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UMS Concert Program, Friday Sep. 27 To Oct. 13: University Musical Society: 1996-1997 Fall - Friday Sep. 27 To Oct. 13 --

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University Musical Society
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Season: 1996-1997 Fall
University Of Michigan, Ann Arbor

Dear Friends,
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last year, more than 120,000 people attended UMS performances and relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport with Jessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between diese artists, UMS and die Ann Arbor community.
Our Board of Directors now numbers 26 individuals, each bringing to dieir role unique knowledge, experience and perspective as well as a shared commitment to assuring the pre?sent and future success of UMS. What a privi?lege it is to work with a group of people whose vision of UMS is to make it the very best of its kind in the world.
That same vision is shared by members of the UMS staff, who this year invite all of the UMS family to celebrate the 25 years box office manager Michael Gowing has served UMS and this community. Michael has established a stan?dard of patron service that we're told is unmatched anywhere else in this business. Look for the acknowledgment in this program book to find out more about Michael and how you can participate in this season-long celebra?tion.
Last year, UMS volunteers contributed more than 38,000 hours to UMS. In addition to Board members, volunteers include our
Advisory Committee, usher corps, UMS Choral Union members and countless others who give of their time and talent to all facets of the UMS program. Thank you, volunteers!
Relationships with professional colleagues around the world are very special. There is a generosity of spirit in performing arts present?ing that I have rarely seen in other fields. We share our best ideas with one another at con?ferences, in publications, by phone and, increasingly, over the internet. Presenters are joining together more and more to commis?sion new works and to assure their presenta?tion, as we've done this year with William Bolcom's Briefly It Enters and Donald Byrd's The Harlem Nutcracker. I'm pleased to report that The Dreams and Prayers of Isaac the Blind, the stir?ring piece we co-commissioned and presented in April 1995 won the prestigious Kennedy Center Friedham Award for composer Osvaldo Golijov earlier this year.
The most important relationship is that with the community, and that means you. I care deeply about building and strengthening these relationships, whether it be with an indi?vidual patron who comes by the office with a program idea, with the leader of a social ser?vice organization who wishes to use one of our events as a fundraiser, with die nearly 40 school districts whose children will participate in our youth program, or with the audience member who buttonholes me in the lobby with a com?plaint.
Thanks again for coming to this event -and please let me hear from you with ideas or suggestions. Look for me in the lobby, or call me at my office at 313.647.1174.
Kenneth C. Fischer Executive Director
UMS Index
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,110
Number of volunteer person-hours spent rehearsing and performing with the Choral Union: 21,700
Number of bottles of Evian that UMS artists drank last season: 1,080
Estimated number of cups of coffee consumed backstage during 199596 performances: 4,000
Number of cough drops consumed in Hill Auditorium each year during UMS concerts: 91,255
Number of costumes in this season's co-commission of The Harlem Nutcracker. 268
Number of individuals who were part of last season's events (artists, managers): 1,775
Number of concerts the Philadelphia Orchestra has performed in Hill Auditorium: 267
Number of concerts the Budapest String Quartet has performed in Rackham Auditorium: 43
Number of times the Philadelphia Orchestra has performed "Hail to the Victors": 24
Number of times the Budapest String Quartet has performed "Hail to the Victors": 0
Number of works commissioned by UMS in its first 100 years of presenting concerts (1879-1979): 8
Number of works commissioned by UMS in the past 6 years: 8
Number of years Charlotte McGeoch has subscribed to the Choral Union series: 58
Number of tickets sold at last autumn's Ford Credit 50 Off Student Ticket Sale: 6,948
Value of the money saved by students at that sale: $82,057
Value of discounts received by groups attending UMS events last season: $36,500
Number of ushers serving UMS: 275
Last year Choral Union Season Ticket Prices were raised: 1994
Number of performances of Beethoven's 7th Symphony under UMS auspices: 27
Number of performances of Tchaikovsky's 5th Symphony: 27
Number of sopranos in the UMS Choral Union: 45
Number of tenors: 32
Number of years Pa'ul Lowry has sung with the Choral Union, including this season: 49
Number of Messiah performances from UMS' inception through 199596: 154
Average number of photographs UMS Executive Director Ken Fischer takes each year: 4,500
Number of years Charles Sink served UMS: 64
Cost of a 10-concert Choral Union subscription in 1903: $3.50
Cost of a 10-concert Choral Union subscription in 1945: $15.60
Number of regular season concerts presented by UMS in 199091: 38
Number of regular season concerts presented by UMS in 199697: 71
Number of room nights in Ann Arbor area last season generated by UMS artists: 2,806
Number of airport runs made for UMS artists in 199596: 85
Number of UMS subscribers in 199495: 1,973
Number in 199596: 3,334
of 199596 UMS subscribers who planned to renew their subscriptions this year: 92
Wilh thanks to Harper's Index?
Data taken from UMS archives and audience surveys. Some numbers have been estimated.
Thank You, Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of localized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cor?nerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our 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.
Herbert Amster
President, UMS Board of Directors
CARL A. BRAUER, JR. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically
support the
University Musical Society in bringing great music to our community."
HOWARD S. HOLMES President, Chehea 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."
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 commu?nity's youth to carry forward into future generations this fine tradition of artistic talents."
JORGE A. SOUS First Via President and Manager, NBDBank "NBD Bank is hon?ored to share in the University Musical Society's proud
tradition of musical excellence and artistic diversity."
L THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin-Faber Travel "Conlin-Faber Travel Travel is pleased to support the signifi-
cant cultural and educational projects of the University Musical Society,"
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 con?tribute so much to Southeastern Michigan."
John Psarouthakis,
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cul?tural events it brings to our area."
RONALD WEISER Chairman and Chief Executive Officer, McKinUy Associates, Inc.
"McKinley Associates is proud lo support the University
Musical Society and the cultural contri?bution it makes to the community."
WILLIAM E. ODOM Chairman, Ford Motor Credit Company The people of Ford Credit are very proud of our con?tinuing association
with the University Musical Society. The Society's long-established com?mitment to Artistic Excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
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 continuing 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 UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
ROBERT J.DELONIS Chairman, Great Lakes Bancorp "As a long-standing member of the Ann Arbor commu?nity, Great Lakes Bancorp and the
University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
JOHN E. LOBBIA Chairman and Chief Executive Officer, Detroit Edison The University Musical Society is one of the organi?zations that make
the Ann Arbor community a world-renowned center for the arts. The entire community shares in the count?less benefits of the excellence of these programs."
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."
JOSEPH CURTIN AND GREGG ALF Owners, Curtin & Alf "Curtin & Alfs support of the University Musical Society is both a privilege and an
honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land." vHE ;
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 82 years, and UMS has been here for 118, we can still appreciate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
GEORGE H. CRESS Michigan District President, KtyBank The University Musical Society has always done an outstanding job of bringing a wide
variety of cultural events to Ann Arbor. KeyBank is proud to support an orga?nization that continually displays such a commitment to excellence."
The Edward Surovell
"It is an honor for
Edward Surovell
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organization as the
Musical Society at the University of Michigan."
RONALD M. CRESSWELL, PH.D. Vice President and Chairman, Pharmaceutical Division, Warner Lambert Company "Warner Lambert
is very proud to be associated with the University Musical Society and is grate?ful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
DR. JAMES R. IRWIN Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Temporaries began
its support of the University Musical Society in 1984, believing that a com?mitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to cul?turally enrich the people of our com?munity."
The University Musical Society of the university of Michigan
Herbert S. Amster, President F. Bruce Kulp, Vice President Carol Shalita Smokier,
Richard H. Rogel, Treasurer Gail Davis Barnes Maurice S. Binkow Paul C. Boylan
LctitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Walter L. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper
Rebecca McGowan Homer A. Neal Joe E. O'Neal John Psarouthakis George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell
Marina v.N. Whitman Iva M. Wilson Elizabeth Yhouse
Gail W. Rector, President Emeritus
Robert G. Aldrich Richard S. Berger Carl A. Brauer.Jr. Allen P. Britton Douglas D. Crary John D'Arms James J. Duderstadt Robben W. Fleming
11.iiI.hi H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long Judyth Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz
Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whiuker
AdministrationFinance Kenneth C. Fischer,
Executive Director John B. Kennard.Jr.,
Administrative Manager Elizabeth Jahn, Asst. to
Executive Director Kate Remen, Administrative
Assistant, Marketing cV
Programming R. Scott Russell, Systems
Box Office
Michael L. Cowing, Manager Sally A. Cushing, Staff Philip Guire, Staff John Peckham, Staff
Choral Union
Thomas Sheets, Conductor
Timothy Haggerty, Manager
Catherine Arcure, Director Betty Byrne, Advisory Elaine Economou, Corporate Susan Fitzpatrick,
Administrative Assistant Thad Schork, Gift Processing Anne Griffin Sloan,
Annual Giving
EducationAudience Development
Ben Johnson, Director Emily Avers, Assistant
MarketingPromotion Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
ProgrammingProduction Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artists' Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Work-StudyInterns Laura Birnbryer Rebekah Camm Jessica Flint Lynnette Forde Amy Hayne Lisa Moudy Tansy Rodd Lisa Vogen Scott Wilcox
Susan B. Ullrich, Chair
Maya Savarino, Vice-Chair
Kathleen Beck, Secretary
Peter H. deLoof, Treasurer
Gregg Alf
Paulett Banks
Milli Baranowski
Kathleen Beck
Janice Stevens Botsford
Jeannine Buchanan
I i-iin.i Byrd
Betty Byrne, Staff Liaison
Pat Chatas
Chen Oi Chin-Hsieh
Phil Cole
Peter H. deLoof Rosanne Duncan H. Michael Endres Don Faber Penny Fischer Barbara Gelehrter Beverly Geltner Margo Halsled Esther HeiUer Deborah B. Hildebrandt Matthew Hoffmann Maureen Isaac Marcy Jennings Damn Johnson Barbara Kahn
Mercy Kasle Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Levitan Doni Lystra Howard Markel Margaret McKinley Clyde Metzger Ronald G. Miller Len Niehoff Karen Koykka O'Neal Marysia Ostafin Wendy Palms
leva Rasmussen Maya Savarino Janet Shatusky Margaret Kennedy Shaw Aliza Shevrin Sheila Silver Rita Simpson Ellen Stross James Telfer, M.D. Kathleen Treciak Susan B. Ullrich Dody Viola Jerry Weidenbach David White 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.
General Information
University Musical Society Auditoria Directory & Information
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of 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.
Mendelssohn: A drinking fountain is located at the. north
end of the hallway outside the main floor seating area.
St. Francis: A drinking fountain is located in the basement at
the bottom of the front lobby stairs.
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
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 parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of
the Michigan League.
St. Francis: There are no public telephones in the church.
Pay phones are available in the Parish Activities Center next
door to the church.
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.
Mendelssohn: Men's and women's restrooms are located clown the long hallway from the main floor seating area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the front lobby stairs.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
A wealth of information about events, UMS, restaurants, and the like is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with ques?tions and requests. The information table is open thirty minutes before each concert and during intermission.
Ticket Services
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 3i3.647.li7i
At the 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 by calling the UMS Box Office. You will be given a receipt for an income tax deduction as refunds are not available. Please note that ticket returns do not count toward UMS membership.
Perhaps as easily recog?nized as Ann Arbor's most famous landmark, Burton Memorial Tower, is the cheerful face behind the counter of the University Musical Society's Box Office in the same building. Box Office Manager Michael Gowing cele?brates his 25th season with the Musical Society this year, hav?ing joined the Box Office staff on October 18, 1971. Over the course of his 25 years at the Musical Society, he has sold tick?ets to 1,319 UMS events, as well as the Ann Arbor Summer Festival. A walking archive, Michael is a veritable repository of information relating to the Musical Society and its illustrious history. IN recognition of the outstanding service Michael has given thousands of ticket buyers over the years, always with a twin?kle in his eyes (and usually with a
Going Strong
smile on his face!), the University Musical Society would like to invite you, the patrons he has served so devotedly, to contribute toward the purchase of a seat in Hill Auditorium in his honor. We are sure that Michael would be pleased with this tribute to his ser?vice over the past quarter-century. The staff of the Musical Society is also compiling a 25 fear Anniversary Book, filled with con?gratulatory letters from patrons, remembrances and mementos. We hope that you will help us honor Michael by sending anything you think appropriate, to contribute, please make your check payable to the University Musical Society -Michael Gouring Seat. You may mail your contribution or letters anytime during the fall season to University Musical Society, Burton Memorial Tower, Ann Arbor, MI 48109-1270.
All contributions are tax deductible to the amount allowed by law.
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name "The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was estab?lished in December 1880. The Musical Society includ?ed the Choral Union and University Orchestra, and throughout the year pre?sented a series of concerts
featuring local and visiting artists and ensem?bles. Professor Frieze became the first presi?dent of the Society.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through the Choral Union, Chamber Arts, Jazz Directions, Moving Truths, Divine Expressions, Stage Presence, Six Strings and many other series, the Musical Society now hosts over 75 concerts and more than 150 edu?cational events each season. UMS has flour-
ished with the support of a generous music-and arts-loving community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, and the Lydia Mendelssohn Theatre experiencing the talents of such artists as Leonard Bernstein, the Berlin and Vienna Philharmonic Orchestras, the Martha Graham Dance Company, Jessye Norman, The Stratford Festival, Cecilia Bartoli, Wynton Marsalis, Nusrat Fateh Ali Khan and Ensemble Modern of Frankfurt.
Through educational endeavors, commis?sioning of new works, youth programs, artists' residencies such as those with the Cleveland Orchestra and The Harlem Nutcracker, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, the Musical Society is a sepa?rate not-for-profit organization, which supports itself from ticket sales, corporate and individ?ual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
In its more recent history, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capacity, the ensemble has joined the orchestra for subscription perfor?mances of Beethoven's Symphony No. 9, Orffs Carmina Burana, Ravel's Daphnis el Chloe and Prokofiev's Alehsandr Nevsky. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem,
and continuing with performances of the Berlioz Requiem and Bach's Mass in B minor.
In the current season, the UMS Choral Union again expands its scope to include per?formances with a third major regional ensem?ble. Continuing its association with the Detroit Symphony Orchestra, the Choral Union will collaborate in January 1997 with Maestro Jarvi and the DSO to produce a second recording for Chandos Ltd. In March the chorus will make its debut with the Grand Rapids Symphony, joining with them in a rare presentation of the Symphony No. 8 ("Symphony of a Thousand") by Gustav Mahler. This extraordinary season will culminate in a May performance of the Verdi Requiem with the Toledo Symphony.
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 com?mon passion--a love of the choral art.
For information about the UMS Choral Union, please call 313.763.8997.
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is often associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of important debuts and long relationships throughout the past 83 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Hill Auditorium is named for former U-M regent Arthur Hill, who bequested $200,000 to the University for the construction of an audito?rium for lectures, concerts and other university events. Then-UMS President Charles.Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing the ever-popular Fifth Symphony of Beedioven. The following evening featured Verdi's "Manzoni" Requiem, a work that has been performed frequently throughout the Musical Society's illustrious history. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in
one of his only solo recitals outside of New York), Ernestine Schumann-Heink, Fritz Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignacejan Paderewski (who often called Hill
Auditorium "the finest music hall in the world"), Paul Robeson, Lily Pons, Leontyne Price, Marion Anderson and, more recently, Yo-Yo Ma, Cecilia Bartoli.Jessye Norman, Van Cliburn, the Metropolitan Opera Orchestra (in the debut concert of its inaugural tour) and the late Sergiu Celibidache conducting the Munich Philharmonic.
Hill Auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and expanded wheelchair seating (1995), decreased the seating capacity to its current 4,163.
The organ pipes above the stage come from the 1894 Chicago Colombian Exposition.
Named after the founder of the Musical Society, Henry Simmons Frieze, the organ is used for numerous concerts in Hill throughout the sea?son. Despite many changes in appearance over the past century, the organ pipes were restored to their original stenciling, color and layout in 1986.
Hill Auditorium is slated for renovation, with funds currently being raised through the Campaign for Michigan. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conveniences.
Until the last fifty years, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of studying human history and human thought, died in 1933, his will estab?lished the Horace H. Rackham and Mary A. Rackham Fund. It was this fund which subse?quently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more
remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
Celebrating twenty-five years of wonderful arts presentation, the Power Center for the Performing Arts was originally bred from a realization that the University of Michigan had no adequate theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in the midst of a list of University priorities was mentioned "a new theatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In die interest of including a wide range of the performing arts and humani?ties, the idea for die Power Center for the Performing Arts was born.
Auditoria, continued
Opening in 1971 with the world pre?miere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradic?tory combination of providing a soaring interior space with a unique level of inti?macy. Architectural features include the two large spiral stair?cases leading from
the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. No seat in the Power Center is more than 72 feet from the stage. In 1981, a 28,000 square-foot addition was completed, providing rehearsal rooms, shops for building sets and costumes, a green room and office space. At the same time, the eminent British sculptor John W. Mills was commissioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addi?tion to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores,
offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, the Theater has undergone many changes. 'Talkies" replaced silent films just one year after the Theater opened, and audeville soon disappeared from the stage. As Theater attendance dwindled in the 1950s, the interior and exterior of the building were both modernized, with much of the intricate plaster ivork covered with aluminum, polished marble and a false ceiling.
Throughout the 1960s and 1970s, the 1,710-seat theater struggled against changes in the Him industry, and the owners put the Theater up for sale, threatening its very existence. The non-profit Michigan Theater Foundation, a newly-founded group dedicated to preserving the facility, stepped in to operate the failing movie house in 1979.
After a partial renovation in 1986 which restored the Theater's auditorium and Grand Foyer to its 1920s-era movie palace grandeur, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. Further restoration of the balcony, outer lobby and facade are planned in coming years.
The University Musical Society first began presenting artists at the Michigan Theater dur?ing the 199495 season, along with occasional film partnerships to accompany presentations in other venues. The Theater's acoustics, rich interiors and technical capabilities make it a natural setting for period pieces and mixed media projects alike. In addition to sponsoring a Twyla Tharp Film Series in 199697 (September 29-October 20), UMS presents four events at the Michigan Theater this season: Guitar Summit III (November 16), The Real Group (February 8), Voices of Light: 'The Passion of Joan of Arc" with Anonymous 4 (Feb?ruary 16) and The Russian Village (April 11).
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the
Auditoria, continued
church a fabulous venue for presenting a capped choral music and early music ensembles. This season, UMS presents four concerts at St. Francij of Assisi Catholic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademi, (March 15) and the Huelgas Ensemble (April 10)
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and tntimati venue, the Mendelssohn Theatre has become die latest venue addition to the Musical Society] roster.
Allen Pond & Pond, Martin & Lloyd, a Chicagij architectural firm, designed the Mendelssohn Theatre, which is housed in the Michigan league, It opened on May 4, 1929 with an original equipment cost of $36,419, and received a majoi facelift in 1979. In 1995, the proscenium curtail was replaced, new carpeting installed, and the seats refurbished.
During the 1930s through the 1950s, Mendelssohn Theatre was home to a five-week Spring Drama Festival, which featured the likes of Hume Cronin, Jessica Tandy, Katharine Cornell, Burgess Meredith and Barbara Bel Geddes. Arthur Miller staged early plays at Mendelssohn Theatre while attending college ai U-M in the early 1930s, and from 1962 through 1971, the University's Professional Theatre Program staged many plays, both originals and revivals. Several went on to Broadway runs, including You Can't Take It With You and Harvey, which starred Helen Hayes and Jimmy Stewart.
The University Musical Society's presentation of four song recitals celebrating the bicentenni?al of Schubert's birth marks the first time in 58 years that UMS has used the Mendelssohn Theatre for regular season programming. The recitals feature baritone Sanford Sylvan (Januan
24), mezzo-soprano Sarah Walker (January 25), baritone Wolfgang Holzmair (February 17) and soprano Barbara Bonney (February 18).
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the mailing address and box office location for the University Musical Society.
During a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles around, be built in the center of campus representing the idealism and loyalty of U-M alumni. In 1929 the UMS Board of Directors authorized construction of the Marion LeRoy Burton Memorial Tower. The University of Michigan Club of Ann Arbor accepted the project of raising money for the lower and, along with the Regents of the University, the City of Ann Arbor, and die lumni Association, the Tower Fund was estab?lished. UMS donated $60,000 to this fund.
In June 1935 Charles Baird, who graduated from U-M in 1895 and was the equivalent of today's Athletic Director from 1898-1908, pre?sented the University of Michigan with $70,000 for the purchase of a carillon and clock. These were to be installed in the tower in memory of Burton, former president of the University and a member of the UMS Board of Directors. Baird's intention was to donate a symbol of the University's academic, artistic, and community life a symbol in sight and sound which alumni would cherish in their Michigan memories.
Designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. The tower is 41 feet, 7 inch?es square at the base. Completed in 1936, the Tower's basement and first floor rooms were designated for use by the University Musical Society in 1940. In later years, UMS was also granted permission to occupy the second and third floors of the tower.
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 climb up to the observation deck and watch the carillon being played from noon to 12:30pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45am.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, 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 donat?ed labor, materials and funds to this project.
The university is currently replacing Burton Tower's 45-year old elevator, which is rumored to have come from the University Hospitals, wide enough for transporting gurneys and pianos alike. The elevator-replacement project should be completed by early 1997.
The igc}6-gy Season
World premiere song cycle by William Bolcom co-commissioned by the University Musical Society Friday, September 27, 8:00pm Rackham Auditorium
Master of Arts William Bolcom, interviewed by Glenn Watkins, U-M Professor of Musicology. Tues, Sep 24, 7pm, Rackham.
Meet the Artists Immediately following the performance.
Presented with the support of the KMD Foundation.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne Slate University.
MEREDITH MONK'S THE POLITICS OF QUIET Friday, October 4, 8:00pm Saturday, October 5, 8:00pm Power Center
Institute for the Humanities Brown Bag Lunch Meredith Monk's Music and Choreography. Tues, Oct 1, 12 noon, Rackham.
Meet the Artists Immediately following Friday's performance.
Master of Arts Meredith Monk, interviewed by John Killacky, Curator for the Performing Arts, Walker Art Center. Sun, Sept 29, lpm Nat Sci Aud.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
The Cleveland Orchestra Weekend
Christophvon dohnAnyi, music director
October 11, 12, & 13, 1996
Olaf Bar, baritone
Friday, October 11, 8:00pm
Hill Auditorium
Stephen Geber, cello
Saturday, October 12, 8:00pm Hill Auditorium
Chamber Music with Members of The Cleveland Orchestra
Sunday, October 13, 4:00pm Rackham Auditorium
PREP Jim Leonard, Manager, SKR Classical. "My Life has been Singularly-Strange...Debussy Composes La Met." Fri, Oct 11, 6:30pm, SKR Classical.
PREP Jim Leonard, Manager, SKR'Classical. Tchaikovsky's Fifth Symphony: Tragedy from Triumph." Sat, Oct 12, 6:30pm, SKR Classical.
Meet the Artists Immediately following Saturday's perfor?mance.
Vocal Master Class Olaf Bar, baritone. Thurs, Oct 10, 2:30-5:00pm, Recital Hall, U-M School of Music.
Panel Discussion "The Future of the American Orchestra" with members of the Cleveland Orchestra's Administrative staff. Sat, Oct 12, 4:30-6:00pm, Recital Hall, U-M School of Music.
This program is supported by Arts Midwest, a regional arts organization serving America's heartland, in partnership with the National Endowment for the Arts, and other public and pri?vate institutions.
Mark Morris Dance
Wednesday, October 16,8:00pm
Power Center
Sponsored by Regency Travel
Wednesday, October 23,8:00pm Power Center
Presented with the generous support of Dr. Herbert Sloan.
Twyla Tharp Dance Company Friday, October 25, 8:00pm Saturday, October 26, 2:00pm Saturday, October 26, 8:00pm Power Center
Panel Discussion "Mothers of Invention: Tharp and Her Predecessors." In collabora?tion with the Institute for Research on Women and Gender. Mon, Oct 21, 7:30-9:30pm, Modern Languages Building.
Institute for the Humanities Brown Bag Lunch Twyla Tharp Video Discussion. Tues, Oct 22, 12noon, Rackham.
Twyla Tharp's TTie One Hundreds Performed for the first time since 1969, Ms. Tharp will lead 100 local, university, and community members in this historic reconstruction. Thurs, Oct 24, 8pm, Power Center, $5.
Master of Arts Twyla Tharp, interviewed by Beth Genne, U-M Professor of Dance and Art History, and Bob Becklcy, Dean, College of Architecture and Urban Planning. Sat, Oct 26, 11am, Nat Sci Aud.
Film Series Movies and Movement: The Film Choreo?graphy of Twyla Tharp. All shown at the Michigan Theater. "Hair" Sun, Sept 29, 2pm; "Ragtime" Sun, Oct 6, 2pm; "Amadeus" Sun, Oct 13, 2pm; "White Nights" Sun, Oct 20, 2pm
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Sunday, October 27, 7:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin-Faber Travel and Cunard.
State Symphony Orchestra of Russia
Yevgeny Svetlanov, conductor Tuesday, October 29, 8:00pm Hill Auditorium
PREP Jim Leonard, Manager, SKR Classical. "Ubwohl undoder Ewigkert (Farewell andor Forever) -The Meaning of Mahler's Ninth." Tues, Oct 29, 6:30pm, SKR Classical.
Sponsored by NBD Bank. NOVEMBER
Yuraci (In a Space of perpetual motion)
Ushio Amagatsu,
Artistic Director Friday, November 1, 8:00pm Saturday, November 2, 8:00pm Power Center
Presented xirith support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Sabri brothers
Sunday, November 3, 4:00pm Rackham Auditorium
Trio Fontenay
Monday, November 4, 8:00pm Rackham Auditorium
PREP Ellwood Derr, U-M Professor of Music. "Old Wine in New Botdes: Brahms' Compositions on Musical Data by Mendelssohn and Others." Mon, Nov 4, 7pm, MI League.
Sponsored by the Edward Surovell Co.Realtors.
les arts florissants
William Christie, conductor Handel's Acis and Galatea
Fridav, November 8, 8:00pm Hill Auditorium
PREP Elwood Derr, U-M Professor of Music. "A Glimpse into Eighteenth-Century Workshops: Elaborations of the Same Common Property Themes in Acis and Galatea and Works of J.S. Bach." Fri, Nov 8. 7pm. MI League.
In memory of Judith and Edward Heekin, who were fre?quent Choral Union attendees.
CHECK OUT THE UMS WEBSITE! UMS Hits the Internet in the Fall of 1996. Look for valuable information about UMS, the igg6g7 season, our venues, volunteer information, educational activities, and ticket information. http:VWW.UmS.OTg
Official sponsor of theUMS
midnight in the garden of Good and evil with john berendt, author (celebrating the Music of johnny Mercer)
Saturday, November 9, 8:00pm Hill Auditorium
Sponsored by Regency Travel.
Presented with support from media partner WEMU, S9.1FM, Public Radio from Eastern Michigan University.
LUCIA, AL DlMEOLA AND JOHN MCLAUGHLIN Saturday, November 16,8:00pm Michigan Theater
Sponsored by Regency Travel.
Presented with support from media partner WEMU, S9.1FM, Public Radio from Eastern Michigan University.
Sunday, November 17,4:00pm Rackham Auditorium Complimentary Admission
Saturday, November 23,8:00pm
Rackham Auditorium
Sponsored by the Edward Surovell Co.Realtors with sup?port from Maurice and Linda liinkow.
Wednesday, December 4,
St. Francis of Assisi Catholic
PREP James Borders, Associate Dean, School of Music. "Christmas Sacred Vocal Music, Medieval to Modern." Wed, Dec 4, 7pm, St. Francis Church
Sponsored fry Conlin-Faber Travel and Cunard.
HANDEL'S MESSIAH UMS Choral Union Ann Arbor Symphony
Thomas Sheets, conductor Saturday, December 7, 8:00pm Sunday, December 8, 2:00pm Hill Auditorium
Presented with the generous sup?port of Dr. James and Millie Irwin.
"So Many Stars" Kathleen battle and Friends
Kathleen Batde, soprano Cyrus Chestnut, piano Christian McBride, bass James Carter, saxophone Cyro Baptista, percussion Friday, December 13, 8:00pm Hill Auditorium
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
The Harlem Nutcracker
Donald ByrdThe Group Choreography by Donald Byrd Music by Piotr Ilych Tchaikovsky Arranged by Duke Ellington
and David Berger Additional music by
Craig Harris Marcus Belgrave, leader Wednesday, December 18,
Thursday, December 19,8:00pm Friday, December 20, 8:00pm Saturday, December 21,
2:00pm (Family Show) Saturday, December 21,8:00pm Power Center
Links to Literature Public readings by local African-American Senior Citizens about the Harlem Renaissance. At Borders Books and Music, in collabo?ration with The Links, Inc. Thurs, Dec 5, 7:30pm: Public reading for adults. Sat, Dec 7, 11:00am: Public reading for children.
Supported by the Grayling Fund and Project Management Associates, Inc.
Presented with support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
The Harlem Nutcracker is supported by Arts Midwest, a regional arts organization serving America's heartland, in partner?ship with the National Endowment fortheArts, and other public and private institutions.
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard" Thurs, Jan 8, 7pm, MI League.
Thursday, January 16, 8:00pm Hill Auditorium
Sponsored by Thomas B. McMullen Co., Inc.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of America.
This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1997 Rev. Dr. Martin Luther King, Jr. Day Symposium.
Late Schubert Piano
Thursday, January 23, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored by McKinley Associates, Inc.
Schubert Song Recital I Sanford Sylvan, baritone David breitman, fortepiano
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. "A discussion of the evening's repertoire. Fri.Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:00-4:00 pm, Mclntosh Theater, U-M School of Music.
schubert song recital ii Sarah walker, mezzo-soprano Gareth Hancock, piano
Saturday, January 25, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. "A discussion of the evening's repertoire." Sat, Jan 25, 6:30pm, MI I-eague.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
NEEME JARVI, CONDUCTOR Leif Ove Andsnes, piano UMS Choral Union Sunday, January 26, 4:00pm Hill Auditorium
Master of Arts Necmc Jarvi, interviewed by Tliomas Sheeis, Conductor, UMS Choral Union. Sun, Jan 12, 3:00pm, Rackham.
