UMS Concert Program, Friday Nov. 01 To 08: University Musical Society: 1996-1997 Fall - Friday Nov. 01 To 08 --
Season: 1996-1997 Fall
University Of Michigan, Ann Arbor
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last year, more than 120,000 people attended UMS performances and relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport with Jessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between 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 diis 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 10oncert 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
With thanks lo Harper's Indtx"'
Data taken from UMS archives and audience surveys. Some numbers have been estimated.
Thank You, Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of localized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cor?nerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University Musical Society.
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 CONUN Chairman of the Board and Chief Executive Officer, Conlin-Faber Travel "Conlin-Faber Travel Travel is pleased to support the signifi-
cant cultural and educauonal projects of the University Musical Society."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ?ation with the
University Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
WILLIAM E. ODOM Chairman, Ford Motor Credit Company The people of Ford Credit are very proud of our con?tinuing association
with the University Musical Society. The Society's long-established com?mitment to Artistic Excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
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 Executive Officer, JPEinc.
"Our community is enriched by the University Musical
Society. We warmly support the cul?tural events it brings to our area."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business
provides so many opportunities for supporting the University Musical Society and its continuing success in bringing high level talent to the Ann Arbor community."
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 and 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. McMulkn 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
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 Oiimers, Curtin & Alf "Curtin & AlPs support of the University Musical Society is both a privilege and an
honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 82 years, and UMS has been here for 118, we can still appreciate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton &Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
PEPPER, HAMILTON & SCHEETZ
AFRNFrS AT UW
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. KeyBank 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. cressweu, Ph.D.
Vice President and Chairman, Pharmaceutical Division, Warner iMmbert Company "Warner Lambert
is very proud to be associated with the University Musical Society and is grate?ful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
DR. JAMES R. IRWIN Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Temporaries began
its support of the University Musical Society in 1984, believing that a com?mitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to cul?turally enrich the people of our com?munity."
The University Musical Society of the university of Michigan
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
LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Walter L. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper
Rebecca McGowan Homer A. Ncal Joe E. O'Neal John Psarouthakis George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell
Marina v.N. Whitman Iva M. Wilson Elizabeth Yhouse
Gail W. Rector, President Emeritus
Robert G. Aldrich Richard S. Berger Carl A. Brauer, Jr. Allen P. Britton Douglas D. Crary John D'Arms James J. Duderstadt Robben W. Fleming
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. Thurslon Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
Administration Finance Kenneth C. Fischer,
Executive Director John B. Kennard, Jr.,
Administrative Manager Elizabeth Jahn, Asst. to
Executive Director Kate Remen, Administrative
Assistant, Marketing &
Programming R. Scott Russell, Systems
Michael L. Gowing, 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 Fitepatrick,
Administrative Assistant Thad Schork, Gift Processing Anne Griffin Sloan,
Ben Johnson, Director Emily Avers, Assistant
Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Salts
Programming Production Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artists' Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Work-StudyInterns Laura Birnbryer Rebekah Camm Jessica Flint Lynnette Forde Amy Hayne Lisa Moudy Tansy Rodd Lisa Vogen Scott Wilcox
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 Faber Penny Fischer Barbara Gelehrter Beverly Geltner Margo Haisted Esther Heitler Deborah B. Hildebrandt Matthew Hoffmann Maureen Isaac Marcy Jen n i n gs Darrin Johnson Barbara Kahn
Mercy Kasle Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Levitan Doni Lystra Howard Markel Margaret McKinlcy Clyde Metzger Ronald G. Miller Len NiehofT Karen Koykka O'Neal Marysia Ostafin Wendy Palms
leva Rasmusscn Maya Savarino Janet Shatusky Margaret Kennedy Shaw Ali.i 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 opportunityafjirmattve 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 6f Information
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are 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 die 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 the west side of die 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 the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments arc 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 die lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's restrooms are located down the long hallway from the main floor seating area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the front lobby stairs.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
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 3i3.647.li7i
VISIT OUR BOX OFFICE IN PERSON
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
GIFT CERTIFICATES Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
RETURNS If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. You will be given a receipt for an income tax deduction as refunds are not available. Please note that ticket returns do not count toward UMS membership.
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name "The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was estab?lished in December 1880. The Musical Society includ?ed the Choral Union and University Orchestra, and throughout the year pre?sented a series of concerts
featuring local and visiting artists and ensem?bles. Professor Frieze became the first presi?dent of the Society.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through the Choral Union, Chamber Arts, Jazz Directions, Moving Truths, Divine Expressions, Stage Presence, Six Strings and many other series, the Musical Society now hosts over 75 concerts and more than 150 edu?cational events each season. UMS has flour-
ished with the support of a generous music-and arts-loving community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, and the Lydia Mendelssohn Theatre experiencing the talents of such artists as Leonard Bernstein, the Berlin and Vienna Philharmonic Orchestras, the Martha Graham Dance Company, Jessye Norman, The Stratford Festival, Cecilia Bartoli, Wynton Marsalis, Nusrat Fateh Ali Khan and Ensemble Modern of Frankfurt.
Through educational endeavors, commis?sioning of new works, youth programs, artists' residencies such as those with the Cleveland Orchestra and The Harlem Nutcracker, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, the Musical Society is a sepa?rate not-for-profit organization, which supports itself from ticket sales, corporate and individ?ual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
In its more recent history, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capacity, the ensemble has joined the orchestra for subscription perfor?mances of Beethoven's Symphony No. 9, Orffs Carmina Burana, Ravel's Daphnis et CAfoeand Prokofiev's Aleksandr Nevsky. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem,
and continuing with performances of the Berlioz Requiem and Bach's Mass in B minor.
In the current season, the UMS Choral Union again expands its scope to include per?formances with a third major regional ensem?ble. Continuing its association with the Detroit Symphony Orchestra, the Choral Union will collaborate in January 1997 with Maestro Jarvi and the DSO to produce a second recording for Chandos Ltd. In March the chorus will make its debut with the Grand Rapids Symphony, joining with them in a rare presentation of the Symphony No. 8 ("Symphony of a Thousand") by Gustav Mahler. This extraordinary season will culminate in a May performance of the Verdi Requiem with the Toledo Symphony.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one com?mon passion--a love of the choral art.
For information about the UMS Choral Union, please call 313.763.8997.
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is often associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of important debuts and long relationships throughout the past 83 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Hill Auditorium is named for former U-M regent Arthur Hill, who bequested $200,000 to the University for the construction of an audito?rium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing the ever-popular Fifth Symphony of Beethoven. The following evening featured Verdi's "Manzoni" Requiem, a work that has been performed frequently throughout the Musical Society's illustrious history. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in
one of his only solo recitals outside of New York), Ernestine Schumann-Heink, Fritz Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignacejan Paderewski (who often called Hill
Auditorium "the finest music hall in the world"), Paul Robeson, Lily Pons, Leontyne Price, Marion Anderson and, more recendy, Yo-Yo Ma, Cecilia Bartoli, Jessye Norman, Van Cliburn, die Metropolitan Opera Orchestra (in the debut concert of its inaugural tour) and die late Sergiu Celibidache conducting die 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 die 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 die 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 film 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 cappella 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 Akademia (March 15) and the Huelgas Ensemble (April 10).
LYDIA 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 major 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 presentatior 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 $70,000 for the purchase of a carillon and clock. These were to be installed in the tower in memory of Burton, former president of the University and a member of the UMS Board of Directors. Baird's intention was to donate a symbol of the University's academic, artistic, and community life a symbol in sight and sound which alumni would cherish in their Michigan memories.
Designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. The tower is 41 feet, 7 inch?es square at the base. Completed in 1936, the Tower's basement and first floor rooms were designated for use by the University Musical Society in 1940. In later years, UMS was also granted permission to occupy the second and third floors of the tower.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the
Charles Baird Carillon. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45am.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donat?ed labor, materials and funds to this project.
The university is currently replacing Burton Tower's 45-year old elevator, which is rumored to have come from the University Hospitals, wide enough for transporting gurneys and pianos alike. The elevator-replacement project should be completed by early 1997.
The 19 9 6-9 7 Season
BENITA VALENTE, SOPRANO CYNTHIA RAIM, PIANO
World premiere song cycle by William Bolcom co-commissioned by the University Musical Society Friday, September 27, 8:00pm Rackham Auditorium
Master of Arts William Bolcom, interviewed by Glenn Watkins, U-M Professor of Musicology. Tues, Sep 24, 7pm, Rackham.
Meet the Artists Immediately following the performance.
Presented with the support of the KMD Foundation.
Presented with support from media partner Will: 1. 101.9FM, Public Radio from Wayne State University.
the politics of Quiet
Friday, October 4, 8:00pm Saturday, October 5, 8:00pm Power Center
Institute for the Humanities Brown Bag Lunch Meredith Monk's Music and Choreography. Tues, Oct 1, 12 noon, Rackham.
Meet the Artists Immediately following Friday's performance.
Master of Arts Meredith Monk, interviewed by John Killacky, Curator for the Performing Arts, Walker Art Center. Sun, Sept 29, lpm Nat Sci Aud.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
the Cleveland Orchestra Weekend
Christoph von 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 Leonard, Manager, SKR Classical. "My Life has been Singularly Strange...Debussy Composes La Mer." Fri, Oct 11, 6:30pm, SKR Classical.
PREPJim Leonard, Manager, SKR Classical. "Tchaikovsky's Fifth Symphony: Tragedy from Triumph." Sat, Oct 12, 6:30pm, SKR Classical.
Meet the Artists Immediately following Saturday's perfor?mance.
Vocal Master Class Olaf Bar, baritone. Thurs, Oct 10, 2:30-5:00pm, Recital Hall, U-M School of Music.
Panel Discussion The Future of the American Orchestra" with members of the Cleveland Orchestra's Administrative staff. Sat, Oct 12, 4:30-6:00pm, Recital Hall, U-M School of Music.
This program is supported by Arts Midwest, a regional arts organization serving America's heartland, in partnership with the National Endowment for the Arts, and other public and pri?vate institutions.
MARK MORRIS DANCE
Wednesday, October 16,8:00pm
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 lime since 1969, Ms. Tharp will lead 100 local, university, and community members in this historic reconstruction. Thurs, Oct 24, 8pm, Power Center, $5.
Master of Arts Twyla Tharp, interviewed by Beth Genne, U-M Professor of Dance and Art History, and Bob Beckley, Dean, College of Architecture and Urban Planning. Sat, Oct 26,1 lam, Nat Sci Aud.
Film Series Movies and Movement: The Film Choreo?graphy of Twyla Tharp. All shown at the Michigan Theater. "Hair" Sun, Sept 29, 2pm; "Ragtime" Sun, Oct 6, 2pm; "Amadeus" Sun, Oct 13, 2pm; "White Nights" Sun, Oct 20, 2pm
Presented with support from media partner WDIiT, 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, conductoi Tuesday, October 29, 8:00pm Hill Auditorium
PREP Jim Leonard, Manager, SKR Classical. "Ijbioohl undoder Ewigkrrl (Farewell andor Forever) -The Meaning of Mahler's Ninth." Tues, Oct 29, 6:30pm, SKR Classical.
Sponsored by NB1) Rank. NOVEMBER
YURAGI (IN A SPACE OF
Ushio X T i n. i ? ..il .ii.
Artistic Director Friday, November 1, 8:00pm Saturday, November 2, 8:00pm Power Center
Pnsmted with support from media partner WDET, 101.9FM, Public Radio from Wayne Stale University.
Sunday, November 3, 4:00pm
Monday, November 4, 8:00pm Rackham Auditorium
PREP Ellwood Derr, U-M Professor of Music. "Old Wine in New Bottles: Brahms' Compositions on Musical Data by Mendelssohn and Others." Mon, Nov 4, 7pm, MI League.
Sponsored by the Edward Surovell Co.Realtors.
les arts florissants
William Christie, conductor handel's acs and galatea
Friday, November 8, 8:00pm Mill 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 8, 7pm. MI League.
In memory of Judith and Edward Heekin, who were fre?quent Choral Union attendees.
CHECK OUT THE UMS WEBSITEI IMS Hits ilic Internet in the Fall of igg6. Look for valuable information about UMS, the 199697 season, our venues, volunteer information, educational activities, and ticket information. http:wWW.UmS.OTg
sponsor of the VMS
MIDNIGHT IN THE GARDEN OF GOOD AND EVIL WITH JOHN BERENDT, AUTHOR (CELEBRATING
the Music of Johnny Mercer)
Saturday, November 9, 8:00pm I lil! Auditorium
Sponsored by Regency Travel.
Presented with support from media partner WE.MU, 89.1FM, Public Radio from Eastern Michigan University.
GUITAR SUMMIT III FEATURING PACO DE
I.UCIA.AL DlMEOLA AND JOHN MCLAUGHLIN Saturday, November 16,8:00pm Michigan Theater
Sponsored by Regency Travel.
Presented with support from media partner WFMU, 89.1FM, Public Radio from Eastern Michigan University.
FACULTY ARTISTS CONCERT
Sunday, November 17,4.00pm Rackham Auditorium Complimentary Admission
Orion string quartet
Saturday, November 23,8:00pm Kackham Auditorium
Sponsored by the Edward Sttrovell Co.Realtors with sup?port from Maurice and Linda liinkow.
Wednesday, December 4,
St. Francis of Assisi Catholic
PREP James Borders, Associate Dean, School of Music. "Christmas Sacred Vocal Music, Medieval to Modern." Wed, Dec 4, 7pm, St. Francis Church
Sponsored by Conlin-i''aber Travel and Cunard.
