Thank You Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support of UMS though their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business com?munity.
Their generous support provides a solid base from which we are better able to present outstanding performances for the varied audiences of this part of the state.
We are proud to be associated with these companies. Their significant participation in our underwriting program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University Musical Society.
Kenneth C. Fischer Executive Director University Musical Society
James W. Anderson, Jr. 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."
Carl A. Brauer, Jr.
Brauer Investment
"Music is a gift from
God to enrich our
lives. Therefore, I
enthusiastically support the University Musical Society in bringing great music to our community."
Joseph Curtin and Greg Alf
Owners, Curtin &A "Curtin & Alfs support of the University Musical Society is both a
privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural oppor?tunities set new standards of excellence across the land.'
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 CJiief Executive Officer, Fisher Scientific International, Inc "We know the Uni?versity of Michigan
will enjoy the Boston Symphony as much as we New Englandcrs do. We salute the University Musical Society for making these performances possible."
Alex Trotman Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ-
ation with the University Musical Society, its concerts, and the educational programs that contribute so much to Southeastern Michigan."
William E. Odom
Ford Motor Credit
"The people of
Ford Credit arc very
proud of our con-
tinning association with the University Musical Society. The Society's long-established commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
John Psarouthakis,
Chairman ami Chief
Executive Officer,
"Our community is
enriched bv the
University Musical Society. We warmly support the cultural events it brings to our area."
John E. Lobbia Chairman and Chief Executive Officer, Detroit Edison The University Musical Society is one of the organi-
zaiions that make the Ann Arbor com?munity a world-renowned center for the arts. The entire community shares in the countless benefits of the excel?lence of these programs."
Robert J. Delonis Chairman and Chief Executive Officer, Great iMkes Ban corf' "As a long-standing member of the Ann Arbor commu-
nity, Great Lakes Bancorp and the University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
Mark K. Rosenfeld President,
Jacobson Stores Inc. "We are pleased to share a pleasant relationship with the University
Musical Society. Business and the arts have a natural affinity for community commitment."
Ronald Weiser
Chairman and Chief Executive Officer, Mi Kin In Associates, Inc.
"McKinley Associates is proud
to support the University Musical Society and the cultural contribution it makes to the community."
flE mcKjnley associates inc.
Frank A. Olson, Chairman and CEO The Hertz Corfwration "Hertz, as a global company, supports the University of Michigan Musical
Society mission of providing program?ming that represents and involves diverse cultural groups thereby fostering greater understanding and appreciation of these cultures."
Dennis Serras
President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate
that our business provides so many opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U of M-Notre
P.imi1 loiith.ill lii kcl
was the best ticket in Ann Arbor. Not anymore. The UMS provides the best in educational entertainment."
Joe E. O'Neal
O'Neal Construction
"A commitment to
quality is the main
reason we are a
proud supporter of
the University Musical Society's efforts to bring the finest artists and special events to our community."
Iva M.Wilson
Philips Display
"Philips Display
Company is proud to support the University Musical Society and the artistic value it adds to the community."
Sue S. Lee
Regency Travel
Agency, Inc.
"It is our pleasure
to work with such
an outstanding
organization as the Musical Society at the University of Michigan."
Larry McPherson President and COO, NSK Corporation "NSK Corporauon is graleful for the opportunity to contribute to the
University Musical Society. While we've only been in the Ann Arbor area for the past 82 years, and the UMS has been here for 116, we can still appreciate the history they have with the city -and we are glad to be part of that history."
George H. Cress Chairman, President, and Chief Executive Officer, Society Bank, Michigan The University Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud lo support an organization that continu?ally displays such a commitment to excellence."
Ronald M. Cresswell, Ph.D.
Vice President and Chairman, Pharmaceutical Division, Warner
iMmbert Company
"Warner Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Michael Staebler
Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz con?gratulates the
University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Edward Surovell
The Edward Surovell
"Our support of
the University
Musical Society is
based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Dr. James R. Irwin Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Staffing
began its support of the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
The University Musical Society of the university of Michigan
Board of Directors
Herbert Amster
Resident F. Bruce Kulp
Vice-President Carol Shalita Smokier
Secretary Richard Rogel
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan LetiliaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell James J. Duderstadt
Walter M. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper Rebecca McGowan Joe O'Neal John Psarouthakis George I. Shirley John O. Simpson Herbert E. Sloan Edward D. Surovell Marina v. N. Whitman Iva Wilson Elizabeth Yhouse
(lail 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 Robbcn W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick I-ong Judyth Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz Harold T. Shapiro Lois U. Stegcman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
Kenneth Fischer Executive Director
Catherine Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Dorothy Chang Sally A. dishing David B. Devore Erika Fischer Susan Fitzpatrick Rachel Folland Greg Fortner 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 Odetta Norton Tansy Rodd James Smart Risa Sparks Ritu Tuteja Scott Wilcox
Donald Bryant
Conductor Emeritus
1995-96 Advisory Committee Susan B. Ullrich, Chair Maya Savarino, Vice-Chair Kathleen Beck Maly, Secretary Peter H. dcLoof, Treasurer
Gregg Alf Paulett 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 Gcltner Margo Halsted Esther Hcitlcr Deborah B. Hildcbrandt Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Kahn
Mercy Kasle Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Levitan Doni Lystra Kathleen Beck Maly Howard Market Margaret McKinley Clyde Metzger Ronald G. Miller Len Niehoff Karen Koykka O'Neal Marysia Oslafin 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 Weidcnbach Jane Wilkinson Elizabeth Yhouse
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
The University Musical Society is an Equal Opportunity Employer and provides programs and services without regard to race, color, religion, national origin, age, sex, sexual orientation, or handicap.
The University Musical Society is a member of the International Society for the Performing Arts, Association of Performing Arts Presenters, Chamber Music America, Arts Action Alliance, and Washtenaw Council for the Arts.
General Information
University Musical Society Auditoria Directory & Information
Coat Rooms
Hill Auditorium: Coat rooms arc located on the cast and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers arc 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 arc located at die
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater Drinking fountains are located in the
center of the main floor lobby.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on die
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditorial are available to groups by advance appointment only. Call 313.763.3100 for details.
VMSMember Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children We welcome children, but very young chil?dren can be disruptive to a performance. Children should be able to sit quiedy in their own seats through?out a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction Please turn off or suppress electronic beeping and chiming digital watches or pagers during performances.
Cameras and Recorders Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends A silent auditorium with an expec?tant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of pro?gram pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Ticket Services
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Fax Orders 313.747.1171
Visit Our Box Office in Person At Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
Gift Certificates Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
Returns If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduc?tion as refunds are not available. Please call 313.764.2538, 10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
Now in its 117th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as the Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affili?ated with the University of Michigan. Professor Frieze, who at one time served as acting president of the University, became the first president of the Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, the Choral Union refers not only to the chorus but the Musical Society's acclaimed ten-concert series in Hill Auditorium. Through the Chamber Arts Series, Choral Union Series, Jazz Directions, World Tour, and Moving Truths Series, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring die world's finest dance companies,
opera, theater, popular attractions, and presentations from diverse cultures. The University Musical Society has flourished these 117 years with the support of a generous musicand arts-loving community, which has gathered in Hill and Rackham Auditoria, Power Center, and The Michigan Theater to experience the artistry of such outstanding talents as Leonard Bernstein, the Berlin and Vienna Philharmonic Orchestras, Sweet Honey in the Rock, the Martha Graham Dance Company, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, The Stratford Festival, The Beaux Arts Trio, Cecilia Bartoli, and the Chicago Symphony Orchestra.
Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strength?ened through educational endeavors, commissioning of new works, programs for young people, artists' residencies such as the Martha Graham Centenary Festival and the Society Bank Cleveland Orchestra Weekend, and through other collaborative projects.
While it is proudly affiliated with the University of Michigan, is housed on the Ann Arbor campus, and collaborates regularly with many University units, the Musical Society is a separate, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
The University Musical Society Choral Union has performed throughout its 117-year history with many of the world's distinguished orches?tras and conductors.
In recent years, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society of the University of Michigan the 180-voice Choral Union remains best known for its annual performances of Handel's Messiah each December. Two years ago, the Choral Union further enriched that tradition through its appointment as resident large chorus of the Detroit Symphony Orchestra. In January 1994 the Choral Union collaborated with Maestro Jarvi and the DSO in the chorus' first major commercial recording, Tchaikovsky's Snow Maiden, released by Chandos Records in October of that year. Last season, the ensemble joined forces with the DSO for subscrip?tion performances of Ravel's Daphnis el Chloe and Mahler's Symphony No. 2 (Resurrection). In 1995, the Choral Union established an artistic association with the Toledo Symphony, inaugurating the new partnership with a performance of Britten's War Requiem under the baton of Andrew Massey. This season, 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.
Currently, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Rackham Auditorium
For over 50 years, this intimate and unique con?cert hall has been the setting for hundreds of world-acclaimed chamber music ensembles pre?sented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and pre?sented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
POWER CENTER for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation--Marcel Marceau.
The fall of 1991 marked the twentieth anniver?sary of the Power Center. The Power Family-Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip-contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,380 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS hosted its annual week-long theater resi?dency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20, 1994.
In October 1994, UMS, the Martha Graham Dance Company, and ten institutional partners hosted
"In the American Grain: The Martha Graham Centenary Festival" commemorating the 100th anniversary of Martha Graham's birth. The Power Center was the site of open rehearsals, exhibits, workshops, and performances, including the 50th anniversary celebration of the premiere of the Martha GrahamAaron Copland collaboration Appalachian Spring (Ballet for Martha).
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.
O'er the years, the Theater has undergone many changes. "Talkies" replaced silent films just one year after the Theater opened, and vaudeville soon disap?peared from the stage. As Theater attendance dwindled in tile '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 1 gso, Edward Cardinal Mooney appointed Father Leon Kennedy pastor of a new parish in Ann Arbor. Sunday Masses were first celebrated at Pittsfield School until the first building was ready on Easter Sunday, 1951. The parish num?bered 248 families. Ground was broken in 1967 to build a permanent church building, and on March 19, 1969, John Cardinal Dearden dedicated the new St. Francis of Assisi Church. In June of 1987, Father Charles E. Irvin was appointed pastor.
Today, St. Francis of Assisi Catholic Church is composed of 2,800 families. The present church seats 800 people and has ample free parking. Since 1987 Janelle O'Malley has served as Music Director of St. Francis. Through dedication, a commitment to superb liturgical music and a vision into die future, the parish improved die acoustics of die 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 iggi. As a result, the UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donated labor, materials, and funds to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live per?formance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 a-m-
University Musical Society 1996 Winter Season
St. Louis Symphony Leonard Slatkin, conductor Linda Hohenfeld, soprano
Thursday, January 18, 8pm Hill Auditorium
Philips Educational Presentation: Sttvrn Moore Whiting, Assistant Professor of Musicotogy, "Classics Reheard", fint in a series in which Professor Whiting discusses the con?cert repertoire, Michigan League, 7pm.
St. Petersburg Philharmonic Yuri Temirkanov, conductor Pamela Frank, violin
Friday, January 26, 8pm Hill Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", second in a series in which Professor Whiting discusses the con?cert repertoire, Michigan league, 7pm.
Made possible by a gift from Pepper, Hamilton 6 Scheetz.
The Guthrie Theater of Minneapolis
January 27-28, 1996 k. (Impressions from Kafka's The THal)
Saturday, January 27, 8pm Sunday, January 28, 2pm Power Center Harold Pinter's Old Times Sunday, January 28, 7pm Power Center Philips Educational Ihesentations: Following each performance by the Guthrie Theater, members of the com?pany, along with Guthrie Education Coordinator Sheila Livingston and Guthrie Study Guide Editor Belinda Westmaas Jones, will join distinguished University of Michigan professors, indicated below, for panel discussions: Saturday, January 27 Joe Dowting, Artistic Director of the Guthrie Theater, "The Guthrie and Trends in Theater", 3rd Floor Michigan league, Koessler Library, 7pm. Saturday, January 27 {following the Spm performance ofk.) Post-Performance Panel Discussion on stage with Ingo Sadler, UM Professor of German, and Fred Peters, UM Residential College CJtair of Comparative [Jterature. Sunday, January 28 (following the 2pm performanc ofk.) Post-Performance Panel Discussion, Power Center Green Room, with Professors Seidler and Peters (see above). Sunday, January 28 (follminng the
7pm performance ofOld Times) Post-Performance Panel Discussion on stage, with Martin Walsh, UM Residential College Lecturer in Drama and Head of Drama Constitution, and Enoch Brater, UM Professor of English Language and Literature and Professor of Theater. The Guthrie Theater tour is sponsored by AT&T. Special support and assis?tance are provided by the National Endowment for the Arts, Arts Midwest, and Mid-America Arts Alliance.
Wynton Marsalis Lincoln Center Jazz Orchestra Octet Jazz at Lincoln Center Presents, "Morton, Monk,
Wednesday, January 31, 8pm
Michigan Theater
The UMSJazz Directions Series is pre?sented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University. Made possible by a gift from Thomas B. McMullen Company.
Feel the Spirit An Evening
of Gospel Music
The Blind Boys of Alabama
featuring Clarence Fountain,
The Soul Stirrers, and Inez
Thursday, February 1, 8pm
Hill Auditorium
The King's Singers Saturday, February 3, 8pm Hill Auditorium
Made possible by a gift from First of America.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Recital V)
Sunday, February 4, 4pm Rackham Auditorium
Philips Educational Presentation: Garrick Ohlsson, "Chopin In Our Time', Saturday, February 3, Rodham 4th Floor Assembly Hall, 4pm. Made possible by a gift from Regency Travel, Inc.
Boston Symphony Orchestra Seiji Ozawa, conductor
Wednesday, February 7, 8pm Hill Auditorium
Philips Educational Presentation: "The BSO: All the Questions You 've Ever Wanted to Ask", an interview and audience Q & A with: Leone Buyse, UM Professor of Flute and Former Principal Flute, BSO; Daniel Gustin, Manager of Tangtewood; Lois Schaefer, Emeritus Piccolo Principal, BSO; and Owen Young, Cellist, BSO; Michigan League, 7pm. Made possible by a gift from Fisher Scientific International.
Latin Jazz Summit featuring Tito Puente, Arturo Sandoval, and Jerry Gonzalez and The Fort Apache Band
Saturday, February 10, 8pm Hill Auditorium Philips Educational Presentation: Dr. Alberto Nadf, Percussionist and VEMURadio Host, "A 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.Realtors.
Saturday, February 17, 8pm Sunday, February 18, 4pm Power Center
Made possible by a gift from Regency Travel, Inc.
New York City Opera National Company Verdi's La TYaviata Wednesday, February 21, 8pm Thursday, February 22, 8pm Friday, February 23, 8pm Saturday, February 24, 2pm
(Family Show) Saturday, February 24, 8pm Power Center Philips Educational Presentations: February 21 Helen Siedel, UMS Education Specialist, "Know Before You Go: An AudioVisual Introduction to 'Im Traviata", Michigan League, 6:45pm; February 23 ? Martin Katz, Accompanist-Coach-Condutor, "The Specific Traviata", Michigan League, 7pm; February 24 Helen Siedel, UMS Education Specialist, "Especially for Kids The Story of Im Traviata", explained with music and videos. Green Room, l:15-l:45pm, Power Center; Made possible by a gift from TriMas Corporation.
The Music of Hildegard von
Sunday, February 25, 7pm St. Francis of Assist Catholic Church
Philips Educational Presentation: James M. Borders, Associate Professor of Musicology, "Medieval Music for a Modern Age", St. Francis of Assisi Church, 6pm.
Tokyo String Quartet Pinchas Zukerman, violinviola
Monday, February 26, 8pm Rackham Auditorium Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", third in a series in which Professor Whiting discusses the concert repertoire, Michigan League, 7pm. Made possible by a gift from KMD Fou ndation.
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 Leonard, Manager, SKR Classical, "Mahler in Love: the Fifth Symphony" Michigan league, 7pm. Made possible by a gift from McKinley Associates, Inc.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Grand Finale Recital VI)
Saturday, March 16, 8pm Hill Auditorium
Made possible by a gift from the Estate of William It. Kinney.
Ah in Ailey American Dance Theatre
Tuesday, March 19, 7pm
(Family Show) Wednesday, March 20, 8pm Thursday, March 21, 8pm Friday, March 22, 8pm Power Center Philips Educational Presentations: Robin Wilson, Assistant Professor of Dance, University of Michigan, The Essential Alvin Ailey: His Emergence and Legacy as an African American Artist", March 20, Michigan League, Koessler IJbrary, 7pm. Dr. Ijjrna McDaniel, Associate Professor of Music, University of Michigan, "The Musical Influences ofAtvin Ailey', March 21, Michigan
league, Koessler Library, 7pm. Christopher Zunner, Alvin Alley Company Manager, and Company Member, "The Alvin Ailey American Dance Theater", March 22, Michigan League, Koessler Ubrary, 7pm. This project is supported by Arts Midwest members and friends in partnership with Dance on Tour.
Borodin String Quartet Ludmilla Berlinskaya, piano Friday, March 22, 8pm Rackham Auditorium
Made possible by a gift from The Edward Surovell Co.ReaUors.
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 gifi from Great Iuikes 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 ran... ": English Sacred Music in the Renaissance, St. Francis of Assisi Catholic Church, 7pm.
Ravi Shankar, sitar Saturday, April 13, 8pm Rackham Auditorium Philips Educational Presentation: Rajan Sachdeva, Sitar Artist and Director, Institute of Indian Music, "A LectureDemonstration of Indian Classical Music on Sitar", Michigan League, 6:30pm.
Israel Philharmonic
Zubin Mehta, conductor
Thursday, April 18, 8pm Hill Auditorium
Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", fourth in a series in which Professor Whiting discusses the concert repertoire, Michigan league, 7pm. Made possible by a gift from Dr. John Psawuthakis, the Paiedeia Foundation, andfPEinc.
Purcell's Dido and .1 tints
Mark Morris Dance Group
Boston Baroque Orchestra
and Chorus
Martin Pearlman, conductor
with Jennifer Lane, James
Maddalena, Christine
Brandes and Dana Hanchard
April 19-20, 8pm
Sunday, April 21, 4pm
Michigan Theater
Philips Educational Presentation:
SUven Moore Whiting, Assistant
Professor of Musicology, University of
Michigan, "Classics Reheard", fifth
in a series in which Profesor Whiting
discusses the concert repertoire, SKR
Classical, 7pm,
This project is supported by Arts
Midwest members and friends in
partnership with Dance on Tour.
Ensemble Modern John Adams, conductor featuring the music of John Adams and Frank Zappa Tuesday, April 23, 8pm Rackham Auditorium
Philips Educational Presentation: James M. Borders, Associate Professor of Musicology, "The Best Instrumental Music You Never Heard In Your IJfe", Michigan League, 7pm.
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society 1994-95 Season: dancer Arthur Aviles of the Bill T. JonesArnie Zane Dance Company in StillHere, pianist Garrick Ohlsson onstage at Rackham Auditorium for one installment of his six-recital cycle of the Complete Solo Piano Music of Frederic Chopin; the clarinets of Giora Feidman, featured in Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind, a work co:ommissioned by the University Musical Society which won first prize at this year's Kennedy Center Friedheim Awards.
of the University of Michigan 1996 Winter Season
Event Program Book
Thursday, April 18, 1996
Wednesday, April 24, 1996
11 jth Annual Choral Union Series Hill Auditorium
33rd Annual Chamber Arts Series Rackham Auditorium
25th Annual Choice Events Series
Israel Philharmonic Orchestra
Thursday, April 18, 1996, 8:00pm Hill Auditorium
Dido and Eneas by henry purcell i 2
Mark Morris Dance Group
Boston Baroque Orchestra and Chorus
Friday, April 19, 1996, 8:00pm Saturday, April 20, 1996, 8:00pm Sunday, April 21, 1996, 4:00pm The Michigan Theater
Ensemble Modern 25
Wednesday, April 24, 1996, 8:00pm
Hill Auditorium
(Please note change of date and venue.)
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 scats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starling Time
Every attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined 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 lake this opportunity to exit the "information superhighway" while you are enjoying a UMS eyent:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audito?rium and seat location and ask them to call University Security at 763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS per?formances included in this edition. Thank you for your help.
