Press enter after choosing selection

UMS Concert Program, Saturday Nov. 09 To Dec. 04: University Musical Society: 1996-1997 Fall - Saturday Nov. 09 To Dec. 04 --

Download PDF
Rights Held By
University Musical Society
OCR Text

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

Musical Society
of the
University of Michigan
Ann Arbor
Dear Friends,
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last year, more than 120,000 people attended UMS performances and.relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport with Jessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between these artists, UMS and the Ann Arbor community.
Our Board of Directors now numbers 26 individuals, each bringing to their role unique knowledge, experience and perspective as well as a shared commitment to assuring the pre?sent and future success of UMS. What a privi?lege it is to work with a group of people whose vision of UMS is to make it the very best of its kind in the world.
That same vision is shared by members of the UMS staff, who this year invite all of the UMS family to celebrate the 25 years box office manager Michael Gowing has served UMS and this community. Michael has established a stan?dard of patron service that we're told is unmatched anywhere else in this business. Look for the acknowledgment in this program book to find out more about Michael and how you can participate in this season-long celebra?tion.
Last year, UMS volunteers contributed more than 38,000 hours to UMS. In addition to Board members, volunteers include our
Advisory Committee, usher corps, UMS Choral Union members and countless others who give of their time and talent to all facets of the UMS program. Thank you, volunteers!
Relationships with professional colleagues around the world are very special. There is a generosity of spirit in performing arts present?ing that I have rarely seen in other fields. We share our best ideas with one another at con?ferences, in publications, by phone and, increasingly, over the internet. Presenters are joining together more and more to commis?sion new works and to assure their presenta?tion, as we've done this year with William Bolcom's Briefly It Enters and Donald Byrd's The Harlem Nutcracker. I'm pleased to report that The Dreams and Prayers of Isaac the Blind, the stir?ring piece we co-commissioned and presented in April 1995 won the prestigious Kennedy Center Friedham Award for composer Osvaldo Golijov earlier this year.
The most important relationship is that with the community, and that means you. I care deeply about building and strengthening these relationships, whether it be with an indi?vidual patron who comes by the office with a program idea, with the leader of a social ser?vice organization who wishes to use one of our events as a fundraiser, with the nearly 40 school districts whose children will participate in our youth program, or with the audience member who buttonholes me in the lobby with a com?plaint.
Thanks again for coming to this event -and please let me hear from you with ideas or suggestions. Look for me in the lobby, or call me at my office at 313.647.1174.
Kenneth C. Fischer Executive Director
UMS Index
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,1 10
Number of volunteer person-hours spent rehearsing and performing with the Choral Union: 21,700
Number of bottles of Evian that UMS artists drank last season: 1,080
Estimated number of cups of coffee consumed backstage during 199596 performances: 4,000
Number of cough drops consumed in Hill Auditorium each year during UMS concerts: 91,255
Number of costumes in this season's co-commission of The Harlem Nutcracker. 268
Number of individuals who were part of last season's events (artists, managers): 1,775
Number of concerts the Philadelphia Orchestra has performed in Hill Auditorium: 267
Number of concerts the Budapest String Quartet has performed in Rackham Auditorium: 43
Number of times the Philadelphia Orchestra has performed "Hail to the Victors": 24
Number of times the Budapest String Quartet has performed "Hail to the Victors": 0
Number of works commissioned by UMS in its first 100 years of presenting concerts (1879-1979): 8
Number of works commissioned by UMS in the past 6 years: 8
Number of years Charlotte McGeoch has subscribed to the Choral Union series: 58
Number of tickets sold at last autumn's Ford Credit 50 Off Student Ticket Sale: 6,948
Value of the money saved by students at that sale: $82,057
Value of discounts received by groups attending UMS events last season: $36,500
Number of ushers serving UMS: 275
Last year Choral Union Season Ticket Prices were raised: 1994
Number of performances of Beethoven's 7th Symphony under UMS auspices: 27
Number of performances of Tchaikovsky's 5th Symphony: 27
Number of sopranos in the UMS Choral Union: 45
Number of tenors: 32
Number of years Paul Lowry has sung with the Choral Union, including this season: 49
Number of Messiah performances from UMS' inception through 199596: 154
Average number of photographs UMS Executive Director Ken Fischer takes each year: 4,500
Number of years Charles Sink served UMS: 64
Cost of a 10-concert Choral Union subscription in 1903: $3.50
Cost of a 10-concert Choral Union subscription in 1945: $15.60
Number of regular season concerts presented by UMS in 199091: 38
Number of regular season concerts presented by UMS in 199697: 71
Number of room nights in Ann Arbor area last season generated by UMS artists: 2,806
Number of airport runs made for UMS artists in 199596: 85
Number of UMS subscribers in 199495: 1,973
Number in 199596: 3,334
of 199596 UMS subscribers who planned to renew dieir subscriptions this year: 92
With thanks to Harper's Index"
Data taken from UMS archives and audience surveys. Some numbers have been estimated.
Thank You, Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of localized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cor?nerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University Musical Society.
Herbert Amster
President, UMS Board of Directors
CARL A. BRAUER, JR. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the
University Musical Society in bringing great music to our community."
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 Iresident, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community
which perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
L. Thomas conlin
Chairman of the Hoard and Chief Executive Officer, Conlin-Faber Travel "Conlin-Faber Travel Travel is pleased to support the signifi-
cant cultural and educational projects of the University Musical Society."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ?ation with the
University Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
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."
