UMS Concert Program, Wednesday Oct. 16 To 29: University Musical Society: 1996-1997 Fall - Wednesday Oct. 16 To 29 --
Season: 1996-1997 Fall
University Of Michigan, Ann Arbor
Musical Society I
University of Michigan
1996 FALL SEASON
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 withjessye 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 these artists, UMS and the Ann Arbor community.
Our Board of Directors now numbers 26 individuals, each bringing to their 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 the 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
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 Paul 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 wfct"1
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 foi this vote of confidence in the University Musical Society.
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."
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.
HOWARD S. HOLMES President, Chelsea Milling Company The Ann Arbor area is very fortu?nate to have the most enjoyable and outstanding musi-
cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Chelsea Milling Company
JORGE A. SOUS First Vice President and Manager, NBD Bank "NBD Bank is hon?ored to share in the University Musical Society's proud
tradition of musical excellence and artistic diversity."
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."
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 widi the
University Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
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 Socieiy's impressive accomplishments."
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 psarouthakis, Ph.D.
Chairman and Chief
"Our community is
enriched by the
Society. We warmly support the cul?tural events it brings to our area."
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."
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."
RONALD WEISER Chairman arid Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural contri?bution it makes to the 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."
JOE E. O'NEAL President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
joseph curtin and Gregg alf
Owners, Curtin tePAlf "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 die land."
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."
Managing Partner, Pepper, Hamilton 6 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."
PEPPER, HAMILTON & SCHEETZ
GEORGE H. CRESS Michigan District President, KeyBank "The University Musical Society has always done an outstanding job of bringing a wide
variety of cultural events to Ann Arbor. KcyBank is proud to support an orga?nization that continually displays such a commitment to excellence."
The Edward Surovell
"It is an honor for
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."
SUE S. LEE President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organization as the
Musical Society at the University of Michigan."
RONALD M. CRESSWELL, PH.D. Vice President and Chairman, Pharmaceu tical 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 ofthe university of Michigan
BOARD OF DIRECTORS
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
Letitia J. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Walter L. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper
Rebecca McGowan Homer A. Nea! 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. AJlen P. Britton Douglas D. Crary John D'Arms James J. Duderstadt Robben W. Fleming
Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long Judyth Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. 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 Whitaker
AdministrationFinance Kenneth C. Fischer,
Executive Director John B. Kennard.Jr,
Administrative Manager Elizabeth Jahn, Asst. to
Executive Director Kate Rcmcn, Administrative
Assistant, Marketing &
Programming R. Scott Russell, Systems
Michael L. Cowing, Manager Sally A. Cushing, Staff Philip Guire, Staff John Peckham, Staff
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,
Benjohnson, Director Emily Avers, Assistant
Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
Michael J. Kondziolka,
Yoshi Campbell, Production l.iika Fischer, Artists' Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Laura Birnbryer Rebekah Camm Jessica Flint Lynnette Forde Amy Hayne Lisa Moudy Tansy Rodd Lisa Vogen Scott Wilcox
1996-97 ADVISORY COMMITTEE
Susan B. Ullrich, Chair
Maya Savarino, Vice-Chair
Kathleen Beck, Secretary
Peter H. deLoof, Treasurer
Janice Stevens Botsford
Betty Byrne, Staff Liaison
Chen Oi Chin-Hsieh
Peter H. deLoof Rosanne Duncan H. Michael Endres Don Fabcr Penny Fischer Barbara Gelehrter Beverly Geltner Margo Halsted Esther Hcitler Deborah B. Hildebrandt Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Kahn
Mercy Kasle Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Levitan Doni Lystra 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 opportunity affirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
University Musical Society Auditoria Directory & Information
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and arc open only during the
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of 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.
LOST AND FOUND
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free 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 die 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 die 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 die 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 rcstrooms arc 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 arc located down the long hallway from the main floor seating area. St. Francis: Men's and women's reslrooms 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.
UMSMEMBER INFORMATION TABLE
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.
PHONE ORDERS AND INFORMATION
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
FAX ORDERS 313.647.1171
VISIT OUR BOX OFFICE IN PERSON
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open go 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
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 Year 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 Gowing 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 ontributions arc tax deductible lo 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 gready 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, Orff s Carmina Burana, Ravel's Daphnis el Chloe and Prokofiev's Akksandr 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 die 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 die softest high notes of vocal recitalists to die grandeur of die finest orchestras, Hill Auditorium is known and loved diroughout die world.
Hill Auditorium is named for former U-M regent Ardiur Hill, who bequested $200,000 to die University for die construction of an audito?rium for lectures, concerts and odier university events. Then-UMS President Charles Sink raised an addidonal $150,000, and the concert hall opened in 1913 widi die Chicago Symphony Orchestra performing the ever-popular Fifth Symphony of Beedioven. The following evening featured Verdi's "Manzoni" Requiem, a work diat has been performed frequendy diroughout the Musical Society's illustrious history. Among the many ardsts 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.
POWER CENTER FOR THE PERFORMING ARTS
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 the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
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 MICHIGAN THEATER
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 vaudeville 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 work covered with aluminum, polished marble and a false ceiling.
Throughout the 1960s and 1970s, the 1,710-seat theater struggled against changes in the lilm 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).
ST. FRANCIS OF ASSISI CATHOLIC CHURCH
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
church a fabulous venue for presenting a cappell choral music and early music ensembles. This ' season, UMS presents four concerts at St. Francis of Assisi Catholic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademi;i (March 15) and the Huelgas Ensemble (April 10)
LYOIA MENDELSSOHN THEATRE
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 intimate venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society's roster.
Allen Pond & Pond, Martin & Lloyd, a Chicago 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 curtain 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 at 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 presentatioi 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 (Januar
24), mezzo-soprano Sarah Walker (January 25), baritone Wolfgang Holzmair (February 17) and soprano Barbara Bonney (February 18).
BURTON MEMORIAL TOWER
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 tower and, along with the Regents of the University, the City of Ann Arbor, and the Alumni 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 570,000 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 1996-97 Season
BENITA VALENTE, SOPRANO CYNTHIA RAIM, PIANO
World premiere sotig cycle by William Rolcorn 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.
Ihesented with the support of the KMD Foundation.
Iresenled with support from media partner WDET, 101.9FM, Public Radio from Wayne State 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 Kilhicky, 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
Stephen Geber, cello Saturday, October 12, 8:00pm Hill Auditorium
Chamber Music with
Members of The Cleveland
Sunday, October 13, 4:00pm
PREP Jim I-eonard, Manager, SKR Classical. "My Life has been Singularly Strange...Debussy Composes Im Mer." Fri, Oct 11, 6:30pm, SKR Classical.
PREP Jim Leonard,
Manager, SKR Classical. "Tchaikovsky's Fifth Symphony: Tragedy from Triumph." Sal, 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 Midtiest, 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
CHRISTOPHER PARKENING WITH THE COLORADO STRING QUARTET Sunday, October 20, 4:00pm Rackham Auditorium
Sponsored by Regency Travel
The Tibetan Song and dance Ensemble
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 The One Hundreds Performed for the first time since 1969, Ms. Tharp will lead 100 local, university] and community members in ihis historic reconstruction. Thurs, Oct 24, 8pm, Power Center, $5.
Master of Arts Twyla Tharp, interviewed by Beth Gcnne, U-M Professor of Dance and Art History, and Bob Beckley, Dean, College of Architect in ? 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; "Amadcus" Sun, Oct 13, 2pm; "While 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
PREPJim Leonard, Manager, SKR Classical. "Isbivohl undoder Eurigkert (Farewell andor Forever) -The Meaning of Mahler's Ninth." Tues, Oct 29, 6:30pm, SKR Classical.
Sponsored by NBI) Bank. NOVEMBER
YURACI (IN A SPACE OF PERPETUAL MOTION) Ushio Amagatsu,
Artistic Director Friday, November 1, 8:00pni Saturday, November 2, 8:00pm Power Center
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Sabri Brothers Sunday, November 3, 4:00pir Rackham Auditorium
Monday, November 4, 8:00pir Rackliam 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
WILUAM CHRISTIE, CONDUCTOI HANDEL'S ACIS AND GALATEA Friday, 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 Ads and Galatea and Works of J.S. Bach." Fri, Nov i 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. nttp;WWW. UIT1S.
Official tponsm of the UMS website.
midnight in the garden of Good and Evil with john berendt, author (celebrating the music of johnny
Saturday, November 9, 8:00pm Mill Auditorium
Sponsored by Regency Travel.
Presented with support from media partner WEMU, 89.IFM, Public Radio from Eastern Michigan University.
GUITAR SUMMIT III FEATURING PACO DE LUCiA.AL DlMEOLA AND JOHN MCLAUGHLIN Saturday, November 16,8:00pm Michigan Theater
Sponsored by Regency Travel.
Presented with support from media partner WEMU, 89.1FM, Public Radio from lutstem Michigan University.
Sunday, November 17,4:00pm
GUARNERI STRING QUARTET
Orion String Quartet Saturday, November 23,8:00pm Rackham Auditorium
Sponsored by the Edward Surovell Co.Realtors with sup?port from Maurice and Linda Rinkow.
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 by Conlin-Faber Travel and Cumml.
HANDEL'S MESSAH 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-part of Dr. James and Millie ram.
"SO MANY STARS" KATHLEEN BATTLE AND FRIENDS
Kathleen Battle, soprano Cyrus Chestnut, piano Christian McBride, bass James Carter, saxophone Cyro Baptista, percussion Friday, December 13, 8:00pm Mill 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 Tchaikmsky 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 lroject Management Associates, Inc.
Presented with support from media partners WEMU, 89. WM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University. 2 ?
The Harlem Nutcracker is supported by Arts Midwest, a regional arts organization serving America's heartland, in partner?ship with the National Endowment for the Arts, and other public and private institutions.
SCHUBERTIADE I ANDRE WATTS, PIANO CHAMBER MUSIC SOCIETY OF LINCOLN CENTER
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.
NEXUS WITH RICHARD STOLTZMAN, CLARINET Thursday, January 16, 8:00pm 1 Iill Auditorium
Sponsored by Thomas B. McMullen Co., Inc.
Presented with support from media partner WDET, 101.9PM, Public Radio from Wayne State University.
SOUNDS OF BLACKNESS
Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of A merica.
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 1997Rev. 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 League.
Presented with support from media partner WVkT, 101.9FM, Public Radio from Wayne State University.
neeme Jarvi, conductor Leif Ove Andsnes, piano UMS Choral Union Sunday, January 26, 4:00pm I fill Auditorium
Master of Arts Neeme Jarvi, interviewed by Thomas Sheets, Conductor, UMS Choral Union. Sun, Jan 12, 3:00pm, Rackham.
BLUES, ROOTS, HONKS,
AND MOANS A FESTIVAL OF JAZZ AND
MUSICAL TRADITIONS featuring
The Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Ieon Parker Duo Steve Turre and
His Sanctified Shells Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation.
Presented with support from media partner WEMU, 89. IFM, Public Radio from Eastern Michigan University.
IVAN FISCHER, CONDUCTOR Thursday, February 6, 8:00pm Hill Auditorium
THE REAL GROUP
Saturday, February 8, 8:00pm Michigan Theater
Presented with support from media partner WEMU, 89. IFM, 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
BLOOD ON THE FIELDS
WYNTON MARSALIS AND THE LINCOLN CENTER JAZZ ORCHESTRA
WITH JON HENDRICKS
Music and libretto by Wynton Marsalis
Wednesday, February 12,
Master of Arts Wynion Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Fcb 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, Feb 14, 7pm, MI League.
Sponsored by Great Lakes Bancorp.
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.
VOICES OF LIGHT: "THE PASSION OF
JOAN OF ARC" 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 State University.
schubert song recital iii Wolfgang Holzmair,
baritone julius drake, piano
Monday, February 17, 8:00pm Lydia Mendelssohn Theatre
Schubert Song recital IV
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 Thursc lay, February 20,8:00pm Friday, February 21, 8:00pm
Saturday, February 22, 2:00pm
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La Bohime'mean}" Sat, Feb 22, ]:15pm, Power Center Rehearsal Rm.
ACADEMY OF ST. MARTIN-
1N-THE-FIELDS 1ONA BROWN, CONDUCTOR
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, :1:00pm, 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
Presented with the generous sup?port of Dr. Herbert Sloan.
RICHARD GOODE, PIANO Friday, March 14, 8:00pm Hill Auditorium
Sponsored by Pepper, Hamilton & Scheetz, Attorneys at Law.
CHOROVAYA AKADEM1A Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin-Faber Travel and Cunard.
schubertiade iii Hermann Prey, baritone 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 Steven 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
Boychoir of Ann Arbor Catherine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
CECILIA BARTOLI, MEZZO-SOPRANO
gyorgy 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.
Nederlands Dans theater
Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
BANG ON A CAN ALL-STARS STRING TRIO OF NEW YORK
Saturday, April 5, 8:00pm Power Center
Presented vnth support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
HUELGAS ENSEMBLE 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.
THE RUSSIAN VILLAGE
Friday, April 11,8:00pm Michigan Theater
Sponsored by NBD Bank.
FACULTY ARTISTS CONCERT
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.
Maher Ali Khan and Sher Ali Khan, faridi qawwals ensemble
Saturday, April 19, 8:00pm Rackham Auditorium
Special Program Events
Performance Related Educational Presentations (PREPs) All arc invited, free of charge, to enjoy this series of prc-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 these 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 required (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 ihc 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 LeSueur, Vocal Arts Information Services, in collaboration with the Ann Arbor Public Library. "Changing Approaches to Singing of Leider"
Sun, Jan 19, 1997, 2:00-3:30pm "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 Black Renaissance."
Ann Arbor Public Library, November 26, 1996-January 6, 1997. A collaboration between the University Musical Society, the Ann Arbor Public Library, Ann Arbor Public Schools, the Ann 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.
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 Qzawa 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 199J Fall Season
Event Program Book
Wednesday, October 16, 1996
Tuesday, October 29, 1996
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Mark Morris Dance Group 3
Wednesday, October 16, 8:00pm, Power Center
Christopher Parkening and the 19
Colorado String Quartet
Sunday, October 20, 4:00pm, Rackham Auditorium
The Tibetan Song and Dance Ensemble 27
Wednesday, October 23, 8:00pm, Power Center
Friday, October 25, 8:00pm
Saturday, October 26, 2:00pm, 8:00pm, Power Center
Sunday, October 27, 7:00pm,
St. Francis of Assisi Catholic Church
State Symphony of Russia 57
Tuesday, October 29, 8:00pm, Hill Auditorium
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quiedy 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.
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Mark morris dance Group
Joe Bowie, Charlton Boyd, Ruth Davidson, Tina Fehlandt, Shawn Gannon, Dan Joyce, Victoria Lundell, Marianne Moore, Rachel Murray, June Omura, Kraig Patterson, Mireille Radwan-Dana Guillermo Resto, William Wagner, Megan Williams, Julie Worden
Eileen Clark Reisner, soprano; Jane Dutton, mezzo-soprano Gregory Davidson, tenor, Christopher Roselli, baritone Linda Dowdell, John Sauer, piano
Mark Morris, Artistic Director Barry Alterman, General Director Nancy Umanoff, Managing Director
Wednesday Evening, October 16, 1996 at 8:00
Ann Arbor, Michigan
New Love Song Waltzes Love Song Waltzes
Seventh Performance of the 118th Season
Moving Truths Dance Series
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Major support for the Mark Morris Dance Group is provided by the Andrew W. Mellon Foundation and the Lila Wallace Theater Fund.
The Mark Morris Dance Group's performances are made possible with public funds from the National Endowment for the Arts Dance Program and the New York State Council on the Arts, a State Agency.
Philip Morris Companies Inc. is the sponsor of the Mark Morris Dance Group New Works Fund.
Large print programs are available upon request.
New Love Song Waltzes (1982)
Neue Liebeslieder Walzer, Op. 65
Eileen Clark Reisner, soprano Jane Dutton, mezzo-soprano Gregory Davidson, tenor Christopher Roselli, baritone Linda Dowdell, John Sauer, piano
Mark Morris James F. Ingalls
Joe Bowie, Ruth Davidson, Shawn Gannon, Dan Joyce, Victoria Lundell.June Omura, Kraig Patterson, Mireille Radwan-Dana, Guillermo Resto, Megan Williams
Love Song Waltzes (1989)
Johannes Brahms Liebeslieder Waber, Op. 52
Eileen Clark Reisner, soprano Jane Dutton, mezzo-soprano Gregory Davidson, tenor Christopher Roselli, baritone Linda Dowdell, John Sauer, piano
Mark Morris James F. Ingalls
Joe Bowie, Charlton Boyd, Tina Fehlandt, Shawn Gannon, Dan Joyce, Marianne Moore, Rachel Murray, Kraig Patterson, Mireille Radwan-Dana, William Wagner, Megan Williams, Julie Worden
Grand Duo (1993)
Grand Duo for Violin & Piano
Matthew Pierce, violin Linda Dowdell, piano
Mark Morris Michael Chybowski Susan Ruddie
Joe Bowie, Charlton Boyd, Ruth Davidson, Tina Fehlandt, Dan Joyce, Victoria Lundell, Marianne Moore, Rachel Murray, June Omura, Kraig Patterson, Mireille Radwan-Dana, Guillermo Resto, William Wagner, Megan Williams
New Love Song Waltzes
Neue Liebeslieder Walzer, Op. 65 Johannes Brahms
Verzicht, o Herz, auf Rettung, dich wagend in der Liebe Meer! Denn tausend Nachen schwimmen zertrummert am Gestad umher!
Finstere Schatten der Nacht, Wogen und Wirbelgefahr! Sind wohl, die da gelind rasten auf sicherem Lande, Euch zu begreifen im Stande Das ist der nur allein, welcher auf wilder See sturmischer Ode treibt, Meilen entfernt vom Strande.
An jeder Hand die Finger
hatt' ich bedeckt mit Ringen,
die mir geschenkt mein Bruder
in seinem Liebessinn.
Und einen nach dem andern
gab ich dem schonen,
aber unwurdigen Jungling hin.
Ihr schwarzen Augen, ihr durft nur winken Palaste fallen, und Stadte sinken.
Wie sollte stehn in solchem Strauss, mein Herz, von Karten das schwache Haus
Wahre, wahre deinen Sohn, Nachbarin, vor Wehe, weil ich ihn mit schwarzem Aug' zu bezaubern gehe.
Listen: nothing will save you if you go sailing on the sea of love. It's caulked with countless wrecks; their cargoes so much flotsam.
Who, sitting at home,
snug in his favorite armchair,
dreams the terror
of shifting shadows
and boiling seas
But the wanderer,
lost on the open sea,
far from home,
he thinks of armchairs.
I used to flash a fistful of rings, presents from my favorite brother. Dammit! I gave every single one to that two-timing stud I loved.
you only have to glimmer and kings shiver, continents wither.
Come the coup what will you do, heart of mine, how resist the unbeatable
Neighbor, protect your son from a broken heart. See me spin my magic all night long.
O wie brennt das Auge mir, das zu zunden fordert! Flammet ihm die Seele nicht, deine Hutte lodert.
Rosen steckt mir an die Mutter, weil ich gar so trube bin. Sie hat Recht, die Rose sinket, so wie ich entblattert hin.
Vom Gebirge Well' auf Well' kommen Regengusse, und ich gabe dir so gern hunderttausend Kusse.
Weiche Graser im Revier, schone stille Platzchen! O wie linde ruht es hier sich mit einem Schatzchen!