Sponsored byJPEinc.
blues, roots, honks, and Moans
A Festival of Jazz and African-American musical Traditions
The Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
His Sanctified Shells Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
(Family Show)
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
budapest festival
Ivan Fischer, conductor Thursday, February 6, 8:00pm Hill Auditorium
Saturday, February 8, 8:00pm Michigan Theater
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
ars poetica Chamber Orchestra
Anatoli Cheiniouk, music director
Monday, February 10, 8:00pm Rackham Auditorium
Supported by Miller, Canfield, Paddock and Stone, P.L.C.
Cassandra Wilson
Music and libretto by
Wynton Marsalis Wednesday, February 12, 8:00pm Hill Auditorium
Master of Arts Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
brandenburg ensemble jaime laredo,
conductor violin Leila Josefowicz, violin Andreas haefliger,
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Fcb 14, 7pm, MI League.
Sponsored by Gnat Lakes Banmp.
EMERSON STRING QUARTET ALL-BRAHMS PROGRAM Saturday, February 15, 8:00pm Rackham Auditorium
PREP Elwood Derr, U-M Professor of Music. "Nineteenth-Century "CDs' of Brahms' String Quartets: His Piano-Duet Arrangements for Home Use." Sat, Feb 15, 7pm, MI League.
Sponsored by the Edward Surovell Co.Realtors.
A film by Carl Dreyer
FEATURING ANONYMOUS 4 Los Angeles Mozart Orchestra I Canton
Lucinda Carver, conductor Sunday, February 16, 7:00pm Michigan Theater
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne Slate University.
Schubert Song Recital III Wolfgang Holzmair,
baritone Julius Drake, piano
Monday, February 17, 8:00pm Lydia Mendelssohn Theatre
schubert song recital iv Barbara Bonney,
Caren levine, piano Tuesday, February 18, 8:00pm Lydia Mendelssohn Theatre
puccini's la boheme New York City Opera national Company
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21, 8:00pm
Saturday, February 22, 2:00pm
(Family Show)
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La 8oform'mean" Sat, Feb 22, 1:15pm, Power Center Rehearsal Rm.
Sunday, February 23, 4:00pm Rackham Auditorium
PREP Lorna McDaniel, U-M Professor of Musicology. A discussion of the afternoon's repertoire. Sun, Feb 23, 3:00pm, MI League.
Sponsored by Conlin-Faber Travel and Cunard.
Monday, February 24, 8:00pm Tuesday, February 25, 8:00pm Power Center
NATIONAL TRADITIONAL ORCHESTRA OF CHINA Hu Bingxo, conductor Wednesday, February 26,8:00pm Hill Auditorium
Resented wth the generous sup?port of Dr. Herbert Sloan.
Friday, March 14, 8:00pm Hill Auditorium
Sponsored by Pepper, Hamilton V Scheetz, Attorneys at Lam
CHOROVAYA AKADEMIA Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin-Faber Travel and Cunard.
Michael Endres, piano Auryn String Quartet
with Martin Lovett, cello Thursday, March 20, 8:00pm Rackham Auditorium
schubertiade iv Hermann Prey, baritone
Michael Endres, piano Auryn String Quartet Martin Katz, piano Mnton Nel, piano
Friday, March 21, 8:00pm Rackham Auditorium
PREP Slevcn Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Mar 21, 7pm, Rackham.
Vocal Master Class Hermann Prey, baritone. Sat, Mar 22, 10:00am-12:00noon. Recital Hall, U-M School of Music.
Mahler's Symphony no. 8 Grand Rapids Symphony
and Chorus ums choral union
Grand Rapids Choir of Men
and Boys
Boychoir of Ann Arbor Catherine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
gyorcy Fischer, piano
Saturday, March 29, 8:00pm Hill Auditorium
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbett, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, Executive Director, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
Thursday, April 3, 8:00pm
Friday, April 4, 8:00pm
Power Center
Saturday, April 5, 8:00pm Power Center
Presented with support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
Paul Van Nevel, Director The High art of sacred flemish polyphony
Thursday, April 10, 8:00pm St. Francis of Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. "Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, St. Francis Church.
Sponsored by Conlin-Faber Travel and Cunard.
Friday, April 11, 8:00pm Michigan Theater
Sponsored by NBD Bank.
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
THE ASSAD BROTHERS, GUITAR DUO Friday, April 18, 8:00pm Rackham Auditorium Sponsored by Regency Travel.
Saturday, April 19, 8:00pm Rackham Auditorium
Special Program Events
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of pre-performance presentations, featuring talks, demonstrations and workshops.
Meet the Artists All are welcome to remain in the auditorium while the artists return to the stage for diese informal post-performance discussions.
Master of Arts A new, free of charge UMS series in col?laboration with the Institute for the Humanities and WUOM, engaging artists in dynamic discussions about their art form. Free tickets i equired (limit 2 per per?son), available from the UMS Box Office, 764-2538.
Education and Audience Development
Special Events 1996-1997
Voices and Visions of Women: Panel Discussion
Women in the ArtsArts in the Academy" In collaboration with the Institute for Research on Women and Gender. Tues.Jan 14, 7:30-9:30pm, Rackham.
Panelists: Beth Genne, Dance and History of Art Yopie Prins, English and Comparative Literature Sidonie Smith, Women's Studies and English Patricia Simons, History of Art and Women's Studies Louise Stein, Music History and Musicology
Schubert Cycle Series
Three special PREPs held at the Ann Arbor Public Library and led by Richard LcSueur, Vocal Arts Information Services, in collaboration with the Ann Arbor Public Library. Changing Approaches to Singing of Leider"
Sun, Jan 19, 1997, 2:0O-3:30pm ?Great Schubert Recordings before 1945"
Sun, Feb 16, 2:00-3:30pm 'Great Schubert Recordings after 1945"
Sun, Mar 16, 2:00-3:30pm
Exhibit: "A Stronger Soul Within a Finer frame: Portraying African-Americans in the Slack Renaissance."
nn Arbor Public Library, November 26, 1996-January 6, 1997. collaboration between the University Musical Society, the nn Arbor Public Library, Ann Arbor Public Schools, the nn Arbor Chapter of The Links, Inc., the African-American Cultural & Historical Project of Ann Arbor and Borders Books and Music. For more information call 313-994-2335.
A cknowledgments
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 dis?pensers 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 1995-96 Season. Wynton Marsalis with the Lincoln Center Jazz Orchestra performing Monk, Morion, and Marsalis during a youth performance at Community High School; a beaming Seiji Ozawa after conducting the Boston Symphony Orchestra in a memorable perfor?mance in Hill Auditorium; and the Juilliard String Quartet performing in Rackham Auditorium in cele?bration of their fiftieth anniversary.
of the University of Michigan 1996 1997 Fall Season
Event Program Book
Friday, September 27, 1996
Sunday, October 13, 1996
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Benita Valente 3
World Premiere performance of William Bolcom's Briefly It Enters Friday, September 27, 1996, 8:00pm Rackham Auditorium
Meredith Monk's The Politics of Quiet 27
Friday, October 4, 1996, 8:00pm Saturday, October 5, 1996, 8:00pm Power Center
The Cleveland Orchestra
Friday, October 11, 1996, 8:00pm 3 g
Saturday, October 12, 1996, 8:00pm 5 1
Hill Auditorium
Chamber Music 61
with Members ofThe Cleveland Orchestra
Sunday, October 13, 1996, 8:00pm Rackham Auditorium
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under die age of three to regular, full length UMS perfor?mances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will 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.
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Cynthia raim
Friday Evening, September 27, 1996 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Robert Alexander Schumann Du bist wie eine Blume Am den ostlichen Rosen Roselein, Roselein
Johannes Brahms Roslein dreie in der Reihe Meine Liebe ist grun
William Bolcom
BRIEFLY It ENTERS (World Premiere Performance) A song cycle based on nine poems by Jane Kenyon
The Clearing
February: Thinking of Flowers
Twilight: After Haying
Man Eating
The Sick Wife
Peonies at Dusk
Briefly it Enters, and Briefly Speaks
Richard Strauss Standchen Morgen Allerseelen Cacilie
Hugo Wolf Tretet ein hoher Krieger Singt mein Schatz wie ein Fink Du milchjunger Knabe Wandl' ich in dern Morgentau Das Kohlerweib
Wie glanzt der helle Mond Mausfallen Spriichlein Elfenlied Der Gartner Er ist's
The audience is politely requested to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
First Concert
of the 118th Season
Thirty-fourth Annual Chamber Arts Series
This concert is made possible through the generous support of the KMD Foundation.
Briefly It Enters is supported in part by a grant from the National Endojvment for the Arts and was commissioned by the University Musical Society, San Francisco Performances, the Wisconsin Union Theater, Dartmouth College Hopkins Center, and the University of New Hampshire Celebrity Series.
Special thanks to Glenn Watkins, Earl V. Moore Professor of Music, University of Michigan School of Music for serving as Master of Arts interviewer. The Master of Arts Series is a collaborative effort of UMS, the University of Michigan Institute for the Humanities and WUOM. Master of Arts interviews will be aired on WUOM.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Large print programs are available upon request.
The melding of words and music is undeniably appealing and song recitals can rely on any number of sure bets to reach an audience -familiar tunes, pure
beautiful sound, a witty or profound text, an engaging personality. The finest song recitals, however, succeed not through these ensnar?ing elements, but because a complex of thoughtful collaborations draws everything together -the singer, the composer, the poet, the pianist, the audience, the content, the tradition. This program is a perfect example of all these delicate partnerships and includes at its center an especially rare experience, once common and now almost lost -a new work springing from affection between artists admiring each other's work, each fully aware of the other's talents, shar?ing a world view, desiring to communicate to listeners open to experience. This living tradition reaches straight back to Schubert and his intimate circle of friends whose shared love for poetry and music raised the German Lied to a world art form.
This program is unified by a deep rever?ence for the natural world, seeing nature as a teacher, a pattern, a metaphor, a source of comfort and inspiration. This is where the great tradition of the nineteenth-century German Lied began, in the Romantic move?ment which found in the world of nature both parallels to personal experience and answers to universal questions. And plainly this tradition carries right up to the present day, in spite of our overwhelming urban experience and twentieth-century disillusion.
Donald Hall, the poet-husband of Jane Kenyon, observes how she was enamored of the "art of the luminous particular," of seiz?ing on the small detail and urging it to res?onate with meaning. He recalls how much she liked to quote Ezra Pound: "The natural object is always the adequate symbol." In the
title song of the BolcomKenyon set "Briefly It Enters," Kenyon finds a series of natural objects -a pressed flower, rushing water, a stone step, a working hinge, a basket of fruit, an unattended flower -and each of these familiar objects as she offers them to us becomes an emblem of astonishing force, opening with simplicity and wisdom a path to universal meanings. The natural object which Pound, with amusing dryness, calls an "adequate symbol" is transformed here by Kenyon to a symbol transcendent, a detail leading to apotheosis, set by Bolcom with echoes of hymns.
And yet the simplicity remains. This is at the heart of the Romantic tradition. It was a tenet -indeed a declared manifesto -of writers such as Keller and Morike, Kleist and Klopstock, that we should all strive to return to the innocence of childhood, but that we should first journey around the world to get there. Look at a flower with the clarity and delight of a child, but know inside all that a flower can mean. Enter childhood through the backdoor of adulthood, so to speak. This program is filled with flowers of inno?cence and experience. Tenderly it opens -Du bist wie eine Blume (You Are Like a Flower) -and exultantly it closes with the familiar fragrance of returning spring.
What the natural world gives us -through direct observation or through pat?terns and metaphors -depends on how open we are to learning. Surely the search for answers characterizes every art form -and by extension, one hopes, every life. The "luminous particulars" observed by Jane Kenyon in her poetry are part of this search through the world for answers. The other poets on the program are engaged in the search as well. In a way this whole program is conceived as a tribute to the way Jane Kenyon lived her brief life. What she, and the natural world, and our artists and this program tell us is that we can all learn to expand the joy and satisfaction in our lives.
Robert Alexander Schumann
Born on June 8, 1810 in Zurickau, Germany Died on July 29, 1856 in Endenich, Germany
Schumann, son of a bookseller, grew up steeped in literature, wrote prodigiously as a music critic and art journal editor, and had a keen appreciation for fine poetry, but he was first and foremost dedicated to the piano. By 1840 he had written most of his piano music which to this day forms his major legacy, but he had remained nearly silent in the field of song. In 1839 he confid?ed to a fellow composer: "All my life I have considered vocal composition inferior to instrumental music. I have never regarded it as great art. But don't tell anyone about it!" Not long after that, however, he changed his mind, perhaps through the influence of Mendelssohn or meeting Schubert's broth?er, and wrote then to a friend: "If only my talent for music and poetry would converge into a single point, the light would not be so scattered, and I could attempt a great deal." Litde did he know that converge it would, in that very year, and with Heine,
Eichendorff, and Goethe he would burst into song, nearly 150 works flowing effortlessly, unifying the voice and the piano with poetry. Usually his love for Clara, whom he was at last to marry, is credited with this sudden outpouring and certainly her influence is everywhere. She is in the tender simple dec?laration of love in Du bist wie eine Blume and in the songs that follow, the pianist is an integral part, never a mere accompanist. Vocal lines are entwined with and colored by the piano and the preludes and postludes become a crucial part of the song. The man?uscript Aus den ostlichen Rosen bears the inscription "Awaiting Clara" and the opening is full of quick tender anticipation as the April wind blows in, brings a hint of Persian love and torment from the East, then wafts delicately away in the postlude. Roslein, Roslein begins in agitation, slips dreamily away, then modulates into the minor for the sad final truth learned from nature.
Du bist wie eine Blume (Heinrich Heine)
Du bist wie eine Blume So hold und schon und rein; Ich schau' dich an, und Wehmut Schleicht mir ins Herz hinein.
Mir ist, als ob ich die Hande Aufs Haupt dir legen sollt', Betend, dass Gott dich erhalte So rein und schon und hold.
You are Like a Flower
You are like a flower,
so sweet and fair and chaste;
I look upon you, and melancholy
creeps into my heart.
It seems to me as if I must lay my hands upon your head, praying that God will keep you so chaste and fair and sweet.
Am den ostlichen Rosen (Friedrich Ruckert)
Ich sende einen Gruss wie Duft der Rosen. Ich send' ihn an ein Rosenangesicht. Ich sende einen Gruss wie Fruhlingskosen Ich send' ihn an ein Aug' voll Fruhlingslicht
Aus Schmerzensturmen,
die mein Herz durchtosen Send' ich den Hauch, dich unsanft
ruhr' er night!
Wenn du gedenkest an den Freudelosen, So wird der Himmel meiner Nachte licht.
Roselein, Roselein (W. Von der Neun)
Roselein, Roselein!
mussen denn Dornen sein
Schlief am schatt'gen Bachelein einst
zu sussem Traumen ein,
sah in goldner Sonne Schein
dornenlos ein Roselein,
pfluckt es auch und kusst'es fein:
"dornenloses Roselein!"
Ich erwacht' und schaute drein: "Hatt' ich's doch! Wo mag es sein" Rings im weiten Sonnenschein standen nur Dornroselein! Und das Bachlein lachte mein: "lass du nur dein Traumen sein! merk' dir's fein, Dornroselein mussen sein, mussen sein!"
Roses from the East
I send you greetings like the perfume of roses. I send them to one blushing like a rose. I send a greeting like spring's soft caresses
0 send it to eyes bright with springtime light.
From storms which toss my heart about
1 send a sigh; don't be disturbed
If then you'd only think of one tormented Then my night skies would blaze with light.
Little Rose, Little Rose
Little rose, little rose,
must there be thorns
I slept in the shadow of the little brook
dreaming sweet dreams,
I saw in golden sunshine
a rose without thorns
I picked it and kissed it:
Thornless rose!"
I awakened and looked around,
"I had it, where is it now"
All around in vast sunshine
are only thorned roses!
And the merry little brook laughs as me,
"Leave off dreaming!
Mark well, mark well.
Thorned roses must be!"
Johannes Brahms
Born on May 7, 1833 in Hamburg, Germany Died on April 3, 1897 in Vienna
In contrast to his friend Robert Schumann, Johannes Brahms grew up not with great poetry in his head, but with artless folk melodies in his heart. Close attention to the fusion of words and music, so acute with Schumann, was not of prime importance to him. What mattered in song for him was the impulse -usually love or the natural world's reflection of a poetic feeling -and what really mattered was structure and melody. His songs usually have a classic rather than romantic shape and his penchant for sec?ond-rate texts, constantly complained of by critics and willingly ignored by lovers of song, is overcome by the strength of his feel?ing and the beauty of his line. A love of folk song persisted throughout his song writing career, which proceeded in a consistent -one might even say strophic -manner, unlike
the irregular bursts of inspiration stirring other great song composers. Roslein dreie in der Reihe, from a set of Gypsy songs written late in 1887, is typical of this lifelong response to the simple charms of strophic melody and the earthy subject of village love. Meine Liebe is Griin, one of the everlast?ing favorites in song literature, is a thor?oughly Brahmsian creation with a text reflecting not a series of accurate observa?tions but a sense of exaltation and joy; the whole world buoying up the naive young poet's love. The sweep of the melody gives it vitality as the text is lovingly stretched in flight over a pulsating bass. Surely what also for Brahms brought this song unwavering to it's mark is that the characteristic text was by a seventeen-year-old boy soon to die of tuberculosis -Felix, the son of the wid?owed Clara Schumann, object of Brahms' own complex and tender affection.
Roslein dreie in der Reihe (Hugo Conrat)
Roslein dreie in der Reihe bluhn so rot, Das der Bursch zum Madel gehe, ist kein Verbot! Lieber Gott, wenn das verboten war, Stand die schone weite Welt schon langst nicht mehr, Ledig bleiben Sunde war!
Schonstes Stadtchen in Alfold ist Ketschkemet, Dort gibt es gar viele Madchen schmuck und nett! Freunde, sucht euch dort ein Brautchen aus, Freit um ihre Hand und grundet euer Haus, Freudenbecher leeret aus.
Three Little Roses in a Row
Three little roses in a row blush so red, nothing prevents boys from chasing girls! If, dear God, there were, the fair wide world
were long since done for. Staving single is what would be a sin!
The fairest lowland town is Kecskemet, there many a maid is neat and nice! Find yourselves a bride there, friends, woo her, set up your home, drain cups of joy.
Meine Liebe ist griin (Felix Schumann)
Meine Liebe ist grun wie der Fliederbusch, Und meine Lieb is schon wie die Sonne; Die glanzt wohl herab auf den Fliederbusch Und fullt ihn mit Duft und mit Wonne.
Meine Liebe hat Schwingen der Nachtigall, Und wiegt sich in bluhendem Flieder, Und jauchzet und singet vom Duft berauscht Viel liebestrunkene Lieder.
My Love is Green
My love is green as the lilac, and my love is fair as the sun; the sun gleams down on the lilac and fills it with scent and joy.
My love has nightingale's wings and sways in blossoming lilac, exults and, scent-enraptured, sings many a love-drunk song.
William Bolcom
Born in Seattle, Washington in 1938
The composer and pianist William Bolcom holds the Ross Lee Finney Distinguished Professorship at the University of Michigan, Ann Arbor, where he has taught since 1973. In great demand as a composer in every conceivable medium, he has generated a long list of awards, including the Pulitzer Prize and numerous Guggenheim fellowships, and Koussevitzky and Rockefeller Foundation awards. In among his commissions for sym?phonies and chamber music, he has shown a devotion to vocal music, producing large-scale works such as Songs of Innocence and of Experience, the opera McTeague, as well as cabaret and serious song cycles. Meanwhile he has maintained a major performing career with his wife, mezzo-soprano Joan Morris.
In 1992 Benita Valente and Tatiana Troyanos had selected Bolcom to write a set of duets for them. When Ms. Troyanos died suddenly in 1993, Valente decided to create with Bolcom a piece in her memory. Between them they chose texts by Angelou, Dickinson, and Kenyon and in April 1994 a cantata entitled Let Evening Come was premiered at the University of Alabama and Lincoln Center on dates that would have been joint
recitals by Valente and Troyanos. Cynthia Raim was the pianist; Michael Tree, violist of the Guarneri Quartet, contributed the line evoking the mezzo voice. The piece was a deeply moving success and the collaborators immediately began planning another set of songs, this time based entirely on the poetry of Jane Kenyon.
Struggling with cancer, Kenyon had been unable to attend the premiere of Let Everting Come, but in the few months that remained to her, she summoned the strength to help select poems for these settings. Jane Kenyon had grown up in Ann Arbor and lived many years in New Hampshire where she was Poet Laureate when she died. Nature was an inte?gral part of her life and her poems are deeply embedded in the natural world. Nearly all her poems yoke together opposite qualities: the mundane and the ethereal, the particular and the universal, the temporal and the eternal. She is at once the observer and the sufferer, despairing, hopeful, kind, indifferent. At the end of Twilight: After Haying, for instance, she harvests from the rav?aged field the song of a bird as dew settles to nourish another life-and-death cycle. "The
soul's bliss and suffering are bound together," she observes and this entanglement with the world is her message.
Bolcom has caught well these dualities in his music as he moves from the staccato of the mundane to the lyricism of awareness, from the lilt of a leisurely waltz in Peonies at Dusk to the sober grandness of hymns in Briefly It Enters. He has ordered the poems carefully; each poem illuminates the one that follows or precedes it. The animal clarity of The Clearing with its earthy eagerness for tomorrow is followed by the human aware?ness of a tomorrow not eagerly awaited in Othenoise. The indifferent reportage of child?like nourishment in Man Eating is followed by the bleakly informed reportage of a dying woman, waiting helplessly while her husband fetches food. Notice the different settings. The Sick Wife, of course, is Kenyo'n herself. These contrasts with their personal weight, accumulate and give the cycle an elegiac quality, accentuated by Bolcom with the feel of nineteenth-century American melody.
Every poem illuminates the next, but each on its own is a rich mine, offering sim?plicity rife with complexity. In the opening poem Who the title has no question mark; what seems to be a question is presented as an answer. Kenyon reflects on the stranger sitting in her chair as she marvels at her own resources, her ability to draw nourish?ment from the mundane and the elevated -pots and pans and books; language and a sheep's hoof. Otlierwise establishes the worldly acceptance with which she cherishes, with?out clinging to, each special detail of her life: her poetry, her mate, silver candlesticks, and paintings on the wall. With February: Thinking of Flowers Kenyon observes that a field of snow can be a torment of isolation or a springboard into a better world. She moves from a small natural object, a milkweed pod left over in the winter, to the luxuriant satisfactions of swaying delphinium and bur?gundy lilies.
In their last conversation Valente and
Kenyon, each with a farm background, dis?covered their mutual love for peonies and they agreed the inclusion of Peonies at Dusk was a must. Here the poet bends over a flower of such telling radiance that even the moon too is drawn out of its orbit in wonder. Bolcom has taken full advantage of his artists, setting the moon to the seraphic purity he admires in Valente's voice and depending on Raim's understanding of nuance in a leisurely, almost classic, waltz. The beauty of collaborating with these two artists, Bolcom observed, is that you know they can meet any challenge, simple or grand, and he brings this all together in the final setting. Here Kenyon is at her emblematic best, trans?forming each simple object into a luminous symbol, reaching, as Bolcom expresses it, a spare apotheosis, a quiet ecstasy with hymns resounding.
Briefly It Enters
(Poems by Jane Kenyon)
These lines are written
by an animal, an angel,
a stranger sitting in my chair;
by someone who already knows
how to live without trouble
among books, and pots and pans...
Who is it who asks me to find
language for the sound
a sheep's hoof makes when it strikes
a stone And who speaks
the words which are my food
The Clearing
The dog and I push through the ring of dripping junipers to enter the open space high on the hill where I let him off the leash.
He vaults, snuffling, between tufts of moss; twigs snap beneath his weight; he rolls and rubs his jowls on the aromatic earth; his pink tongue lolls.
I look for sticks of proper heft
to throw for him, while he sits, prim
and earnest in his love, if it is love.
All night a soaking rain, and now the hill exhales relief, and the fragrance of warm earth... The sedges have grown an inch since yesterday, and ferns unfurled, and even if they try the lilacs by the barn can't keep from opening today.
I longed for spring's thousand tender greens,
and the white-throated sparrow's call
that borders on rudeness. Do you know --
since you went away
all I can do
is wait for you to come back to me.
I got out of bed on two strong legs. It might have been otherwise. I ate cereal, sweet milk, ripe, flawless peach. It might have been otherwise. I took the dog uphill to the birch wood. All morning I did the work I love.
At noon I lay down with my mate. It might have been otherwise. We ate dinner together
at a table with silver candlesticks. It might have been otherwise. I slept in a bed in a room with paintings on the walls, and planned another day just like this day. But one day, I know, it will be otherwise.
February: Thinking of Flowers
Now wind torments the field, turning the white surface back on itself, back and back on itself, like an animal licking a wound.
Nothing but white -the air, the light; only one brown milkweed pod bobbing in the gully, smallest brown boat on the immense tide.
A single green sprouting thing would restore me...
Then think of the tall delphinium, swaying, or the bee when it comes to the tongue of the burgundy lily.
Twilight: After Haying
Yes, long shadows go out from the bales; and yes, the soul must part from the body: what else could it do
The men sprawl near the baler,
too tired to leave the field.
They talk and smoke,
and the tips of their cigarettes
blaze like small roses
in the night air. (It arrived
and settled among them
before they were aware.)
The moon comes to count the bales, and the dispossessed -Whip-poor-will, Wliip-poor-will -sings from the dusty stubble.
These things happen... the soul's bliss and suffering are bound together like the grasses...
The last, sweet exhalations
of timothy and vetch
go out with the song of the bird;
the ravaged field
grows wet with dew.
Man Eating
The man at the table across from mine is eating yogurt. His eyes, following the progress of the spoon, cross briefly each time it nears his face. Time,
and the world with all its principalities, might come to an end as prophesied by the Apostle John, but what about this man, so completely present
to the little carton with its cool, sweet food, which has caused no animal to suffer, and which he is eating with a pearl-white plastic spoon.
The Sick Wife
The sick wife stayed in the car while he bought a few groceries. Not yet fifty,
and she Had learned what it's like not to be able to button a button.
It was the middle of the day --
and so only mothers with small children
or retired couples
stepped through the muddy parking lot.
Dry cleaning swung and gleamed on hangers
in the cars of the prosperous.
How easily they moved --
with such freedom,
even the old and relatively infirm.
The windows began to steam up. The cars on either side of her pulled away so briskly that it made her sick at heart.
Peonies at Dusk
White peonies blooming along the porch
send out light
while the rest of die yard grows dim.
Outrageous flowers as big as human
heads! They're staggered
by their own luxuriance: I had
to prop them up with stakes and twine.
The moist air intensifies their scent, and the moon moves around the barn to find out what it's coming from.
In the darkeningjune evening
I draw a blossom near, and bending close
search it as a woman searches
a loved one's face.
Briefly It Enters, and Briefly Speaks
I am the blossom pressed in a book, found again after two hundred years...
I am the maker, the lover, and the keeper...
When the young girl who starves sits down to a table she will sit beside me...
I am food on the prisoner's plate...
I am water rushing to the wellhead, filling the pitcher until it spills...
I am the patient gardener
of the dry and weedy garden...
I am the stone step,
the latch, and the working hinge...
I am the heart contracted by joy... the longest hair, white before the rest...
I am there in the basket of fruit presented to the widow...
I am the musk rose opening
unattended, the fern on the boggy summit...
I am the one whose love overcomes you, already with you when you think to call my name...
Richard Strauss
Born on June 11, 1864 in Munich Died on September 8, 1949 in Garmisch-Parten Kirchen, Germany
Strauss finds his place in the twentieth cen?tury through voluptuous large-scale works but he was one of the few opera composers who could claim success in the deceptive simplicity of song writing as well. As music in the nineteenth century moved away from domestic intimacy through the orchestrated grandeur of Wagner, it was inevitable that the Lied should try to follow suit. Both Strauss and Mahler were able to raise their songs onto the grand orchestral plane, but Strauss was able more dian anyone to blur the lines naturally between opera and the pure song. Many of his lieder, which rank among the most cherished in the literature, favor the high voice and concentrate on the satisfactions rather than the despair of love. Most were written for his wife, Pauline, whom he often accompanied. When her concert career came to a close, his interest in song writing diminished, though his involvement with song continued, culminating in Capricdo, an opera exploring the mutual entanglement of words and music.
True to his orchestral sensibility, the vocal lines and the piano "accompaniment" in Strauss songs often weave together, arising from and coalescing into each other. The
whispered quicksilver opening of Stdndchen expresses with octave leaps the urgent impa?tience of the waiting lover, then with a deft imitation of the natural world glides smoothly into the "brook that scarcely murmurs, a breeze that scarcely stirs." At the end, with the nightingale's dream, the piano subsides into melody, then quickens again like a heart beating fast during the raptures of the amorous night. Morgen, AUerseelen, and Cdcilie were dedicated as a wedding present to his wife Pauline and the music shimmers with a depth of personal feeling. The contemplative opening prelude to Morgen, nearly half the length of the song, takes on a hushed sym?phonic aspect. The wondrous sound of the voice rising out of this introduction and sail?ing in a serenely expansive arch until it sinks back into silence (on the very word "silence") again at the end is one of the great moments in all of song literature and invariably brings the attentive audience itself to breathless silence.
This group beautifully assembles love in every temporal guise: the seductive present, the promising future, the nourishing past, the eternal essence. The poems implore or reassure the beloved through natural imagery, asking for surrender, knowing that as nature surrounds us, so too does love.
(Adolf Friedrich von Schack)
Mach auf, mach auf, doch leise, mein Kind, Um keinen vom Schlummer zu wecken. Kaum murmelt der Bach, kaum zittert
im Wind
Ein Blatt an den Buschen und Hecken. Drum leise, mein Madchen, daB nich sich regt, Nur leise die Hand auf die Klinke gelegt.