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cul?tural events it brings to our area."
DENNIS SERRAS President, Mainstrret 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, McKinlty 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. McMulIen 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 educauonal entertainment."
JOE E. O'NEAL President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
joseph curtin and Gregg alf
Owners, Curtin & Alf "Curtin & AlTs 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."
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."
Edward Surovell
The Edward Surovell
"It is an honor for
Edward Surovell
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
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. Viet President and Chairman, Pharmaceu tical Division, Warner Lambert Company "Warner Lambert
is very proud to be associated with the University Musical Society and is grate?ful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
DR. JAMES R. IRWIN Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Temporaries began
its support of the University Musical Society in 1984, believing that a com?mitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to cul?turally enrich the people of our com?munity."
The University Musical Society of the university of Michigan
Herbert S. Amster, President F. Bruce Kulp, Vice President Carol Shalita Smokier,
Richard H. Rogel, Treasurer Gail Davis Barnes Maurice S. Binkow Paul C. Boylan
LctiliaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswcll Walter L. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper
Rebecca McGowan Homer A. Neal Joe E. O'Neal John Psarouthakis George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell
Marina v.N. Whitman Iva M. Wilson Elizabeth Yhouse
Gail W. Rector, President Emeritus
Robert G. Aldrich Richard S. Berger Carl A. Brauer, Jr. Allen P. Britton Douglas D. Crary John D'Arms JamesJ. Dudcrstadt Robben W. Fleming
Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long Judyth Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz
Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
Adm inistratio n 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
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Philip Guire, Staff John Peckham, Staff
Choral Union
Thomas Sheets, Conductor
Timothy Haggerty, Manager
Catherine Arcure, Director Betty Byrne, Advisory Elaine Economou, Corporate Susan Fitzpatrick,
Administrative Assistant Thad Schork, Gift Processing Anne Griffin Sloan,
Annual Giving
EducationAudience Development
Ben Johnson, Director Emily Avers, Assistant
Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
ProgrammingProduction Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artists' Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Laura Birnbryer Rebekah Camm Jessica Flint Lynnette Forde Amy Haync Lisa Moudy Tansy Rodd Lisa Vogen Scott Wilcox
Susan B. Ullrich, Chair
Maya Savarino, Vice-Chair
Kathleen Beck, Secretary
Peter H. deLoof, Treasurer
Gregg Alf
Paulett Banks
Milli Baranowski
Kathleen Beck
Janice Stevens Bolsford
Jcannine Buchanan
Letitia Byrd
Betty Byrne, Staff Liaison
Pat Chatas
Chen Oi Chin-Hsich
Phil Cole
Peter H. deLoof Rosanne Duncan H. Michael Endres Don Faber Penny Fischer Barbara Gelehrter Beverly Geltner Margo Halsted Esther Hcitler Deborah B. Hildebrandt Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Knhn
Mercy Kasle Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Levitan Doni Lystra Howard Market Margaret McKinley Clyde Metzger Ronald G. Miller Len Niehoff Karen Koykka O'Neal Marysia Ostafin Wendy Palms
leva Rasmussen Maya Savarino Janet Shatusky Margaret Kennedy Shaw Aliza Shevrin Sheila Silver Rita Simpson Ellen Stross James Telfer, M.D. Kathleen Treciak Susan B. Ullrich Dody Viola Jerry Weidenbach David White Jane Wilkinson Elizabeth Yhouse
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
General Information
University Musical Society Auditoria Directory & Information
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in die
center of the main floor lobby.
Mendelssohn: A drinking fountain is located at the north
end of die hallway outside die main floor seating area.
St. Francis: A drinking fountain is located in the basement at
the bottom of the front lobby stairs.
All audiloria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater. Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of
the Michigan League.
St. Francis: There are no public telephones in the church.
Pay phones are available in the Parish Activities Center next
door to the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in die 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 die main lobby and the cast side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on die south side of the balcony level. A women's room is located on the north side of die 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 ihe main floor seating area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the front lobby stairs.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
A wealth of information about events, UMS, restaurants, and the like is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with ques?tions and requests. The information table is open thirty minutes before each concert and during intermission.
Ticket Services
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
FAX ORDERS 3i3.647.li7i
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open go minutes before the performance time.
GIFT CERTIFICATES Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
RETURNS If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. You will be given a receipt for an income tax deduction as refunds are not available. Please note that ticket returns do not count toward UMS membership.
Perhaps as easily recog?nized as Ann Arbor's most famous landmark, Burton Memorial Tower, is the cheerful face behind the counter of the University Musical Society's Box Office in the same building. Box Office Manager Michael Gowing cele?brates his 25di season with the Musical Society this year, hav?ing joined the Box Office staff on October 18, 1971. Over the course of his 25 years at the Musical Society, he has sold tick?ets to 1,319 UMS events, as well as the Ann Arbor Summer Festival. A walking archive, Michael is a veritable repository of information relating to the Musical Society and its illustrious history, in recognition of the outstanding service Michael has given thousands of ticket buyers over the years, always with a twin?kle in his eyes (and usually with a
Going Strong
smile on his face!), the University Musical Society would like to invite you, the patrons he has served so devotedly, to contribute toward the purchase of a seat in Hill Auditorium in his honor. We are sure that Michael would be pleased with this tribute to his ser?vice over the past quarter-century. The staff of the Musical Society is also compiling a 25 Year Anniversary Book, filled with con?gratulatory letters from patrons, remembrances and mementos. We hope that you will help us honor Michael by sending anything you think appropriate, to contribute, please make your check payable to the University Musical Society -Michael Gouring Seat. You may mail your contribution or letters anytime during the fall season to University Musical Society, Burton Memorial Tower, Ann Arbor, MI 48109-1270.