Nagen am Herzen
fuhl ich ein Gift mir;
kann sich ein Madchen
ohne zu frohnen zardichen Hang,
fassen ein ganzes
wonne beraubtes Lebenentlang
Ich kose suss, mit der und der, und werde still und kranke; denn ewig, ewig kehrt zu dir, o Nonna, mein Gedanke!
Alles, alles in den Wind sagst du mir, du Schmeichler! Alle sammt verloren sind deine Muh'n, du Heuchler!
Einem andern fang' zu lieb stelle deine Falle! Denn du bist ein loser Dieb, denn du buhlst um alle!
If warm smiles and hot looks
don't ignite him,
know I'm an expert at arson.
I'm white as a shroud, mother, but I wear red roses; because the rose, like me, will bleed its leaves when it dies.
Water streams down the hills and the rain doesn't stop; I wish I could shower you widi a hundred thousand kisses.
In our secret place in the shade, down among the rustling grass, we're out of this world and dreaming and time ticks away too fast.
A poisoned arrow infects the target of my heart; how can a beauty like her turn down a chance like me, pleasure spiced with pain
I'll whisper like this to lots of girls while I'm feeling bad; all the better to let you know, Nonna, it's you who's making me sad.
I won't hear another word about love;
you'll only let me down.
You'll never stop playing around.
Leave me alone, you sweet-talking clown.
If you must set traps,
go hunt innocent prey.
A wounded bird's bound to beware
so-called trust, snares.
dein Schatten ist so duster!
dein Leiden ist so druckend!
Was dir einzig werth,
es steht vor Augen
Nein, Geliebter, setze dich mir so nahe nicht! Starre nicht so brunstiglich mir in's Angesicht!
Wie es auch im Busen brennt, dampfe deinen Trieb, dass es nicht die Welt erkennt, wie wir uns so lieb.
Flammenauge, dunkles Haar, Knabe wonnig und verwogen, Rummer ist durch dich hinein, in mein armes Herz gezogen!
Kann in Eis der Sonne Brand, sich in Nacht der Tag verkehren kann die heisse Menschenbrust athmen ohne Glutbegehren
Ist die Flur so voller Licht, dass die Blum' im Dunkel stehe Ist die Welt so voller Lust, dass das Herz in Qual vergehe
Nun, ihr Musen, genug! Vergebens strebt ihr zu schildern, wie sich Jammer und Gluck wechseln in liebender Brust. Heilen konnet die Wunden ihr nicht, die Amor geschlagen; aber Linderung kommt einzig, ihr Guten, von euch.
Text from Polydora by G.E Daumer Translation by Linda France
So many trees, pitch-black, shadows playing tricks... my heart is full of rocks. Will we never be together Must I always go about sighing like this
Sweetheart, don't sit quite so near to me. Don't gaze at me quite so wistfully.
Even though you're on fire, stay cool and keep your distance in case everyone finds out how much I love you, love.
Sparkling eyes, glossy hair, tender words, true feeling -enough to send me reeling, set on the one I love.
Can sunbeams splinter into snow
Can morning sleep under a canopy of stars
Can passion say no
to love's sweet manacles
Do the fields bask in sunlight so that flowers might shrivel in darkness Do youth and love go hand in hand so that I end up alone and pining
Now listen to me, you Muses...
It doesn't really work,
does it You trying to summarize
the good and bad that comprise
a lover's smitten heart.
You can't heal the bloody holes
arrows leave. All you can do is soothe.
Love Song Waltzes
Uebeslieder Walzer, Op. 52 Johannes Brahms
Rede, Madchen, allzu liebes, das mir in die Brust, die Kuhle, hat geschleudert mit dem Blicke diese wilden Glutgefuhle!
Willst du nicht dein Herz erweichen Willst du, eine uberfromme, rasten ohne traute Wonne, oder willst du, dass ich komme
Rasten ohne traute Wonne nicht so bitter will ich biissen. Komme nur, du schwarzes Auge, komme wenn die Sterne grussen.
Am Gesteine rauscht die Flut, heftig angetrieben. Wer da nicht zu seufsen weiss, lernt es unter'm Lieben.
O die Frauen, o die Frauen, wie sie Wonne thauen! Ware lang ein Monch geworden, waren nicht die Frauen!
Wie des Abends schone Rothe mocht' ich arme Dime gluh'n, Einem, Einem zu gefallen sonder Ende Wonne spruh'n.
Die grune Hopfenranke
sie schlangelt auf der Erde hin.
Die junge schone Dime,
so traurig ist ihr Sinn!
Du hore, grune Ranke!
Was hebst du dich nicht himmelwarts
Du hore, schone Dime!
Was ist so schwer dein Herz
Speak to me, you with the beautiful smile that slices me in two. Tell me how you feel.
Will you lock yourself up and throw away the key How many times do I have to say when, when can we meet
Why sentence yourself to a life without love Why suffer You and me and your dark eyes, let's dance by the light of the stars.
Waves batter the rocks, spray the sky like madness. Love will teach you its secrets: how to sigh and drown in sadness.
You're a goddess. You're divine. I worship your every move. I could live like a monk if it weren't for women like you.
I could burn with the beauty of a crimson sunset. I would consider it my duty if I just heard her say yes.
Why does this evergreen ivy always creep so dark and low Why does such a gorgeous girl look like she's got nowhere to go
Why doesn't ivy climb
right up to the skies
Why should a girl
like her be all tears and sighs
Wie hobe sich die Ranke, der keine Stutze Kraft verleiht Wie ware die Dime frohlich, wenn ihr der Liebste weit
Ein kleiner, hubscher Vogel nahm den Flug zum Garten hin, da gab es Obst genug. Wenn ich ein hubscher, kleiner Vogel war', ich saumte nicht, ich tate so wie der.
Leimruten-Arglist laudert an dem Ort; der arme Vogel konnte nicht mehr fort. Wenn ich ein hubscher, kleiner Vogel war', ich saumte doch, ich tate nicht wie der.
Der Vogel kam, in eine schone Hand, da tat es ihm, dem Glucklichen, nicht an. Wenn ich ein hubscher, kleiner Vogel war', ich saumte nicht, ich tate so wie der.
Wohl schon bewandt war es vorehe
mit meinem Leben, mit meiner Liebe.
Durch eine Wand, ja durch zehn Wande
erkannte mich des Freundes Sehe.
Doch jetso, wehe,
wenn ich dem Kalten auch noch so dicht
vor'm Auge stehe,
es merkt's sein Auge, sein Herze nicht!
Wenn so lind dein Auge mir, und so lieblich schauet, jede letzte Trube flieht, welche mich umgrauet.
Dieser Liebe schone Glut, lass sie nicht verstieben! Nimmer wird, wie ich, so treu, dich ein Andrer lieben!
Am Donaustrande, da steht ein Haus, da schaut ein rosiges Madchen aus.
Ivy can't reach the heavens without some sturdy support. A girl can't enjoy herself when she and her beau are apart.
One day a pretty little bird flew into a garden brimming with ripe fruit. If I were a pretty little bird I'd fly there too.
It got tangled in a knot of branches and couldn't fly anywhere anymore. If I were a pretty little bird I'd stay at home.
A beautiful lady cradled the bird in her hand and stroked it softly, softly. If I were a pretty little bird I'd fly there now.
Every day was wonderful when we were still in love. My door was always open and he made himself at home. Now it's a different story: when I look at him he turns away, his eyes as cold as his heart.
When you look at me with your loving eyes, I forget all my worries. You're the sun in my sky.
Let it shine forever, this summer love of ours. I couldn't burn as hot in anyone else's eyes.
I know a rosy-cheeked girl who lives in a house deep in the woods.
Das Madchen es ist, wohl gut gehegt, zehn eiserne Riegel sind vor die Thure gelegt.
Zehn eiserne Riegel, das ist ein Spass, die spreng' ich als waren sie nur von Glas!
O wie sanft, die Quelle sich durch die Wiese windet! O wie schon, wenn Liebe sich zu der Liebe findet!
Nein, es ist nicht auszukommen
mit den Leu ten;
Alles wissen sie so giftig
Bin ich heiter, hegen soil ich lose Triebe;
bin ich still, so heisst's ich ware irr' aus Liebe.
und mache Schlosser
Denn die bosen Mauler
will ich schliessen
Vogelein durchrauscht die Luft, sucht nach einem Aste. Und das Herz, ein Herz begehrt's wo es selig raste.
Sieh', wie ist die Welle klar, blickt der Mond hernieder! Die du meine Liebe bist, liebe du mich wieder!
She's locked away
behind a door
secured with ten iron bars.
Iron bars are nothing to me. I'll smash them one by one like glass.
How clear the stream flows, winding its way through the meadow. How happy you feel, finding love, waiting where you left it.
I'm sorry, I've had enough of die neighbors; they go out of their way to make up gossip.
If I'm happy, they say,
I'm terribly bad.
If I'm sad, they say
I'm in love, stark raving mad.
I will employ a locksmith to fit a hundred padlocks of every shape and size to shut those lips forever that open and spill lies.
A bird will fly for miles
to find the right somewhere to nest.
We must do the same
to find the someone we love best.
The moon shines full and bright on the clear blue sea. Tell me you love me tonight. You're the only one for me.
Nachtigall, sie singt so schon, wenn die Sterne funkeln. Liebe mich, geliebtes Herz, kusse mich im Dunkeln!
Ein dunkeler Schacht ist Liebe, ein gar zu gefahrlicher Bronnen; da fiel ich hinein, ich Armer, kann weder horen noch seh'n; nur denken an meine Wonnen, nur stohnen in meinen Weh'n.
Nicht wandle, mein Licht, dort aussen im Flurgereich!
Die Fusse wurden dir, die zarten, zu nass, zu weich.
All uberstromt sind dort die Wege, die Stege dir;
so uberreichlich thrante dorten das Auge mir.
Es bebet das Gestrauche, gestreift hat es im Fluge ein Vogelein. In seiner Art erbebet die Seele mir, erschuttert, von Liebe, Lust, und Leide, gedenkt sie dein!
Text from Polydora fry G.F. Daumer English translation by Linda France
The nightingale sings so fine when the stars start to shine. Kiss me, sweetheart, while it's dark. Tell me you'll always be mine.
Love is a bottomless pit
of suffering. And I fell in.
I lost everything I was.
Although I dream of better times,
all I seem to do is whine.
Darling, wait, don't go wandering in the countryside. It's far too wet underfoot.
I admit it: I was there
this morning and the paths
are still damp from my tears.
I can see the branches trembling
in the wake of a bird in flight.
That's how my heart feels -tight
and busy with beating, remembering
you -our love, our lust, and our loathing.
ark Morris was born and raised in Seattle, Washington where he studied with Verla Flowers and Perry Brunson. He has performed with an eclectic array of companies in the early years of his career, including the Lar Lubovitch Dance Company, Hannah Kahn Dance Company, Laura Dean Dancers and Musicians, Eliot Feld Ballet, and the Koleda Balkan Dance Ensemble. In 1980, he formed the Mark Morris Dance Group and he has since created over ninety works for the Dance Group, as well as choreographing dances for many ballet companies, including the San Francisco Ballet, the Paris Opera Ballet, and American Ballet Theatre. From 1988 1991 he was Director of Dance at die Theatre Royal de la Monnaie in Brussels, the nation-
al opera house in Belgium. During his tenure there, he created twelve pieces including three evening-length works: The Hard Nut (his comic-book inspired version of The Nutcracker); L'Allegro, UPenseroso ed il Moderato, and
Dido and Eneas, and founded the White Oak Dance Project with Mikhail Baryshnikov. Mr. Morris is noted for his musicality -he has been described as "undeviating in his devo?tion to music" -and for his "ability to conjure so many contradictory styles and emotions." He has worked extensively in opera as both a choreographer and a direc?tor. Most recently, he directed and choreo?graphed a production of Gluck's Orfeo ed Euridice, and he will direct and choreograph a Royal Opera, Covent Garden production
of Rameau's Platee which will premiere at the Edinburgh International Festival in 1997. Mr. Morris was named a Fellow of the MacArthur Foundation in 1991, and he is the subject of a biography by Joan Acocella (Ferrar, Straus & Giroux).
Mark Morris Dance Group was formed in 1980 and gave its first concert that year in New York City. In the following years, the company's touring schedule steadily expanded to include cities both in the US and in Europe and, in 1986, the Dance Group made its first national television pro?gram for the PBS Dance in America series. In 1988, the Mark Morris Dance Group was invited to become the national dance com?pany of Belgium. During its three years as resident company of the Theatre Royal de la Monnaie in Brussels, the Dance Group was the subject of several television programs, including the UK's South Bank Show. The company returned to the US in 1991 as one of the world's leading dance companies, performing across the US and at major international festivals. The Dance Group has maintained and strengthened its ties to sev?eral cities around the world -audiences have become accustomed to the Group's regular and frequent appearances in Boston, MA, Berkeley, CA, at the Jacob's Pillow Dance Festival and the Edinburgh International Festival in Scotland. In addition to a full international touring schedule, the Dance Group has recently completed two film pro?jects: a collaboration with cellist Yo-Yo Ma entitled Falling Down Stairs using Bach's Third Suite for Unaccompanied Cello, and a film version of Mr. Morris' Dido and Eneas, both scheduled to air around the world during the 1996-97 season.
Mark Morris Dance Group has made two previ?ous visits to Ann Arbor to perform under UMS auspices. During their most recent visit, in April of 1996, they performed Dido and Eneas.
Joe Bowie, born in Lansing, Michigan, began dancing while attending Brown University. After graduating with honors in English and American Literature, he moved to New York and performed in the works of Robert Wilson, Ulysses Dove, and danced with The Paul Taylor Dance Company for two years before going to Belgium to work with Mark Morris.
Charlton Boyd was born in New Jersey where he studied and performed with Inner City Ensemble Theater & Dance Company. He is a graduate of The Juilliard School and has danced with the Limon Dance Company and in the musical The Ebony Games. He appears in the Jose Limon Technique Video, Volume 1, and other music videos.
Eileen Clark Reisner (soprano) recently appeared in the roles of Queen of the Night in Die Zauberflote with Syracuse Opera and Adina in L'Elisir d'amore with Massachusetts Commonwealth Opera. A Bel Canto Foundation Award winner, she has per?formed for the past eleven years with the Gregg Smith Singers and can be heard on many of their recordings, as well as on the soundtrack of the recent film Dead Man Walking. She holds degrees from Syracuse University and University of North Dakota, and has studied with Carlo Bergonzi and Julianne Baird.
Gregory Davidson (tenor) appears regularly with the Metropolitan Opera Chorus (Associates), the Gregg Smith Singers, and the Choir of St. John's Church in the Village. He is a member of two vocal quartets: Kiitos, a mixed quartet, and Songfellows, a men's quartet. He has been a soloist with the Riverside Philharmonia (NY), the Adirondack Chamber Orchestra, the Colorado Philhar?monic, and the Arapahoe Chamber Orchestra. He was born in Ohio, reared and educated in Colorado and Texas, and has made New York City his home since 1985.
Ruth Davidson, a native New Yorker, began her serious dance training at the High School of Performing Arts where she was a recipient of the coveted Helen Tamiris Award. After attaining her BFA from SUNY College at Purchase, she began her profes?sional career with the Hannah Kahn Dance Company. Ms. Davidson later joined the Don Redlich Dance Company where she also had the honor of working with dance master Hanya Holm. She appears in Hanya: Portrait of a Dance Pioneer, a biographical film on the career of Ms. Holm. She has been with the Mark Morris Dance Group since 1980. Ms. Davidson has consistently studied withjocelyn Lorenz since 1979.
Linda Dowdell (pianistDance Group Musical Director) made her debut with the Mark Morris Dance Group in 1987 in Vienna, and has worked closely with the company ever since. In 1990-91 she was the original pianist and Musical Director for Mikhail Baryshnikov's White Oak Dance Project, with whom she toured the United States. A composer as well, she has written music for a variety of ensembles, premiered by groups including the Banff Big Band, the Gregg Smith Singers, and Schola Cantorum of Edinburgh.
Jane Dutton's (mezzo-soprano) recent oper?atic credits include Beatrice in Beatrice et Benedict at Lincoln Center's Alice Tully Hall and the title role of Carmen with Opera Theater of Connecticut. Next season, Miss Dutton will join the roster of the Metropolitan Opera. She was recently named a winner in the Metropolitan Opera National Council Eastern Regionals, the Baltimore Opera Competition, the Liederkranz Foundation Competition, and the MacAllister Awards. Miss Dutton received degrees from Indiana University and Yale University.
Tina Fehlandt grew up in Wilmington, Delaware. She has been a member of the Mark Morris Dance Group since its incep?tion in 1980. She has staged Mr. Morris' work on Repertory Dance Company of Canada, Concert Dance Company of Boston, New York University Tisch School of the Arts, University of Minnesota, San Francisco Ballet and assisted him on his work with the Boston Ballet and American Ballet Theatre. Ms. Fehlandt has also appeared with the White Oak Dance Project.
Shawn Gannon is from Dover, New Jersey. He has danced with Lee Theodore's American Dance Machine, the Nina Wiener Dance Company, Mark Dendy's Dendy Dance, Laura Dean Dancers and Musicians, and Jane Comfort and Company.
Dan Joyce, from Stuart, Virginia, began, his professional dance training at the North Carolina School of the Arts, where he received his Bachelor of Fine Arts degree in 1983. He danced for one season with the Maryland Dance Theater before joining Concert Dance Company of Boston for four years. He joined the Mark Morris Dance Group in 1988.
Victoria Lundell was born in Berkeley, California then moved to Detroit where she studied dance with Rose Marie Floyd and Dolores Allison. She danced professionally with Harbinger Dance Company, guested
with Utopia Dance Theatre in Mexico City, and then completed her BFA in dance from the University of Michigan in 1989. For four years she danced with The Parsons Dance Company, and has been dancing with the Mark Morris Dance Group since 1994. Victoria gives special thanks to David Matiano, who is a continual source of inspiration.
Marianne Moore was born in Chapel Hill, North Carolina, and studied dance at North Carolina School of the Arts. She has also danced with the White Oak Dance Project.
Rachel Murray began her dance training in Vancouver, BC at Simon Fraser University. She then went on to perform with Betty Jones' Dances We Dance Company in Honolulu and in Senta Driver's Harry in New York City. She joined the Mark Morris Dance Group in 1988.
June Omura received her early dance train?ing at the University of Alabama in Birmingham and then attended Barnard College, graduating in 1986 with honors in dance and English. She has danced for Mark Morris since 1988, previously perform?ing in New York with Kenneth King, Sally Silvers, Richard Bull, Peter Healey and Hannah Kahn.
Kraig Patterson, Trenton, New Jersey, received his BFA in 1986 from The Juilliard School and began dancing with the Mark Morris Dance Group in 1987.
Matthew Pierce (violinist) recently won a "Meet the Composer" grant for his opera Elektra Fugues written with librettist Ruth Margraff and commissioned by the Tiny Mythic Theatre Company. His ballet Memoriam, a piece for string quartet, will receive its premiere in San Francisco in November. Matthew holds a master's degree from the Peabody Conservatory and when he's not composing or performing he's bar?tending at Woody's Restaurant in NYC.
Mireille Radwan-Dana was born in Beirut, but grew up in Rome, Italy, where she attended Tersicore from 1978 -1986. She then moved to Brussels to attend the Mudra School from 1986-1988. She joined the Mark Morris Dance Group in 1988.
Guillermo Resto dances with Mark Morris.