The Ford Honors Program
First Recipient of the
The University Musical Society invites
you to attend a special evening as we
honor legendary pianist Van Cliliiirn
with the University Musical Society
Distinguished Artist Award as part
of the first Ford Honors Program,
a new UMS tradition made possible
by the generous support of
Ford Motor Company.
The award recognizes an internationally
acclaimed artist who has a long?standing and significant relationship with the University Musical Society.
The evening will feature a special
Hill Auditorium recital by
Mr. Cliburn at 6:00pm in his first
Ann Arbor appearance in almost
a quarter-century.
Following the recital will be a
tribute to Mr. Cliburn involving film.
musical presentations, speeches,
and several surprise guests.
At 8:00pm, after the Hill Auditorium
event, there will be a dinner in Mr.
3ibum'a honor with entertainment and
dancing at the Rackham Building
(black tie optional). Space is limited.
For more information about the
Gala Dinner and Dance, please
call:! 13.936.6837.
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
The Israel
Zubin Mehta, conductor
Thursday Evening, April 18, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Richard Strauss
Don Quixote
Fantastic Variations on a Theme of Knightly Character, Op. 35
Marcel Bergman, cello Yuri Gandelsman, viola
Piotr Ilyich Tchaikovsky
Symphony No. 5 in e minor, Op. 64
Andante -Allegro con anima Andante cantabile con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso
Fifiy-seventh concert of the 117th season
117th Annual Choral Union Series
Special thanks to John Psarouthakis, Chairman and Chief Executive Officer, JPEinc. for helping to make this performance possible.
Thank you to Steven Moore Whiting, Assistant Professor of Musicology, University of Michigan, speaker for this evening's Philips Educational Presentation.
Large print programs are available upon request from an usher.
Don Quixote
Fantastic Variations on
a Theme of Knightly Character,
Op. 35 (1897)
Richard Strauss
Born June n, 1864 in Munich, Germany Died September 8, 1949 in Garmisch-Parlenkirchen, Germany
The Ingenious Gentleman Don Quixote de la Mancha ("El ingenioso hidalgo Don Quijote de la Mancha") by Miguel de Cervantes Saavedra, published in 1605, is widely regarded as the first modern novel. The hero is a fifty-year-old Spanish nobleman who, inspired by the reading of medieval stories about chivalry, sets out on a series of fantastic adventures. Identifying with the notions and the ideals of an obsolete world, he inevitably clashes with a reality that he refuses to acknowledge. Over the centuries, he became a symbol of a person to whom appearance is reality. His name gave rise to the English adjective "quixotic," meaning 'extravagantly chivalrous or romantic,' 'impractical,' or 'impulsive and often rashly unpredictable.'
Strauss was neither the first nor the last composer to write music on the Don Quixote theme. Purcell, Telemann, Mendelssohn, Rubinstein, Massenet and Falla are only some of the most important names (and we shouldn't omit Mitch Leigh's famous musical The Man of La Mancha). But it is probably fair to say that no musician has ever had a fuller understanding of the Knight of the Sorrowful Countenance or captured more facets of his personality than has Richard Strauss.
Don Quixote is also one of the tone poems that most directly anticipates the great operas that Strauss was to write. Strauss gave his score a markedly dramatic character by writ?ing a virtuosic part for solo cello that is
intended to personify the Don. (Occasionally, a solo violin shares in the honors.) The faithful squire Sancho Panza is represented by a solo viola, frequently assisted by bass clarinet and tenor tuba.
The tone poem consists of an introduc?tion, the presentation of the theme (actual?ly, as we shall see, several themes), ten varia?tions, and an epilogue (Strauss called it "finale"). Each variation is based on a given chapter in Cervantes's novel, but Strauss did not keep the original order of the episodes. Instead, by selecting the stories among many dozens in the book, he devised his own dra?matic sequence, in which combative episodes alternate with more reflective or lyrical ones.
The Introduction contains several of the work's main ideas, including the themes of Don Quixote and Dulcinea. These themes are woven together in a contrapuntal tex?ture of fabulous complexity, perhaps in an attempt to impress upon the audience the extent to which Don Quixote has been caught up in his fantasies. A final series of powerful orchestral chords, underscored by heavy drumstrokes, seems to indicate that he has in fact gone mad.
The solo cello and the solo violin now present Don Quixote's main theme in a graceful duo. A more jovial theme played by bass clarinet and tenor tuba and an (intentionally) long-winded viola solo serve as the "signature" of Sancho Panza (if this word can be applied to someone who can neither read nor write). Knight and squire are soon on their way. The windmills, which the Don takes for giants, are represented by a descending motif that clashes with the Don Quixote motif, and shatters it into pieces. But the Don bounces back and shows himself even more forceful than before: his motif begins in the major, rather than in the minor as earlier, and is played not by one but by three cellos (Variation 2). This warlike music leads right into one of the work's most famous tone-painting pas-
sages. The bleating of a herd of sheep, which the Don sees as a great army, is rendered by a series of extraordinary dissonances, played tremolo (with extremely quick repeats of the same tones) by the muted brass instruments.
Variation 3 is a dialogue between the Don and Sancho. At length, Don Quixote loses his patience with his gabbing squire, and gives him a lecture: the tempo slows down and the melody takes on a solemn tone (with frequent allusions to the beauti?ful Dulcinea). After this short respite, the Don throws himself back into combat: in Variation 4, a group of monks appears (chorale-like melody in the brass instru?ments). Our Knight engages in a fight and is almost immediately defeated, as his theme is once more fragmented and given a descending turn that doesn't stop until die lowest register of bass tuba and contrabas-soon has been reached.
Variation 5 is again more contemplation than action. A declamatory cello solo depicts Don Quixote musing about chivalry and Dulcinea. The latter thought sends him into the highest raptures, as we may hear from a short cadenza featuring a harp glis-sando, woodwind tremolos and scurrying string passages.
A lively pseudo-folksong, played by two oboes and accompanied by the tambourine, indicates the appearance of the peasant "Dulcinea" (Variation 6). Don Quixote's reaction is enlriistet (indignant), as die instruction to the solo cellist says. Then Sancho pays his respects to the puzzled young girl.
Variation 7 depicts the fantastic flight, where Don Quixote is tricked into believing he is actually flying through the air. This passage contains a humorous allusion to the "Ride of the Valkyries" from Wagner's Die Walkiire. The effect of die passage is enhanced by the wind machine and the persistent D pedal in the double basses, increasing and decreasing in volume.
In Variation 8, the Don and his faithful squire take a journey by boat (some commen?tators detected another reference to Wagner here, this time to the opening to Das Rheingold). The play of the waves is expressed by a lush polyphony of divided strings, sudden?ly interrupted by a few dry string pizzicatos (plucked notes): the boat is shattered by some great mill-wheels, and our heroes find themselves in the water, to be rescued by some friendly millers.
In the short Variation 9, the Don, rep?resented by a "fast and stormy" string pas?sage, encounters a pair of peaceful monks (a leisurely duo of bassoons) and, without any further ado, scares them away.
In Variation 10, a gendeman from Don Quixote's own village shows up, disguised as a knight. Since there seems to be no odier way to cure die Don of his folly, the gentle?man challenges his countryman to a duel. The Don is defeated, and has to accept the conditions imposed by die victor, who orders him to return home and lead a peaceful life. The warlike sounds of the duel soon give way to a calm and soft music, as Don Quixote embraces the quiet life of a shepherd. In the Finale, we hear a tender variant of the Don Quixote theme, but the old man is not destined to enjoy pastoral life for very long. In a passage somewhat reminiscent of Death and Transfiguration, Don Quixote breathes his last, and the work fades away to silence.
Symphony No. 5 in e minor, Op.64
Piotrllyich Tchaikovsky
Born May 7, 1840 in Votkinsk,
Viatka district, Russia Died November 6, 1893 in St. Petersburg, Russia
Despite his growing international fame, Tchaikovsky was constantly plagued by self-doubt. Early in 1888, he went on a three-
month European tour, conducting his own works with some of the world's finest orches?tras, was feted in Leipzig, Paris, London, and Prague, and made the acquaintance of Dvorak, Grieg, and Mahler. Yet his private life was not free from turmoil. He had recently lost one of his closest friends, Nikolai Kondratyev, and his sister Alexandra and his niece Vera were both seriously ill. It must have been hard to escape the thought that life was a constant struggle against Fate, a hostile force attempting to thwart all human endeavors.
After his return from abroad, Tchaikovsky decided to write a new symphony, his first in ten years. Characteristically, the first sketches of the new work, made on April 15, 1888, included a verbal program portraying the individual's reactions in the face of.immutable destiny, involving stages of resignation, chal?lenge, and triumph:
Introduction. Complete resignation before Fate, or, which is the same, before the inscrutable predestination of Providence. Allegro. (1) Murmurs of doubt, complaints, reproaches against XXX. (2) Shall I throw myself in the embraces of faith A wonder?ful program, if only it can be carried out.
Tchaikovsky never made this program public, however, and in one of his letters even went out of his way to stress that the symphony had no program. Clearly, the program was an intensely personal matter to him, in part because he was reluctant openly to acknowl?edge his homosexuality, which seemed to him one of the hardest manifestations of the Fate he was grappling with. Many people believe this is what the mysterious "xxx" in the sketch stands for. (In his diaries, Tchaikovsky often referred to his homosexu?ality as "Z"or "That.")
What, if anything, are we to make of all this Should we listen to Tchaikovsky's Fifth as a program symphony And anyway, how
concerned should we be about thoughts the composer never wanted to divulge, especially those regarding his sexual orientation
It is certain that the "program" had a deep influence on Tchaikovsky's thinking during the gestation period of the Fifth; without it, the symphony would not be what it is (in particular, the opening theme -the "Fate theme" -wouldn't return so ominous?ly in all four movements). At the same time, the "program" in itself is insufficient to explain the finished work as the "meaning" of many other themes is by no means always clear. Moreover, Tchaikovsky had already written a "Fate" symphony in his Fourth, for which a more detailed program survives. The similarities of the two programs do little to explain the great differences between the two works. (The program of the Fourth is problematic in itself: no sooner had Tchaikovsky written it down in a letter to Mme. von Meek than he found it hopelessly "confused and incomplete... ") As for the last question: while we obviously shouldn't be too preoccupied with a composer's most private thoughts and feelings, in Tchaikovsky's case we can't completely ignore them, since there is ample evidence to suggest that he was both unable and unwilling to separate his extra-musical preoccupations from his composing. (This is not necessarily true of other composers.)
The four movements of Tchaikovsky's Fifth are linked by a common theme, usually played by the brass instruments and appar?ently symbolizing the threatening power of Fate. English musicologist Gerald Abraham noted that this theme was taken almost liter?ally from an aria in Glinka's opera Zhizn' za tsarya (A Life for the Tsar), in which it was sung to the words "Ne svodi na gore" (Do not turn to sorrow). The theme is heard in the "Andante" introduction of the first
movement, soon to be followed by a more lyrical, lilting idea as we move into the faster "Allegro con anima" tempo. (The accompa?niment of the "fate" motif, however, remains present as a stern reminder.) The entire movement swings back and forth between lyrical and dramatic moments. We would expect it to end with the final fortissimo climax. Instead, the volume gradually decreases to a whisper. The mysterious last measures are scored for the lowest-pitched instruments in the orchestra: bassoons, cellos, double basses, and timpani.
The second movement is lyrical and dream-like, suggesting a brief respite from the struggle. The first horn plays a beautiful singing melody, eventually joined by the full orchestra. A second idea, in a slightly faster tempo, is introduced by the clarinet. Soon, however, an intense crescendo begins that culminates in the fortissimo entrance the Fate theme. The first theme returns, again inter?rupted by Fate; only after this second dramatic outburst does the music finally find its long-desired rest.
The third movement is a graceful waltz with a slightly more agitated middle section. Again we expect a respite from the fate theme and the emotional drama it represents. Yet before the movement is over, there is a short reminder, subdued yet impossible to ignore, on the clarinets and bassoons.
In the finale, Tchaikovsky seems to have taken the bull by the horns: the fate theme dominates the entire movement, despite the presence of a number of contrasting themes. At the end of a grandiose development, the music comes to a halt on the dominant (the fifth degree of the scale that serves as the opposite pole to the tonic, i.e. the keynote). There have been performances where some people mistakenly thought that the piece was over and started applauding. The final resolution, however, is yet to come, in the form of a majestic reappearance of the Fate theme and a short "Presto" where all
"doubts, complaints and reproaches" are cast aside and, against all odds, the symphony receives the triumphant ending it needed.
Notes by Peter Laki, program annotalor for The Cleveland Orchestra.
The Israel Philharmonic Orchestra was founded in 1936 by the famed Polish violinist Bronislaw Huberman. The estab?lishment of the Orchestra created a focus of musical activity in Palestine and affirmed the impor?tance of musical culture in a land that still faced years of danger and uncertainty before its establishment as an independent state. In December 1936 the inaugural concert of the Palestine Orchestra, as the ensemble was then called, was conducted by the legendary Arturo Toscanini, himself an impassioned spokesman for freedom. He led "an orches?tra of soloists" -first-chair musicians in German and Eastern European orchestras who had lost their positions and were recruited by Huberman to join the new ensemble. With Israel's independence in 1948, the orchestra was renamed the Israel Philharmonic Orchestra (ipo).
Since those early days, the Israel Philhar?monic has continued to maintain its central role in the nation's cultural life, even, or perhaps especially in times of national crisis. During the 1973 Yom Kippur War, for exam?ple, there was a concert every night. The Orchestra gives more than 150 concerts each year in Israel, where fourteen different concert series are presented in Tel Aviv, Jerusalem, Haifa and other cities. In addition to performing in the major urban centers, the Israel Philharmonic appears in rural areas of the country and honors its traditional prac-
tice of giving free concerts for the armed forces.
The ipo has also traveled extensively abroad as an ambassador for Israel, begin?ning in 1937 with a trip to Egypt. Since first appearing in the United States in 1951, the Orchestra has toured the country many times, including a 1993 tour of summer music festivals such as Tanglewood, Ravinia, Saratoga and the Hollywood Bowl. The ipo has performed in many European countries as well, making a highly successful tour three years ago of such prestigious music festivals as Salzburg, Berlin and Lucerne. In December 1994, the Orchestra made a tour of Asia that included Japan, India (their first per?formance in Mr. Mehta's native country under his direction) and China, where they appeared for the first time. They received an especially enthusiastic welcome in Mr. Mehta's home city of Bombay, where their concert was televised live and seen by the largest audience ever to watch a performance of Western classical music in India -over 200 million people.
The Israel Philharmonic regularly records for the Sony Classical, Teldec, emi and Deutsche Grammophon labels. Their recordings with Music Director Zubin Mehta for Sony Classical include the four Brahms symphonies; a joint, live recording with members of the Berlin Philharmonic of Beethoven's Fifth Symphony and Psalm by Ben-Haim; symphonies by Bruckner and Mahler; the Sibelius Violin Concerto and Bruch's Scottish Fantasy with Midori as soloist; the Prokofiev Piano Concertos Nos. 2 and 4 with Yefim Bronfman; and music of Tchaikovsky, Sibelius, Mozart, Liszt and Rimsky-Korsakov. With Itzhak Perlman, they have recorded violin concertos by Bruch, Glazunov, Khachaturian, Shostakovich and Tchaikovsky for AngelEMI. Future recording projects include a complete Mahler symphony cycle for Teldec, beginning with the sym?phonies Nos. 2, 6 and 8.
Throughout its distinguished history the ipo has collaborated with many of this cen?tury's greatest conductors, including Claudio Abbado, Sir John Barbirolli, Leonard Bernstein, Serge Koussevitzky, Kurt Masur, Zubin Mehta, Dimitri Mitropoulos, Pierre Monteaux, Eugene Ormandy, Paul Paray and Klaus Tennstedt. Its equally prestigious roster of soloists includes, among others, pianists Claudio Arrau, Vladimir Ashkenazy, Daniel Barenboim, Rada Lupu, Murray Perahia, Arthur Rubinstein and Rudolf Serkin; violinists Jascha Heifetz, Yehudi Menuhin, Shlomo Mintz, Itzhak Perlman, Isaac Stern and Pinchas Zukerman; cellists Pablo Casals, Jacqueline Du Pre, Yo-Yo Ma, Gregor Piatigorsky and Mstislav Rostropovich; flutist Jean-Pierre Rampal and singers Monserrat Caballe, Placido Domingo, Sherrill Milnes, Luciano Pavarotti, Roberta Peters, Leontyne Price, Beverly Sills and Richard Tucker.
Zubin Mehta was appointed Music Director of the Israel Philharmonic in 1969 and his appointment was extended for life in 1981. The late Leonard Bernstein, who maintained close ties with the ipo from the time of his debut in 1947, and whose influence is still felt today, was named Laureate Conductor in 1988. In 1992, the Orchestra appointed Kurt Masur Honorary Guest Conductor.
The Israel Philharmonic continues to uphold its historical commitment to absorb?ing new immigrants and to serving as a gath?ering point for Jewish musicians from all over the world. While more than half of the Orchestra's current members are native-born Israelis who are largely trained here, its ranks include many musicians who have emigrated from the United States and Eastern Europe, including over twenty-five new arrivals from the former Soviet Union, who have joined the ensemble in recent years.
The ipo has incorporated in its mission the nurturing and development of young musicians, and is committed to providing
opportunities for gifted artists. This is achieved through the Orchestra's scholarship programs, its support of the Young Israel Philharmonic Orchestra, its presentation of an annual Young Artists Concert, and its creation of the opportunity for young musi?cians to appear with it in an annual 'The Maestro and His Young Guests" youth con?cert. The Orchestra regularly commissions new works which are presented both in Israel and abroad, and maintains an active educational program to foster the growth of future audiences.
America has played a vital role in creating, as well as sustaining, the Israel Philharmonic Orchestra, recogniz?ing the importance of the Orchestra's role in Israel and through?out the world. American Friends of the Israel Philharmonic Orchestra is a national
organization committed to supporting the Orchestra through an endowment that enables the ipo to maintain its high musical standards, to undertake foreign tours, and to enhance its educational programs and opportunities for young artists. The organi?zation was established in 1980 by the joint vision of Fredric Mann and Zubin Mehta. Mr. Mehta serves as Co-Chairman of the American Friends with Itzhak Perlman.
This evening's performance marks the Israel Philharmonic's fifth appearance under UMS auspices.
ne of the leading W k orchestral and oper-
m A .UK conductors on
I the international
B m scene, Zubin Mehta
L W has been closely asso-
ciated with the Israel Philharmonic Orchestra for more than three decades. He was appointed the Orchestra's Music Director in 1969, an appointment that in 1981 was extended for life. Mr. Mehta's concerts, recordings and tours on five continents with the Israel Philharmonic have resulted in more than 1600 performances.
Mr. Mehta first conducted the Israel Philharmonic in 1961, when both he and the Orchestra were twenty-five years old, and the bond established at that time has grown into what Mr. Mehta has called a "lasting marriage." His passionate allegiance to the Orchestra stems from his loyalty to the land of Israel and the kinship he feels with the Jewish people, because he shares the devotion to music that has always been an integral part of their spirit and tradition.
At times of war and crisis in Israel's history, Mr. Mehta has often canceled other obligations to be with the Orchestra in Israel. He has conducted concerts for soldiers at the front lines, and performed as well at national events such as the concert on Massada in October ig88, when he led Mahler's "Resurrection" Symphony. Apart from trav?eling the world over, Mr. Mehta has also taken the ipo on memorable, emotional tours of Russia, Hungary and Poland, and, most recently, led the Orchestra on a tour of China and India. He considers his foreign tours with the Israel Philharmonic opportu?nities for presenting the essential qualities of Israel and the Jewish people to the public.
Zubin Mehta is a highly sought-after guest conductor with major orchestras and opera companies worldwide. During the current season, his engagements include
Zubin Mehta
performances with the Vienna, London, Berlin, Munich and Los Angeles Philhar?monic Orchestras. He leads Wagner's Siegfried at the Lyric Opera of Chicago as part of his ongoing, four-year "Ring" cycle with that company, and also conducts Aida at the Berlin Opera and Tristan und Isolde at the Vienna Staatsoper, where next season he will lead Jerusalem. Mr. Mehta currendy holds the post of Music Advisor and Chief Conductor of the Maggio Musicale Fiorenrino, where he recently completed a cycle of Mozart operas. His extensive discography with major orchestras includes recordings with the Israel Philharmonic on the Deutsche Grammophon, AngelEMI, Sony Classical and Teldec labels.