All contributions arc tax deductible to the amount allowed by law.
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name 'The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was estab?lished in December 1880. The Musical Society includ?ed the Choral Union and University Orchestra, and throughout the year pre?sented a series of concerts
featuring local and visiting artists and ensem?bles. Professor Frieze became the first presi?dent of the Society.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through the Choral Union, Chamber Arts, Jazz Directions, Moving Truths, Divine Expressions, Stage Presence, Six Strings and many other series, the Musical Society now hosts over 75 concerts and more than 150 edu?cational events each season. UMS has flour-
ished with the support of a generous music-and arts-loving community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, and the Lydia Mendelssohn Theatre experiencing the talents of such artists as Leonard Bernstein, the Berlin and Vienna Philharmonic Orchestras, the Martha Graham Dance Company, Jessye Norman, The Stratford Festival, Cecilia Bartoli, Wynton Marsalis, Nusrat Fateh Ali Khan and Ensemble Modern of Frankfurt.
Through educational endeavors, commis?sioning of new works, youth programs, artists' residencies such as those with the Cleveland Orchestra and The Harlem Nutcracker, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, the Musical Society is a sepa?rate not-for-profit organization, which supports itself from ticket sales, corporate and individ?ual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
In its more recent history, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capacity, the ensemble has joined the orchestra for subscription perfor?mances of Beethoven's Symphony No. 9, Orffs Carmina Burana, Ravel's Daphnis el Chloe and Prokofiev's 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 frequendy throughout the Musical Society's illustrious history. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in
one of his only solo recitals outside of New York), Ernestine Schumann-Heink, Fritz Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignacejan Paderewski (who often called Hill
Auditorium "the finest music hall in the world"), Paul Robeson, Lily Pons, Leontyne Price, Marion Anderson and, more recently, Yo-Yo Ma, Cecilia Bartoli, Jessye Norman, Van Cliburn, the Metropolitan Opera Orchestra (in the debut concert of its inaugural tour) and the late Sergiu Celibidache conducting the Munich Philharmonic.
Hill Auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and expanded wheelchair seating (1995), decreased the seating capacity to its current 4,163.
The organ pipes above the stage come from the 1894 Chicago Colombian Exposition.
Named after the founder of the Musical Society, Henry Simmons Frieze, the organ is used for numerous concerts in Hill throughout the sea?son. Despite many changes in appearance over the past century, the organ pipes were restored to their original stenciling, color and layout in 1986.
Hill Auditorium is slated for renovation, with funds currently being raised through the Campaign for Michigan. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conveniences.
Until the last fifty years, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of studying human history and human thought, died in 1933, his will estab?lished the Horace H. Rackham and Mary A. Rackham Fund. It was this fund which subse?quently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more
remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
Celebrating twenty-five years of wonderful arts presentation, the Power Center for the Performing Arts was originally bred from a realization that the University of Michigan had no adequate theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in the midst of a list of University priorities was mentioned "a new theatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
Auditoria, continued
Opening in 1971 with the world pre?miere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradic?tory combination of providing a soaring interior space with a unique level of inti?macy. Architectural features include the two large spiral stair?cases leading from
the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. No seat in the Power Center is more than 72 feet from the stage. In 1981, a 28,000 square-foot addition was completed, providing rehearsal rooms, shops for building sets and costumes, a green room and office space. At the same time, the eminent British sculptor John W. Mills was commissioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addi?tion to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores,
offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, the Theater has undergone many changes. 'Talkies" replaced silent films just one year after the Theater opened, and 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).
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, 1969John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the
Auditoria, continued
church a fabulous venue for presenting a cappeh choral music and early music ensembles. This season, UMS presents four concerts at St. Franci of Assisi Catholic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademi (March 15) and the Huelgas Ensemble (April 10
Notwithstanding an isolated effort to establish ;; chamber music series by faculty and students in 1938, UMS most recendy began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatn for die 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and intimat venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society roster.
Allen Pond & Pond, Martin & Lloyd, a Chicag 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 majo facelift in 1979. In 1995, the proscenium curtail was replaced, new carpeting installed, and the seats refurbished.
During the 1930s through the 1950s, Mendelssohn Theatre was home to a five-week Spring Drama Festival, which featured the likes of Hume Cronin, Jessica Tandy, Katharine Cornell, Burgess Meredith and Barbara Bel Geddes. Arthur Miller staged early plays at Mendelssohn Theatre while attending college a 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'I Take It With You and Harvey, which starred Helen Hayes and Jimmy Stewart.
The University Musical Society's presentatioi of four song recitals celebrating the bicentenni?al of Schubert's birth marks the first time in 58 years diat 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).
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 diis 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 i 9 9 6-9 7 Season
World premiere song (yde by William Bolcom co-commissioned by the University Musical Society Friday, September 27, 8:00pm K.k kh.iin Auditorium
Master of Arts William Bolcom, interviewed by Glenn Watkins, U-M Professor of Musicology. Tues, Sep 24, 7pm, Rackham.
Meet the Artists Immediately following the performance.
Presented with the support of the KMD Foundation.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
MEREDITH MONK'S THE POLITICS OF QUIET Friday, October 4, 8:00pm Saturday, October 5, 8:00pm Power Center
Institute for the Humanities Brown Bag Lunch Meredith Monk's Music and Choreography. Tues, Oct 1, 12 noon, Rackham.