Christopher Roselli (baritone) made his debut with Opera Colorado last season and was a Studio Member of the 1996 Sarasota Opera season. A native of North Carolina, he received his bachelor's and master's degrees in music from the University of North Carolina. He has also completed course work for the Doctor of Music at Indiana University, where he studied with Margaret Harshaw. He was a finalist in the Chicago Lyric Opera Ensemble auditions and a semi-finalist in the Pavarotti Competition.
John Sauer (pianist) is a native of Berkshire County in Massachusetts who accompanied his first ballet class in 1971 at Jacob's Pillow, where he has worked ever since. He holds a BA in music from Antioch College and he studied with Elizabeth Hagenah. He per?forms both jazz and classical music, and for fifteen years was Music Director at the Berkshire Public Theatre.
William Wagner is from Larchmont, New York. He studied at the Martha Graham School of Dance and is an English graduate from the State University of New York at Purchase. Mr. Wagner joined the Mark Morris Dance Group in 1988.
Megan Williams hails from Los Angeles, California and Toronto, Canada. She is a BFA graduate of Thejuilliard School and has danced with Ohad Naharin, GlennLundDance and Mark Haim, among others. She has been a member of the Mark Morris Dance Group since September 1988 and teaches regularly in New York.
Julie Worden, graduate of the North Carolina School of the Arts has danced with Chicago choreographers Bob Eisen, Jan Erkert and Sheldon B. Smith.
Mark Morris Dance Group Staff
Technical Director Development Director Executive Administrator Fiscal Administrator Development Associate Lighting Supervisor Musical Director Wardrobe Supervisor Sound Supervisor Legal Counsel
Johan Henckens Michael Osso Eva Nichols Lynn Wichern Lesley Berson Rick Martin Linda Dowdell Patricia White Ronnie Thomson Mark Selinger (Kaye, Scholer, Fierman, Hays & Handler) David S. Weiss, M.D. Kathryn Lundquist, CPA
Thanks to Maxine Morris and god.
Sincerest thanks to all the dancers for their dedication, support and incalculable contribu?tion to the work.
The Mark Morris Dance Group has received addi?tional funding from the AT&T Foundation, Mary Flagler Cary Charitable Trust, Consolidated Edison, Cowles Charitable Trust, Dance Ink, Dover Fund, The Eleanor Naylor Dana Charitable Trust, The Fan Fox and Leslie R. Samuels Foundation Inc., Fund for U.S. Artists at International Festivals, Howard Gilman Foundation, Harkness Foundations for Dance, Sydney & Francis Lewis Foundation, Meet the Composer, Andrew W. Mellon Foundation, Joyce Mertz-Gilmore Foundation, National Dance Residency Program -a grant program underwritten by The Pew Charitable Trusts and administered at The New York Foundation for the Arts, Philip Morris Companies Inc., The Shubert Foundation, Inc., Lila Wallace Theater Fund and the Friends of the Mark Morris Dance Group.
PARKENING and the
colorado string Quartet
Julie Rosenfeld, violin Deborah Redding, violin
Francesca Martin Silos, viola Diane Chaplin, cello
Sunday Afternoon, October 20, 1996 at 4:00
Rackham Auditorium Ann Arbor, Michigan
Passacalle de la cavalleria de Napoles Canarios
Michael Praetorius COURANT
Antonio Vivaldi (arr. Patrick Russ)
Concerto for Guitar and Strings in D Major RV 93
String Quartet No. 2, Op. 26 (Movements i, ii, iii)
Allegro Rustico Adagio angocioso Furioso
Isaac Albeniz RUMORES DE LA CALETA
Carlo Domeniconi KOYUNBABA, Op. ig
Peter Warlock (arr. Patrick Russ)
Capriole (Suite for Guitar and String Quartet)
Eighth Concert of the 118th Season
Six Strings Guitar Series
Special thanks to Mrs. Sue Lee for her continued support through Regency Travel.
Mr. Parkening will be available to sign copies of his CD's in the lobby after this evening's performance.
Large print programs are available upon request.
Born in 1640 in Calanda, Aragon, Spain Died in 1710
Gaspar Sanz was both an outstanding Spanish guitar virtuoso and composer of the late seventeenth century. In the PassacaUe de la cavalleria de Napoles you can hear the arrival of the riders on horseback, and the Canarios is one of the most famous themes in guitar literature, used by the renowned twentieth-century composer Joaquin Rodrigo as the final movement of his popu?lar guitar concerto, Fantasia para un gentil-hombre.
Born on February 15, 1571 in Cruezburg an der
Werra, Thuringia (now Germany) Died on February 15, 1621 in Wolfenbuttel
These three dances are taken from Terpsichore (1612), a compilation of over 300 dance tunes from the court of King Henry IV of France. Here the stately Courante, reserved Ballet and lively Volte are grouped together reflecting a common practice in the sixteenth century. Praetorius was a devout man whose compositions were pre?dominantly religious; yet, he is chiefly remembered for this dance collection, here arranged for solo guitar by Patrick Russ.
Born on March 4, 1678 in Venice Died on July 28, 1741 in Vienna
It was said that Vivaldi could create music faster than a copyist could write, as his 450 concertos and some forty operas attest. A brilliant colorist who wrote well for all instruments, he mastered every form of his day and counted among his admirers J. S. Bach. The Concerto in D remains the favorite
baroque concerto for guitar or lute. Set in the fast-slow-fast, three movement form introduced by Vivaldi, this work of true nobility reveals the wide range of virtuoso possibilities for the plucked instrument.
Born on April 11, 1916 in Buenos Aires Died on June 25, 1983 in Geneva
Alberto Ginastera is one of the out?standing figures in his generation of Argentinean composers. Drawing his inspi?ration from the folklore of his native coun?try, his compositional technique is charac?terized by unique harmonic development and compact form.
Born in 1958
Composer Andrew York states, "Jubilation is a new work based on my composition Sunburst (1986). The introduction was written especially for Mr. Parkening (for his latest recording, Angels' Glory, with soprano Kathleen Battle), giving the piece a unique presence in his hands."
Born on May 29, 1860 in Camprodon, Spain Died on May 18, 1909 in Cambo-les-Bains, France
A brilliant pianist, Albeniz created music that is vividly Spanish. Rumores de la Caleta, based on the traditional flamenco Malaguena, is a dance of the fandango fami?ly. Although originally written for the piano, this transcription by Parkening uncovers the instrument which inspired its birth, the guitar.
Born on March 5, 1887 in Rio de Janeiro Died on November 17, 1959 in Rio de Janeiro
In 1924, Brazilian composer and guitarist Heitor Villa-Lobos met Andres Segovia in Paris and they became lifelong friends. Maestro Segovia encouraged him to continue writing for the guitar. Villa-Lobos wrote Cinq Preludes (dedicated to his wife) and Douze Etudes (dedicated to Segovia) as part of his prolific output resulting from that exhortation.
Born in 1947
Italian-born Domeniconi spent three years in Istanbul in the late 1970's and there developed his unique musical synthesis of East and West. He comments that Koyunbaba is "a pastorale, inspired by the beauty of a small brook I visited in the southwest of Turkey. (It) conjures up the image of a shepherd (Koyun means "sheep" and Baba means "father"), watching over his flock." Using a unique tuning of the guitar (openly producing a c-sharp minor chord), with only one of the strings at normal pitch, the effect of Mid-Eastern lyricism and modality is strik?ing in both the opening "Moderato" and breathtaking "Presto" movements.
Born on October 30, 1894 in London Died on December 17, 1930 in London
Peter Warlock, a pseudonym adopted by the sharp-penned music critic Philip Heseltine to hide his own compositions from retribution, conceived the Capriol for string orchestra in 1926 and later transcribed it himself for full orchestra. The six movement suite, transcribed
here by Patrick Russ for solo guitar and string quartet, is based on sixteenth-century popular dance tunes (in much the same wayjoaquin Rodrigo adapted the Sanz pieces heard earlier in this program for his Fantasia para un gentil-hombre). The Capriol melodies were taken from Orchesographie (1589), a dance manual in which the author carries on a dialogue with the fictitious Capriol to explain the steps. A courtly Basse-Danse (where feet are never lifted from the floor) begins, then a graceful Pavane, followed by the lively Tordion. The Bransles is a peasant round dance that gives way to the almost hypnotic Pieds-en-l'air. Mattachins, the sword dance, allows a rapid dueling between the guitar and the quartet to end the suite in fiery fashion.
Program notes by John Nelson
Christopher Parkening is celebrated as one of the world's preeminent virtu?osos of the classical gui?tar. For more than a quarter century, his con?certs and recordings have received the highest worldwide acclaim. The Washington Post cited "his stature as the leading guitar virtuoso of our day, combining profound musical insight with complete technical mastery of his instrument." Parkening is recognized as an heir to the legacy of the great Spanish artist Andres Segovia, who proclaimed that "Christopher Parkening is a great artist -he is one of the most brilliant guitarists in the world."
Mr. Parkening's rare combination of dra?matic virtuosity and eloquent musicianship has captivated audiences around the world from New York to Tokyo. He has played at the White House, performed twice on the televised Grammy Awards, appeared with Placido Domingo on "Live from Lincoln Center," and performed at the Carnegie Hall 100th Anniversary cele?bration. He has appeared on many national?ly broadcast television programs, including the Tonight Show with Johnny Carson, Good Morning America, CBS Sunday Morning, the Today Show, 2020, and was a guest artist this season on the Disney Channel He has also been voted "Best Classical Guitarist" in a nationwide readers' poll of Guitar Player
magazine for many years running, and was placed in their "Gallery of Greats" along with Andres Segovia, John Williams, and Julian Bream.
Parkening has been a frequent guest soloist with the finest orchestras in the United States, including the Philadelphia, Cleveland, and Minnesota orchestras; the Chicago, Pittsburgh, and National sympho?ny orchestras; the Detroit, Houston, and St. Louis symphonies; the St. Paul and Los Angeles chamber orchestras; and the Los Angeles Philharmonic at the Hollywood Bowl. His extensive recital schedule takes him throughout the country, with regular appearances in New York, Boston, Chicago, Philadelphia, Washington DC, Houston, and Los Angeles.
Parkening's commitment to music extends beyond his demanding performance
schedule. Each summer, he teaches a master class at Montana State University in Bozeman, Montana. He has also authored The Christopher Parkening Guitar Method, Volumes I and II, basic pedagogy books for begining and advanced players.
Christopher Parkening resides in Southern California. At the heart of his dedication to performance, recording, and teaching is a deep commitment to the Christian faith. He is also a world class fly-fishing and casting champion who has won the International Gold Cup Tarpon Tournament (the Wimbledon of fly-fishing) held in Islamorada, Florida.
Tonight's performance marks Christopher Parkening's debut under UMS auspices.
In a ten-day period in 1983, the Colorado Quartet made history with the receipt of chamber music's two highest honors: the Naumberg Chamber Music Award and First Prize at the Banff International String Competition. Since that time it has been praised on four continents as one of the finest quartets of our time, cited for its musical integrity, impassioned playing, and dynamic finesse. Currently residing in the New York City area, the Colorado Quartet appears regularly in major halls around the globe. The 1994-95 season took them from coast to coast in the US with engagements that include perfor?mances at New York's Lincoln Center, in Philadelphia, Houston, and Los Angeles, along with a tour of Alaska. During the sum?mer of 1994, the Quartet visited Lincoln Center's Mostly Mozart Festival in New York and the Tivoli Festival in Denmark. Highlights of past and present seasons include concerts at Carnegie Hall's "Quartets Plus" and Lincoln Center's "Great Performers" series: Washington D.C.'s Kennedy Center, Amsterdam's Concertgebouw, and the Casals (Puerto Rico), Tivoli (Copenhagen), Stavanger (Norway), and Brno (Czechoslovakia) Festivals. The Colorado Quartet has been featured on radio and television programs in The Netherlands, Norway, and Puerto Rico, along with numer?ous American broadcasts, including the National Public Radio series "Performance Today." Their recordings include CD's of Brahms, Beethoven, and Mozart.
The Quartet is equally at home perform?ing standard literature or newer works and has played a major role in inspiring contem?porary compositions. Among the many com?posers whose works the ensemble has pre?miered are Ezra Laderman, Karel Husa, George Tsontakis, and Jan Krzywicki. The
Quartet received a consortium commission grant from the National Endowment for the Arts in 1985.
The Colorado Quartet has held teaching residencies at Swarthmore and Skidmore Colleges and at Philadelphia's New School of Music. They are currently Music Directors of the Soundfest Chamber Music Festival and Institute of String Quartets in Falmouth, Massachusetts.
Tonight's performance marks the Colorado String Quartet's debut under UMS auspices.
Master of Arts
The University Musical Society in collaboration with the Institute for the Humanities and WUOM announces the new Master of Arts series.The series features six artists on the 199697 UMS sea?son discussing their art form and the creation of it in an informal setting open to the public. All Master of Arts events take place one day to two weeks before the artist's appearance under the auspices of the University Musical Society and are open to the public. Free tickets for the Master of Arts events are available by calling the University Musical Society Box Office at (313) 764-2538.
TUESDAY, SEPTEMBER 24'
U-M Professor and Pulitzer Prize-winning composer William Bolcom, interviewed by Earl V. Moore Professor of Musicology Glenn Watkins 7:00pm, Rackham. Rebroadcast on Michigan Radio Monday, September 30, 8:00pm
SUNDAY, SEPTEMBER 29 Meredith Monk, composer, choreogra?pher; filmmaker and MacArthur "Genius" Award recipient, interviewed by John Killacky, Curator for the Performing Arts, Walker Arts Center, Minneapolis, 1:00pm, Natural Sciences Auditorium. Rebroadcast on Michigan Radio Monday, October 21, 8:00pm
SATURDAY, OCTOBER 26 TwylaTharp, choreographer; interviewed by Beth Genne, U-M Professor of Dance and Art History and Robert Beckley, Dean of the College of Architecture and Urban Planning I 1:00am, Natural Sciences Auditorium.
Rebroadcast on Michigan Radio Monday November 11, 8:00pm
SATURDAY, JANUARY 12
Neeme Jarvi, conductor of the Detroit
Symphony Orchestra, interviewed by UMS
Choral Union conductor Thomas Sheets
Rebroadcast on Michigan Radio Monday,
February 3, 8:00pm
TUESDAY, FEBRUARY I I
Wynton Marsalis, Artistic Director, Jazz
at Lincoln Center, interviewed by Stanley
Crouch, Jazz musician, critic and author
Rebroadcast on Michigan Radio Monday,
March 3, 8:00pm
FRIDAY, MARCH 28 Cecilia Bartoli, mezzo-soprano, inter?viewed by Ann Arbor News critic Susan Isaacs Nisbett and UMS Executive Director Kenneth C. Fischer 4:00pm, Rackham.
Rebroadcast on Michigan Radio Monday April 7, 8:00pm
DR. HERBERT SLOAN
The Tibetan song and dance Ensemble
Wednesday Evening, October 23, 1996 at 8:00
Ann Arbor, Michigan
Opening Musical Reverence
Masked Spiritual Dance (Shanak)
Sertri Ngasol (Dhomey Dance)
Step Dance with Tibetan Traditional Lute (Musical)
Pureng Dance, Purmo Pang-Gyen Metok (Presenting Butter Flowers to the God)
Solo Song (Homage to Penchen Rinpoche)
Doe Drodung (Drummers Dance of Summoning)
Chant Dance by Gyutoe Monks
Ralpa (Gypsy Dance)
Tashi Shoelpa (Ancient Art of Opera)
Achi Yullu (Celebration of the Harvest)
Yaktse (Prosperous Nomadic Life)
Ngonpa Rignga (Purification Dance for World Peace)
Tibetan National Anthem
Ninth Performance of the 118th Season
This performance is presented with the generous support of Dr. Herbert Sloan.
Large print programs are available upon request.
Opening Musical Reverence
The invocation prayer is offered to the gods and particularly to St. Thangtong Gyalpo, who was the founder of Tibetan Opera. The artists in procession consecrate the stage with prayer and the burning of incense.
Masked Spiritual Dance (Shanak) The Black Hat Dance: This is the dance of sorcerers who through their knowledge and the practice of the Tantric arts, destroy the powers of evil. This dance is symbolically associated with the assassination of the despot king Lang Dharma by Lhalung Palkyi Dorji in the seventh century AD. Llalung Palkyi Dorji was believed to have had a simi?lar costume with broad sleeves from which he drew a bow and arrow and shot at Lang Dharma while the king was reading an announcement from a stone column. The dancers carry in their hands a sacred demon dagger to destroy the forces of evil and also a human skull cap to offer libation to the Buddhist deities.
Sertri Ngasol (Dhomey Dance)
The birthplace of His Holiness, the Dalai Lama. Various types of folk songs, jokes, and storytelling in die Amdo Region of Tibet are generally popular. This performance origi?nated in 1709 when the Amdo Labrang Tashikhil monastery was established. The costumes are from Nomadic Amdo and die ladies' hat is worn from die rime of King Songsten Gampo of Tibet.
Step Dance with Tibetan Traditional Lute
Dranyen Shapdo: The Dance of the Lute Players. Four young men perform a variety of quick stepping dances, accompanied by the rapid, catchy music of die Tibetan lute of Dra-nyen. The dance and music are typi?cal of Lhasa and die songs were popular in die taverns of die capital many years ago.
Pureng Dance, Purmo Pang-Gyen Metok (Presenting Butter Flowers to the God) This spectacular dance is from the Pureng region of western Tibet where the Tibetan civilization has flourished for several cen?turies. During the third day of the first Tibetan month, all the top echelons of the Shepel Ling monastery and the public gath?ered together to watch various colorful per?formances.
Solo Song (Homage to Penchen Rinpoche)
"Panchen Chungsi Rinpoche, you are today the youngest prisoner of the world," is a song based on modern music. It is in dedi?cation to all Tibetans for Panchen Rinpoche who has sacrificed his life for Tibet and is also a prayer for the well being of the pre?sent reincarnation of Panchen Rinpoche, Gedun Choekyi Nyima, the youngest prisoner of the world.
(Drummers Dance of Summoning)
The Drum Dance: This is one of the oldest dances in Tibet, the origin of which is popu?larly ascribed to the completion of the famous Samye Monastery and its historic inauguration. Whilst dancing, the perform?ers sing a song in praise of His Holiness, the Dalai Lama. This particular dance tradition is from the district of Lhoka, located to the south of Lhasa.
Chant Dance by Gyutoe Monks
Ralpa (Gypsy Dance)
In eastern Tibet of Kham, there were groups of wandering gypsies who traveled from village to village singing and dancing. Most of their songs were in praise of the great Yogi Milarepa and his disciple Rechungpa. Their dances were spectacularly acrobatic.
Tashi Shoelpa (Ancient Art of Opera)
The Dance of Good Luck: This group of dancers represents the oldest company in Tibet. The dance serves to emphasize the Tibetan peoples' good fortune in having His Holiness, the Dalai Lama, as their leader. The dancers toss handfuls of tsampa (barley flour) into the air as an offering to the deities and spirits.
Achi Yullu (Celebration of the Harvest) When the farmers in the Tsang region of Tibet rejoice at the golden harvest, a three day festival is organized. The first day peo?ple go into the fields in festive dress, the sec?ond day for horse races, and the third day for archery. At the end of the program, the beautiful girls offer Chang, or barley, to their beloved once and celebrate the occasion. Please join us for this festival.