Open up, open up, but softly, my child, so as to rouse no one from slumber. The brook scarcely murmers, the breeze
scarcely stirs a leaf on bush or hedge. So softly, my girl, so nothing shall stir, just lay your hand soft on the latch.
Mit Tritten, wie Tritte der Elfen so sacht,
Ura uber die Blumen zu hupfen,
Flieg leicht hinaus in die Mondscheinnacht,
Zu mir in den Garten zu schlupfen. Rings schlummern die Bluten am
rieselnden Bach Und duften im Schlaf, nur die Liebe ist wach.
Sitz nieder, hier dammert's geheimnisvoll
Unter den Lindenbaumen,
Die Nachtigall uns zu Haupten soli
Von unseren Kussen traumen
Und die Rose, wenn sie am Morgen erwacht,
Hoch gluhn von den Wonneschauem der Nacht.
(John Henry Mackay)
Und morgen wird die Sonne wieder scheinen Und auf dem Wege, den ich gehen werde, Wird uns, die Glucklichen, sie wieder einen Inmitten dieser sonnenatmenden Erde...
Und zu dem Strand, dem weiten, wogenblauen, Werden wir still und langsam niedersteigen, Stumm werden wir uns in die Augen schauen, Und auf uns sinkt des Gluckes stummes Schweigen...
Allerseelen (Hermann von Gilm)
Stell auf den Tisch die duftenden Reseden, Die letzten roten Astern trag herbei, Und laB uns wieder von der Liebe reden, Wie einst im Mai.
Gib mir die Hand, daB ich sie heimlich drucke Und wenn man's sieht, mir ist es einerlei, Gib mir nur einen deiner suBen Blicke, Wie einst im Mai.
With tread as light as the tread of elves, to hop your way over the flowers, flit out into the moonlit night,
and steal to me in the garden. By the rippling brook the
flowers slumber, fragrant in sleep; love alone is awake.
Sit -here the dark is full of mystery,
under the linden trees,
the nightengale at our heads shall
dream of our kisses,
and the rose, waking at morn,
glow deep from the raptures of this night.
And tomorrow the sun will shine again, and on the path that I shall take, it will unite us, happy ones, again upon this sun-breathing earth...
and to the shore, broad, blue-waved, we shall, quiet and slow, descend, silent, into each other's eyes we'll gaze, and on us will fall joy's speechless silence.
All Souls
Set on the table the fragrant mignonettes, bring in the last red asters, and let us speak of love again, as once in May.
Give me your hand to press in secret, if people see, I do not care; give me but one of your sweet looks, as once in May.
Es bluht und duftet heut auf jedem Grabe, Ein Tag im Jahr ist ja den Toten frei, Komm an mein Herz,
daB ich dich wieder habe, Wie einst im Mai.
(Heinrich Hart)
Wenn du es wuBtest,
Was traumen heiBt von brennenden Kussen,
Von Wandern und Ruhen mit der Geliebten,
Aug in Auge,
Und kosend und plaudernd,
Wenn du es wuBtest,
Du neigtest dein Herz!
Wenn du es wuBtest,
Was bangen heiBt in einsamen Nachten,
Umschauert vom Sturm, da niernand trostet
Milden Mundes die kampfmude Seele,
Wenn du es wuBtest,
Du kamest zu mir.
Wenn du es wuBtest,
Was leben heiBt, umhaucht von der Gottheit
Weltschaffendem Atem,
Zu schweben empor, lichtgetragen,
Zu seligen Hohn,
Wenn du es wuBtest,
Du lebtest mit mir!
Each grave today has flowers, is fragrant, for one day of the year the dead are free, come close to my heart,
and so be mine again, as once in May.
If you knew
what it is to dream of burning kisses,
of wandering, resting with one's love,
gazing at each other,
and caressing and talking,
if you knew,
you would incline your heart!
If you knew
what fear is on lonely nights,
in the awesome storm, when no one comforts
with soft voice the struggle-weary soul,
if you knew,
you would come to me.
If you knew
what it is to live enveloped in God's
world-creating breath,
to float upwards, borne on light,
to blissful heights,
if you knew,
you would live with me!
Hugo Wolf
Born on March 13, 1860 in Windischgraz,
Slyria, Austria Died on February 22, 1903 in Vienna
In contrast to Strauss, Wolfs reputation rests narrowly on his songs, but they form a firm pedestal on which he stands towering with or above all other composers in this genre. Harmonically influenced by Wagner, exploring a vast palette of chromatic colors, firmly held in the grasp of great poets, his work eschews the grand gesture and focuses on intimate meaning. Always a fervent read?er, Wolf carried books with him everywhere and no friend was safe from being cornered for an impassioned reading. Deeply rooted in the words, his song settings might well be called translation of the poetry. Indeed, the first volume appeared as Poems by Eduard Morike with a picture of the poet inside and then, almost incidentally, "for voice and piano by Hugo Wolf." The text controls every change of harmony; the shape of his vocal line adheres to the drama of the words. Often with no predictable melodies, Wolfs songs are not for idle listeners, but the attentive ear is always rewarded.
Wolf began his mature compositions around 1888 and once he was immersed in a particular set of lyrics, the songs just poured forth. His biographer Frank Walker recounts that Wolf "himself watched with incredulous amazement and joy while strange new songs formed themselves under his hands almost without conscious volition on his part." Remember Jane Kenyon's stranger sitting in her chair. Wolf was the last of the Golden Age of Song, persevering at a time when the poetic sensibility was assaulted by Darwin, urban blight, and the dehumanizing effects of the industrial revolution. But in his art he was impervious to their pressures.
The two groups of Wolf songs here are
each anchored by a certain idea. The first set, selected from a collection of "Old Airs" by Gottfried Keller, is a series of women's voices, each telling its own story, each differ?ent, each illustrated by appropriate music. The second set brings an uplifting ending, returning us, with verses by Eduard Morike, to the joys of childhood games and fairy tales and to the exciting pleasures of spring?time when the whole fragrant world and its blossoming seasons lies ahead of us. Again each setting is varied and evocative. On every song much analysis could be spent, observing, for instance, in Wie gldnzt der helle Mond how the upper registers of the piano create an ethereal world toward which the old woman begins her journey, first in the lower registers then ascending harmonically to heaven. Or how the jaunty trotting rhydims of the piano in Der Gartner create the horse upon which the voice rides serenely like a princess. Or how die long postlude of Erist's rushes towards its climax with the same breathless expectation recounted by the voice. But really nothing need be said here at all. Wolf attends to each individual voice with such solicitation that with apparendy artless clarity every song reveals itself.
The natural world and what we learn from it has been a unifying motif in the his?tory of the German Lied and this program has gracefully trod that natural path. The twentieth century, steeped in urban and existential angst, tends often to dismiss this world view as one of the past, but the Romantic exploration yet has much to tell us. We are all of us mortals who still live in a day which begins with morning and ends
with night, and we carry through that day all the same human weaknesses and desires that man began with.
Jane Kenyon was a twentieth-century woman who recognized these inevitable links. All flesh is grass: it flourishes then dies away, but in its passing reaffirms the endless connection. Briefly she entered and briefly spoke, but she has left her mark. At it's heart this whole program has been a tribute to her. It opens with a bouquet of flowers for her, then forms with the collaboration of friends a center around her own story. Through Strauss her concern for the power of love is expressed, then through Wolf and
Keller the voices of other women with their own different stories are heard. And at the end, in the finest Romantic tradition, the program returns to childhood and to springtime with the joyful recognition of the natural cycle. Jane Kenyon found a way to live a whole life -with her dog, her coun?tryside, her books, her poems and pots and pans, her deeply loved husband, her illness, her paintings on the wall. She lived with all her senses engaged and that is what she -and all art -urges every one of us to do.
Program notes written by Frederick Noonan. New York, New York, 1996
Tretet ein, hoher Krieger (Gottfried Keller)
Tretet ein, hoher Krieger, Der sein Herz mir ergab! Legt den purpurnen Mantel Und die Goldsporen ab!
Spannt das RoB in den Pflug, Meinem Vater zum GruB! Die Schabrack mit dem Wappen Gibt nen Teppich meinem FuB!
Euer Schwertgriff muB lassen Fur mich Gold und Stein, Und die blitzende Klinge Wird ein Schureisen sein.
Und die schneeweiBe Feder Auf dem blutroten Hut 1st zu 'nem kuhlenden Wedel In der Sommerzeit gut.
Und der Marschalk muB Iernen, Wie man Weizenbrot backt, Wie man Wurst und Gefullsel Um die Weihnachtszeit hackt!
Nun befehlt eure Seele Dem heiligen Christ! Euer Leib ist verkauft, Wo kein Erlosen mehr ist!
Come in, Noble Warrior
Come in, noble warrior who has given me his heart. Take off your purple cloak and golden spurs.
Your charger put to the plough, as a salute to my father. The crested saddle-cloth give as a carpet to my feet.
Your sword-hilt must abandon to me its gold and stones, and its glittering blade shall serve as a poker.
And the snow-white plume on your blood-red hat as a cooling fan in summertime will do.
And the Marshal must learn how wheat bread is baked, how sausage and stuffing at Chrismas is chopped.
Your soul now commend
to the Holy Saviour.
Your body is sold,
there's no redeeming it more.
Singt mein Schatz wie ein Fink (Gottfried Keller)
Singt mein Schatz wie ein Fink, Sing ich Nachtigallensang; 1st mein Liebster ein Luchs, O so bin ich eine Schlang!
O ihr Jungfraun im Land, Vom Gebirg und uber See, UberlaBt mir den Schonsten, Sonst tut ihr mir weh!
Er soil sich unterwerfen Sum Ruhm uns und Preis! Und er soil sich nich ruhren, Nicht laut und nicht leis!
O ihr teuren Gespielen, UberlaBt mir den stolzen Mann! Er soil sehn, wie die Liebe Ein feurig Schwert werden kann!
Du milchjunger Knabe (Gottfried Keller)
Du milchjunger Knabe Was siehst du mich an Was haben deine Augen Fur eine Frage getan
Alle Ratsherrn der Stadt Und alle Weisen der Welt Bleiben stumm auf die Frage, Die deine Augen gestellt!
Ein leeres Schneckhausel, Schau, liegt dort im Gras: Da halte dein Ohr dran, Drin brummelt dir was!
If My Love Sings like a Finch
If my love sings like a finch, my songs is the nightengale's; if my dearest is a lynx, oh, then I'm a viper!
O maidens of the land, from mountain and over lake, leave me the handsomest, or you'll do me harm!
Submit he shall, to our glory and praise! And shall not stir, either loudly or soft!
O dear playfellows, that proud man leave to me. He shall see how love can become a fiery sword!
Young Milk-Sop
Young milk-sop
why gaze at me
What is the question your eyes
have asked
All the town's councillors, all the world's wise men, remain dumb at the question your eyes have put.
A snail shell
lies there, look, in the grass:
put that to your ear,
it will mutter you something!
Wandl ich in dem Morgentau (Gottfried Keller)
Wandl ich in dem Morgentau Durch die dufterfullte Au, MuB ich schamen mich so sehr Vor den Blumlein ringsumher!
Taublein auf dem Kirchendach, Fischlein in dem Muhlenbach Und das Schlanglein still im Kraut, Alles fuhlt und nennt sich Braut.
Apfelblut im lichten Schein Dunkt sich stolz ein Mutterlein; Freudig stirbt so fruh im Jahr Schon das Papillonenpaar.
Gott, was hab ich denn getan, DaB ich ohne Lenzgespan, Ohne einen suBen KuB Ungeliebet sterben muB
Das Kohlerweib (Gottfried Keller)
Das Kohlerweib ist trunken Und singt im Wald; Hort, wie die Stimme gellend Im Grunen hallt!
Sie war die schonste Blume, Beruhmt im Land; Es warben Reich' und Arme Um ihre Hand.
Sie trat in Gurtelketten So stolz einher; Den Brautigam zu wahlen, Fiel ihr zu schwer.
Da hat sie uberlistet Der rote Wein -Wie mussen alle Dinge Verganglich sein!
Das Kohlerweib ist trunken Und singt im Wald; Wie durch die Dammrung gellend Ihr Lied erschallt!
When I Wander in the Morning Dew
When I wander in the morning dew through the scent-filled meadow, so ashamed I'm forced to feel by all the flowers around.
The dove on the church roof, the fish in the mill stream, the snake quiet in the weeds, all are brides in name and feeling.
Apple blossom, shining bright, feels proudly motherly; joyous, so early in the year perish the butterfly couple.
God, what then have I done, that I, with no spring mate, with not one sweet kiss, must die unloved
The Charcoal Woman
The charcoal woman is drunk and singing in the wood; hark how her voice shrills, making the country echo!
The sweetest flower was she, famed in the land; rich and poor came wooing for her hand.
With keys at her belt so proudly did she stride; to choose her bridegroom proved too hard a task.
Then she was outwitted
by red wine --
all things --
how fleeting must they be!
The charcoal woman is drunk and singing in the wood; in the gathering dusk how shrill her song resounds!
Wie glanzt der helle Mond (Gottfried Keller)
Wie glanzt der helle Mond so kalt und fern, Doch ferner schimmert meiner Schonheit Stern!
Wohl rauschet weit von mir des Meeres Strand, Doch weiterhin liegt meiner Jugend Land!
Ohn Rad und Deichsel gibt's ein Wagelein, Drin fahr ich bald zum Paradies hinein.
Dort sitzt die Mutter Gottes auf dem Thron, Auf ihren Knien schlaft ihr selger Sohn.
Dort sitzt Gott Vater, der den Heilgen Geist Aus seiner Hand mit Himmelskomern speist.
In einem Silberschleier sitz ich dann Und schaue meine weiBen Finger an.
Sankt Petrus aber gonnt sich keine Ruh, Hockt vor der Tur und flickt die alten Schuh.
Mausfallen-Spriichlein (Eduard Morike)
Kleine Gaste, kleines Haus,
Liebe Mausin, oder Maus,
Stell dich hur kecklich ein
Heut' nacht bei Mondenschein!
Mach aber die Tur fein hinter dir zu,
Horst du
Dabei hute dein Schwanzschen!
Nach Tische singen wir,
Nach Tische springen wir
Und machen ein Tanzchen:
Witt, witt!
Meine alte Katze tanzt wahrscheinlich mit.
How Far Off the Bright Moon
How cold, how far off the bright moon gleams but further off glimmers my beauty's star!
Far from me is the sea-shore's roar,
but further away lies the land of my youth!
A small car there is, with no wheels, no shafts; in it I shall soon travel to Paradise.
There endironed, God's Mother will sit, her blessed Son asleep on her knee.
God the Father will sit feeding the Holy Ghost by hand with heavenly grains.
In a silver veil I shall sit then, gazing at my white fingers.
But Saint Peter will grant himself no rest;
at the door he'll squat, mending his old shoes.
Mousetrap Incantation
Little guests, little house,
dear she-mouse or he-mouse,
appear boldly
tonight in the moonlight!
But close the door carefully after you,
do you hear
And be careful of your tail.
After supper we will sing,
after supper we will romp
and dance a little:
Witt, witt!
My old cat might perhaps dance with us!
(Eduard Morike)
Bei Nacht im Dorf der Wachter rief: "Elfe!r Ein ganz kleines Elfchen im Walde schlief
-wohl urn die Elfe! --
Und meint, es rief ihm aus dem Tal Bei seinem Namen die Nactigall, Oder Silpelit hatt ihm gerufen. Reibt sich der Elf die Augen aus, Begibt sich vor sein Schneckenhaus Und ist als wie ein trunken Mann, Sein Schlaflein war nicht voll getan, Und humpelt also tippe tapp Durchs Haselholz ins Tal hinab, Schlupft an der Mauser hin so dicht, Da sitzt der Gluhwurm, Licht an Licht. "Was sind das helle Fensterlein Da drin wird eine Hochzeit sein: Die Kleinen sitzen beim Mahle Und treiben's in dem Saale; Da guck ich wohl ein wenig 'nein!"
-Pfui, stoBt den Kopf an harten Stein! Elfe, gelt, du hast genug
Guckuck! Guckuck!
Der Gartner
(Eduard Morike)
Auf ihrem LeibroBlein, So weiB wie der Schnee, Die schonste Prinzessin Reit't durch die Allee.
Der Weg, den das RoBlein Hintanzet so hold, Der Sand, den ich streute, Er blinket wie Gold.
Du rosenfarbs Hutlein, Wohl auf und wohl ab, O wirf eine Feder Verstohlen herab!
Und willst du dagegen Eine Blute von mir, Nimm tausend fur eine, Nimm alle dafur!
The village watch cried out at night
An elfin elf asleep in the wood, at eleven,
thinks that, from the valley,
the nightengale is calling him by name,
or Silpelit summoning him.
The elf rubs his eyes,
ventures from his snail-shell home,
and is like a drunken man --
not having slept his fill --
and hobbles hobble-hobble
down through the hazels to the valley,
keeping ever so close to the wall
where the glow-worms sit, light by light.
"What bright windows are those
Must be a wedding going on there,
with the little ones sitting at the table
and having fun in the ballroom --
I'll just take a peek!"
-Shame, he bangs his head on a stone!
Elf, don't you think you've had enough
Cuckoo! Cuckoo!
The Gardner
On her favourite mount as white as snow, the fairest princess rides through the avenue.
The path where her steed so delightfully prances, the sand that I strewed, they sparkle like gold.
Litde pink hat, bobbing up, bobbing down, Oh, throw a feather secretly down!
If you, in return, want a flower from me, for one, take a thousand, for one, take all!
Er ist's
(Eduard Morike)
Fruhling laBt sein blaues Band Wieder flattern durch die Lufte; SuCe, wohlbekannte Dufte Streifen ahnungsvoll das Land.
Veilchen traumen schon,
Wollen balde kommen.
Horch, von fern ein leiser Harfenton!
Fruhling, ja du bists!
Dich hab ich vernommen!
It is
Spring lets its blue ribbon flutter once more in the breeze; sweet, familiar fragrance drifts portentous through the land.
Violets are dreaming,
soon will be here.
Hark, softly, from afar, a harp!
Yes, Spring, it is you!
I have caught your sound!
Pp""?f"? he distinguished 1 American soprano Benita Valente is one of this era's most cherished musical artists. An inter?nationally celebrated _l_ interpreter oi lieder, chamber music, and oratorio, she is equally acclaimed for her performances on the operatic stage. Her keen musicianship encompasses an astounding array of styles, from the Baroque of Bach and Handel to the varied idioms of today's leading composers.
The California-born soprano has held the spotlight since she won the Metropolitan Opera National Council Auditions. As a par?ticipant in the prestigious Marlboro Festival, her performances and recordings with the legendary pianist Rudolf Serkin won "great renown. Other major instrumental collabo?rators have included the Guarneri and Juilliard String Quartets, cellist Yo-Yo Ma, clarinetist Richard Stoltzman, and pianists Emanuel Ax, Leon Fleisher, David Golub, Richard Goode, Lee Luvisi, Cynthia Raim and Peter Serkin.
Benita Valente has been sought as an orchestral soloist by nearly every great con?ductor of the last two decades, including Claudio Abbado, Daniel Barenboim, Mario Bernardi, Leonard Bernstein, Sergiu
Comissiona, James Conlon, Edo de Waart, Christoph Eschenbach, Nikolaus Harnoncourt, Rafael Kubelik, Erich Leinsdorf, Raymond Leppard, James Levine, Kurt Masur, Nicholas McGegan, Riccardo Muti, Seiji Ozawa, Julius Rudel, Robert Shaw and Klaus Tennstedt. With these conductors, she has appeared with every great symphony in the United States, such as the Philadelphia Orchestra, the New York Philharmonic, the Chicago Symphony Orchestra, the Boston Symphony Orchestra, the Cleveland Orchestra, the Los Angeles Philharmonic, and the symphonies of Atlanta, Houston, Minnesota, Dallas, and Cincinnati. In Canada she has appeared in concert with the Calgary Philharmonic, the Montreal Symphony, the Toronto Symphony, and the Vancouver Symphony. In Europe she has sung with the Munich Philharmonic, l'Orchestre de Paris, the London Symphony, the Rotterdam Philharmonic, and the Concertgebouw Orchestra.
The operatic stage has figured prominently in Benita Valente's career. A long association with the Metropolitan Opera began with her debut in 1973 as Pamina in Die Zauberflole. Other roles include Gilda in Rigoletto, Nanetta in Falstaff, Susanna in Le nozze di Figaro, Ilia in Idomeneo, and Almirena in Rinaldo. This last role, in a new production by Frank Corsaro with Marilyn Home and Samuel
Ramey, prompted The New York Times to write: "Benita Valente was a brilliant success -drawing one of the night's most sustained ovations." Other notable operatic engagements include Ginevra in a Sante Fe production of Ariodante opposite Tatiana Troyanos; Euridice in a Sante Fe production of Orfeo opposite Marilyn Home; the Countess in Le nozze de Figaro in the Jean-Pierre Ponnelle production conducted by Daniel Barenboim for the Washington Opera; Dalilah in Handel's Samson for the Teatro Comunale in Florence; Almirena in Rinaldo in a Pier Luigi Pizzi pro?duction in Parma and other Italian theaters; and concert performances of Pelleas et Melisande with the Philadelphia Orchestra. In addition to repeating her Sante Fe Opera success in Orfeo at the Los Angeles Music Center Opera, Benita Valente continued her association with the operas of Handel by appearing for the first time in the tide role of Alcina in her Vancouver Opera debut. In recent seasons, Miss Valente has been acclaimed for her performances as the Countess in Le nozze de Figaro at the
Metropolitan Opera at the Teatro Colon in Buenos Aires, Opera Pacific in California, and at the Sante Fe Opera.
Benita Valente was the guest soloist for the inaugural concert of Lincoln Center's Mostly Mozart Festival, and she has returned to that established series nearly every season since. She has also appeared often at the Tanglewood and Ravinia Festivals, the Cincinnati May Festival, the Mann Music Center, the Grant Park Festival, and, in Europe, at the Vienna, Edinburgh, and Lyon Festivals. In addition to her festival orchestral appearances, Miss Valente has appeared regularly at the Sante Fe Chamber Music Festival and opened the 1993 Festival in a gala performance. She is a frequent guest artist with the Chamber Music Society of Lincoln Center as well.
Benita Valente is particularly beloved by connoisseurs of song literature. Briefly It Enters, a song cycle written for Miss Valente by William Bolcom and set to the poetry of Jane Kenyon, will be featured in her 1996-1997 recital programs. A frequent guest on the leading recital series in this country, the soprano will first perform the Bolcom cycle at the University Musical Society in Ann Arbor, with subsequent performances at San Francisco Performances, the University of New Hampshire, Dartmouth and die Union Theater at the University of Wisconsin at Madison. A highlight of her recital career was her sold-out engagement at Carnegie Hall, which followed a sold-out solo recital at Alice Tully Hall.
Benita Valente made her UMS debut in seasonal performances of the Messiah in 1965. In 1968, she appeared as a part of the Chamber Arts series in Music from Marlboro. She appeared at the May Festival with the Philadelphia Orchestra in 1970 and performed as a soloist with the Detroit Symphony Orchestra in Beethoven's Missa Solemnis in 1977. Tonight marks Ms. Valente's eighth appearance under UMS auspices.
M " illiam Bolcom,
ft Jk a recipient of the
jL I 1988 Pulitzer A a L 1'iic for music, LM L has received Af W commissions
? ? from the Vienna
Philharmonic (Salzburg Mozarteum), Philadelphia Orchestra, New York Philhar?monic, Berlin Domaine Musical, Koussevitsky Foundation, Saarlandischer Rundfunk, American Composers Orchestra, Lyric Opera of Chicago and many others. Will Breathe a Mountain, a Carnegie Hall Centennial Commission for Marilyn Home, was pre?miered by Miss Home and Martin Katz at Carnegie Hall and previewed at the University of Michigan. Edward B. Marks Music and Bolcom Music are his principal publishers. As a piano soloist, accompanist (primarily to mezzo-soprano Joan Morris, his wife and a member of the University of Michigan Musical Theatre faculty) and composer, Mr. Bolcom is represented on recordings for Nonesuch, RCA, CBS, MHS, Arabesque, Jazzology, Pantheon, Advance, CRI, Philips, Louisville Archive, Newport Classics, Omega, Argo, Koch Classics, Crystal, New World and Folkways.,As a writer on musical subjects, he is published by several music magazines, by Viking in a book on Eubie Blake, and in articles in The New Grove Dictionary; his edition of essays by George Rochberg was published by the University of Michigan Press. Recipient of fellowships and grants from a number of major foundations, Mr. Bolcom joined the Michigan faculty in 1973 and was the 1977 recipient of the Henry Russel Award. He taught previously at the University of Washington, Queens and Brooklyn colleges, and New York University. Mr. Bolcom's most recent opera, McTeague, based on the book by Frank Norris, with a libretto by Arnold Einstein and Robert Altman, and commis?sioned by the Lyric Opera, premiered in October 1992. Mr. Bolcom has been admitted to the American Academy of Arts and Letters.
William Bolcom performed in the Faculty Artists Concert in 1984. In the past fifteen years, his tvorks have been frequently performed under UMS auspices including Comedia in 1980, Twelve New Etudes for Piano in 1986, FiveFoldFive for Wind Quintet in 1987, the Sonata for Cello and Piano in 1989, and the vocal work Amor in 1994.
Pianist Cynthia Raim was unanimously chosen as the First Prize winner of the Clara Haskil International Piano Competition and has been acclaimed for her concerto and recital
appearances throughout the United States and abroad. In summing up the performance that won Ms. Raim the coveted Clara Haskil prize, La Suisse (Geneva) noted that "Miss Raim showed a musical nature that has gone far beyond technical mastery: without affec?tation, without useless bravado, Cynthia Raim has imprinted herself on us and cannot escape our admiration." Le Monde (Paris) called her "a new Clara Haskil."
In 1985, Ms. Raim won the prestigious Pro Musicis Award. In 1987, she became the first recipient of the "Distinguished Artist Award" of The Musical Fund Society of Philadelphia (America's oldest continuing musical organization) which was given for "outstanding achievement and artistic merit." Her many recent US recitals include appear?ances at Alice Tully Hall, the 92nd Street "Y," the Kennedy Center, Jordan Hall in Boston, and on the Master Keyboard Series of The Philadelphia Chamber Music Society.
Ms. Raim has also made numerous radio and television appearances, including being featured on NBC's Today Show. She has appeared as soloist with leading orchestras in such major cities as Detroit, Minneapolis, Pittsburgh, New Orleans, Prague, Hamburg, Lausanne, and Vienna. She has also partici-
pated in many leading international music festivals including Marlboro, Ravinia, Tanglewood, Meadow Brook, Grand Teton, Lucerne, and Montreux. Active in chamber music as well, Ms. Raim has appeared fre?quently in duo recitals with Benita Valente, David Soyer, Arnold Steinhardt, Richard Stoltzman, Samuel Rhodes, and widi the Guarneri String Quartet. She has recorded for Gallo and Pantheon.
A native of Detroit where she first stud?ied with Mischa Kottler, Ms. Raim was the youngest soloist ever to perform a complete concerto with the Detroit Symphony. Before graduating in 1977 from The Curtis Institute of Music where she studied with Rudolf Serkin and Mieczyslaw Horszowski, Ms. Raim had won the Festorazzi Award for Most Promising Pianist at Curtis, as well as first prizes in the J.S. Bach International and Three Rivers National Piano Competitions.
Tonight's concert rnarks Ms. Raim's UMS debut.
Poet Jane Kenyon was born in Ann Arbor and graduated from the University of Michigan. She is the author of five collec?tions of poetry: From Room to Room (Alice James Books), The Boat of Quiet Hours (Graywolf Press), Let Evening Come (Graywolf Press), Constance (Graywolf Press), and the recently published Otherwise (Graywolf Press); and translator of Twenty Poems of Anna Akhmatova (AllyThe Eighties Press). Her poems have appeared in many magazines, including the New Yorker, Paris Review, the New Republic, the Atlantic Monthly, and Poetry. She lived and worked with her husband Donald Hall in Wilmot, New Hampshire, until her death in 1995.
Meredith monk's
The Politics of Quiet
Carlos Arevalom, Theo Bleckmann, Thomas Bogdan,
Janis Brenner, Allison Easter, Dina Emerson, Katie Geissinger,
Ching Gonzalez, Louis Meagley, Randall Wong
Harry Huff: keyboards, voice
Allison Sniffin: keyboards, french horn, violin, bowed psaltry, voice
Friday Evening, October 4, 1996 at 8:00
Saturday Evening, October 5, 1996 at 8:00
Power Center
Ann Arbor, Michigan
Shrine Installation (in Theatre lobby)
Prayer 1 Meeting Songs Demon Meditation Folk Dance
Ancestors Chorale 1 Obsolete Objects Ancestors Chorale 2
Night (Elegy) Prayer 2
Time Pavanne Birth of the Stars
Second and Third Performances of the 118th Season
Annual Choice Events
Special thanks to John Killacky, Curator for the Performing Arts, Walker Art Center, for serving as Master of Arts interviewer. The Master of Arts Series is a collaborative effort of UMS, the University of Michigan Institute for the Humanities and WUOM. Master of Arts interviews will be aired on WUOM.
Large print programs are available upon request.
Music, Choreography, and Direction:
Associate Director: Lighting Design: Sound Design: Costume Design: Visual Design: Object Design: Musical Director: Production Manager: Production Coordinator:
DramaturgAssislant to the Director:
Children's Dance Sequence:
Slide Photographer:
Meredith Monk Pablo Vela Tony Giovannetti David Meschter Carol Ann Pelletier Paul Krajniak Debby Lee Cohen Harry Huff William Knapp Amy Santos
Maevefiona Butler
Mercedes Bahleda, Maurice Richard
Dina Emerson Roy Gumpel
Photographer's Assistant: Amy Silverman
It is a privilege to work with these exceptional performers and associates, many of whom have distinguished careers of their own. This work would not have been the same without each artist's individual contribution. I am deeply grateful for their generosity, patience and dedication in the process of creating The Politics of Quiet.