Meet the Artists Immediately following Friday's performance.
Master of Arts Meredith Monk, interviewed by John 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 Bar, baritone
Friday, October 11, 8:00pm
I lill Auditorium
Stephen Geber, cello Saturday, October 12,8:00pm Hill Auditorium
Chamber Music with Members of The Cleveland Orchestra
Sunday, October 13, 4:00pm Rackham Auditorium
PREP Jim Leonard, Manager, SKR Classical. "My Life has been Singularly Strange...Debussy Composes La Mer." Fri, Oct 11, 6:30pm, SKR Classical.
PREP Jim Leonard, Manager, SKR Classical. "Tchaikovsky's Fifth Symphony: Tragedy from Triumph." Sat, Oct 12, 6:30pm, SKR Classical.
Meet the Artists Immediately following Saturday's perfor?mance.
Vocal Master Class Olaf Bar, baritone. Thurs, Oct 10, 2:30-5:00pm, Recital Hall, U-M School of Music.
Panel Discussion The
Future of the American Orchestra" with members of the Cleveland Orchestra's Administrative staff. Sat, Oct 12, 4:30-6:00pm, Recital Hall, U-M School of Music.
This program is supported by Arts Midwest, a regional arts organization serving America's heartland, in partnership uith the National Endowment for the Arts, and other public and pri?vate institutions.
Wednesday, October 16,8:00pm
Power Center
Sponsored by Regency Travel
The Tibetan Song and Dance Ensemble
Wednesday, October 23,8:00pm Power Center
Presented vtith the generous support of Dr. Herbert Sloan.
Twyla Tharp Dance Company Friday, October 25, 8:00pm Saturday, October 26, 2:00pm Saturday, October 26, 8:00pm Power Center
Panel Discussion "Mothers of Invention: Tharp and Her Predecessors." In collabora?tion with the Institute for Research on Women and Gender. Mon, Oct 21, 7:30-9:30pm, Modern Languages Building.
Institute for the Humanities Brown Bag Lunch Twyla Tharp Video Discussion. Tues, Oct 22, 12noon, Rackham.
Twyla Tharp's The One Hundreds Performed for the first time since 1969, Ms. Tharp will lead 100 local, university, and community members in 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 26,11am, Nat Sci Aud.
Film Series Movies and Movement: The Film Choreo?graphy of Twyla Tharp. All shown at the Michigan Theater. "Hair" Sun, Sept 29,
2pm 2pm 2pm
'Ragtime" Sun, Oct 6, "Amadeus"Sun, Ocl 13, "White Nights" Sun,
Oct 20, 2pm
Presented with support from media partner Y.'DET, 101.9FM, Public Radio from Wayne Stale University.
Sunday, October 27, 7:00pm
St. Francis of Assisi Catholic
Sponsored by Conlin-Faber Travel and Cunard.
State Symphony Orchestra of Russia
Yevgeny SveUanov, conductor Tuesday, October 29, 8:00pm Mill Auditorium
PREP Jim Leonard, Manager, SKR Classical. "Itbwohl undoderEwigkert (Farewell andor Forever) -The Meaning of Mahler's Ninth." Tues, Oct 29, 6:30pm, SKR Classical.
Sponsored by NBD Bank. NOVEMBER
Sankai Juku
Artistic Director Friday, November 1, 8:00pm Saturday, November 2, 8:00pm Power Center
Iresented with support from media partner WVET, 101.9FM, Public Radio from Wayne State University.
Sunday, November 3, 4:00pm Rackharh Auditorium
Monday, November 4, 8:00pm Rackham Auditorium
PREP Ellwood Derr, U-M Professor of Music. "Old Wine in New BotUes: 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 Aas and Galatea
Friday, November 8, 8:00pm Hill Auditorium
PREP Elwood Derr, U-M Professor of Music. "A Glimpse into Eighteenth-Century Workshops: Elaborations of the Same Common Property Themes in Aris and Galatea and Works of J.S. Bach." Fri, Nov 8, 7pm. MI League.
In memory offudith and Edward Heekin, who were fre?quent Choral Union attendees.
CHECK OUT THE UMS WEBSITEI UMS Hits the Internet in the Fall of 1996. Look for valuable information about UMS, the igg697 season, our venues, volunteer information, educational activiues, and ticket information. http:wWW.UmS.OTg
Official sponsor of theUMS website.
midnight in the garden of good and evil with John Berendt, author (celebrating the music of johnny
Saturday, November 9,8:00pm
Hill Auditorium
Sponsored by Regency Travel.
Presented with support from media partner WKMU, 89. IFM, Public Radio from Eastern Michigan University.
Saturday, November 16,8:00pm Michigan Theater
Sponsored by Regency Travel.
Presented iirith support from media partner WEMU, 89. IFM, Public Radio from Eastern Michigan University.
Sunday, November 17,4:00pm Rackham Auditorium Complimentary Admission
Saturday, November 23,8:00pm Rackham Auditorium
Sponsored by the Edward Surovell Co.Realtors with sup?port from Maurice and Linda Ilinkow.
Wednesday, December 4,
St. Francis of Assisi Catholic
PREP James Borders, Associate Dean, School of Music. "Christmas Sacred Vocal Music, Medieval to Modern." Wed, Dec 4, 7pm, St. Francis Church
Sponsored by Conlin-Faber Travel and Cunard.