Handel's Messiah UMS Choral Union Ann Arbor Symphony
Thomas Sheets, conductor Saturday, December 7, 8:00pm Sunday, December 8, 2:00pm Hill Auditorium
lhesenled with the generous sup?port of Dr. James and Millie Iruin,
"so many stars" Kathleen Battle and Friends
Kathleen Battle, soprano Cyrus Chestnut, piano Christian McBride, bass James Carter, saxophone Cyro Baptisla, percussion Friday, December 13, 8:00pm Hill Auditorium
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
THE HARLEM NUTCRACKER Donald ByrdThe Group Choreography by Donald Byrd Music by Piotr Ilych Tchaikovsky Arranged by Duke Ellington
and David Berger Additional music by
Craig Harris Marcus Belgrave, leader Wednesday, December 18,
Thursday, December 19,8:00pm Friday, December 20, 8:00pm Saturday, December 21,
2:00pm (Family Show) Saturday, December 21,8:00pm Power Center
Links to Literature Public readings by local African-American Senior Citizens about the Harlem Renaissance. At Borders Books and Music, in collabo?ration with The Links, Inc. Thurs, Dec 5, 7:30pm: Public reading for adults. S. Dec 7, 11:00am: Public reading for children.
Supported by the ('railing Fund and I'roject Management Associates, hir.
'resented with support from media partiters WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University. l
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 mid 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 Mill Auditorium
Sponsored by Thomas B. McMullen Co., Inc.
Presented with support from media partner WDfcT, 101.9FM, 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 Ofice 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 fry 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 WDET, 101.9FM, Public Radio from Wayne State University.
Neeme Jarvi, conductor Leif Ove Andsnes, piano UMS Choral Union Sunday, January 26, 4:00pm Hill Auditorium
Master of Arts 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 African-American Musical Traditions
The Christian McBridc Quartet
The Cyrus Chestnut Trio
The James Carter Quartet
The Leon Parker Duo
Steve Turre and His Sanctified Shells
Twinkle Clark and The Clark Sisters
Saturday, February 1, 1:00pm (Family Show)
Saturday, February 1, 8:00pm
Sponsored by NSK Corporation.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
orchestra 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, 89.1FM, Public Radio from Eastern Michigan University.
ARS POETICA CHAMBER
ORCHESTRA ANATOLI CHEINIOUK, MUSIC DIRECTOR Monday, February 10, 8:00pm Rackham Auditorium
Supported by Miller, Canfield, Paddock and Stone, P.L.C.
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 Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
BRANDENBURG ENSEMBLE JAIME LAREDO,
CONDUCTORVIOLIN 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 I nh 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 Cantori
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 Barbara bonney,
soprano Caren Levine, piano
Tuesday, February 18, 8:00pm Lydia Mendelssohn Theatre
puccini's la boheme New York City Opera National Company
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21, 8:00pm
Saturday, February 22, 2:00pm
Saturday, February 22,8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La Wurror'mean" Sat, Feb 22, 1:15pm, Power Center Rehearsal Rm.
ACADEMY OF ST. MARTIN-
IN-THE-FIELDS IONA 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, 3:00pm, MI League.
Sponsored by Conlin-Faber Travel and Cunard.
Monday, February 24, 8:00pm Tuesday, February 25, 8:00pm Power Center
NATIONAL TRADITIONAL ORCHESTRA OF CHINA
Hu Bingxo, conductor Wednesday, February 26,8:00pm 1 lill 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 if Scheetz, Attorneys at Law.
CHOROVAYA AKADEMIA 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 Hil! Auditorium
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbett, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, Executive Director, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
Thursday, April 3, 8:00pm
Friday, April 4, 8:00pm
BANG ON A CAN ALL-STARS STRING TRIO OF NEW YORK Saturday, April 5, 8:00pm Power Center
Presented with support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
huelgas ensemble Paul van nevel, director the High Art of Sacred Flemish polyphony
Thursday, April 10, 8:00pm Sl 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 fry 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.
M aher 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 are invited, free of charge, to enjo) ihis series of pre-performance presentations, featuring talks, demonstrations and workshops.
Meet the Artists All are welcome to remain in the auditorium while the artists return to the stage for 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 the Institute for Research on Women and Gender. Tues.Jan 14, 7:30-9:30pm, Rackham.
Panelists: Beth Genne, Dance and History of Art Yopic 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, Morton, and Marsalis during a youth performance at Community High School; a beaming Seiji Ozawa after conducting the Boston Symphony Orchestra in a memorable perfor?mance in Hill Auditorium; and the Juilliard String Quartet performing in Rackham Auditorium in cele?bration of their fiftieth anniversary.
of the University of Michigan 1996 1997 Fall Season
Event Program Book
Friday, November 1, 1996
Friday, November 8, 1996
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Yuragi: In a Space of Perpetual Motion
Friday, November 1, 8:00pm Saturday, November 2, 8:00pm Power Center
Sabri Brothers 7
featuring Maqbool Sabri
Sunday, November 3, 4:00pm Rackham Auditorium
Trio Fontenay i 1
Monday, November 4, 8:00pm Rackham Auditorium
Les Arts Florissants 17
Handel's Ads and Galatea Friday, November 8, 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 quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
WHILE IN THE AUDITORIUM
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 313-765-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Yuragi: In a Space of Perpetual Motion
Ushio Amagatsu, Directo; Choreographer and Designer Natsuvuki Nakanishi, The Rabbit Above, Green Vessel
Ushio Amagatsu, Semimaru, Toru Iwashita,
Sho Takeuchi, Taketeru Kudo
Friday Evening, November 1, 1996 at 8:00
Saturday Evening, November 2, 1996 at 8:00
Ann Arbor, Michigan
I Fure -Within the Clear Air of the Distant Past
II Donmiri -Wind Resembling Air
III The Outer Reaches of Tranquillity
IV Underneath the Highest Sky
V Utsuroi -From Shore to Opposing Shore
VI In a Doze
VII Brimming Ripples
This performance in one act with seven scenes is ninety minutes in duration.
Fifteenth and Sixteenth Performances of the 118th Season
New Interpretations Series
The New Interpretations series is presented
with supporl from media partner WDET, 101.9, wClC Public Radio from Wayne State University. '" ??
Special thanks to Bonnie Sue Stein, Artistic Director of GOH Productions for serving as speaker for the Performance-Related Educational Presentations (PREPS).
Large print programs are available upon request.
Yas-Kaz, Yoichiro Yoshikawa
Stage Manager Yuji Kobayashi
Set Technician Seiichi Otsuka
Lighting Technician Genta Iwamura
Sound Technician Akira Aikawa
Originally Co-produced by Theatre de la Ville, Paris CNDC Angers, Ginza Saison Theatre, Tokyo and Sankai Juku World Premiere, Theatre de la Ville, Paris, May 1993
North American Management International Production Associates, Inc.
This tour has been made possible through the cooperation of Japan-United States Friendship Commission, Mitsubishi Motors and Shiseido.
Yuragi: In a Space of Perpetual Motion
When we fall asleep, something rises. When we rise, something begins to settle.
A reverie perhaps.
Body horizontal, organs floating,
Outstretched, flat upon the surface, relaxing.
A state which enhances contact with the surface.
The body succumbs to gravity. Tranquillity.
Body vertical, organs suspended,
Erect, maintained by force.
A state which reduces contact with the surface.
Only the soles of the feet continue their dialogue with the surface.
The body resists gravity. Action.
To and fro between these two positions, Down and up, up and down.
While falling asleep, something rises. While rising, something begins to settle.
Sankai Juku and its artistic director, Ushio Amagatsu are part of the second generation of Butoh dancers in Japan. Butoh is a new Japanese art form that evolved during the 1960's as an expression of humanitarian awareness by that country's post-war generation. Led by Tatsumi Hijikata and Kazuo Ohno, who are world famous practitioners of Butoh, Japanese dancers rejected the traditional forms of Eastern and Western dance. They investigat?ed a method of expression which would be appropriate to a new Japan and could reflect the body and feeling of their genera?tion.
"Butoh can only be made with that which can be taken from the manner of living of a race," said Butoh master Hijikata. The ges?tures seen in Butoh emanate from a sensibil?ity that has been restrained by centuries of tradition. The body of the Butoh dancer is unencumbered by the ancient vocabulary of Kabuki or Noh.
For Ushio Amagatsu, Butoh expresses the language of the body rather than a theo?retical meaning of movement. Therefore each individual brings his own physical his?tory and method of expression to the art form. Before he worked in the Butoh style, Amagatsu trained in classical as well as mod?ern dance. In 1975 he started a series of workshops. From those sessions he devel?oped the idea of Sankai Juku and selected three dancers from the workshop to help create the company. The name Sankai Juku can be translated to mean "studio of moun?tain and sea."
The company's first full scale produc?tion, Homage to Ancient Dolls (1977) led to the creation of Kinkan Shonen which was pre?sented in Tokyo in 1978. This production revealed Amagatsu's own vision which has enhanced the understanding of Butoh. His
work is a great departure from the masking of emotion and is premised on a personal expression of suffering. The contrast with the universally accepted Japanese perfor?mance traditions underscores Sankai Juku's passionate appreciation for the joy of life and the sadness of death. The white immo?bile face traditionally represents a thwarted human being, but the whitened face of the Butoh dancer is mobile and is in touch with innocence, wonder, fear and mortality.
In 1980 Sankai Juku was invited to per?form in the West for the first time. They went to the Nancy Festival in France with the firm conviction that Butoh -a univer?sal cry from the origins of humanity -would be accepted. However, they did not go to expose the Japanese culture to the Europeans, rather, to experience other cul?tural climates which would give their work new resonance.
For the next four years, the company remained in Europe where they performed constantly. In 1984 they were invited to come to North America where they made
their debut at the Toronto International Festival and the L.A. Olympic Arts Festival. Subsequently, they have been embraced warmly by audiences throughout Canada and the United States. Their second North American tour was curtailed when Yoshiyuki Takada died during a performance in Washington on September 10, 1985. The company canceled the remaining engage?ments and returned home, some to Japan, others to Paris.
In the spring of 1986 Sankai Juku started a new sixteen city tour of North America which began in Seatde. The company has been seen in such cities as Boston, Pittsburgh, Cincinnati, Minneapolis, Ann Arbor, Washington D.C., and New York City. Sankai Juku has continued to be a much sought after performance group, touring America numerous times.
These performances mark Sankai Juku's debut under UMS auspices. Sankai Juku first appeared in Ann Arbor at the Michigan Theater in October 1987 and March 1988.
Ushio Amagat.su has immersed himself in the roots of the rituals and character of tra?ditional Japan, from which his interest has reached a more universal point of view while Sankai Juku continues its foreign activities. His work has evolved to a point where his imagery predates classical structures and forms. The power and inner beauty identi?fied with Sankai Juku is traced to man's inner life -a spiritual being who stems from all elements surrounding humanity.
In the summer of 1988, Ushio Amagatsu created his first work for Western dancers at Jacob's Pillow in Lee, Massachusetts which is titled Fushi. His most recent works include Omote, Yuragi, and Fifih-V, which uses a dance floor made of 144 20" TV monitors.
Touring Production Staff
Production Manager: Douglas Whitney
Lighting Supervisor: William Knapp
Company Manager: Tom Geyer
Exclusive North American Representation: International Production Associates, Inc.
featuring Maqbool Sabri
Sunday Afternoon, November 3, 1996 at 4:00
Rackham Auditorium Ann Arbor, Michigan
Haji Maqbool Ahmed Sabri, Lead vocal, harmonium
Haji Kamal Sabri, Chirya tarang, vocal
Haji Mahmood Ghaznavi, Second vocal, harmonium
Abdul Ghani, Chorus
Mohammad Andwar, Tabla
Abdul Aziz, Chorus
Mohammed Atique, Chorus
Mr. Saeeduddin, Chorus
Rafia Kaskar, Chorus
Mr. Masihuddin, Chorus
Qutibddin Ahmeddin, Dholak
Eva Skalla, ManagerGlobal Heritage Doug Murphy, Tour Manager
The program for this afternoon's concert will be anounced from the stage.
Seventeenth Concert of the 118th Season
World Tour Series
Large print programs are available upon request.
awwali (from Arabic, m k meaning utterance)
m A is tindevotional
I music (sama) of the H m Sufis, the mystics of
J [slam -The divine
message which stirs
a the heart to seek
0 God." For both performer and listener, Qawwali is a method of worship, a means of intensifying love of God, of inducing a mystical ecstasy connect?ing directly to the Beloved which is the core of the Sufi experience. What is most essential to Sufism cannot be learned; it can only be reached by direct experience, ecstasy, and inner transformation.
The extraordinarily rich, varied, and sub-de imagery should not be misunderstood. The seemingly sensual implies die spiritual: the Beloved is God or the Prophet Mohammed (PBUH); wine is the knowledge and love of God; the tavern is die heart; and physical beauty is the mirror of divine illumination.
Qaunvali is sung in many languages, originally Farsi (Persian), Turkish and Arabic, then in Hindi, Punjabi, Sindi and other lan?guages of India and Pakistan. Universal to all these lan?guages is the name of Allah -and the strong, driving rhythmic base of the music suggests the ceaselessly repeated sound of Allah's name. Over this, the lines are first sung by a soloist, then repeated and emphasized by the chorus. Slowly building in intensity, a powerful atmos?phere is generated in which performers and audience are drawn together. Members of the audience dance -some spin into trance-like states,
others shower the Qawwalis with fistfuls of paper money. The greatness of Qawwals is determined by their ability to create this atmosphere, building a bridge between the finite and the infinite, allowing an audience to touch the liberation of their own spirit and to sense and be filled with the presence of God.
Whilst die poetry is all important to the Sufi, the passion and intensity of the music also have the power to move someone who cannot understand the words, seeming to touch the heart and stir the spirit direcdy, causing an intoxication, a rapturous joy, and an understanding which speaks in a tran?scendent language.
The stories tell us diat Qmwvali was born in the twelfth century, when the great Sufi saint Hazrat Moinuddin Chisti (buried at Ajmer, India) first came to bring the message of Islam to the Hindus of India. Seeing how people loved their own devotional music (bhajans) much more than his discourses, he realized that the way to their hearts was to
.ring the praises of Allah. He was, of course, drawing on a long tradition of ecstatic, joy?ful and mystical singing, reaching back over two centuries to the early traditions of Turko-Persian mystics. This rich heritage, drawing both on the great Sufi saints, such as Amir Khusro, and on anonymous folk contributors, has built the formidable range and diversity which is the Qawwali poetry of today.