Meredith Monk
Music compositions O Meredith Monk 1996
ft f eredith Monk's
IL I latesl production,
I I The Politics of Quiet,
k i continues to push
m the boundai ies ol
Rf pel formani e. I his
Jm ? fl non-narrative work echoes the structure of an oratorio or service, presenting an evening of music with images and movement. The Politics of Quiet presents a contemporary community of people who acknowledge the legacy of the twentieth century and perform a rite of passage for entry into the next century. With no set characters or plot, this "ritual" is performed by an ethnically diverse ensemble cast of ten singersdancers, two instrumentalists and two children.
Monk composed, directed and choreo?graphed the work. Buddhist texts, Willa Cather's writings on the nineteenth century, and meditations on technology and the dawn of the new millennium are some of the threads Monk wove into the completed piece. Perhaps the primary themes, howev?er, are the human struggle to find and build a sense of community and to find space and time for contemplation and true communi?cation.
The ninety-minute work is divided into sections with each conveying its own distinc?tive mood or color. The first section explores what "community" is, while another honors ancestral roots and looks at the nineteenth century-optimism eagerly anticipating the twentieth century. Another part, entitled "Night," is a requiem that evokes the dark side of community and acknowledges the pain and loss of this century. The final sec?tion puts aside the past and creates a rite of passage for entry into the next century. The last scene is called "Birth of the Stars" and looks to the future with hope.
When she began work on this piece, Monk considered how rapidly changing
technology is impacting our lives. Faxes are no longer fast enough and the Internet can barely keep pace. She turned to a primor?dial technology that has kept pace with the future. Bee colonies and hives offered her a prototype community; they work with a com?plex technology that has transcended time; and bee's wax is used as a preservative. Monk draws upon this ecological metaphor throughout the piece. Children don bee?keeping costumes and boiling bee's wax is used to preserve and enshrine contemporary objects diat may soon become relics of our own time.
The Politics of Quiet recognizes the power of community and the spirit of cooperation, and offers an alternative to the speed and fragmentation of the twentieth century. In Monk's own words, "The Politics of Quiet is about community and how we're in danger of losing it. It's about slowing down enough to experience the moment. It's about shadow and light coexisting."
Monk composed the music for The Politics of Quiet especially for her extraordinary vocal ensemble of ten voices and two instrumen?talists. She has assembled some of the finest and most adventurous singersperformers active in new music and performance today, many of whom have distinguished careers of their own.
Monk began developing and rehearsing the work during a residency at New York's Hartwick College in the summer of 1995. Rehearsals continued again throughout the Spring of 1996. The show opened for a week-long preview engagement in May 1996 at PS 122 in New York and will return to New York for the Brooklyn Academy of Music's NEXT WAVE Festival after these University Musical Society performances.
The Politics of Quiet was co-commissioned by The House Foundation for the Arts, Inc., Lied Center for the Performing Arts, Walker Art Center and Pittsburgh Dance Council Three Rivers Arts Festival.
The commissioning of The Politics of Quiet was made possible with funding from: Mary Flagler Cary Charitable Trust; Meet The ComposerReader's Digest Commissioning Program, in partnership with the National Endowment for the Arts and the Lila Wallace-Reader's Digest Fund; National Endowment for the Arts; and New York State Council on the Arts.
AT&T Foundation provided major corporate sponsorship. Additional support was provided by The Aaron Copland Fund for Music, The Gladys Krieble Delmas Foundation, The Harkness Foundations for Dance, Heathcote Art Foundation, The Rockefeller Foundation, and The Andy Warhol Foundation for the Visual Arts.
The House Foundation for the Arts, Inc.
131 Varick Street, Room 901
New York, NY 10013 USA
Tel: 212.206.1440 Fax: 212.727.2535 Email:
Meredith Monk, Artistic Director
Barbara Dufty, Managing Director
Kerry McCarthy, Director of Development & Exhibitions
Amy Santos, Company Manager
Domestic Touring Representation: John Claassen and John Hebel Sheldon Soffer Management, Inc.
Board of Directors: Lindsley Chase Borsodi, Susan Carlyle, Beverly Emmons, Susan K. Foster, Nicholas J. Gajdjis, Eden Graber, Audrey Marsh, Meredith Monk, Nam June Paik, Mark Palermo, Esq., Barbara G. Sahlman, Glen Seator, Ellynne Skove, Frederieke Sanders Taylor, Arbie R. Thalacker, Micki Wesson.
MEREDITH MONKThe House Foundation for the Arts is made possible with additional support from Booth Ferris Foundation, Con Edison, The Dietrich Foundations, The Eisner Foundation, The Fund for U.S. Artists at International Festivals and Exhibitions, Morris and Rose Goldman Foundation, The Sydney and Frances Lewis Foundation, Materials for the Arts, Morgan Guaranty Trust Company of New York, New York Foundation for the Arts, Philip Morris Companies Inc., James E. Robison Foundation, The Trust for Mutual Understanding, and Lila Acheson Wallace Theater Fund, established in Community Funds by the co-founder of The Reader's Digest Association. Public support is provided by the National Endowment for the Arts, New York State Council on the Arts, and New York City Department of Cultural Affairs.
eredith Monk is a
composer, singer, filmmaker, choreo?grapher and direc?tor. Since graduat?ing from Sarah Lawrence College in 1964, she has forged a singular vision of performance, seamlessly crossing the tradi?tional barriers between mediums, creating more than 100 works. She is a pioneer in what is now called extended vocal technique and interdisciplinary performance. She is the fourth generation singer in her family. During a career that spans thirty years, she has been acclaimed by audiences and critics as a major creative force in the per. forming arts. "When the time comes, perhaps a hundred years from now, to tally up achievements in the performing arts during the last third of the present century, one name that seems sure to loom large is that of Meredith Monk. In originality, in scope, in depth, there are few to rival her." (Alan M. Kriegsman, Washington Post).
Monk has received numerous awards, including the prestigious MacArthur Foundation Fellowship, the Samuel H. Scripps American Dance Festival Award, two Guggenheim Fellowships, three Obies for theater, a Bessie for Sustained Creative Achievement, die National Music Theater Award in opera, a Brandeis Creative.Arts Award, the Venice Biennale First Prize in Music Theater, sixteen ASCAP Awards for Musical Composition, the Dance Magazine Award, the Rockefeller Fellowship for Distinguished Choreography and First Prize for Performance Programming from the Corporation for Public Broadcasting.
In 1968, she formed The House, a com?pany dedicated to the interdisciplinary approach to performance. In 1978, she founded Meredith Monk and Vocal Ensemble to perform her unique vocal compositions.
While Monk continues to work and tour with The House Company and with the Vocal Ensemble, she has also mounted her work on outside companies. The White Oak Dance Project performed Break (1964) at the 1992 Serious Fun! Festival at Lincoln Center, and The Schaubuhne Ensemble performed her collaboration with Ping Chong, The Games (1983), in Berlin. In 1995 Monk taught selections from ATLAS: an opera in three parts to the Pacific Mozart Ensemble in California and The Sound House Company in Wales to perform this music as part of their repertory.
Since 1967, Ms. Monk has been a pioneer in site-specific performance. In 1969 she created the three-part work Juice, with a cast of eighty-five, for the Guggenheim Museum and Minor Latham Playhouse in New York. In 1970, the American Dance Festival com?missioned Needle-Brain Lloyd and the Systems Kid: A Live Movie for the Connecticut College campus. Over the years she experi?mented with the form, and most recently returned to it widi the work American Archeology 1: Roosevelt Island (1994) for a cast of sixty.
In the mid-sixties Monk began experiment?ing with film in her musicmovementtheater works, notably 16 Millimeter Earrings (1966). She has continued to incorporate short films in her performances ever since: a seven minute version of Ellis Island originally appeared in the production Recent Ruins (1979); and, most recently, Volcano Songs Shrine Installation appeared in her critically acclaimed solo Volcano Songs (1994). Monk has explored the medium more fully in a series of award-winning films. Her 30 minute film Ellis Island (1981) won the CINE Golden Eagle Award, took prizes at the Atlanta and San Francisco Film Festivals, and was shown on PBS. Her first feature-length film, Book Of Days (1988) aired on PBS, appeared internationally at film festivals, was released theatrically and was also select?ed for the Whitney Museum of Art's 1991 Biennial.
Since 1965, Monk has worked as a com?poser, exploring the potential of the human voice. She began working with her own instrument -trying to discover the myriad characters, landscapes, colors and textures within her three octave range, and then formed Meredith Monk & Vocal Ensemble to play with more complex musical possibili?ties. She has made more than a dozen recordings, most of which are with ECM New Series. Dolmen Music (ECM New Series) and Our Lady of Late: The Vanguard Tapes (Wergo) were both honored with the German Critics Prize for Best Records of 1981 and 1986. In April 1996 Catalyst Records released Musica Sacra's new com?pact disk Monk and the Abbess: The Music of Meredith Monk and Hildegard von Bingen. Late in 1996, ECM will release a new recording by Meredith Monk & Vocal Ensemble enti?tled Volcano Songs.
In 1991 ATLAS: an opera in three parts was co-commissioned by the Houston Grand Opera, Hancher Auditorium, Walker Art
Center and The American Music Theater Festival. It toured domestically and in Europe, culminating with the New York pre?miere at the Brooklyn Academy of Music in 1992. Her newest work, The Politics of Quiet, had its world premiere in July 1996 at Copenhagen's Cultural Capital of Europe Festival.
Meredith Monk makes her debut under UMS auspices.
Carlos Arevalo (Ensemble) is a native of Panama City, Panama. He made his profes?sional debut in 1981 at the Festival International du Theatre in Nancy, France with choreographer Blondell Cummings. Since then he has performed in operas, solo recitals, film and dancetheatre pieces at Dance Theater Workshop, Jacob's Pillow, The Kitchen, Federal Hall, LaMama, Merkin Hall, INTAR and the Whitney Museum. His participation in the world premiere and sub?sequent US and European tours of ATLAS: an opera in three parts represented his first appearances with Meredith Monk's ensemble.1
Theo Bleckmann (Ensemble) is a per?former, vocalist and composer who is equal?ly at home in jazz and contemporary music having worked with musicians and com?posers such as Meredith Monk, Anthony Braxton, Philip Glass and Elliot Sharp. Theo Bleckmann has collaborated and toured with composerpianist Kirk Nurock for the past five years; their second CD Looking Glass River was released in September 1995. Bleckmann is also a member of bassist Mark Dresser's ensemble Force Green, which has recorded for the Soul Note label. Theo Bleckmann is leading his own groups, Slow Motion and The Theo Trio. He received the ASCAPGershwin Award for his composition Chorale 1 for Eight Voices. Together with Ms. Monk he performed Facing North, a duet for two voices and American Archeology 1:
Roosevelt Island as well as Three Heavens and Hells and a concert version of ATLAS: an opera in three parts. Bleckmann has also recorded for composer Philip Glass and is a member of Anthony Braxton's new large ensemble. Currently Bleckmann is collabo?rating on the music-theatre piece The Last Words of Dutch Schulz with composer Eric Salzman, director Valeria Vasilevski and con?ceptual artist John Baldessari as well as on Mercuria, a vocal-visual theater piece with performance artist Lynn Book. He has worked with numerous artists including Jay Clayton, Dave Douglas, Jerry Granelli, Gerry Hemingway, Sheila Jordan, Guy Klucevsek, Judy Niemack, Bobby Previte, Ned Rothenberg, Harvie Swartz, and Nurit Tilles and has performed at many venues world?wide including Lincoln Center, Symphony Space, BAM, the "What is Jazz" at the Knitting Factory, DeMaurier Jazz Festival in Vancouver, the Deutsche Oper am Rhein and the Bauhaus in Dessau.
Thomas Bogdan (Ensemble) sings a broad spectrum of music and has received critical acclaim for performances ranging from opera to cabaret. He first performed with Meredith Monk in ATLAS: an opera in three parts and 'is a member of her Vocal Ensemble. Ms. Monk wrote New York Requiem especially for him and he has performed it in New York and throughout Eastern Europe. He has participated in the premiere of more than fifty compositions. Favorite operatic performances include the Three Monteverdi Operas, as a cycle, and New York produc?tions of two Britten operas, The Turn of the Screw and Curlew River, as well as the title role in Stravinsky's Oedipus Rex with Stravinsky's protege, Robert Craft conduct?ing. He also recorded the recently released, Stravinsky's Cantata with Mr. Craft. A fre?quent soloist in oratorios, he has distin?guished himself in the role of the Evangelist in Bach's Passions. Crossing many musical
boundaries, his eclectic cabaret shows have delighted critics and audiences alike. Mr. Bogdan's L'Amour Bleu, a musical masque on gay themes, was produced by the Danspace Project at St. Mark's Church, New York City for three seasons in a row; the twenty musical pieces include New York Requiem as well as Memory Song-which Meredith Monk adapted specially for L'Amour Bleu.
Janis Brenner (Ensemble), dancerchoreog?raphersingerteacher, is Artistic Director of Janis Brenner & Dancers in New York and has performed her work throughout the world as a solo artist, with her partner Eddie Taketa and with the company. She has received numerous grant awards in New York (including a 1993 Leach Fellowship for Outstanding Achievement in the Performing Arts from Empire State College) and has had her work commissioned restaged by dance companies in Europe, Asia and throughout the US. Ms. Brenner was Co-choreographer for Michael Moschen In Motion for BAM's Next Wave Festival and on the PBS Great Performances special in which Ms. Brenner also performs. She has worked with Meredith Monk and Vocal Ensemble since 1990 (ATLAS: an opera in three parts, Education of the Girlchild, American Archeology 1: Roosevelt Island and The Plateau Series) and recorded with her on ECM Records. She is a sought-after teacher, con?ducting workshops in technique, improvisa?tion, composition, repertory and vocal work. Ms. Brenner was a soloist with the Murray Louis Dance Company (1977-84) working with Rudolph Nureyev, Placido Domingo, Dave Brubeck Quartet, Joseph Papp, Paul Winter Consort and Alwin Nikolais and a solo artist with Annabelle Gamson's compa?ny performing historic solos of the great modern dance pioneers, most notably Mary Wigman. Ms. Brenner received the 1996 Lester Horton Award for Choreography in Los Angeles.
Allison Easter (Ensemble) is a dancer and singer. She has worked with Meredith Monk since the 1985 revival of Quarry, appearing in The Travelogue Series, Book of Days, The Ringing Place, ATLAS: an opera in three parts, Three Heavens and Hells, and Vessel She can be heard in recent recordings of ATLAS, and Three Heavens and Hells. She spent two years as performer and the rehearsal direc?tor for STOMP, the Off-Broadway percus?sion show. For her dancing with Susan Marshall and Company, Allison was featured in the Village Voice article "1994's Breathtaking Performances." Running in the Family, which she created with her modier Mary Easter was recendy presented by the Walker Art Center. Allison holds a B.A. from Sarah Lawrence College.
Dina Emerson (Ensemble) has worked with Meredith Monk since 1990, when she creat?ed the role of the Young Alexandra in her opera, ATLAS: an opera in three parts. Since then, she has performed and toured exten?sively with Ms. Monk, and can be heard on the ATLAS CD on ECM New Series. Dina is a vocalist, actor and movement specialist who creates and performs work in all media, from music to performance art, and has toured and recorded with such artists as John Kelly, Tom O'Horgan, Tan Dun, Muna Tseng, Ken Butler, Gary Lucas and David Soldier. She also collaborates closely with directorwriter Will Pomerantz, and togedi-er they have created a series of interdiscipli?nary theater works, dealing with Lucky Strike cigarettes, Buster Keaton, Goethe's Faust, Chekov's The Seagull, vaudeville and silent film. Their latest project is a version of Frank Wedekind's banned play, Spring Awakening, at One Dream in New York City, Summer 1996. Dina is also a certified yoga instructor specializing in Vinyasa, or flowing, Hatha Yoga.
Katie Geissinger (Ensemble) began working with Meredith Monk in 1990, receiving critical acclaim for her performances in the opera ATLAS: an opera in three parts and in American Archeology 1: Roosevelt Island. She tours extensively with Ms. Monk, and is featured on two upcoming CDs of her music: Volcano Songs on ECM New Series, and choral works with Musica Sacra on BMG Catalyst. Ms. Geissinger played venues all over the world with Philip Glass and Robert Wilson's Einstein on the Beach, and is featured on the ElektraNonesuch recording. She appeared in Peter Sellars' Mozart da Ponte operas at PepsiCo SUM-MERFARE, and created the role of Fahizah in Tania, Anthony Davis1 opera about Patty Hearst. Ms. Geissinger has many off-Broadway credits, including Mahagonny Songspiel, Trouble in Tahiti, Dido and Eneas, and many Gilbert and Sullivan operettas. She has appeared with the Waverly Consort and Ensemble for Early Music, and recently sang on the soundtracks for The Fantasticks and Cutting Loose.
Ching Gonzalez (Ensemble) was born in Manila, raised in Honolulu, and has worked in New York City's experimental dance and theatre scene since 1976. He was an original member of Laura Dean Dancers and Musicians and has worked with writer directors Joe Chaikin.John Albano, and Jeff Weiss; choreographers Jane Comfort, Yoshiko Chuma, Tamar Rogoff, Blondell Cummings, Merian Soto and Pepon Osorio; as well as composers Tan Dun and Andy Kirschner. He also was in the Broadway revival of The King and with Yul Brynner. He has been performing with Meredith MonkThe House since 1984 in her operas, films, recordings and also tours with the Vocal Ensemble throughout the United States, Europe and Japan. He was her assis?tant choreographer on ATLAS: an opera in three parts and associate choreographer on
American Archeology 1: Roosevelt Island. Most recendy he performed in Moliere's School For Wives with the National Asian-American Theater Co., toured Japan in Ping Chong's Deshima, and performed in Tom Bogdan's L'amour Bleu which he also choreographed and co-directed. Gonzalez has been present?ing his original dancetheatre works since 1983 in New York, San Francisco and Honolulu. He is currendy awaiting inspira?tion for his forthcoming piece, Hold.
Louis Meagley (Ensemble) is proud to be making his first appearance with Meredith Monk in The Politics of Quiet. For The Measured Breaths Opera Company, Mr. Meagley originated the roles of Arcalaus in Amadis, Tancredi in Madrigals of Love and War, TeacherBody in He Who Says YesThe Representation of the Body and Soul, and of die bass soloist in Les Indes Gallant (Those Fabulous Americans) under die direction of artistic directortranslator Rob Press. A fre?quent featured soloist widi The Choral Arts Society under die enjoyably challenging direction of Timothy Vernon, Mr. Meagley has performed in dieir concert productions such works as Stravinsky's Les Noces, Bach's Kantata 106 and OrfFs Carmina Burana. Mr. Meagley Has also been a featured soloist with the Regina Opera Company, and most recendy appeared with the Opera Orchestra of New York in their concert version of Armida.
Pablo Vela (Associate Director) has been a member of Meredith MonkThe House since 1975, appearing in all major produc?tions; he was also Associate Director of Monk's opera, ATLAS: an opera in three parts and of American Archeology 1: Roosevelt Island. He received his theater training at Yale University and, in addition, studied with the late Viola Spolin (improvisation) and with Jacques Lecoq (masks and mime). From 1965 to 1975 Vela taught acting at Goddard College, becoming director of the
theater program there. Subsequently, his work as performer andor director has been presented throughout the US and Canada as well as in Europe and Central America. In New York City, Vela created a series of cabaret performances at BACA Downtown; most recently he directed Jeannie Hutchins' No Harm and Donald Ashwander's Particular People at LaMaMa ETC, Eva Gasteazoro's Amor de Mis Amores at PS 122 and Linda Mancini's Tip or Die at HERE.
Randall Wong (Ensemble), soprano, special?izes in both "historically informed" perfor?mances of the Baroque, Classic and contem?porary repertoire. He made his operatic debut in 1983 in Bernabei's Ascanio (Vicenza, Italy). He has since sung a large number of Handel roles including the title role in the Boston Early Music Festival and PepsiCo SUMMERFARE production of Teseo, Hamor mjeptha, and assorted young princes for Pocket Opera of San Francisco. In Germany he has appeared in and recorded the first modern revivals of Johann Adolphe Hasse's Cleofide, Olimpiade, and Artemisia, and Niccolo Jornelli's II Vologeso. Recent operatic performances were in Jornelli's Demofoonte, presented in Schwetzingen, Cremona and Rome. In modern repertory he has appeared as a soloist with the San Francisco Symphony. Roles have been written for him in world premieres presented by the Houston Grand Opera: Where's Dick, an "alternative opera" by Stewart Wallace and Michael Korie, and Meredith Monk's ATLAS: an opera in three parts. He recendy returned to Houston for the premiere of Wallace and Korie's Harvey Milk as Henry Wong, a role in which he also made his New York City Opera debut. He will make his San Francisco Opera debut in Fall 1996. His most recent recordings are of Kabbalah by Wallace and Korie (Koch Int'l Records) and ATLAS (ECM). Since 1986 Mr. Wong has been the continuing recipient of a
California Arts Council touring grant and received his doctorate in music (historic performance) from Stanford University.
Harry Huff (keyboards, voice) has collabo?rated with such celebrated performing artists asjessye Norman, Eleanor Steber, Hakan Hagegard, Judy Collins, Art Garfunkel and Joan Rivers. He toured extensively with the late BrechtWeill interpreter Martha Schlamme, with Swedish soprano saxophonist Anders Paulsson, and with Meredith Monk and Vocal Ensemble. His recording credits include In a Sentimental Mood for the LCM label (music of Duke Ellington), In Praise of Humanity for Pro Organo (music of Calvin Hampton) and Memento Bittersweet (music by composers afflicted with AIDS) for BMG Catalyst, as well as the recently released Traditional Patterns for Premier (music of Donald Ashwander). He recendy composed and performed thirty-four piano sketches for die audio book Piece by Piece, a collection of the humorous writings of Calvin Trillin. He has been a guest artist at the Aspen, Mosdy Mozart and Spoleto music festivals. As an organist he is Director of Music of Cavalry Episcopal Church, Gramercy Park, Artist-in-Residence at Union Theological Seminary, and Organist of Temple Shaaray Tefila, all in New York City.
Allison Sniffin (keyboards, violin, french horn, bowed psaltry, voice) Since moving to New York in 1990, Allison has performed with NeWorks, Music Under Construction, Danspace Productions (L'Amour Bleu), The Galatea Ensemble, Composer's Circle, Downtown Music Productions, The Hueco and others, and has recorded die music of Jose Halac (CRI) and Ricky Ian Gordon. Also a composer, Allison has been an associate at die Adantic Center for die Arts, a fellow in Aspen Music Festival's Compositional Studies program, and has received grants from Meet the Composer and Concert
Artists' Guild. She maintains an active per?forming schedule, serving as Assistant Organist at St. James' Church and Assistant Music Director for Brooklyn College Opera Theater.
Debby Lee Cohen (Object Design) has worked with Meredith Monk since 1984 and designed the scenery and props for shows including Volcano Songs, Facing North, ATLAS: an opera in three parts, and Acts from Under and Above. She has designed scenery, pup?pets, and masks for other multi-media artists including David Rousseve (Whispers Of Angels and Urban ScenesCreole Dreams), Ping Chong, and Theodora Skipitares. From 1987-1994 she designed the giant puppets for the lead section of New York's Village Halloween Parade. Ms. Cohen directs both commercial and independent animation. Her work has been aired on MTV, Public Television, Showtime and The Movie Channel. She is a recipient of a NEA Inter-Arts Grant, a NY Foundation for the Arts Fellowship Award in film, an Art Matters Fellowship Award in set design, and a New York State Council on the Arts Film Production Award. Recendy, she was commissioned by the French festival Quartier d'Ete, to design a large scale chil?dren's parade for the summer of 1996, in the Jardin des Tuileries, Paris.
Tony Giovannetti's (Lighting Design) career in technical theater encompasses lighting design, production management and media production for a variety of dance and the?ater events. As technical director and light?ing designer for Meredith MonkThe House since 1976, he has toured through?out Europe and the United States, adapting settings ranging from opera houses to muse?ums to boat houses for die specific needs of Ms. Monk's work. Working in traditional theater, his work has been highly acclaimed by critics from the New York Times and the Village Voice. He has designed lighting for choreographers Ann Carlson, Blondell
Cummings, Paul Langland, Stephen Koplowitz, Lee Nagrin, Susan Rethorst, Holly Fairbank, and for many works of Jeannie Hutchins. In collaboration with Dancing in the Streets, he has produced film and video documentation for the Brooklyn Bridge Dance Festival and Dance On Water on the Staten Island Ferry, and has designed lighting for many site-specific events, including Central Park's Bethesda Terrace, the American Museum of Natural History, and the 1987 Grand Central Dances in Grand Central Terminal. In addition, since 1980, Mr. Giovannetti has worked at the Metropolitan Opera as Electric Construction Supervisor. He has designed and built special effects for new productions including Tosca, Francesco Da Rimini, Macbeth, Rheingold and Siegfried. A graduate of NYU School of the Arts Design Department, Mr. Giovannetti has taught technical theater and lighting design at C.W. Post and Middlesex College. He won a New York Dance and Performance Award Bessie in 1985 for light?ing design.
Paul Krajniak (Visual Design) is a Designer Conceptual artist and creator of multi-media theater work. He first met Meredith Monk at age nineteen when he performed a walk-on role in her opera epic, Vessel at the University of Wisconsin-Milwaukee and later in a per?formance in her New York City loft. Paul went on to receive a BFA in Sculpture from the University of Wisconsin-Milwaukee. He is the Executive Director of the Discovery World Museum of Science, Economics and Technology in Milwaukee. He works with a visual language to design and create objects, costumes and environments which range from the very small to the very large. He has designed sets and costumes for dance and theater since the mid 1970's. Some of his designs can be seen in the work of the Bauer Contemporary Ballet in Milwaukee, performance artist Mark Anderson and tele-
vision work for musician Todd Rundgren. He also designed for Ping Chong throughout much of the 1980's designing for such pieces as A.M.A.M. and A Race. His own performance work serves as a laboratory to experiment with new concepts for his visual and prop-oriented designs. Some of his own works include Bird in Dog Jungle, The Last of the Dinosaurs and Knee Deep in Atlantis.
David Meschter (Sound Design), sound designer, audio consultant, and composer, received a degree in Audio Technology from American University in Washington, DC. He was the sound consultant and reper?tory musician with the Merce Cunningham Dance Company from 1981 to 1988, and has since worked with a variety of organizations and artists includingjohn Cage, Philip Glass, LaMonte Young, Pandit Pran Nath, the Kronos Quartet, the American Ballet Theater, Lincoln Center and Houston Grand Opera. His recent sound designs include American Archeology 1: Roosevelt Island by Meredith Monk, The Family Business written and direct?ed by Ain and David Gordon, Chinoiserie by Ping Chong, Whispers of Angels by David RousseveREALITY and the Sunshine TheaterMedia Center due to open in the Spring of'97. From 1988 to 1990 Mr. Meschter was the sound designersupervisor for SERIOUS FUN! at Lincoln Center. He has designed various interactive computer systems such as a Tap-to-MIDI converter for Charles Moulton's dance Tapnology and a Flute-to-Haiku poetry creationcomputer speech system for composer Yasunao Tone. As a composer, Mr. Meschter has presented performances of his works Structured Silence and The Parenthetical Set (version I).
Carol Ann Pelletier (Costume Design) is pleased to be working with Meredith Monk again, for whom she costumed American Archeology 1: Roosevelt Island. For Ping Chong, she designed Deshima, Nosferatu, and
the historic costumes in Chinoiserie. At Ubu Repertory Theatre, she has worked with directors Andre Ernotte, Ntozake Shange, Shirley Kaplan, Robbie McCauley, and Shaunielle Perry. For David RousseveReality, she costumed Whispers of Angels and Pop Dreams. At the Atlanta Ballet Theatre, she designed Yellow Tailed Dogs, choreographed by David Rousseve. She also teaches costume design at Sarah Lawrence College.
presen I
The Cleveland Orchestra
Christoph von Dohnanyi, conductor Olaf Baer, baritone
Friday Evening, October 11, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Bernard Rands
Canzone Per Orchestre
I: Strings in the earth and air. . . II: Welladay! Winds of May. . . Ill: Silently she's combing. . .
Franz Schubert
Memnon (orchestrated by Johannes Brahms) Der Wanderer (orchestrated by Robert Fanta) Ganymed (orchestrated by Kurt Gillmann) Du bist die Ruh' (orchestrated by Gillmann) Ihr Bild (orchestrated by Anton Webern) Standchen (orchestrated by Felix Mottl) An Schwager Kronos (orchestrated by Brahms)
Claude Debussy
La Mer (The Sea)
From Dawn 'til Noon on the Sea Play of the Waves Dialogue of Wind and Sea
Fourth Concert of the 118th Season
118th Annual Choral Union Series
This UMS program is supported by Arts Midwest, a regional arts organization serving America's heartland.
This concert is presented in memory of John Ullrich for whom music, par?ticularly that of great symphony orchestras, was an important part of life.
Special thanks to Donovan Reynolds, Director of Broadcasting, WUOM, for moderating the panel discussion The Future of the American Symphony Orchestra," and to the Cleveland Orchestra Administrative Staff, and the University of Michigan School of Music for making the residency possible.
Special thanks to Jim Leonard of SKR Classical, speaker for tonight's Performance-Related Educational Presentation (PREP).
Large print programs are available upon request.
Canzoni per orchestra
Bernard Rands
Born on March 2, 1934 in Slieffield, England
How often do we hear the charge that modern music lacks melody! Bernard Rands' Canzoni per orchestra -and indeed his entire oeuvre-shows that this need not be the case. Canzoni means "songs" in Italian, possibly the most songful of all languages, and the language of the country that had the greatest impact on Rands' development. His best known works are probably the three song cycles: Canti lunatici (Songs of the Moon), Canti del Sole (Songs of the Sun) and Canti deU'Edisse (Songs of the Eclipse). The second of the three won the Pulitzer Prize for music in 1984.