Born in Bombay, India, Zubin Mehta, a member of the Parsi community, inherited his obsession for music from his fadier, Mehli Mehta, a violinist who founded the Bombay Symphony and is now music director of die American Youdi Orchestra in Los Angeles. Zubin Mehta became an assistant of his father's ensemble at fifteen, memorized scores, and dreamed of a conducting career, but he was sent to the university as a pre-medical student. He soon abandoned these studies in favor of a life in music, however, and entere'd Vienna's prestigious Academy of Music at the age of eighteen. By die time he was twenty-five, he had led both die Berlin and Vienna Philharmonic Orchestras. He has conducted both of these ensembles every season since Uien. Mr. Mehta served as Music Director of die Montreal Symphony (1961-1967) and of the Los Angeles Philharmonic (1962-1978).
Zubin Mehta held die post of Music Director of the New York Philharmonic from 1978 to 1991, the longest tenure in that orchestra's modern history. Highlights of his thirteen seasons in new York included major internadonal tours to Latin America, Europe, Asia and the Soviet Union, where in 1988 he led the New York Philharmonic in
a joint concert in Moscow with the State Symphony Orchestra of the Soviet Ministry of Culture; the establishment of regular con?certs by the New York Philharmonic Chamber Ensembles; the expansion of the orchestra's activities in the New York com?munity; and three concerts in May 1991 cel?ebrating the hundredth anniversary of Carnegie Hall.
Since leaving the New York Philharmonic, Mr. Mehta has put greater emphasis on conducting opera. His July 1992 performance of Tosca on location in Rome with Placido Domingo was telecast live in forty-five countries, and a second pro?duction of this opera, with Luciano Pavarotti, opened the season of the Royal Opera, Convent Garden, a few months later. That same year, Mr. Mehta led the Israel Philharmonic in a concert performance of Aida.
Zubin Mehta's numerous honors include the Nikisch Ring, bequeathed to him by Karl Bohm; the Vienna Philharmonic Ring of Honor, commemorating the twenty-fifth anniversary of his debut with that orchestra; and the Hans von Billow medal, bestowed on him by the Berlin Philharmonic. He is also the recipient of India's prestigious "Order of the Lotus" and honorary doctorates from the Hebrew University in Jerusalem, Tel Aviv University and the Weizmann Institute. In addition he has received the Defender of Jerusalem Award, is an Honorary Citizen of the City of Tel Aviv, and is the only non-Israeli ever to receive the Israel prize. Hebrew University also named a wing of its Musicology Department after Mr. Mehta and his father.
This evening's performance marks Maestro Mehta's seventh appearance under UMS auspices.
Israel Philharmonic Orchestra
Zubin Mehta, Music Director
The Music Director's position is endowed by the William Petschek Family
Leonard Bernstein, Laureate Conductor (ig Kurt Masur, Honorary Guest Conductor
Violin I
Menahem Breuer Lazar Shustcr X Yigal Tuneh
Concerlmastm Saida Bar-Lev Marina Dorman Raphael Frankel Cenadi Gurevich Rodica Iosub X Rimma Kaminkovsky Zinovi Kaplan Robert Mozes Ron Porath Anna Rosnovsky Alexander Stark Alon Weber Drorit Valk Paya Yussim Nitai Zori t
Violin II
Elyakum Salzman Yitzhak Geras Amnon Valk Shimeon Abalovitch Emanuel Aronovich Alexander Dobrinsky Elimeleh Edelstein Eliezer Gantman Shmuel Glaziris Adelina Grodsky Elizabeth Krupnick Kalman Ievin Yorma Livne Alesander Povololzky Avital Steincr Olga Stern
Yuri Gandelsman Miriam Hartman ? Avraham Levetal Michael Appelman Rachel Karn Wival Kaminkovsky Abraham Rosenblit Roman Spitzer Aharon Yaron
Michael Haran Marcel Bergman Shulamit Lorrain Alia Yampolsky Yoram Alperin David Barnea Naomi Enoch Dmitri Golderman Baruch Gross Alexander Kaganovsky Enrique Mali Felix Nemirovsky
Teddy Kling Peter Marck Yevgeny Shatzky Ruth Amir Brad Annis Eli Magen Talia Mense-Kling Dmitri Krotkov Michael Nitzberg Gabriel Vole
Uri Shoham Yossi Arnheim Bczalel Aviram Leor Eitan
Leor Eitan
Bruce Weinstein Evan Thee Merrill Greenberg Tamar Narkiss-Melzer Hermann Openstein
English Horn Hermann Openstein
Richard lesser Yaakov Barnea Rashelly Davis Israel Zohar
Piccolo Clarinet Yaakov Barnea Rashelly Davis
Bassoon Zeev Dorman Uzi Shalev Walter Meroz Carol Patterson
Carol Patterson
Yaacov Mishori James Cox David Doten Dalit Gvirtzer Anatol Krupnik Sally Ben-Moshe Yossef Rabin Shelomo Shohat Michael Slatkin
Trumpet Andrew Ballo Rarn Oren Ilan Eshed Raphael Glaser Yigal Meltzer
Ray Parnes Stewart Taylor Yehoshua Pasternak Micha Davis Eran Levi "f
Bass Trombone
Mattityahu Grabler Micha Davis
Shemuel Hershko
Timpani Gideon Steiner Alon Bor
Alon Bor Gabi Hcrshkovich Ayal Rafiah Eitan Shapiro
Judith Liber
Canada Concertmaster
Associate Principal
Assistant Principal
X on Leave or sabbatical
f Guest Player
Marilyn Steiner,
Chief Librarian Dana Schlanger, Librarian Uzi Seltzer, Stage Manager Yaakov Kaufman,
Technical Assistant
Israel Philharmonic Orchestra Management
Zvi Litwak, Chairman Zeev Dorman Yaacov Mishori Avi Shoshani,
Secretary General Avigdor Levin,
Chief Business Officer Mendi Rodan,
Associate Conductor
ICM Artists Touring Division
Byron Gustafson,
Senior Vice President
and Director Leonard Stein,
General Manager Richmond Davis,
Stage Manager
Dido and Eneas
by Henry Purcell Libretto by Nahum Tate
Mark Morris Dance Group
Joe Bowie Charlton Boyd Ruth Davidson Tina Fehlandt Shawn Gannon
Artistic Director Mark Morris
General Director Barry Alterman
Dan Joyce Victoria Lundell Marianne Moore Rachel Murray June Omura
Managing Director Nancy Umanoff
Kraig Patterson Mireille Radwan-Dana Guillernio Resto William Wagner Megan Williams Julie Worden
Boston Baroque Orchestra and Chorus
Martin Pearlman, music director
Friday Evening, April 19, 1996 at 8:00
Saturday Evening, April 20, 1996 at 8:00
Sunday Afternoon, April 21, 1996 at 4:00
The Michigan Theater Ann Arbor, Michigan
Staged and Choreographed by Mark Morris Conducted by Martin Pearlman Set Designer Robert Bordo Lighting Designer James F. Ingalls Costume Designer Christine Van Loon
Second Woman
Sorceress Witches
Sailor Spirit
Ruth Davidson Mark Morris Rachel Murray Guillermo Resto Mark Morris Tina Fehlandt William Wagner Kraig Patterson
Vocal Soloist Dana Hanchard, soprano Jennifer Lane, mezzo-soprano Christine Brandes, soprano James Maddalena, baritone Jennifer Lane, mezzo-soprano Dana Hanchard, soprano Christine Brandes, soprano James Maddalena, baritone Christine Brandes, soprano
Courtiers, Witches, Joe Bowie, Charlton Boyd, Ruth Davidson, Spirits, Sailors, Tina Fehlandt, Rachel Murray, June Omura, Conscience Kraig Patterson, Mireille Radwan-Dana,
William Wagner, Megan Williams
This performance is without intermission.
Thank you to Steven Moore Wliiting, Assistant Professor of Mtisicology, University of Michigan, speaker for Friday evening's Philips Educational Presentation.
Thank you to Thomas dul, Instrument Builder, Smith Creek, Michigan, for the harpsichord used in these performances.
Fifty-eighth, fifty-ninth and sixtieth concerts of the 11 jlh season
11 ylh Annual
Choral Union Series
25th Annual Choice Events
Major support for the Mark Morris Dance Group is provided by the Andrew W. Mellon Foundation and the Lila Wallace Theater Fund.
The Mark Morris Dance Group's performances are presented with the support of the National Endowment for the Arts Dance Program and the New York State Council on the Arts.
Additional funding has been received from the AT&T Foundation, Mary Flagler Cary Charitable Trust, Consolidated Edison, Cowles Charitable Trust, Dance Ink, Dover Fund, Eleanor Naylor Dana Charitable Trust, The Fan Fox and Leslie R. Samuels Foundation Inc., Fund for U.S. Artists, Howard Gilman Foundation, Harkness Foundations for Dance, Sydney & Francis Lewis Foundation, Meet the Composer, Andrew W. Mellon Foundation, Joyce Mertz-Gilmore Foundation, National Dance Residency Program a grant program underwritten by The Pew Charitable Trusts and administered at The New York Foundation for the Arts, Philip Morris Companies Inc., The Shubert Foundation, Inc., Lila Wallace-Reader's Digest Fund and the Friends of the Mark Morris Dance Group.
The Mark Morris Dance Group receives additional support from Bankers Trust Foundation, Philip Morris Companies Inc., Times Mirror and Time Warner through employee matching contributions programs.
Large print programs are available upon request from an usher.
Dido and jEneas
Henry Purcell Born 1659 in London Died November 21,1695 in Dean's Yard, Westminster
Libretto by Nahum Tate Date of composition: 1689
Henry Purcell was born in 1659 and died in Westminster in 1695. He was a cho?rister in the Chapel Royal until his voice broke in 1673, an ne was tnen made assis?tant to John Hingeston, whom he succeeded as organ maker and keeper of the king's instruments in 1683. In 1677 he was appoint?ed composer-in-ordinary for the king's violins and in 1679 succeeded his teacher, Blow, as organist of Westminster Abbey. It was proba?bly in 1680 or 1681 that he married. From that time he began writing music for the theater. In 1682 he was appointed an organ?ist of die Chapel Royal. His court appoint?ments were renewed by James II in 1685 and by William III in 1689, and on each occasion he had the duty of providing a sec?ond organ for the coronation. The last royal occasion for which he provided music was Queen Mary's funeral in 1695. Before the year ended Purcell himself was dead. He was buried in Westminster Abbey on November 26, 1695.
Purcell was one of the greatest com?posers of the Baroque period and one of the greatest of all English composers. His earliest surviving works date from 1680 but already show a complete command of the craft of composition. They included the fan?tasias for viols, masterpieces of contrapuntal writing in the old style, and some at least of the more modern sonatas for violins, which reveal some acquaintance with Italian mod?els. In time Purcell became increasingly in demand as a composer, and his theater music in particular made his name familiar to many who knew nothing of his church
music or the odes and welcome songs he wrote for the court. Much of the theater music consists of songs and instrumental pieces for spoken plays, but during the last five years of his life Purcell collaborated on five "semi-operas" in which the music has a large share, with divertissements, songs, choral numbers and dances. His only true opera (i.e. with music throughout) was Dido and Eneas, written for a girls' school at Chelsea; despite the limitations of Nahum Tate's libretto it is among the finest of sev5 enteenth-century operas.
Dramatic music includes Dido and Eneas (1689) and semi-operas: Diocksian (1690); King Arthur (1691); The Fairy Queen (1692); The Indian Queen (1695); The Tempest (c. 1695); and songs and incidental music for over forty plays. Sacred music: sixty-five anthems. Other vocal music: twenty-four odes and welcome songs, court songs. Instrumental music: thirteen fantasias for viols, two in nomines for viols, Chacony, twenty-two sonatas, eight suites, five organ voluntaries.
Scene 1. The Palace
The Trojan war is over. Eneas and his people have found themselves in Carthage after a treacherous sea voyage. His destiny, as decreed by the Gods, is to found Rome, but he has become obsessed with Dido, Queen of Carthage. Her sister and confidante, Belinda, and other optimistic courtiers urge her to enjoy her good fortune, but the young widow Dido is anxious. Eneas arrives to ask the Queen, again, to give herself to him. Belinda notices, with relief, that Dido seems to be capitulating. Dido and yEneas leave together. Love triumphs.
Scene 2. The Cave
The evil Sorceress summons her colleagues to make big trouble in Carthage. Dido must
be destroyed before sunset. Knowing of .(Eneas' destiny to sail to Italy, the Sorceress decides to send a Spirit disguised as Mercury to tell him he must depart immediately. Since Dido and .(Eneas and the rest are out on a hunt, the witches plan to make a storm to spoil the lovers' fun and send everyone back home. The witches cast their spell.
Scene 3. The Grove
Dido and jEneas make love. Another triumph for the hero. The royal party enters and tells a story for .(Eneas' benefit. Dido senses the approaching storm. Belinda, ever practical, organizes the trip back to the palace. .Eneas is accosted by the false Mercury with diis command: "Leave Carthage Now." He accepts his orders, then wonders how to break the news to Dido. He is worried.
Scene 4. The Ships
.Eneas and the Trojans prepare for the jour?ney. The Sorceress and her witches are quite pleased to see that their plot is working. Once iEneas has sailed they will conjure an ocean storm. They are proud of themselves.
Scene 5. The Palace
Dido sees the Trojans preparing their ships. .Eneas tries to explain his predicament and offers to break his vow in order to stay with her. Dido is appalled by his hypocrisy. She sends him away and contemplates the inevitability of deadi. "Remember me but forget my fate." Dido dies.
ark Morris was
born and raised in Seattle, Washington where he studied with Verla Flowers and Perry Brunson. i He has performed with a diverse assortment of companies over the years, including the Lar Lubovitch Dance Company, Hannah Kahn Dance Company, Laura Dean Dancers and Musicians, Eliot Feld Ballet, and the Koleda Balkan Dance Ensemble. Since 1980, in addition to creating over seventy works for the Mark Morris Dance Group, he has creat?ed dances for many ballet companies, including the San Francisco Ballet, the Paris Opera Ballet, and American Ballet Theatre. In 1990 he and Mikhail Baryshnikov found?ed the White Oak Dance Project. Mr. Morris has also worked extensively in opera. From 1988-1991 he was Director of Dance at the Theatre Royal de la Monnaie in Brussels, the national opera house of Belgium. Mr. Morris was named a Fellow of the MacArthur Foundation in 1991 and is the subject of a recent biography by Joan Acocella (Farrar, Straus & Giroux).
Mark Morris Dance Group was formed in 1980 and gave its first concert in New York City that year. In addition to touring widely, the Dance Group has been the subject of television specials for pbs Dance In America series and London Weekend Television's South Bank Show. From 1988-1991, the Dance Group was the resident company of the Theatre Royal de la Monnaie in Brussels, Belgium. The Dance Group has recently completed two film projects, a collaboration with cellist Yo-Yo Ma using J.S. Bach's Third Suite for Unaccompanied Cello and a film version of Henry Purcell's Dido and Eneas.
These performances mark the second, third and fourth appearances of Mark Morris and the Mark Morris Dance Group under UMS auspices.
Boston Baroque, founded in 1973 as "Banchetto Musicale," was the first permanent Baroque orchestra in North America. The ensemble presents an annual subscription concert series in Boston, where it has been a centerpiece of musical life for more than two decades, and it can also be heard on tour and on classical radio stations through?out the country.
Boston Baroque is now reaching an international audience with a critically acclaimed series of recordings on the Telarc label, including Handel's Concerti grossi, Op. 6, Nos. 1-6, Handel's Messiah (1992 Grammy nominee), Bach's Brandenburg Concertos, and the first period-instruments recording of a celebrated new completion of the Mozart Requiem by Robert Levin. The ensemble's latest recording, of Purcell's Dido and Mneas, will be released this summer.
Martin Pearlman, Boston Baroque's founder and music director, made his Kennedy Center debut last season, conducting The Washington Opera in twelve performances of Handel's Semele. Over the past twenty years, Mr. Pearlman has conducted critically acclaimed perfor?mances of orchestral and choral repertoire from Monteverdi to Beethoven. Highlights of his work in opera include Monteverdi's
Coronation oPoppea (for which he created a new performing edition), Rameau's Zoroastre and Mozart's Don Giovanni, broadcast nationally on public radio.
In addition to his work with period instruments, Mr. Pearlman conducts mod?ern orchestras and choruses. Recent engage?ments include the Minnesota Orchestra's subscription performances of Messiah and the music directorship of the Northwest Bach Festival. In 1993, Mr. Pearlman became the first conductor from the early-instrument field invited to per-
form live on the internationally tele?vised Grammy Awards show.
Martin Pearlman is also active as a com?poser. Following a con?cert of his recent works, the Boston Globe commented, "If fans of Boston
Baroque wonder why Pearlman's conducting is so insightful, it's because he knows, as only a composer can, how music goes."
These performances mark the Boston Baroque Orchestra and Maestro Pearlman's debut appear?ances under UMS auspices.
Martin Pearlman
Mezzo-soprano Jennifer Lane is recognized internationally for her stunning interpreta?tions of Baroque music. In addition to her concert and recording activities Ms. Lane enjoys an active operatic career, singing principal roles with the New York City Opera, l'Opera Francais de New York, Opera Ensemble of New York, Opera Monte Carlo, the Santa Fe Opera, Utah Opera, Opera Omaha and Milwaukee's Skylight Opera. Her symphonic appearances include the Minnesota Orchestra, the St. Louis Symphony, the San Francisco Symphony, the Handel and Haydn Society, Portland Baroque, American Bach
Soloists and the Atlanta Symphony, singing repertoire as varied as Mahler's Symphonies Nos. 2 & 3, Falla's El Amor Brujo, and Britten's Spring Symphony.
Ms. Lane has sung Handel's Messiah, under con-
ductors Robert Shaw, Andrew Parrott and Nicholas McGegan. Her interpretations of Bach and Handel have taken her to such prestigious festivals as the Oregon Bach Festival, the Bethlehem Bach Festival, the Connecticut Early Music Festival, the Caramoor Festival, the Gottingen Handel Festival, the Berkeley Festival and the Regensburg Festival Tage Alte Musik, and performances with Les Musiciens du Louvre, directed by Marc Minkowski, and Les Arts Florissants.
Ms. Lane's 1995-96 season includes Handel's Messiah at the National Arts Centre in Ottawa, at Carnegie Hall, and with Tafelmusik Baroque Orchestra at the North York Recital Hall. Her nac performance
Jennifer Lane
will be broadcast nationally on Christmas Day. She sings Mendelssohn's Elijahvnth the Harrisburg Symphony, Bach's Mass in b minor with the St. Thomas Choir, Bach's St. John Passion with the Vancouver Chamber Choir, and Handel's Tolomeo at the Opernhaus Halle in Germany. Her versatility is again demonstrated in her 1997 season when she appears in Britten's Turn of the Screw and Handel'suw Maccabeus. Highlights of Ms. Lane's recent engagements include a Vivaldi program with Tafelmusik, Monteverdi's L'Orfeo with the Artek Ensemble, Handel's Ariodante with the Freiburger Barockorchester, a recital for Festival d'Aix en Provence, a European tour of Hasse's Cleofide with Les Arts Florissants, Handel's Giuslinoi at the Gottingen Festival, and the Mozart Requiem and Handel's Solomon, with Musica Sacra at Carnegie Hall. Ms. Lane premiered Augusta Read Thomas' opera Ligeia at the 1994 Rencontres Musicales d'Evian with Mstislav Rostropovich conducting.
These performances mark Ms. Lane's debut appearances under UMS auspices.
Soprano Dana Hanchard has received acclaim in the United States and abroad for her performances of repertoire ranging from early baroque music to works of today's composers. Highlights in her opera career include: the role of Tigrane in Handel's opera Radamisto at the Gottingen Handel Festival with conductor Nicholas McGegan (recorded for Harmonia Mundi); the role of Nerone in John Eliot Gardiner's recording of L'Incoronazione de Poppea (DGArchiv); the role of Poppea in director Jonathan Miller's production of the same for Glimmerglass Opera, with Jane Glover conducting; the role of Asteria in Handel's opera Tamerlano, also for Glimmerglass
Opera, with Mr. Miller directing and Ms. Glover conduct?ing. In January, Ms. Hanchard reprised the role of Poppea at the Brooklyn Academy of Music. Also in 1996, Ms. Hanchard will sing the role of Euridice in Gluck's
Orfeo in a production by Mark Morris with Christopher Hogwood conducting. Ms. Hanchard's work in contemporary opera includes the role of Gwen St. Clair in the Houston Grand Opera's production of Meredith Monk's Atlas (recorded for ecm), in which she appeared in repeated perfor?mances both in the United States and Europe.