Qawwali is the Muslim devotional music of the Indo-Pakistani sub-continent. The word "qawwali" comes from the Arabic word "qual" meaning utterance. Orthodox Muslims do not approve of using music in worship, but music as part of the devotional tradition on the sub-continent goes back at least six centuries. Some believe that the musical tradition is strictly Indian, coming about when Muslim missionaries arrived. In order to bring Islam to the Hindus, it is believed that missionaries adopted the style of Hindu devotional music to convey their message.
Qawwali music has been developed from the inversion of Indian Ragas. On top of the rhythm, appears the vocals and harmoniums. The vocals reach their greatest intensity when the vocalists take turns singing, allow?ing the others to breathe. This creates the effect that they are singing without breathing. The harmoniums operate in the same way.
Qawwali is the music of the Sufis and the message is love. The language of love and unrequited love is the ghazal, a popular poetic form. In a society where the sexes are segregated and marriages are arranged with no regard for love, the ghazal has an audience of millions who identify with its meaning.
The ghazal is language of love at every level. Qawwals use this language to convey the Sufi message of universal love. The mes?sage is often the language of divine and ethereal love, but because all love is parallel, there are often verses which are unmistakably about a human being:
war hob in la I:
ham kahenge hal-i-dyl awr ap
Your indifference to me knows no limits,
O cherisher of slaves
how long must I keep on telling you the
state of my heart and
you keep on saying: "Did somebody
Romantic love is, and has for a very long time, been a serious threat to the societies in which the ghazal has been the dominant form of poetry. Love is regarded as a plague, a sickness. This view is shared by the lover: love is a sentence of death, a recipe for mad?ness.
nagahjo vwh sanam sytam ejad a
dekhe se taxor ws ke, xwda yad a
My idol, my fair torturer stood before me stricken with awe, God came into my mind
The parallels with the religious experience are clear. The beloved need not be human. It is said to be a vital element of the best ghazals that they should be interpretable on two planes. In the traditional system, these two planes are described as yshq-i-haqiqi, true love, and yshq-i-majazi, allegorical love. It is the earthly love that is seen as the allegory and the divine love is seen as the true form.
The Sabri Brothers, Haji Ghulam Faris Sabri and Haji Maqbool Ahmed Sabri were born in 1930 and 1941 respectively in East Punjab, India. They are members of the Sufi sect of the Sabriya of which all members take the name "Sabri." They come from a musical family with both grandfathers and their father being important musicians.
The Sabri brothers had several teachers, one of whom was their father. He advised them at a young age to change the musical notes of Sargam (Sa-Ro-Ga-Ma-Pa-Dha-Mi-Sa) into the utterance of the word "Allah." This practice purified their hearts through the Divine Light.
The Sabris began careers as Qawwals at the ages of seven and five in East Punjab. Their contribution to recorded popular music began with a Qawwali recorded in 1958 Hera Koi Nahin Hai Teray Siwa. It was a hit and pushed them towards fame in Pakistan and the Indian sub-continent. Since then, they have released a number of hit songs which have been known to stay at number one on the Pakistan charts for up to five years! They have tried to spread their message of love into the realm of the music business by translating the essence of Qawwali into popular music and film.
This afternoons concert marks the Sabri Brothers' debut under UMS auspices.
Wolf Harden, piano Michael Mucke, violin Niklas Schmidt, cello
Monday Evening, November 4, 1996 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Trio in C Major, Op. 87
Andante con moto Scherzo: Presto Finale: Allegro giocoso
Trio No. 1 in c minor, Op. 8
(In one movement)
Trio in c minor, Op. 66
Allegro energico e con fuoco Andante espressivo Scherzo: Molto allegro, quasi presto Finale: Allegro appassionato
Eighteenth Concert of the 118th Season
Thirty-fourth Annual Chamber Arts Series
Special thanks to Ellwood S. Derr, Professor of Music Theory, U-M School of Music, for serving as speaker for tonight's Performance-Related Educational Presentation (PREP).
Large print programs are available upon request.
Trio in C Major, Op. 87
Born on May 7, 1833 in Hamburg
Died on April 3, 1897 in Vienna
Although Brahms has often, and justly, been called the last of the great classical composers, it is only the most superficial lis?tener who could deny that his music possess?es qualities of the most intense romanticism. The richness and abundance of his musical genius poured forth not only in his sym?phonies, but in his chamber works as well.
During the summer of 1882, while vaca?tioning in Ischl, Brahms completed two major chamber compositions -the magis?terial C Major trio and the joyous string quintet in F. Actually, he had written the expansive first movement of the trio in March 1880, just before his first summer in Ischl. In June 1882 he quickly finished the remaining three movements.
The Trio in C Major, Op. 87, the second of three such works in that form by Brahms, was conceived on a large scale of epic grandeur, combining Classical fluency with Romantic lyricism. Throughout much of the piece the piano part is cast in such a heroic mold as to force the two string instruments to band together, playing in octaves or at least in the same rhythm against the key?board, yet resulting in a perfect balance between strings and piano. While the mas?terful working-out of the themes recalls the style of Haydn, the sonorities very often are close to those of Schubert's Piano Trios; the character of the music, however, is all Brahms' own.
The main theme of the first movement is played at the outset by the violin and cello in octaves; this theme is so perfectly con?ceived for the strings that they play it at each of the major formal statements in the sonata-form movement. The sedate second theme, on the piano, has a rippling accom?paniment in the left hand that becomes a
third subject in its own right. A climactic arrival back in the home key suggests a repeat of the exposition, but moves instead into the expansive development. The tradi?tional recapitulation of all the themes and an extensive coda bring the movement to its conclusion.
The slow movement, in a minor, is a set of variations. The strings first present the main theme, a gypsy-like melody of marked Hungarian flavor, against an accompani?ment of off-beat chords in the piano. Brahms, as usual, stricdy retains the shape of die theme for each of die variations. The first, third and fifth variations are based on the string melody, while the second and fourth variadons are derived from the piano accompaniment of die original theme. The last variation returns to die minor mode but converts die original theme into the 68 meter of die preceding section before expanding into the quiet afterthought of die coda.
Instead of die "joke" diat the word scherzo implies, the third movement is dark and shadowy, cast in c minor, its atmosphere was once likened to "an eerie rusding at twi?light," by musicologist Peter Ladiam. When die lyrical music of die Trio section moves into die bright key of C Major, the effect is all the stronger. The reprise of die scherzo, however, brings back die aura of mystery and bleakness that was present at the begin?ning of the movement.
In total contrast to die scherzo, die Finale, labeled giocoso (playful), is good-natured and spirited; the intensity of die proceedings, however, preclude any humor?ous content. Two themes come into play: one expressive and impassioned, performed for die most part by the two strings together; die odier, contrastingly lighter in character, playfully pitting the duple rhythm of the strings against the triplets of the piano. The exuberance of diis movement brings this masterful work to its brilliant conclusion.
After a private run-through performance on August 29, 1882, at the home of die com?poser's friend Ignaz Brull, Brahms' Trio No. 2 in C Major, Op. 87 received its official pre?miere in Frankfurt, later that year on December 29, widi the composer at die piano.
Trio No.i in c minor, Op. 8
Born on September 25, 1906 in St. Petersburg
Died on August 9, 1975 in Moscow
During his student days at die Leningrad Conservatory, die young Shostakovich used to accompany silent film on piano at the local cinema. One day, late in die fall of 1923, die seventeen-year-old Dmitri took along two friends, a violinist and a cellist, and spent the enure film rehearsing a com?position he'd recendy completed. The film's audience was less than enthusiastic about the music diey heard that day, and respond?ed with occasional boos and hisses. But diey couldn't have known dien that Shostakovich would become one of die twentiedi century's most revered chamber music composers, or diat diey were hearing die world premiere performance of his first chamber work, die Piano Trio in c minor, Op. 8.
A one-movement work, it adheres to die traditional sonata form so closely that when Shostakovich applied for entrance to die Moscow Conservatory in 1926, die admis?sions panel unexpectedly accepted die Piano Trio as evidence of his mastery of diat compositional form ("something they never would have allowed in Leningrad!" Dmitri wrote to his mother). But this youthful work is unusually rich in emotional variety and maturity, and sounds like anydiing but a prosaic or tradition-bound formal exercise.
The first three notes in the cello, a descending chromatic scale, create a kind of leitmotifthat informs die entire work. After a
rhapsodic and occasionally sprightly intro?duction that wanders through harmonically distant keys, the resolute first theme anchors the piece firmly in the c-minor tonic. But that soon gives way to a luminously lyrical E-flat Major theme in the cello, accompanied by gently chiming parallel triads in the piano, that recalls the late-nineteenth-century French composers; the trio's subtide, Poeme, makes the French allusion even more overt. After a developmental section, die introduc?tory rhapsody returns, and leads smoothly into a recapitulation of this lyrical second dieme. Its peaceful, meditative quality makes die subsequent repeat of die first dieme (widi its chromatic motion in die darker registers) sound menacing radier dian resolute, but a fortissimo restatement of die lyric theme in C Major triumphandy dispels die direat and die trio ends affirma?tively.
Program note by Luke Howard
Trio in c minor, Op.66
Born on February 3, 1809 in Hamburg
Died on November 4, 1847 in Leipzig
Felix Mendelssohn, like Mozart, was one of music's great prodigies, a litde boy in whose compositions diere was almost noth?ing childlike. The young composer's grand father was Moses Mendelssohn, the Jewish philosopher of die Enlightenment who was immortalized as Lessing's Nathan the Wise, and his father was a wealthy banker who sought opinions of his son's potential from the most distinguished musicians of die time. When diey assured him that die boy was an audientic genius, nodiing was spared to bring him to artistic maturity.
The musicales held on alternate Sunday mornings in the Mendelssohns' great house in Berlin could not be missed by any touring
performer who passed through the Prussian capital. There was always chamber music, sometimes an orchestra, occasionally even an opera. The guests frequently performed, and almost every time there was a work on the program by young Felix, who learned his craft, developed his skills, and polished his art in this privileged workshop. He grew up to be the greatest German composer of his time and one of its most influential fig?ures. Musicians as diverse as Berlioz, Chopin, and Liszt were his friends, and Schumann was his disciple.
Late in his short life Mendelssohn's responsibilities to numerous monarchs, including the King of Prussia in Berlin, the King of Saxony in Dresden and Queen Victoria, became burdensome. His Directorship of the Leipzig Orchestra and Conservatory and his enormous popularity in England left him too little time for a pri?vate life with his beloved family and no time to write to please himself rather than others. In December 1844, he began to extricate himself from all these pressures by moving to Frankfurt. There he lived as a simple citi?zen, refusing all engagements, among them an invitation to participate in a music festi?val in New York. It was in Frankfurt that he completed his six organ sonatas and, in February 1845, began this Trio, which he finished in the spring or early summer.
In April, Mendelssohn wrote to his sister, 'The Trio is a bit nasty to play, but not really difficult." In fact it is not really nasty, but it is by no means easy. The piano part reflects the quiet power and the fleet, fluent style that Mendelssohn's contemporaries described in his playing. The string writing too is demanding, and the violinist in the first public performance, on December 20, 1845, was Ferdinand David, for whom Mendelssohn had written his Violin Concerto in 1844. The Trio is dedicated to Louis Spohr (1784-1859), an important violinist and composer.
This is a big work and a more serious one than his popular, early Trio in d minor, and it is a nearly perfect example of Mendelssohn's mastery of a difficult esthetic problem: Romantic expression within Classical forms. The principal material of the first movement, "Allegro energico e con fuoca," is a pair of contrasting themes, the first darkly passionate and the second gentle and lyrical, which are powerfully developed. The two middle movements are lighter in tone, a simple "Andante espressivo" and a witty, elfin Scherzo, "Molto allegro, quasi presto." In the Finale, the leaping first sub?ject returns us to the emotional world of the first movement. There are tempestuous out?bursts, dramatic contrasts, tense textures, and at the end, a coda of great power.
Since its formation in 1980, Trio Fontenay has been passion?ately dedicated to piano trio lit?erature. Critics have lavishly praised their technical excellence, richness of tone, and depth of interpretive imagination. Inspired by their early study with the Adadeum Quartet, the ensemble performs throughout Europe and North and South America. They are regularly welcomed in London, Munich, Hamburg, Berlin, and Amsterdam and were named "Trio-in-Residence" at Paris' Theatre Chatelet. Last season they performed the complete Beethoven cycle at Paris' Theatre Chatelet, London's Wigmore Hall, Berlin's Schauspielhaus, Amsterdam's Concertgebouw, and in Munich, Cologne, and Hamburg. They gave another United States tour this past spring, including performances in San Francisco, Pittsburgh, San Juan, and at the State University of New York at Purchase.
Trio Fontenay has recorded for harmonia mundi, Denon, and EMI Electrola and has
been under exclusive contract with Teldec where they are currently working on their second recording of the complete Schubert trios for the label. Their recent recording of the Beethoven Piano Trios on the Teldec label received the 1994 Preis Der Deutschen Schallplattendrilik, the German Record Critics Award. They have recorded the complete piano trios by Brahms, Mendelssohn, Mozart, and Dvorak, as well as works by Ives, Schumann, and a RavelDebussyFaure disc. The name "Fontenay" was chosen for two reasons: first, it is the old French translation
for "source" and "fantasy," and second, it is the name of the street near the Hamburg Conservatory where the ensemble first met to practice. In 1983, Trio Fontenay won the Felix Mendelssohn-Bartholdy Prize from the Prussian Cultural Heritage Foundation and German Conservatories. Two years later it earned first prize in the National German Music Competition in Bonn.
This evening's performance marks the Trio Fonlenay's debut under VMS auspices.
Les Arts Florissants
Handel's Ads and Galatea
A Masque in Two Acts William Christie, conductor
Friday Evening, November 8, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Sophie Daneman, soprano Adele Eikenes, soprano Paul Agnew, tenor Alan Ewing, baritone
Adrian Brand, tenor Francois Piolino, tenor David Le Monnier, bass
Damon's air "Consider, fond shepherd" will be sung by Adrian Brand
Florence Malgoire.Jean Daniel Rist Alix Verzier, Paul Carlioz Jonathan Cable
Sebastien Marq, Michele Tellier Pier-Luigi Fabretti, Andrea Mion Claude Wassmer
Directed from the harpsichord by William Christie
Nineteenth Concert of the 118th Season
118th Annual Choral Union Series
This concert is in memory of Judith and Edward Heekin, who were frequent Choral Union attendees.