HANDEL'S MESSIAH UMS Choral Union Ann Arbor Symphony
Thomas Sheets, conductor Saturday, December 7, 8:00pm Sunday, December 8, 2:00pm Hill Auditorium
Presented with the generous sup?port of Dr. James and Millie Irwin,
Kathleen Battle, soprano Cyrus Chestnut, piano Christian McBride, bass James Carter, saxophone Cyro Baptista, percussion Friday, December 13, 8:00pm Hill Auditorium
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
The Harlem nutcracker
Donald ByrdThe Group Choreography by Donald Byrd Music by Piotr Dych Tchaikovsky Arranged by Duke Ellington
and David Berger Additional music by
Craig Harris Marcus Belgrave, leader Wednesday, December 18,
Thursday, December 19,8:00pm Friday, December 20, 8:00pm Saturday, December 21,
2:00pm (Family Show) Saturday, December 21,8:00pm Power Center
Links to Literature Public readings by local African-American Senior Citizens about the Harlem Renaissance. At Borders Books and Music, in collabo?ration with The Links, Inc. Thurs, Dec 5, 7:30pm: Public reading for adults. Sat, Dec 7, 11:00am: Public reading for children.
Supported by the Grayling Fund and Iroject Management Associates, Inc.
Presented with support from media partners VEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University. 2 ?
The Harlem Nutcracker is supported by Arts Midwest, a regonal arts organization serving America j hearUand, in partner?ship with the National Endowment fortheArts, and other public and private institutions.
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 8, 7pm, MI League.
NEXUS WITH RICHARD STOLTZMAN, CLARINET Thursday, January 16, 8:00pm Hill Auditorium
Sponsored by Thomas B. McMullen Co., Inc.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of America.
This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1997Rev. Dr. Martin Luther King, fr. Day Symposium.
Late Schubert Piano
Thursday, January 23, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored by McKinley Associates, Inc.
Schubert Song Recital I Sanford Sylvan, baritone David Breitman, fortepiano
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. "A discussion of the evening's repertoire. Fri, Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:004:00 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 WDKT, 101.9FM, Public Radio from Wayne State University.
NEEME JARVI, CONDUCTOR Ix'if Ove Andsnes, piano UMS Choral Union Sunday, January 26, 4:00pm I lill Auditorium
Master of Arts Neeme Jarvi, interviewed by Thomas Sheets, Conductor, UMS Choral Union. Sun, Jan 12, 3:00pm, Rackham.
Sponsored byJPEinc.
The Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
His Sanctified Shells Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
(Family Show)
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation.
Presented with support from media partner WEMU, 89. IFM, Public Radio from Eastern Michigan University.
IVAN FISCHER, CONDUCTOR Thursday, February 6, 8:00pm Hill Auditorium
Saturday, February 8, 8:00pm Michigan Theater
Presented tirith support from media partner WEMU, 89. IFM, Public Radio from Eastern Michigan University.
ars poetica chamber
Orchestra Anatoli Cheiniouk, music director
Monday, February 10, 8:00pm Rackham Auditorium
Supported by Miller, Canfield, Paddock and Stone, P.L.C.
blood on the fields wynton marsalisand the lincoln center Jazz Orchestra
with Jon hendricks
Cassandra Wilson Music and libretto by
Wynton Marsalis Wednesday, February 12, 8:00pm Hill Auditorium
Master of Arts Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7pm, MI League.
Sponsored by Great Lakes Bancorp.
emerson string quartet
All-Brahms program
Saturday, February 15, 8:00pm Rackham Auditorium
PREP Elwood Derr, U-M Professor of Music. "Nineteenth-Century "CDs' of Brahms' String Quartets: His Piano-Duet Arrangements for Home Use." Sat, Feb 15, 7pm, MI League.
Sponsored by the Edward Surovell Co.Realtors.
voices of light: "The Passion of Joan of Arc" a film by carl dreyer featuring anonymous 4
Los Angeles Mozart Orchestra I 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.
Monday, February 17, 8:00pm Lydia Mendelssohn Theatre
CAREN LEVINE, PIANO Tuesday, February 18, 8:00pm Lydia Mendelssohn Theatre
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21, 8:00pm
Saturday, February 22,2:00pm
(Family Show)
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La lioheme' mean" Sat, Feb 22, 1:15pm, Power Center Rehearsal Rm.
Sunday, February 23, 4:00pm Rackham Auditorium
PREP Lorna McDaniel, U-M Professor of Musicology. A discussion of the afternoon's repertoire. Sun, Feb 23, 3:00pm, MI League.
Sponsored by Conlin-Faber Travel and Cunard.
Monday, February 24, 8:00pm Tuesday, February 25, 8:00pm Power Center
National Traditional Orchestra of china
1 Iu Bingxo, conductor Wednesday, February 26,8:00pm Hill Auditorium
[Resented with the generous sup?port of Dr. Herbert Sloan.
RICHARD GOODE, PIANO Friday, March 14, 8:00pm Hill Auditorium
Sponsored by Pepper, Hamilton & Scheetz, Attorneys at Law.
CHOROVAYA 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 Lovelt, cello Thursday, March 20, 8:00pm Rackham Auditorium
SCHUBERTIADE IV HERMANN PREY, BARITONE Michael Endres, piano Auryn String Quartet Martin Kau, 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
and Boys
Boychoir of Ann Arbor Catherine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
gyorgy Fischer, piano Saturday, March 29, 8:00pm Hill Auditorium
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbett, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, Executive Director, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
BANG ON A CAN ALL-STARS STRING TRIO OF NEW YORK Saturday, April 5, 8:00pm Power Center
Presented 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 hgh art of Sacred Flemish Polyphony
Thursday, April 10, 8:00pm St. Francis of Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. "Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, Si. Francis Church.