In addition to her work in opera, Ms. Hanchard enjoys a concert career, having appeared with numerous orchestras and ensembles. She has performed with such groups as the Houston Symphony, the National Arts Centre of Ottawa, the Philharmonia Baroque Orchestra of San Francisco, Les Musiciens du Louvre, the New York Choral Society, The Boston Camerata, and The Waverly Consort. Her recital engagements last season included her critically acclaimed New York debut at Merkin Hall. Also last season, Ms. Hanchard was awarded the Jan De Gaetani prize of the 1994 Walter Naumburg competition.
These performances mark Ms. Hanchard's debut appearances under UMS auspices.
Soprano Christine Brandes enjoys an active career in North America and abroad, per?forming at many of the most distinguished festivals and concert series, in programs ranging from recitals and chamber music to oratorio and opera.
Ms. Brandes has gained critical acclaim for her roles in operas by Handel and Rameau. With Les Arts Florissants, she appeared in Charpentier's Medee at the Paris Opera Comique as well as touring the United States, China and Australia in a program of chamber operas.
Ms. Brandes has performed with Philharmonia Baroque Orchestra, American Bach Soloists, Ensemble Vocale European of La Chapelle Royale, Bach Ensemble, Smithsonian Chamber Players, Bach Choir 9 of Bethlehem and the Illinois Chamber Orchestra.
In the past season, Ms. Brandes sang with the Newberry Consort in Three Ladies ofFerrara and a concert of Handel arias and duets. She also made her debut with the Arcadian Academy in a tour of the music of Purcell, and later with Tafelmusik in Purcell's Dioclesian. With Ensemble Vocale European, she performed in Lisbon and Paris, and she appeared in recital with the Four Nations Ensemble Chamber Concerts and with John Gibbons at the Cleveland Museum. She also appeared at the Bethlehem Bach Festival in the St. John Passion, the Berkeley Early Music Festival in recital and in Scarlatti's opera Aldimiroi, the Mostly Mozart Festival in Avery Fisher Hall, the Boston Early Music Festival in King Arthur, and at Musikfest in Orff s Carmina Burana.
This season, Ms. Brandes will perform with San Francisco's Philharmonia Baroque in Dido and Eneas,
which she will later perform with the National Arts Centre Orchestra. She will also appear in a twen?ty-concert North American tour of Gluck's Orfeo ed Euridice the Handel and Haydn Society, conducted by
Dana Hanchard
Christine Brandes
Christopher Hogwood and directed by Mark Morris. Other appearances include Rigatti's Vespers with the Vancouver Cantata Singers, and Purcell's King Arthur with Les Violins du Roy. She was also awarded a recital at New York's Metropolitan Museum of Art, in their "Introduction Series."
These performances mark Ms. Brandes' debut appearances under UMS auspices.
An outstanding singer and actor, baritone James Maddalena first gained international recognition for his notable portrayal of Richard Nixon in the world premiere of John Adams' Nixon in China at the Houston Grand Opera, which was broadcast on "Great Performances" on pbs and won an Emmy Award, and in subsequent productions at the Netherlands Opera, Edinburgh Festival, Brooklyn Academy of Music and the Washington
Opera. Andrew Porter in The New Yorker, characterized his per?formances as "buoy?ant, intelligent, and believable. . ." Peter Davis of New York wrote that "James Maddalena's Nixon is positively eerie-. . a vocal performance of
great beauty." Mr. Maddalena also sang the title role of the Grammy Award winning, best-selling recording on Nonesuch Records.
James Maddalena's appearances include Papageno in The Magic Flute at Glyndebourne, Bobby in Weill's Dan Leine Mahagonny at the Brooklyn Academy of Music, Count Almaviva in The Marriage of Figaro in Barcelona, Handel's L 'Allegro il Penseroso
ed il Moderate, and Eneas in Dido and Eneas, at the Theatre Royal de la Monnaie Opera National in Brussels with Mark Morris. He recorded Count Almaviva in The Marriage of Figaro and Guglielmo in Cost fan tutte, both directed by Peter Sellars and conducted by Craig Smith; these productions were broad?cast in the United States on "Great Performances," throughout Europe and were released by DeccaLondon Records on videocassette and laser disc. In keeping with his involvement in contemporary opera, Mr. Maddalena sang in the world premiere of Tippet's New Year at the Philharmonia and recorded it for bbc Television.
Mr. Maddalena has appeared as Don Alfonso in Cost fan tutte at Glyndebourne, and Nixon in China at the Frankfurt Opera, Adelaide Festival in Australia and Paris, Capulet in Romeo el Juliette at Opera Pacific, and Samarone in Beatrice and Benedict at the Boston Lyric Opera, Hopson in the world premiere of Midnight Angel at the Opera Theatre of Saint Louis, Messiah with both the Handel and Haydn Society and Pacific Symphony. He sang the role of the Captain in the world premiere of John Adams' The Death of Klinghoffer at the Monnaie in Brussels and in subsequent productions at Opera de Lyon, Brooklyn Academy of Music, San Francisco Opera and the Vienna Festival; he also recorded it for Nonesuch Records with Opera Lyon conducted by Kent Nagano.
An active concert singer, his repertoire includes the Hindemith Requiem widi Wolfgang Sawallisch conducting the Orchestra of the Accademia di Santa Cecilia in Rome, Messiah, Solomon and Theodora, Christmas Oratorio, the complete cycle of Bach cantatas, all at Emmanuel Music in Boston conducted by Craig Smith. He has also appeared in St. John Passion, Brahms' German Requiem, Mozart's Coronation Mass, and Vespers with Boston Baroque, a perfor-
James Maddalena
mance that was recorded by Harmonia Mundi usa, Harbison's Word from Paterson with the San Francisco Symphony, Carmina Burana in Seville and Palermo and Messiah with the London Philharmonic.
Mr. Maddalena's recent engagements include St. John Passion in Turin with Wolfgang Sawallisch, the title role in Orfeo in Venice, Wound Dresser conducted by John Adams with the Royal Scottish Orchestra, and recording the world premiere of Robert Moran's The Dracula Diary with the Houston Grand Opera for bmg Classical's Catalyst label.
These performances mark Mr. Maddalena's debut appearances under UMS auspices.
Robert Bordo (set designer), a painter, first worked with Mark Morris on the set of The Death of Socrates at Dance Theater Workshop in New York City in 1983. A native of Montreal, he has designed the sets for Mark Morris Dance Group PBSDanmarks Radio 1986 television program, and the Dance Group's production of Stabat Mater at the Brooklyn Academy of Music's 1986 Next Wave Festival. He designed sets and costumes for Les Grands Ballets Canadiens's Paukenschlag, choreographed by Mr. Morris. His designs were adapted for the recently filmed television production of Dido and Eneas. In addition, Mr. Bordo's art work has been commissioned for Dance Group posters and programs. He is represented by Alexander and Bonin in New York City.
James F. Ingalls (lighting designer) has designed several works for Mark Morris including L'Allegro, ilPenseroso ed il Moderato, The Hard Nut, the first White Oak Dance Project tours, Ein Hen at the Paris Opera Ballet, and Maelstrom and Pacific at the San
Francisco Ballet. He designed Ola Chica for William Whitener and Ballet Hispanico, and Shoulder to Shoulder for Joachim Schlomer in London. His work in theater and opera includes many productions for Peter Sellars including Was Looking at the Ceiling and Then I Saw the Sky.
Christine Van Loon (costume designer) was born in Hoeilaart, Belgium, and has studied commercial art and costume and set design. At the Theatre Royal de la Monnaie in Brussels, she worked in both the set and cos?tume departments and with Maurice Bejart's Ballet of the 20th Century. Ms. Van Loon has designed the costumes for several Mark Morris productions including L'Allegro, il Penseroso ed il Moderato.
The Mark Morris Dance Group
Joe Bowie, born in Lansing, Michigan, began dancing while attending Brown University. After graduating with honors in English and American Literature, he moved to New York and performed in the works of Robert Wilson, Ulysses Dove, and danced with The Paul Taylor Dance Company for two years before going to Belgium to work with Mark Morris.
Charlton Boyd was born in New Jersey where he studied and performed with Inner City Ensemble Theater & Dance Company. He is a graduate of Thejuilliard School and has danced with the Limon Dance Company and in the musical The Ebony Games. He appears in die Jose Limon Technique Video, Volume 1, and other music videos.
Ruth Davidson, a native New Yorker, began her serious dance training at the High School of Performing Arts where she was a
recipient of the coveted Helen Tamiris Award. After attaining her b.f.a. from suny College at Purchase, she began her profes?sional career with the Hannah Kahn Dance Company. Ms. Davidson later joined the Don Redlich Dance Company where she also had the honor of working with dance master Hanya Holm. She appears in Hanya: Portrait of a Dance Pioneer, a biographical film on the career of Ms. Holm. She has been with the Mark Morris Dance Group since 1980. Ms. Davidson has consistently studied with Jocelyn Lorenz since 1979.
Tina Fehlandt grew up in Wilmington, Delaware. She has been a member of the Mark Morris Dance Group since its inception in ig8o. She has staged Mr. Morris' work on Repertory Dance Company of Canada, Concert Dance Company of Boston, New York University Tisch School of the Arts, University of Minnesota, San Francisco Ballet and assisted him on his work with the Boston Ballet and American Ballet Theatre. Ms. Fehlandt has also appeared with the White Oak Dance Project.
Shawn Gannon is from Dover, New Jersey. He has danced with Lee Theodore's American D,ance Machine, the Nina Wiener Dance Company, Mark Dendy's Dendy Dance, Laura Dean Dancers and Musicians, and Jane Comfort and Company.
Dan Joyce, from Stuart, Virginia, began his professional dance training at die North Carolina School of the Arts, where he received his Bachelor of Fine Arts degree in 1983. He danced for one season with die Maryland Dance Theater before joining Concert Dance Company of Boston for four years. He joined the Mark Morris Dance Group in 1988.
Victoria I .uiulcll was born in Berkeley, California then moved to Detroit where she studied dance with Rose Marie Floyd and Dolores Allison. She danced professionally with Harbinger Dance Company, guested with Utopia Dance Theatre in Mexico City, and then completed her b.f.a. in dance from the University of Michigan in 1989. For four years she danced with The Parsons Dance Company, and has been dancing with the Mark Morris Dance Group since 1994. Victoria gives special thanks to David Matiano, who is a continual source of inspiration.
Marianne Moore was born in Chapel Hill, North Carolina, and studied dance at North Carolina School of the Arts. She has also danced with the White Oak Dance Project.
Rachel Murray began her dance training in Vancouver, B.C. at Simon Fraser University. She then went on to perform with Betty Jones' Dances We Dance Company in Honolulu and in Senta Driver's Harry in New York City. She joined the Mark Morris Dance Group in 1988.
June Omura received her early dance train?ing at the University of Alabama in Birmingham and then attended Barnard College, graduating in 1986 with honors in dance and English. She has danced for Mark Morris since 1988, previously per?forming in New York with Kenneth King, Sally Silvers, Richard Bull, Peter Healey and Hannah Kahn.
Kraig Patterson, Trenton, New Jersey, received his b.f.a. in 1986 from The Juilliard School and began dancing with the Mark Morris Dance Group in 1987.
Mireille Radwan-Dana -The Six
Grandfathers have placed in this world many things, all of which should be happy. Every little thing is sent for something, and in that thing there should be happiness and the power to make happy. Like the grasses
Mark Morris Dance Group Staff
Boston Baroque Orchestra and Chorus
Martin Pearlman, Music Director
Artistic Director Mark Morris
General Director Barry Allerman
Managing Director Nancy Umanoff
Technical Director Johan Henckens
Development Director Michael Osso
Executive Administrator Eva Nichols
Fiscal Administrator Lynn Wichern
Lighting Supervisor Michael Chybowski
Musical Director Linda Dowdell
Wardrobe Pat White
Administrative Assistant Lesley Berson
Legal Counsel
Mark Selinger (Kaye, Scholer,
Fierman, Hays cs? Handler)
Orthopaedist David S. Weiss, M.D.
Kathryn Lundquist, CPA
Thanks to Maxine Morris and god.
Dido and Eneas could not have been real?ized without the dedication, improvisation and fantastical imagination of the dancers involved. Thank you.
Marilyn McDonald,
Concertmaster Danielle Maddon Etsuko Ishizuka James Johnston Clayton Hoener
Lena Wong,
Principal Second Mark Beaulieu Julia McKenzie
Laura Jeppesen Barbara Wright Scott Woolweaver
Karen Kaderavek Adrienne Hartzell
Anne Trout
Harpsichord Peter Sykes
The orchestra is performing on period instruments.
Gail Abbey Dale Edwards Janice Giampa Denise Konicek Martha Warren
Karen Bell Susan Byers Eleanor Kelley Anne Riesenfeld
Andrew Alexander Henry Lussier Randy McGee David McSweeney
Peter Gibson Brett Johnson Herman Hildebrand John Holyoke
showing tender faces to each other, thus we should do, for this was the wish of the Grandfathers of the world. (Black Elk)
Guillermo Resto dances with Mark Morris.
William Wagner is from Larchmont, New York. He studied at the Martha Graham School of Dance and is an English graduate from the State University of New York at Purchase. Mr. Wagner joined the Mark Morris Dance Group in 1988.
Megan Williams hails from Los Angeles, California and Toronto, Canada. She is a b.f.a. graduate of The Juilliard School and has danced with Ohad Naharin, GlennLund ' Dance and Mark Haim, among oth?ers. She has been a member of the Mark Morris Dance Group since September 1988 and teaches regular?ly in New York.
Julie Worden, graduate of the North Carolina School of the Arts has danced with Chicago choreographers Bob Eisen, Jan Erkert and Sheldon B. Smith.
Ensemble Modern
John Adams, conductor
Dietmar Wiesner, flute Rudiger Jacobsen, flute Catherine Milliken, oboe Roland Diry, clarinet Wolfgang Stryi, clarinet &
saxophone Andreas Groll, bassoon &
contrabassoon Lorelei Dowling, bassoon Franck Ollu, horn Martin Owen, horn William Forman, trumpet Bruce Nockles, trumpet Uwe Dierksen, trombone Tim Beck, trombone
Jorg Seggelke, tuba
Rumi Ogawa-Helferich, percussion
Rainer Romer, percussion
Gregory Riffel, percussion
Hermann Kretzschmar, piano
Ueli Wiget, piano
Ellen Wegner, harp
Jiirgen Ruck, guitar
Detlef Tewes, mandolin
Freya Kirby, violin
Jagdish Mistry, violin
Lila Brown, viola
Michael Kasper, cello
Thomas Fichter, bass
Norbert Ommer, Sound Engineer
Wednesday Evening, April 24, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Edgard Varese OCTANDRE
Assez lent
Tres vif et nerveux
GraveAnime et jubilatoire
Wolfgang Rihm
GEJAGTE FORM (World Premiere Tour) (Hunted Form)
John Adams
Chamber Symphony
Mongrel Airs
Aria with Walking Bass
Adams SCRATCHBAND (World Premiere Tour)
Conlon Nancarrow (arr. by Yvar Mikhashoff)
Studies for Player Piano i, 6, 7
Frank Zappa
Selections from The Yellow Shark
The Girl in the Magnesium Dress Get Whitey G-Spot Tornado
Sixty-first concert of the 117th Season
25th Annual Chamber Arts Series
Thank you to James M. Borders, Associate Professor of Musicology, University of Michigan, speaker for this evening's Philips Educational Presentation.
This lour is made possible by the generous support ofArabel von Karajan, the Ernst von Siemens Foundation and the German Federal Foreign Office.
The pianos used in this evening's performance are made possible by Mary and William Palmer, Hammell Music, Inc, Livonia, Michigan, and the University School of Music.
Meyer Sound of Berkeley, California, is proud to support the exciting new work by John Adams and the Ensemble Modern.
Sound technicians: Mark Gray and Thimo Dorhofer Stage management: Michael Elias and Bernd Layendecker
Ensemble Modern Tour Management by: International Arts FoundationFrank Salomon Associates, New York, NY.
Large print programs are available upon request from an usher.
Edgard Varese
Born December 22, 1883 in Paris
Died November 6, 1965 in New York
In a commentary on Octandre, Varese explains the connection between the title and instrumentation: 'The title is clear: octandrious means 'with eight stamens.'" Correspondingly the work is arranged as an octet for four woodwinds, three brass and one double bass. But the title also points to the spatial aspect of this grouping, which creates a virtual octagon of sound. Octandre (more precise than "octet"), is also a study of movement structure, at the center of which is an exploration of the individual and collective timbre and register qualities of the eight instruments. Octandre is the only Varese work which exhibits a traditional three-movement structure. However, the movements overlap, thus demonstrating the eclectic conditions of a multifaceted and varied sound-aggregate, rather than tradi?tional "characters." We are given a precise structural clue to this natural-scientific riddle with the entrance of the oboe's evolving motif, comparable to a -mutatis mutandis -literary motto, which forcibly determines further events.
Varese, like Webern, draws the ear's attention to the structural and associative meaning of each dimension of the musical moment. However, unlike Webern's method of isolating the moment by surrounding it with spatially separated pauses, Varese, as Milton Babbitt once noted, isolates the uniqueness that a previously introduced characteristic can lend to an event. It is decisive that each repeating motif is not abstract, but rather an isolated and high?lighted quality of the moment.
Octandre vias performed for the first time in Frankfurt, Germany in 1930 and it left behind a clearly impressed, but also con-
fused young critic named Theodor W. Adorno: "I can report of the discovery of the Frenchman Edgard Varese. We heard his short Octandre for winds and double bass. The piece is very French and late-impres?sion istic in the total dissolvedness of the last melodic contour and in the extraordinary instrumental movement-art, which takes part in a rhythmic-homophonic structure. However, the harmonic freedom and the urgency with which exploded particles rush to the construction make it a composition that is far beyond everything that otherwise happens in the secure French music room. One could certainly question the substance, but before it gets to the point, a piece like this has such beautiful qualities in the process, that one must at first just accept it and defend it against much else."
Gejagte Form (Hunted Form)
Wolfgang Rihm
Born March ij, 1952 in Karlsruhe, Germany
I. "Hunted Form"
Hunt: Movement Form: Standstill There is the moment in which the hunt for (one) form turns into (its) form. But this moment is not stoppable and holdable; at best it can be conjured. Again and again. Shortly before and shortly afterward. But never at "its" place. Hunting forms: flying, fleeing forms (fugue). Malevich's "squares" are rectangles in flight. A corner is drawn out -have you already seen that But: it is inaudible...
II. "Hunted Form" is a piece of music, audi?bly written for instruments; the score was completed on February 12, 1996. (Completed) The composition is perhaps 15 minutes long Short High Wide Deep ... aha, we understand: Where would the archimedic point be
Yes, I dedicated the piece to my friend Helmut Lachenmann for his 6oth birthday. He also hunts. For forms. They sound differ?ent -as "every donkey hears".
III. Just now a bird flies through the glance I take out the window. It leaves behind the impression of a (its) form, yes even the impression of a (its) coloring. I realize "magpie". Why do I write that here I have been asked for an "introduction to the work" for "the American presenters". I cannot imagine that there is anyone in America who is not interested in birds that fly through my glance and are magpies. Or does anyone perhaps still seriously believe in a Santa Claus who derives the forumlas for the Christ-Child on the blackboard And then eats chalk
IV. Also here it is true: The individual intro?ductions that have some effect on the music (in a positive as well as a negative sense) are the ears of the listener. Out of pure love of freedom, I plead for extremely varied ears. On every head there should be installed at least two completely different passages to at least two completely different hearing styles. Does that work
But one should not set any solid norms here. Anyway, everyone hears what he can. A com?poser who must first invent the hearing for his music is poor, but also immeasurably rich.