Canzoni per orchestra originated in two earlier works: a choral piece entitled Canti d'amor (Love Songs) based upon James Joyce's collection of poems entitled Chamber Music, and a work called Tre canzoni senza parole (Three Songs Without Words), which was an orchestral reworking of the choral piece. The latter was written in 1992 as a tribute to Riccardo Muti, who was stepping down as music director of the Philadelphia Orchestra at the time. Canzoni per orchestra is, in turn, an expansion of Canti d'amor, and was requested by Muti's successor in Philadelphia, Wolfgang Sawallisch, who led the world premiere on May 5, 1995..
Canzoni per orchestra is a cycle of "songs without words," arranged in three movements, each of which incorporates five songs, sepa?rated by interludes. Even without being voiced, the gentle lyricism of James Joyce's poems can be felt at every moment in Rands' music.
In Canzoni per orchestra, Rands repeated?ly alludes to three Irish tunes that are, in his own words, "now obscure, now explicit -so that the three melodies infiltrate and pervade the music -sometimes like a subtle per-
fume, sometimes as an unmistakable if brief and fleeting quotation." The songs are: "Danny Boy" in the first movement, 'The Last Rose of Summer" in the second, and "Down by the Sally Gardens" in the third. The lyrical quality of the Canzoni per orchestra unfolds in the numerous unaccom?panied instrumental solos, where the instru?mentalists are entrusted with melodic lines that are eminently vocal in character. The transparent orchestration only enhances this lyricism, and nothing gets in the way of the outpouring of melodies.
Franz Schubert
Born in Himmelfortgrund, near Vienna,
on January 31, 1797 Died in Vienna on November 19, 1828
The German word Lied (song) has found its way into the English-speaking world, denoting a special variety of piano-accompa?nied song set to German lyrics. The Lied evolved from more modest antecedents into one of the major Romantic genres, largely owing to the genius of a single composer, Franz Schubert. Schubert was able to evoke the most passionate drama in a few minutes of music, and he could achieve transcen?dence by the simplest means imaginable.
Schubert's songs were not written for the concert hall, but for the informal musi?cal evenings so dear to the composer and his friends. At these evenings, Schubert would sit at the piano and accompany singers like Johann Michael Vogl, long-time member of the Court Opera, or such well-trained amateurs as Karl Schonstein. Schubert himself had a pleasant singing voice, having started his career as a choirboy in the Vienna Stadtkonvikt (Imperial and Royal City College).
Schubert wrote more than 600 songs, of which fewer than a third were printed during his lifetime, and even these were destined
for private music-making rather than public concerts. The songs did not begin to circu?late more widely until decades after his death. If Schubert's music gradually came into its own with performers and audiences throughout Europe, it was largely through the efforts of composers such as Robert Schumann, who discovered the manuscript of the "Great C-Major" Symphony; Felix Mendelssohn, who performed it; Franz Liszt, who popularized Schubert's music through numerous transcriptions; and Johannes Brahms, who was one of the dri?ving forces behind the publication of Schubert's collected works.
One of the consequences of this newly-found enthusiasm for Schubert's music was that the songs broke out of the isolation of the private homes and entered the world's great concert halls. It was soon realized that because of their great richness in colors, Schubert's piano parts lent themselves admirably to orchestration. Although some of the intimacy of the songs was bound to get lost in the process, the orchestral
arrangements enhanced the dramatic power and depth of feeling inherent in the music. They also reveal a great deal about how Schubert was seen by successive generations of composers.
University Musical Society audiences will enjoy a full investigation of the works of Schubert in January, February and March 1997 when we host four complete song recitals in the Lydia Mendelssohn Theatre and four Schubertiade evenings in the Rackham Auditorium. The roster of artists includes Andre Watts, Garrick Ohlsson, Sanford Sylvan, Wolfgang Holzmair, Barbara Bonney, Martin Katz, Hermann Prey and Anton Nel -to name a few. Please join tis for this extraordinary series of concerts cele?brating the bicentennial of Schubert's birth.
English translations of Memnon, Der Wanderer, Ganymed, and Du bisl dieRuh'ate based upon those by George Bird and Richard Stokes (The Fischer-Dieskau Book ofLieder. New York: Alfred A. Knopf, 1984).
English translations of remaining songs are based upon diose by Steven R. Cerf and Benjamin Folkman, reprinted from the Cincinnati Symphony Orchestra's program book.
Memnon D.541
poem byjohann Mayrhofer (1787-1836) music composed by Schubert, 1817 orchestrated by Johannes Brahms (1833-1897)
Den Tag hindurch nur einmal
mag ich sprechen, Gewohnt zu schweigen immer
und zu trauern:
Wenn durch die nachtgebor'nen Nebelmauern Aurorens Purpurstrahlen
liebend brechen.
Fur Menschenohren sind es Harmonien. Weil ich die Klage selbst
' melodisch kunde Und durch der Dichtung
Glut das Rauhe runde, Vermuten sie in mir
ein selig Bluhen.
In mir, nach dem des Todes
Arme langen, In dessen tiefstem Herzen
Schlangen wuhlen;
Genahrt von meinen schmerzlichen Gefuhlen Fast wutend durch
ein ungestillt Verlangen:
Mit dir, des Morgens Gottin,
mich zu einen,
Und weit von diesem nichtigen Getriebe, Aus Spharen elder Freiheit,
[aus Spharen] reiner Liebe, Ein stiller,
bleicher Stern herab zu scheinen.
Once only in the whole day
may I speak, used always to be silent
and to mourn:
then, when through the night-born walls of rr break lovingly Aurora's
purple rays.
To human ears my speech is harmony. Because my plaint I
proclaim melodically, tempering its roughness
with the glow of poetry, they suppose in me
a happy blossoming.
In me, for whom Death's
arms are reaching out, deep in whose heart
serpents gnaw;
me, who am nourished by my agonies, near crazed with
unappeased desire
to unite myself with you,
Goddess of Morn, and from this futile commotion
far removed, from spheres of noble freedom
and pure love, shine down,
a pale and silent star.
Der Wanderer D.489
poem by Georg Philip) Schmidt von Lubeck (1766-1849) music composed by Schubert, 1816 (published as Op. 4. No. 1) orchestrated by Robert Fanta (b. 1901)
The Wanderer
Ich komme vom Gebirge her, Es dampft das Tal, es braust das Meer. Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo Immer wo
Die Sonne dunkt mich hier so kalt, Die Blute welk, das Leben alt, Und was sie reden, leerer Schall, Ich bin ein Fremdling iiberall.
Wo bist du, mein geliebtes Land Gesucht, geahnt und nie gekantt! Das Land, das Land, so hoffnungsgrun, Das Land, wo meine Rosen bluhn,
Wo meine Freunde wandeln gehn, Wo meine Toten auferstehn, Das Land, das meine Sprache spricht, O Land, wo bist du
Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo Immer wo
Im Geisterhauch tont's mir zuruck: "Don, wo du nicht bist, dort ist das Gluck!"
Down from the mountains I come, the valley steams, the ocean roars. I wander silent, little glad, my sighs demanding ever: where Ever where
The sun seems here so cold, blossom faded, life old, and what they talk is empty sound, I am a stranger everywhere.
Where are you, my beloved land Sought for, sensed, yet never known! That land so green with hope, where my roses bloom,
where my friends walk,
where my dead are resurrected,
the land which speaks my tongue,
0 land, where are you
1 wander silent, little glad,
my sighs demanding ever: where Ever where
A ghostly whisper makes reply: There, where you are not, there is happiness."
Ganymed D.544
poem byjoliann Wolfgang Goethe (1149-1832)
music composed by Schubert, 1817 (published as Op. 19, No. 3)
orchestration by Kurt Gillmann (b. 1898)
Wie im Morgenglanze Du rings mich angluhst, Fruhling, Geliebter! Mit tausendfacher Liebeswonne Sich an mein Herz drangt Deiner ewigen Warme Heilig Gefuhl, Unendliche Schone!
Dass ich dich fassen mocht In diesen Arm!
Ach, an deinem Busen
Lieg ich, und ich schmachte,
Und deine Blumen, dein Gras
Drangen sich an mein Herz.
Du kuhlst den brennenden
Durst meines Busens,
Lieblicher Morgenwind!
Ruft drein die Nachtigall
Liebend nach mir aus dem Nebeltal.
Ish komm, ich komme! Wohin Ach, wohin
Hinauf! Hinauf strebt's.
Es schweben die Wolken
Abwarts, die Wolken
Neigen sich der sehnenden Liebe.
Mir! Mir!
In euerm Schosse
Umfangend umfangen!
Aufwarts an deinen Busen,
Alliebender Vater!
How in the morning radiance you glow upon me from all sides, Spring, beloved! With love's thousandfold bliss to my heart thrusts itself your eternal ardour's sacred feeling, beauty unending!
Might I clasp you in these arms!
Ah, at your breast
I lie, and I languish,
and your flowers, your grass
thrust themselves to my heart.
You cool the burning
thirst of my bosom,
sweet morning wind!
The nightingale calls me
lovingly from the misty vale.
I come, I come! Whither Ah, whither
Upward! Upward the striving.
The clouds float
down, the clouds
bow down to yearning love.
To me! To me!
In your lap
Embracing embraced!
Upward to your bosom,
All-loving Father!
Du bist die Ruh 'D.776 Repose You Are
poem by Fnedrich Ruckert (1788-1866)
music composed by Schubert, 1823 (published as Op. 59, No. 3)
orchestration by Kurt GiUmann (b. 1898)
Du bist die Ruh', Der Friede mild, Die Sehnsucht du, Und was sie stillt.
Ich weihe dir Voll Lust und Schmerz Zur Wohnung hier Mein Aug und Herz.
Kehr ein bei mir Und schliesse du Still hinter dir Die Pforte zu.
Treib andern Schmerz i Aus dieser Brust!
Voll sei dies Herz I Von deiner Lust.
'. Dies Augenzelt, ; Von deinem Glanz
Allein erhellt,
O full es ganz!
IhrBild D.9579 poem by Heinrich Heine (1797-1856) music composed by Schubert, August 1828 orchestrated by Anton Webern (1883-1945)
Ich stand in dunkeln Traumen j Und starrt' ihr Bildnis an, I Und das geliebte Antlitz
Heimlich zu leben begann.
Urn ihre Lippen zog sich Ein Lacheln wunderbar, Und wie von Wehmutstranen Erglanzte ihr Augenpaar.
Audi meine Tranen flossen ' Mir von den Wangen herab. Und ach! ich kann es nicht glauben, DaB ich dich verloren hab!
You are repose, and gentle peace, longing you are, and what quiets it.
To you I dedicate, full of joy and pain, as a dwelling here, my eye and heart.
Come, enter in and close softly behind you the gate.
Drive other pain from this breast. Full be this heart of your joy.
The temple of these eyes,
by your gleam
alone is lit,
oh fill it wholly!
Her Picture
I stood in dark dreams and stared at her picture, and the beloved face mysteriously came to life.
About her lips played a wondrous smile. And as with sorrow's tears, her eyes were shining.
My tears, too, were rolling down my cheeks. And ah! I cannot believe that I have lost you!
Stdndchen D.9574 poem by Ludwig Rellstab (1799-1860) music composed by Schubert, August 1828 orchestrated by Felix Mottl (1856-1911)
Leise flehen meine Lieder Durch die Nacht zu dir; In den stillen Hain hernieder, Liebchen, komm zu mir!
Flusternd schlanke Wipfel rauschen In des Mondes Licht; Des Verraters feindlich Lauschen Furchte, Holde, nicht.
Horst die Nachtigallen schlagen Ach! sie flehen dich, Mit der Tone siissen Klagen Flehen sie fur mich.
Sie verstehn des Busens Sehnen, Kennen Liebesschmerz, Ruhren mit den Silbertonen Jedes weiche Herz.
Lass auch dir die Brust bewegen! Liebchen, hore mich, Bebend harr' ich dir entgegen! Komm, beglucke mich!
An Schwager Kronos D.369
poem byjohann Wolfgang von Goethe (1749-1832)
music composed by Schubert, 1816 (publis)ied in 1825 as Op. 19, No. 1) orchestrated by Johannes Brahms (1833-1897)
Spute dich, Kronos!
Fort den rasselnden Trott!
Bergab gleitet der Weg;
Ekles Schwindeln zogert
Mir vor der Stirne dein Zaudern.
Frisch, holpert es gleich,
Uber Stock und Steine den Trott
Rasch ins Leben hinein!
Softly my entreating songs float through the night to you; in the quiet grove below, Darling, come to me!
Whispering slender tree-tops rustle by the light of the moon, fear not any traitor's unfriendly spying, fear not, my dear.
Do you hear the nightingales singing Ah! they are entreating you, with their sweet lamenting tones they entreat for me.
They understand the heart's longing, know the pain of love, and can move, with their silvery song, every susceptible heart.
Let your heart, too, be moved, Darling, listen to me, Trembling, I await you! Come, make me happy!
To Chronos the Coachman
Hurry up, Chronos!
On at a rattling trot!
The path leads down the mountain;
I am giddy with disgust
at the impudence of your dawdling.
Speed up, though it is bumpy,
your trot up hill and down dale
quickly on into life!
Nun schon wieder
Den eratmenden Schritt
Muhsam berghinauf!
Auf denn, nicht trage denn,
Strebend und hoffend hinan!
jWeit, hoch, herrlich, Rings den Blick ins Leben hinein, Von Gebirg zu Gebirg Schwebet der ewige Geist, ewigen Lebens ahndevoll.
Seitwarts des Uberdachs Schatten Zieht dich an,
LJnd ein Frischung verheissender Blick Auf der Schwelle des Madchens da. Labe dich! -Mir auch, Madchen, Diesen schaumenden Trank, Diesen frischen Gesundheitsblick!
Ab denn, rascher hinab! Sieh, die Sonne sinkt! Eh sie sinkt, eh mich Greisen Ergreift im Moore Nebelduft, Entzahnte Kiefer schnattern Und das schlotternde Gebein, Trunknen vom letzten Strahl Reiss mich, ein Feuermeer Mir im schaumenden Aug, Mich geblendeten Taumelnden In der Holle nachtliches Tor.
Tone, Schwager, ins Horn, Rassle den schallenden Trab,
?Dass der Orkus vernehme: wir kommen,
?Dass gleich an der Tur
jDer Wirt uns freundlich empfange.
Now once again
the exhausted pace
laboring up the mountain,
up now, don't drag,
striving and hoping, ever upwards!
Far, high, splendid,
the panorama of life,
from mountain range to mountain range
the eternal spirit hovers,
an intimation of immortality.
Off the path, the shade of a roof
draws you onward
and, promising refreshment, the gaze
of a maiden on the threshold.
Refresh yourself! -For me, too, maiden,
this frothy drink,
this freshening image of well-being!
Down then, faster downwards!
See, the sun is sinking!
Before it sinks, before, as an old man
vaporous clouds in the moor overcome me,
my toothless jaws clattering
and my bones rattling,
while still drunk with its last ray,
let me be hurled -a sea of fire
foaming in my eyes,
blinded, staggering --
through Hell's nocturnal gate.
Coachman, sound your horn, rattle resoundingly onward, so the underworld may learn:
we are coming,
the innkeeper may greet us at the door with a friendly welcome.
La Mer (The Sea)
Three Symphonic Sketches Claude Debussy
Born on August 22, 1862 in
St.-Germain-en-Laye, France Died on March 25, 1918 in Paris
The great French poet Charles Baudelaire wrote in his Les Fleurs du Mai (Flowers of Evil): "Homme libre, toujours tu cheriras la mer!" ("Free spirit, you shall always cherish the sea!"). The poem compares the unfathomable depths of the human soul to the "richesses intimes" ("secret riches") of the sea. Another great poet Paul Verlaine wrote: "La mer est plus belle que les cathedrales" ("The sea is more beautiful than the cathedrals"); like Baudelaire, Verlaine used the sea as a metaphor for human emotions
These poems are only two among many artistic representations of the sea, a constant preoccupation of painters from Turner to Hokusai to Monet. Claude Debussy admired the works of all these painters and poets. He set the Verlaine poem to music in 1891, and when the score of La Mer (The Sea) was published, he requested that Hokusai's print, "The Hollow of the Wave off Kanagawa," be reproduced as part of the cover design.
Poetic and pictorial sources provided at least as important impulses for La Aferas did actual observation of the sea. In addition, Debussy's private life at the time of compos?ing this work certainly did not lack a certain turbulence. (In 1904, he left Lily, his wife of five years, and moved in with Emma Bardac, the wife of a wealthy financier. Lily attempt?ed suicide; in the ensuing scandal many of Debussy's friends broke off relations with him. On October 30, 1905 -two weeks after the premiere of La Mer-Debussy and Bardac had a daughter, named Claude Emma but more often called "Chouchou" by her par?ents. The parents got married, after their respective divorces were completed, in January 1908.)
Many of Debussy's orchestral works are cast in three movements: the Three Nocturnes, or the three Images, the second of which {Iberia) is a triptych in itself. But critics have noted that in the three movements of La Mer, Debussy came closer to writing an actual symphony than ever. This view arose in part from the strong cohesion between the three movements: despite their differences in character, they are united by a strong drive from the first minute to the last. The calm sea of the first movement is followed by the "play of the waves," and then by a more agitated "dialogue" between the wind and the sea.1
Debussy's compositional technique in La Mr also contributes to our "symphonic" impression of the piece. Rarely did he make such ample use of motivic development as here. More than once, the surge of the waves is suggested by the repetition and transfor?mation of motifs that derive from the classi?cal tradition, although the motifs employed are highly individual and the ways in which they are developed are totally independent from classical sonata form.
Like a symphony, La Mer starts with a slow introduction, with a gradual accelerando leading into the main section. Flutes and clarinets intone the first theme, a pentatonic idea -that is, playable on the black keys of the piano -in parallel fifths. (Parallel fifths had for a long time been anathema in music; Giacomo Puccini had been one of the first to use them in La Boheme, premiered in 1896). A second theme, of great warmth, is introduced by the horns; a third one by the cellos, divided into four groups. The lilt?ing rhythm of this last theme builds up to the movement's climax, after which the tempo becomes slow again, as at the begin?ning. The horns on the one hand, and the
The original titles of the three movements expressed these contrasts even more sharply. Debussy had planned to call the first movement. Mer belie mix lies Sanguinaires (Beautiful Sea Around the Sanguinary Islands [Corsica and Sardinia]), and t last, Lt vent Jail dariser la mer (The Wind Makes the Sea Dance)
flutes and clarinets on the other, repeat their respective themes once more before the movement ends.
The second movement's trajectory is roughly similar to that of the first. A number of brief motifs are introduced by distinct instrumental groups (in this case, the english horn, the oboe, the horns, and a solo violin are some of the protagonists). In the first half of the movement, the tempo periodically accelerates and slows down, suggesting the play of the waves. The second half is a single accelerando that reaches a climax, only to fade back into a slower tempo and softer dynamics. The woodwinds evoke some frag?ments from the themes they played earlier, enveloped by the ethereal sounds of the harp and the glockenspiel.
In the last movement, marked "Anime el tumultueux" (Animated and tumultuous), the sea gets rather rough at times. For the first time, the melodies are in real contrast with one another, expressing the idea of "dialog" contained in the title. The languorous lyrical theme of the high woodwinds is pitted against a more angular melody played first by the trumpet, and later by bassoons, horns, and cellos. (This melody has already been heard in the first movement.) Again, the waves get stronger and stronger until the climactic moment, but this time the music does not fade away; the piece ends with a powerful fortissimo.
It is said that Debussy's father wanted the young Achille-Claude to become a sailor. Had this come to pass, La Mer probably would never have been written. Debussy's contemporary, Albert Roussel, who had abandoned a career in the French Navy to devote himself to composition, was working on his first symphony at the same time Debussy was composing La Mer. But the former seaman had no intentions of celebrating the sea; instead, he called his work "Le poeme de la fork " (The Poem of the Forest). 4 9
Program notes by Peter Laki, Program Annotator for The Cleveland Orchestra
The Cleveland Orchestra
Christoph von Dohnanyi, conductor Stephen Geber, cello
Saturday Evening, October 12, 1996
at 8:00
Hill Auditorium Ann Arbor, Michigan
Richard Wagner
Overture to RlENZl
Victor Herbert
Cello Concerto No. 2 in e minor, Op. 30
Allegro impetuoso Andante tranquillo Allegro
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 maestro -Allegro vivace
iifth Concert of the 18th Season
118th Annual Choral Union Series
This UMS program is supported by Arts Midwest, a regional arts organization serving America's heartland.
This concert celebrates the seventy-sixth birthday of Professor Sidney Fine of the University's History Department. A native of Cleveland, Professor Fine has been a Choral Union subscriber for fifty years.
Special thanks to Donovan Reynolds, Director of Broadcasting, WUOM, for moderating the panel discussion The Future of the American Symphony Orchestra," and to the Cleveland Orchestra Administrative Staff, and the University of Michigan School of Music for making the residency possible.
Special thanks to Jim Leonard of SKR Classical, speaker for tonight's Performance-Related Educational Presentation (PREP).
Large print programs are available upon request.
Overture to RlENZI
Richard Wagner
Born on May 22, 1813 in Leipzig
Died on February 13, 1883 in Venice
Admirers of Richard Wagner's mature music dramas may find it hard to believe that Rienzi (1840) was written by the same composer as The Ring of the Nibelung (premiered in 1876) and Tristan and Isolde (1865). Yet, before Wagner could implement his far-reaching operatic reforms, he had to master operatic form as it was practiced at the time. Rienzi is a "grand opera in five acts" following the contemporary French model whose most prominent representative was Giacomo Meyerbeer. It was the work with which the young Wagner first showed his mettle as both an opera composer and a dramatist by writing his own German libretto (as he was to do for all his subsequent operas).
Rienzi was Wagner's third completed opera. Of its predecessors, DieFeen (The Fairies) was never performed during Wagner's lifetime, and Das Liebesverbot (The Ban on Love, after Shakespeare's Measure for Measure) was given only once, at the provincial theater of Magdeburg, where Wagner had a conduct?ing post from 1834-36. Rienzi, then, was Wagner's first major break, with performances at many of the world's greatest opera houses soon after its premiere. It did not survive, however, in competition with Wagner's later works and like most examples of nineteenth-century French grand opera is nowadays a great rarity on the stage.
Wagner based Rienzi on the novel Rienzi, the Last of the Tribunes by English writer Edward George Earle Bulwer-Lytton. The action takes place in Rome in the fourteenth century: Cola Rienzi tries unsuccessfully to unite the warring factions of Roman nobility under a new constitution and to preserve peace and freedom in the city.
Today, this four-and-a-half-hour opera is
best known through its overture and for "Rienzi's Prayer" from Act V, both of which appear with some frequency as excerpts in the concert hall. These two excerpts are, in fact, related in their music: the overture begins after a few measures of introduction with the melody of the prayer. It is followed by a fast section (marked Allegro energico) whose prominent motifs include a brass fan?fare and a march tune. The fanfare returns in Act III as the war-cry of the citizens sup?porting Rienzi: "Santo Spirilo cavaliere!" (Holy Spirit Warrior!). The march is from the cho?rus praising Rienzi at the end of Act II. The overture, therefore, presents Rienzi at the height of his power and in no way hints at his tragic fall at the end of the opera.
Cello Concerto No. 2 in e minor, Op. 30
Victor Herbert
Born on February 1, 1859 in Dublin
Died on May 26, 1924 in New York
Born in Ireland and raised in Germany, Victor Herbert came to the United States in 1886, when his young wife, the soprano Therese Forster, was engaged by the Metropolitan Opera. Herbert, an outstand?ing cellist, landed a job in the Metropolitan Opera Orchestra. He did not stay in the pit for very long, however. His multiple gifts (as a performer, teacher, composer, organizer, and conductor) soon made him one of the most prominent musicians in New York. In the early twentieth century, Herbert had his greatest successes as the conductor of the Pittsburgh Symphony and as a composer of operettas (Babes in Toyland, Naughty Marietta, etc.). In the 1890s, his activities still revolved mostly around playing and teaching the cello. He had played the cello part in the first American performance of the Brahms Double Concerto in 1889, and introduced a concerto of his own with the Philharmonic five years later.
This work, the e-minor Concerto, was Herbert's second work in the genre; he had composed his First Cello Concerto (in D major, Op. 8) in Germany in 1884-85. (Both j concertos have been recorded by Lynn Harrell and the Academy of St.-Martin-in-the-Fields, led by Neville Marriner, on the LondonDecca label.)
The main stylistic influences behind Herbert's Second Concerto seem to be Liszt md Tchaikovsky, both of whom Herbert had met. He had heard Liszt play the piano in Zurich in 1882 (both solo and in duet widi Saint-Saens) and was absolutely overwhelmed )y the experience. After his immigration to the United States, he had the opportunity to )lay host to Tchaikovsky during the latter's irst and only visit to this country in 1891. The Russian master appeared in Philadelphia md Baltimore as guest conductor with a touring orchestra whose music director was Herbert. From Tchaikovsky, Herbert learned an intense and passionate writing style; from Liszt, the organic linkage and motivic unity of the three movements, played without Dause. Herbert's most important personal contribution lies, perhaps, in the brilliant cello writing, technically demanding but always idiomatic. The e-minor Concerto is one of the few major cello concertos written oy active cellists, and it is readily apparent from the music.
Herbert went considerably further than Liszt in unifying the concerto's movements. The diird movement of the e-minor Concerto is not only based on die same material as the first, but it actually repeats large segments of the music, sometimes literally, and sometimes in varied form. In a sense, the entire concerto resembles a large ternary design (A-B-A). The dominating theme of the concerto is a chromatic idea (i.e., moving in half-steps) and developed both in an impetuously dra?matic and an expressively lyrical way. The second movement (marked " Andante tranquillo") is a warmly melodic intermezzo between the
two quasi-identical outer movements.
Inspired by some great composers of his time, Herbert was in his turn to influence another illustrious contemporary. Antonin Dvorak came to New York in 1892 to assume the directorship of the National Conservatory of Music, where Herbert was the head of the cello class. Herbert and Dvorak soon became close friends. They played chamber music together, including Dvorak 's famous "Dumky" trio. The multi-talented Herbert even made an excellent pencil portrait of Dvorak.
The Czech composer was present at the first performance of Herbert's e-minor Concerto, which gave an important stimulus for his own Cello Concerto in b minor, written soon afterwards. Herbert, however, never wrote another large-scale instrumental work; for the remaining thirty years of his life, he concentrated almost entirely on popular songs and musical theater.
Symphony No. 5 in e minor, Op. 64
Piotr Ilyich Tchaikovsky
Born on May 7, 1840 in Volkinsk,
Viatka district, Russia Died on November 6, 1893 in St. Petersburg
Despite his growing international fame, Pitor Ilyich 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 orchestras, 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 to Russia, Tchaikovsky decided to write a new symphony, his first in ten years. Characteristically, the first sketch?es of die new work, made on April 15, 1888, include a verbal program portraying the individual's reactions in the face of this immutable destiny, involving stages of resig?nation, challenge, 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 qTaith 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 pro?gram was an intensely personal matter to him, in part because he was reluctant to openly acknowledge 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 represents. (In his diaries, Tchaikovsky often referred to his homosexuality 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 because 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 Madame 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 com?poser's most private thoughts and feelings, in Tchaikvsky's case we can't completely ignore them either, since there is ample evidence to suggest that lie 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 A Life for the Czar, in which it was sung to the words "Ne svodi nagore" (Do not turn to sorrow). The theme is heard in the "Andante" intro?duction 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 accompaniment 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 myste?rious 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 of the Fate theme. The first theme returns, again interrupted 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 repre?sents. Yet before the movement is over, there is a short reminder, subdued yet impossible to ignore, in 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 develop?ment, 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 in which some people mistakenly thought that the piece was over and started applaud?ing. 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.
Program notes by Peter Laki, Program Annotator for The Cleveland Orchestra
Long considered one of America's best orchestras, The Cleveland Orchestra is today acknowledged among the handful of great symphonic ensem?bles in the world. Under the leadership of Music Director Christoph von Dohnanyi since 1984, the Orchestra has enhanced its standing wherever it has per?formed -at home in Severance Hall, at the annual Blossom Festival, on tour in the United States and internationally, in radio and television broadcasts, and in an unprecedented series of critically-admired digital recordings. Dohnanyi has set standards of performing excellence and imaginative programming that have earned widespread acclaim at home and on frequent interna?tional tours. The ClevelandDohnanyi team has been hailed as one of the outstanding orchestra-conductor partnerships of the late twentieth century. His contract as music director extends to the year 2000.
The Cleveland Orchestra was founded in 1918 under the direction of Russian-American conductor Nikolai Sokoloff, who initiated an extensive domestic touring schedule, educational concerts, commercial recordings, and radio broadcasts. In 1931, the Orchestra moved to its new permanent home, Severance Hall, and, two years later, Artur Rodzinski became music director. Highlights of his decade in Cleveland included the presentation of fifteen fully-staged operas at Severance Hall. Erich Leinsdorf was music director from 1943-46, but spent much of his tenure as a member of the U.S. Armed Forces.
Under George Szell, named music director in 1946, The Cleveland Orchestra entered a new period of dramatic and sus?tained growth. Both the number of Orchestra members and the length of the
season were increased, international tours were inaugurated, The Cleveland Orchestra Chorus was established (and Robert Shaw was engaged to direct the group), and Blossom Music Center was opened as the Orchestra's summer home. Pierre Boulez began his association with The Cleveland Orchestra in 1968; after Szell's death in 1970, Boulez served as musical advisor until 1972.
Lorin Maazel began a decade as music director with the 1972-73 season. He contin?ued the Orchestra's international touring and recording schedule, while broadening the ensemble's repertoire with more twentieth-century compositions.
With Christoph von Dohnanyi as its music director since 1984, The Cleveland Orchestra has again confirmed its high ranking in the orchestral world. During much of the past decade, Cleveland has been America's most frequently recorded orchestra. In conjunction with the Orchestra's 75th Anniversary in 1993, Dohnanyi began a multi-year series of concert performances and recordings of Richard Wagner's complete four-opera Ring of the Nibelung cycle. Das Rheingold, which was recorded in December 1993, was released during the 1995-96 season to critical acclaim. Die Walkiire was recorded in November 1992 and will be released dur?ing 1996-97; Siegfried and Gotterdammerung are scheduled to follow in future seasons.