Yaktse (Prosperous Nomadic life) The Dance of the Yaks: This is an
extract from a Tibetan Opera and depicts the life of a nomad family and their yaks. The nomad lady milks the female yak called Dri and makes butter. She then sings a song offering the fresh butter to His Holiness, the Dalai Lama. The yak is the Tibetan National Animal.
(Purification Dance for World Peace)
The Ritual Dance of the Hunters: This is a ritual stage purification dance that is performed before the commencement of every Tibetan opera. The masked characters who do the dance are called Ngonpas or Hunters and are supposed to represent the deity Vajrapani. The girls wearing five panelled crowns with large rosettes over their ears serve as a cho?rus and represent Dakinis or celestial beings. At the end of the dance, everyone on stage tosses handfuls of tsampa into the air to pro?pitiate the Gods and pray for the peace and prosperity of all sentient beings.
Tibetan National Anthem
The Tibetan Institute of Performing Arts -TIPA (Tibetan Song and Dance Ensemble) was founded in 1959. In I960, con?cerned with the preserva?tion of authentic Tibetan performing arts, His Holiness, the Dalai Lama, established the Council for Religious and Cultural Affairs under whose auspices TIPA functions in Dharamsala, India.
TIPA (Tibetan Song and Dance Ensemble) subsequently developed a research depart?ment responsible for collecting traditional songs, dances, and acting methods from within the Tibetan community. Currently, TIPA consists of fifty-five artists who perform traditional songs, dances, and musical rever?ences. The support staff includes skilled artisans who create elaborate and colorful
masks, costumes, and instruments used in performances, thereby insuring the authen?ticity of the performance.
Throughout its illustrious career, TIPA has performed internationally, including engagements throughout the capitals of Europe, Australia, and Asia. The ensemble is under the patronage of His Holiness, the XTV Dalai Lama.
Tonight's performance marks the debut of The Tibetan Song and Dance Ensemble under UMS auspices.
Three New Dances Choreographed by Twyla Tharp
Todd Anderson, Yi Cho, Jennifer Howard, Roger Jeffrey, Shawn Mahoney, Gabrielle Malone, Toshiko Oiwa, Logan Pachciarz, Victor Quijada, Matt Rivera, Andrew Robinson, Julie Stahl, Sandra Stanton
Friday Evening, October 25, 1996 at 8:00
Saturday Afternoon, October 26, 1996 at 2:00
Saturday Evening, October 26, 1996 at 8:00
Ann Arbor, Michigan
Tenth, Eleventh, and Twelfth Performances of the 118th Season
Moving Truths Dance Series
The Visions and Voices of Women Series is pre?sented with support from media partner WDET, public radio, 101.9 FM, Public Radio from Wayne State University.
FM 1O1.9 M
Special thanks to Beth Genne, Professor of Dance and Art History, and Bob Beckley, Dean of the College of Architecture and Urban Planning, for serving as Master of Arts interviewers.
The Master of Arts Series is a collaborative effort of UMS, the University of Michigan Institute for the Humanities and WUOM. This Master of Arts interview will be aired on WUOM on Monday, November 11, 1996 at 8 p.m.
Large print programs are available upon request.
Choreography Heroes Music Ballet Mistress Lighting Design Costume Design
(Sweet Fields, 66) Costume Design (Heroes) Scenic Design (66) Production Manager Musical Advisor and
General Counsel Producer Production Management
Shelley Washington Whitman
Norma Kamali Kasia Walicka-Maimone Santo Loquasto David Bradford
Leon Wieseltier Jedediah Wheeler IPA, New York City
The Twyla Tharp Dance Company is sponsored by Pirelli.
Sweet Fields was co-commissioned by the University of California, Berkeley and the John F. Kennedy Center for the Performing Arts.
The Heroes ballet was co-commissioned by the University of California, Berkeley, and the John F. Kennedy Center for the Performing Arts.
Hymns from William Billings, the Shaker tradition, and The Sacred Harp
Thomas-Town (Great God how frail...)
Mahoney and Anderson, Jeffrey, Rivera, Robinson
Chester Howard and Cho, Malone, Oiwa,
Chesterfield Anderson, Jeffrey, Mahoney, Quijada,
Come Life, Shaker Life
Cho, Howard, Malone, Stahl, Stanton
Virgins clothed in a clean white garment...
Jeffrey, Mahoney, Quijada, Rivera, Robinson
Sweet Prospect Stanton and Stahl, Rivera
Jordan Oiwa, Cho, Howard, Malone, Stahl, Stanton,
Anderson, Jeffrey, Mahoney, Rivera, Robinson
New Jerusalem Stanton and Rivera, Howard, Malone,
Oiwa, Stahl, Anderson, Jeffrey, Mahoney, Robinson
Northfield Robinson and Company
Music: Thomas-Town (Great God how frail...), Chester, and Chesterfield composed by William Billings and Brevity composed by Abraham Woods, from the CD Goostly Psalmes, used courtesy of Harmonia Mundi Records; Come Life, Shaker Life and Virgins clothed in a clean white garment... (traditional Shaker music) performed by the Boston Camerata from the CD Simple Gifts, used courtesy of Erato Disques s.a. by arrangement with Warner Special Products; Sweet Prospect composed by William Walker, New Jerusalem and Northfield composed by Jeremiah Ingalls, all from the CD Rivers of Delight, used courtesy of ElektraNonesuch Records by arrangement with Warner Special Products; Jordan composed by William Billings and performed by the Word of Mouth Chorus from the CD A Land of Pure Delight, used courtesy of Harmonia Mundi Records.
Bachelor-pad music by Esquivel and others
Tire Jennifer Howard, Logan Pachciarz
Couple Julie Stahl, Andrew Robinson
Trio Gabrielle Malone, Todd Anderson, Matt Rivera
Quintet Yi Cho, Toshiko Oiwa, Sandra Stanton
Old Man Shawn Mahoney
Gay Spirits Full Company
Powerhouse Tire and Couple
Sexe Couple and Company
Istanbul (Not Constantinople)
Quintet, Tire, and Trio You 're tlie Top Couple and Trio Foolin'Around Old Man Spring, Sprang, Sprung
Robinson with Malone, Oiwa, Stanton,
Anderson, Rivera Satan Takes a Holiday
Sleep Walk Couple
Ebb Tide Old Man, Tire, Trio, Quintet
Ain 't That a Kick in the Head
Couple, Quintet, and Trio
The tire in 66 is modeled after a Pirelli P6000.
Music: Gay Spirits written and performed by David Rose, Powerhouse writ?ten by Raymond Scott and performed by the Bobby Hammack Combo, Sexe written by Line Renaud and performed by LouLou Gaste, Istanbul (Not Constantinople) written.byj. Kennedy and N. Simon and performed by Joe "Fingers" Carr and 80 Drums Around the World, You're the Top writ?ten by Cole Porter and performed by Dean Elliott and His Big Band, The Beast written by Dave Cavanaugh and performed by Milt Buckner, Spring, Sprang, Sprungwriuen byj. Fascinato and K. Snyder and performed by Jack Fascinato, Satan Takes a Holiday written by Larry Clinton and per?formed by Jack Malmsten, Sleep Walk written by FarinaFarinaFarina and performed by Henri Rene and His Orchestra, Ebb Tide written by R. Maxwell and C. Sigman and performed by Al Anthony, Ain't That a Kick in the Head written by J. Van Heusen and S. Cahn and performed by Dean Martin -all of the above used from the Ultra Lounge Collection of CD's, under license from EMI-Capitol Music Special Markets. Foolin' Around writ?ten by Juan Garcia Esquivel and performed by Esquivel and His Orchestra, from the CD Melodies & Mischief, used courtesy of RCA Records.
Music by Philip Glass
Heroes Jeffrey, Rivera, Robinson, and Company
Abdulmajid Jeffrey, Rivera, Robinson, and Company
Sense of Doubt Jeffrey, Robinson and Anderson, Pachciarz, Quijada
Neukoln Oiwa, Jeffrey, Rivera, Robinson, Anderson,
V2 Schneider Company
Music: Heroes symphony by Philip Glass, from the music of David Bowie and Brian Eno, performed by the American Composers Orchestra, Dennis Russell Davies, Principal Conductor. Associate Conductor for Heroes Michael Riesman. O 1996 Dunvagen Music Publishers, Inc. all rights reserved. Symphony administered world?wide by Dunvagen Music Publishers, Inc. (ASCAP) by agreement with Tintoretto Music (BMI), Screen Gems-EMI Music, Inc. (BMI), BMG Music Publishing Ltd. (BMI) and Opal Music (BMI). Recording produced by Kurt Munkacsi and Michael Riesman; Executive Producers Kurt Munkacsi, Philip Glass, and Rory Johnston; Associate Producer Stephan Farber. Recorded on Point Music -a joint venture of Euphorbia Productions, Ltd. and Philips Classics Productions; E-mail: Pointmus@aol.com. Manufactured and marketed by PolyGram Classics and Jazz, a division of PolyGram Records, Inc. New York, NY. All rights reserved.
THARP! Production Staff
Linda Greenberg Booking Manager
James Latzel Production Stage Manager
Greg Rowland Lighting Supervisor
Cynthia Argo Project Coordinator
Andrew Vaca Assistant Coordinator
Mary Myers Costume Consultant
Dawn Weisberg Wardrobe Supervisor
Andrew Benepe Studio Tire Construction for 66
Marin Izquierdo Studio Costume Construction for66
Costume Construction for Sweet Fields
Costume Construction for'Heroes
Press Representation -The Zeisler Group
Special thanks to Larry McMurtry, Herbert Muschamp, Norma Stevens, Patsy Tarr, the late Dale Harris, Sidney and Frances Lewis, Vicente Wolf, Maurice and Lois Rosenfield, Abbott Miller, and Sean Kelleher.
Hair Styling provided by John Dellaria Salon, NYC. Travel by Joe Besignano, Empress Travel, NYC.
Sweet Fields opens the program with a deeply moving air of spirituality, employing a col?lection of traditional American choral music. Included in the piece are selections of William Billings' Anthems and Fugueing Tunes of the 18th Century, conducted by Paul Hillier; the shaker spiritual collection Simple Gifts, performed by the Boston Camerata; and the shape note collection Rivers of Delight
The second piece, 66, is a frolicking, kitsch-filled slice of twentieth-century Americana, paying playful homage to the spirit and colorful history of the infamous highway and the adventures of its travelers. Set as a travelogue of choreographic vignettes, Twyla Tharp completes the retro-mod atmosphere with 1950's bachelor pad music.
The program concludes at full crescendo with the emotionally charged epic Heroes. Drawing inspiration from the legendary album by musical icon David Bowie, a dra?matic, symphonic ballet has been created by Philip Glass. Heroes is an awe-inspiring trib?ute to the romance between music and choreography, spinning together in perpetu?al motion.
Since founding her first com?pany in 1965, Twyla Tharp has had a sweeping influence on modern dance. As a dancer, choreographer, and a director, Ms. Tharp has created one of the most prodigious careers in modern dance choreography.
Among the better known and most influ?ential works are Tank Dive, her first piece of choreography; The Fugue, Eight felly Rolls, to the music of Jelly Roll Morton; The Bix Pieces, to the music of Paul Whiteman's Orchestra and Thelonius Monk; Deuce Coupe, her most famous foray into ballet
with the Joffrey Ballet to music by the Beach Boys; Sue's Leg, created in residence at the Walker Art Center in Minneapolis; Push Comes to Shove, originally created for her company but better known as a vehicle for Mikhail Baryshnikov; Baker's Dozen; Nine Sinatra Songs, to the music of Frank Sinatra; and the amazingly theatrical collaboration with Philip Glass, In the Upper Room. She also took modern dance to Broadway in her 1981 collaboration with David Byrne, The Catherine Wheel, and her 1985 staging of Singin' In The Rain which ran for one year at the Gershwin Theater.
Never content with relying only on the frame of a proscenium theater, Ms. Tharp began work in film and video. She strapped an Ampex video recorder to her back as early as 1970, resulting in the most complete documentation of any body of choreographic work in history. In film, Ms. Tharp has collab?orated with film director Milos Foreman on Hair (1978), Ragtime (1980) and Amadeus (1984), with Taylor Hackford on White Nights, and Jim Brooks on I'll Do Anything (1994).
Her television credits include choreo?graphing Sue's Leg for the inaugural episode of PBS' Dance in America, co-producing and directing Making Television Dance which won the Chicago International Film Festival Award; and directing The Catherine Wheel for BBC Television, which was a Broadway col?laboration with David Byrne. Ms. Tharp co-directed the television special Baryshnikov by Tharp which won two Emmy awards as well as the Director's Guild of America Award for Outstanding Directorial Achievement.
In 1988, Ms. Tharp was invited to become Associate Director of American Ballet Theatre by then Artistic Director Mikhail Baryshnikov. During this two-year experiment, Ms. Tharp returned to the studio to develop new work for ABT, dismantling her own company and enfolding some of her dancers into American Ballet Theatre.
In 1991 Ms. Tharp was then invited to become an artist in residence at the Wexner Center at The Ohio State University. Attracting remarkable dancers on a project by project basis, Ms. Tharp's first year in res?idence resulted in four new works: Men's Piece, Grand Pas: Rhythm of the Saints, Octet, and Sextet, all of which were incorporated into her 1992 New York season at City Center. In the summer of 1992 she pro?duced an evening work with her pick-up company and Mr. Baryshnikov called Cutting Up which went on to become one of modern dance's most successful tours, appearing in twenty-eight cities over two months.
During this period of project work, Ms. Tharp has worked with dancers from the Paris Opera Ballet, American Ballet Theatre, New York City Ballet, and her own company. She has continued to be one of the most prolific choreographers in the world, setting Demeter & Persephone on the Martha Graham Company in the fall of 1993, Waterbaby Bagatelles on the Boston Ballet in the spring of 1994, and New Works on her own compa?ny in the fall of 1994 at the Kennedy Center in Washington, D.C. Just this past spring,
Ms. Tharp renewed her relationship with American Ballet Theatre, premiering three new works: Americans We, How Near Heaven, and Jump Start, featuring a commissioned score performed live by Wynton Marsalis and his orchestra.
Ms. Tharp's autobiography, Push Comes to Shove, was published by Bantam Doubleday Dell Publishing Group in 1992, the same year Ms. Tharp was awarded a fellowship from the John D. and Catherine T. MacArthur Foundation.
In Winter 1995-96, prior to beginning work with Tharp!, she created Mr. Worldy Wise, a three-act ballet, for The Royal Ballet in London, and The Elements for American Ballet Theatre.
Philip Glass is one of this nation most prominent composers. A graduate of the University of Chicago at the age of nineteen with dual degrees in mathematics and phi?losophy, he went on to study at The Juilliard School, from which he graduated in 1962, followed by two years of study in Paris with Nadia Boulanger. By 1974 he had composed a large collection of new music written pri?marily for his own performance group, the Philip Glass Ensemble. This period culmi?nated in Music in 12 Parts and the collabora?tion with Robert Wilson, Einstein on the Beach. Glass' output since Einstein has ranged from opera to film scores to symphonic works to string quartets. He has also created a'signifi-cant amount of music for dance, including In the Upper Room for Twyla Tharp, A Descent into the Maelstrom for Molissa Fenley, and compositions for such choreographers as Jerome Robbins, Lucinda Childs, Garth Fagan, Laura Dean, and Lar Lubovitch, among others. Among his recently completed works are The Voyage, commissioned by the Metropolitan Opera, La Belle et La Bete, a chamber opera based on the film by Jean Cocteau; and the 2nd Symphony, commis?sioned by the Brooklyn Philharmonic
Orchestra. Some of his recent works have included two collaborations with Robert Wilson: Monsters ofGrace and White Raven, and Les Enfants Terribles Children of the Game, a new dancetheatre work with choreogra?pher Susan Marshall. Philip Glass was made a Chevalier de l'Ordre des Arts et des Lettres by the French government in 1995 and has been awarded honorary degrees from Brandeis University, The University of the Arts in Philadelphia, and the State University of New York in Buffalo.
Jennifer Tipton (Lighting Designer) is well-known for her work in theater, dance, and opera. She has been awarded two Bessies and an Olivier for lighting dance, her work in that field including pieces choreographed by Twyla Tharp, Mikhail Baryshnikov, Jiri Kylian, Jerome Robbins, Paul Taylor, and Dan Wagoner among many others. Her work in the theater has garnered her a Joseph Jefferson Award, a Kudo, a Dramalogue Award, two American Theater Wing Awards, an Obie, two Drama Desk Awards, and two Tonys. Her designs for opera include Robert Wilson's production of Parsifal at the Houston Grand Opera and Peter Sellars' production of TannhduserTor the Chicago Lyric Opera. In the fall of 1991 she directed a production of The Tempest at the Guthrie Theater. She has been an artis?tic associate with the American Repertory Theater in Cambridge and the Goodman Theater in Chicago. In 1982 she received the Creative Arts Award medal in Dance from Brandeis University, and she held a Guggenheim Fellowship for the 1986-87 sea?son. She received the Commonwealth Award in Dramatic Arts in 1989, and was honored with the 1991 Dance Magazine Award. She has been a recipient of the National Endowment for the Arts Theater Program Distinguished Artist Award and a grant for work with the Wooster Group in the National Theatre Artist Residency Program
funded by the Pew Charitable Trusts. Ms. Tipton also teaches lighting at the Yale School of Drama.
Norma Kamali (Costume Designer) is one of the most successful and well-respected fashion designers in the world. She cata-paulted to fame with her first clothing to be featured on the cover of a magazine -Cosmopolitan, featuring Christie Brinkley in a Kamali swimsuit -which coincided with the launching of her successful swimwear line. Throughout her career, she has established collections globally of women's wear, swimwear, eyewear, fragrance, a home collec?tion of furniture, fabrics, and home fragrance, as well as a cosmetics line, Norma Kamali Beauty, among others. She has designed costumes for Twyla Tharp's In the Upper Room and for the Emerald City in Sydney Lumet's film The Wiz. Her "parachute" designs have been included in the Diana VreelandVanity Fair exhibit and have remained a part of the permanent fashion collection at the Metropolitan Museum of Art. Among her numerous awards are three Coty Awards, the "American Success Award" for vocational technical education (at the Fashion Institute of Technology) presented by President George Bush in the Rose Garden of the White House, the Distinguished Architecture Award from the New York Chapter of the AIA (for the OMO Kamali headquarters in NYC). This year she pre?sented her 1996 Collection as an exibition for the internet, and launched the OMO Norma Kamali Web Page.
Kasia Malicka Maimone (Costume Designer) was awarded an Arts MA in 1988 at Warsaw University. She then specialized in costume and fashion design. Since coming to New York six years ago, she has worked on a vari?ety of theatrical and film projects and con?tinues her fashion line. Among others she designed Donald ByrdThe Group's Bristle
at BAM's Majestic Theatre, Life Stuations: Daydreams in Giselle at the Joyce Theatre, En Garde's J.P. Morgan Saves the Nation, Blondell Cumming's Women in the Dunes At the Japan Society, Jason Kao Hwang's opera Immigrant of the Womb at Dance Theater Workshop, Susan Marshall's Private Worlds and Les Enfants Terribles, a dance opera spectacle by Philip Glass and Susan Marshall. Kasia thanks her extended family Caroline, Myles andJohn.