V. Nature is very unjust: It also exists with?out us. We do not even want to know it so precisely. Thank God it is kept secret from us. Have I already mentioned that "Hunted Form" is a music piece But it is not a bird. Outside it is getting dark. "Music, that is again and again something completely dif?ferent", says somebody at the next table. There suddenly the window bursts the walls fly away it happens ... (The continuation follows -as always in music -"later".)
Feb. 26, 1996 W.R.
Chamber Symphony scratchband
John Adams
Born February 15, 194J in Worcester, Massachusetts
The Chamber Symphony, written between September and December of 1992, was commissioned by the Gerbode Foundation of San Francisco for the San Francisco Contemporary Chamber Players, who gave the American premiere on April 12, 1993-The world premiere performance was given in The Hague, Holland by the Schoenberg Ensemble in January of 1993.
Written for fifteen instruments and last?ing twenty-two minutes, the Chamber Symphony bears superficially suspicious resemblance to its eponymous predecessor, the Opus 9 of Arnold Schoenberg. The choice of instruments is roughly the same as Schoenberg's, although mine includes parts for syndiesizer, percussion (a trap set), trumpet and trombone. However, whereas the Schoenberg symphony is in one uninter?rupted structure, mine is broken into three discrete movements, "Mongrel Airs;" "Aria with Walking Bass" and "Roadrunner." The tide gives a hint of the general ambience of the music.
I originally set out to write a children's piece, and my intentions were to sample the voices of children and work them into the fabric of acoustic and electronic instruments. But before I began that project I had another one of those strange interludes that often lead to a new piece. This one involved a brief moment of what Melville called "the shock of recognition:" I was sitting in my stu?dio, studying the score to Schoenberg's Chamber Symphony, and as I was doing so I became aware that my seven year old son Sam was in the adjacent room watching car?toons (good cartoons, old ones from the
195OS) ? The hyperactive, insistendy aggres?sive and acrobatic scores for the cartoons mixed in my head with the Schoenberg music, itself hyperactive, acrobatic and not a little aggressive, and I realized suddenly how much these two traditions had in common.
For a long time my music has been conceived for large forces and has involved broad brushstrokes on big canvasses. These works have been either symphonic or oper?atic, and even die ones for smaller forces like Phrygian Gates, Shaker Loops or Grand Pianola Music have essentially been studies in the acoustical power of massed sonorities.
Chamber music, widi its inherendy poly?phonic and democratic sharing of roles, was always difficult for me to compose. But die Schoenberg symphony provided a key to unlock that door, and it did so by suggesting a format in which the weight and mass of a symphonic work could be married to die transparency and mobility of a chamber work. The tradition of American cartoon music -and I freely acknowledge that I am only one of a host of people scrambling to jump on that particular bandwagon -also suggested a furdier model for a music that was at once flamboyandy virtuosic and poly?phonic. There were several other models from earlier in die century, most of which I came to know as a performer, which also served as suggestive: Milhaud's La Creation du Monde, Stravinsky's Octet and L'Histoire du Soldal, and Hindemith's marvelous KLeine Kammermusik, a little-known masterpiece for woodwind quintet diat predates Ren and Stimpy by nearly sixty years.
Despite all the good humor, my Chamber Symphony turned out to be shockingly difficult to play. Unlike Phrygian Gates or Pianola, with their fundamentally diatonic palettes, this new piece, in what I suppose could be termed my post-Klinghoffer language, is lin?ear and chromatic. Instruments are asked to negotiate unreasonably difficult passages and alarmingly fast tempi, often to die inex?orable click of the trap set. But therein,
I suppose, lies the perverse charm of the piece. ("Discipliner et Punire" was the origi?nal tide of the first movement, before I decided on "Mongrel Airs" to honor a British critic who complained that my music lacked breeding.)
The Chamber Symphony is dedicated to my son Sam.
Scratchband was written expressly for the Ensemble Modern with that group's unique mixture of virtuosity and stylistic adaptability always in mind. The instrumentation is diat of a hybrid of a rock band. With the use of electric guitar, electric bass, drum set and amplified winds and synthesizers, the timbre and style of orchestration make it a close sib?ling to the pit band of CeilingSky, the 1995 song play I composed in collaboration with June Jordan and Peter Sellars.
During the preparation periods for the various productions of CeilingSky I noticed diat die traditional "rock" instruments were capable of extraordinary power and virtuosi?ty, but diat these abilities were rarely if ever realized in commercial music. Technical "chops" displayed by even the greatest of rock musicians -a Jimi Hendrix or an Eric Clapton, for example -tended to rest com?fortably within the accepted language of die tradition. Understanding and transcending this limitation may have been Frank Zappa's most lasting contribution to die future development of the art. Zappa understood diat die language of rock could be vasdy expanded by an informed cross-fertilization from the world of classical music. He chose musicians for his bands who could move beyond die simple structures of popular music and respond to his experiments in rhythm and counterpoint with skill and audacity.
For listeners familiar with my recent music, Scratchband will probably appear as a
strange shotgun wedding, one that marries the busy, terrier-like activity of the Chamber Symphony to the pop timbres of the CeilingSky score. As I write this note, the piece is barely more than half completed, so my comments are not unlike an attempt to fill in a personality sketch on the basis of a single ultrasound scan. What strikes me about the piece, however, is the way in which minimalist gestures are beginning to reappear in my music after a significant absence (the overture to CeilingSky being the only other significant exception).
After a frantic explosion of scales charg?ing up and down the gamut in a garish panoply of constantly shifting modes, the music stabilizes in the key of B major, boogeying back and forth across modal bor?ders that suddenly and dramatically alter the color and mood of the action. Eventually this hyperactive energy levels off into a series of panels that introduce motivic materials in a more formal "minimalist" guise. But the emotional underpinning here is far more volatile than in pieces from the 70s or 80s. Nevertheless this same volatility provides the stimulus for real virtuoso writing, a kind of writing that falls so naturally within the capac?ities of a grpup like the Ensemble Modern.
John Adams February,
Studies for Player Piano
1, 6, 7
Conlon Nancarrow
Born October 27, 192 in Texarkana, Arkansas
Conlon Nancarrow, born in 1912 in Arkansas and having lived for over 50 years in Mexico, belongs to that group of American individu?alists and eccentrics to whom the music of the 20th century owes thanks for decisive impulses. With help of the mechanical as
well as electric piano (player piano), for which he primarily composes, he was suc?cessful in developing the time factor and its evolution in rhythm, meter and tempo into a structural musical medium.
After studying at the Cincinnati Conservatory and performing on trumpet in various jazz bands, Nancarrow went to Boston to study privately with Nicolas Slonimsky, Walter Piston and Roger Sessions. From 1937 to 1939 he took part as a mem?ber of the International Brigade in the Spanish Civil War. When, therefore, after his return to the U.S., his passport rights were to be withdrawn, he went in 1940 to Mexico, where he became a citizen in 1956.
According to Henry Cowell in New Musical Resources, Nancarrow, cut off from American musical life and disappointed by inadequate performances of his rhythmical?ly complicated compositions, turned to the mechanical (player) piano. In setting his scores directly onto the paper rolls of the automatically playing instrument, he won not only independence from the musicians and their interpretations, but also the neces?sary precision for the realization of his works. He has written about 50 Studies for Player Piano.
Characteristic for Nancarrow's style are extreme speeds and complex polyphonic structures, in which varying rhythmic, metric and temporal processes run, often simulta?neously. Recently he has also returned to composing for traditional instruments. Up through the late 1970's, he was completely isolated and only known to a small circle. Then, his recordings and music editions, awards, concert tours and performances of his works in the US earned him recognition as one of the most celebrated discoveries among composers of avant-garde music in this century.
His innovative musical conceptions have had a major impact. Nancarrow has inspired composers such as Gyorgy Ligeti,
Denys Bouliane and Manfred Stahnke as well as influencing American and European musicians and ensembles. His original Studies for Player Piano have also recently been heard live with the advent of grand pianos with Ampico-self-player-mechanisms. Furthermore the American pianist War Mikhashoff was successful in arranging a few of die early player piano studies for traditional instruments -heard on tonight's program
-and thereby expanding them in tone-color.
Study 1 for Player Piano, composed between 1947 and 1948, has a clear, sym?metrical structure. It begins slowly and with isolated sound-events, becomes generally faster and more dense, up to the climax in which five different tempos, meters and rhythms run together with five different melodies and harmonic models. This climax is also die turning point. From then on, the melodic figures run backwards, the chords unwind according to a different plan, and the positions are also switched: the texture becomes diinner, the movement slower.
In the middle section two different osti-nati are built up slowly, of which the upper one, rising and falling in diatonic chords, dominates. At the beginning an impression of acceleration is created through step-by-step shortening of the pauses; at the end, in keeping with the mirrorlike construction of the piece, a lengthening of the pauses is used to produce a ritardando effect. The harmonic-tonal language of the piece -as is common for Nancarrow -consists of a mix of chromatic and tonal elements, and the progress of the voices above and below the ostinati is regulated through inversion, sequencing, transposition and rotation of a few figures, whereby the rhythmic pattern and tempo units are handled as parameters of equal value.
Study 6 is one of two pieces in the set
-the other being 12 -which are clearly Spanish in character. 6 sounds like a kind of abstract tango, while 12 is reminiscent of
Flamenco guitars and voices. Just as in the blues-inspired pieces, however, what Nancarrow has done is never simply imita?tive or derivative of these sources, since in every case their stylistic boundaries have been considerably extended, amplified, elaborated. (In Studies 1, 5, g, and nearly all of those after 12, no such stylistic sources or associations are apparent at all -they are reminiscent or suggestive only of themselves, or of other Studies in the series.) If Study 6 suggests a tango, it is cer3 tainly like no other tango ever heard before! It begins with still another resultant ostina-to, in this case produced not by the simulta?neous sounding of two rhythmic patterns, but by their rapid alternation. Notated on two separate staves, one of which divides the bar into 5 parts, the other 4, successive groups of four tones in this accompanimen-tal osu'nato are placed alternately in die twos staves, creating an extraordinary rubato-effect. Against this, two, sometimes three voices (in A Major-minor) are heard, articu?lating a three-part subdivision of the same bar-lengdi. Once given these premises, the way the rest of the piece evolves is straight?forward enough, but it is one of the most beautiful pieces I know in the genre, rivaling analogous works in "Spanish style" by Debussy, Ravel, de Falla, et aL
Study 7 develops still further the possi?bilities of rhythmic organization based on duration-series, a procedure we have found earlier in Studies 4 and 5. Here three differ?ent series are used, along with their own dou?bly augmented forms, often simultaneously, creating textures of almost bewildering com?plexity. In spite of this complexity, however, Nancarrow manages to maintain a clarity in the formal oudines of the piece by a judicious manipulation and distribution of varying densities -the number of simultaneous voices or strata varying from one to a maxi?mum of eight (near the end of the piece).
Notes by James Tenney
Selections from The Yellow Shark
Frank Zappa
Born December 21, 1940 in Baltimore, Maryland
Died 1993
"Frank Zappa and the Ensemble Modern -an unusual collaboration."
It came as a surprise to many that the rock legend Frank Zappa decided to work together with an ensemble specializing in New Music. But they forget that he had been composing "serious" music since the end of the 1950s, and had, for example, studied and admired Edgard Varese, a pio?neer of New Music who, at the time, was relatively unknown in America.
For its part, the Ensemble Modern had been experimenting for a few years in the border areas of serious music, with Ornette Coleman, Anthony Braxton, Heiner Goebbels and others.
In April 1991 a few of us visited Frank Zappa for the first time. At first it was only intended to be in regard to one new piece for the Frankfurt Festival. But when Zappa heard recordings of the Ensemble Modern, he spontaneously decided to create a con?cept for a complete evening with us.
In the prior 10 years, Zappa had almost exclusively composed on and for die music computer "Synclavier"-pardy because of his disappointment with orchestral musi?cians. With the Ensemble Modern he found not only excellent soloists, but also joy in playing, involvement and enthusiasm -and the necessary humor.
The individual pieces of The Yellow Shark were created in close communication between Zappa and the musicians. When we came to Los Angeles with 25 musicians for two weeks in July 1991, we improvised together and Frank learned about our musi?cal capabilities.
Most of the pieces had been composed by the time of our second rehearsal phase in July 1992. We constantly discussed the indi?vidual pieces, experimented, worked on the virtuosic demands of the music and, in the process, also eliminated some passages that were unplayable for us.
The collaboration with Frank Zappa in the last years of his life was one of the most exciting and exhilarating periods in the his?tory of the Ensemble Modern. As a sign of our great esteem for the American composer Frank Zappa, we are happy to perform three sections of The Yellow Shark at the end of tonight's program.
Andreas Mb'lich-Zebhauser from the program booklet for The Yellow Shark
Music from The Yellow Shark
Comments of Frank Zappa and conductor peter rundel
"The Girl in the Magnesium Dress" (1983)
F.Z.: That was one of the Synclavier pieces on the Boulez album (The Perfect Stranger, 1984). I didn't know whether human beings would ever be able to play it, but we took the chance and generated the paperwork so people could try and play it. I didn't have to generate any parts or score for the version that was on the Boulez album, because it just came off the Synclavier and right on to the tape. To translate that into something people could read off of paper required quite a bit of manipulation. The title con?cerns "a girl who hates men and kills them with her special dress".
P.R.: This is one of my favorite pieces. I think it's a very, very beautiful piece, and I loved it from the first moment. In the begin-
ning, when we had our little fights with Frank, he often said after the first or second rehearsal that we'll never make it; the piece is impossible. And the musicians said, "No, we like the piece and want to do it, let's work on it and see how far it gets." I'm quite happy it stayed in the program. The instru?mentation is Boulez-ian, and what I like so much about it is the wild polyphony. The phrasing of the lines is not (like) contempo?rary music; it comes from rock or jazz. I think still it's problematic to play and to understand it. We changed it a lot from the original transcription in working with Frank.
"Get Whitey" (1992)
F.Z.: The title originally came because the first version, the prototype "Whitey " that was rehearsed in '91 when the group came to Los Angeles, which dealt only with the white keys on the piano. But this version is more chromatic. I was thinking about changing the title to something else, but the general opinion of people in the group was they liked "Get Wliitey".
P.R.: It's one of the so-called simple pieces, but from the texture of the melody it's very, very complicated. I think it's a very beautiful piece not only from the way the melody is built and weaves through the piece, but also in terms of harmony.
"GSpot Tornado" (1986) (Arrangement: Ali N. Askin, 1992).
F.Z.: During the '91 rehearsals, I came in one day, and a few of the musicians were try3 3 ing to play that tune. They really liked it for some reason, and asked whedier they could have an arrangement of it for the concert. It was another one of the pieces that was done on the Synclavier (it appears on the 1986 album Jazz from Hell). I printed out the data, turned it over to Ali, and he orchestrated it. The rest is history.
P.R.: I don't have to say anything. I love it. It's a really striking piece.
From the liner notes to The Yellow Shark
A native of New England, John Adams was born in Worcester, Massachusetts and spent his youth in Vermont and New Hampshire. The cultural ? and intellectual life of New England, particularly the Boston Symphony Orchestra and Harvard University had a deep effect on his development. He began the study of music theory and compo?sition at the age of ten while at the same time learning the clarinet from his father, an amateur musician with whom he played in marching bands and small orchestras during his teens.
After graduating magna cum laude from Harvard in 1969, Adams continued on at the same institution for two more years and
Frank Zappa
earned an ma in music composition, studying principally with Leon Kirchner.
In 1971 Adams moved to San Francisco where he quickly became involved in that city's active and varied new-music life. He taught for ten years at the San Francisco Conservatory of Music and produced new music concerts, first for the Conservatory and later for the San Francisco Symphony. He created the "New and Unusual Music" series for the San Francisco Symphony and in 1983 became the orchestra's first composer-in-residence. A number of Adams's most successful orchestral works were written during that period, including Harmonium (1981), Grand Pianola Music (1982) and Harmonielehre (1985).
In 1985 Adams began a collaboration with the poet Alice Goodman and stage director Peter Sellars that resulted in two operas, Nixon in China and The Death of Klinghoffer, worldwide performances of which made them among the most performed operas in recent history. The Nonesuch recording of Nixon in China won a Grammy in 1989, and was named one of the "10 most important recordings of the decade" by Tim Magazine. A third stage work, Was Looking At the Ceiling And Then I Saw The Sky, an "earthquake romance" with a libretto by the poet June Jordan, was first presented in May of '95 at the University of California, Berkeley and went on to performances in Montreal, New York, Edinburgh, Helsinki, Paris and-Hamburg. Scored for seven singingactors and an on-stage-eight-piece band, this two-hour work is comprised of twenty-five pop songs that tell the story of seven young peo?ple living in present-day Los Angeles.
The range of Adams' work includes dance, video, live electronic music and film music. His music shows a particularly strong affinity for new sound sources and his use of synthesizers and samplers integrated with traditional instruments and voices has become a hallmark of his sound. In 1984 he
produced Hoodoo Zephyr, an album of text-less "songs" created entirely in his home stu?dio on synthesizers and samplers.
Among recent recordings are the Chamber Symphony, with the composer conducting the London Sinfonietta, Harmonielehre, conducted by Simon Rattle, The Death of Klinghoffer, conducted by Kent Nagano and the just-released Nonesuch recording of the Violin Concerto performed by Gidon Kremer.
Adams continues an active double life as a composerconductor, and has appeared as guest conductor with orchestras and opera companies both in the us and Europe. In the past few years he has conducted con?certs of his own and other music with, among others, the Royal Concertgebouw Orchestra, The Cleveland Orchestra, the Los Angeles Philharmonic, the Israel Philharmonic and the London Sinfonietta. He served as music director of the Cabrillo Festival in 1991, the Ojai Festival in 1994 and held the post of Creative Chair with the Saint Paul Chamber Orchestra from ig88-go. An honorary member of Phi Beta Kappa, Adams has also been a recipient of the California Governor's Award for Lifetime
John Adams
Achievement in the Arts and he is this year's recipient of the Cyril Magnin Award for Outstanding Achievement in the Arts in San Francisco. His Chamber Symphony received the 1994 Royal Philharmonic Award. In
1994 he served as Chief Marshall for the Harvard University Commencement, and in ig95 he was made a Chevalier of die Institute of Arts & Letters by the Ministry of Culture of France. His Violin Concerto received the
1995 Grawameyer Award in music composition.
This performance marks Mr. Adams' UMS debut.
The Ensemble Modern was founded in 1980 by members of the Junge Deutsche Philhar-monie (Young German Philharmonic) who wanted to concentrate exclusively on the interpretation of 20th century works. From the outset, die Ensemble made a commitment to performing the works of the Second Vienna School (Schoenberg, Webern, Berg) and important composers of the first half of the 20th century such as Varese, Ives and Weill.
With this as its mission, the Ensemble Modern closed a gap diat had existed in Germany since 1906 when Schoenberg wrote his first Chamber Symphony for 15 instruments -an ensemble of orchestral soloists. Over die years his chamber sym?phonies were followed by die works of sig?nificant composers for similar sized ensem?bles, but no permanent ensembles of diis size existed. The performance of these works was left to existing orchestras and ad hoc groups, generally without sufficient rehearsal time. In the 1970s the situation changed significantly, with the founding of the first soloist ensembles in England, France and finally in 1 g8o in Germany with the birth of the Ensemble Modern.
International recognition and respect came early on for the Ensemble with the first performances of the complete works of
Anton Webern in Berlin, Frankfurt and the state of North-Rhine-Westfalia in 1983. This project was presented in conjunction with the Junge Deutsche Philharmonic which performed the larger-ensemble scores. Shortly after these performances, the Ensemble received enough offers to provide an entire season of concerts and for the first time, the musicians could pay themselves modest concert fees. Solid support was developed at the Alte Oper Frankfurt and its resident Frankfurt Feste, the Berlin Festival, the Cologne Philharmonie and later, the Festival d'Automne Paris and the Vienna Konzerthaus.
The Ensemble sees Schoenberg's Chamber Symphony Op. 9, written in 1906 as its point of departure and chose this piece for its debut concert at the Deutschlandfunk in Cologne. This concert was presented with assistance from the Society for New Music (the German section of the iscm) and Reinhard Oehlschlagel of Deutschlandfunk Radio arranged for broadcast. Michael Karbaum of the cema Foundation provided the group's initial financial support.