Sponsored by Conlin-Faber Travel and Cunard.
Friday, April 11, 8:00pm Michigan Theater
Sponsored by NBD Bank.
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
THE ASSAD BROTHERS, GUITAR DUO Friday, April 18, 8:00pm Rackham Auditorium Sponsored by Regency Travel.
maher ali khan and SherAli Khan, faridi Qawwals Ensemble
Saturday, April 19, 8:00pm Rackham Auditorium
Special Program Events
Performance Related Educational Presentations (PREPs) All arc invited, free of charge, to enjoy this series of 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 collaboralion with the Institute for Research on Women and Gender. Tues,Jan 14, 7:30-9:30pm, Rackham.
Panelists: Beth Genne, Dance and History of Art Yopie Prins, English and Comparative Literature Sidonie Smith, Women's Studies and English Patricia Simons, History of Art and Women's Studies Louise Stein, Music History and Musicology
Schubert Cycle Series
Three special PREPs held at the Ann Arbor Public Library and led by Richard 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, 1996January 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.
A cknowledgments
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1 gg6 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 igg5-g6 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 thejuilliard String Quartet performing in Rackham Auditorium in cele?bration of their fiftieth anniversary.
of the University of Michigan 1996 199J Fall Season
Event Program Book
Saturday, November 9, 1996
Wednesday, December 4, 1996
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Midnight in the Garden 3
of Good and Evil
Celebrating the Music of Johnny Mercer Saturday, November 9, 8:00pm, Hill Auditorium
Guitar Summit III 13
featuring Paco de Lucia, Al DiMeola, & John McLaughlin Saturday, November 16, 8:00pm, Michigan Theater
Faculty Artists Concert 17
Michigan Chamber Players
of the University of Michigan School of Music
Sunday, November 17, 4:00pm, Rackham Auditorium
Guarneri String Quartet & 25
Orion String Quartet
Saturday, November 23, 8:00pm, Rackham Auditorium
Chanticleer 31
Wednesday, December 4, 8:00pm, St. Francis of Assisi Catholic Church
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.
Starting Time Every attempt is made lo begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Midnight in the Garden of Good and Evil
Celebrating the Music of Johnny Mercer Hosted by the author John Berendt
Narrators John Berendt Claiborne Cary
Margaret Whiting, vocals Julius LaRosa, vocals Cynthia Scott, vocals John Pizzarelli, vocals and guitar
The Lady Chablis, vocals Emma Kelly, "The Lady of
6,000 Songs" vocals Ben Tucker, bass
Bill Charlap, Musical Director & piano
Warren Vache, cornet
Joe Temperley, baritone, tenor saxophones & clarinet
Sean Smith, bass
Dave Ratajczak, drums
Jack Wrangler, Creator & Director Bill Charlap, Musical Director George Wein, Producer
Saturday Evening, November 9, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
The performance will be in two acts with one intermission. This evening's program will be announced from the stage.
Twentieth Concert of the 118th Season
Jazz Directions Series
Special thanks to Mrs. Sue Lee for her continued support through Regency Travel.
Additional support has been provided by AAA Michigan and Waldenbooks.
The Jazz Directions Series is presented with support from media part?ner WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
The Steinway piano used in this evening's performance is made possi?ble by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Tour Staff
Fred Allen, Technical Director
Lighting Designer
Jonathan Ball, Company Manager Scott Fraser, Sounds Engineer
Synopsis of the Book
When he discovered that the cost of a three-day weekend in Savannah, Georgia (includ?ing airfare) was about the same as a nice evening of dinner and drinks in New York, former editor of New York magazine John Berendt decided to spend some time in Johnny Mercer's home town for a change of scene. As his trips became longer and more frequent, he decided to make Savannah his second home, staying "long enough to become more than a tourist if not quite a full-fledged resident." While there, he "inquired, observed, and poked around wherever [his] curiosity led [him.].. .And [he] took notes."
While his first book, Midnight in the Garden of Good and Evil, reads like a thor?oughly engrossing novel, it is actually a mag?ical nonficu'on rendering of this secluded and hauntingly beautiful city -and of a murder that took place there. With one beguiling and outrageous story after anoth?er, Berendt offers up a rogues' gallery of true-life rascals, eccentrics, and proper soci?ety folk who live behind the stately facades of Savannah's grandest houses. His account combines the atmosphere and leisurely pace of this enchanting city with a sensational murder, evocative descriptions of tidewater Georgia, and, most notably, the remarkable characters who live there. Along with par?ties and other social gatherings and rituals, the reader of Midnight in the Garden of Good and Evil is guaranteed a gracious introduc?tion to:
The gossipy ladies of the Married Women's Card Club;
Minerva, a voodoo priestess, whom Berendt accompanies on a midnight foray into Bonaventure Cemetery;
An uproariously funny black drag queen, The Lady Chablis, who "adopts" Berendt as her confidant and sometime chauffeur;
The acerbic and arrogant antique dealer and current owner of Mercer House, Jim Williams, around whom much of the book's controversy centers;
A young redneck gigolo stud;
A hapless recluse who owns a bottle of poison so powerful it could kill every man, woman, and child in Savannah, if introduced into the water supply;
A sweet-talking, piano-playing con artist who opens his house to busloads of tourists (illegally) at $3 a head and serenades Savannah as he bounces checks;
The Lady of 6,000 Songs" (as onetime resident Johnny Mercer named her), Emma Kelly, who knows the words
to just that many songs;
A dynamic courtroom lawyer who, for the last thirty years, has owned the University of Georgia's mascot -a white English bulldog named Uga who
wears a bright red turdeneck with a black "G" on it;
An elderly porter who sings Mozart's "Hallelujah" in a falsetto and walks an imaginary dog up and down Bull Street;
"A gorgeous and haunting blend of travel book and murder mystery," as Michael Herr (author of Dispatches) calls it, Midnight in the Garden of Good and Evil draws back the cur?tain on an isolated remnant of the Old South in an entirely fresh and captivating
way as Berendt skillfully interweaves a huge?ly entertaining first-person account of life in Savannah with the unpredictable twists and turns of a landmark murder case.