Special thanks to Ellwood S. Derr, Professor of Music Theory, U-M School of Music, for serving as speaker for tonight's Performance-Related Educational Presentation (PREP).
The harpsichord used in this evening's performance is made possi?ble by Thomas Ciul, instrument builder, of Smith Creek, Michigan.
Large print programs are available upon request.
Acis and Galatea
George Frideric Handel
Born on February 23, 1685 in Halle, Germany
Died on April 14, 1759 in London
Acis and Galatea has always been one of Handel's most popular works, yet has seldom if ever been revived as he originally wrote it or as he directed it in any of his subsequent performances. Its history is complex and of considerable interest. He first grappled with the subject in a serenata, Ad, Galatea e Polifemo, composed to celebrate a nobleman's wed?ding in Naples in 1708. This had only the three characters of the title, Aci as a soprano castrato, Galatea as a contralto; there was no chorus. It has nothing musically in common with the English setting except the accompa?niment of one aria, which Handel has also used elsewhere. Nor does it represent a particular climax in Handel's career. The English Acis on the other hand is a landmark not only in Handel's career but in the history of English music, for it establishes a link between the masque of Purcell's time and Handel's oratorios, which it strikingly antici?pates in its dramatic use of the chorus. Handel's earlier settings of English words, mostly for the church, had followed the native tradition established by Purcell and his contemporaries. Acis and Galatea was something entirely different.
Its birth was not wholly without prece?dent. The craze for all-sung Italian opera in London, introduced by Clayton's Arsinoe in 1705 and reaching a climax in 1711 with Handel's Rinaldo, sung by the leading singers in Europe, inspired a reaction in favour of stage works in English. This move?ment, in which the poets Colley Cibber and John Hughes and the composers J.C. Pepusch andJ.E. Galliard were the most prominent figures, could not seriously challenge the Italian opera, though one work, Calypso and Telemachus by Hughes and Galliard, did reach the stage of the Haymarket opera
house. In an attempt (in Cibbers' words) "to give the Town a little good Musick in a Language they understand," they concen?trated on masques performed as afterpieces to straight plays in the theatres in Drury Lane and Lincoln's Inn Fields. These were in effect short operas, generally in two scenes or interludes, in the Italian style (that is, with sung recitative in place of spoken dialogue); the plots were pastoral or mythological, with a vernacular comic element but little or no chorus. The principal composer was Pepusch at Drury Lane; his Venus and Adonis (March 1715) and Apollo andDaphne (January 1716) were antecedents if not models for Handel, the former with a bird aria "Chirping warblers" accompanied by a jlagelletto, the latter with close resemblances in plot and language (Daphne, lustfully pursued by the god, is changed into a tree). An earlier masque, Ads and Galatea by John Eccles (1701), had a decidedly coarse libretto that could have offered Handel nothing, but like the others, it enjoyed a good deal of success.
In June 1717 Italian opera at the Haymarket fell into abeyance, with no immediate prospect of resumption, and Handel, who had been living in the house?hold of the Earl of Burlington, took a post as house composer to the Earl of Carnarvon (later Duke of Chandos) at Cannons a few miles out of London. Here he found Pepusch installed as Master of the Musick. Carnarvon had close links with the Burlington circle, which included the poets Pope and Gay and the author and physician John Arbuthnot, with all of who Handel was probably already acquainted. This was the milieu from which Ads and Galatea sprang.
The simple plot, a Sicilian myth personi?fying the activities of Mount Etna, comes from Book XIII of Ovid's Metamorphoses; it had already been the subject of an opera by Lully (1686). The shepherd Acis and the nymph Galatea are in love, but Acis has a rival in the giant Polyphemus, who pays
clumsy court to Galatea. Though warned by the chorus of nymphs and shepherds, and despite the pleading of Galatea and the advice of Damon, another shepherd, Acis defies the giant. While the lovers pledge eternal faith the furious Polyphemus kills Acis with a massive rock. The chorus bid her dry her tears: he will flow on for ever, "mur?muring still his gentle love."
This libretto was a composite undertak?ing, mainly by Pope and Gay with a contri?bution from Hughes (whose cantata Venus and Adonis had been Handel's first setting of English words in 1711) and possibly from Arbuthnot. Embedded in the text are adap?tations from Pope's Pastorals and translation of the Iliad and Dryden's translation of the Metamorphoses. Handel composed the music in the early summer of 1718; a guest at Cannons in a letter of 27 May mentioned "a litde opera now a making for [Carnarvon's] diversion whereof the Musick will not be made publick" and added "it is as good as finished." It was presumably performed at Cannons, but nothing is known of the exact date, the artists taking part, or the manner of presentation.
Something of Handel's intentions can be discerned from his autograph score. It was conceived as a chamber work in a single act for very small forces: five voices, a soprano, three tenors and a bass, who sang both the solo and the chorus parts, and a minute orchestra, perhaps consisting of two violins, two oboes (doubling on recorders), two cel?los and harpsichord continuo, twelve per?sons in all. There was no alto voice, no viola and no double basse. The chorus "Happy we" and the air "Would you gain the tender creature" were not present. Against the tenor parts in the opening chorus Handel wrote the names of three singers (one of them James Blackly, who had sung the part of Mars in Pepusch's Venus and Adonis at Drury Lane), but later crossed them out (Brian Trowell has shown, from internal
evidence, that Handel's first plan may have been to use only three voices, as in the Naples serenata). But Ads was probably never performed in the version of the auto?graph. A very early copy belonging to the Earl of Malmesbury, dated 1718 and almost certainly based on the lost performing score, records changes. A bassoon and a double bass had joined the Cannons band; the obbligato instrument in "O ruddier than the cherry" was a sopranino, not a treble recorder ; and an air, "Would you gain the tender creature" was added for the third tenor in the character of Coridon, so that each of the five singers had a solo as well as an ensemble part. The number of singers was not increased; the names of the charac?ters are written against the parts in one of the choruses.
Handel left his Cannons employment in the winter of 1718-19 and returned to the King's Theatre for his most ambitious oper?atic enterprise as composer to the Royal Academy of Music; he made no attempt to follow up Ads, a misfortune for opera in English. There was a single performance for a singer's benefit in March 1731, for which he may have lent material (the songs but not the score had been published in 1722). In the following year Thomas Arne senior, a haberdasher by trade and father of the com?poser and the actress-singer Susanna Cibber, mounted a season of English operas at the Little Theatre in the Haymarket, including two staged performances of Ads and Galatea on 17 and 19 May. It was clumsily divided into three acts and claimed as "the first time it ever was performed in Theatrical Way." Handel, challenged by a rival company mak?ing unauthorised use of his work opposite his own theatre, retaliated on 10 June with a revised and inflated version "performed by a great Number of the best Voices and Instruments," including the Italian singers of the opera company. This ungainly hotch?potch combined excerpts from the Cannons
Acts, much of it translated into Italian, part of the Naples serenata, ten numbers lifted of adapted from earlier works, including the Brockes Passion and the Ode for Queen Anne's Birthday, and a very little new music. It was sung in a mixture of English and Italian (a dirowback to the first years of the century) and given with costumes and scenery but no action on the stage. The cast included five supernumerary shepherds and shepherdess?es. It evidently drew the public, for Handel revived it in December 1732, at Oxford the following year, and in 1734 and 1736, alter?ing the score each time according to the available singers but rendering it no more coherent.
In 1739, when he had no opera compa?ny, Handel reverted to the English version, but not in its earlier form. He expanded the scoring, made a number of cuts, substituted a recitative for Damon (sung by a boy) for the ensemble tease, Galatea, cease to mourn," divided the work into two acts, and ended the first with a new fourpart chorus, "Happy We," in the version with carillon, a new glockenspiel-type instrument which he had employed in Saul and other works of this period. The shorter form of this chorus, familiar in most scores and modern perfor?mances, dates from Handel's last revival in Dublin in 1742. Before that, in 1741, he had put on yet another bilingual version because one or two singers (in his last opera season) either could not or would not sing in English. In 1743 Walsh published the full score, and Handel washed his hands of it. Ads and Galatea remained popular; it was by far the most frequently performed of Handel's major works during his life, enjoy?ing at least 106 performances.
There has been much debate about the category to which Ads and Galatea belongs. The matter is not without importance, since it may affect the manner of performance. During Handel's life it was advertised or described variously as a Pastoral, an English
Pastoral Opera, a Serenata (Handel's 1732 bilingual version), a Pastoral or Bucolic Poem, a Musical Entertainment (or an Entertainment), a Pastoral or Masque, an Oratorio, or simply "Mr. Handel's music." Walsh's printed editions called it successively an Opera, a Masque, a Serenade and a Mask (the 1743 full score). Chrysander darkened counsel in his biography by calling it first an oratorio and later a cantata, though he pub?lished it as a masque. Handel gave it no title in the autograph. The catalogue of the Cannons library, dated 23 August 1720 and signed by Pepusch, lists a copy (probably the 1718 performing score) as "O the pleasure of the plain, a masque for 5 voices and instruments." Masque is undoubtedly the best descriptive title; the one thing it emphatically is not is an oratorio, which always implied a sacred or at least a moral subject.
There were at least two fully staged pro?ductions in the early years, by Arne in 1732 and by Mr. and Mrs. Davis at the Aungier Street Theatre, Dublin, in February 1735. Since Handel's death it has had innumerable stage productions, far more than any of his other English works. Yet it would have been difficult to stage at Cannons with only five singers. Perhaps it was given, like Handel's 1732 serenata, with scenery and costumes but no acting (other than gesture), what we should now call a semi-staged performance.
The question arises because the music is intensely dramatic and seems to yearn for the theatre, not surprisingly since Handel was before all else an opera composer. From the chorus "Wretched lovers" to the end the score constantly suggests physical action and the clash of personalities: the giant strides of Polyphemus, the clumsiness of his wooing, this fury cutting across the lovers' congruence in the trio (without disturbing the balance of the design), the vividness and pathos of Acis's dying recitative, the sudden interrup?tion of Galatea's lament, where the chorus
becomes an active participant in the drama. Handel, always responsive to concrete rather than abstract imagery, direct emotion rather than vague generalities, was clearly inspired by the language of the libretto. Nevertheless this is an artificial world, a world of myth rather than human activity. The characters, unlike those of Handel's Italian operas, the English dramas Semele and Hercules and most of the oratorios, are viewed from a certain distance. Acis and Galatea might be figures in a Watteau landscape. Polyphemus is a grotesque, observed with no litde humour: when he demands a hundred reeds of decent growdi to make a pipe for his capacious mouth with which to serenade Galatea, his air is accompanied by the smallest and squeakiest instrument in the orchestra, a sopranino recorder. (Ovid too treats him half-humorously: he combs his hair widi a rake and trims his beard with a sickle). If the approach were even a trifle closer to realism, the story would be intolerable. At the same time Acts and Galatea is wholly free from coarse farmyard buffoonery on die one hand and any attempt to attach an edi?fying moral on the other. For this we must thank die poets, who doubtless knew that it reflected Handel's fundamental approach to his art.
The music scarcely needs introduction, but one point may be worth mentioning. Acis and Galatea contains eleven airs. The first ten, five in each act, as well as the open?ing chorus and the duet "Happy We," are in ABA form, seven airs and the chorus widi exact da capo, three airs and die duets slightly modified by a dal segno. In the eleventh and last air, "Heart, die seat of soft delight," die emotional high point of the score, Handel leads die listener to expect the same design, moving to die tonic as if for a repeat of the opening. Then comes the surprise: die beautiful litde rising sequence that first appears in die third and fourth bars of die ritornello and in bars thirteen and fourteen
on the voice, instead of returning in its famil?iar two-bar form, soars to a threefold repeti?tion at the words "murm'ring still his gentle love." It is in details like this that Handel reveals his supreme genius. It is perhaps die most magical touch in an entrancing work.
Program note by Winton Dean
Oh, the pleasure of the plains! Happy nymphs and happy swains, Harmless, merry, free and gay, Dance and sport the hours away. For us the zephyr blows, For us distills the dew, For us unfolds die rose, And flow'rs display their hue. For us the winters rain, For us die summers shine, Spring swells for us the grain, And autumn bleeds die vine.
Ye verdant plains and woody mountains, Purling streams and bubbling fountains, Ye painted glories of the field, Vain are the pleasures which ye yield; Too thin the shadow of the grove, Too faint the glass, too cool my love.
Hush, ye pretty warbling quire!
Your thrilling strains
Awake my pains,
And kindle fierce desire.
Cease your song, and take your flight,
Bring back my Acis to my sight!
Where shall I seek the charming fair
Direct die way, kind genius of die mountains!
O tell me, if you saw my dear!
Seeks she die groves, or bathes in crystal
Stay, shepherd, stay! See, how thy flocks yonder valley stray What means this melancholy air No more thy tuneful pipe we hear.
Shepherd, what art thou pursuing Heedless running to thou ruin; Share our joy, our pleasure share! Leave thy passion till tomorrow, Let the day be free from sorrow, Free from love, and free from care!
Lo! Here my love: turn, Galatea, hither turn
See, at thy feet the longing Acis lies!
Love in her eyes sits playing, And sheds delicious death; Love on her lips is straying, And warbling in her breath! Love on her breast sits panting, And swells with soft desire; No grace, no charm is wanting To set the heart on fire.
Oh! Didst thou know the pains of absent
Acis would ne'er from Galatea rove.
As when the dove
Laments her love,
All on the naked spray;
When he returns,
No more she mourns,
But loves the live-long day.
Melting murmurs fill the grove,
Melting murmurs, lasting love.
Galatea & Acis
Happy we! What joys I feel! What charms I see!
Of all youths thou dearest boy! Of all nymphs thou brightest fair! Thou all my bliss, thou all my joy!