Initially the Ensemble Modern remained under the management of the Junge Deutsche Philharmonie. However, the Ensemble's underlying principle of artistic self-determination in which the musicians themselves decide the significant artistic questions of program, conductor, perfor?mance location and media matters led to its becoming legally independent in 1987. From that point on, the musicians them?selves assumed all artistic and administrative responsibilities as well as the not insignifi?cant financial risk.
In keeping with this same ideal of artistic autonomy for the ensemble musicians, the Ensemble Modern does not have a resident conductor. The musicians have a strong commitment to the greatest possible open?ness and flexibility in styles and concepts. With no permanent conductor, the Ensemble
can maintain its principle by which its mem?bers collectively decide on the best way to present a program through thorough con?sideration of the repertoire to be played. The Ensemble has built a circle of conduc?tors whom the musicians regularly ask to the podium. Among them are Peter Eotvos, Heinz Holliger, Ingo Metzmacher and Hans Zender.
The Ensemble Modern gives approxi?mately l oo concerts yearly throughout the world. It has 20 full-time members, who come from eight countries but now live in Frankfurt when not on tour. Depending on the seating requirements of the selected repertoire, guest musicians are invited to join so that the Ensemble Modern can flex?ibly realize the most diverse programming ideas, from chamber music to large orchestral pieces such as the works of the late Luigi Nono.
The Ensemble has subscription series at the Alte Oper Frankfurt, the Kammermusiksaal of the Berlin Philharmonie, the Vienna
Konzerthaus and at the Frankfurt Opera House under the Cage-Title Happy New Ears in which each evening a masterwork of the 20th century is publicly rehearsed, lectured on and then performed.
The 1995-96 Season is another busy and artistically adventurous season for the Ensemble. Perhaps most exciting, the Ensemble is embarking on its first U.S. and North American tour with American con?ductorcomposer John Adams. The tour includes new works by John Adams and Wolfgang Rihm and selections from the Frank Zappa Yellmv Shark project. The Ensemble will perform in such major venues and series as the Kennedy Center in Washington, dc; the University Musical Society, Ann Arbor, Michigan; Lincoln Center in New York; and Performing Arts Chicago.
Tonight's performance marks the UMS debut of Ensemble Modern.
Ensemble Modern
outh Program
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 19891990 season with special one-hour performances for local fourth graders of Puccini's La Bolieme by the New York City Opera National Company.
Now in its seventh year under the Education and Audience Development Department, the UMS Youth Program continues to expand, with performances by the Alvin Ailey American Dance Theater for middle and high school students, two opera performances for fourth graders by the New York City Opera National Company, a performance by Wynton Marsalis and the Lincoln Center Jazz Orchestra Octet, in-school workshops with a variety of other artists, as well as discounted tickets to every concert in the UMS season.
As part of its Ann Arbor residency, the Alvin Ailey American Dance Theater will present a special youth program to middle and high school students, and a family performance, both on March 19, 1996.
On Friday February 24, 1996, 2700 fourth-graders will visit the Power Center for abbreviated one-hour performances of Verdi's La Traviata. These performances allow children to experience
opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
On January 31, 1996, Wynton Marsalis and the Lincoln Center Jazz Orchestra Octet will perform a special youth performance at the Michigan Theater.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call the Education and Audience Development Director at 313.764.6179.
Volunteers & Interns
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educational materials for teachers, greeting and escorting students to seats at performances, and serving as good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 936.6837 or pick up a volunteer applica?tion form from the Information Table in the lobby. Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, promotion, and production. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in a UMS Marketing Internship should call (313) 764-6199, and those interested in a UMS Production Internship should call (313) 747-1173 for more information.
College Work-Study
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538 or 764-6199.
UMS Ushers
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
For more information about joining the UMS usher corps, call 313.913.9696
Dining Experiences To Savor: The Second Annual "Delicious Experiences"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds benefiting UMS programs, to continue the fabulous music, dance, drama, and educational programs that add so much to the life of our community. Wonderful friends and supporters of the University Musical Society are offering unique donations by hosting a delectable variety of dining events, including elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. Treat Yourself! Give the gift of tickets, purchase an entire event, or come alone meet new people and join in the fun while supporting UMS! Although some Delicious Experiences are sold out (A Valentine Brunch, Burmese Feast and "A Taste of Spring" Garden Dinner), space is still available for 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.
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
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 3I3-763-3IO?-
Advisory Committee of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society. It's role is a major one not only in providing the volun?teer corps to support the Society but also as a fund-raising component as well. The Advisory Committee is a 55-member organization which raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, gala dinners and dances, season opening and preand post-concert events. The Advisory Committee has pledged to donate $110,000 this current season. In addition to fund raising, this hard-working group generously donates valuable and innumerable hours in assisting with the educational programs of UMS and the behind-the-scenes tasks associated with every event UMS presents.
If you would like to become involved with this dynamic group, please give us at call at 313.936.6837 for information.
Thank You!
Great performances--the best in music, theater and dance--are present?ed by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current contributors as of December i, 1995. If there has been an error or omission, we sincerely apologize and would appreciate a call to correct this at your earliest con?venience. (313.747.1178).
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great traditions of the Society in the future.
Mr. Neil P. Anderson
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
The Graham H. Conger Estate
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
The Estate of Marie Schlesinger
Dr. Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Bravo Society Members
Mr. Ralph Conger F. Bruce Kulp
Mr. and Mrs. William B. Palmer Richard and Susan Rogei Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ronald and Eileen Weiser and other anonymous donors
Conlin-Fabcr Travel Great Lakes Bancorp The Hertz Corporation JPEinc.The Paideia Foundation Mainstreet Ventures, Inc. McKinley Associates, Inc. Philips Display Components Company Regency Travel, Inc. Society Bank Michigan The Edward Surovell Co.Realtors TriMas Corporation Warner-LambertParke-Davis Research Division
Arts Midwest
Detroit Edison Foundation Ford Motor Company Fund Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Concert Masters
Herb and Carol Amster Maurice and Linda Binkow Carl and Isabelle Brauer Dr. JamesP. and Betty Byrne David and Pat Clyde Margaret and Douglas Crary Sun-Chien and Betty Hsiao Dr. and Mrs. James Irwin Mr. David G. and Mrs. Tina M. Loesel Maya Savarino and Raymond Tamer Mrs. M. Titiev
Dr. and Mrs. John F. Ullrich Paul and Elizabeth Vhouse and other anonymous donors
The Anderson Associates Brauer Investment Company Cafe Marie Curtin and Alf
Environmental Research Institute
of Michigan
Ford Motor Credit Company Thomas B. McMullen Co., Inc. NSK Corporation O'Neal Construction Pepper, Hamilton & Scheetz Wolverine Temporaries, Inc.
Chamber Music America
The Benard L. Maas Foundation
Lila Wallace-Readers Digest Fund
Bradford and Lydia Bates Kathleen G. Charla Katharine and Jon Cosovich Ronnie and Sheila Cresswell Gregg Alf and Joseph Curtin Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Charles and Mary Fisher Mr. Edward P. Frohlich Sue and Carl Gingles Ruth B. and Edward M. Gramlich Kcki 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 Rosendial John Wagner
Mr. and Mrs. Conrad Walburger Elise and Jerry Weisbach Marina and Robert Whitman and several anonymous donors
Dahlmann Properties Gelman Sciences, Inc. Huron Valley Travel, Inc. Masco Corporation
Dr. and Mrs. Gerald Abrams Professor and Mrs. Gardner Ackley Jerry and Barbara Albrecht Dr. and Mrs. Robert G. Aldrich Mr. and Mrs. Max K. Aupperle Robert and Mardia Ause John and Betty Barfield Howard and Margaret Bond Tom and Carmel Borders ini Botsford and
Janice Stevens Botsford Drs. Barbara Everitt and John H. Bryant Mr. and Mrs. Richard J. Burstein Jean M. and Kenneth L. Casey Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Maurice Cohen
Roland J. Cole and Elsa Kircher Cole Pedro and Carol Cuatrecasas Robert and Janice DiRomualdo Jack and Alice Dobson Martin and Rosalie Edwards Dr. Stewart Epstein Richard and Marie Flanagan Robben and Sally Fleming John and Esther Floyd Sara and Michael Frank Judy and Richard Fry Lourdes and Otto Gago William and Ruth Gilkey Drs. Sid Gilman and Carol G. Barbour Vivian Sosna Gotdieb and
Norm Gotdieb
Mr. and Mrs. Robert C. Graham Linda and Richard Greene Jester Hairston Harold and Anne Haugh Debbie and Norman Herbert Janet Bowe Hoeschler Robert M. and Joan F. Howe Stuart and Maureen Isaac Chuck and Heidi Jacobus Mercy and Stephen Kasle Thomas and Shirley Kauper Bud and Justine Kulka David Lebenbom Carolyn and Paul Lichter Patrick B. and Kathy Long Joseph McCune and Georgiana Sanders Rebecca McGowan and
Michael B. Staebler H. Dean and Dolores H. Millard Dr. and Mrs. Andrew and
Candice Mitchell Ginny and Cruse Moss George and Barbara Mrkonic
William A. Newman Bill and Marguerite Oliver Mark and Susan Orringer Dory and John Paul Maxine and Wilbur K. Pierpont Christine Price Tom and Mary Princing Bonnie and Jim Reece Elisabeth J. Rees Mr. and Mrs. Raymond Reilly Glenda Renwick Katherine and William Ribbens Mr. and Mrs. Charles H. Rubin Judith Dow Rumelhart Richard and Norma Sarns Genie and Reid Sherard Victor and Marlene Stoeffler Dr. and Mrs. E. Thurston Thieme Jerrold G. Utsler Mary and Ron Vanden Belt Dr. and Mrs. Francis V. Viola III John and Maureen Voorhees Martha Wallace and Dennis White Dr. and Mrs. Andrew S. Watson Mr. and Mrs. Robert O. Weisman Roy and JoAn Wetzel Len and Maggie Wolin Nancy and Martin Zimmerman and several anonymous donors
American Title Company
of Washtenaw
The Barfield CompanyBartech Borders Books and Music Comerica Bank Creditanstalt-Bankverein Kitch, Drutchas, Wagner, & Kenney, P.C. Matthew C. Hoffmann Jewelry Design NBD Ann Arbor NA. Pastabilities Scientific Brake and
Equipment Company Shar Music Company
Chrysler Corporation Fund The Mosaic Foundation (of Rita and Peter Heydon)
Bernard and Raquel Agranoff M. Bernard Aidinoff Catherine S. Arcure Mr. and Mrs. Essel Bailey Jim and Lisa Baker
Emily W. Bandera, M.D.
Paulett and Peter Banks
M. A. Baranowski
Mrs. Martha K Beard
Ralph P. Beebe
Mrs. L. P. Benua
Dr. and Mrs. Raymond Bernreuter
Mr. and Mrs. Philip C. Berry
Robert Hunt Berry
Suzanne A. and Frederick J. Beutler
Joan Binkow
Ronald and Mimi Bogdasarian
Charles and Linda Borgsdorf
Mr. and Mrs. Robert S. Bradley
Allen and Veronica Britton
David and Sharon Brooks
Jeannine and Robert Buchanan
Lawrence and Valerie Bullen
LetitiaJ. Byrd
Jean W. Campbell
Bruce and Jean Carlson
Edwin F. Carlson
Mrs. Raymond S. Chase
Pat and George Chatas
Jim and Connie Cook
Arnold and Susan Coran
H. Richard Crane
Kenneth and Judith DeWoskin
Molly and Bill Dobson
Jim and Patsy Donahey
Jan and Gil Dorer
Qaudine Farrand and Daniel Moerman
Dr. and Mrs. William L. Fox
Beverley and Gerson Geltner
Margaret G. Gilbert
Grace M. Girvan
Paul and Anne Glendon
Dr. and Mrs. William Grade
Seymour D. Greenstone
John R. and Helen K. Griffith
Mr. and Mrs. Robert Grijalva
Leslie and Mary Ellen Guinn
Mr. and Mrs. Elmer F. Hamel
Walter and Dianne Harrison
Harlan and Anne Hatcher
Fred and Joyce Hershenson
Bertram Herzog
Mrs. W. A. Hiltner
Julian and Diane 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
Barbara and Michael Kusisto Suzanne and Lee E. Landes Mr. and Mrs. David Larrouy Mr. Richard C. LeFauve and
Mary F. Rabaui-LeFauve Leo A. Lcgatski
Mr. and Mrs. Fernando S. Leon Dean S. Louis, M.D. Mr. and Mrs. Carl J. Lutkchaus Brigitte and Paul Maassen John and Cheryl MacKrell Peggy and Chuck Maidand Mr. and Mrs. Damon L. Mark Marilyn Mason and William Steinhoff Kennelh 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 Sicdel Lloyd and Ted St. Antoine Dr. and Mrs. Jcoffrey K. Stross Nicholas Sudia and Nancy Biclby Sudia Mr. and Mrs. Robert M. Teeter Mr. and Mrs. Terril O. Tompkins Kathleen Treciak-Hill Herbert and Anne Upton Joyce A. Urba and David J. Kinsella Charlotte Van Curler Don and Carol Van Curler Bruce and Raven Wallace Karl and Karen Weick
Angela and Lyndon Welch Marcy and Scott Westerman Brymer and Ruth Williams Frank E. Wolk
Walter P. and Elizabeth B. Work, Jr. and several anonymous donors
Ann Arbor Stage Employees, Local 395 Michigan National Bank Sarns, 3M Health Care
Foundations Agencies
The Power Foundation Shiftman Foundation Trust
Jim and Barbara Adams
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
Howard Ando and Jane Wilkinson
David and Katie Andrea
Tim Andrcscn
Harlcnc and Henry Appelman
Mr. and Mrs. Arthur J. Ashe
Eric M. and Nancy Aupperle
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 Bartlett
Astrid B. Beck and David Noel Freedman
Ncal Bedford and Gerlinda Melchiori
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
Mr. and Mrs. S. E. Berki
Maureen Foley and John Blankley
Donald and Roberta Bliu
Roger and Polly Bookwalter
Robert and Sharon Bordeau
Laurence Boxer, M.D.; Grace J. Boxer, M.D.
Dean Paul C. Boylan
Dr. and Mrs. Ralph Bozell
Paul and Anna Bradley
William R. Brashear
Bcisy and Ernest Bratcr
Professor and Mrs. Dale E. Briggs
Gerald and Marcclinc Bright
June and Donald Brown
Morton B. and Raya Brown
Arthur and Alice Burks
Phoebe R. Burt
Roscmaric and Jurg Caduff
Mrs. Theodore Cage
Freddie Caldwell
H. D. Cameron
Mr. and Mrs. Robert Campbell
Charles and Martha Canned
Jim and Prisrilla Carlson
John and Patricia Carver
Shelly and Andrew Caughcy
Tsun and Siu Ving Chang
Dr. Km 111 l; and Young Cho
Nancy Cilley
Janice A. Clark
John and Nancy Clark
Alice S. Cohen
Wayne and Mclinda Colquitt
Edward J. and Anne M. Comeau
Gordon and Marjorie Comfort
Sandra S. Connellan
Maria and Carl Constant
Lolagene C. Coombs
Gage R. Cooper
Mary K. Cordes
Alan and Bettc Cotzin
Clifford and Laura Craig
Merle and Mary Ann Crawford
W. P. Cupplcs
Peter and Susan Darrow
Dr. and Mrs. Charles Davenport
Ed and Ellic Davidson
Jean and John Debbink
Laurence and Penny Deitch
Elena and Nicholas Delbanco
Benning and Elizabeth Dexter
Macdonald and Carolin Dick
Tom Doanc and
I'.nn MarshalI-Doanc Dr. and Mrs. Edward F. Domino William G. and Kathcrinc K. Dow Nancy Griffin DuBois J. W. Durstine Sally and Morgan Edwards Dr. Alan S. Eiser Emil and Joan Engel Mark and Patricia Enns Ellen C. Wagner and
Richard Epstein Don Fabcr
Dr. and Mrs. Stefan Fajans Elly and Harvey Falit Dr. and Mrs. John A. Faulkner Inka and David Felbeck Reno and Nancy Fcldkamp Dr. James F. Filgas Sidney and Jean Fine Herschel and Annette Fink Mrs. BcthJ. Fischer Susan Fisher and John Waidley Linda W. Fitzgerald Ray and Patricia Fitzgerald Stephen and Suzanne Fleming Jennifer and Guillcrmo Flores Ernest and Margot Fonthcim Mr. and Mrs. George W. Ford James and Anne Ford Ilene H. Forsyth Phyllis W. Foster Paula L. Bockcnstedt and
David A. Fox
Deborah and Ronald Frecdman David Fugenschuh and
Karcy I-each
Harriet and Daniel Fusfcld Gwyn andjay Gardner Del and Louise Garrison
Professor and Mrs. David Gates Wood and Rosemary Gcist Henry and Beverly Gershowitz Elmer G. Gilbert and
Lois M. Vcrbruggc Fred and Joyce Ginsberg Irwinj. Goldstein and Marty Mayo Dr. Alexander Gotz ). Richard Goulct, M.D. Mrs. William C. Grabb Jerry and Mary K. Gray Dr. John and Rente M. Greden Daphne and Raymond Grew Leslie and Mary Ellen Guinn George N. Hall Marcia and John Hall Mary C. Harms Susan R. Harris Clifford and Alice Hart J. Theodore Hcfley Kenneth and Jeanne Heiningcr John L. and
Jacqueline Stearns Henkel Herb and Dec Hildcbrandt ClaudcucJ. Stern and
Michael Hogan John and Maurita Holland Mary Jean and Graham Hovcy I h 1 iiid.i S.imurlson and
Joel Howell 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.Jahnckc Wallie and Janet JcfTrics Mr. and Mrs.James W.Jensen Donald and Janice Johnson Mrs. Ellen C.Johnson Stephen G.Josephson and
Sally C. Fink
Dr. and Mrs. Mark S. Kaminski Professor and Mrs. Wilfred Kaplan Herb Katz Anna M. Kauper Mr. and Mrs. Jacob Kellman Don and Mary Kiel Paul and Leah Kileny Richard and Pat King Mr. and Mrs. Thomas C. Kinnear Paul Kissncr, M.D. and
Dana Kissner, M.D. Hermine R. Klingler Philip and Kathryn Klin [worth Joseph and Marilynn Kokoszka Dimilri and Suzanne Kosacheff Samuel and Marilyn Krimm Alan and Jean Krisch Mae and Arthur Lanski Mr. and Mrs. Henry M. Lapcza John K. Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann M. Lcidy Myron and Bobbie Lcvine Jacqueline H. Lewis Evie and Allen Lichter Jody and Leo LJghthammcr Mark Lindlcy
Vi-Cheng and Hsi-Ycn Liu Jane Lombard and Kay Long Robert G. Lovcll Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Mr. and Mrs. Donald Lystra Frederick C. and
PamclaJ. Mackintosh Sadie C. Maggio Sieve and Ginger Maggio Virginia Mahle Alan and Carla Mandel Melvin and Jean Manis Eddie and Cathy Marcus Genildinir and Sheldon Markel Ixe and Greg Marks Rhoda and William Martel Sally and Bill Martin Dr. and Mrs.Josip Matovinovic Mary and Chandler Matthews Margaret and Harris McClamroch Bruce and Mary McCuaig Griff and Pat McDonald Elaine . McFaddcn Bill and Ginny McKeachic Margaret Me Kin ley Daniel and Madclyn McMurtrie Jerry and Rhona Meislik Waller and Ruth Metzger Charles and Helen Metzncr Piotr and Dcanna Michalowski Ix'o and Sally Micdler James and Kathleen Mitchincr Ix-ster and Jeanne Monis James N. Morgan Dr. and Mrs. George W. Morley A. A. Moroun Cyril and Rona Moscow Dr. Eva L. Mueller Hillary Murt and
Biuce A. Friedman Dr. and Mrs. Gundcr A. Myran Gcri Chipault and Fred Ncidhardt Sharon and Chuck Newman Mr. and Mrs. Marvin L. Niehuss Virginia and Gordon Nordby Richard S. Nottingham Marylcn and Harold Oberman Patricia O'Connor Dr. and Mrs. Frederick C. O'Dell Judith S. Olson
Constance L. and David W. Osier Richard and Miranda Pao William C. Parkinson Ara and Shirley Paul Dr. Owen Z. and
Barbara A. Perlman Virginia Zapf Person Frank and Nelly Pctrock Lorraine B. Phillips Sharon McKay Pignanclli Barry and Jane Pitt Randall and Mary Pittman Donald and Evonne Plantinga Steven and Tina Pollock Cynthia and Roger Postmus Mrs.J. D. Prcndcrgast Larry and Ann Preuss Charlccn Price Richard H. and Mary B. Price
Jerry and Mill.mi Pryor David and Stephanie Pyne LclandJ. and
Elizabeth Quackenbush Hugo and Sharon Qiiim Mrs. Joseph S. Radnm Homayoon Rahbari. M.D. )im and li,i Rasmusscn Katherinc R. Rccbcl La Vonne and Gary Reed Mr. and Mrs. H. Robert Reynolds Dave and Joan Robinson John H. Romani and
Barbara A. Anderson Mrs. Irving Rose Gay and George Rosenwald Elva M. Roscnzwcig Dr. Nathaniel H. Rowc Jerome M. and Lee Aim Salic Ina and Terry Sandalow Georgiana M. Sanders Dr. and Mrs. Michael G. Sarosi Dr. Albert J. and Jane K. Sayed Mary A. Schiere and
Andy Achenbaum David and Marcia Schmidt Elizabeth L. Schmitt Dr. and Mrs.