Shelley Washington Whitman (Ballet Mistress) studied with Twyla Tharp at Wolf Trap Academy, American University in 1973 prior to being invited to join the Twyla Tharp Dance Company in 1975. A graduate of Interlochen Arts Academy, Ms. Washington furthered her training at The Juilliard School before joining the Martha Graham Dance Company in 1974. In 1985 she per?formed in Singin' in the Rain on Broadway and served as Dance Captain for that pro?duction. In 1987 she was honored with a Bessie Award for Outstanding Performer of the Year. From 1988 to 1992, Ms. Washington was a member of American Ballet Theatre as a soloist and Ballet Mistress in association with Twyla Tharp. In 1993 she was the Ballet Mistress for Ms. Tharp's Cutting Up tour starring Ms. Tharp and Mikhail Baryshnikov, and in subsequent seasons for the City Center season of Twyla Tharp and Dancers in New York and the Tharp Dances international tour. Ms. Washington continues to work with Ms. Tharp as a Ballet Mistress, setting ballets on various companies around the world includ?ing Hubbard Street Dance Chicago, the Boston Ballet, the Martha Graham Dance Company, and American Ballet Theatre among others. Ms. Washington recently assisted Ms. Tharp on the creation of her full-length ballet Mr. Worldly Wise for the Royal Ballet in London, and was an integral part of the casting and creation of Tharp!
Todd Anderson (dancer) Born and raised: Ft. Worth, TX. Studied: Jazztapballet from the age of four and on scholarship at the Tremaine Dance Center, Los Angeles. Performed: Musical theater and industrial shows in DallasFt. Worth, Bjork's Oh So Quiet, Samsung and Disney's film Toy Story, and the annual Sho West convention.
Yi Cho (dancer), Born and raised: Kaohsiung, Taiwan. Studied: National Taiwan Academy of Arts, graduated 1992. Performed: Neo?classical Dance Company (Taiwan), Chen and Dancers and Nai-Ni Chen Dance Company (New York).
Jennifer Howard (dancer) Born: Boston, MA. Raised: Andover, MA and Derry, NH. Studied: Boston Ballet School, Ballet Arts with Mimi Ferrell (Completed Royal Academy of Dance exams), St. Paul's School, and The Juilliard School. Performed: Feld BalletsNY.
Roger C. Jeffrey (dancer) Born: New York, NY. Studied: Bernice Johnson Cultural and Arts Center, LaGuardia High School of the Performing Arts in NYC, Juilliard School (BFA 1996). He has taught and choreo?graphed throughout die US and Europe.
Shawn Mahoney (dancer) Born: Waldiam, MA. Raised: Newton and Boston, MA. Studied: Boston Ballet School, American Ballet Theatre, Anna Marie Holmes, ? Fernando Bujones, David Howard and Lupe Serrano. Performed: (with Boston Ballet) Twyla Tharp's Waterbaby Bagatelles, Jiri Kylian's Symphony in D, George Balanchine's The 4 Temperaments and Theme & Variations, Pas de Qualres and Fernando Bujones' Raymonda Act III. (Independently) Twyla Tharp's Choreography Project at the Kennedy Center and her Red, White and Blues at Brooklyn Academy of Music, Suzanne FarrellGeorge Balanchine Project, The Washington Ballet, Sean Curran & Dancers, Grupo DancArt in Brazil.
Gabrielle Malone (dancer) Born: Naples, Italy. Raised: Miami, FL. Studied: Ballet, jazz, and tap from die age of four and at the New World School of the Arts in Miami. Performed: (in Florida) Dale Andree's Mary Street Dance Theater, Gerri Houlihan and Dancers, Gary Lund's Dance Wave. Thanks to Mom and George for all their love and support.
Toshiko OHva (dancer) Born: Saitama, Japan. Studied: Ballet and jazz at K-Broadway (Tokyo), Juilliard School (BFA 1996). Choreographed: Juilliard School, Urban Artworks, and in Japan.
Victor Quijada (dancer) Born: Los Angeles CA. Studied: Los Angeles County High School for the Arts, Rudy Perez. Performed: Perez's CLASSIC KITETAILS, Elizabeth Streb Ringside at MOCA's Temporary Contem?porary (1995), Dance Kaleidescope 1996.
Logan Pachciarz (dancer) Born: Columbus, OH. Raised: Franklin, TN. Studied: Peggy Burke at Vanderbilt University (ballet), Kaylee Scott (modern), Mark Perry (voice), North Carolina School of the Arts. Performed: (with the Nashville Ballet) Coppelia, The 'Nutcracker, Cinderella, Romeo and Juliet.
Matt Rivera (dancer) Born: Los Angeles, CA. Raised: Los Angeles, CA and Costa Rica. Studied: Los Angeles High School for the Arts and on scholarship at die Dupree Dance Academy. Performed: Hubbard Street Dance Chicago, Feld BalletsNY, Ballet Chicago, Ballet Theatre of Chicago, James Kelly Choreography Project.
Andrew Robinson (dancer) Born and raised: Enfield, London, UK. Studied: tap, modern, and jazz, London Contemporary Dance School. Performed: 4D (under die direction of Viola Farber), London Contemporary Dance Theatre (under die
direction of Robert Cohan, Dan Wagoner, and Nancy Duncan), Richard Alston Dance Company, Aletta Collins Dance Company. Choreographed: independently and as Artistic Director of YOUTH, a dance company for young people based at The Place in London.
Julie Stahl (dancer), Born: Trenton, NJ. Raised: Yardley, PA and Titusville, NJ. Studied: Princeton Ballet, School of American Ballet, Academie de Danse Classique de Princess Grace, and Yale University Drama School, Skidmore College (with Elisabeth Carroll and Paul Sanasardo). Performed: Hubbard Street Dance Chicago, Ballet Manhattan, New York City Opera and Feld BalletsNY.
Sandra Stanton (dancer) Born: Oneida, NY. Raised: Verona, NY. Studied: North Carolina School of the Arts (full scholarship -ballet), Juilliard School (BFA 1996) under Benjamin Harkarvy, Hector Zaraspe, Linda Kent, and Jeanne Ruddy. Performed: Major roles over seven seasons in The Nutcracker and Sleeping Beauty, both directed by William Starrett.
Jedediah Wheeler (Producer) is president of International Production Associates, Inc. (IPA), a management and production com?pany he formed in 1982. IPA is dedicated to the work of artists with singular vision including Philip Glass, Twyla Tharp, Diamanda Galas, Elizabeth Streb, Spalding Gray and Sankai Juku. Working closely with presenters throughout North America and Europe as well as England, Brazil, Japan, Hong Kong and Australia, he has produced tours of such works as the musictheater masterpiece: Einstein On The Beach by Robert Wilson and Philip Glass, Monster in a Box and Gray's Anatomy by Spalding Gray, the highly acclaimed opera for ensemble and film: La Belle et la Bete by Philip Glass, 7000 Airplanes on the Roof by Philip Glass, David Henry Hwang, and Jerome Sirlin, Kinkan
Shorten by Ushio Amagatsu, The Knee Plays by Robert Wilson and David Byrne, We Keep Our Victim's Ready by Karen Finley and The Mysteries and What's So Funny by David Gordon with sets by Red Grooms. In 1987, Lincoln Center for the Performing Arts, Inc., invited him to create Serious Fun!, a festival of new performance works. By juxtaposing unconventional programming ideas with Lincoln Center's solid reputation for the mainstream, the festival captured the atten?tion of a new, young audience that has become the benchmark for audience devel?opment initiatives nationwide. The festival won an OBIE Award for Outstanding Achievement in 1993. IPA's current projects include Monsters of Grace by Robert Wilson and Philip Glass, Yuragi by Sankai Juku, Pearls for Pigs by Richard Foreman, Les Enfants Terribles, a dance opera spectacle by Philip Glass and Susan Marshall, Malediction and Prayer by Diamanda Galas, POPAction! by Elizabeth Streb, 2.5 Minute Ride by Lisa Kron and i a Slippery Slope, a new monologue by Spalding Gray. Jedediah Wheeler is a member of the board of directors of the Association of Performing Arts Presenters in Washington, DC and is a graduate of Tulane University in New Orleans, Lousiana.
These performances mark Twyla Tharp 's debut under UMS auspices.
Machteld van Woerden, soprano Marjolein Koetsier, soprano Corrie Pronk, alto Harry van Berne, tenor Kees-Jan de Koning, bass
Sunday Evening, October 27, 1996 at 7:00
St. Francis of Assisi Catholic Church Ann Arbor, Michigan
Sacred Music from the Low Countries Alleluia
Alexander Agricola (1446 1506) LAMENTATIONES IEREMI,E PROHETyE Lectio Prima
Jacquet of Mantua (1483 1559) O VOS OMNES
LAMENTATIONES IEREMIE PrOHETE Lectio Secunda
Jacquet of Mantua
Spem in Alium
LAMENTATIONES IEREMI PROHETyE Lectio Tertia
Jan Pieterszoon Sweelinck (1562 1621) PSALM 47 Or sus tous humains PSALM 114 Quand Israel hors d'Ecypte sortit PSALM 78 Sois ententif, mon peuple PSALM 137 Estans assis aux rives aquatiques PSALM 138 II faut que de tous mes esprits
Daan Manneke (b. 1939)
Psalm 121 Je leve mes yeux
Ton de Leeuw (b. 1929)
Kyrie Gloria Sanctus Benedictus Agnus Dei
CANTO I Jerusalem, my happy home CANTO II Surge, aquilo
Thirteenth Concert of the 118th Season
Divine Expressions Series
Special thanks to Mr. Tom Conlin for his continued support through Conlin Travel.
Large print programs are available upon request.
This program is divided in three periods: early Renaissance, late Rennaisance and music from this century. The soalled "Low Countries" was, in fact, a much larger area than the region that now covers Holland and Belgium. It also covered a large part of France and a small part of Germany. The "franco-flemish" school is not from a geographical or political origin, but was called this because of the unity of style, performed in the above mentioned area.
The early Renaissance section starts with an Alleluia in unison Gregorian Chant, sung by the two men of the ensemble. The Alleluia is followed by a text from the Lamentations ofjermiah 1:12.
O vos omnes, qui transitis per viam, attendile et videte si est dolor sicut dolor meus
All of you, who pass by on your way, stop and see if you have seen any sorrow like my sorrow
This text from the Old Testament is very often used in Passiontide or in times of oppression. After this O vos omnes we sing the first lesson of a three-part setting by Alexander Agricola, a gifted pupil of
Josquin. The male voices get company now from the alto. In the motet O vos omnes, the soprano joins in for the first four-part piece. After the second lesson of the lamentations and Spem in alium, the second piece by Jachet of Mantua, we go back to the dark sound of the third lesson of the lamenta?tions, sung by the lower voices. We end this section with again, the Gregorian Alleluia, this time without O vos omnes.
The second period is represented by Jan Pieterszoon Sweelinck, probably the most important -or at least most influential -Dutch composer in musical history. These five Psalms were composed for chamber music concert purposes, not for church ser?vices. They were written in the flamboyant virtuoso style that was typical for the Low Countries.
After intermission, again a Psalm, but this time from this century, as are all the pieces in this section. The music has its ori?gin in the early polyphonic music of the Middle Ages and Renaissance. After the short mass by Ton de Leeuw, the most important Dutch composer of our time, we perform a piece by Daan Manneke, Due Canti, especially written for Quink. The first of these Canti has two texts, sung at the same time, a typical stylistic form used in the Middle Ages. The second Canto is a very exciting setting of a text from the Song of Solomon.
Program note by Harry van Berne
O vos omnes, qui transitis per viam,
attendite, et videte
si est dolor sicut dolor meus.
All of you, who pass by on your way,
stop and see
if you have seen any sorrow like mine.
Lamentationes Ieremice Prophetce Lectio Prima
Quomodo sedet sola civitas plena populo:
facta est vidua domina gentium:
facta est tribute
Plorans ploravit in nocte
et lacrimae ejus in maxillis ejus:
non est qui consoletur earn
ex omnibus caris ejus:
omnes amici ejus spreverunt earn
et facti sunt ei inimici.
Migravit Judas propter afflictionem
et multitudinem servitutis:
habitavit inter gentes
nee invenit requiem:
omnes persecutores ejus apprehenderunt
earn inter angustias.
convertere ad Dominum Deum tuum
O VOS OMNES
O vos omnes, qui transitis per viam
attendite, et videte,
si est dolor similis dolori meo.
Lamentationes Ieremice Prophetce Lectio Secunda
Viae Sion lugent
eo quod non sint qui veniant ad solemnitatem:
omnes portae ejus destructse:
sacerdotes ejus gementes: virgines ejus
squalidae, et ipsa oppressa est amaritudine.
How lonely sits the city that was full of people: how like a widow has she become: she that was a princess among the cities has become a vassal. Beth
She weeps bitterly in the night, tears on her cheeks: among all her lovers she has none to comfort her: all her friends have dealt treacherously with her, and they have become her enemies. Ghimel
Judah has gone into exile because of affliction and hard servitude: she dwells now among the nations but finds no resting place: her pursuers have all overtaken her in the midst of her distress. Jerusalem, Jerusalem, convert to your Lord God
All of you, who pass by on your way,
stop and see
if you have seen any sorrow like mine.
The roads to Zion mourn
for none come to the appointed feasts:
all her gates are desolate: her priests groan:
her maidens have been dragged away,
and she herself suffers bitterly.
Facti sunt hostes ejust in capite, inimici illius locupletati sunt: quia Dominus locutus est super earn propter multitudunem inquitatum ejus: parvuli ejus ducti sunt in captivitatem, ante faciem tribulantis. Jerusalem, Jerusalem, convertere ad Dominum Deum tuum
Spem in Alium
Spem in alium nunquam habui
praeter in te, Deus Israel,
qui irasceris et propitius eri
et omnia peccata hominum
in tribulatione dimittis.
Domine Deus, Creator caeli et terras,
respice ad humilitatem nostram.
Lamentationes Ieremice Prophetce Lectio Tertia
Et egressus est a filia Sion omnis decor ejus: facti sunt principes ejus velut arietes non invenientes pascua: et abierunt absque fortitudine ante faciem subsequentis. Zain
Recordata est Jerusalem dierum afflictionis suae et praevaricationis, omnium desiderabilium suorum, quae habuerat a diebus antiquis, cum caderat populus ejus in manu hostili, et non esset auxiliator: viderunt earn hostes, et deriserunt sabata ejus. Jerusalem, Jerusalem, convertere ad Dominum Deum tuum
Her foes have become the head,
her enemies prosper,
because the Lord has made her suffer
for the multitude of her transgressions;
her children have gone away,
captives before the foe.
convert to your Lord God
I have never put my hope in any other
but in you, God of Israel,
who will be angry and yet become again gracious
and who forgives all the sins
of suffering man.
Lord God, Creator of Heaven and Earth,
look upon our lowliness.
From the daughter of Zion has departed all her majesty; her princes have become like harts that find no pasture; they fled without strength before the pursuer. lain
Jerusalem remembers in the days of her affliction and bitterness,
all the precious things that were hers from days of old.
When her people fell into the hand of the foe, and there was none to help her, the foe gloated over her, mocking at her downfall. Jerusalem, Jerusalem, convert to your Lord God
Or sus tous humains,
Frappez en vos mains:
Qu'on oye sonner, Qu'on oye etonner,
Le Norn solennel de Dieu Eternel.
C'est le Dieu tres-haut
Que craindre il nous faut,
Le grand Roi qui fait sentir en effet
Sa force au travers de tout l'univers.
All ye people,
clap your hands:
cheer and praise
the holy name of the eternal God.
Because the exalted Lord
we must fear,
The great king, whose power
is felt in all the world.
Quand Israel hors d'Egypte sortit Et la maison de Jacob se partit D'entre le peuple etrange, Juda fut fait la grand' gloire de Dieu, Et Dieu se fit Prince du peuple Hebreu, Prince de grand' louange.
When Israel left Egypt
And the house of Jacob marched from
a foreign nation Juda became the glory of the Loi
And God made himself Prince of the Hebrew peop
Prince of the great Praise.
Sois ententif, mon peuple a ma doctrine, Soit ton oreille entierement encline A bien ouir tous let mots de ma bouche: Car maintenant il faudra que je touche Graves propos, et par moi soient dis Les grands secrets des ...uvres de jadis.
Be obedient, my people, to my doctrine, incline all your ear, to hear well All the words from my mouth: Because now I will broach serious matters and divulge great secrets of olden times.
Estans assis aux rives aquatiques
De Babylon, plorions melancoliques,
Nous souvenons du pals de Sion:
Et au milieu de l'habitation,
Ou de regret tant de pleurs epandimes,
Aux saules verds nos harpes nous pendimes.
By the rivers of Babylon we sat
and wept melancholy.
We remembered the land of Sion:
And in the midst of the abode
Where we shed many tears of sorrow,
In the green willows we hang our harps.
II faut que de tous mes esprits, Ton los et prixj'exalte et prise: Devant les grands me presenter Pour te chanter J'ai fait emprise. En ton saint Temple adorerai, Celebrerai Ta renommee, Pour l'amour de ta grand' bonte Et feaute Tant estimee.
I will praise thee with heart and soul,
in the presence of gods
I will sing thee psalms
I will bow
to Your holy temple
and praise Your Name
for Your loving-kindness
and Your utmost prized fidelity.
Je leve mes yeux sur les montagnes.
D'ou me viendra le secours
Le secours me vient de l'Eternel
Qui a fait les cieux et la terre
l'Eternel te gardera de tout mal
II gardera ton ame
l'Eternel gardera ton depart et ton arrivee,
des maintenants et a jamais.
Que la gloire soit au Pee au Fils au
comme elle etait a l'origine
maintenant et toujours
et pour les siecles des siecles.
I will lift up mine eyes to the hills.
From whence will come my help
My help will come from the Lord
Who has created heaven and earth.
The Lord will protect you from all evil.
He will protect your soul.
The Lord will protect your going out and
your coming in, now and forever.
Glory be to the Father, the Son and the
As it was in the beginning,
is now and ever shall be
from eternity to eternity.
Kyrie eleison Christe eleison Kyrie elesion
Lord, have mercy. Christ, have mercy. Lord, have mercy.
Gloria in excelsis Deo
Et in terra pax hominibus bonae voluntatis
Laudaumus te, Benedicimus te,
Adoramus te, Glorificamus te.
Gratias agimus tibi
propter magnam gloriam tuam,
Domine Deus, Rex caelestis,
Deus, Pater omnipotens,
Domine Fili unigenite.Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris,
qui tollis peccata mundi
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis, quoniam tu solus sanctus,
tu solus Dominus,
tu solus Altissimus, Jesu Christe.
Cum sancto spiritu
in gloria Dei Patris.
Glory to God in the highest,
and peace to his people on earth.
We worship you, praise you,
adore you, glorify you.
We give you thanks
we praise you for your glory,
Lord God, heavenly King,
God, almighty Father,
Only Son of the Lord, Jesus Christ.
Lord God, Lamb of God, Son of the Father,
have mercy on us,
receive our prayer.
who are seated at the right hand of the Father,
have mercy on us,
You alone are the Holy One,
You alone are the Lord,
You alone are the highest, Jesus Christ.
With the Holy Spirit
in the glory of God the Father.
Sanctus, sanctus, sanctus, Domine Deus sabaoth! Pleni sunt caeli et terra gloria tua. Hosanna in excelsis
Benedictus qui venit in nomine Domini Hosanna in excelsis.
Holy, holy, holy,
Lord God of hosts!
The heavens and earth are full of your glory.
Hosanna in the highest
Blessed is he who comes in the name of the Lord. Hossanna in the highest.