Wretched lovers! Fate has passed This sad decree: no joy shall last. Wretched lovers, quit your dream! Behold the monster Polypheme! See what ample strides he takes! The mountain nods, the forest shakes; The waves run frighten'd to the shores: Hark, how the thund'ring giant roars!
I rage, I melt, I burn!
The feeble god has stabb'd me to the heart.
Thou trusty pine,
Prop of my godlike steps, I lay thee by!
Bring me a hundred reeds of decent growth,
To make a pipe for my capacious mouth;
In soft enchanting accents let me breathe
Sweet Galatea's beauty, and my love.
O ruddier than the cherry,
O sweeter than the berry,
O nymph more bright
Than moonshine night,
Like kidlings blithe and merry!
Ripe as the melting cluster,
No lily has such luster;
Yet hard to tame
As raging flame,
And fierce as storms that bluster!
Whither, fairest, art though running. Still my warm embraces shunning
The lion calls not his prey,
Nor bids the wolf the lambkin stay.
Thee, Polyphemus, great as Jove, Calls to empire and to love, To his palace in the rock, To his dairy, to his flock,
To the grape of purple hue, To the plum of glossy blue, Wildings, which expecting stand, Proud to be gather'd by the hand.
Or infant limbs to make my food, And swill full draughts of human blood! Go monster! Bid some other guest: I loathe the host, I loathe the feast.
Cease to beauty to be suing, Ever whining love disdaining. Let the brave their aims pursuing. Still be conqu'ring, not complaining.
Would you gain the tender creature, Softly, gently, kindly treat her: SufFring is the lover's part. Beauty by contraint possessing, You enjoy but half the blessing, Lifeless charms without the heart.
His hideous love provokes my rage: Weak as I am, I must engage! Inspir'd with thy victorious charms, The god of love will lend his arms.
Love sounds th'alarm And fear is a-flying When beauty's the prize, What mortal fears dying In defence of my treasure, I'd bleed at each vein; Without her no pleasure, For life is a pain.
Consider, fond shepherd, How fleeting's the pleasure, That flatters our hopes In pursuit of the fair! The joys that attend it, By moments we measure,
But life is too little To measure our care.
Cease, o cease, thou gentle youth, Trust my constancy and truth, Trust my truth and pow'rs above, The pow'rs propitious still to love!
Galatea & Acis
The flocks shall leave the mountains, The woods the turde dove, The nymphs forsake the fountains, Ere I forsake my love!
Torture! Fury! Rage! Despair! I cannot, cannot bear!
Galatea & Acis
Not show'rs to larks so pleasing, Nor shunshine to die bee, Not sleep to toil so easing, As diese dear smiles to me.
Fly, swift, thou massy ruin, fly! Die, presumptuous Acis. Die!
Help, Galatea! Help, ye parent gods! And take me dying to your deep abodes.
Mourn, all ye muses! Weep, all ye swains! Tune, tune your reeds to doleful strains! Groans, cries and howlings fill the neigh-b'ring shore: Ah, the gende Acis is no more!
Must I my Acis still bemoan, Inglorious crush'd beneadi diat stone
Cease, Galatea, cease to grieve! Bewail not whom thou canst relieve.
Must the lovely charming youth Die for his constancy and truth
Cease, Galatea, cease to grieve! Bewail not whom thou canst relieve; Call forth thy pow'r, employ thy art The goddess soon can heal thy smart.
Say what comfort can you find
For dark dispair o'erclouds my mind.
To kindred gods the youth return, Through verdant plains to roll his urn.
'Tis done: thus I exert my pow'r divine; Be thou immortal, though thou art not mine!
Heart, the seat of soft delight, Be thou now a fountain bright! Purple be no more thy blood, Glide thou like a crystal flood. Rock, thy hollow womd disclose! The bubbling fountain, lo! It flows; Through the plains he joys to rove, Murm'ring still his gentle love.
Galatea, dry thy tears, Acis now a god appears! See how he rears him from his bed, See the wreath that binds his head. Hail! Thou gentle murm'ring stream, Shepherd's pleasure, muses' theme! Through the plains still joy to rove, Murm'ring still thy gentle love.
The vocal and instrumen?tal ensemble Les Arts Florissants was founded by William Christie in 1979 in Paris, three cen?turies after the creation of the work by Marc-
Antoine Charpentier from which it takes its name. From the outset, the group has devot?ed itself to research into seventeenthand eighteenth-century music. Their repertoire is composed, to a large extent, of unedited works, most notably those of the Bibliotheque Nationale de France in Paris such as Charpentier, Campra, Monteclair, Mouline, Lambert, Bouzignac, and Rossi.
Les Arts Florissants has also particularly earned recognition for its interpretations of operas, notably at the Opera du Rhin with Purcell's Dido and Eneas, Monteverdi's Ballo delle Ingrate (1983), Rameau's Anacreon, and Charpentier's Action (1985) staged by Pierre Barrat.
The production of Lully's Alys, staged by Jean-Marie Villegier, was voted best opera by French critics in 1987 and was performed at the Opera Comique in Paris, in Caen, Montpellier, Versailles, Florence, New York, and Madrid in 1987, 1989 and 1992 to rave reviews. Jean-Marie Villegier has also staged Le Malade Imaginaire by MoliereCharpentier (coproduction Theatre du Chatelet, Theatre de Caen, Opera de Montpellier 1990), La Fee Ugele by DuniFavart (directed by Christophe Rousset, Opera Comique 1991) and Charpentier's Medee (coproduction Opera Comique, Theatre de Caen, Opera du Rhin 1993, also performed in Lisbon and New York in 1994).
Les Arts Florissants is also regularly invited by the Aix-en-Provence festival for produc?tions such as Purcell's Fairy Queen (staged by A. Noble, 1989, Grand Prix de la Critique), Rameau's Indes Galanles (staged by A. Arias, 1990, also performed in Caen, Montpellier,
Lyon and Paris), Rameau's Castor & Pollux (staged by P.L. Pizzi, 1991), Handel's Orlando (staged by R. Carsen, coproduction Theatre des Champs-Elysees, Opera de Montpellier, 1993) and Mozart's Magic Flute in 1994 (staged by R. Carsen).
Since 1989, the Brooklyn Academy of Music has invited Les Arts Florissants for both staged productions (Atys in 1989 and
1992, Medeein 1994) and concerts (1991,
Les Arts Florissants has made over forty recordings on the label harmonia mundi, many of which have won prestigious interna?tional prizes. At the beginning of 1994, Les Arts Florissants signed an exclusive contract with EratoWarner Classics. After Rameau's Grands Motets, Purcell's Dido and Eneas, Charpentier's Medee, Purcell's King Arthur, and Mozart's Requiem, further recordings will include Charpentier's La Descents d'Orphee aux Enfers and Mozart's Magic Flute. Rameau's Grands Motets and Purcell's King Arthur won the 1995 Gramophone Awards, respectively in the category "Baroque Vocal" and "Early Opera".
In 1995 the ensemble toured in the United States, Great Britain, Hungary, the Czech Republic, Slovakia, Austria, Switzerland, the Netherlands, Australia, and Japan.
Les Arts Florissants is funded by the French Ministry of Culture, by the town of CaenRegion Basse-Normandie, and by PECHINEY.
This evening's performance marks Les Arts Florissant's debut under UMS auspices.
orn in I'Jll in Buffalo, New Yoi k. William Christie began his musical studies with his mother and went mi in study the piano, organ, and harpsii hord, notably with Ralph Kirkpatrick, who encouraged him in his pre?dispositions for French music. After graduat?ing from Harvard and Yale, he settled in France in 1971 and made his first recording for the ORTF, working in close collabora?tion with Genevieve Thibault de Chambure. He then continued his harpsichord studies with Kenneth Gilbert and David Fuller and has given recitals in all principal European festivals. Between 1971 and 1975, he worked with the Five Centuries Ensemble, an experi?mental group devoted to ancient and con?temporary musics, and has taken part in numerous works of composers such as Berio, Bussotti, Feldman, and de Pablo. In 1976, he joined Rene Jacobs' Concerto Vocale, where he played the piano and the organ until 1980.
In 1979 he founded Les Arts Florissants and rapidly began exploring French, Italian, and English music of the seventeenth and eighteenth centuries. This peculiar ensem?ble that performed in small structures as well as with soloists, choir, and orchestra, gave him the opportunity to contribute greatly to the resurgence of interest in vocal technique of the seventeenth and eighteenth centuries.
Also interested in theatre and French declamation, William Christie directed a number of French lyric tragedies with Les Arts Florissants, stage directors such as Jean-Marie Villegier, Robert Carsen, Alfredo Arias, Jorge Lavelli, Adrian Noble, Pier-Luigi Pizzi, and Pierre Barrat, and choreographers like Francine Lancelot, Beatrice Massin, Ana Yepes, Shirley Wynne, Maguy Marin, and Francois Raffinot.
In 1982, he became the first American professor at the Conservatoire National Superieur de Musique de Paris. His role as a professor has involved him in a number of important student productions, often in col?laboration with other pedagogical institu?tions such as The Royal Conservatory of The Hague, the Guildhall School of Music and Drama, and the Conservatoire National Superieur de Musique de Lyon.
William Christie has also made an impor?tant reappraisal of the works of Marc-Antoine Charpentier, and indeed an impor?tant part of the discography of Les Arts Florissants is given over to this composer (twelve recordings). He has conducted the operas Medee and David & Jonathas, as well as the interludes from the Malade Imaginaire by MoliereCharpentier. His attraction to the music of Jean-Philippe Rameau led him to record all the harpsichord works by this composer. He has also conducted Anacreon, Les Indes Galantes, Pygmalion, Netee Myrthis, Castor Pollux and Les Grands Motets.
He is regularly invited to conduct other orchestras, including those in Paris, Lyon, London, Geneva, Boston, and San Francisco. This past summer, William Christie made his debut at Glyndebourne in a new production of Handel's Theodora with Peter Sellars.
William Christie loves the French "art de vivre" and is fond of French gastronomy and gardens.
In January 1993, William Christie was awarded the prestigious French Legion d'Honneur and is now a French citizen.
Sophie Daneman studied at the Guildhall School of Music with Johanna Peters and received an award from the Countess of Munster Trust. She has appeared as a soloist in recitals and oratorios throughout Britain and Europe in works ranging from Monteverdi, Bach, Handel and Mozart to Britten, Schcenberg and Berio.
Operatic appearances include Depina in Mozart's Cosi Fan Tutte, first Witch in Purcell's Dido & Eneas, Rowan in Britten's Let's make an opera, Susanna in Mozart's Le Nozze di Figaro, Frasquita in Bizet's Carmen, and in the first performance of Birtwistle's Gawain at the Royal Opera House, Covent Garden.
She has given Lieder recitals for Philippe Herreweghe at the Saintes Festival, recitals of French melodies and Schubert Lieder at the Villa Medicis in Rome, a Schubert recital at the Wigmore Hall with Julius Drake as part of the Saturday Schubertiade series and a specially devised program of Chopin songs with Leslie Howard and Leslie Caron as part
of the Greenwich Festival.
Recent performances have included Mozart's Mass in c minor with the Academy of St. Martin-in-the-Fields, Bach and Vivaldi with the City of London Sinfonia, the title role in Handel's Rodelinda in a semi-staged production directed by Jonathan Miller at Blackheath Concert Halls, Ravel's Trois Poemes de Stephane Mallarme with Musique Oblique in Annecy and Chambery, Vivaldi's Gloria with the Manchester Camerata Kraemer and Monteverdi's Selva Morale and Charpentier'suA7A with Jean-Claude Malgoire in Cremona.
Recordings include Monecar's Jephte, Charpentier's Medee, Purcell's Dido & Eneas and Handel's Rodelinda. Her recording of Rameau's Grands Motets received the Gramophone award for Best Baroque Vocal recording of 1995.
Future engagements include recording projects with Les Arts Florissants (Couperin Lefons de Tenebres), further performances of Rodelinda at Broomhill, Scarlatti cantatas with Gerard Lesne in Besancon, a selection of songs from Wolfs Italienisches Liederbuch and Schubert Lieder at the Festival in Saintes, Monteverdi's Selva Morale and HandeYs Joshua in Germany.
Sophie Daneman makes her UMS debut in tonight's performance.
Adele Eikenes was born in Norway and stud?ied at the Bergen Music Conseravatoire with Diane Saevig. In 1992 she was a prize winner in both the Edwin Ruud Competition (NorwaySweden) and the Sundby Award (Norway). In the same year she commenced her studies with Johanna Peters at the Guildhall School of Music and Drama in London where she has recendy completed the school's Opera Course. She has partici?pated in vocal coaching and masterclasses with Elly Ameling, Rudolf Jansen, Elisabeth Soderstrom, Graham Johnson and Geoffrey Parsons.
She gave solo recitals in Bergen for Grieg's 150th anniversary celebrations and appeared as a soloist with City University Orchestra at St. John's Smith Square. She has appeared with the Bergen Philharmonic Orchestra in the Young Artists Concert 1995 and the 1996 New Year Gala Concert. Her opera roles include First Lady (The Magic Flute), Madame Lidoine (Dialogue des Carmelites), Philidel and She (KingArthur) and Gasparina ( Campiello). She has appeared as an oratorio soloist in Scandinavia and England, performing works by Bach, Handel, Brahms, Rossini, Mozart, Haydn, Vivaldi, Monteverdi and Mendelssohn. In 1996, she was the winner of the 1996 Maggie Teyte Prize Competition, Covent Garden, London. She has also covered for the Glyndebourne Festival Opera the role of Zdenka (Richard Strauss's Arabella). She has been selected for the National Opera Studio, London for the next two years.
AdeleEikenes makes her UMS debut in tonight's performance.