Charles R. Schmitter.Jr. David E. and
Monica N. Schtcingart Suzanne Selig Joseph and Patricia Settimi Mr. Thomas Sheets Ingrid and ClifTord Sheldon Hollis and Martha Show-alter Dr. Bruce M. Sicgan Scott and Joan Singer Mrs. Loretta M. Skewes 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 V. Smith Susan M. Smith Virginia B. Smith Mr. and Mrs. Edward Sopcak Cynthia J. Sorensen Juanita and Joseph Spallina Allen and Mary Spivey Irving M. Stahl and
Pamela M. Rider David and Ann Staigcr Mrs. Ralph L. StefTek Dr. and Mrs. Alan Steiss Thorn and Ann Sterling Professor Louis and Glcnnis Stout Dr. and Mrs. Stan St nisi us Aileen and Clinton Stroebel Charlotte Sundclson Ronald and Ruth Sutton Dr.Jean K. Takeuchi Brian and Lee Talbot Jerry and Susan Tarplcy Eva and Sam Taylor Mary D. Teal
James L. and Ann S. Telfcr George and Mary Tewksbury Edwin J. Thomas Tom andjudy Thompson
Ted and Marge Thrasher Hugo and Karla Vandcrsypcn Jack and Marilyn van dcr Vcldc Rebecca Van Dyke Mr. and Mrs.
Douglas Van Houwcling Michael L Van Tassel William C. Vasscll Carolyn S. and Jerry S. Voight Mr. and Mrs. Timothy Wadhams Warren Herb Wagner and
Florence S. Wagner Mr. and Mrs. Norman C. Wail Robert D. and Lima M. Wallin Dr. and Mrs. Jon M. Wardncr Ruth and Chuck Wans Robin and Harvey Wax Willes and Kathleen Weber Deborah Webster and
George Miller Lawrence A. Weis and
Sheila Johnson
Raoul Weisman and Ann Friedman Walter 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 Beth and I. W. Winsten Marion T. Wirick Grant J. Withey, M.D. Charlotte Wolfe Dr. and Mrs. Ira Wollncr Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wright Phyllis B. Wright Don and Charlotte Wyche Ryiizo Yamamoto Mr. and Mrs. Edwin H. Young R. Roger and Bette F. Zauel Mr. and Mrs. Martin Zeile and several anonymous donors
Atlas Tool, Inc.
Briar wood Shopping Center
Chelsea Flower Shop
Dough Boys Bakery
Edwards Brothers, Inc.
Candy Dancer
King's Keyboard House
Miller. Canficld, Paddock
and Stone Republic Bank Seva Restaurant and Market Urban Jewelers
FoundationsAgencies The Richard and Meryl Place Fund
Tim and lah Adams
Ronald and Judith Adlcr
Anastasios Alcxiou
Gregg T. Alf
Mr. and Mrs. Gordon E. Allardycc
James and Catherine Allen
Margaret and Wickham Allen
Augustine and Kathleen Amaru
Mr. and Mrs. David Aminotl
Mr. and Mrs. Charles T. Anderson
Drs. James and
Cathleen Culotia-Andonian Bert and Pal Armstrong Mr. and Mrs. Lawrence E. Arnctt Michael Avsharian Charlene and Eugene Axclrod Jonathan and Marlene Avers foscph C Bagnasco Richard and Julia Bailey Doris I. Bailo Jean and Gaylord Baker Morris and Beverly Baker Dr. and Mrs. Daniel R. Balbach Chris and Ixsli Ballard John R. Barcham Norman E. Barneit Donald C. Barnettc.Jr. Margo Barron Leslie and Anita Bassett Dr. and Mrs. Jere M. Bauer Mr. and Mrs. Steven R. Beckert Robert M. Beckley and
Judy Dincsen
David and Mary Anne Beltman Ronald and Linda Benson Mr. and Mrs. Ib Bcntzcn-Bilkvist Helen V. Berg Barbara Levin Bergman Marie and Gerald Berlin Lawrence S. Berlin Abraham and Thclma Berman Gene and Kay Berrodin Andrew H. Berry. D.O. R. Beak and R. Halstead Naren and Bhatia Bharat C. Bhushan Sheryl Hirsch and John Billi Richard and Roswiiha Bird William and Dene Birge Elizabeth S. Bishop Marshall Bloncly and Laurie Burry Mr. and Mrs. H. Harlan Bloomer BeverlyJ. Bole Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonne!) Dr. and Mrs. David Bosiian Richard Brandt and
Karina Niemcyer Representative Liz and
Professor Enoch Brater Mr. and Mrs. Patrice Brion William and Sandra Broucck Mrs. Joseph Brough OHn L. Browdcr Mr. and Mrs. Addison Brown Mr. Charles C. Brown
1 mil.i Brown and Joel Goldberg Mr. and Mrs. John M. Bruegcr Mrs. Webster Brumbaugh Dr. and Mrs. Donald T. Bryant Robert and Carolyn Burack Edward and Mary Cady Mrs. Darrell A. Campbell Jan and Steve Carpman Jc.miutuand 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 Choate 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 KathleenJ. Crispell and
Thomas S. Porter Margo Crist Lawrence Crochier Mr. and Mrs. James 1. Crump Mary R. and John G. Curtis Mr. and Mrs. John R. Dale Mr. William H. Damon HI Millie and Lee Danielson Jane and Gawainc Dart Mr. and Mrs. Arthur W. Davidge Laning R. Davidson, M.D. Ruth and Bruce P. Davis James Davis and
Elizabeth Waggoner Mr. and Mrs. R.C. Davis Mr. and Mrs. Ronald G. Dawson Robert and Barbara Ream Debrodt Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Elizabeth and Edmond DcVine Meg Diamond Martha and Ron DiCecco Gordon and Elaine Didier A. Nelson Dingle Dr. Edward R. Doezcma Thomas and Esther Donahue Mr. Thomas Downs Roland and Diane Dravson Mr. and Mrs. Harry Dreffs John Dryden and Diana K.iiini 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. Durfee George C. and Roberta R. Earl Mr. and Mrs. William G. Earlc Jacquclynnc S. Eccles Mr. and Mrs. John R. Edman David A. Eklund Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis
Mrs. Gcnevievc Ely
Mackenzie and Marcia Endo
Bill and Karen En.smingcr
Stephen Ernst and Pamela
Raymond Ernst
Dorothy and Donald F. Eschman
Joel Evilsizcr
Adele Ewcll
Mi. and Mrs. Robert B. Fair, Jr.
Mark and Karen Falahee
Dr. and Mrs. Cyrus Farrehi
David and Joanna Featherman
Dr. and Mrs. Irving Feller
Phil and Phyllis Fcllin
Carol Fincrman
C. Peter and Bev A. Fischer
Dr. and Mrs. John Fischer
Jon Fischer
Barbara and James Fitzgerald
Dr. and Mrs. Melvin Flamenbaum
Jon Fliegel
Wayne and Lynnctte Forde
Doris E. Foss
Lucia and Doug Frccth
Richard and Joann Freethy
Linda and Larry French
Richard and Joanna Friedman
Gail Fromes
LclaJ. Fucstcr
Carol GagHardi and David
Jane Galantowicz
Bernard and Enid Caller
Joyce A. Gamm
Mrs. Don Gargaro
Mrs. Shirley H. Garland
Stanley and Priscilla Garn
Drs. Steve Geiringcr and
Karen Bantcl
Bruce and Anne Genovesc Michael Gcrstcnbergcr W. Scott Gcrsienbergcr and
Elizabeth A. Sweet Beth Gcnne 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. Eszter Gombosi Elizabeth N, Goodcnough and
James G. Leaf Mitch and Barb Goodkin Mr. and Mrs. Jon L. Gordon Mr. Adon A. Gordus Selma and Albert Gorlin Naomi Gottlieb Michael L. Gowing Christopher and Elaine Graham Elizabeth Nccdham Graham Whit and Svea Gray Harry Greenberg and
Anne Broclunan Dr. and Mrs. Lazar J. Greenfield Bill and Louise Gregory Linda and Roger Grekin Susan and Mark Griffin Werner H. Grilk Robert M. Grover Mr. Philip Guirc Arthur W. Gulick, M.D.
Margaret Gutowski and
Michael Marietta Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Claribcl Halstead Margo Halstcd
Mr. and Mrs. Herbert R. Harjes Stephen G. and Mary Anna Harper Antonio Harris Jean Harter Elizabeth C. Hassincn James B. and Roberta T. Hausc Mr. and Mrs. George Hawkins Rose ami nhn Henderson Mr. and Mrs. Richard Henderson Mr. and Mrs. Karl P. Henkel Dr. and Mrs. Keith S. Henley Jeanne Hernandez Ramon and Fern Hernandez Tatiana Herrero Bernstein C. C. Herrington, M.D. Elfrida H. Hiebcrt and
Charles W. Fisher 1 mi n.i and Mark. Hildebrandt Mi. and Mrs. Jerry Leigh Mill Peler G. Hinmun and
Elizabeth A. Young Joanne and Charles Hocking Lxniise Hodgson Jane and Dick Hocrner Carol and Dieter Hohnkc Ken and Joyce Holmes John F. and Mary Helen Holt Dr. and Mrs. Frederic B. House Dis. Richard and Diane Howlin Charles T, Hudson Harry and Ruth Huff Joanne V. Hulcc Ann D. Hungerman Mr. and Mrs. Russell L Hurst Eileen and Saul Hymans Margaret and Eugene Ingram Edgar F. and M. Janice Jacob! Harold and Jean Jacobson Jim and Dale Jerome Tom and Marie Jusier Mary B. and Douglas Kahn Mary Kalmcs and Larry Friedman Steven R. Kalt Mr. and Mrs. Irving Kao David J. Katz
Kurt and Marilee Kaufman Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy Linda Atkins and Thomas Kcnncy Benjamin Kerner Heidi and Josh Kerst William and Betsy Kincaid Howard King and Elizabeth
Sayrc-King Esther Kirshbaum James and Jane Kistcr Shira and Steve KJein Gerald and Eileen Klos Mr. and Mrs. Edward Klum Jolenc and Gregory Knapp Glenn and Shirley Knudsvig Charles and Linda Koopmann Mclvyn and Linda Korobkin Mr. and Mrs. E. J. Kow.ili-ski Jean and Dick Kraft David and Martha Kiehbiel
William J. Bucci and Janet Kreiling
Alexander Krczel
William G. Kring
John A. and Justine Krsul
Danielle and George Kupcr
Dr. and Mrs. Richard A. Kutcipal
Mr. and Mrs. Seymour Lampcrt
Henry and Alice Landau
Marjorie Lansing
Belli and George Lavoic
Ted and Wendy Lawrence
Laurie and Bob LaZebnik
Mrs. Kent W. Leach
Sue Leong
Margaret E. Leslie
Richard LeSueur
Deborah S. Lewis
Nathan and Eleanor Lipson
Rod and Robin Little
Dr. Jackie Livesay
Peter Lo
Naomi E. Lohr
Diane and Dolph Lohwasser
Ronald Longhofer
1 ]]and Susan Loomans
Mr. and Mrs. Richard S. Lord
Bruce and Pat Loughry
Ross E. Lucke
Lynn Luckenbach
Robert and Pearson Macck
Susan E. Macias
Charlene and William MacRitchie
Chun I. Mah
Geoffrey and Janet Maher
Suzanne and Jay Mahler
Deborah Malamud and Neal Plotkin
Dr. Karl D. Malcolm
Claire and Richard Malvin
Mr. and Mrs. Kazuhiko Manabe
Pearl Manning
Paul and i Mansky
Mr. and Mrs. Anthony E. Mansueto
Michael and Pamela Marcovitz
Dr. Howard Markel
Marjoric and Robert Marshall
Dr. and Mrs.J. E. Martin
Rebecca Martin
Margaret Massialas
Tamotsu Matsumoto
Marilyn Mazanec Benedict
Margaret E. McCarthy
Ernest and Adele McCarus
David G. McConnell
Cathryn S. and
Ronald G. McCready Dores M. McCree Mary and Norman Mclver Robert E. and Nancy A. Mcader Mr. and Mrs. John Mcrrificld Henry D. Messcr and
Carl A. House Robert and Bettic Mctcalf Professor and
Mrs. Donald Meyer Dr. and Mrs. Robert A. Meyers Helen M. Michaels Carmen and Jack Miller Mr. and Mrs. MiltonJ.Milkr Or. Robert R. Miller Bob and Carol Mil.stcin Thomas and Doris Mircc Mr. and
Mrs. William G. Mollcr.Jr.
Arnold and Gail Morawa Sophie and Robert Mordis Kcnncih and Jane Moriarty John and Michelle Morris Melinda and Bob Morris Brian and Jacqueline Morion Mrs. Erwin Muchlig Janet Muhleman i miti and
Barbara Murphy Rose marie Nagcl Tat5iiyoshi Nakamura Dr. and Mrs. J.V. Ned Nancy Nelson Martin Nculicp and
Patricia Pancioli Richard E. Nisbctt and
Susan I. Nisbett Jack and Kerry Kclly-Novick 1 iis and Michael Oksenberg Robert and Elizabeth Oneal Lillian G. Ostrand Mrs. Barbara H. Outwater Anneke de Bruyn Overseih 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 Dr. and Mrs. James PikuKki Martin A. Podolsky Drs. Edward and Rhoda Powsner Ernst Pulgram Michael and Helen Radock Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert Rasmusscn Jim and Toni Reese Anthony L. Reffclls and
Elaine A. Bennett Dorothy and Stanislav Rehak JoAnne C. Reuss David Reynolds John and Nancy Reynolds Alice Rhodes Jesse Richards Elizabeth G. Richart Frances Grccr Riley Constance Rinchart Joe and Carolyn Robcrson Peter and Shirley Roberts Richard C. Rockwell Willard and Mary Ann Rodgers Mr. and Mrs. Stephen J. Rogers Yclcna and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Drs. Stephen Roscnblum and
Rosalyn Sarvcr
Gustavc andjacquclinc Rosscels Dr. and
Mrs. Raymond W. Ruddon.Jr.
Kenneth Rule John Paul Rutherford Tom and Dolores Ryan Mitchell and Carole Ryciis James and Ellen Saalbcrg Theodore and Joan Sachs Arnold SamcrofT and
Susan McDonough Howard and Lili Sandier John and Rcda Santinga Dr. and Mrs. Edward G. Sarkisian Ms. Sara Savarino Courdand and Inga Schmidt Charlcnc and Carl Schmult Gerald and Sharon Schreibcr Albert and Susan Schultz Michelle Schultt, 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 Shalit Dr. and Mrs. J. N. Shanbcrge David and Elvera Shappirio Dr. and Mrs. Ivan Sherick Cynthia Shevcl Jean and Thomas Shope Mr. and Mrs. Ted Shultz John and Arlene Shy Milton and Gloria Siegcl Ken Silk and Peggy Buttenheim Dr. Albert and
Mrs. Halina Silvcrman Frances and Scott Simonds Donald and Susan Sinta Dr. and Mrs. Michael W. Smith Drs. Peter Smith and
Diane Czuk-Smidi Judy Z. Somcrs Katharine B. Sopcr Dr. Yoram Sorokin Mr. and Mrs. Robert E. Spence Anne L. Spend love James P. Spica JeffSpindlcr Curt and Gus Stager Betty and Harold Stark Mr. and Mrs. John C. Stegeman Virginia and Eric Stein Frank D. Stella John and Beryl Stimson Mr. James L. Stoddard Robert and Shelly Stoler Wolfgang F. Stolpcr Anjanctte M. Stoltz, M.D. Mrs. William H. Stubbing Jenny G. Su Valerie Y. Suslow Mr. and Mrs. Earl G. Swain Mr. and Mrs. Robert S. Swanson Richard and June Swartz Lois A. Thcis Carol and Jim Thiry Catherine and Norman Thoburn
Mr. and Mrs. James W. Thomson
Charles and Peggy Tieman
Thclma and Richard Tolbert
Donna K. Tope
Dr. and Mrs. Merlin C. Town Icy
Angic and Bob Trinka
Sarah Trinkaus
Marilyn Tsao and Steve Gao
Yukiko Tsunoda
William H. and Gcrilyn K. Turner
Taro Ucki
Alvan and Katharine Uhlc
Gaylord E. and
Kathryn W. Underwood Madeleine Vallicr Carl and Sue Van Appledorn Rob and Tanja Van der Voo Robert and Barbara Van Ess Marie B. and Theodore R. Vogt Sally Wacker
Delia DiPieiro and Jack Wagoner Gregory and Annette Walker Eric and Sherry Warden Mr. and Mrs. Barrett Wayburn Joan M. Weber Jack and Jerry Wcidcnbach Donna G. Wcisman Barbara Weiss Mrs. Stanfield M. Wells, i. David and Rosemary Wescnberg Ken and Cherry Wcsterman Susan and Peter Wcsterman Marjorie Westphal Marilyn L. Wheaion and Paul Duffy Esther Redmount and
Harry White Janet F. White
Mr. and Mrs. Nathaniel Whitcsidc Mrs. Clara G. Whiting Douglas Wtckcns Jane Wilkinson Reverend Francis E. Williams John Troy Williams Shelly F. Williams Dr. and Mrs. S. B. Winslow Charles Witkc and Ailccn Gaitcii Jeff and Linda Witzburg Noreen 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 Yonngrcn Frederic and Patricia Zeisler Mr. and Mrs. David Zuk David S. and Susan H. Zurvalcc and snvral anonymous donors
Adistra Corporation
Coffee Beanery -Briarwood Mall
Cousins Heritage Inn
Development Strategics Plus
Garris. Garris, Garris & Garris, P.C.
Great Lakes Cycling 8c Fitness
Jeffrey Michael Powers Beauty Spa
Junior League of Ann Arbor
Michigan Opera Theatre
Patrons, continued
sKK Classical
I niuisin Mil lofilms
International Van Boven Inc.
FoundationsAgencies The Shapcro Foundation
Sue and Michael Abbott Mr. I's.iin.t Abdali and
Ms. Kisook Park Philip M. Abruzzi Chris and Tcna Achcn Bob Ainsworth
Mil Im1 11 k. i and Hiroko Akiyama Roger Albin and Nili Taunenbaum Michael and Snzan 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. Archambcau Eduardo and Nancy Arcinicgas Thomas J. and Mary E. Armstrong Rudolf and MaryArnheim Margaret S. Athay Mr. and Mrs. Dan E. Atkins III John and Rosemary Austgcn Drs.John and Lillian Back Bill and joann Baker Laurence A. and Barbara K. Baker Mr. and Mrs. Richard P. Baks Ann Barden
David and Monika Barcra Maria Kardas Barna Laurie and Jeffrey Barnett Joan W. Barth BcverlcyM. Baskins Ms. Maria do Carno Bastos Dorothy W. Bauer Thomas and Shcrri L. Baughman Harold F. Baut Mary T Bcckerman Robert B. Beers Dr. and Mrs. Richard Beil Dr. and Mrs. Walter Bcnenson Mercte and
Erling Blondal Benglsson Alice K Benscn Dr. Rosemary R. Bcrardi James K. and Lynda W. Berg T.J.andM. R. Bctlcy Ralph and Mary Beuhler Maria T. Bcyc
John and Marguerite Bianckc Eric and Doris Billcs Jack and Anne Birchficld Drs. Ronald C. and
Nancy V. Bishop Bill and Sue Black
Jane M. Bloom
Karin L. Bodycombc
Dr. and Mrs. Frank Bongiorno
Robert and Shirley Boonc
Edward G. and Luciana Borbcly
LolaJ. Borchardt
Paul D. Borman
Ki .t and Morris Bornstcin
John D. and M. Leora Bowden
Jan and Bob Bower
Sally and Bill Bowers
David G. Bowman and
Sara M. Rutter Dennis and Grace Bowman William F. and
Joyce E. Bracuningcr Cy and Luan Briefer John and Amanda Brodkin AmyJ. and Clifford L. Broman Razelle and George Brooks Mr. and Mrs.