Agnus Dei, qui tollis peccata mundi
Agnus Dei, qui tollis peccata mundi
Agnus Dei, qui tollis peccata mundi
dona nobis pacem!
Lamb of god, who takes away the sin of the
world have mercy on us;
Lamb of god, who takes away the sin of the
world have mercy on us;
Lamb of god, who takes away the sin of the
world grant us peace!
Jerusalem, my happy home,
when shall I come to thee
When shall my sorrows have an end
Thy joys when shall I see
Et levavi oculos meos et vidi:
et ecce vir,
et in manu eis funiculus mensorum.
Et dixi: "Quo tu vadis"
O happy harbour of the saints,
O sweet and plasant soil!
In thee no sorrow may be found,
no grief, no care, no toil!
Et dixit ad me:
"Ut metiar Jerusalem et videam,
quanta sit latitudo eius
et quanta longitudo eius."
solovoice (at the same time)
And I lifted up my eyes and looked,
and saw there was a man,
and in his hand a measuring cord.
And I said: "Where are you going"
And he said to me: To measure Jerusalem, to see how broad and how long she is."
There lust and lucre cannot dwell,
there envy bears no sway;
There is no hunger, heat nor cold,
but pleasure every day.
Et ecce angelus, qui loquebatur in me,
egrediebatur, et angelus alius
egrediebatur in occursum eius:
et dixit ad eum:
"Curre, loquere ad puerum istum dicens:"
Thy walls are made of precious stones;
Thy bulwarks diamonds square;
thy gates are of rich orient pearl,
exceeding rich and rare. solostem
Absque muris habitabitur Jerusalem prae multitudine hominum et iumentorum in medio eius. Et ergo ei, ait Dominus, murus ignis in circuitu et in gloria ero in medio eius.
Thy houses are of ivory;
Thy windows crystal clear;
they tiles are made of beaten gold;
O God that I were there!
And see, the angel spoke with me,
went, and another one came
to meet him:
and he said to him:
"Walk, speak to this young man, saying:'
Jerusalem will be inhabited like a village,
because of the multitude of people
and animals in her midst.
And I will be for her, saith the Lord,
because I have scattered you to the
four winds of heaven, thus saith the Lord.
Surge, aquilo, et veni, auster; perfla hortum meum, et fluant aromata illius.
Veniat dilectus meus in hortum suum
et comedat fructus eius optimos.
Veni in hotum meum, soror mea sponsa;
messui myrrham meam cum aromatibus meis,
comedi favum cum melle,
bib vinum cum lacto meo.
Comedite, amici, et bibite
et inebriamini, carissimi.
Ego dormio, et cor meum vigilat.
Surge, arnica mea,
columba mea, formosa mea, et veni.
...lustrans universa in circuitu pergit spiritus et in drcilos suos revertitur.
Awake, O north wind,
and come, thou south,
blow upon my garden,
that the spices thereof may flow out.
Let my beloved come into my garden,
and eat his pleasant fruits.
I am come into my garden, my sister, my spouse;
I have gathered my myrrh with my spice,
I have eaten my honeycomb with my honey,
I have drunk my wine with my milk.
Eat, O friends, and drink, drink ye,
drink abundantly, O beloved.
I sleep, but my heart waketh.
Awake, my friend,
my dove, my beauty, and come away.
...overlooking the whole, the wind progresses turning round and returns on its circular count
After a successful debut in the 1978 Holland Festival, Quink quickly emerged as a unique professional ensemble. This remarkable group of five young
singers has developed a special style and established a reputation for captivating its audiences with expressive programs of varied repertoire.
The five singers, who are also active as soloists, find themselves at home in many areas of the a cappella repertoire, performing music from different periods in authentic style. Their repertoire consists of madrigals from the Renaissance and Baroque, Lieder from the late German Romantic period,
chansons from the Impressionist period of France, and contemporary twentieth-century music. The ensemble actively seeks out new works and commissions to add to the repertoire and often closes programs with a selection of lighter arrangements in close harmony.
As a finalist in the national competition in The Netherlands, Quink was invited to concertize in England with the Kings' Singers, the Hilliard Ensemble, and the Deller Consort. The ensemble is often heard on radio and has appeared on various Dutch and German television shows. The group is regularly invited to international music festi?vals such as the Holland Festival, the Stour Festival in England, and the Hitzacker and Landshut Festivals in Germany. In August 1992, Quink performed at the Europaische
Kirchenmusik in Schwabisch Gmund, near Stuttgart, and made its Italian debut in the spring of 1987 in a national tour.
Quink has recorded on the Etcetera and CBS labels, and released a compact disc of songs by Ralph Vaughn-Williams and Gerald Finzi on the Fidelio label. The New York Times praised Quink's collection of Benjamin Britten works, saying it "reveals a purity of tone reminiscent of Renaissance madrigals." Of their rendition of William Byrd's Mass for Four Voices, Gramophone magazine said, 'Their performance is astonishingly live because they have a superb range of vocal color -varying their tonal tension, their vibrato, their articulation, and so on -and avoid any temptation to exaggerate Byrd's often playful rhythms." Quink's most recent compact discs, on Telarc International, include collections of Italian Renaissance and English madrigals, an offering of Christmas carols, and a CD of international folk songs. Future plans include a recording of French madrigals.
Quink's first US tour in 1985 was so artis?tically successful that the group now returns here twice each season. Tours have included residencies at Dartmouth and the University of Massachusetts at Amherst, and concerts throughout New England. Quink was invited as special guest at the Iowa Choral Directors' Convention and gave its New York debut at Merkin Hall in 1988. In February 1991, the ensemble performed at The Cloisters in New York; during the 1991-92 season, Quink toured the Northeast, including a perfor?mance in Canada. The 1992-93 tours saw recitals across the US and a return visit to The Cloisters. In 1993-94 they performed in the South on a fall tour and in the Midwest and Upper Midwest in the spring. Quink returned during 1994-95 for performances across the US, including the Midwest, Southern states, and Alaska.
Tonight's performance marks Quink's debut under UMS auspices.
Machteld van Woerden, soprano, completed studies as a theologist before beginning her vocal training at the Sweelinck Conservatory in Amsterdam. She studied with Professor Erna Spoorenberg, and graduated with a solo degree in 1984. Machteld is a founding member of Quink and has made many foreign tours with the ensemble. She is a member of the Dutch Radio Choir and, as a soloist, has performed with such conductors as Henry Lewis, Edo de Waart, Mauricio Kagel, Reinbert de Leeuw and Kennedi Montgomery. An experienced Lieder recitalist, she performs regularly in concerts and oratorios. She has participated in masterclasses with Alfred Deller and Udo Reinemann, and at present is coached by Margreet Honig in Amsterdam.
Marjolein Koetsier, soprano, undertook her studies in Groningen and finished in Amsterdam with Professor Cora Canne Meyer at the Sweelinck Conservatory. She received her opera training in Amsterdam as well, and performed in several opera and
musical productions. A regular member of the Dutch Radio Choir, Marjolein has per?formed as a soloist with conductors such as Henry Lewis, Gaeano Delogu, Zoltan Pesko, and Frans Bruggen. A member of Quink since 1989, she is also an active recitalist and soloist in concerts, opera, and oratorio per?formances. During masterclasses, she stud?ied with Robert Holl, Gerard Souzay, and Tom Krause; her current coaches are Margreet Honig in Amsterdam and the bari?tone William Murray, who is now a voice instructor at the University of Houston.
Corrie Pronk, alto, studied at the Sweelinck Conservatory in Amsterdam with Professor Erna Spoorenberg, graduating in 1985 with her solo degree. She often appears on radio and television and is a successful soloist both in The Netherlands and abroad. In Holland, she has concertized with the Radio Chamber Orchestra, the Limburg Symphony Orchestra, and the Orchestra of Brabant with such conductors as Hans Vbnk and Ed Spanjaard. Several of her perfor?mances have been recorded for compact disc production. In addition to Quink, Corrie is a member of the Radio Choir of the national broadcasting company; she per?forms on a freelance basis with the Netherlands Chamber Choir, La Chapelle Royale in France, and the Collegium Vocale in Belgium. Corrie was a finalist in the 1990 Elly Ameling Competition, and as a result was offered several solo recitals, including a recital in the famous Concertgebouw in Amsterdam.
Harry van Berne, tenor, studied as a cellist and a singer with Professor Erna Spoorenberg at Amsterdam's Sweelinck Conservatory and graduated in 1985. He is much in demand as a soloist in operas, con?certs, and oratorio performances and has been invited to perform in Western Europe, the United States, the Middle East, and
Japan. Harry gives frequent recitals accom?panied by piano, lute, or guitar, and is also active as an ensemble singer. From 1985 until 1990, he was a regular member of the Netherlands Chamber Choir and presently performs with this group on a freelance basis. In addition to Quink, Harry is also a member of the Gesualdo Consort Amsterdam and the Huelgas Ensemble from Belgium. His vast repertoire stretches from the Middle Ages, Early Renaissance, and Baroque through the Classic and Romantic era and includes music from this century, some of which was specially written for and dedicated to him. He has worked with many well-known conductors and orchestras, including Rene Jacobs, Ton Koopman, Michael Schneider, The Amsterdam Baroque Orchestra, and La Stagione Frankfurt. As a soloist and member of the above ensembles, Harry has made numer?ous recordings. His present coaches are Margreet Honig in Amsterdam and Anthony Rolfe Johnson in London.
Kees-Jan de Koning, bass, studied the recorder in Utrecht before entering the Royal Conservatory in The Hague as a singer. He began his studies with Peter Kooy, finishing with Herman Woltman. Since 1992, he has been a regular part-time mem?ber of the Netherlands Chamber Choir. In addition to his work with Quink, he is con?nected with several important European ensembles, including Ensemble Vocal Europeenne (France), Camerata Trajectina (Netherlands), Huelgas Ensemble (Belgium), and Concerto Palatino (Italy). A sought-after soloist for opera and oratorio performances, he has performed with Ton Koopman, Frans Bruggen, Michael Schneider, Philippe Herreweghe, and Gustav Leonhardt. As a soloist and ensemble member, he has made several compact disc recordings; since 1992, he has taught voice at the Royal Conservatory in The Hague.
State Symphony of Russia
Yevgeny Svetlanov, conductor
Tuesday Evening, October 29, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Symphony No. 9 in D Major
Im Tempo eines gemachlichen Landlers
Symphony No. 9 in D major
Born November 4, 1860 in Kalischt, Bohemia
Died May 18, 1911 in Vienna
In speaking of Mahler's symphonies, allusion often is made to three symphonic trilogies. The first trilogy, consisting of sym?phonies Nos. 1, 2 and 3, is expressive of the composer's high metaphysical aspirations. These works were followed, almost as an afterthought, by the highly idyllic Symphony No. 4 in which we get a view of heaven from a child's perspective. The Fourth Symphony, along with Nos. 2 and 3, can be said to be part of a different trilogy the "Wunderhorn" Symphonies employing thematic material and even incorporating complete songs from the composer's own song cycle Des Knaben Wunderhorn as one of their movements, just as No. 1 is diematically derived from Mahler's Lieder eines fahrenden GeseUen (Songs of a Wayfarer). The next trilogy comprises the Fifth, Sixth and Seventh Symphonies-all three being purely orchestral in their conception; these are works expressing humanistic realism, often tinged widi pes?simism, with an "Artist as Hero" coping with life's tribulations clearly at the center of die proceedings. Not belonging to a trilogy, the Eighdi Symphony is something of a rare work in that within it Mahler continues his stylistic development as a symphonist while reverting to the use of vocal forces as in his early symphonies; a spiritually-affirming work, it consists of only two large movements, employing as texts the religious medieval poem Veni, Creator spiritus and the closing scene of Goethe's Faust, respectively. Throughout this work, massive choruses and an octet of soloists are employed, supported by a gigantic orchestra, and earning for itself the appellative of "Symphony of a Thousand."
Mahler's last symphonic trilogy, often referred to as the "Farewell" trilogy, is made
up of Das Lied von der Erde (The Song of the Earth), Symphony No. 9 and the incompleted, but full-length draft of the five-movement Symphony No. 10; this trilogy is marked by its concern over death. Written between 1908 and 1909, the six-movement Das Lied von der Erde evokes the shadow of death through seven Chinese poems translated into German by Hans Bethge in a collection called Die chinesische Flote. After die massive forces of the Eighth Symphony, Das Lied was conceived in the opposite direction, as transparent orchestrations and a markedly intimate mood make it perhaps Mahler's most personal work. If Das Lied speaks of death in poetic terms, the Ninth Symphony is fully expressive of die despair felt upon die confrontation with death. The Tenth Symphony also clearly depicts die terrified "Hero" bitterly facing and preparing for deadi; at the end, however, there is a calm acceptance of death's final inevitability. It is not at all incomprehensible that Mahler should have been so preoccupied widi death in his creative efforts at the time. In 1907 his eldest daughter died from scarlet fever at the age of five; that same year, the doctors discovered diat Mahler suffered from a serious heart condition which even?tually led to his demise four years later. As oncoming deadi became an obsession, Mahler was nonedieless determined to fully express his feelings on the matter through his music, for which he needed to complete one last trilogy in the process. Knowing diat Beethoven, Schubert and Bruckner had died shordy after completing their respective Ninth Symphonies, Mahler felt a great deal of trepidation in writing a Ninth Symphony himself. (It is interesting to note that Antonin Dvorak and, later in this century, Ralph Vaughan Williams, also died with only nine symphonies to dieir name.) Superstitious sentiments got the upper hand, and Mahler tried to confuse die issue widi death by following his Eighth
Symphony with the un-numbered Das Lied von derErde, giving it its title and describing his creation simply as a "Symphony for Contralto (or Baritone), Tenor and Orchestra." After this work was completed he then went on to finish the symphony he called his Ninth. Death, however, was not to be deceived; just as his song cycle Kinderlotenlieder (Songs on the Death of Children) presaged the demise of his daughter three years after its composition, so did the Ninth Symphony foretell of the composer's parting from the world. Mahler died in 1911, unable to finish his Tenth Symphony, which would have rounded out his trilogy of death-haunted works, and with?out ever having the pleasure of hearing a performance of any of its components. (It should be noted that Mahler did manage to complete the Adagio movement, and was able to sufficiently sketch out the remaining movements, making it possible for English musicologist Deryck Cooke to complete a performing version of the work; this effort was fully endorsed and approved by Alma Mahler, the composer's widow.)
Having originated from a long tradition with its roots in Beethoven, evolving through Brahms and Bruckner, with the marked influences of Wagner and Strauss, Mahler's symphonies mark the culmination of the form within the Austro-Germanic Romantic school of composition. Mahler's Ninth Symphony, in addition to being his last com?plete work, in a sense can also be said to be the last symphony of its time and stylistic approach. Mahler's procedures of composi?tion paved the way for the Second Viennese School; by the time of the Ninth Symphony, not only was tonality subjected to frequent break-downs, but the composer relied heavily on motivic elaboration by means of variation, symmetrical reflection, contrast, permutation, interlacing and correlation -all principles that would become part of the technical apparatus of Schoenberg, Berg, Webern and
their followers, within their twelve-tone compositional methods. In this symphony the main motif becomes the interval of descending seconds (sometimes in the major, more often in the minor) associated with the idea of a melancholic farewell; this interval is present in all the thematic material throughout the work.
Evoking the composer's thoughts on the evanescence of earthly life, the Ninth Symphony is filled with inexorable sadness and weariness, and expresses the dramatic inner turmoil and conflicts of an artist rest?lessly searching for peace and tranquillity; agonized despair, a thirst and deep love for life and, ultimately, resignation are all imprinted in the work's psychological portrait Deryck Cooke described this emotionally charged work in the following words: "The Ninth Symphony marks Mahler's further?most descent into the hell of emptiness that confronted him when he received the death-sentence from his doctor and found his hard-sought faith too insecure to exorcise the spectre of a swiftly approaching prema?ture extinction--This work is in truth, Mahler's dark night of the soul, and it is all the more moving in that there is no easy yielding to despair; through all die horror and hopelessness shine's Mahler's unquenchable belief in life."
The first movement is based on a modi?fied sonata form and is marked "Andante comodo." After a five measure introduction which exhibits a sense of somber foreboding and mystery, the second violins introduce the main theme, one which is loosely based on Johann Strauss, Jr. 's waltz Freut euch des Lebens (Enjoy Life); through melodic alter?ation, the theme acquires a bittersweet tone, removed from Strauss' original conception, emphasizing Mahler's thirst for life. Later on a more passionate and intense theme is presented in an expression of agony, stressed by piercing brass chords. Through constant variation, the two themes are devel-
oped, often intertwined with themselves and with a number of other small motivic cells. Most prominent among these motifs, is a falling cadential figure which recalls the closing words of Das lied von der Erde, "Exuig, eurig" (Forever, forever); this motif, actually derived from Beethoven's "Farewell" Piano Sonata, is employed usually at the end of phrases, but often enough at the start of a phrase, as if to say that the end is certain from the very beginning.
The second movement, marked "Im Tempo eines Gemachlichen Landlers," comes in the form of a scherzo, based at first on the Austrian peasant dance, the handler. Mahler's "dance" music, however, acquires a suggestion of mockery, as if scorning earthly pleasures. The march rhythms that perme?ate the early symphonies are vastly in evi?dence here, and a tragic overtone sounds through the feigned and empty happiness. The seeming cheerfulness of the opening ascending motif is constantly negated by the ever present descending-second motif associ?ated with leave-taking. The handler suddenly gives way to a Waltz section with macabre undertones. From here on the Ldndler and the Waltz are alternated several times, in each case, one borrowing motivic material from the other, as the themes undergo con?stant variation, often modifying the unifying descending-second motif by augmentation to a ninth interval.
The next movement, a Rondo-Burleske bearing the tempo marking of "Allegro assai," is a tour deforce of polyphonic writing. In addition to being built upon a rondo structure, this movement once again may be characterized as another diabolic Scherzo; here the composer seems to take a backward glance at a life full of activity with a sense of mockery and irony. In agitato fashion, numerous motivic components are thrust precipitatedly against each other in the main recurring section. This is followed by a quieter episode which is thematically related
to the opening of the movement. Variants of these two sections are heard before a clash of cymbals and long fortissimo brass chords usher in a more sedate, but no less passionate, intermezzo, which is nonetheless subjected now and then to noisy reminders of what has preceded. An extended return to the agitated main section, which keeps building in momentum and speed, brings the movement to a shattering conclusion.
The last movement is one of Mahler's most sublimely beautiful, an "Adagio" in which a single, slowly-unfolding theme is carried through twelve long-drawn varia?tions. The mood now wavers between anguish, provoked by a deep love of life, and resignation on the face of death. In the end, in the last pianississimo statement of the theme by strings alone, acceptance of the inevitable fate of all earthly creatures pre?dominates; quoting the German musicolo?gist Paul Becker, "The melody is placid, yet wrought with the highest intensity of feeling. It is no song of mourning, but a noble affir?mation, the unfolding of of a final vision."
Mahler's Ninth Symphony received its world premiere performance posthumously in Vienna when Bruno Walter, the composer's protege and champion of his music, conducted the Vienna Philharmonic on June 26, 1912.
Program note by Edgar Colon-Hernandez
""B he internationally ? acclaimed State Symphony of Russia (for?merly called the Moscow State Symphony) returns in 1996 for its ninth H_ North American tour. The orchestra, led by Yevgeny Svedanov and comprised of Russia's top symphonic instru?mentalists, has made an invaluable contribu?tion to the art of symphonic music in Russia. The State Symphony of Russia has per-
formed in the world's most prestigious venues, including the Musikverein (Vienna), Royal Albert Hall (London), Salle Pleyel (Paris), Kennedy Center (Washington DC), Lincoln Center (New York), and Carnegie Hall (New York).