John Berendt was born in New York in 1939 and graduated from Harvard {cum laude) in 1961. While at Harvard, he was on the edi?torial board of the Harvard Lampoon. From 1961 to 1969 he was an associate editor at Esquire magazine, and later he wrote for David Frost and Dick Cavett. From 1977 to 1979 he was the editor of New York maga?zine, and he has written a monthly column for Esquire since 1982.
John Berendt's first book, Midnight in the Garden of Good and Evil, has become a publishing phenomenon. Propelled to the New York Times best-seller list for over two years by the extraordinary enthusiasm of readers, it is a hugely entertaining first-per?son account of life in Savannah, Georgia, intertwined with twists and turns of a land?mark 1981 murder case. One of three final?ists for the Pulitzer Prize in non-fiction and winner of the Southern Book Award, Berendt's book has inspired many to visit
Savannah and observe firsthand the fascinat?ing mix of gentility and eccentricity that is so compellingly depicted in the book.
When he is not in Savannah, Georgia, he lives in New York City.
Born in 1909 in Savannah, Georgia, Johnny Mercer was an extremely talented American lyricist, composer and singer. He moved to New York in the late 1920s and by 1934 was recognized as one of the most successful and prolific of American lyricists. Mercer eventually published well over 1,000 songs in collaboration with such composers as Harold Arlen, Hoagy Carmichael, Jerome Kern, Henry Mancini, Duke Ellington, Andre Previn and Richard Whiting. Some of his more famous songs include Come Rain or Come Shine, Hooray for Hollywood, Jeepers, Blues in the Night, That Old Black Magic, Ac-Cent-Tchu-Ate the Positive, You Must Have Been a Beautiful Baby, Fools Rush In and Satin DolL
Johnny Mercer worked as an emcee and singer with Big Band leader Paul Whiteman and appeared in the films Old Man Rhythm and To Beat the Band in 1935. He became a popular singer in his own right, working with Benny Goodman on radio in 1939, with Bob Crosby, and various radio shows of his own in the 1930s. He was a co-founder of Capitol Records in 1942 and made many popular recordings for that label.
Johnny Mercer was still producing hits into the 1960s when he collaborated with Henry Mancini on such film songs as Moon River from Breakfast at Tiffany's (1961), Days of Wine and Roses from the film of the same title (1962), and also Barefoot in the Park from the film of the same title (1967). Johnny Mercer was the winner of four Academy Awards before his death in Los Angeles in 1976.
The preceding biography of Johnny Mercer was taken from The Oxford Companion to Popular Music written by Peter Gammond and published by the Oxford University Press in 1991.
Claiborne Cary, a veteran of the Broadway stage, cabaret and jazz clubs, was born of a theatrical family in the unlikely town of Lone Tree, Iowa.
Once in New York, Ms. Cary began her professional career as a Bob Fosse dancer in the Broadway Musical, New Girl in Town. She has since starred on Broadway in Silk Stockings, New Girl in Town, Beg Borrow or Steal, and The Supporting Cast. She has appeared on television in Law and Order, All My Children, and The Doctors. Most recently Miss Cary was seen on The Young and the Restless and is featured in the film, Jersey Rose. Of her newly released CD, Miss Claiborne Cary, Now and Then, Rex Reed effused, 'This is a superb collection by one of the most gifted and accomplished singers of the decade."
Miss Cary has been the recipient of sever?al MAC (Manhattan Association of Cabaret) nominations,
including one for best comedienne. As a producer of the revue, Grand Slam, she won her first MAC Award in 1998. MissCary won her second in 1995 for "Outstanding Female Vocalist."
Margaret Whiting has recorded more that 500 songs, twelve of which have sold more than a million copies. She was born in Detroit into a show business family -her father was Richard Whiting, the Hollywood composer who wrote Beyond the Blue Horizon, Sleepytime Gal, Louise, and the million dollar sellers Till We Meet Again and Hooray for Hollywood. The fifteen-year-old Margaret was a fixture at the Saturday night gatherings at her parent's home where she sang with the likes of Eddie Cantor, A] Jolson.Judy Garland, Mickey Rooney, Harold Arlen, Frank Loesser,
and Harry Warren. She became a protege of famed lyricist Johnny Mercer and recorded numerous hits for Mercer's company, Capitol Records, including Moonlight in Vermont and Come Rain or Come Shine. As a cabaret per-
former, she headlined at the Persian Room, Grand Finale, Rainbow Grill, Reno Sweeney Ballroom, Algonquin, Rainbow & Stars, and the Russian Tea Room. Her most recent album, Margaret Whiting Then and Now is available on the DRG label. Currently she is starring in her own one-woman show, Personally, Margaret Whiting, and is working on Dream, a show based on the life of Johnny Mercer. Dream opened in Nashville in September and is headed for Broadway later this year.