Paul Agnew was born in Glasgow in 1964. He read music as a Choral Scholar at Magdalen College, Oxford, where he studied under Janet Edmonds. After a long associa?tion with the Consort of Musicke, Paul has become much in demand as a soloist. His engagements have included Stravinsky's Pulcinella with Sinfonietta 21, Bach cantatas with the Orchestra of the Age of the Enlightenment and performances of Charpentier's Medee, role of Jason, with Les Arts Florissants and William Christie in France, Portugal and the United States. Paul has worked many times with the English Concert. Engagements have included arias by Handel and Arne at the King's Lynn Festival, fully-staged performances of Fairy Queen in Lisbon, Dioclesian, Timon of Athens (recorded by Deutsche Grammophon) and Bonduca and concert performances of Purcell's King Arthur in Germany, Argentina
and Finland as well as the 1995 BBC Proms. He also regularly records for BBC Radio 3. Recent broadcasts have included concerts with the Purcell Quartet, Taverner Consort, St. Jame's Baroque Players and Orchestra of the Age of the Enlightenment.
Most recently his performances have included King Arthur with John Eliot Gardiner, Handel's Chandos Anthems in the Bruges Festival, Mozart's Coronation Mass and Bach cantatas for Erato with the Amsterdam Baroque Orchestra and Ton Koopman, Messiah with the Royal Liverpool Philharmonic Orchestra, Carmina Burana with the City of Birmingham Symphony Orchestra and Purcell's Dioclesian with Tafelmusik in Toronto. With Les Arts Florissants Paul has recorded the title role in Charpentier's La Descente d'Orphee aux Enfers and Rameau's Grands Motels for Erato.
Engagements this season include perfor?mances of Purcell's Fairy Queen with the Gabrieli Consort, Canticles and Folk Songs by Britten with Musique Oblique in the Festival de Normandie, Purcell's Indian Queen at the Barbican, London and the Cite de la Musique with the Academy of Ancient Music, Bach's St. John Passion with the Brandenburg Consort and King's College Choir, Cambridge (to be recorded for video and CD), die role of Hippolyte in a new production of Hippolyte and Aricie in Paris, Nice, Caen, Montpellier and BAM New York with William Christie and Les Arts Florissants and further concerts and record?ings of Bach cantatas with the Amsterdam Baroque Orchestra.
PaulAgnew made his UMS debut in March, 1992 as a member of Consort of Music. Tonight marks his second performance under UMS auspices.
The Irish bass Alan Ewing read music at the University of East Anglia and continued his vocal studies at the Guildhall School of Music and Drama. He initially developed a reputation as a performer of Renaissance and Baroque music, and was highly in demand by the many groups specialising in this repertoire. As a member of the tremen?dously successful Consort of Music, he appeared at major venues in the US, Australia, Japan, Israel and Europe. He has sung in numerous recordings for EMI, Virgin and Hyperion, two of which won the 1990 Grand Prix du Disque and the 1991 Deutsches Schallplatten Prize.
Since 1991 Alan has successfully extended his repertoire to encompass many operatic roles. His debut was as Osmin (Die Entfuhrung aus dem Serait) at the Buxton Festival, and he was immediately invited to return the following year to sing Claudius, die leading role in Handel's Agrippina.
Recent concert work includes a celebration concert for Sir Michael Tippett's ninetieth birthday, Purcell's The Tempest with Scottish Chamber Orchestra conducted by Ivor Bolton and a Verdi Requiem with the Northern Sinfonia. With Sir Colin Davis and the London Symphony Orchestra he sung the role of Panthee in their highly-acclaimed concert performances of Les Troyens whilst his stage work has ranged from Schwarz at die Teatro Reggio Torino, Osmin (Die Entfuhrung aus dem Serail) with Les Arts Florissants and William Christie at Strasbourg and Caen, and Sam (Un Ballo in Maschera) at Marseille.
Alan Ewing makes his UMS debut in tonight's performance.
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
VOLUNTEERS AND INTERNS
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the roncert season. Projects include helping with nailings; ushering for the Performance Related Educational Presentations (PREPs); staffing the nformation Table in the lobbies of concert Kills; distributing publicity materials; assisting vith the Youth Program by compiling educa?tional materials for teachers, greeting and escorting students to seats at performances; and serving as good-will representatives for JMS as a whole.
If you would like to become part of the Jniversity Musical Society volunteer corps, jlease call 313.936.6837 or pick up a volunteer application form from the Information Table n the lobby.
Internships with the University Musical Society provide experience in performing arts nanagement, marketing, journalism, publicity, promotion, production and arts education. Semesterand year-long internships are avail?able in many aspects of the University Musical Society's operations. For more information, alease call 313.647.4020 (Marketing Internships) or 313.647.1173 (Production Internships).
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 313.764.2538 or 313.647.4020.
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
For more information about joining the UMS usher corps, call 313.913.9696
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 BohemeD'mner Party (March 1); Easter Luncheon with Cecilia Bartoli (March 30); Dinner with a Victorian Influence (April 12); Grandmothers, Mothers & Litde 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 grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform individuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the Second UMS Distinguished Artist Award will be announced in January.
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 I.acy 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 Sim-Chicn 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 Staebler
Dr. and Mrs. Joe D. Morris
John W. and Dorothy F. Reed
Maya Savarino and Raymond Tanter
Mrs. Francis V. Viola III
Miller, Canfield, Paddock
and Stone, PLC Mission Health
Bcnard L. Maas Foundation
Professor and Mrs.
Gardner Ackley Dr. and Mrs. Robert G. Aldrich Robert and Martha Ause James R. Baker, Jr., M.D.
and Lisa Baker A. J. and Anne Bartoletto Bradford and Lydia Bates Dr. and Mrs.
Raymond Bcrnreuter Joan A. Binkow I loward and Margaret Bond Tom and Carme! Borders Barbara Everitt and
John H. Bryant Mr. and Mrs.
Richard J. Burstein LedtiaJ. Byrd David and Pat Clyde Leon and Heidi Cohan Roland J. Cole and
Elsa Kircher Cole Dennis Dahlmann Robert and
Janice DiRomualdo Jack and Alice Dobson Jan and Gil Dorer (hcri and Dr. Stewart Epstein David and Jo-Anna Fcaihcrman Margaret Fisher Richard and Marie Flanagan Robbcn and Sally Fleming Michael and Sara Frank Mr. Edward P. Frohlich Marilyn G. Gallalin William and Ruth Gilkey Div Sid Oilman and
Carol Barbour Sue and Carl Gingles Paul and Anne Glendon Norm Gottlieb and
Vivian Sosna Gotdieb Dr. and Mrs. William A. Grade Ruth B. and
Edward M. Gramlich Linda and Richard Greene Seymour D. Greenstone Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Julian and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Keki and Alice Irani Mercy and Stephen Kaslc Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kinnear Bethany and
A. William Klinke II Michael and Phyllis Korybalski
Barbara and Michael Kusisto Mr. Henry M. Lee Carolyn and Paul Lichter Evie and Allen Lichter Patrick B. and Kalhy Long Dean S. Louis Brigitte and Paul Maassen Ms. Francine Manilow Marilyn Mason and
William StcinhofT 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 Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Picrpont Professor and Mrs.
Raymond Reilly Glenda Renwick Prudence and
Amnon Rosenthal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumclhart Richard and Norma Sarns Rosalie and David Schottenfeld Janet and Mike Shatusky Cynthia J. Sorensen Gerard H. and
Colleen Spencer Dr. Hildrcth H. Spencer Mr. and Mrs.
John C. Stcgeman Victor and Marlcne 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
Laura A. Van House Ellen C. Wagner Martha Wallace and
Dennis White Elise and Jerry Weisbach Roy and JoAn Wetzel Len and Maggie Wolin Nancy and
Martin Zimmerman and several anonymous
3M Health Care Chi Systems, Inc. Comerica Bank Ford Audio Jacobson Stores Inc. Kitch, Drutchas, Wagner,
& Kenney, P.C. Pastabilities
Shar Products Company Wise and Marsac, P.C.
Chrysler Corporation Fund The Mosaic Foundation
(of Rita and Peter Hcydon) Washtenaw Council
for the Arts
Jim and Barbara Adams Bernard and Raqucl Agranoff Carlene and Peter Aliferis Catherine S. Arcure Robert L. Baird Emily Bandera Dr. and Mrs. Robert Bartlett Mrs. Martha K. Beard Ralph P. Beebe Mrs. Kathleen G. Benua Mr. and Mrs. Philip C. Berry Robert Hunt Berry Suzanne A. and
FredcrickJ. Beutler John Blankley and
Maureen Foley Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Britton David and Sharon Brooks Phoebe R. Burl 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 Kennedi DeWoskin Elizabeth A. Doman Dr. and Mrs. S.M. Farhat Claudinc Farrand and
Daniel Moerman Ken, Penny and Matt Fischer Phyllis W. Foster Dr. William and Beatrice Fox David J. Fugenschuh and
Beverley and Gerson Geltner Elmer G. Gilbert and
Lois M. Vcrbrugge 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 and John Jackson Robert L. and
Beatrice H. Kahn Herb Katz
Richard and Sylvia Kaufman Richard and Pat King Hemiine Roby Klingler Jim and Carolyn Knakc John and Jan Kosta Mr. and Mrs. Samuel Krimm Suzanne and Ixe E. Iandes Elaine and David Lebenbom Leo A. Legatski Mr. and Mrs. Carl J. Lutkehaus Robert and Pearson Macek John and Cheryl MacKrell Mark Mahlberg Alan and Carla Mandel Ken Marblestone and
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 McMulIen Hattic and Ted McOmbcr 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 JamPitt Eleanor and Peter Pollack Jerry and Lorna Prcscott Tom and Mary Princing Jerry and Millard Pryor Mrs. Gardner C. Quarton Jim and Bonnie Reece Mr. Donald H. Regan and Ms. Elizabeth Axelson Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Rcstticcia Jack and Margaret Ricketts 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 Mrs. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlene and Henry Appelman
Sharon and Charles Babcock
Essel and Menakka Bailey
Lesli and Christopher Ballard
Paulctt and Peter Banks
M. A. Baranowski
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barnett
Dr. and Mrs. Mason Barr,Jr.
Aslrid B. Beck and
David Noel Freedman
Ncal Bedford and
Gcrlinda Melchiori Harry and Beity Bcnford Ruth Ann and StuanJ. Bergstein Ron and Mimi Bogdasarian Jim Botsford and
Janice Stevens Botsford David and Tina Bowen Betsy and Ernest Brater Mr. and Mrs. Gerald Bright Morton B. and Raya Brown Jeannine and Robert Buchanan Jim and Priscilla Carlson Professor Brice Carnahan Jeannette and Robert Carr Mr. and Mrs. Dennis Carroll Janet and Bill Cassebaum Andrew and Shelly Caughey Yaser Cereb
Tsun and Siu Ying Chang Ed and Cindy Clark Janice A. Clark Alice S. Cohen
Edward J. and Anne M. Comeau Jim and Connie Cook Alan and Bette Cotzin Marjorie A. Cramer Merle and Mary Ann Crawford William H. Damon III Laning R. Davidson, M.D. Jean and John Debbink Bcnning and Elizabeth Dexter Martin and Rosalie Edwards Dr. Alan S. Eiser Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Fitgas 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 Ilcne 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. Haefncr and
Cynthia J. Stewart Veronica Haines Margo Halsted Dagny and Donald Harris Susan R. Harris Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershcnson Herb and Dee Hildcbrandt Joanne and Charles Hocking ClaudetteJ. 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 WalHe 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 Deanna Relyea and
Piotr Michalowski James N. Morgan Sally and Charles Moss Dr. Eva L. Mueller Barry Ncmon 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 Settimi Roger Sheffrey Constance Sherman Hollis and Martha A. Showalter Edward and Marilyn Sichler Diane Siciliano Scott and Joan Singer John and Anne Griffin Sloan Alene M. Smith Carl andjari Smith Jorge and Nancy Solis Mr. and Mrs. Edward Sopcak Mr. and Mrs. NeilJ. Sosin Gus and Andrea Stager Irving M. Stahl and
Pamela M. Rider Catherine M. StefFek Dr. and Mrs. Alan Steiss Charlotte Sundclson Ronald and Ruth Suiton Brian and Lee Talbot Kathleen Treciak Joyce A. Urba and
David J. Kiiisclla Hugo and Karta Vandersypen Mr. and Mrs. John van dcr Velde 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 Westcrman B.Joseph and Mary White Mrs. Clara G. Whiting Brymer and Ruth Williams Marion T. Wirick Farris and Ann Womack Richard and Dixie Woods Don and Charlotte Wyche MaryGrace and Tom York R. Roger and Bette F. Zauel Mr. and Mrs. David Zuk and other anonymous donors
Red Hawk Bar and Grill
Michael and Hiroko Akiyama Anastasios Alexiou Augustine and Kathleen Amaru Hugh and Margaret Anderson James Antosiak and Eda Weddington Jill and Thomas Archambcau, M.D. Bert and Pat Armstrong Gaard and Ellen Arneson Mr. and Mrs. Arthur J. Ashc Eric M. and Nancy Aupperle
Erik and Linda Lee Austin
Eugene and Charlene Axelrod
Shirley and Don Axon
Virginia and Jerald Bachman
Richard and Julia Bailey
Barbara and Daniel Balbach
John R. Bareham
Mr. and Mrs. Robert M. Barnes
Karen and Karl Bartscht
Mr. John Batdorf
Mr. and Mrs. Steven R. Bcckert
Walter and Antje Benenson
Dr. and Mrs. Ronald M. Benson
Marie and Gerald Berlin
L. S. Berlin
Gene and Kay Berrodin
William and Ilene Birge
Mr. and Mrs. Ray Blaszkicwicz
Dr. George and Joyce Blum
Robert S. Bolton
Mr. and Mrs. Mark D. Bomia
Harold W. and
Rebecca S. Bonncll Roger and Polly Bookwalter Edward G. and Luciana Borbely Sally and Bill Bowers Paul and Anna Bradley William F. and
Joyce E. Braeuninger Mi William R. Brashear Representative Liz and
Professor Enoch Brater Mr. and Mrs. James Breckenfeld
Ms. Mary Jo Brough June and Donald R. Brown Linda Brown andjoel Goldberg Arthur and Alice Burks Ellen M. Bycrlcin 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
M. in lull F. and Janice L. Carr Mr. and Mrs. Jeffrey A. Carter Kathran M. Chan Pat and George Chatas James S. Chen Joan and Mark Chesler George and Sue Chism John and Susan Christensen Edward and Rebecca Chudacoff Robert J. Cierzniewski Pat Clapper
Brian and Cheryl Clarkson John and Kay Clifford Charles and Lynne Clippcrt Roger and Mary Coe Dorothy Burke Coffey Mr. Larry Cohen Gerald S. Cole and
Vivian Smargon Howard and Vivian Cole Ed and Cathy Colone Lolagene C. Coombs Gage R. Cooper
Mary K. Cordes 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. Basse tt Martha and Ron DiCecco Nancy DiMercurio Molly and Bill Dobson Fr. Timothy J. Dombrowski Dick and Jane Dorr Professor and Mrs.