In addition to a distinguished series of concerts at home in Cleveland each year, the Orchestra and Dohnanyi have made fre?quent concert tours to Europe, have visited Eastern Asia three times, and perform fre?quently throughout North America. In 1996, they returned twice to Europe: in March for performances throughout the continent, and during the summer for their fourth series of appearances together at the prestigious Salzburg Festival.
Praised for his imaginative and stimulating programs, Dohnanyi, with the Orchestra, has twice received ASCAP's award for program?ming.
The Cleveland Orchestra made their Ann Arbor debut in 1935. They have appeared more than twenty-six times under UMS auspices under such eminent music directors as Artur Rodzinski, Erich Leinsdorf, George Szell, Pierre Boulez, Lorin Maazel and Christoph von Dohdnyi. Their first residency occurred in February 1994 and consisted of eighteen sessions at the University of Michigan School of Music. This year marks their second residency with twenty-five sessions at the University of Michigan School of Music. The sessions draw upon the expertise of thirty members of The Cleveland Orchestra and are made up of masterclasses, lectures and a panel discussion on "The Future of the American Symphony Orchestra.'
Kelvin Smith Family Chair
Sidney and Doris R. Dworkin Choir
GARETH MORRELL, director of choruses
Frances P. and Chester C Bofton Chair
ALAN GILBERT, assistant conductor
Elizabeth Ring and William Gwinn Mathtr Chair
William Preucil CONCERTWASTER Blossom-Lee Chair
Yoko Moore ASSISTANT CONCERTMASTER Clara G. and George P. Blckford Chair
Sheryl Staples ASSOCIATE CONCERTMASTER Grelchen D. and Ward Smith Chair
Erich Eichhorn
Paul and Lucille Jones Chair Robert Zimmer Lev Polyakin Kurt Loebel Takako Masame Gary Tishkoff Boris Chusid Keiko Furiyoshi Nathan Snader Wei-Fang Gu Kim Nolen Gomez Chul-ln Park Eugene Altschuler
Stephen Majeske Alfred M. ond Clara T. Rankin Choir
Emilio LJinas
Mark Dumm1 Patricia M. Kozerefskl and Richard . Bogomolny Chair
Vaclav Benkovic Gino Raffaelli Carolyn Gadiel Warner Judy Berman Stephen Warner Felix Freilich Vladimir Deninzon Richard Voldrich Leon Lazarev Scott Weber Kathleen Collins Beth Woodside Miho Hashizume
Aaing Principal ' Associate Principal
1 First Assistant Principal
2 Assistant Principal
Robert Vernon Challli H. and Richard B. Tullis Chair
Lynne Ramsey'
Charles M. and Janet G. Klmball Chair
Stanley Konopka2 Markjackobs Arthur Klima Lucien Joet Patrick Connolly Lisa Boyko Yarden Faden Edward Ormond Richard Waugh
Stephen Geber
Louis D. Beaumont Choir Diane Mather2 Richard Weiss'
The CAR Foundation Chair Bryan Dumm Charles Bernard Ralph Curry Catharina Meints Brian Thornton Harvey Wolfe Paul Kushious Thomas Mansbacher David Alan Harrell
Henry Peyrebrune
Clarence T. Weinberger Chair Kevin Switalski Scott Haigh'
Mory ?. and
F. Joseph Callahan Chair
Mark Atherton Ethan Connor Thomas Sperl Harry Barnoff Martin Flowerman Thomas Sepulveda
Lisa Wellbaum
Alice Chaltfoux Chair Trina Struble2
Joshua Smith Ellzobeth At and William C Treuhoft Choir
Martha Aarons John Rautenberg"
Austin B. and
Ellen W. Chlnn Choir Mary Kay Fink
Mary Kay Fink Anne M. and M. Roger Clapp Chair
John Mack
Edith S. Taplln Chair Elizabeth Camus Jeffrey Rathbun2
Everett D. and
Eugenia S. McCurdy Chair
Felix Kraus
Felix Kraus
Samuel C and Bernette K. Joffe Chair
Franklin Cohen
Robert Marcellus Chair Daniel Gilbert Daniel McKelway2
Robert R. and
Vllma L Kohn Choir
Linnea Ncrcim
Daniel McKelway
Linnea Nereim
David McGill
Louise Horkness tngalls Chair Phillip Austin Ronald Phillips2 Stanley Maret
Stanley Maret
Richard King
Shelley Showers' George Sxelt Memorial and Knight Foundation Chairs
Eli Epstein Hans Clebsch Richard Solis Alan DeMattia
Michael Sachs Richard S. and Robert C Wciskopf Choir
David Zauder Charles Couch2
James P. and
Dolores D. Storer Chair James Darling
David Zaudor Mary Elizabeth and G. Robert Klein Chair
James Darling
James DeSano Gilbert W. and Louise I. Humphrey Chair
Allen Kofsky Steven Witser2
Thomas Klaber
Allen Kofsky
Ronald Bishop Nathalie C. Spenct and Nathalie S. Boswell Chair
Paul Yancich Otto G. and Corlnne T. Vojs Chair
Tom Freer2
Richard Weiner
Margaret Allen Ireland
Joseph Adaco Donald Miller Tom Freer
Joela Jones
Rudolf Serkln Chair Carolyn Gadiel Warner
Ronald Whitaker Donald Miller Robert Zimmer
David Zaudor MANAGER
Christoph von Dohnanyi was appointed music director of The Cleveland Orchestra in 1982 and began his tenure two years later. During his first dozen seasons, Cleveland has become America's most frequently recorded orchestra, with a rapidly expanding discography of a broad repertoire. He regularly leads the Orchestra on critically-acclaimed concert tours of the United States (including appearances at New York's Carnegie Hall), Europe (includ?ing a series of performances at the presti?gious Salzburg Festival), and Eastern Asia (where in October 1993 they performed the nine symphonies of Beethoven at Tokyo's Suntory Hall).
Mr. Dohnanyi is recognized as one of the world's pre-eminent orchestral and operatic conductors. His recent guest-con?ducting engagements include concerts with London's Philharmonia Orchestra and the Vienna Philharmonic, as well as a produc?tion last fall of Schoenberg's Moses and Aron in Paris, a doublebill of Schoenberg's Erwartung and Bartok's Bluebeard's Castle at the 1995 Salzburg Festival, and critically-hailed performances of Strauss's Salome ax London's Royal Opera House at Covent Garden.
In 1994, Mr. Dohnanyi was appointed principal guest conductor of London's Philharmonia Orchestra. In this position, he leads the ensemble in concerts in Paris and London each year, and conducts an annual operatic venture at the Theatre du Chatelet in Paris. His PhilharmoniaChatelet opera production schedule includes Schoenberg's Moses and Aron in 1995, Stravinsky's Oedipus Rex in 1996, and Humperdinck's Hansel and Gretel in 1997.
Christoph von Dohnanyi has made many critically-acclaimed recordings with both The Cleveland Orchestra and the
Vienna Philharmonic for DeccaLondon Records. Surrounding The Cleveland Orchestra's 75th Anniversary celebrations in 1993, he led the Orchestra in concert per?formances and recordings of the first two of Wagner's four-opera Ring of the Nibelung cycle. The first of these, Das Rfieingold, has been released and is now available on com?pact disc worldwide. In addition, three new opera recordings with the Vienna Philharmonic have been released during the past two years: Wagner's The Flying Dutchman, Beethoven's Fidelia, and Strauss's Salome. The DohnanyiCleveland Ring cycle will be completed in future seasons.
During the 1992-93 season, Mr. Dohnanyi conducted a new production of Wagner's four-opera Ring of the Nibelung cycle at the Vienna State Opera. This marked only the third time in Vienna's his?tory that a conductor has led a complete new Ring cycle, the last occurring over 30 years ago with Herbert von Karajan.
The ClevelandDohnanyi team is nationally and internationally recognized as one of today's great orchestra-conductor partnerships. Christoph von Dohnanyi first conducted the Orchestra in 1981 and was named music director designate the follow?ing year. He began his tenure as music director at the beginning of the 1984-85 sea?son. His uniquely inventive programming has been widely praised and is a hallmark of his Cleveland Orchestra concerts both at home and on tour. Mr. Dohnanyi's imagina?tive approach to the repertoire is illustrated by a 1993 LondonDecca recording with The Cleveland Orchestra: the three-disc set unites works from the two great Viennese schools -Mozart's final six symphonies, Nos. 35-41, and orchestral works of Anton Webern.
Since Mr. Dohnanyi's arrival in Cleveland, the subscription season has been expanded to accommodate the largest audi?ence in the Orchestra's history. In addition to leading The Cleveland Orchestra in con-
certs at home and at the annual summer Blossom Festival, Mr. Dohnanyi frequently conducts the Orchestra in major cities of the United States and abroad. Together, the Orchestra and Dohnanyi have made frequent concert tours to Europe (two in 1996) and three to Eastern Asia (1987, 1990, and 1993). Under Mr. Dohnanyi's leadership, The Cleveland Orchestra has become America's most frequently recorded orchestra. Dohnanyi's recordings with Cleveland include the com?plete symphonies of Beethoven, Brahms,
and Schumann, as well as major works by Mahler, Mozart, Schubert, Bruckner, Webern, Baitok, Berlioz, Tchaikovsky, Ives, and Varese, among others. Dohnanyi and The Cleveland Orchestra togeth?er record exclu-
sively for LondonDecca Records.
Christoph von Dohnanyi has conducted at the world's great opera houses, including Covent Garden, La Scala, Vienna Staatsoper, Berlin, Paris, Munich, at the Salzburg Festival and, in the United States, at the Metropolitan Opera, Lyric Opera of Chicago, and San Francisco Opera. He was also invited by Wieland Wagner to conduct at Bayreuth. In addition, Mr. Dohnanyi is a frequent guest conductor of the world's leading orchestras.
Born in Berlin, Christoph von Dohnanyi was a law student at the University of Munich after World War II, but soon chose to pursue his music studies full time. He spent a period of time studying with his grandfather, Erno (Ernst von) Dohnanyi, at Florida State University, and studied conducting at Tanglewood. In 1952, Dohnanyi accepted a position coaching and conducting at the Frankfurt Opera; subsequently he was named artistic and music director of the company.
He has also served as director of the West German Radio Symphony Orchestra in Cologne and, from 1978 to 1984, as artistic director and principal conductor of the Hamburg State Opera.
In 1992, Mr. Dohnanyi was awarded the Union Medal from New York's Union Theological Seminary for his ongoing work to honor leaders of the German Resistance during World War II, and, in 1995, was given a special Scroll of Remembrance from the United States Holocaust Museum to honor members of his own family involved in the Resistance. Mr. Dohnanyi is a Commandeur de l'Ordre des Arts et des Lettres of the Republic of France and holder of Germany's Commanders' Cross of the Order of Merit and of Austria's Commanders' Cross. His many other honors include the Bartok Prize of Hungary, Goethe Medal of the City of Frankfurt, Arts and Sciences Prize of the City of Hamburg, and honorary doctorates from Oberlin College, the Cleveland Institute of Music, Case Western Reserve University, and Kent State University.
Christoph von Dohnanyi made his UMS debut with The Cleveland Orchestra in 1984 and returned in 1995.
Baritone Olaf Baer is widely considered to be among the foremost interpreters of German song, regularly performing Lieder in recitals throughout the world. He has given recitals in Cleveland, New York, Philadelphia, San Francisco, Toronto, and Washington D. C, and on tours to Australia, Israel, and Japan. He made his Royal Opera House Covent Garden debut in 1992 and has often performed in London's Wigmore Hall. Recent and upcoming recitals include performances in Berlin, Finland, Geneva, Hong Kong, Milan, New Zealand, Paris, Palermo, Regensburg, Turin, and another tour to Australia.
In addition to being a prolific lieder
singer, Olaf Baer has been a principal member of Dresden's Semper Opera and continues to perform there as a guest soloist. His recent and upcoming oper?atic appearances include leading roles
in Mozart's The Marriage of Figaro and Wagner's Tannhdser in Dresden and Mozart's The Magic Flute at the Lyric Opera of Chicago.
Other opera and orchestral music Mr. Baer has performed in recent seasons includes Bach's St. Matthew Passion with Amsterdam's Concertgebouw Orchestra, Mahler's Kinderlotenlieder with the London Symphony Orchestra, The Marriage of Figaro with the Netherlands Opera, Britten's War Requiem with the Schleswig-Holstein Symphony Orchestra, Capriccio with the Vienna State Opera, and Cosifan lutte with the Chamber Orchestra of Europe. He has also performed with orchestras in Finland, Milan, and Venice, and at the Aix-en-Provence and Glyndebourne festivals.
This concert marks OlafBaer's debut under UMS auspices.
Stephen Geber is currendy celebrating his twenty-fourth season with The Cleveland Orchestra, and is the longest-serving principal cellist in The Cleveland Orchestra's history.
Born in Los Angeles into a family of pro?fessional cellists, Stephen Geber's teachers included his mother, Gretchen Geber, as well as Gabor Rejto, Stephen Deak, Ronald Leonard, and Zara Nelsova. He graduated from the Eastman School of Music in 1965 with a bachelor of music degree and a per?former's certificate. While at Eastman, he was a member of the Rochester Philharmonic, serving as principal cellist for the 1964-65 season. He was a member of the Boston Symphony Orchestra from 1965-73 and was
a faculty member of the New England Conservatory of Music from 1967-73.
Mr. Geber has frequently performed as soloist with The Cleveland Orchestra since hi appointment as principal cello in 1973. This season he will perform as a soloist with The Cleveland Orchestra in Haydn's Sinfonia Concertante, conducted by Ingo Metzmacher. Other orchestras with which he has appeared as soloist include the Boston Pops, Florida Orchestra, Dallas Symphony, Eastman-Rochestt: Symphony, as well as others diroughout the US.:
Stephen Geber has collaborated in cham?ber music performances with a number of leading artists, including Julius Baker, Rudoll Firkusny, Grant Johannesen, Yo-Yo Ma, Lorin Maazel, and Israela Margalit.
Stephen Geber cur-
rently heads the cello departments of the Cleveland Institute of. Music, KentBlossom Music, and the Encoii School for Strings. He is also a faculty mem?ber of the National Orchestral Institute at the University of
Maryland and was a lecturer at the 1988 International Cello Congress held at the University of Indiana.
Stephen Geber's performances with The Cleveland Orchestra have included works by Boccherini, Brahms, Morawetz (in the Cleveland premiere of Memorial to Martin Luther King), Shostakovich, Saint-Saens, Richard Strauss, Tippett, and George Walker (in the world premiere of Dialogus) During the 1997-98 sea?son, at the Eastman School of Music, Stephen Geber will perform the world premiere of Samuel Adler's Cello Concerto, commissioned by Eastman especially for Mr. Geber.
He is married to Lisa Wellbaum, the Orchestra's principal harpist. They are the parents of four daughters.
This concert marks Stephen Geber's debut as soloisi under UMS auspices.
Chamber Music
with members ofThe Cleveland Orchestra
Charles Bernard, cello James Darling, trumpet Mark DeMio, bassoon Bryan Dumm, cello Mark Jacobs, viola Thomas Klaber, bass trombone Stanley Konopka, viola
Mary Kay Fink, flute
Molly Fung, violin
Takako Masame, violin
Daniel McKelway, clarinet
Ronald Phillips, bassoon
Michael Sachs, trumpet
Steven Witser, trombonealto trombone
Sunday Afternoon, October 13, 1996 at 4:00
Rackham Auditorium Ann Arbor, Michigan
Johannes Brahms
String Sextet No. 2 in G Major, Op. 36
Allegro non troppo Scherzo: Allegro non troppo Adagio Poco Allegro
Takako Masame, violin Molly Fung, violin Stanley Konopka, viola
Mark Jacobs, viola Bryan Dumm, cello Charles Bernard, cello
Corrado Saglietti
Suite for Alto Trombone and String Quartet
Steven Witser, alto trombone Molly Fung, violin Takako Masame, violin
Mark Jacobs, viola Charles Bernard, cello
Igor Stravinsky
Octet for Wind Instruments
Tema con Variazioni
Mary Kay Fink, flute Daniel McKelway, clarinet Ronald Phillips, bassoon Mark DeMio, bassoon
Michael Sachs, trumpet James Darling, trumpet Thomas Klaber, bass trombone
Sixth Concert of the 118th Season Thirty-fourth Annual Chamber Arts Series
This UMS program is supported by Arts Midwest, a regional arts organization serving America's heartland
Large print programs are available upon request.
String Sextet No. 2 in G Major, Op. 36
Johannes Brahms
Born on May 7, 1833 in Hamburg
Died on April 3, 1897 in Vienna
The two sextets for pairs of violins, violas, and cellos were the first chamber music works without piano that Brahms ever pub?lished. Before he dared to approach the medium of string quartet, which had assumed an almost sacred character in Beethoven's late works, Brahms experimented with a combination where he had the field all to himself, and, in the process, invented the string sextet.
The first sextet (in B flat, Op. 18), written in 1859-60, continued the tone of die two earlier orchestral serenades (Op. 11 and 16). The String Sextet No. 2 in the key of G, dating from 1864-65, is more serious in tone. The brightness of die major mode is frequently clouded by incursions into minor keys; die slow movement is an emotionally charged Adagio instead of the march-like "Andante, ma moderato" of the first sextet; and finally, the movement entitled "Scherzo" is a rather wistful lyrical intermezzo only temporarily relieved by its boisterous middle section.
The serious tone of die sextet can prob?ably be explained by the work's connection to what may well have been die most momen?tous personal decision in Brahms's life. In 1858, he had met and fallen in love with Agathe von Siebold, the daughter of a pro?fessor at the University of Gottingen. This relationship brought Brahms as close to marriage as he would ever come, but he broke it off the next year, unable to recon?cile his artistic calling with life as a husband and father ("I cannot wear fetters," he wrote to her). Yet his feelings for Agathe lingered for years. As he confided to die cellist Josef Gansbacher, the dedicatee of his next cham?ber work, the e-minor Sonata (Op. 38):
This is how I set myself free from my last love." There is evidence that Brahms was think?ing of Agathe when he wrote the G-major Sextet. He pointed out to Joseph Joachim that the pitches of the first movement's sec?ond theme spelled out the name A-G-A-H-E (H being the German name for the note B). The missing letter T (not a musical note) is replaced by a D, sounded simultaneously with the B (H). Brahms's first biographer, Max Kalbeck, who knew the composer per?sonally, read the word "ADE" (adieu) into the passage, apparently with good reason.
It is certainly no coincidence that the first violin plays its highest notes in the "Agathe" melody. Despite the high pitch (both acousti?cal and emotional), it is in essence a tender lyrical idea, and is repeated (in a modified form) in a more subdued piano.
In general, lyrical ideas predominate over dramatic ones throughout the G-Major Sextet. The second movement (nominally a scherzo) begins with a melancholy melody with a Slavonic touch (it sounds almost like a dumka by Brahms's younger colleague and friend Antonin Dvorak). In the Presto giocoso middle section the basic 34 meter (one-two-three one-two-three) is pitted against a 32 pattern (one-two one-two one-two) --some?thing that also happens in Dvorak's Czech furiant dances, although Brahms does it in a way all his own.
The e-minor theme of the third-movement Adagio, with its two leaps of fourths and its accompaniment in simultaneous eighth-notes and triplets, was notated by Brahms in a let?ter to Clara Schumann in 1855, a full decade before the Sextet was completed. In its final form, the movement is normally described as a theme-and-variations, but, as Edwin Evans pointed out in his classic Brahms handbook, "instead of each division harking back to the theme for its cue it prefers for the most part to draw its inspiration from what has imme?diately gone before." The movement proceeds from the initial Adagio through a faster,
contrapuntal section with martial rhythms to a final section where the tempo again slows down to Adagio, with gently flowing six?teenth-notes in an ethereal E Major.
The last movement is based on two types of material: one consists of repeated six?teenth-notes, the other of a legato melody and its extensions. The two contrasting ideas are combined to form a spirited and excit?ing finale.
Interestingly enough, the first performance of the G-Major Sextet took place in 1866 in New York, introduced in a chamber music series started by William Mason and Theodore Thomas. The work apparently had great suc?cess in the United States, which is more than can be said of its reception in Vienna and Germany. The Viennese critics were rather cool, while the music publishing house Breitkopf & Hartel in Leipzig, which had initially accepted the sextet, asked Brahms in a letter to relieve them of their publica?tion agreement. (An unnamed third party had persuaded them to make this move.) Brahms promptly had his Sextet published by Simrock, and he never again sent a com?position to the prestigious Leipzig firm. (He, however, did collaborate with them on editions of other composers' music.)
Suite for Alto Trombone and String Quartet
Corrado Saglietti Born in 1957
Italian hornist and composer Corrado Saglietti has served as associate principal horn of the RAI (Italian Radio) Symphony Orchestra in Turin since 1977. During the last decade, he has attracted international attention with his compositions for brass instruments, several of which have been per?formed and published in Europe and the United States.
The Suite for Alto Trombone and String
Quartet was written in 1992 for Joe Burnam, principal trombonist of the RAI Symphony Orchestra in Turin. It is in three movements. The first, a "Tango," gives the alto trombone a chance to play a warm lyrical melody while the strings provide a jazzy rhythmic back?ground. The second-movement "Canzone" (Song) continues in the lyrical mood and includes a cadenza for the first violin. The finale, called "Speedy," uses changing meters. The virtuoso trombone part (played with a mute) is accompanied by the string players who sometimes function as percussionists, tapping the bodies of their instruments to add a special rhythmic and coloristic element
Octet for Wind
Igor Stravinsky
Born on June 17, 1882 in Oranienbaum,
near St. Petersburg, Russia Died on April 6, 1971 in New York
"My Octet is a musical object. ... It began with a dream, in which I saw myself in a small room surrounded by a small group of instrumentalists. . . play?ing bassoons, trombones, trumpets, a flute, and a clarinet." --Igor Stravinsky
What are we to make of this curious "dream object," that stands at the beginning of Stravinsky's so-called "neo-Classical" peri?od, a work that has been the subject of some serious debates about musical aesthetics yet is, in essence, quite funny Stravinsky used it himself for his debuts both as a conductor (his baton technique was still not secure enough take on a full orchestra) and as a writer: in a famous essay that begins with the first statement quoted above, he put forward his ideas about "objective music" and the need for the performer to be a mere "exe?cutant" and not to seek to "interpret" the music. The Octet also marks the first time
Stravinsky returned to such classical devices as sonata, variation, and rondo form -but without such Romantic accretions as con?trasting characters or dramatic climaxes. The objectivity is emphasized in the pithy melodic lines and the somewhat disjointed instrumental writing. It is as though Stravinsky had asked the players to play and the listeners to listen with a poker face, betraying no emotions of any kind; yet it seems that, using his divine prerogative as a composer, he then proceeded to tweak their noses with some unexpected turn of phrase.
Stravinsky wrote the Octet in 1922-23 in France and conducted the first performance on October 18, 1923, at the Paris Opera. The work is in three movements: an open?ing "Sinfonia"with a short introduction, "Tema con Variazioni, and "Finale." In all three, Stravinsky made ample use of contra?puntal procedures, asymmetrical rhythms, and Baroque and Classical allusions. But he also included -and this is where the nose-tweaking takes place -echoes of popular music of the time, from ragtime to cabaret song. The whole piece is a unique mixture of styles, both highand low-brow, and the fun lies, to a great extent, in the fact that these allusions are not supposed to be "played up" by the "executants." Take the "theme" of the second movement, for exam?ple. It is a lyrical singing melody, first intro?duced by the flute and the clarinet. But the offbeat staccato notes of the accompaniment immediately place the melody between quo?tation marks, as it were. The ambivalence between lyricism and devices counteracting it provides the movement with its main momentum.
Aaron Copland, who was present at the Paris premiere of Stravinsky's Octet, wrote about the work in his 1941 book Our New Music.
The present writer . . . can attest to the general feeling of mystification that fol?lowed the initial hearing. Here was
Stravinsky, having created a neoprimitive style all his own, based on native Russian sources -a style that everyone agreed was the most original in modern music -now suddenly, without any seeming explanation, making an about-face and presenting a piece to the public that bore no conceivable resemblance to the individual style with which he had hither?to been identified. Everyone was asking why Stravinsky should have exchanged his Russian heritage for what looked very much like a mess of eighteenth-century mannerisms. The whole thing seemed like a bad joke that left an unpleasant aftereffect and gained Stravinsky the unanimous disapproval of the press. No one could possibly have foreseen, first, that Stravinsky was to persist in this new manner of his or, sec?ond, that the Octet was destined to influ?ence composers all over the world in bringing the latent objectivity of mod?ern music to full consciousness by frankly adopting the ideals, forms, and textures of the pre-Romantic era.
Program notes by Peter Laki, Program Annotator for The Cleveland Orchestra
Charles Bernard (cello) joined The Cleveland Orchestra in 1992. He previously held the position of principal cello with the National Repertory and Calgary Philharmonic orchestras. During this time, his performance as soloist with the Calgary Philharmonic in Milhaud's Cello Concerto No. 1 was broadcast throughout Canada. A Canadian native, he won an audition at the Montreal Conservatory at the age of eleven. He studied with Michael Kilburn at the Montreal Conservatory, where he won first prize awards in cello and chamber music,
and later with Stephen Geber at the Cleveland Institute of Music.
James Darling (trumpet) joined The Cleveland Orchestra in 1973 and has since played trumpet and cornet as soloist with the Orchestra as well as with other orches?tras around the world. In addition to being a member of The Cleveland Orchestra, Mr. Darling is first trumpet of the Baldwin-Wallace Faculty Brass Quintet. A faculty member of Baldwin-Wallace College since 1969, he also teaches at the Cleveland Institute of Music and regularly presents masterclasses at colleges and universities throughout the United States. Born in Cincinnati, he holds a bachelor of music degree from the University of Kentucky and a master of music degree from the University of Illinois. Before joining The Cleveland Orchestra, he was a finalist in the 1971 International Trumpet Competition held in Munich. He was also founding prin?cipal trumpet of the Ohio Chamber Orchestra from 1971-73.
Mark DeMio (bassoon) is a member of the Akron Symphony, Cleveland Chamber Symphony, Erie Philharmonic, and the Youngstown Symphony. He teaches bassoon at Baldwin-Wallace College, Case Western Reserve University, Cleveland Music School Settlement, and at the Cleveland Institute of Music, where he received a bachelor of music degree. He has also attended the American Institute of Musical Studies, KentBlossom music training program, Music Academy of the West, Pierre Monteux School, and the Waterloo Festival. Since 1978, Mr. DeMio has often played as an extra or substitute player with The Cleveland Orchestra.
Bryan Dumm (cello) has been a member of The Cleveland Orchestra since 1986. In addition to his Cleveland Orchestra respon-
sibilities, he regularly gives solo recitals and performs chamber music as a member of the Samaris Piano Trio, the Cleveland Octet, and the Cleveland-based Myriad. He has also performed as soloist with the Parma Symphony and Penfield Symphony Orchestra. Mr. Dumm holds bachelor and master of music degrees from the Eastman School of Music, where he studied with Paul Katz and Steven Doane. While at Eastman, he was a member of the Rochester Philharmonic. During the 1985-86 season, he was principal cellist of the Alabama Symphony.
Mary Kay Fink (flute) joined The Cleveland Orchestra's flute section in 1990 as piccolo. As winner of the 1986 National Flute Association Young Artist Competition, she performed a debut recital at Carnegie Hall's Weill Recital Hall. She was also a member of the New Jersey Symphony Orchestra and often played with the New York Philharmonic. In addition to her responsibilities with The Cleveland Orchestra, Ms. Fink performs in chamber music recitals throughout the Cleveland area, often with her husband, pianist Nicholas Underhill. She is also a ? member of the Cleveland Chamber Collective and the Cleveland Camerata. She made her Cleveland Orchestra solo debut in July 1994 during the annual summer Blossom Festival.
Molly Fung (violin) is a founding member of the Samaris Piano Trio, a Chicago-based ensemble that showcases twentieth-century music, as well as a member of the Cleveland-based chamber music ensemble Myriad. She has performed throughout the United States in solo and chamber recitals and has been broadcast on National Public Radio and on Hong Kong radio and television. Currently a faculty member of Cleveland State University, Ms. Fung has been a mem?ber of the Ars Poetica, the Pro Musica Chamber Orchestra, and the Rochester
Philharmonic. She attended Rochester's Eastman School of Music, where she received a performer's certificate. Her teachers have included Donald Weilerstein and Sylvia Rosenberg.
Mark Jackobs (viola) joined The Cleveland Orchestra in 1993 after three seasons with the Pittsburgh Symphony Orchestra. He studied the violin at Michigan's Interlochen Arts Academy, but switched to viola before enrolling at the Eastman School of Music, where he studied with Heidi Casdeman. After receiving his bachelor of music degree from Eastman, he continued his education at the Cleveland Institute of Music, studying widi Robert Vernon, principal viola of The Cleveland Orchestra. Mr. Jackobs has per?formed at the Aspen, American Music, and Heidelberg (Germany) music festivals, and is a faculty member of the Cleveland-area Encore School for Strings.
Thomas Klaber (bass trombone) joined The Cleveland Orchestra in 1985. Born and raised in Covington, Kentucky, he attended the University of Cincinnati Conservatory of Music to study the baritone horn, but switched to trombone under the tutelage of Betty S. Glover, Sam Green, and Tony Chipurn. He was also a member of the Cincinnati Chamber Orchestra before he left Cincinnati to play bass trombone in the Detroit Symphony Orchestra, of which he performed as a member for six seasons. In addition to The Cleveland Orchestra, Mr. Klaber is a member of the Cleveland Low Brass Ensemble.
Stanley Konopka (viola) joined The Cleveland Orchestra in 1991 and was appointed assistant principal viola in 1993. In addition to his orchestral responsibilities, he is a faculty member of the Cleveland Institute of Music and Encore School for Strings. He has also written award-winning
musical compositions and regularly per?forms with the Cleveland-based chamber ensemble Myriad. He attended high school at the Interlochen Arts Academy, where he won several performance competitions before moving to Cleveland to study with Cleveland Orchestra principal viola Robert Vernon. While attending the Cleveland Institute of Music, he first played with The Cleveland Orchestra as a substitute violist before he became a member of the Pittsburgh Symphony Orchestra in 1990.