Edward V. Browning Phil Burksbaum and
Roberta Morris Trudy and Jonathan Bulkley Miss Frances Bull Mrs. Sibyl Burling Mrs. Betiy M. Bust Dr. and Mrs. Robert S. Bntsch Barbara and Albert Cain Louis and Janet Gallaway.Jr. Father Roland Calvcrt Susan and Oliver Cameron Dr. Ruth Cantieny Dennis and Kathleen Cantwell Susan Cares George R. Carignan Carolyn M. Carty and
Thomas H. Haug Jack Cederquist David and Ilenc Chait Mary Chambers Bill and Susan Chandler Ida K. Chapin and Joseph Spindel Belle H. Chen Joan and Mark Chcslcr Edward and Rebecca Chudacoff Ching-wci Chung Joan F. Cipelli Arthur and Alice Cofer Dorothy Burke Coffey Hilary and Michael Cohen Howard and Vivian Cole Kevin and Judy Compton Nan and Bill Conlin Dr. and Mrs. William W. Coon Herbert Couf Joan and Roger Craig Mary Crawford Donald Cress Mary C. Crichton Thomas A. Crumm Ms. Carolyn Rundcll Culotta Ms. Carolyn Cummisky Richard J. Cunningham Frank and Lynn Curtin Mr. Joseph Curtin Suannc Curtis Dr. and Mrs. Harold J. Daitch Ms. Marcia Dalbcy Marylcc Dalton Joanne Danto Honhart Dean and Mrs. John H. D'Arms
Mildred and William D. Darnton DarLinda and Robert Dascola Ruth E. Datz Jennifer Davidson Morris and May Davidson Nancy Davis
Dean and Cynthia DeGalan Elizabeth Delaney Ms. Margaret H. Demant Michael T. DcPlonty Raymond A. Detter Mi. David Digirolamo Linda Dintenfass Douglas and Ruth Doanc Dick and Jane Dorr Ruth P. Dorr
Dr. and Mrs. Charles H. Duncan Elsie Dyke John Ebciihoeh Dwight and Mary Ellen Ecklcr Ruth Eckstein Ingrid Eidnes
Mr. and Mrs. Charles Eiscndraih Sol and Judith Elkin Dr. and Mrs. Charles Ellis James H. Ellis and Jean A. Lawton Dick and Helen Ernmons Mr. and Mrs. H. Michael Endrcs Jim and Sandy Eng Mr. and Mrs. C. E. Evans Paul and Mary Fancher Dr. Cheryl C. Farmer, Mayor of Ypsilanti Peter Farrehi
Damian and Katharine Farrell Dorothy Citdeman Fcldman George J. and Beniia Feldman Yi-tsi M. Feuerwerkcr Ruth Fiegel Clay Finkbeiner Howard G. Finkel Mrs. Carl H. Fischer Eileen Fisher Winifred Fisher Linda and Tom Fitgerald Jessica Fogel and Lawrence Weiner
Daniel R. Foley George and Kathryn Foltz Bill and Wanila Forgacs David J. Frahcr Mr. and Mrs. Mans Fravel Ms. Julia Freer Mr. and Mrs. Otto Wr. Freitag Bart and Fran Fruch Bruce and Rebecca Gaffhcy Arthur Gallagher Edward Gamachc and Robin Baker
C. J. Gardiner
Leonard and Mary Alice Gay Mr. and Mrs. Ralph J. Gerson Beverly Jeanne Giltrow Gittlen
Dr. and Mrs. J. Globerson Peter and Roberta Gluck Dr. Ben Gold Mr. and Mrs. Robert Gold Albert L. Goldberg Dr. and Mrs. Edward Goldberg Edic Goldcnbcrg Anita and Albert Goldstein Mr. and Mrs. David N. Goldsweig
C. Ellen Gomer
M. Sarah Gonzalez
Graham Good ing
Enid MGosling
Siri Gottlieb
Larry and Martha Gray
Elizabeth A. H. Green
G. Robinson and Ann Gregory
Sally Grew and Waller Fisher
Mr. and Mrs. JamesJ. Cribble
Mrs. Adee L. Grillui
Melissa Gross
Cyril Grum and Cathy Sirachan
Dr. Carol J. Guardo
Ms. Kay Gugala
Cheryl Gumper
Mr. and Mrs. Lionel Gurcgian
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 Laurelynne 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 Heffclfingcr Dr. John D. Heidke Miriam Heins Jeff and Karen Hehnick Gary L. Henderson Leslie and William Hennessey Mr. and Mrs. Ralph Herbert Mr. and Mrs. Albert Hermalin Emily F. Hicks Ms. Betty HicksJozwick Mark and Debbie Hildebrandt Aki Hirata
Deborah and Dale Hodson Melvin and Verna Hollcy Hisato and ttikiko Honda Mr. and Mrs. Harry Hopkins Jack and Davetta Homer Dr. Nancy Houk Jim and Wendy Fisher House Kenneth and Carol Hovey I'..ii .1 Hndgins Mr. and Mrs. William Hufford Ling Hung Diane Hunter Stephen and Diane Imrcdy Edward C. Ingraham Perry Elizabeth Irish Earl Jackson M. Janice Jacobi Dr. and Mrs. Manuel Jacobs Marilyn G.Jeffs Joann J. Jcromin Wilma M.Johnson Helen Johnstonc Elizabeth M.Jones Dr. Marilyn S.Jones Phillips. Jones John and Linda K. Jon ides
Chris and Sandy Jung
Professor and Mrs. Fritz Kaenzig
William and Ellen Kahn
Lorcc K. Kalliaincn
Thomas and Rosalie Karunas
Bob N. Kashino
Franklin and Judith Kasle
Alex F. and Phyllis A. Kato
Maxine and Daid Katt
Martin and Helen Katz
Julia and Philip Kearney
Janice Keller
Mr. and Mrs. Charles Kcllerman
Mary Kcmme
Lawrence Kestenbaum and
Janice Gulfrcund Robert and I-ois Kctrow Jeanne Kin
Robert and Vicki Kiningham Klair H. Kissel James KJimcr Alexander KJos
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 Kcnnedi C. Krcger Syma and Phil Kroll Lawrence B. Kuczmarski Jane Kulpinski EH and Lily Ladin (lc and Martin Landay Patricia M. Lang Walter and Lisa Langlois Guy and Taffy Larcom Christine Iirson Carl and Ann LaRue Ms. Olya K. Lash Ruth J. Lawrence Sue C. Lawson Judith andjerold Lax Fred and Ethel Lee Stephane Lcgault Paul and Ruth Lehman Mr. C. F. Lehmann Dr. and Mrs. Morton B. Lesser Diane Lester and
Richard Sullivan Carolyn Dana Lewis Thomas and Judy Lewis Dr. DavidJ. Licberman Ken and Jane Lieberthal Ying-Chu Lin
Dr. and Mrs. Richard H. Lincback Audi Lipson and Jerry Fishman Rebecca and Lawrence Lohr Barbara R. Lou Donna and Paul Lowry Jeannette Luton John J. Lynch, Atty. Dr. and Mrs. Cecil Mackey Gregg and Mcrilee Magnuson Ronald Majcwski and Mary Wolf Donna and Parkc Malcolm
Allen MalinofT Alice and Bob Marks Erica and Harry Marsden Yasuko M.usiIn Dcbra Mattison Robert and Betsy Maxwell John M. Allen and
Edith V Maynard Dr. and Mrs. David McCubbrey Bernard and MaryAnn McCuiloch James and Kathleen McGauley Scott McGlynn James M. Beck and
Robert J. McGranaghan Louise E. McKinney Donald and Elizabeth McNair Anthony and Barbara Medciros Dr. and Mrs. Donald A. Meier Samuel and Alice Meisels Norman and Laura Mcluch Helen F. Mcranda Rev. Harold L. Merchant Mr. and Mrs. John F. Melzler Valeric D. Meyer Mr. and Mrs. Herbert M. Meyers Dick and Georgia Meyerson William M. Mikkelsen Ms. Virginia A. Mikola John Milfbrd Gerald A. Miller Dr. and Mrs. Josef M. Miller Mr. and Mrs. Murray H. Miller Charles and Elizabeth Mitchell Wakaki Miyaji Ruth M. Kent and Roni Moncur Gail Monds P. Montgomery Ellyne and Arnold Monto Rosalie E. Moore Kiltie Bcrgcr Morelock Mr. and Mrs. Thomas D. Morrow Bcrnhard and Donna Muller Lora G. Myers Yoshiko Nagamatsu Louis and Julie Nagel Ruth Naglcr R. andj. Needleman Nikki E. Neustadi Martha K Niland Gene and Pat Nissen Laura Nitzbcrg Joan and John Nixon Jolanta and Andrzej Nowak John and Lexa O'Brien Thomas P. O'Connor Michael and Jan O'Donncll Ncls and Mary Olson Kaoru Onishi Fred Ormand Mr. James J. 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 Zoe and Joe Pearson Donald and Edith Pelz
Mr. William A. Pcnner, Jr.
C. Anthony and Marie Phillips
Nancy S. Pickus
Daniel G. Piesko
Mr. and Mrs. Robert H. Plummcr
Mr. and Mrs. John R. Polilzcr
Mr. and Mrs. Gerald Powrozek
Mary and Robert Pratt
Roland V. Pratt
Jerry Prcsion
Mr. Richard H. Price
John and Nancy Prince
Julian and Evelyn Prince
Ruth S. Putnam
G. Robina Quale
Douglass and Debbie Query
Leslie and Doug Quint
Susan M. and Farbod Raam
Mr. and Mrs. Alex Raikhel
Mr. and Mrs.
Alfred C. Raphaclson Dr. and Mrs. Mark Rayport Maxwell and Marjorie Readc Caroline Rchbcrg Esther M. Reilly Deanna and Pietcr Rclyea Mr. and Mrs. Frederick Remley.Jr. Ms. Molly Resnik Mr. and Mrs. Neil Rcssler M. Laurel Reynolds Lou and Sheila Rice Lisa Richardson Judy Ripple
William and Kaye Rittinger Lisa E. Rives and Jason I. Collcns Janet K. Robinson. Ph.D. Ms. Margaret 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. Rowe George and Matilda Rubin Mabel E. Rugen Sandra and Doyle Samons Dr. Anna M. Santiago Harry W. and Elaine Sargous Elizabeth M. Savage June and Richard Saxe Jochen and Hclga Schacht Michael Joseph Schaeule Bonnie R. Schafer Mr. and Mrs. Al.m N. kill Mr. and Mrs. F. Allan Schcnck Dr. and Mrs. DirkJ. Scholten Thomas H. Schopmcyer Katherine Collier and
Yizhak Scholten Sue Schroeder Aileen M. Schulze Dorothy Scully Anne Brantley Segall Sylvia and Leonard Scgel Richard A. Seid
Elliot A. and Barbara M. Scrafin Kirtikant and Sudha Shah Matthew Shapiro and Susan Garetz Kathleen A. Shechy 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 Simek
Sandy and Dick Simon
Bob and Elaine Sims
Alan and Eleanor Singer
Jane Singer
Nora G. Singer
Jack and Shirley Sirotkin
IrmaJ. Sklcnar
J.rgen O. Skoppek
Beverly N. Slater
Tad Slawccki
Haldon and Tina Smith
Richard and Jo-Ann Socha
Arthur and Elizabeth Solomon
James A. Somers
R. Thomas and
Elinor M. Sommcrfeld Mm.i Diver Sonda Barbara Spencer Jim Spevak and Leslie Bruch L. C. SprankJe Bult .mil )u( c Squires Mary Stadel
Neil and Burnette Slacblcr Joan and Ralph Stahman David Steinhoff and
Jaye Schlesinger Robin Stcphcnson and
Terry Drcnt Steve and Gayle Stewart Ms. Lynctte Stindt and
Mr. Craig S. Ross Lawrence and Lisa Stock Mr. and Mrs. James Stokoe Judy and Sam Stulberg 11.mi Sundaram Alfred and Sclma Sussman Mary Margaret and
Robert Sweeten Yorozu Tabata K. Boyer and S. Tainter Junko Takahashi Larry and Roberta Tankanow Professor and
Mrs. Robert C. Taylor Robert Tcicher and
Sharon Gambin
Kenneth and Benita Teschendorf Brian and Mary Ann Thelen Neal Tolchin Egons and Susanne Tons Jim Toy
Paul and Barbara Trudgen Jeffrey and Lisa Tulin-Silver Mr. and Mrs. Marshall Tymn Nikolas Tzannetakis Mr. Masaki Ucno Greg Upshur Iris Cheng and Daniel Uri Dr. and Ms. Samuel C. Ursu Arthur and Judith Vander Bram and LJa van Leer Phyllis Vegter
Kitty Bridges and David Vcllcman Ingrid Verhamme Mrs. Durwcll Vetter Breni Wagner
Wendy L. Wahl and William R. Lee Mr. and Mrs. David C. Walker
Donors, continued
Patricia Walsh Margaret Waller Karen and Orson Wang Margaret Warrick 1 .orrainc Nadclman and
Sidney Warschausky Alice and Martin Warshaw Edward C. Wcbcr Michael Webster and
Leone Buyse Steven P. Weikal Gerane Wcinreich 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. Wilhehn James Williams John and Chrisia 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. Unda Kiddcr Muriel and Dick Wong Barbara H. Wooding Stewart and Carolyn Work Israel and Fay Woronoff Robert E. Wray, III Ernst Wuckert Patricia Wulp Fran and Ben Wylie Mrs. Antonette Zadrozny Dr. Stephen C. Zambito Robert and Charlene R. im 1 Bertram and Iim Zhcutlin George and Nana Zissis and several anonymous donors
ApplausePerfect Ten
Bally's Vic Tanny
Callinctics by Diane
Courtney and Lovell
Crown Steel Rail Company
Gallery Von Glahn
Great Harvest Bread Company
Paesano's Restaurant
Sweet Lorraine's Cafe & Bar
Whole Foods Market
Charles A. Sink
Honoring members with cumulative giving totals over $15,000.
Dr. and Mrs. Robert G. Aldrich Herb and Carol Amstcr Jim Botsford and
Janice Stevens Botsford Carl and Isabcllc Brauer Mr. Ralph Conger Margaret and Douglas Crary Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Dale and Marilyn Fosdick Sue and Carl Ginglcs Mr. and Mrs. Peter N. Hcydon Mr. and Mrs. Howard S. Holmes 1 Ii.iIhiIi E. Kennedy Mr. and Mrs. William C. Martin Judythc and Roger Maugh Charlotte McGeoch Karen Koykka O'Neal and
Joe O'Neal
Mr. and Mrs. William B. Palmer Maxinc and Wilbur K. Pierpont John Psarouthakis Richard and Susan Rogel Maya Savarino and
Raymond Tanier Dr. Herbert Sloan Carol and Irving Smokier Mr. Helmut F. Stern Dr. and Mrs. E. Thurston Thicmc EtteUe Titicv Paul and Elizabeth Yhouse
Dahlmann Properties The Edward Surovell Co.Rcaltors First of America Bank Ford Motor Credit Company Ford Motor Company Great Lakes Bankcorp Jacobson Stores, Inc. JIM UK . 1 IkI'.iidri.i Kmiiulatinn Mainstrcet Ventures McKinlcy Associates Philips Display Components
Company Society Bank Trimas Corporation Warncr-LambcrtParkc Davis
Research Division Wolverine Temporaries, Inc.
The Ann Arbor Area
Community Foundation
Arts Midwest
The Bcnard L. Maas Foundation
The Grayling Fund
Lila Wallace-Reader's Digest Fund
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Gigi Andresen
Chase and Delphi Baromcs
Dean Bodley
A. A. (Bud) Bronson
Graham Conger
Pauline M. Conger
Joanna Cornett
Horace Dcwey
Alice Kelscy Dunn
Robert S. Feldman
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 Stacblcr Kempf
R. Hudson Ladd
John Lewis
Robert Lewis
Carol Lighthall
Lorene Crank. Lloyd
Katherinc Mabarak
Frederick C. Matthaei, Sr.
Arthur Mayday, Jr.
Earl Meredith
Mr. and Mrs. Merle Elliot Myers
Martha P. Palty
Elizabeth Peebler
Gwen and Emerson Powrie
Steffi Reiss
Percy Richardson
James H. and Cornelia M. Spencer
Ralph L Stcffek
Charlcnc Parker Stern
Jewel B. Stockard
Mark Von Wyss
Barbara Woods
Peter H. Woods
Inkind Gifts
Sue and Michael Abbott
Ricky Agranoff
Catherine Arcure
Paulett and Peter Banks
Ms. Janice Stevens Botsford
James and Betty Byrne
Mr. Phil Cole
Cousins Heritage Inn
Curtin and Alf
Ken Fischer
Susan Fiupatrick
The Gandy Dancer
Bob Crijalva
Leslie and Mary Ellen Guinn
Margo Halsted
Matthew C. Hodman and
Kerry McNulty Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa Bob and Gloria Kerry Howard King and
Elizabeth Sayre-King Bruce Kulp Maggie Long
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 Janei Torno
Dr. and Mrs. John F. Ullrich Paul and Elizabeth Yhousc
Giving Levels
The Charles Sink Society cumulative giving totals of more than $15,000
Bravo Society Si0,000 or more Concertmasier $5,000 9,999 Leader $2,000 4,999 Guarantor $r,ooo -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
55 Beacon Investment Company
17 Benefit Source
15 Bodman, Longlcy and
Dahling 54 Butzel I-ong
10 Cafe Marie
30 Center for Facial and Cosmetic Surgery
18 Charles Rcinhart Company 13 Chelsea Community
I 1"
35 Chris Triola Gallery
39 DeBoer Gallery
21 Detroit Edison
20 Dickinson, Wright, Moon, VanDusen and Freeman
27 Dobb's Opticians
17 Dobson-McOmber Agency
19 Dough Boys Bakery
35 Emerson School
26 Englander's Other Place 17 ERIM
34 First Martin Corporation
29 First of America Bank
19 Ford Motor Company
27 Fraleigh's Landscape 32 General Motors
Corporation 34 Glacier Hills 29 Great Lakes Fitness and
13 Hagopian World of Rugs 37 Harmony House
36 Hill Auditorium
Campaign and Seat Sale
39 Interior Development, Inc.
2 Jacobson's
20 Jet-Away Travel
39 John Leidy Shops
13 Kathcrine's Catering and Special Events
40 King's Keyboard House
15 Lewis Jewelers 12 M-Care
29 Marty's Mcnswear
56 Matthew C. Hoffmann
16 Maude's
42 Miller, Canfield, Paddock
and Stone
25 Mundus and Mundus, Inc. 8 NBD Bank, Trust Division 31 Nichols, Sacks, Slank
and Sweet
42 Overture Audio
17 Plymouth Guitar Gallery
34 Professional Automotive
35 Red Hawk Bar and Grill
30 Regrets Only
12 Schlandcrer Jewelry 37 Seva Restaurant 28 SKR Classical
23 Society Bank
33 Sweet Lorraine's 20 Sweetwaters Cafe 4 The Edward Surovell
Company 54 Toledo Museum of Art
31 Top Drawer
33 Ufer and Company Insurance
37 Ulrich's Bookstore
39 University of Michigan Matthaci Botanical Gardens
30 University Productions
43 Whole Foods Market 33 WQRS
27 Wright, Griffin, Davis and
Company 41 WUOM

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