William G. Dow Mr. Thomas Downs Roland and Diane Drayson Harry M. and Norrene M. Dreffs Cecilia and Allan Dreyfuss Rhetaugh G. Dumas Dr. and Mrs. Cameron B. Duncan
Robert and Connie Dunlap
Richard and Myrna Edgar
Mr. and Mrs. John R. Edman
Judge and Mrs. SJ. Elden
Ethel and Sheldon Ellis
Patricia Randle and James Eng
!? mil and Joan Engei
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 Galantowicz Thomas H. Galantowicz Arthur Gallagher Stanley and Priscilla Garn Del and Louise Garrison Drs. Steve Geiringer and
Wood and Rosemary Geist Thomas and Barbara Gelehrter Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Paul and Suzanne Gikas James and Janet Gilsdorf Fred and Joyce M. Ginsberg Maureen and David Ginsburg Albert and Almeda Girod Robert and Barbara Gockel Dr. and Mrs. Edward Goldberg Mary L. Golden Elizabeth 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 Halstead Herb and Claudia Harjes Nile and Judith Harper Clifford and Alice Hart Elizabeth C. Hassinen Mr. and Mrs. G. Hawkins Laureen Haynes Kenneth and Jeanne Heininger Mrs. Miriam Heins Sivana Heller Rose and John Henderson Norma and Richard Henderson Rose S. Henderson John L. and Jacqueline Henkel Bruce and Joyce Herbert Mr. Roger Hewitt Jacques Hochglaube, M.D., P.C. Bob and Fran Hoffman Richard Holmes Ronald and Ann Holz Jack and Davetta Horner Fred and Betty House Jim and Wendy Fisher House Charles T. Hudson Jude and Ray Huetteman Ann D. Hungerman Diane Hunter and Bill Ziegler Eileen and Saul Hymans Amy Iannacone
Robert B. and Virginia A. Ingling Ann K. Irish John and Joan Jackson Harold and Jean Jacobson K. John Jarrett and
Patrick T. Sliwinski Professor and Mrs.
Jerome Jelinek Keith and Kay Jensen JoAnnJ.Jeromin Paul and Olga Johnson Stephen G.Josephson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmcs and
Larry Friedman Paul Kantor and Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao
Elizabeth Harwood Katz
Martin and Helen Katz
Mr. and Mrs. N. Kazan
William and Betsy Kincaid
Brett and Lynnette King
John and Carolyn Kirkendall
Rhea and Leslie Kish
Shira and Steve Klein
Gerald and Eileen Klos
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
Alan and Jean Krisch
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs.J. Daniel Kutt
Mr. and Mrs. Seymour Lampert
Connie and Dick Landgraff
Patricia M. I-ang
Carl and Ann LaRuc
Laurie and Robert LaZebnik
Robert and Leslie Lazzcrin
Fred and Ethel Lee
Margaret E. Leslie
Tom and Kathy Lewand
Thomas and Judy Lewis
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
LaM uriel Lyman
Susan E. Macias
Jeffrey and Jane Mackie-Mason
Marcy and Kerri MacMahan
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
Mary and Chandler Matthews
Margaret E. McCarthy
Ernest and Adele McCarus
Dores M. McCrec
Mary and Bruce McCuaig
Bill and Ginny McKeachie
Dr. and Mrs. Theodore Meadows
Robert and Doris Melling
Mr. and Mrs. John Merrifield
Robert and Bettie Metcalf
Elizabeth B. Michael
Leo and Sally Micdler
Andy and Nancy Miller
Thomas and Doris Miree
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 $
Mctinda and Bob Morris Dick and Judy Morrissett Brian and Jacqueline Morton Mideko and Tatsuyoshi Nakamura Dr. andMrs.J.V. Neel Frederick G. Neidhardt and
i .n in.inn Chipault Shinobu Niga Patricia O'Connor Michael J. O'Donnell and
Jan L. Garfinkle Kathleen I. Operhall Dr. Jon Oscherwitz Julie and Dave Owens Dr. and Mrs. Sujit K. Pandit Donna D. Park Evans and Charlene Parrolt Eszther T. Pattantyus Shirley and Ara Paul Robert and Arlene Paup Ruth and Joe Payne Dr. Owen Z. and
Barbara Perl man Joyce H. Phillips Robert and Mary Ann Pierce Dr. and Mrs. James Pikulski Sheila A. PitcofF Donald and Evonne Plantinga Mr. and Mrs. John R. Politzer Philip and Kathleen Power Bill and Diana Pratt David and Stephanie Pyne I i?l.nid and
Elizabeth Quackenbush William and Diane Rado Michael and Helen Radock Mr. and Mrs.
Douglas J. Rasmussen Katherine R. Reebel Mr. and Mrs. Stanislav Rehak Charles and Betty Reinhart Molly Resnik and John Martin Constance Rinehari Lisa Rives and Jason Collens Joe and Carolyn Roberson Elizabeth A. Rose Marilynn M. Rosenthal Gustave and Jacqueline Rosseels Dr. and Mrs.
Raymond W. Ruddon Tom and Dolores Ryan Ellen and James Saalberg Theodore and Joan Sachs Ina and Terry Sandalow John and Reda Santinga Michael Sarosi and Kimm Skalitzky Sarosi Elizabeth M. Savage Charlene and Carl Schmult Albert and Susan Schultz R. Ryan Lavelle, Ph.D
Marshall S. Schuster, D.O. Ed and Sheila Schwartz Ms. Janet Sell Sherry and Louis Senunas Erik and Carol Serr David and Elvera Shappirio Dr. and Mrs. Ivan Sherick Mr. and Mrs. George Shirley Drs. Jean and Thomas Shope Mary Ann Shumaker Barry and Karen Siegel Dr. and Mrs. Milton Siegel Eldy and Enrique Signori Ken Silk and Peggy Buttenheim Frances and Scott Simonds Robert and Elaine Sims Donald and Susan Sinta Martha Skindell
Beverly N. Slater
Mr. and Mrs. Robert W. Smith
Virginia B. Smith
Richard Soble and
Barbara Kessler 11 urn n.t and Joseph 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. Stubbins Drs. Eugene Su and Christin Carter-Su Keiko Tanaka Lois A. Theis Edwin J. Thomas Bette M. Thompson Ted and Marge Thrasher Albert Tochet
Mr. and Mrs. Terril O. Tompkins Dr. and Mrs. John Triebwasser Mr, Gordon E. Ulrey Joaquin and Mel 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 Westerman Susan and Peter Westerman Paul E. Duffy and
Marilyn L. Wheaton Harry C. White Janet F. White William and Cristina Wilcox Shelly F. Williams Mrs. Elizabeth Wilson Beth and I.W. Winsten Charlotte Wolfe Muriel and Dick Wong J. D. Woods
Mr. and Mrs. A. C. Wooll Mr. and Mrs. R.A. Yagle Ryuzo Yamamoto Frank O. Youkstetter Mr. and Mrs. Edwin H. Young Olga Zapotny Roy and Helen Ziegler Mr. and Mrs. F. L. Zeisler David S. and Susan H. Zurvalec and other anonymous donors
American Meial Products
Coffee Express Co.
Garris, Garris, Garris & Garris
Marvel Office Furniture New View Corporation s.ili.uli Interiors, Inc. St. Joseph Mercy Hospital Medical Staff Siritch School of Medicine Class
of 1996 University Microfilms
Mr. Usama Abdali and
Ms. Kisook Park Judith Abrams Fran Cowen Adler Mary and Bill Ager Robert Ainsworth Harold and Phyllis Allen Dr. and Mrs. Richard J. Allen Forrest Alter Nick and Marcia Alter Mr. and Mrs. Richard Amberg Margot and Fred Amrine Catherine M. Andrea Julia Andrews Mr. William F. Anhut Hiroshi and Matsumi Arai Mary C. Arbour Eduardo and Nancy Arcinicgas ThomasJ. and Mary E. Armstrong Rudolf and Mary Arnheim Mr. and Mrs. Jim Asztalos Jack and Rosemary Austgcn VI.iilimn and Irina Babin Drs. John and Lillian Back Rohit Badola
Mr. and Mrs. Joseph C. Bagnasco Marian Bailey Bill andjoann Baker Laurence R. Baker and
Barbara K Baker Mr. and Mrs. Richard P. Baks Drs. Helena and Richard Balon Ann Bardcn
Mr. and Mrs. David Barcra David amd Laurel Barnes Joan W. Barth K.ii l.i K Bartholomy Rajecv Batra Dorothy Bauer
Thomas and Shcrri L. Baiighman Harold F. Baut Evelyn R. Bcals Dr. Rosemary R. Bcrardi James K. and Lynda W. Berg Barbara Iruu Bergman Ralph and Mary Beuhler Bharat K. Bhatt Rosalyn Bicdcrman Eric and Doris Billes Drs. Ronald C. and
Nancy V. Bishop Donald and Roberta Blitz Dr. and Mrs. Duanc Block Jane M. Bloom Henry Blosscr
Mr. and Mrs. Francis X. Blouin K.H in L. Bodycombc
Kenneth E. Bol
Paul D. Borman
Reva and Morris Bornstcin
John D. and M. Lcora Bowdcn
Dennis and Grace Bowman
Mclvin W. and Ethel F. Brandt
Patricia A. Bridges
Cy and Luan Briefer
John and Amanda Brodkin
AmyJ. and Clifford L. Broman
Dr. and Mrs. Ernest G. Brookncld
Razclle and George Brooks
Trudy and Jonathan Bulklcy
Betty M. Bust
Father Roland Calvert
Dr. Ruth Cantieny
Susan Y. Cares
Lynne C. Carpenter
Carolyn M. Carty and
Thomas H. Haug Jack Cederqulst David J. and Ilene S. Chait Bill and Susan Chandler Catherine Christen Ching-wei Chung Edward and Kathleen M. Clarke Joseph F. Clayton Stan and Margo Clousc 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. ( i iiii .mi and
Maria 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 DeGalan . Margaret H. Demant Richard and Sue Dempsey Michael T. DcPlonty Larry and Kerry Dickinson Richard and Mary Dingeldey Douglas and Ruth Doane Hildc and Ray Donaldson Ruih P. Dorr
Eugene and Elizabeth Douvan Carole F. Dubritsky Dr. and Mrs. Charles H. Duncan Elsie Dyke John Ebenhoeh Ingrid Eidnes
Martin B. and Vibckc G. Einhorn Mr. and Mrs. Charles Eiscndrath Charles and Julie Ellis James Ellis and Jean Lawton Mr. and Mrs. H. Michael Endres 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 Farrehi
Philip C. Fcdcwa
Dorothy Gittlcman Feldman
George J. and Bcnita Feldman
C. William and H.Janc Ferguson
Dennis J. Fernly
Jon and Kayne Fcrrier
Linda J. Firnhabcr
Mrs, Carl H. Fischer
Dr. Lydia Fischer
Susan R. Fisher and
John W. Waidlcy Linda and Tom Fitzgerald David and Susan Fitzpatrick Jessica Fogel and Lawrence Weiner Scott and Janet Fogler Daniel RFoley
George E. and Kaihryn M. Foltz Mr. and Mrs. William Forgacs Elizabeth W. Foster Bob and Terry Foster David J. Fraher Mary Franckiewicz Lora Frankel Mr. and Mrs. Maris Fravel Mr. and Mrs. Otto W. Frcitag Cynthia J. Frey Philip and Renee Frost Bruce and Rebecca Gaffney Mr. and Mrs. Robert R. Gamble C.J. Gardiner Sharon Gardner Mrs. Don Gargaro Ina Hancl-Gerdenich Dcboraha and Henry Gerst Beverly Jeanne Giltrow Dr. and Mrs.J. Globerson Edward and Kathe Godsalvc Mr. and Mrs. Robert Gold Dr. and Mrs. Howard S. Goldberg Edie Goldenberg Anita and Al Goldstein Mr. and Mrs. David N. Goldsweig C. Ellen Corner Dr. and Mrs. Luis Gonzalez M. Sarah Gonzalez Enid M. Gosling Bill and Jean Gosling Pearl Graves I -u r v and Martha Gray Jeffrey B. Green
Dr. Robert and Eileen Greenberger G. Robinson and Ann Gregory linda and Roger Grekin Melissa Gross
Cyril i .11 im and Cathy Strachan Mr. and Mrs. Lionel Gurcgian Joseph and Gloria Curt Caroline and Roger Hackctt J.M. Hahn Patrick and Lisa Hall Dr. and Mrs. Carl T. Hanks David and Patricia Hanna Glenn A. and Eunice A. Harder Marguerite B. Harms Tina Harmon Jane A. Harrcll Connie Harris Laurclynnc Daniels and
George P. Harris Denis B. Hart, M.D. James R. Hartley John and Anita Hartmus Carol and Steve Harvath Jeanninc and Gary Haydcn Mr. and Mrs. Edward J. Hayes Robert and Mara Hayes Charles Heard
Mr. and Mrs. Eugene Hcffclfingcr Mr. and Mrs. W.J. Hcider
Dr. John Heidkc Jeff and Karen Helmick Paula B. Hem ken Leslie and William Hennessey Dr. and Mrs. Michael Hcpncr Mr. and Mrs. Ralph Herbert Mr. and Mrs. Albert Hcrmalin Jeanne B. Hernandez William and Bernadettc Heston Emily F. Hicks
Mark and Debbie Hildebrandt Lorna and Mark Hildebrandt Peggy Himler Aki Hirata Witaka Hirosc L.ouise Hodgson Deborah and Dale Hudson Jane and Dick Hocrner Melanie and Curtis Hoff Melvin and Verna Holley Hisato and Wikiko Honda Kenneth and Carol Hovey Sally Howe Barbara Hudgins Hubert and Helen Huebl Ken and Esther Hulsing Stephen aand Diane Imredy Edward Ingraham Hiroko and Ralph Insingcr Perry Elizabeth Irish Carol and John Isles Mr. and Mrs. Z.J.Jania Marilyn C. Jeffs LoisJ. Jclneck Frank and Sharon Johnson Mr. Robert D.Johnson Wrilma M.Johnson Lyslc and Agneta Johnston Helen Johnstonc Elizabeth M.Jones PhillipS. Jones Cole and Diane Jordan Betty Hicks Jozwick Sally and Harold Joy Chris and Sandy Jung Dr. and Mrs. Alan Kaplan Edward M. Karls Franklin and Judith Kasle Deborah and Ralph Katz Dennis and Linda Kayes Julia and C. Philip Kearney Wendy Scott Kceney Carrie and Erich Keil Janice Keller M.n v. Mil hurl, ,irnl
Charles Kcllerman Mary L. Kemmc Milton G. Kendrick Bryan Kennedy Joan Kerr Lawrence Kestenbaum and
Janice Gutfreund Michael and Barbara Kilbourn Jeanne M. Kin Robert and Vicki Kiningham Klair H. Kissel Joseph W. Klinglcr, Ph.D. Alexander Klos
Dr. and Mrs. William L. Knapp Rosalie and Ron Kocnig Seymour Koenigsberg Jeremy M. Kopka-s Alan and Sandra Kortcsoja Ann Marie Kotre Mr. and Mrs. Jerome R. Koupal Rebecca and Adam Kozma Mr. and Mrs. A. Richard Krachenbcrg Kathy Krambrink Gale and Virginia Kramer Shcryl E. Krasnow Robert Krasny Edward and Lois Kraynak Mr. James Krick '
John and Justine Krsul
I,awrencc B. Kuczmarski
Helen and Arnold Kuethc
H. David Laidtaw
Bernice B. Lamey
Cclc 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 LaRichc
Ruth J. Lawrence
Judith andjerold Lax
Mr. C. F. Lehmann
Paul and Ruth Lehman
Lucy H. Leist
Mr. and Mrs. Fernando S. Leon
Dr. Morton and Elaine Lesser
Diane Lester and Richard Sullivan
Albert and Arlene Levenson
David E. Levinc
Dr. David J. LJcbcrman
Dr. and Mrs. Byung H. I mi
Dr. and Mrs. Richard H. Lincback
Gail and Neal Little
Rebecca and Lawrence Lohr
Mr. and Mrs. Richard S. Lord
Pamela and Robert Ludolph
JohnJ. Lynch, Alty.