Takako Masame (violin) has been a member of The Cleveland Orchestra's first violin sec?tion since 1985. She has also been a mem?ber of the Cleveland-based Amici String Quartet since the it's formation in 1985. A native of Japan, she attended Tokyo's Toho-Gakuen School before studying with Dorothy Delay at the New England Conservatory of Music in Boston. She was a member of New England Conservatory's Scholarship String Quartet and attended the Tanglewood and Aspen music festivals. She was a member of the Indianapolis Symphony Orchestra from 1982-85 before joining The Cleveland Orchestra.
Daniel McKelway (clarinet) joined The Cleveland Orchestra in 1995 as assistant principal clarinet. Prior to this appointment, he was a member of the Grand Rapids Symphony and the Orpheus Chamber Orchestra. Frequently performing chamber music and in recital, he has participated in a number of summer music festivals, includ?ing the Dubrovnik, Marlboro, Newport, Tanglewood, and Vancouver festivals, and he has performed in six "Musician from Marlboro" tours. Mr. McKelway studied at the North Carolina School of the Arts before attending Boston's New England Conservatory of Music where he earned a bachelor of music degree as well as an artist diploma. A winner of the 1984 Young
Concert Artists International Auditions, he also won the Walter W. Naumburg Clarinet Competition in 1985 and an Avery Fisher Career Grant in 1989.
Ronald Phillips (bassoon) was appointed first assistant principal bassoon of The Cleveland Orchestra by George Szell in 1960. In addi?tion to his responsibilities as a member of the Orchestra, he is currently a member of the Cleveland Octet, a chamber ensemble consisting of Cleveland Orchestra members. Mr. Phillips first studied the bassoon under the tutelage of George Goslee, before attending the Eastman School of Music in Rochester. His other teachers include Vincent Pezzi and Sol Schoenbach. Other orchestras of which he has been a member include the Rochester Philharmonic Orchestra, United States Navy Band, and the New Orleans Symphony.
Michael Sachs (trumpet) joined The Cleveland Orchestra in 1988 as principal trumpet. Prior to joining The Cleveland Orchestra, he was a member of the Houston Symphony Orchestra, performed with Houston Grand Opera, and was a faculty member of the Shepherd School of Music at Rice University. He was also a member of the Colorado Philharmonic. He currendy serves as co-chair of the brass department and head of the trumpet department at die Cleveland Institute of Music. He is also a member of Myriad, a Cleveland-based cham?ber ensemble. In September 1996, Mr. Sachs and The Cleveland Orchestra performed the world premiere of a specially-commis?sioned trumpet concerto composed by John Williams.
Steven Witser (trombone) joined The Cleveland Orchestra in 1989 as assistant principal trombone. He received a bachelor of music degree and a performer's certifi?cate from die Eastman School of Music; his
teachers included John Marcellus, Ned Meredith, and Mitch Ross. He also studied with Dan Livesay at California State University. Before coming to Cleveland, Mr. Witser served as principal trombone of the Honolulu Symphony, Phoenix Symphony, and the Santa Fe Opera Orchestra. In addi?tion to performing as a member of The Cleveland Orchestra, he has been the Orchestra's assistant personnel manager since 1994. Mr. Witser regularly performs with the Music of the Baroque Ensemble in Chicago, the trumpet quartet High Anxiety Bones, and the Cleveland-based chamber music ensemble Myriad.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of live performing arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collaborations and partnerships to reach into the many diverse communities it serves.
Several programs have been established to meet die goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) performances. This year, more than 8,000 students will attend the Youdi Performance Series, which includes The Harlem Nutcracker, Sounds of Blackness, New York City Opera National Company's La Boheme, the National Traditional Orchestra of China and U-M's School of Music Opera Theatre production of L'elisir d'Amore.
Other activities that further the understand?ing of the artistic process and appreciation for die performing arts include:
MASTERS OF ARTS A new series in collabora?tion with the Institute for the Humanities of one-on-one discussions with artists about their art forms (this season features William Bolcom, Meredith Monk, Twyla Tharp, Neeme Jarvi, Wynton Marsalis and Cecilia Bartoli). Free tick?ets are required for these events (limit 2 per person) and are available by calling the UMS Box Office at 313.764.2538. PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS (PREPS) Free lectures, demonstrations and workshops usually held 60-90 minutes before concerts. MEET THE ARTISTS Informal post-perfor?mance dialogues with selected artists.
In addition to these events, which are listed on pages 22-27 of this program book, UMS will be presenting a host of other activities, including master classes, workshops, films, exhibits, panel discussions, in-depth public school partner?ships and other residency activities related to presentations of the Cleveland Orchestra, Tharp! (The Twyla Tharp Dance Company), The Harlem Nutcracker, "Blues, Roots, Honks and Moans," and the series of Schubert concerts next winter.
Like to help out
7T "Tblunteers are always welcome and needed to assist the UMS staff with
V many projects and events during the oncert season. Projects include helping with ailings; ushering for the Performance Related Educational Presentations (PREPs); staffing the Information Table in the lobbies of concert lulls; distributing publicity materials; assisting frith the Youth Program by compiling educa?tional materials for teachers, greeting and Iscorting students to seats at performances; ind serving as good-will representatives for 1'MS as a whole.
If you would like to become part of the tniversity Musical Society volunteer corps, llease call 313.936.6837 or pick up a volunteer application form from the Information Table in the lobby.
Internships with the University Musical iety provide experience in performing arts anagement, marketing, journalism, publicity, iromotion, production and arts education.
mesterand year-long internships are avail-Ible in many aspects of the University Musical Society's operations. For more information, llease call 313.647.4020 (Marketing liternships) or 313.647.1173 (Production Internships).
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 313.764.2538 or 313.647.4020.
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
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds going to benefit UMS programs.
Following two years of resounding success, wonderful friends and supporters of the University Musical Society are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go direcdy to UMS.
Treat yourself, give a gift of tickets, purchase an entire event or come alone meet new people and join in the fun while supporting UMS! Among your choices are The Back to Nature Party (September 14); An Evening in Brittany (October 19); A Harvest Feast (November 22); English Afternoon Tea (December 1); A Celeb?ration of Schubert (January 18); A Luncheon Inspired by the Czars (January 26); A Valentine's Brunch (February 9); La BohemeDinner Party (March 1); Easter Luncheon with Cecilia Bartoli (March 30); Dinner with a Victorian Influence (April 12); Grandmothers, Mothers & Little Girls Tea and Fashion Show (April 19); An Afternoon Tea (May 15); A Taste of Spring Garden Dinner (May 31); and Nat & Ed's Porch Party (June 7).
For the most delicious experience of your life, call 313.936.6837!
This season, the University Musical Society Board of Directors and Advisor Committee are pleased to host pre-per formance dinners before a number of the year's great events. Arrive early, park with ease and begin your evening with other Musical Society friends over a relaxed buffet-style dinner in the University of Michigan Alumni Center. The buffet will be open from 6:00 to 7:30 p.m and is $25 per person. For reservations and information on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Saturday, October 12 The Cleveland Orchestra
Tuesday, October 29
State Symphony Orchestra of Russia
Friday, November 8 Les Arts Florissants
Friday, December 13
"So Many Stars," Kathleen Battle and Friends
Wednesday, January 8
Schubertiade I (Andre Watts and the Chamtx
Music Society of Lincoln Center)
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
National Company
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and series subscribers receive discounts at a vari?ety of local businesses by using the UMS Card. Participating businesses support the UMS through advertising or sponsorship, and by patronizing the following establishments, you can support the businesses that support UMS. (Listing accurate through September 8.)
Ann Arbor Acura Cafe Marie Chelsea Flowers Dobbs Opticians Gandy Dancer
Perfectly Seasoned Shaman Drum Bookstore SKR Classical Sweetwaters Cafe Whole Foods Market
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
Sponsorships and Advertising
Corporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-Imance mentions, tickets, backstage passes and (the opportunity to host receptions. Whether [increased awareness of your company, client ?cultivation, customer appreciation or promo-Ition of a product or service are your current igoals, sponsorship of UMS provides visibility to [our loyal patrons and beyond. Call 313.647.1176 jfor more information about the UMS Corporate (Sponsor Program.
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope 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 infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro?vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a facility that meets your group's culinary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
Advisory Committee
of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and the behind-the-scenes tasks asso?ciated with every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
Ford Honors Program
@@@@The Ford Honors Program is a relatively new University Musical Society pro?gram, made possible by a generous grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform individuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the Second UMS Distinguished Artist Award will be announced in January.
Thank You!
Great performances---the best in music, theater and dance--are presented by die 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 donors as of August 15, 1996. If then has been an error or omission, we apologize and would appreciate a call at (313) 647-1175 to correct this at your earliest convenience.
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 enabling us to continue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Mr. and Mrs. Pal E. Borondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Graham H. Conger (deceased)
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Judith Heekin (deceased)
Marilyn Jeffs
William R. Kinney (deceased)
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Marie Schlesinger (deceased)
Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Ii win Elizabeth E. Kennedy Randall and Mary Pittman John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie I.acy Ron and Eileen Weiser
Conlin Travel
Detroit Edison
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporauon
JPEincThe Paideia Foundation
Mainstreet Ventures, Inc.
Masco Corporation
McKinley Associates, Inc.
NBD Ann Arbor
Regency Travel
TriMas Corporation
Wolverine Temporaries, Inc.
Arts Midwest
The Grayling Fund
Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts
Robert and Ann Meredith
Mrs. John F.Ullrich
Paul and Elizabeth Yhouse
Harman Motive Audio Systems NSK Corporation
Herb and Carol Amster Carl and Isabellc Brauer Dr. James Byrne Mr. Ralph Conger Margaret and Douglas Crary Ronnie and Sheila Cresswell
Mr. and Mrs. Howard S. Holmes Sun-Chien and Betty Hsiao F. Bruce Kulp Mr. David G. Loesel Charlotte McGcoch Mr. and Mrs. George R. Mrkonic Joe and Karen Koykka O'Neal Mrs. M. Titiev
Marina and Robert Whitman and several anonymous donors
The Anderson Associates Cafe Marie
Chelsea Milling Company Curtin and Alf Violinmakers Environmental Research Institute
of Michigan First of America Great Lakes Bancorp Thomas B. McMullen Company O'Neal Construction Pepper, Hamilton & Scheetz
Maurice and Linda Binkow
Dr. Kathleen G.,
Katharine and Jon Cosovich
Mr. and Mrs. Thomas C. Evans
John and Esdier Floyd
Thomas and Shirley Kauper
Rebecca McGowan and Michael Staeblcr
Dr. and Mrs. Joe D. Morris
John W. and Dorothy F. Reed
Maya Savarino and Raymond Tanter
Mrs. Francis V. Viola III
John Wagner
Miller, Canfield, Paddock
and Stone, PLC Mission Health
!' r 1 L. Maas Foundation
Professor and Mrs.
Gardner Ackley Dr. and Mrs. Robert G. Aldrich Robert and Martha Ansc ames R. Baker, Jr., M.D.
and Lisa Baker . J. and Anne Bartoletto Bradford and Lydia Bates Dr. and Mrs.
Raymond Bernreuter [oan A. Binkow i loward and Margaret Bond Tom and Carmel Borders Barbara Everitt and
John H. Bryant Mr. and Mrs.
Richard J. Burstein LetitiaJ. Byrd David and Pat Clyde Leon and Heidi Cohan Roland J. Cole and
Elsa Kircher Cole Dennis Dahlmann Robert and
Janice DiRomualdo Jack and Alice Dobson Jan and Gil Dorer Chen and Dr. Stewart Epstein David and Jo-Anna Featherman Margaret Fisher Richard and Marie Flanagan Robbcn and Sally Fleming Michael and Sara Frank Mr. Edward P. Frohlich Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Paul and Anne Glendon Norm Gottlieb and
Vivian Sosna Gottlieb Dr. and Mrs. William A. Grade Ruth B. and
Edward M. Gramlich Linda and Richard Greene Seymour D. Greenstone Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Julian and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Keki and Alice Irani Mercy and Stephen Kasle Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kinnear Bethany and
A. William Klinke II Michael and Phyllis Korybalski
Barbara and Michael Kusisto Mr. Henry M. Lee Carolyn and Paul Lichter Evie and Allen Lichter Patrick B. and Kathy Long Dean S. Louis Brigitte and Paul Maassen Ms. Francine Manilow Marilyn Mason and
William Steinhoff Judythe and Roger Maugh Joseph McCune and Georgiana Sanders Paul and Ruth McCracken Reiko McKendry Dr. H. Dean and
Dolores Millard Dr. and Mrs. Andrew
and Candice Mitchell Virginia Patton and
Cruse W. Moss William A. Newman Len and Nancy NiehofT Bill and Marguerite Oliver Mark and Susan Orringer Mr. and Mrs. David W. Osier Mr. and Mrs.
William B. Palmer Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Professor and Mrs.
Raymond Reilly Glcnda Renwick Prudence and
Amnon Rosenthal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumelhart Richard and Norma Sarns Rosalie and David Schottenfeld Janet and Mike Shatusky Cynthia J. Sorenscn Gerard H. and
Colleen Spencer Dr. I lildreth H. Spencer Mr. and Mrs.
John C. Slegcman Victor and Marlene Stocfiler Dr. and Mrs.
Jeoflrey K. Stross Dr. and Mrs.
E. Thurston Thieme Jcrrold G. Uuler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
Laura A. Van House Ellen C. Wagner Martha Wallace and
Dennis White Elise and Jerry Weisbach Roy and JoAn Wetzel Len and Maggie Wolin Nancy and
Martin Zimmerman and several anonymous
3M Health Care Chi Systems, Inc. Comerica Bank Ford Audio Jacobson Stores Inc. Kitch, Drutchas, Wagner,
& Kenney, P.C. Pastabilities
Shar Products Company Wise and Marsac, P.C.
Chrysler Corporation Fund The Mosaic Foundation
(of Rita and Peter Heydon) Washtenaw Council
for the Arts
Jim and Barbara Adams Bernard and Raquel Agranoff Carlene and Peter Aliferis Catherine S. Arcure Robert L. Baird Emily Bandera Dr. and Mrs. Robert Bardett Mrs. Mardia K. Beard Ralph P. Beebe Mrs. Kathleen G. Benua Mr. and Mrs. Philip C. Berry Robert Hunt Berry Suzanne A. and
Frederick J. Beutler John Blankley and
Maureen Foley Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Britton David and Sharon Brooks Phoebe R. Burt Betty Byrne Jean W. Campbell Bruce and Jean Carlson Edwin F. Carlson and
Barbara Cooper Jean and Kenneth Casey Mrs. Raymond S. Chase Susan and Arnold Coran H. Richard Crane Alice B. Crawford Peter and Susan Darrow Judith and Kenneth DcWoskin Elizabeth A. Doman Dr. and Mrs. S.M. Farhal i ) .u.InM Farrand and
Daniel Moerman Ken, Penny and Malt Fischer Phyllis W. Foster Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach
Beverley and Gerson Geltner Elmer G. Gilbert and
Ixis M. Verbrugge Margaret G. Gilbert Grace M. Girvan John R. and Helen K. Griffith Mr. and Mrs. Elmer F. Hamel Jay and Maureen Hartford Harlan and Anne Hatcher Mrs. W.A. Hiltner Matdiew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Mary Jean and Graham Hovey Che C. and Teresa Huang Gretchen and John Jackson Robert L. and
Beatrice H. Kahn Herb Katz
Richard and Sylvia Kaufman Richard and Pal King Hermine Roby Klingler Jim and Carolyn Knake John and Jan Kosta Mr. and Mrs. Samuel Krimm Suzanne and Lee E. Landes Elaine and David Lebenbom Leo A. Legatski Mr. and Mrs. Carl J. Lutkehaus Robert and Pearson Macek John and Cheryl MacKrell Mark Mahlberg Alan and Carla Mandel Ken Marblestone and
Janisse Nagel
Mr. and Mrs. Damon L. Mark David G. McConnell John F. McCuen Kevin McDonagh and
Leslie Crofford Richard and
Elizabeth McLeary Thomas B. and
Deborah McMullen Hattie and Ted McOmber Mr. and Mrs.
Warren A. Merchant Myrna and Newell Miller Grant Moore and
Douglas Weaver John and Michelle Morris M. Haskell and
Jan Barney Newman Marysia Ostafin and
George Smillie Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and Lorna Prescolt Tom and Mary Princing Jerry and Millard Pryor Mrs. Gardner C. Quarion Jim and Bonnie Reece Mr. Donald H. Regan and Ms. Elizabeth Axelson Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Restuccia Jack and Margaret Ricketts James and June Root Mrs. Doris E. Rowan
Benefactors, continued
Peter Savarino Peter Schaberg and
Norma Amrhein Mrs. Richard C. Schneider Professor Thomas J. and
Ann Sneed Schriber Julianne and Michael Shea Mr. and Mrs.
Fredrick A. Shimp, Jr. Helen and George Siedel Steve and Cynny Spencer Lloyd and Ted St. Antoine Mrs. John D. Stoner Nicholas Sudia and
Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Herbert and Anne Upton Don and Carol Van Curler Bruce and Raven Wallace Angela and Lyndon Welch Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Ruth and Gilbert Whitaker Frank E. Wolk Walter P. and
Elizabeth B. Work, Jr.
Ann Arbor Stage Employees,
Local 395 Emergency Physicians
Medical Group, PC Guardian Industries
Corporation Masco GmbH Scientific Brake and
Equipment Company
The Power Foundation Shiffman Foundation Trust
Dr. and Mrs. Gerald Abrams Mr. Greg T. Alf
Dr. and Mrs. David G. Anderson John and Susan Anderson David and Katie Andrea Harlene and Henry Appelman Sharon and Charles Babcock Essel and Menakka Bailey Lcsli and Christopher Ballard Paulett and Peter Banks M. A Baranowski Cy and Anne Barnes Gail Davis Barnes Norman E. Barnctt Dr. and Mrs. Mason Barr.Jr. Astrid B. Beck and
David Noel Freedman
Neal Bedford and
Gcrlinda Melchiori Harry and Betty Benford Ruth Ann and Stuart J. Bergstcin Ron and Mimi Bogdasarian Jim Botsford and
Janice Stevens Botsford David and Tina Bowen Betsy and Ernest Brater Mr. and Mrs. Gerald Bright Morton B. and Raya Brown Jeannine and Robert Buchanan Jim and Priscilla Carlson Professor Brice Carnahan Jeannette and Robert Carr Mr. and Mrs. Dennis Carroll Janet and Bill Cassebaum Andrew and Shelly Caughey Yaser Cereb
Tsun and Siu Ying Chang Ed and Cindy Clark Janice A. Clark Alice S. Cohen
Edward J. and Anne M. Comeau Jim and Connie Cook Alan and Bette Cotzin Marjorie A. Cramer Merle and Mary Ann Crawford William H. Damon III Laning R. Davidson, M.D. Jean and John Debbink Benning and Elizabeth Dexter Martin and Rosalie Edwards Dr. Alan S. Eiser Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Filgas Sidney and Jean Fine Herschel and Annette Fink Linda W. Fitzgerald Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnette Forde Ilene H. Forsyth Deborah and Ronald Freedman Harriet and Daniel Fusfeld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Henry and Beverly Gcrshowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon Elizabeth Needham Graham Jerry and Mary K. Gray Dr. John and Renee M. Greden Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Margaret and Kenneth Guire Philip E. Guire Don P. Haefner and
Cynthia J. Stewart Veronica Haines Margo Halsted Dagny and Donald Harris Susan R. Harris
Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershenson Herb and Dee Hildebrandt Joanne and Charles Hocking ClaudettcJ. Stern and
Michael Hogan John H. and
M.mi 11.i Peterson Holland
Drs. Linda Samuelson and
Joel Howell Mrs. V. C. Hubbs Ronald K and
Gaye H. Humphrey Mrs. Hazel Hunschc George and Katharine Hunt Wallie and Janet Jeffries Ellen C.Johnson Susan and Stevo Julius Mary 11. and Douglas Kahn Anna M. Kauper Beverly Kleiber Bert and Catherine La Du Henry and Alice Landau Mr. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann Leidy Jacqueline H. Lewis Jody and Leo Ughthammcr Leslie and Susan Loomans Edward and Barbara Lynn Donald and Doni Lystra Frederick C. and
Pamela J. Mac Kin tosh Steve and Ginger Maggio Virginia Mahle Thomas and
Barbara Mancewiec Edwin and Catherine Marcus Rhoda and William Martel Mrs. Lester McCoy Griff and Pat McDonald ] it .11 hi.i Relyea and
Piotr Michalowski James N. Morgan Sally and Charles Moss Dr. Eva L. Mueller Barry Nemon and
Barbara Stark-Nemon MartinNculiep and
Patricia Pancioli Sharon and Chuck Newman Peter F. Norlin Richard S. Nottingham Marylen and Harold Oberman Richard and Joyce Odell Mark Ouimet and
Donna Hrozencik William C. Parkinson Randolph Paschke Virginia Zapf Person Lorraine B. Phillips Frank and Sharon Pignanelli Dr. and Mrs. Michael Pilepich Richard and Meryl Place Roger W. and Cynthia L. Postmus Charleen Price Hugo and Sharon Quiroz Mrs. Joseph S. Radom Jim and leva Rasmussen Anthony L. Reffells and
Elaine A. Bennett Elizabeth G. Richart Barbara A. Anderson and
John H. Romani Dr. Nathaniel H. Rowe Jerome M. and Lee Ann Salle Sarah Savarino
Dr. Albert J. and Jane K. Sayed David and Marcia Schmidt
Dr. and Mrs.
Charles R. Schmiuer.Jr. Edward and Jane Schulak John Schultz Art and Mary Sc human Joseph and Patricia Settimi Roger Sheffrey Constance Sherman HolHs and Martha A. Showallcr Edward and Marilyn Sichler Diane Siciliano Scott and Joan Singer John and Anne Griffin Sloan Alene M. Smith Carl and Jari Smith Jorge and Nancy Solis Mr. and Mrs. Edward Sopcak Mr. and Mrs. NeilJ. Sosin Gus and Andrea Stager Irving M. Stahl and
Pamela M. Rider Catherine M. Steffek Dr. and Mrs. Alan Steiss Charlotte Sundclson Ronald and Ruth Sutton Brian and Lee Talbot Kathleen Treciak Joyce A. Urba and
David J. Kinsella Hugo and Karla Vandersypen Mr. and Mrs. John van der Velde Warren Herb Wagner and
Florence S. Wagner Gregory and Annette Walker Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardncr Karl and Karen Weick Dr. Steven W. Werns Marcy and Scott Westcrman B.Joseph and Mary White Mrs. Clara G. Whiting Brymer and Ruth Williams Marion T. Wirick Farris and Ann Womack Richard and Dixie Woods Don and Charlotte Wyche MaryGrace and Tom York R. Roger and Bette F. Zauel Mr. and Mrs. David Zuk and other anonymous donors
Red Hawk Bar and Grill
Michael and Hiroko Akiyama Anastasios Alexiou Augustine and Kathleen Amaru Hugh and Margaret Anderson James Antosiak and Eda Wcddington Jill and Thomas Archambeau, M.D Bert and Pat Armstrong Gaard and Ellen Arncson Mr. and Mrs. Arthur J. Ashc Eric M. and Nancy Auppcrlc
Erik and Linda Lee Austin
Michael Avsharian
Eugene and Charlenc Axelrod
Shirley and Don Axon
Virginia and Jerald Bachman
Richard and Julia Bailey
Barbara and Daniel Balbach
Roxanne Balousek
John R. Bareham
Mr. and Mrs. Robert M. Barnes
Karen and Karl II,him lit
Mr. John Batdorf
Mr. and Mrs. Steven R. Beckert
Walter and Antje Benenson
Dr. and Mrs. Ronald M. Benson
Marie and Gerald Berlin
L. S. Berlin
Gene and Kay Berrodin
William and Uene Birge
Mr. and Mrs. Ray Blaszkiewicz
Dr. George and Joyce Blum
BcverlyJ. Bole
Robert S. Bolton
Mr. and Mrs. Mark D. Bomia
Harold W. and
Rebecca S. Bonnell Roger and Polly Bookwalter Edward G. and Luciana Borbely Sally and Bill Bowers Paul and Anna Bradley William F. and
Joyce E. Braeuninger Mr. William K Brashear Representative Liz and
Professor Enoch Brater Mr. and Mrs. James Breckenfeld
Ms. Mary Jo Brough June and Donald R. Brown Linda Brown and Joel Goldberg Arthur and Alice Burks Ellen M. Byerlein and
Robert A. Sloan Sherry A. Byrnes Dr. Palricia M. Cackowski Louis and Janet Callaway Edward and Mary Cady Charles and Martha Cannell George R Carignan Dr. and Mrs. James E. Carpenter Jan Carpman
Mar11.ill F. and Janice L. Carr Mr. and Mrs. Jeffrey A. Carter Kathran M. Chan Pat and George Chatas James S. Chen Joan and Mark Chesler George and Sue Chism John and Susan Christensen Edward and Rebecca Chudacoff Robert J. Cierzniewski Pal Clapper
Brian and Cheryl Clarkson John and Kay Clifford Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Mr. Larry Cohen Gerald S. Cole and
Vivian Smargon Howard and Vivian Cole Ed and Cathy Colone Lolagene C. Coombs Gage R Cooper
Advocates, continued
Mary K. Cordes Bill and Maddic Cox Kathleen J. Crispell and
Thomas S. Porter Mr. Lawrence Crochier April Cronin
Pedro and Carol Cuatrecasas Jeffrey S. Cutter Mr. and Mrs. John R. Dale Marylee Dalton DarLinda and Robert Dascola Dr. and Mrs. Charles Davenport Ed and Ellie Davidson Mr. and Mrs. Bruce P. Davis James H. Davis and
Elizabeth Waggoner Dr. and Mrs. Raymond F. Decker Laurence and Penny Deitch Peter H. deLoof and
Sara A. Bassett Martha and Ron DiCecco Nancy DiMercurio Molly and Bill Dobson Fr. Timothy J. Dombrowski Dick and Jane Dorr Professor and Mrs.
William G. Dow Mr. Thomas Downs Roland and Diane Drayson Harry M. and Norrene M. Dreffs Cecilia and Allan Dreyfuss Rhetaugh G. Dumas Dr. and Mrs. Cameron B. Duncan
Robert and Connie Dunlap
Richard and Myrna Edgar
Mr. and Mrs. John R. Edman
Judge and Mrs. SJ. Elden
Ethel and Sheldon Ellis
Patricia Randle and James Eng
Emil and Joan Engel
David and Lynn Engelbert
Mr. and Mrs. Frederick A. Erb
Mark and Karen Falahee
Etly and Harvey Falit
Dr. and Mrs. Cyrus Farrehi
Cynthia Feller
Phil and Phyllis Fellin
Mrs. Beth B. Fischer
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
James and Barbara Fitzgerald
Jonathan Fliegel
Ernest and Margot Fontheim
Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Richard and Joann Freethy Joanna and Richard Friedman Gail Fromes LelaJ. Fuester Jane Galantowicz Thomas H. Galantowicz Arthur Gallagher Stanley and Priscilla Garn Del and Louise Garrison Drs. Steve Geiringer and
Karen Bantel
Wood and Rosemary Geist Thomas and Barbara Gelehrter Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Paul and Suzanne Gikas James and Janet Gilsdorf Fred and Joyce M. Ginsberg Maureen and David Ginsburg Albert and Almeda Girod Robert and Barbara Gockel Dr. and Mrs. Edward Goldberg Mary L. Golden Elizabeth Goodcmmgh and
James G. Leaf Graham Gooding Don Gordus Selma and Albert Gorlin Siri Gottlieb Mrs. William Grabb Christopher and Elaine Graham Alan Green
Bill and Louise Gregory Daphne and Raymond Grew Whit and Svea Gray Werner H. Grilk Kay Gugala Margaret Gutowski and
Michael Marietta Helen C. Hall Mrs. William Halstead Herb and Claudia Harjes Nile and Judith Harper Clifford and Alice Hart Elizabeth C. Hassinen Mr. and Mrs. G. Hawkins Laureen Haynes Kenneth and Jeanne Heininger Mrs. Miriam Heins Sivana Heller Rose and John Henderson Norma and Richard Henderson Rose S. Henderson John L. and Jacqueline Henkel Bruce and Joyce Herbert Mr. Roger Hewitt Jacques Hochglaube, M.D., P.C. Bob and Fran Hoffman Richard Holmes Ronald and Ann Holz Jack and Davetta Horner Fred and Betty House Jim and Wendy Fisher House Charles T. Hudson Jude and Ray Huetteman Ann D. Hungerman Diane Hunter and Bill Ziegler Eileen and Saul Hymans Amy Iannacone
Robert B. and Virginia A. Ingling Ann K. Irish John and Joan Jackson Harold and Jean Jacobson K, John Jarrett and
Patrick T. Sliwinski Professor and Mrs.