The orchestra' first performance took place in the Grand Hall of the Moscow Conservatory on October of 1936 and its first tour within Russia took place a few month later. Throughout its history, the State Symphony of Russia has collaborated with many of the world's greatest conductors and soloists. The orchestra itself has had four renowned Music Directors: Alexander Guak, Nathan Rachlin, Konstantin Ivanov, and Yevgeny Svetlanov. Maestro Svetlanov, one of Russia's most versatile and respected musical figures who has largely been respon?sible for the orchestra's ascension into the ranks of the world's finest symphony orches?tras, has served as the orchestra's Music Director and Chief Conductor since 1965.
Russian music has always been an inte?gral part of the orchestra's repertoire. The works of many of the great Russian com?posers, including Tchaikovsky, Prokofiev, Khachaturian, Kabalevsky, Shostakovich, Gliere and Ashrafi, were performed with the orchestra under the batons of their com?posers. Shostakovich, Khrennikov, Babadjanyan, and Shchedrin performed their own concertos at the piano with the State Symphony. Yevgeny Svetlanov first appeared with the orchestra as a guest artist, conducting his own composition, Siberian Fantasy.
The State Symphony gives more than 100 concerts a year, about ten of which are annual subscription concerts of the Moscow Philhar?monic Society, held in Tchaikovsky Hall, the most prestigious hall in Moscow. The larger part of the concert season, however, is spent by the orchestra on foreign tours.
The State Symphony embarked in its first foreign tour in 1957, becoming the first
Soviet symphonic ensemble to be heard abroad. The orchestra made its first North American tour in 1960, including perfor?mances in Washington DC, Chicago, Cleveland, Baltimore, and Philadelphia, concluding with a spectacular concert before an audience of 16,000 in New York's Madison Square Garden. More recently, the orchestra completed a critically acclaimed twenty-four-concert tour of North America in 1991, which included performance in Miami, Tampa, Los Angeles, San Francisco, Chicago, Philadelphia, Boston, New York at Avery Fisher Hall and Washington DC at the Kennedy Center. In 1992, the State Symphony of Russia toured France, Japan, Germany, Austria, South Korea, the Netherlands, and Luxembourg. The orches?tra has also toured Poland, Romania, the People's Republic of China, Czechoslovakia, Hungary, former Yugoslavia, Belgium, Greece, Spain, France, Great Britain, Australia, New Zealand and South America. The orchestra returned to the United States in 1994 for an outstanding month-long tour which included performances throughout Florida along with return engagements in San Francisco, Chicago, and two perfor?mances in New York's Avery Fischer Hall. This fall the orchestra makes its ninth tour of the United States. The State Symphony is a frequent participant of leading music festivals all over the world such as the Edinburgh Festival, the Athens Music Festival, and Florentine May Festival. The orchestra's concerts have been attended by members of royal families, heads of state, and government leaders of different countries.
For their recordings on die Melodia label, the orchestra has received such coveted honors as a Grad Prix du Disque and an Edison Prize. In 1989, Yevgeny Svetlanov and the orchestra concluded a creative endeavor unique in its historical and cultural value. In the course of almost twenty-five years, they recorded an Anthology of Russian Music.
For this project, all symphonic pieces by all Russian composers have been recorded on more than 100 compact discs.
Tonight's performance marks the sixth appearance of the State Symphony of Russia (formerly the Moscow Slate Symphony) under UMS auspices. Their debut performance was made under Maxim Shostakovich's direction in 1969.
Y evgeny Svetlanov, one of Russia's most versatile and respected musical figures, is known to music lovers throughout the world for his formidable talents as a conductor, composer, and pianist. In 1954, Svetlanov made his first appearance with the State Symphony, con?ducting a performance of his own work, Siberian Fantasy. That same year, he won a coveted position as Conductor of the Bolshoi Theatre. He spent ten years at the Bolshoi, serving as its Chief Conductor from 1963 until 1965. In 1965, he became the Musical Director and Principal Conductor of the State Symphony of Russia (then called the Moscow State Symphony). Under his leadership, it has joined the ranks of the world's most respected symphony orchestras.
In addition to his extensive performing and recording schedule with the State Symphony of Russia, Svetlanov appears fre?quently as guest conductor with the world's leading orchestras, including the London Symphony Orchestra, the London Philharmonic Orchestra, and orchestras in Poland, Bulgaria, Czechoslovakia, Korea, Austria, Belgium, Holland, Spain, Norway, Germany, France, Italy, Finland, and Sweden.
One of Svetlanov's goals, since the time of his early musical training, has been to preserve and enhance the tradition of Russian symphonic music. Part of his real-
ization of this goal has been the ongoing project of recording the Anthology of Russian Music at the Melodia Studios. By 1986, he had recorded all the symphonic works by Glinka, Balakirev, Dargomyzhsky, Borodin, Rimsky-Korsakov, Liadov, Liapunov, Tchaikovsky, Arensky, Rachmaninoff and Scriabin, and die project continues. Svedanov has also recorded some of his own works; a gifted composer, he has written large-scale symphonic works, instrumental chamber music and vocal pieces, as well as works for piano, violin, cello, clarinet and viola.
The son of members of the Bolshoi Theatre company, Yevgeny Svetlanov sang in the chorus as a boy. He studied the piano and composition at the Gnessin Music College and, subsequently, at the Gnessin Musical-Pedagogic Institute; upon graduation,
Svetlanov entered the Moscow Conservatory for further studies in conducting and com?position.
A respected scholar, Svedanov has written numerous newspaper and magazine articles on the subject of music. His life and work have been the subject of a film Dirizhor (The Conductor).
Yevgeny Svetlanov has appeared four limes under UMS auspices, first conducting the Moscow Philharmonic Orchestra in 1965. Tonight's performance marks his fifth appearance.
State Symphony of Russia
Yevgeny Svetlanov, Artistic Director and Chief Conductor
Igor Golovchin, Conductor
Violin I Valery Zvonov,
Concert Master Nison Kravets Ilya Markovitch Valeria Kapitonova David Khanivetsky Yevgeny Levin Alexander Grisevitch Armcn Mardjanian Mikhail Sigal Vladimir Agilin Igor Vasiliev Igor Zaborov Arkady Spector Peter Lavrishev Alexander Shvainstein Wiri Maiboroda Nina Sibor
Ixv Sergeyev, Principal Alexander Musayelian Margarita Grossman Alexander Gorbachev Natalia Yermakova Irina Sharinova Alexander Slutsky Vasily Kutcheriavenko Yuri Styembolsky Leonid Sergeyev Igor Morev Grigory Levontin Yevgeny Brezanovsky Elena Lubimova Lidia Sergeyeva
Georgy Kapitonov, Principal Valery Prozorov Svedana Toporova Vladimir Toporov Zoya Kruchkova Irina Minayeva Alexander Izotov Leonid Bogatkov Stanislav Poniatovsky I-arisa Lavrisheva Danila Galochkin Jaroslav Kargin Kirill Komonov
Mark Flidcrman Georgy Ivanov Yevgeny Ivanov Svetlana Zhuk Oleg Stepanov Dmitry Surikov Arkady Budanitsky Boris Ostrin Georgy Makshantsev Jakov Restakian Oleg Sozinov Andrei Davidovsky
Contrabass Rifat Komachkov Mikhail Kekshoyev Andrei Jatsinitch Andrei Stepin Gennady Borisov Andrei Mesherinov Nikolay Poliansky Rustem Shagimardanov Alexey Sinev Ilya Komachkov
Valery Riabchenko, Soloist Oleg Sergeyev, Second Soloist Anton Korolev Igor Kornev
Anatoly Lubimov, Soloist Vladimir Nabatov,
Second Soloist Vladimir Lomov
Iran Olenchik, Soloist Yuri Baby, Second Soloist Alexander Kharlamov
Bass Clarinet Alexei Nabalov
Mikhail Bochov, Soloist
Second Soloist Yevgeny Evstafiev
Contrabasson Nikolai Guskov
Alexander Yermakov, Soloist Andrei Kuznetsov,
Second Soloist Alexander Kosnitsky Vasily Ivkov Vladimir Slabchuk Boris Kharchenko
Vladimir Zykov, Soloist
Yuri Vlasenko, Second Soloist
Mm ,11 Mukhitdinov
Vladimir Shkolnik, Soloist Igor Bogolepov, Second Soloist Vladimir Fedorinov
Bass Trombone Dmitry Piguzov
Timpani Valentin Snegiryev
Boris Stepanov Alia Mamyko Dmitry Shalimov Georgy Petrunin
Nadezhda Tolstaya, Soloist
Deputy Director Pavel Totopygin
Stage Manager Viktor Kochetkov
Librarian Larisa Abelian
Wardrobe Mistress Lidia Sedrakian
SheldonConnealy Division Columbia Artists R. Douglas Sheldon Mary Jo Connealy Mark Maluso Lee-Ann Pinder
Karen Kloster Ann Woodruff Maria Keith Bernard Muller Renee O'Banks Marina Ouchakova Edgar Colon-Hernandez Michael Cooney Kim Williams
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 the 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 Youth 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 the 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
OLUNTEERS AND INTERNS j" "Tblunteers are always welcome and needed to assist the UMS staff with
V many projects and events during the concert season. Projects include helping with mailings; ushering for the Performance Related Lclucational Presentations (PREPs); staffing the Information Table in the lobbies of concert rails; distributing publicity materials; assisting Ivith the Youth Program by compiling educa-lonal materials for teachers, greeting and scorting students to seats at performances; nd serving as good-will representatives for JMS as a whole.
If you would like to become part of the Jniversity Musical Society volunteer corps, lease call 313.936.6837 or pick up a volunteer pplication form from the Information Table n the lobby.
Internships with the University Musical ociety provide experience in performing arts nanagement, marketing, journalism, publicity, iromotion, production and arts education, emesterand year-long internships are avail-ble in many aspects of the University Musical (ociety's operations. For more information, (lease call 313.647.4020 (Marketing nternships) or 313.647.1173 (Production nternships).
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
DINING EXPERIENCES TO SAVOR: THE THIRD ANNUAL "DELICIOUS EXPERIENCES"
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 directly 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 Bolieme Dinner 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 Chambe
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
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
UMS CORPORATE SPONSORSHIPS
Corporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-mance mentions, tickets, backstage passes and the opportunity to host receptions. Whether increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current goals, sponsorship of UMS provides visibility to our loyal patrons and beyond. Call 313.647.1176 for more information about the UMS Corporate Sponsor Program.
ADVERTISING WITH UMS
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.
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.
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 xrant 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.
Great performances--the best in music, theater and dance--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of August 15, 1996. If there 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)
William R. Kinney (deceased)
Dr. Eva Mueller
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Marie Schlesinger (deceased)
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin Elizabeth E. Kennedy Randall and Mary Pittman John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ron and Eileen Weiser
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPEincThe Paideia Foundation
Mainstreet Ventures, Inc.
McKinley Associates, Inc.
NBD Ann Arbor
Wolverine Temporaries, Inc.
The Grayling Fund
Michigan Council for Arts and
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 Isabelle 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 McGeoch 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. Charla Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans John and Esther Floyd Thomas and Shirley Kauper Rebecca McGowan and Michael Staeblw 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
Benard L. Maas Foundation
'rofessor and Mrs.
Gardner Ackley Dr. and Mrs. Robert G. Aldrich Robert and Martha Ause ames R. Baker, Jr., M.D.
and Lisa Baker . J. and Anne Bartoletto Iradford 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 UtiliaJ. Byrd David and Pat Clyde [.eon and Heidi Cohan Roland J. Cole and
Elsa Kircher Cole Dennis Dahlmann Robert and
Janice DiRomualdo Jack and Alice Dobson Jan and Gil Dorer Cheri and Dr. Stewart Epstein David and JoAnna 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 Gottiieb and
Vivian Sosna Gottlieb Dr. and Mrs. William A. Grade Rmh B. and
Edward M. Gramlich Linda and Richard Greene Seymour D. Greenstone Walter and Diannc Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog lulian and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and Joan F. Howe )hn and Patricia Huntington Keki and Alice Irani Mercy and Stephen Kasle Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kinncar 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 Niehoff Bill and Marguerite Oliver Mark and Susan Orringer Mr. and Mrs. David W. Osier Mr. and Mrs.
William B. Palmer 1 )oi v .t[i 1 )ihn I). Paul John M. Paulson Maxinc and
Wilbur K. Pierpont Professor and Mrs.
Raymond Rcilly Clenda Renwick Prudence and
Amnon Rosenthal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumelhart Richard and Norma Sarns Rosalie and David Schouenfeld Janet and Mike Shatusky Cynthia J. Sorensen Gerard H. and
Colleen Spencer Dr. Hildreth H. Spencer Mr. and Mrs.
John C. Stegeman Victor and Marlene Stoeffler Dr. and Mrs.
Jeoffrey K. Stross Dr. and Mrs.
E. Thurston Thieme Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
1 .11 u .1 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 Bartlett Mrs. M. 11 ill.i 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 Kcnnedi DeWoskin Elizabeth A. Doman Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Ken, Penny and Matt Fischer Phyllis W. Foster Dr. William and Beatrice Fox David J. Fugcnschuh and
Bcverley and Gcrson Gcltncr Elmer G. Gilbert and
Lois 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 Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Mary Jean and Graham Hovey Che C. and Teresa Huang Gretchen andjohnJackson Robert L. and
Beatrice H. Kahn Herb Katz
Richard and Sylvia Kaufman Richard and Pat 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. CarlJ. Lutkchaus Robert and Pearson Macek John and Cheryl MacKrell Mark Mahlberg Alan and Carla Mandel Ken Marblestone and
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 Prescott Tom and Mary Princing Jerry and Mill,ml Pryor Mrs. Gardner C. Quarton Jim and Bonnie Reece Mr. Donald H. Regan and Ms. Elizabeth Axelson Dr. and Mrs.
Rudolph E. Rcichert Maria and Rusty Restuccia Jack and Margaret Rickctts James and June Root Mrs. Doris E. Rowan
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
The Power Foundation Shiffman Foundation Trust
Dr. and Mrs. Gerald Abrams
Mr. Greg T. Alf
Dr. and Mr. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlene and Henry Appelman
Sharon and Charles Babcock
Essel and Mcnakka Bailey
Lesli and Christopher Ballard
Paulett and Peter Banks
M. A. Baranowski
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barnett
Dr. and Mrs. Mason Barr.Jr.
Astrid B. Beck and
David Noel Freedman
Neal Bedford and
Gerlinda Mclchiori Harry and Betty Benford Ruth Ann and Stuart J. Bergstein Ron and Mimi Bogda&arian 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 Jeannetle 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.JamesF. 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 Gershowitz 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 Hulsird Dagny and Donald Harris Susan K. Harris Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershenson Herb and Dee Hildebrandt Joanne and Charles Hocking ClaudctteJ. Stern and
Michael Hogan John H. and
Maurita Peterson Holland
Drs. Linda Samuelson and
Joel Howell Mrs. V. C. Hubbs Ronald R. and
Gaye H. Humphrey Mrs. Hazel Hunsche George and Katharine Hunt Wallie and Janet Jeffries Ellen C.Johnson Susan and Stevo Julius Mary B. 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 Lighthammer Leslie and Susan Loomans Edward and Barbara Lynn Donald and Doni Lystra Frederick C. and
Pamela J. MacKintosh 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 I tr.iiiii.i Relyea and
Piotr Michalowski James N. Morgan Sally and Charles Moss Dr. Eva L. Mueller Barry Nemon and
Barbara Stark-Nemon MartinNeuliep 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. Schmitter.Jr. Edward and Jane Schulak John Schultz Art and Mary Schuman Joseph and Patricia Setlimi Roger Sheflrey Constance Sherman Hollis and Martha A. Showaltcr 1 (U.lh 1 and Marilyn Sichler Diane Siriliano Scott and Joan Singer John and Anne Griffin Sloan Alenc 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 Sleiss Charlotte Sundetson Ronald and Ruth Sutton Brian and Lee Talbot Kathleen Treciak Joyce A. Urba and
DavidJ. Kinsclla Hugo and Karla Vandersypcn Mr. and Mrs. John van der Veldc Warren Herb Wagner and
Florence S. Wagner Gregory and Annette Walker Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Karl and Karen Weick Dr. Steven W. Werns Marcy and Scott Westerman B.Joseph and Mary While 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 Bctte 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 Weddington Jill and Thomas Archambeau, M.D Bert and Pat Armstrong (. i.ud and Ellen Arneson Mr. and Mrs. Arthur J. Ashe Eric M. and Nancy Aupperle
Erik iiiici Linda Lee Austin
Eugene and Charlene Axelrod
Shirley and Don Axon
Virginia andjerald Bachman
Richard andjulia Bailey
Barbara and Daniel Balbach
Juhn R. Bareham
Mr. and Mrs. Robert M. Barnes
Karen and Karl Bartscht
Mr. John Batdorf
Mr. and Mrs. Steven R. Beckert
Walter and Antje Bencnson
Dr. and Mrs. Ronald M. Benson
Marie and Gerald Berlin
L. S. Berlin
Gene and Kay Bcrrodin
William and Ilene Birge
Mr. and Mrs. Ray Blaszkiewicz
Dr. George and Joyce Blum
Beverly J. Bole
Robert S. Bollon
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. Braeuningcr Mr. William R. Brashear Representative Liz and
Professor Enoch Brater Mr. and Mrs. James Breckenfeld
Ms. Maryjo 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. Patricia 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
Marc hall 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 RobertJ. Cierzniewski Pat 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 Lolagcne C. Coombs Gage R. Cooper
Mary K. Cordcs Bill and Maddie 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. TimothyJ. Doinbrowski Dick and Jane Dorr Professor and Mrs.
William G. Dow Mr. Thomas Downs Roland and Diane Drayson Harry M. and Norrene M. Drcffs 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
Elly and Harvey Falit
Dr. and Mrs. Cyrus Farrehi
Phil and Phyllis Fellin
Mrs. Beth B. Fischer
Dr. and Mrs. Richard L. Fisher
James and Barbara Fitzgerald
Ernest and Margot Fontheim
Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Richard andjoann Freethy Joanna and Richard Friedman Gail Fromes LelaJ. Fuester Jane Galamowicz Thomas H. Galantowicz Arthur Gallagher Stanley and Priscilla Garn Del and Louise Garrison Drs. Steve Geiringer and
Wood and Rosemary Geisl Thomas and Barbara Gelehrter Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweei 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 Goodenough 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 Halstcad 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 Henkcl Bruce and Joyce Herbert Mr. Roger Hewitt Jacques Hochglaube, M.D., RC. 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 Jelinek Keith and Kay Jensen JoAnn J. Jeromin Paul and Olga Johnson Stephen G.Josephson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmes and
Larry Friedman Paul Kantor and Virginia Weckstrom 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 Kirkendall 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 Kuit 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 Kalhy 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 I iMhi it 1 Lyman Susan E. Macias Jeffrey and Jane Mackie-Mason Marcy and Kerri MacMahan Sally 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 Tamotsu 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 Betue Metcalf Elizabeth B. Michael Leo and Sally Miedler Andy and Nancy Miller Thomas and Doris Miree Olga Moir
Mr. and Mrs. William G. Moller.Jr. Rosalie E. Moore Marvin and Karen Moran Robert and Sophie Mordis Jane and Kenneth Moriarty Paul and Terry Morris
Melinda and Bob Morris Dick and Judy Morrissett Brian and Jacqueline Morton Hideko and Tatsuyoshi Nakamura Dr.andMrs.J.V. Neel Frederick C. Neidhardt and
Germaine Chipault Shinobu Niga Patricia O'Connor Michael J. O'Donnell and
Jan L. Gar tinkle Kathleen I. Operhall Dr. Jon Oscherwitz Julie and Dave Owens Dr. and Mrs. Sujit K. Pandit Donna D. Park Evans and Charlene Parrott 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 Leland and
Elizabeth Quackenbush William and Diane Rado Michael and Helen Radock Mr. and Mrs.