Dr. and Mrs. Cecil Mackey
Janice E. Macky
Lois and Alan Macnce
Dr. and Mrs. Chun II Mah
Mr. and Mrs. Anthony E. Mansucto
Alice and Bob Marks
Erica and Harry Marsden
Vincent and Margot Masscy
Debra K Mattlson
Robert and Betsy Maxwell
Rebecca C. McClear
Cathryn S. and
Ronald G. McCready David and Claire McCubbrcy Bernard and MaryAnn McCulloch James M. Beck and
Robert J. McGranaghan Ralph R. McKec Jack A. McKimmy Donald and Elizabeth McNair Joseph F. and Johanna Y. Meara Anthony and Barbara Mcdciros Ensign Michael S. Mendelsohn Helen F. Mcranda Rev. Harold L. Merchant Judith A. Mertens Russ and Brigittc Merz Suzanne and Henry J. Meyer Mr. and Mrs. Herbert M. Meyers Dr. Robert and Phyllis Meyers William M. Mikkclsen Virginia A. Mikola Gerald A. Miller Dr. and Mrs. Josef M. Miller
Murray H. and Yetta R. Miller
Randy and Sue Miller
Ruth M Mi hi.ill.in
Kent and Roni Moncur
Mr. Erivan K Morales and
Mr. Scigo Nakao Kittie Bcrgcr Morelock Mrs. Erwin Muchlig James and Sally Mueller Brian Mulcahy Bcrnhard and Donna Mullcr Colleen M. Murphy Lora C. Myers Yoshiko Nagamatsu Louis and Julie Nagcl R. andj. Needleman Martha K. Niland Joan and John Nixon Laura and Ross Norberry Jolanta and Andrzej Nowak Dr. Nicole Obregon Sieve O'Day Martha R. O'Kennon Paul L. and Shirley M. Olson Fred Ormand
David Orr and Gwynne Jennings JamesJ. Osebold Lynda Oswald and Brad Tomtishcn David H. Owens and Rudi A. Mohr Mr. and Mrs. James R. Packard George Palty
Penny and Steve Papadopoulos Mr. and Mrs. Kenneth Pardonnct Prayoon Patana-Anake ????? -iliki and Dimitris Pavlidis Edward J. Pawlak
Donald and Edith Pclz
William A. Pcnncr.Jr.
Mrs. George Pcruski
Ann Marie Petach
Douglas and Gwen Phclps
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 Powroek
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 Raikhcl
Rebecca Scoti and Peter Railton
Alfred and Jackie Raphaelson
Dr. and Mrs. Mark Rayport
Russ and Nancy Reed
Elisabeth J. Rees
Esther M. Rcilly
Anne and Fred Remley
Molly H. Reno
Mr. and Mrs. Neil Rcssler
Lou and Sheila Rice
11.11 Hi and Elizabeth Richardson
Lisa Richardson Mr. and Mrs.
Thomas D. Richardson Kurt and Lori Riegger R.L. Rilcy Judy Ripple I u.i Ristine
Irving and Barbara Rittcr Kathleen R. Roberts Marilyn L. Rod.ik Drs. Dietrich and
MaryAnn Roloff Edith and Raymond Rose Drs. Janet and Seymour R. Rosen Dome E. Rosenblatt, M.D. Ph.D. Charles W. Ross Christopher Rothko Dr. and Mrs. David Roush Roger and O J. Rudd Mabel E. Rugen Dr. Glenn R. Ruihley Bryant and Anne Russell Ray and Re Sage Dr. Jagneswar Saha Sandra and Doyle Samons Miriam JofFc Samson Klavier S.D.G. Dr. Anna M. Santiago Gary Saucr
June and Richard Saxe Karen and Gary Scanlon Helga andjochen Schacht Bonnie R. Schafer Mr. and Mrs. Alan Schall Chuck and Gail Schartc Mr. and Mrs. F. Allan Schenck Christine J. Schesky Suzanne Schluederberg and
John S. Lesko.Jr. Jeannettc Schnecbcrger Thomas H. Schopmeyer Vizhak Schottcn and
KaUicrinc Collier Sue Schroeder Ailcen M. Schulze Jay and Leah Schultz Byron and Melodye Scott Dorothy Scully Michael and Laura Seagram Anne Brantlcy Segall Sylvia and Leonard Scgel Richard A. Seid Marilyn Sexton Richard Shackson Kii nk.iii! and Sudha Shah Brahm and Lorraine Shapiro Kathleen A. Sheehy Ingrid and Clifford Sheldon Ms. Joan D. Showalter Drs. Dorit Adlcr and Terry Silver Mr. and Mrs. Barry Silverman Sandy and Dick Simon Nora G. Singer Jose Sinibaldi Jack and Shirley Sirotkin Donald and Sharyn Sivycr Jurgcn O. Skoppek Tad Slawecki Dr. and Mrs. Greg Smith I [.illIon and Tina Smith Arthur A. and Mindy Soclof Hindc R. Socol and John D. Hall Arthur and Elizabeth Solomon James A. Somers Judy Z. Somers
Thomas and Elinor Sommcrfeld Mina Diver Sonda Irina Soukhoproudskaia William Spalding Jim sjic.il and Leslie Bruch Charles E. Sproger Mary Stadcl
Neil and Burncttc Stacbler Joan and Ralph Stahman Bob and Dceda Stanczak
Barbara and Michael Steer
Ron and Kay Stefanski
John and Elaine Wu Stcphenson
William and Gcorgine Steude
Ms. Lynette 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 Bev Sturck Theresa & Presley Surratt Alfred and Sclma Sussman Anne Sutherland Robert and
Mary Margaret Sweeten Joanne Ccru and James Swonk Junko Takahashi Larry and Roberta Tankanow Dr. and Mrs. Robert C. Taylor Robert Teichcr and
Sharon Gambin Leslie and Thomas Tender Paul Thiclking Carol and Jim Thiry D. Kathryn Thompson Anne M. Thome Eugene and Marlene Tierney Neal A. Tolchin Egons and Susannc Tons Ms. Barbara J. Town Mr. and Mrs. Louis F. Trubshaw Luke and Mcrling Tsai Jeffrey and Lisa Tulin-Silvcr 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 Ulin Akira Umehara Paul and Fredda Unangst Iris Cheng and Daniel Uri Dr. and Ms. Samuel C. Ursu Esther C. Valvanis Judith and Arthur Vander Hi .im and LJa van Leer Virginia Vass
Kitty Bridges and David Vclleman Mrs. Durwell Vetter Alice and Joseph Vining John and Jane S. Vborhorsi Deborah Wagner Mr. and Mrs. Fred R. Waidelich Virginia Wail
Mr. and Mrs. Howard Waldrop Mr. and Mrs. David C. Walker Patricia Walsh Margaret Walter Martha Walter Orson and Karen Wang Eric and Sherry Warden Alice and Martin Warshaw Arthur and Renata Wasserman Dr. and Mrs. Andrew S. Watson Loraine Webster Alan and Jean Weamcr Edward C. Weber Joan M. Weber Steve Weikal
David andjacki Wcisman Donna G. Wcisman Drs. Bernard and Sharon Weiss April Wendling Elizabeth A. Wenuicn Mr. anb Mrs. James B. White Mr. Carl Widmann Sandy Wiener Cynthia Wilbanks Mr. and Mrs. Peter H. Wilcox Mr. and Mrs. Michael S. Wilhelm James Williams John and Christa Williams
Robert and Anne Marie Willis
Richard C. Wilson
Beverly and Hadley 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 Kiddcr Nancy and Victor Wong Mr. and Mrs. David Wood Leonard and Sharon Woodcock Barbara H. Wooding Stewart and Carolyn Work Israel and Fay Woronoff Robert E. Wray, III Frances A. Wright Lynne Wright Ernst Wuckert Patricia Wulp Jason and Julie Young Robert and Charlcne R. Zand Mr. and Mrs. Martin Zcilc Gary and Rosalyn Zembala George and Nana Zissis
and several anonymous donors
Barton Hills Women's
Golf Association Crown Steel Rail Company Delta Sigma Theta Sorority -
Ann Arbor Alumnae Liberty Sports Complex Mastcller Music, Inc. Michigan Carleton Alumni Club Morgantown Plastics Company Staples Building Company Wciser Lock
Robert S. Feldman Zelina Krauss Firth George R. Hunsche Ralph Herbert Kathcrine Mabarak Frederick C. Matthaei, Sr. Gwen and Emerson Powric Steffi Rciss Clare Siegel Ralph L. Steffek Charlcne Parker Stern William Swank Charles R. Tieman John F. Ullrich Francis Viola III Peter H. Woods
Catherine Arcurc Paulett and Peter Banks Back Alley Gourmet Barnes and Noble Bookstore Maurice and Linda Binkow Jeannine and Bob Buchanan Edith and Fred Bookstein Pat and George Chatas Paul and Pat Cousins
Cousins Heritage Inn Katy and Anthony Derezinski Espresso Royale Fine Flowers Ken and Penny Fischer Keki and Alice Irani Maureen and Stu Isaac Matthew Hoffmann Jewelry Mercy and Stephen Kasle Howard King F. Bruce Kulp Barbara Lcvitan Maxinc and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LyslraDough Boys Steve MaggioThe Maggio Une 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 Yhousc
The Charles Sink Society cumulative giving totals of more than $15,000.
Maestro $10,000 or more Virtuoso $7,500 9,999 Concertmaster $5,000 7,499 Leader $2,500 4,999 Principal $1,000 2,499 Benefactor $500-999 Associate $250 499 Advocate $100 249 Friend $50 99 Youth $25
16 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproductive
Medicine 39 Ann Arbor Symphony
Orchestra 35 Arbor Hospice 29 Bank of Ann Arbor
43 Barclay's Gallery 33 Beacon Investment
Company 39 Benefit Source 10 Bodman, Longley and
54 Butzcl Long 51 Cafe Marie
39 Chamber Music Society
18 Charles Reinhart
27 Chelsea Community Hospital
19 Chisholm and Dames
Investment Advisors 35 Chris Triola Gallery 27 David Smith Photography
40 Detroit Edison
19 Dickinson, Wright, Moon,
an Dusen and Freeman 35 Dobbs Opticians
20 Dobson-McOmber 49 Dough Boys Bakery
26 Edward Surovell Company 35 Emerson School
2 Ford Motor Company 31 Fraleighs Landscape
Nursery 8 General Motors
49 Gifford, Krass, Groh,
Sprinkle, Patmore, Anderson & Citkowski
11 Glacier Hills
15 Hagopian World of Rugs
49 Harmony House
37 Hill Auditorium Campaign
3f Interior Development
47 Karen DeKoning and
43 Katherine's Catering and Special Events
King's Keyboard House
Matthew C. Hoffmann Jewelry Design
Miller, Canfield, Paddock & Stone
Mundus and Mundus
Nichols, Sacks, Slank and Sweet
Packard Community Clinic
Pen in Hand
Persian House of Imports
Red Hawk Bar and Grill Zanzibar
Snyder and Company
Toledo Museum of Art
Ufer and Company
Whole Foods Market
WQRS 27 Wright, Griffin, Davis and
Company 41 WUOM