Jerome Jelinck Keith and Kay Jensen JoAnnJ. Jeromin Paul and Olga Johnson Stephen G. Joscphson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmes and
Larry Friedman Paul Kantor and Virginia Wcckstrom Kantor Mr. and Mrs. Irving Kao
Noboru Kashino
Elizabeth Harwood Katz
Martin and Helen Katz
Mr. and Mrs. N. Kazan
Konstantyn Kim
William and Betsy Kincaid
Brett and Lynnette King
John and Carolyn Kirkendali
Rhea and Leslie Kish
Shira and Steve Klein
Gerald and Eileen Klos
Barbel Knauper
Joseph J. and Marilynn Kokoszka
Melvyn and Linda Korobkin
Dimitri and Suzanne Kosacheff
Edward and Marguerite Kowaleski
Jean and Dick Kraft
Marjorie A. Kramer
Doris and Donald Kraushaar
Alexander Krezel
Alan and Jean Krisch
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs.J. Daniel Kutt
Mr. and Mrs. Seymour Lampert
Connie and Dick Landgraff
Patricia M. Lang
Carl and Ann LaRue
Laurie and Robert LaZebnik
Robert and Leslie Lazzerin
Fred and Ethel Lee
Sue Leong
Margaret E. Leslie
Richard LeSueur
Tom and Kathy Lewand
Thomas and Judy Lewis
Mark Lindley
Vi-Cheng and Hsi-Yen Liu
Dr. and Mrs. Peter Y. Lo
Kay H. Logan
Naomi E. Lohr
Dan and Kay Long
Donna and Paul Lowry
Janny Lu
LaMuriel Lyman
Susan E. Macias
JefTrey and Jane Mackie-Mason
Marcy and Kcrri MacMahan
Salty Maggio
Suzanne and Jay Mahler
Dr. Karl D. Malcolm
Claire and Richard Malvin
Mr. and Mrs. Kazuhiko Manabe
Melvin and Jean Manis
John D. Marx, D.D.S.
Dr. and Mrs.Josip Matovinovic
1 .Mi H it mi Matsumoto
Mary and Chandler Matthews
Margaret E. McCarthy
Ernest and Adele McCarus
Dores M. McCree
Mary and Bruce McCuaig
Bill and Ginny McKeachie
Dr. and Mrs. Theodore Meadows
Robert and Doris Melling
Mr. and Mrs. John Merrifield
Robert and Beltie Metcalf
Elizabeth B. Michael
Leo and Sally Micdler
Andy and Nancy Miller
Thomas and Doris Miree
Olga Moir
Mr. and Mrs. William G. Mollerjr.
Rosalie E. Moore
Marvin and Karen Moran
Robert and Sophie Mordis
Jane and Kenneth Moriarty
Paul and Terry Morris
M. hihl.i and Bob Morris Dick and Judy Morrissett Brian and Jacqueline Morton Hideko and Tatsuyoshi Nakamura Dr. and Mrs. J.V. Neel Frederick G. Neidhardt and
.??! ii 1.1:1 it Chipault Shinobu Niga Patricia O'Connor Michael J. O'Donnell and
Jan L. GarfinkJe Kathleen I. Operhall Dr. Jon Oscherwitz Julie and Dave Owens Dr. and Mrs. Sujit K. Pandit Donna D. Park Evans and Charlene Parroit Eszther T. Pattantyus Shirley and Ara Paul Robert and Arlene Paup Ruth and Joe Payne Dr. Owen Z. and
Barbara Perlman Joyce H. Phillips Robert and Mary Ann Pierce Dr. and Mrs. James Pikulski Sheila A. Pitcoff Donald and Evonne Plantinga Mr. and Mrs. John R. Politzer Philip and Kathleen Power Bill and Diana Pratt David and Stephanie Pyne I and
Elizabeth Quackenbush William and Diane Rado Michael and Helen Radock Mr. and Mrs.
Douglas J. Rasmussen Katherine R. Reebel Mr. and Mrs. Stanislav Rehak Charles and Betty Reinhart Molly Rcsnik andJohn Martin Constance Rinehart Lisa Rives and Jason Collens Joe and Carolyn Roberson Elizabeth A. Rose Marilynn M. Rosenthal Gustave and Jacqueline Rosseels Dr. and Mrs.
Raymond W. Ruddon Tom and Dolores Ryan Ellen and James Saalberg Theodore and Joan Sachs Ina and Terry Sandalow John and Reda Santinga Michael Sarosi and Kimm Skalitzky Sarosi Elizabeth M. Savage Charlene and Carl Schmult Albert and Susan Schultz R. Ryan Lavelle, Ph.D
Marshall S. Schuster, D.O. Ed and Sheila Schwartz Ms. Janet Sell Sherry and Louis Senunas Erik and Carol Serr David and Elvera Shappirio Dr. and Mrs. Ivan Sherick Mr. and Mrs. George Shirley Drs. Jean and Thomas Shope Mary Ann Shumaker Barry and Karen Siegel Dr. and Mrs. Milton Siegel Eldy and Enrique Signori Ken Silk and Peggy Buttenheim Frances and Scott Simonds Robert and Elaine Sims Donald and Susan Sinta Martha Skindell
Beverly N. Slater
Mr. and Mrs. Robert W. Smith
Virginia B. Smith
Richard Soble and
Barbara Kessler Juanita and Joseph Spailina Mr. and Mrs. Robert E. Spence Anne L. Spendlove Grctta Spier and Jonathan Rubin L. Grasselli Sprankle Edmund Sprunger Dr. and Mrs. William C. Stebbins Bert and Vickie Steck Thorn and Ann Sterling Harold Stevenson Robert and Shelly Stoler Wolfgang F. Stolper Mrs. William H. Stubbins Drs. Eugene Su and Christin Carter-Su Keiko Tanaka Lois A. Theis EdwinJ. Thomas Bette M. Thompson Ted and Marge Thrasher Albert Tochet
Mr. and Mrs. Terril O. Tompkins Dr. and Mrs. John Triebwasser Mr. Gordon E. Ulrey Joaquin and Mei Mei Uy Madeleine B. Vallier Carl and Sue Van Appledorn Michael L. Van Tassel Phyllis Vegter
Mr. and Mrs. Theodore R. Vogt John and Maureen Voorhees Delia DiPieiro and Jack Wagoner Wendy L. Wahl, M.D. and
W'illiam Lee, M.D. Mr. and Mrs. Norman C. Wait Richard and Mary Walker Lorraine Nadelman and
Sidney Warschausky Robin and Harvey Wax Christine L. Webb Mrs.Joan D.Weber Willes and Kathleen Weber Deborah Webster and
George Miller Leone Buyse and
Michael Webster Jack and Jerry Weidenbach Mrs. StanfieldM. Wells, Jr. Ken and Cherry Westerman Susan and Peter Weslerman Paul E. Duffy and
Marilyn L. Wheaton Harry C. White Janet F. White William and Cristina Wilcox Shelly F. Williams Mrs. Elizabeth Wilson Beth and I.W. Winsten Charlotte Wolfe Muriel and Dick Wong J. D. Woods
Mr. and Mrs. A. C. Wooll Mr. and Mrs. R.A. Yagle Ryuzo Yamamoto Frank O. Youkstetter Mr. and Mrs. Edwin H. Young Olga Zapotny Roy and Helen Ziegler Mr. and Mrs. F. L. Zeisler David S. and Susan H. Zurvalec and other anonymous donors
Advocates, continued
American Products
Brass Craft
Coffee Express Co.
Garris, Garris, Garris & Garris
Law Office
Marvel Office Furniture New View Corporation Sahadi Interiors, Inc. St. Joseph Mercy Hospital Medical Staff Stritch School of Medicine Class
of 1996 University Microfilms
Mr. Usama Abdali and
Ms. Kisook Park Judith Abrams Fran Cowen Adler Mary and Bill Ager Robert Ainsworth Harold and Phyllis Allen Dr. and Mrs. Richard J. Allen Forrest Alter Nick and Marcia Alter Mr. and Mrs. Richard Ambcrg Margot and Fred Amrine Catherine M. Andrea Julia Andrews Mr. William F. Anhut Hiroshi and Matsumi Arai Mary C. Arbour Eduardo and Nancy Arciniegas ThomasJ. and Mary E. Armstrong Rudolf and MaryArnheim Mr. and Mrs. Jim Asztalos Jack and Rosemary Austgcn Vladimir and Irina Babin Drs. John and Lillian Back Rohit Badola
Mr. and Mrs. Joseph C. Bagnasco Marian Bailey Bill andjoann Baker Laurence R. Baker and
Barbara K. Baker Mr. and Mrs. Richard P. Baks Drs. Helena and Richard Baton Ann Bardcn
Mr. and Mrs. David Barera David amd Laurel Barnes Joan W. Barth Karla K. Bardiolomy Rajeev Batra Dorothy Bauer
Thomas and Shcrri L. Baughman Harold F. Baut Evelyn R. Bcals Dr. Rosemary R. Bcrardi James K and Lynda W. Berg Barbara Levin Bergman Ralph and Mary Bcuhler Bharat K Bhatt Rosalyn Bicderman Eric and Doris Billcs Drs. Ronald C. and
Nancy V. Bishop Donald and Roberta Blitz Dr. and Mrs. Duane Block Jane M. Bloom Henry Blosscr
Mr. and Mrs. Francis X. Blouin Karin L. Bodycombc
Kenneth E. Bol
LolaJ. Borchardt
Paul D. ill ii in.m
Rcva and Morris Bornstein
John D. and M. Lcora Bowdcn
Dennis and Grace Bowman
Mclvin W. and Ethel F. Brandt
Patricia A. Bridges
Cy and Luan Briefer
John and Amanda Brodkin
AmyJ. and Clifford L. Broman
Dr. and Mrs. Ernest G. Brookfield
Razclle and George Brooks
Cindy Browne
Teresa Bruggeman
Trudy and Jonathan Bulklcy
Marilyn Burhop
Dennis Burke
Sibyl Burling
Betty M. Bust
Father Roland Calvcrl
Gail Campanella
Jenny Campbell
Dr. Ruth Cantieny
Susan Y. Cares
Lynne C. Carpenter
Carolyn M. Carty and
Thomas H. Haug Jack Cederquist David J. and Ilene S. Chait Bill and Susan Chandler Catherine Christen Ching-wei Chung Edward and Kathleen M. Clarke Joseph F. Clayton Stan and Margo Clouse Shirley Coe
Hilary and Michael Cohen Kevin and Judy Compton Nan and Bill Conlin Mr. and Mrs. A. P. Cook III Dr. and Mrs. Richard Cooper Paul N. Courant and
Maria Manildi Joan and Roger Craig Mary Crawford Michael Crawford Donald Cress Mary C. Crichton Jeffrey and Christine Crockett Constance Crump Richard J. Cunningham Suzanne Curtis Dr. and Mrs. Harold Daitch Marcia A. Dalbcy Mildred and William B. Darnton Jack and Sally Dauer Jennifer Davidson Judi and Ed Davidson Dean and Cynthia DeGalan Margaret H. Demant Richard and Sue Dempsey Michael T. DePlonty Larry and Kerry Dickinson Richard and Mary Dingcldey Douglas and Ruth Doane Hildc and Ray Donaldson Ruth P. Dorr
Eugene and Elizabeth Douvan Carole F. Dubritsky Dr. and Mrs. Charles H. Duncan Elsie Dyke John Ebenhoeh Ingrid Eidncs
Martin B. and Vibekc G. Einhorn Mr. and Mrs. Charles Eisendrath Charles and Julie Ellis James Ellis and Jean Lawton Mr. and Mrs. H. Michael Endrcs Karen Epstein and
Dr. Alfred Franzblau Jane L. Esper Thomas L. Burcan Deborah Ellington
Thomas and Julia Falk
Paul and Mary Fancher
Janice and Peter Farrehi
Philip C. Fcdcwa
Dorothy Gittleman Fcldman
George J. and Benita Feldman
C. William and H.Jane Ferguson
Dennis J. Fernly
Jon and Kayne Ferricr
Clay Finkbeiner
Linda J. Firnhaber
Mrs. Carl H. Fischer
Dr. Lydia Fischer
Eileen Fisher
Susan K Fisher and
John W. Waidley Linda and Tom Fitzgerald David and Susan Fitzpairick Jessica Fogel and Lawrence Wcincr Scott and Janet Fogler Daniel R. Folcy
George E. and Kathryn M. Foltz Mr. and Mrs. William Forgacs Elizabeth W. Foster Bob and Terry Foster David J. Frahcr Mary Franckiewicz Lora Frankel Mr. and Mrs. Maris Fravel Mr. and Mrs. Otto W. Freitag CynihiaJ. Frey Philip and Rencc Frost Bruce and Rebecca Gaflhey Mr. and Mrs. Robert R. Gamble C. J.Gardiner Sharon Gardner Mrs. Don Gargaro Ina Hancl-Gerdenich Deboraha and Henry Gcrst Beverly Jeanne Giltrow Dr. and Mrs.J. Globerson Edward and Kathe Godsalve Mr. and Mrs. Robert Gold Dr. and Mrs. Howard S. Goldberg Edie Goldenbcrg Anita and Al Goldstein Mr. and Mrs. David N. Goldsweig C. Ellen Gonter Dr. and Mrs. Luis Gonzalez M. Sarah Gonzalez Enid M. Gosling Bill andjean Gosling Pearl Graves Larry and Martha Gray Jeffrey B. Green
Dr. Robert and Eileen Grecnbergcr G. Robinson and Ann Gregory Linda and Roger Grekin Melissa Gross
Cyril Grum and Cathy Strachan Mr. and Mrs. Lionel Guregian Joseph and Gloria Gurt Caroline and Roger Hackctt J.M. Hahn Patrick and Lisa Hall Dr. and Mrs. Carl T. Hanks David and Patricia Hanna Glenn A. and Eunice A. Harder Marguerite B. Harms Tina Harmon Jane A. Harrell Connie Harris Laurclynnc Daniels and
George P. Harris Denis B. Hart, M.D. James R. Hartley John and Anita Hartmus Carol and Steve Harvath Jcanninc and Gary Hayden Mr. and Mrs. Edward J. Hayes Robert and Mara Hayes Charles Heard
Mr. and Mrs. Eugene Heffelfinger Mr. and Mrs. WJ. Hcider
Jeff and Karen Helmick
Paula B. Hencken
Leslie and William Hennessey
Dr. and Mrs. Michael Hcpner
Mr. and Mrs. Ralph Herbert
Mr. and Mrs. Albert Hermalin
Jeanne B. Hernandez
William and Bernadctte Heston
Emily F. Hicks
Mark and Debbie Hildcbrandt
Lorna and Mark Hildcbrandt
Peggy Himler
Aki Hn,11.1
Ym.iLi Hirosc
Louise Hodgson
Deborah and Dale Hodson
Jane and Dick Hoerncr
Melanic and Curtis Hoff
Melvin and Verna Hollcy
Hisato and Makiko Honda
Kenneth and Carol Hovey
Sally Howe
Barbara Hud gins
Hubert and Helen Huebl
Ken and Esther Hulsing
Stephen aand Diane Imredy
Edward Ingraham
Hiroko and Ralph Insingcr
Perry Elizabeth Irish
Carol and John Isles
Mr. and Mrs. Z.J.Jania
Marilyn G.Jeffs
LoisJ. Jclneck
Frank and Sharon Johnson
Mr. Robert D.Johnson
Wilma M.Johnson
Lyslc and Agneta Johnston
Helen Johnstone
Elizabeth M.Jones
Phillip S.Jones
Cole and Diancjordan
Betty Hicks Jozwick
Salty and Harold Joy
Chris and Sandyjung
Dr. and Mrs. Alan Kaplan
Edward M. Karls
Franklin and Judith Kaslc
Deborah and Ralph Katz
Dennis and Linda Kayes
Julia and C. Philip Kearney
Wendy Scott Keency
Carrie and Erich Kcil
Janice Keller
Mary, Michael, and
Charles Kellcrman Mary L. Kemmc Milton G. Kendrick Bryan Kennedy Joan Kcrr Lawrence Kcstenbaum and
Janice Guifrcund Michael and Barbara Kilbourn Jeanne M. Kin Robert and Vicki Kiningham Klair H. Kissel Joseph W. Klinglcr, Ph.D. Alexander Klos Dr. and Mrs. William L. Knapp Rosalie and Ron Kocnig Seymour Kocnigsbcrg Jeremy M. Kopkas Alan and Sandra Kortcsoja Ann Marie Kotre Mr. and Mrs. Jerome K Koupal Rebecca and Adam Kozma Mr. and Mrs. A. Richard Krachenbcrg Kathy Krambrink Gale and Virginia Kramer Shcryl E. Krasnow Robert Krasny Edward and Lois Kraynak Mr. James Krick John and Justine Krsul
I iv.iciK r B. Kuczmarski
Helen and Arnold Kucthc
Jane Kulpinski
H. David Laidlaw
Bcrnice B. Lamcy
Cele and Martin Landay
Kay Rose Lands
Janet Landsberg
Mr. and Mrs. G. Robert Langford
Jean S. Langford
Walter and Lisa Langlois
Guy and Taffy Larcom
] . .1 n and Gail LaRichc
Christine Larson
S. Laurent
RuthJ. Lawrence
Judith andjerotd Lax
Stcphane Legault
Mr. C. F. Lchmann
Paul and Ruth Lehman
Lucy H. Leist
Mi. and Mrs. Fernando S. Leon
Dr. Morton and Elaine Lesser
Diane Lester and Richard Sullivan
Albert and Arlene Lcvcnson
David E. Levine
Dr. David J. Ucberman
Dr. and Mrs. Byung H. Lim
Dr. and Mrs. Richard H. Lincback
Gail and Ncal Little
Rebecca and Lawrence Lohr
Mr. and Mrs. Richard S. Lord
Pamela and Robert Ludolph
Jcannctte Luton
John J. Lynch, Atty.
Dr. and Mrs. Cecil Mackcy
Janice E. Macky
l-ois and Alan Macnee
Dr. and Mrs. Chun U Mah
Doris Malfcsc
Allen Malinoff
Mr. and Mrs. Anthony E. Mansucto
Mai i Margeson
Alice and Bob Marks
Erica and Harry Marsden
Bumble Marshall
Vincent and Margot Masscy
H.L. Mason
Dcbra K Mattlson
Robert and Betsy Maxwell
Anne McAuHfTe
Rebecca C. McClear
Elaine McCrate
Calhryn S. and
Ronald G. McCready David and Claire McCubbrcy Bernard and MaryAnn McCulloch James M. Beck and
Robert J. McGranaghan Ralph R. McKce Jack A. McKimmy Donald and Elizabeth McNair Joseph F. and Johanna Y. Meara Anthony and Barbara Medeiros Ensign Michael S. Mendelsohn Helen F. Meranda Rev. Harold L. Merchant Judith A. Mcrtens Rus5 and Brigitte Merz Suzanne and Henry J. Meyer Mr. and Mrs. Herbert M. Meyers Dr. Robert and Phyllis Meyers William M. Mikkelsen Virginia A. Mikola Gerald A. Miller Dr. and Mrs. Josef M. Miller
Murray H. and Yelta R. Miller
Randy and Sue Miller
Ronald Miller
Ruth M. M")i).ili.hi
Kent and Roni Moncur
Gail Monds
Mr. Erivan K Morales and
Mr. Seigo Nakao Kittie Bergcr Morelock Mrs. Erwin Muchlig James and Sally Mueller Brian Mulcahy Bernhard and Donna Muller Colleen M. Murphy Lora G. Myers Yoshiko Nagamat5u Louis and Julie Nagcl R. and J. Needleman Martha K Niland Joan and John Nixon Laura and Ross Norberry Jolanta and Andrzej Nowak Dr. Nicole Obregon Steve O'Day Martha R. O'Kennon Paul L. and Shirley M. Olson Fred Ormand
David Orr and Gwynne Jennings James J. Osebold Lynda Oswald and Brad Tomtishcn David H. Owens and Ruth A. Mohr Mr. and Mrs. James R. Packard George Palty
Penny and Steve Papadopoulos Mr. and Mrs. Kenneth Pardonnct Prayoon Patana-Anake Vassiliki and Dimitris Pavlidis Edward J. Pawlak
Donald and Edith Pclz
William A. Pcnner.Jr.
Bradford Perkins
Marilyn Perlmutter
Mrs. George Peruski
Ann Marie Petach
Jane Peierson
Douglas and Gwcn Phelps
C. Anthony and Marie B. Phillips
Nancy S. Pickus
Edward C. and Mary Lee Pierce
Daniel Picsko
Mr. and Mrs. Robert H. Plummer
Thomas and Sandra Plunkett
Alan Posner
Mr. and Mrs. Gerald Powrozck
Robert and Mary Pratt
Roland W. Pratt
John and Nancy Prince
Julian and Evelyn Prince
Ruth S. Putnam
Dr. G. Robina Quale
Douglass and Debbie Query
Leslie and Doug Quint
Mr. and Mrs. Mitchell RadclifT
Mr. and Mrs. Alex Raikhel
Rebecca Scott and Peter Railton
Alfred and Jackie Raphaelson
Dr. and Mrs. Mark Rayport
Riiss and Nancy Reed
Elisabeth J. Rees
Caroline Rehberg
Esther M. Reilly
Anne and Fred Remlcy
Molly H. Reno
Mr. and Mrs. Neil Ressler
Lou and Sheila Rice
Frand and Elizabeth Richardson
Friends, continued
Lisa Richardson Mr. and Mrs.
Thomas D. Richardson Kurt and Lori Ricggcr R.L. Rilcy Judy Ripple I ii.t Ristine
Irving and Barbara Rittcr Kathleen R. Roberts Marilyn L. Rodzik Drs. Dietrich and
MaryAnn RolofT Edith and Raymond Rose Drs. Janet and Seymour R. Rosen Dome E. Rosenblatt, M.D. Ph.D. Charles W. Ross Christopher Rothko Dr. and Mrs. David Roush Roger and O.J. Rudd Mabel E. Rugcn Dr. Glenn R. Ruihlcy Bryant and Anne Russell Ray and Re Sage Dr. Jagneswar Saha Sandra and Doyle Samons Miriam JofTe Samson Klavier S.D.G. Dr. Anna M. Santiago Gary Saucr
June and Richard Saxe Karen and Gary Scanlon Helga andjochen Schacht Bonnie R. Schafer Mr. and Mrs. Alan Schall Chuck and Gail Scharte Mr. and Mrs. F. Allan Schenck Christine J. Schesky Suzanne Schlucderberg and
John S. Lesko.Jr. Jeannette Schneeberger Thomas H. Schopmeyer Yizhak Schottcn and
Kaiherine Collier Sue Schroeder Ailcen M. Schulze Jay and Leah Schultz Byron and Melodye Scott Dorothy Scully Michael and Laura Seagram Anne Brantley Segall Sylvia and Leonard Segel Richard A. Seid Marilyn Sexton Richard Shackson Kirtikant and Sudha Shah Brahm and Lorraine Shapiro Kathleen A. Sheehy Ingrid and Clifford Sheldon Ms. Joan D. Showalter Drs. Dorit Adler and Terry Silver Mr. and Mrs. Barry Silverman Sandy and Dick Simon Nora G. Singer Jose Sinibaldi Jack and Shirley Sirotkin Donald and Sharyn Sivyer Jurgen O. Skoppek Tad Slawccki Dr. and Mrs. Greg Smith Haldon and Tina Smith Arthur A. and Mindy Soclof Hinde R. Socol and John D. Hall Arthur and Elizabeth Solomon James A Somcrs Judy Z. Somers
Thomas and Elinor Sommerfcld Mina Diver Sonda ] 11m.i Soukhoproudskaia William Spalding Jim Spcvak and Leslie Bruch Charles E. Sprogcr Mary Stadel
Neil and Burncttc Staebler Joan and Ralph Stahman Bob and Dccda Stanczak
Barbara and Michael Steer
Ron and Kay Slefanski
John and Elaine Wu Stephenson
Robin Stephenson
William and Georginc Stcudc
Ms. Lynctte Stindt and
Mr. Craig S. Ross Lawrence and Lisa Stock Mr. and Mrs. Frank A. Stocking Mr. and Mrs. James Bower Stokoe Judy and Sam Stulbcrg Jim and Bcv Sturek Theresa & Presley Surratt Alfred and Selma Sussman Anne Sutherland Robert and
Mary Margaret Sweeten Joanne Ceru and James Swonk Junko Takahashi Larry and Roberta Tankanow Dr. and Mrs. Robert C. Taylor Robert Teicher and
Sharon Gambin Leslie and Thomas Tender Paul Thielking Carol and Jim Thiry D. Kathryn Thompson Anne M. Thome Eugene and Marlene Tierney Nea! A. Tolchin Egons and Susannc Tons Ms. Barbara J. Town Mr. and Mrs. Louis F. Trubshaw Luke and Merling Tsai Jeffrey and Lisa Tulin-Silver Dr. Hazel M. Turner Nub and Jan Turner William H. and Gerilyn K. Turner Nann Tyler
Mr. and Mrs. Marshall Tymn Mr. Masaki Ueno Sheryl Ulin Akira Umehara Paul and Fredda Unangst Iris Cheng and Daniel Uri Dr. and Ms. Samuel C. Ursu Esiher C. Valvanis Judith and Arthur Vander I'.i .11 ii and I i.i van Leer Virginia Vass
Kitty Bridges and David Velleman Mrs. Durwell Vetter Alice and Joseph Vining John and Jane S. Voorhorst Deborah Wagner Mr. and Mrs. Fred R. Waidelich Virginia Wait
Mr. and Mrs. Howard Waldrop Mr. and Mrs. David C. Walker Patricia Walsh
Margaret Walter .
Martha Walter Orson and Karen Wang Eric and Sherry Warden Alice and Martin Warshaw Arthur and Renata Wasserman Dr. and Mrs. Andrew S. Watson ] i 'i .innWebster Alan and Jean Weamer Edward C. Weber Joan M. Wcbcr Steve Weikal
David andjacki Wcisman Donna G. Weisman Drs. Bernard and Sharon Weiss April Wcndling Elizabeth A. Wentzien Mr. anb Mrs. James B. White Mr. Carl Widmann Sandy Wiener Cynthia Wilbanks Mr. and Mrs. Peter H. Wilcox Mr. and Mrs. Michael S. Wilhelm James Williams John and Christa Williams
Robert and Anne Marie Willis
Richard C. Wilson
Beverly and Hadlcy Wine
James H. and Mary Anne Winter
Mary Winter
Lawrence and Mary Wise
Esther and Clarence Wisse
Danielle Wittmann
Mr. Henry Wojcik
Joyce Guior Wolf, M.D.
Mr. C. Christopher Wolfe and
Ms. Linda Kidder Nancy and Victor Wong Mr. and Mrs. David Wood Leonard and Sharon Woodcock Barbara H. Wooding Stewart and Carolyn Work Israel and Fay Woronoff Robert E. Wray, III Frances A. Wright Lynne Wright Ernst Wuckcrt Patricia Wulp Jason and Julie Young Robert and Charlene R. Zand Mr. and Mrs. Martin Zeile Gary and Rosalyn Zembala George and Nana Zissis
and several anonymous donors
Corporations Organizations
Barton Hills Women's
Golf Association Crown Steel Rail Company Delta Sigma Theta Sorority -
Ann Arbor Alumnae Liberty Sports Complex Masteller Music, Inc. Michigan Carleton Alumni Club Morgantown Plastics Company Staples Building Company Weiscr Lock
Robert S. Feldman rim.i Krauss Firth George R. Hunsche Ralph Herbert Katherine Mabarak Frederick C. Matlhaei, Sr. Cwcn and Emerson Powrie Stcfli Reiss Clare Sicgcl Ralph I si, 11,1. Charlene Parker Stern William Swank Charles R. Ticman John F. Ullrich Francis Viola III Peter H. Woods
In-Kind Gifts
Catherine Arcure Paulett and Peter Banks Back Alley Gourmet Barnes and Noble Bookstore Maurice and Linda Binkow Jeanninc and Bob Buchanan Edith and Fred Bookstein Pat and George Chatas Paul and Pat Cousins
Cousins Heritage Inn Katy and Anthony Derezinski Espresso Royale Fine Flowers Ken and Penny Fischer Keki and Alice Irani Maureen and Stu Isaac Matthew Hoffmann Jewelry Mercy and Stephen Kaslc Howard King F. Bruce Kulp Barbara Levitan Maxinc and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LystraDough Boys Steve MaggioThc Maggio Line James Me DonaldBel la Ciao Karen and Joe O'Neal Richard and Susan Rogel Janet and Mike Shatusky SKR Classical Herbert Sloan David Smith
David Smith Photography Sweet Lorraine's Susan B. Ullrich Elizabeth and Paul Yhouse
Giving Levels
The Charles Sink Society cumulative giving totals of more than $15,000.
Maestro $10,000 or more Virtuoso $7,500 9,999 Concertmaster $5,000 7,499 Leader $2,500 4,999 Principal $1,000 2,499 Benefactor $500-999 Associate $250 499 Advocate $100 249 Friend $50 99 Youth $25
Advertiser's Index
36 Afterwords
16 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproductive
Medicine 39 Ann Arbor Symphony
Orchestra 35 Arbor Hospice 29 Bank of Ann Arbor
43 Barclay's Gallery 33 Beacon Investment
Company 39 Benefit Source 10 Bodman, Ixngley and
54 Butzel Long 51 Cafe Marie
39 Chamber Music Society
of Detroit
18 Charles Reinhart
27 Chelsea Community Hospital
19 Chisholm and Dames
Investment Advisors 35 Chris Triola Gallery 27 David Smith Photography
40 Detroit Edison
19 Dickinson, Wright, Moon,
Vm Duscn and Freeman 35 Dobbs Opticians
20 Dobson-McOmber 49 Dough Boys Bakery
26 Edward Surovell Company 35 Emerson School
2 Ford Motor Company 31 Fraleighs Landscape
Nursery 8 General Motors
49 Gifford, Krass, Groh,
Sprinkle, Patmore, Anderson & Citkowski
11 Glacier Hills
15 Hagopian World of Rugs 49 Harmony House
37 Hill Auditorium Campaign 36 Interior Development 47 Jacobson's
47 Karen DeKoning and
Associates 43 Katherine's Catering and
Special Events Kerrytown Bistro KeyBank
King's Keyboard House Lewis Jewelers Marty's Menswear Matthew C. Hoffmann
Jewelry Design 31 Miller, Canfield, Paddock & Stone
42 Mundus and Mundus
12 NBDBank
43 Nichols, Sacks, Slank
and Sweet
35 Packard Community Clink 21 Pen in Hand
40 Persian House of Imporu
31 Red Hawk Bar and Grill
48 Regrets Only
24 SKR Classical
21 Snyder and Company
25 Sweet Lorraine's 20 Sweetwaters Cafe
54 Toledo Museum of Art 34 Top Drawer
36 Ufer and Company
29 U-M Urology
30 University Productions
55 Whole Foods Market 54 WQRS
27 Wright, Griffin, Davis and Company

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