DouglasJ. Rasmussen Katherine R. Reebel Mr. and Mrs. Sianislav Rchak Charles and Betty Reinhart Molly Resnik and John Martin Constance Rineharl 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 Sanlinga Michael Sarosi and Kimm Skalitzky Sarosi Elizabeth M. Savage Charlene and Carl Schmidt Albert and Susan Schultz R. Ryan Lavelle, Ph.D
Marshall S. Schuster, D.O. Ed and Sheila Schwartz Ms. Janet Sell Sherry and Louis Scnunas Erik and Carol Serr David and Elvcra Shappirio Dr. and Mrs. Ivan Sherick Mr. and Mrs. George Shirley Urs. 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 Skindcll
Beverly N. Slater
Mr. and Mrs. Robert W. Smith
Virginia B. Smith
Richard Soble and
Barbara Kessler Juanita andjoseph Spallina Mr. and Mrs. Robert E. Spence Anne L. Spendlove Gretta Spier and Jonathan Rubin L. Grasselli Sprankle Edmund Sprunger Dr. and Mrs. William C. Stebbins Bert and Vickie Sleek Thorn and Ann Sterling Harold Stevenson Robert and Shelly Stoler Wolfgang F. Stolper Mrs. William H. Slubbins Drs. Eugene Su and Chrislin Carte r-Su Keiko Tanaka Lois A. Theis Edwin J. Thomas Beite 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 DiPietro and Jack Wagoner Wendy L. Wahl, M.D. and
William 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. Stanfield M. Wells, Jr. Ken and Cherry Wesierman Susan and Peter Westerman Paul E. Duffy and
Marilyn L. Whealon Harry C. While Janet F. While William and Cristina Witcox 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. RA. Yagle Ryuzo Yamamoto Frank O. Youkslelter 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
American Metal Products
Coffee Express Co.
Garris, Garris, Garris & Garris
Marvel Office Furniture New View Corporation Mli.uli 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 Cowcn Adler Mary and Bill Ager Robert Ainsworih Harold and Phyllis Allen Dr. and Mrs. Richard J. Allen Forrest Alter Nick and Marcia Alter Mr. and Mrs. Richard Amberg Margot and Fred Amrine Catherine M. Andrea Julia Andrews Mr. William F. Anhut Hiroshi and Matsumi Aral Mary C. Arbour Eduardo and Nancy Arciniegas ThomasJ. and Mary E. Armstrong Rudolf and MaryArnhcim Mr. and Mrs. Jim Aszialos Jack and Rosemary Austgcn Vladimir and Irina Babin Drs.John and Lillian Back Rohit Badola
Mr. and Mrs. Joseph C. Bagnasco Marian Bailey Bill and Joann Baker Laurence K Baker and
Barbara K Baker Mr. and Mrs. Richard P. Baks Drs. Helena and Richard Baton Ann Barden
Mr. and Mrs. David Barcra David amd Laurel Barnes Joan W. Barth Karla K. Bartholomy Rajeev Batra Dorothy Bauer
Thomas and Shcrri L. Baughman Harold F Baut Evelyn R. Beals Dr. Rosemary R. Berardi James K. and Lynda W. Berg Barbara Levin Bergman Ralph and Mary Beuhler Bharat K. Bhalt Rosalyn Biedcrman Eric and Doris Billcs Drs. Ronald C. and
Nancy V. Bishop Donald and Roberta Bliu Dr. and Mrs, Duanc Block Jane M. Bloom Henry Blosscr
Mr. and Mrs. Francis X. Blouin Karin L. Bodycombe
Kenneth E. Bol
Paul D. Borman
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. Brom.ui
Dr. and Mrs. Ernest G. Brookficld
Razelle and George Brooks
Trudy and Jonathan Bulkley
Betty M. Bust
Father Roland Calvert
Dr. Ruth Canu'eny
Susan Y. Cares
Lynne C. Carpenter
Carolyn M. Carty and
Thomas H. Haug Jack Ccderquist David J. and Ilenc 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. Couram and
Mu i.i A. 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. Dalbey Mildred and William B. Darnton Jack and Sally Dauer Jennifer Davidson Judi and Ed Davidson Dean and Cynthia DcGalaru Margaret H. Demant Richard and Sue Dempsey Michael T. DcPlonty Larry and Kerry Dickinson Richard and Mary Dingeldcy Douglas and Ruth Doanc Hilde and Ray Donaldson Ruth P. Dorr
Eugene and Elizabeth Douvan Carole F. Dubritsky Dr. and Mrs. Charles H. Duncan Elsie Dyke John Ebenhoeh Ingrid Etdncs
Martin B. and Vibeke G. Einhorn Mr. and Mrs. Charles Eisendrath Charles and Julie Kllis James Ellis and Jean Lawton Mr. and Mrs. H. Michael Endrcs Karen Epstein and
Dr. Alfred Franzblau Jane L. Esper Thomas L. Burean Deborah Ettington
Thomas and Julia Falk
Paul and Mary Fanchcr
Janice and Peter Far re hi
Philip C. Fcdcwa
Dorothy Gitdeman Fcldman
George J. and Bcnita Feldman
C. William and H.Jane Ferguson
Dennis J. Fernly
Jon and Kayne Ferricr
Mrs. Carl H. Fischer
Dr. Lydia Fischer
Susan K Fisher and
John W. Waidley Linda and Tom Fitzgerald David and Susan Fitzpatrick Jessica Fogel and Lawrence Weincr Scott and Janet Fogler Daniel R. Foley
George E. and Kadiryn M. Foltz Mr. and Mrs. William Forgacs Elizabeth W. Foster Bob and Terry Foster David J. Fraher Mary Franckiewicz Lora Frankcl Mr. and Mrs. Maris Fravel Mr. and Mrs. Olto W. Frcitag Cynthia J. Frey Philip and Renee Frosi Bruce and Rebecca Gaflney Mr. and Mrs. Robert R. Gamble C.J. Gardiner Sharon Gardner Mrs. Don Gargaro Ina Hancl-Gerdenich Deboraha and Henry Gerst Beverly Jeanne Giltrow Dr. and Mrs.J. Globerson Edward and Kathc Godsalvc Mr. and Mrs. Robert Gold Dr. and Mrs. Howard S. Goldberg Edic Golden berg Anita and Al Goldstein Mr. and Mrs. David N. Goldsweig C. Ellen Gontcr Dr. and Mrs. Luis Gonzalez M. Sarah Gonzalez Enid M. Gosling Bill and Jean Gosling Pearl Graves Larry and Martha Gray Jeffrey B. Green
Dr. Robert and Eileen Grccnberger G. Robinson and Ann Gregory Linda and Roger Grekin Melissa Gross
Cyril Grum and Cathy Sirachan Mr. and Mrs. Lionel Gurcgian Joseph and Gloria Curt Caroline and Roger Hackett 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 Laurelynne Daniels and
George P. Harris Denis B. Hart, M.D. James R. Hartley John and Anita Harunus Carol and Steve Harvath Jcannine and Gary Hayden Mr. and Mrs. Edward J. Hayes Robert and Mara Hayes Charles Heard
Mr. and Mrs. Eugene Heffelfingcr Mr. and Mrs. WJ. Heider
Jeff and Karen Hclmick
Paula B. Henckcn
Leslie and William Hennessey
Dr. and Mrs. Michael Hepncr
Mr. and Mrs. Ralph Herbert
Mr. and Mrs. Albert Hcrmalin
Jeanne B. Hernandez
William and Bernadetle Heston
Emily F. Hicks
Mark and Debbie Hildebrandt
Lorna and Mark Hildebrandt
Aki 1 !n .11.1
Deborah and Dale Hodson
Jane and Dick Hoerner
Melanic and Curtis Hoff
Melvin and Vcrna Holley
Hisato and Yukiko Honda
Kenneth and Carol Hovey
Barbara Hud gins
Hubert and Helen Hucbl
Ken and Esther Hulsing
Stephen aand Diane Imrcdy
Hiroko and Ralph Insinger
Perry Elizabeth Irish
Carol and John Isles
Mr. and Mrs. Z.J.Jania
Frank and Sharon Johnson
Mr. Robert D.Johnson
Lyslc and Agneta Johnston
Cole and Diane Jordan
Betty Hicks Jozwick
Sally and Harold Joy
Chris and Sandyjung
Dr. and Mrs. Alan Kaplan
Edward M. Karls
Franklin and Judith Kaslc
Deborah and Ralph Katt
Dennis and Linda Kaycs
Julia and C. Philip Kearney
Wendy Scott Kcency
Carrie and Erich Keil
Mary, Michael, and
Charles Keller man Mary L. Kcmmc Milton G. Kendrick Bryan Kennedy Joan Kerr Lawrence Kestcnbaum and
Janice Gutfrcund Michael and Barbara Kilbourn Jeanne M. Kin Robert and Vicki Kiningham Klair H. Kissel Joseph W. Klingter. Ph.D. Alexander Klos Dr. and Mrs. William L. Knapp Rosalie and Ron Koenig Seymour Koenigsbcrg Jeremy M. Kopkas Alan and Sandra Kortcsoja Ann Marie Koire Mr. and Mrs. Jerome R. Koupal Rebecca and Adam Kozma Mr. and Mrs. A. Richard Krachenbcrg Kathy Krambrink Gale and Virginia Kramer Sheryl E. Krasnow Robert Krasny Edward and Lois Kraynak Mr. James Krick John and Justine Krsul
Lawrence B. Kuczmarski
Helen and Arnold Kucthe
H. David Laidlaw
Bcrnicc B. Lamcy
Cele and Martin Landay
Kay Rose Lands
Mr. and Mrs. G. Robert Langford
Jean S. Langford
Walter and Lisa Langlois
Guy and Taffy Larcom
Louis and Gail LaRiche
Km]i j. Lawrence
Judith andjerold Lax
Mr. C. F. I Him.him
Paul and Ruth Lehman
Lucy H. Lcist
Mr. and Mrs. Fernando S. Leon
Dr. Morion and Elaine Lesser
Diane Lester and Richard Sullivan
Albert and Arlcne Levenson
David E. Lcvine
Dr. David J. Lieberman
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
JohnJ. Lynch, Atty.
Dr. and Mrs. Cecil Mackey
Janice E. M.u kv
1 "iand Alan Macnce
Dr. and Mrs. Chun II Mah
Mr. and Mrs. Anthony E. Mansueto
Alice and Bob Marks
Erica and Harry Marsden
Vincent and Margot Massey
Debra K. Maltison
Robert and Betsy Maxwell
Rebecca C. McClear
Cathryn S. and
Ronald G. McCready David and Claire McCubbrey Bernard and MaryAnn McCulloch James M. Beck and
Robert J. McCranaghan Ralph R. McKee Jack A. McKimmy Donald and Elizabeth McNalr Joseph F. and Johanna Y. Mcara Anthony and Barbara Medeiros Ensign Michael S. Mendelsohn Helen F. Meranda Rev. Harold L. Merchant Judith A. Mertens Russ and Brigitte Merz Suzanne and HenryJ. 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 Yetta R. Miller
Randy and Sue Miller
Riuh M. Monahan
Kent and Roni Moncur
Mr. Erivan R. Morales and
Mr. Scigo Nakao Kittie Bcrger Morelock Mrs. Erwin Muehlig James and Sally Mueller Brian Mulcahy Bernhard and Donna Mullcr Colleen M. Murphy Lora G. Myers Yoshiko Nagamatsu Louis and Julie Nagcl R. andj. Necdleman Martha K. Niland Joan and John Nixon Laura and Ross Norberry Jolanta and Andrzcj Nowak Dr. Nicole Obrcgon Steve O'Day Martha R. O'Kennon Paul L. and Shirley M. Olson Fred Or man d
David Orr and Gwynne Jennings James J. Osebold Lynda Oswald and Brad Tomtishen David H. Owens and Ruth A. Mohr Mr. and Mrs. James R. Packard George Pally
Penny and Steve Papadopoulos Mr. and Mrs. Kenneth Pardonnct Prayoon Patana-Anake Vassiliki and Dimitris Pavlidis Edward J. Pawiak
Donald and Edith Pclz
William A. Pcnncr.Jr.
Mrs. George Peruski
Vnn Marie Pciach
Douglas and Gwcn Phelps
C. Anthony and Marie B. Phillips
Nancy S. Pickus
Edward C. and Mary Lee Pierce
Mr. and Mrs. Robert H. Plummer
Thomas and Sandra Plunkctt
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 Radcliff
Mr. and Mrs. Alex Raikhct
Rebecca Scott and Peter Railton
Alfred and Jackie Raphaelson
Dr. and Mrs. Mark Rayport
Russ and Nancy Reed
Elisabeth J. Recs
Esther M. Reilly
Anne and Fred Remley
Molly H. Reno
Mr. and Mrs. Neil Ressler
Lou and Sheila Rice
Frand and Elizabeth Richardson
Lisa Richardson Mr and Mrs.
Thomas D. Richardson Kurt and Lori Ricggcr R.L. Riley Judy Ripple I u.i Risiinc
Irving and Barbara Ritter Kathleen R. Roberts Marilyn L. Rodzik Drs. Dietrich and
MaryAnn RolofT Edith and Raymond Rose Drs. Janet and Seymour R. Rosen Dorric 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. Ruihley Bryant and Anne Russell Ray and Re Sage Dr. Jagneswar Saha Sandra and Doyle Samons Miriam Joffc Samson Wavier S.D.G. Dr. Anna M. Santiago Gary Sauer
June and Richard Saxe Karen and Gary Scanlon Hc-lga andjochen Schacht Bonnie R. Schafer Mr. and Mrs. Alan Schall Chuck, and Gail Scharte Mr. and Mrs. F. Allan Schenck ChrisiineJ. Schesky Suzanne Schluederberg and
JohnS. Lesko.Jr. Jcannctte Schneebcrger Thomas H. Schopmeyer Yizhak Schottcn and
Katherinc Collier Sue Schroeder Ailcen M. Schulzc 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. Showahcr Drs. Dorit Adler and Terry Silver Mr. and Mrs. Barry Silvcrman Sandy and Dick Simon Nora G. Singer Jose Sinibaldi Jack and Shirley Sirotkin Donald and Sharyn Sivycr Jurgen O. Skoppek Tad Slawecki 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. Somers Judy Z. Somcrs
Thomas and Elinor Sommerfeld Mina Diver Sonda Irina Soukhoproudskaia William Spalding Jim Spevak and Leslie Bruch Charles E. Sproger Mary Stadcl
Neil and Burnette Siaeblcr Joan and Ralph Stahman Bob and Deeda Stnnczak
Barbara and Michael Steer
Ron and Kay Stcfanski
John and Elaine Wu Stephenson
William and Georgine Steudc
Ms. Lynetle Slindt and
Mr. Craig S. Ross Lawrence and Lisa Stock Mr, and Mrs. Frank A. Stocking Mr. and Mrs. James Bower Stokoe Judy and Sam Stulberg Jim and Bcv Sturck Theresa 8c 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 Thiclking Carol and Jim Thiry D. Kathryn Thompson Anne M. Thorne Eugene and Marlene Tierney Neal A. Tolchin Egons and Susanne 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 Shcryl UHn Akira Umehara Paul and Fredda Unangst Iris Cheng and Daniel Uri Dr. and Ms. Samuel C. Ursu Esther C. Valvanis Judith and Arthur Vander Bram and Lia van Leer Virginia Vass
Kitty Bridges and David Vcllcman Mrs. Durwell Vetter Alice and Joseph Vining John and Jane S. Voorhorst Deborah Wagner Mr. and Mrs. Fred R. Waidclich 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 Rcnata Wasscrman Dr. and Mrs. Andrew S. Watson Loraine Webster Alan and Jean Weamer Edward C. Weber Joan M. Weber Steve Wcikal
David andjacki Weisman 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. Wilhclm James Williams John and Christa Williams
Robert and Anne Marie Willis
Richard C. Wilson
Beverly and Hadlcy Wine
James H. and Mary Anne Winter
Lawrence and Mary Wise
Esther and Clarence Wisse
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. Ill Frances A. Wright Lynnc Wright Enui Wuckert Patricia Wulp Jason and Julie Young Robert and Charlene R. Zand Mr. and Mrs. Martin Zeile Gary and Rosalyn Zembala George and Nana Zissjs
and several anonymous donors
Barton Hills Women's
Golf Association Crown Steel Rail Company Delta Sigma Theta Sorority -
Ann Arbor Alumnae Liberty Sports Complex Mastcllcr Music, Inc. Michigan Carleton Alumni Club Morgantown Plastics Company Staples Building Company Weiser Lock
Robert S. Fcldman Zelina Krauss Firth George R. Hunsche Ralph Herbert Katherine Mabarak Frederick C. Matlhaei, Sr. Gwen and Emerson Powric Stem ReUs Clare Siegel Ralph L. Steffek Charlene Parker Stern William Swank Charles R. Tieman John F. Ullrich Francis Viola HI Peter H. Woods
Catherine Arcure Paulctt 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 Chalas 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 Kasle Howard King F. Bruce Kulp Barbara Lcvitan Maxine and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LystraDough Boys Steve MaggioThe Maggio Line James McDonaldBella 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
The Charles Sink Society
cumulative giving totals of more than $i5,000.
Maestro $10,000 or more Virtuoso $7,500 9,999 Concertmastcr $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
16 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproductive
39 Ann Arbor Symphony
35 Arbor Hospice
29 Bank of Ann Arbor
43 Barclay's Gallery
33 Beacon Investment
39 Benefit Source
10 Bodman, Longley and
54 Butzcl Long
51 Cafe Marie
39 Chamber Music Society
18 Charles Reinhart
27 Chelsea Community
19 Chisholm and Dames
35 Chris Triola Gallery
27 David Smith Photography
40 Detroit Edison
19 Dickinson, Wright, Moon,
Vm Dusen and Freeman
35 Dobbs Opticians
49 Dough Boys Bakery
26 Edward Surovell Company
35 Emerson School
2 Ford Motor Company
31 Fraleighs Landscape
8 General Motors
49 Gifford, Krass, Groh,
Anderson & Citkowski
11 Glacier Hills
15 Hagopian World of Rugs
49 Harmony House
37 Hill Auditorium Campaign
36 Interior Development
47 Karen DeKoning and
Associates 43 Katherine's Catering and
Special Events 43 Kerrytown Bistro
40 King's Keyboard House
11 Lewis Jewelers
29 Marty's Menswear
56 Matthew C. Hoffmann
Jewelry Design 31 Miller, Canfield, Paddock
42 Mundus and Mundus
43 Nichols, Sacks, Slank
35 Packard Community Clink 21 Pen in Hand
40 Persian House of Imports 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
Ufer and Company
Whole Foods Market 54 WQRS
27 Wright, Griffin, Davis and Company
University Musical Society