As Mercer's god-daughter, she also heads the Mercer Foundation, a non-profit corporation that distributes contributions to approximately two-dozen charities benefiting at children and or music-related ventures.
Julius La Rosa was born in Brooklyn, New York, to an Italian family who immigrated to the United States in the early 1920s. While serving as an electronics technician in the Navy, he also sang at enlisted mens' and offi?cers' clubs. In 1950 Arthur Godfrey heard him sing and was impressed with his talent. In 1951, La Rosa started performing on Godfrey's radio show, and six months later he became a regular on the Arthur Godfrey Television Show. By the age of twenty-three, he was a major celebrity.
La Rosa's first hit was recorded in 1953; Frank Loesser's Anywhere I Wander. His biggest hit, E Cumpare, is still an often-requested favorite. La Rosa went on to col-
lect stage credits in Neil Simon's first Broadway success Come Blow Your Horn, Panetta's Kiss Mama, and Bob Randall's 6 Rms Riv Vu. La Rosa also spent eight successful years as a top-rated disc-jockey on powerhouse radio station WNEW in New York. La Rosa's recent New York appear?ances at Rainbow and Stars and Michael's
Pub garnered rave reviews.
In addition to his performing, Julius devotes his spare time as National Vice President of Muscular Dystrophy Associations of America and is an Honorary National
Chairman of Cooley's Anemia Blood and Research Foundation.
Born in Arkansas, Cynthia Scott was the tenth of twelve children in a musical family and began singing at the age of four. Shortly after completing high school, she became a Raylette with the Ray Charles organization, recording and touring with him worldwide for the next two years. During one European tour with Ray Charles, she shared the stage with the Count Basie Orchestra and Oscar Peterson. Returning to Dallas, Cynthia established a very wide following. She con?tinued to tour in France, Russia and China where she performed for Chinese dignitaries in Shanghai with the aid of an interpreter. After receiving a call from the owner of a popular club in the Big Apple, Cynthia moved to New York City. She hired the as-yet undiscovered Harry Connick, Jr. as one of her piano players. She has worked many of the well-known cabarets of New York and has been currently appearing at the presti?gious Supper Club for over three and a half years.
Cynthia Scott has shared the stage with Cab Calloway, the Harper Brothers, the Bessie Smith Review, and the first Aruba Jazz Festival. She made her Brooklyn Academy of Music debut with jazz
pianist, Bross Townsend. She finished a recording project with Tom Boras, Director of the Jazz Department at New York University. Cynthia has a Master's Degree in Music from the Manhattan School of Music and has studied acting under Uta Hagen and Robert Crest.
Popular vocalistguitarist, John Pizzarelli is receiving tremendous acclaim for his new collection of tunes, After Hours, which has an utterly intimate tone. Richly demonstrating the power of subtlety, Pizzarelli and his ensemble -along with several special guests -have strung together a series of songs that offers a narrative on the emotional contours of romance.
Pizzarelli's trio was chosen to open 1994 tour dates for the master of popular song, Frank Sinatra. The singer admits that part of the inspiration for After Hours came from that bountiful source. Most of the
tunes on After Hours are from the pens of Tin Pan Alley masters, and are part of the great American songbook with which Pizzarelli is quite familiar. As an improviser, he has used many standards as vehi-
cles for the inspired jazz solos which have earned him an international reputation. Dear Mr. Cole, his last RCA date, was a blow?ing session with two of the most virtuosic young players on the scene, bassist Christian McBride and pianist Benny Green. It was appreciated by listeners and critics alike.
Having just completed an album with the Boston Pops, a first RCA release, John is currently working in the studio on a Christmas album. Also, John will be pre-miering in March of 1997 in the Broadway show Dream (the life of Johnny Mercer).
Gaining national prominence as one of the endearing characters featured in John Berendt's Midnight in the Garden of Good and Evil, The Lady Chablis has been a featured guest on top television programs including Good Morning America and Oprah. Her auto?biography, Hiding My Candy, was recendy published by Simon and Schister. The Lady Chablis' saucy impudent voice shines through the book, which is saturated with her Southern charm and biting humor -only 'The Doll" could have written this story.
The Lady Chablis is a small town girl (born Benjamin Edward Knox in Quincy,
Florida) who was later crowned The Grand Empress of Savannah, Georgia. Hers is a Cinderella story about "a little girl with candy" who grew up in a physically abusive household, who later became a respected traveling
drag performer with a large and loyal fol?lowing in the American South. The Lady Chablis' life story is a journey from being a lonely, yet flamboyant, young boy to a gen?der fugitive who recreated herself as a sassy,
strong "twenty-four-hour girl." But, The Lady doesn't dwell on her childhood sadness, her encounters with racism or romances gone sour. Instead, her journey has taught her that you may cry over a crisis in your life, but it amounts to just "two tears in a bucket" and you must move on.
The Lady Chablis is a performance artist whose life is her art. She appears reg?ularly at Club One in Savannah, Georgia.
It is unlikely that anyone knows as many Johnny Mercer songs as Emma Kelly, for it was Johnny Mercer who anointed Kelly as 'The Lady of 6,000 Songs." They first
became friends over the phone when Mercer suc?cessfully tested her memory by asking her to sing If You Were Mine, one of his lesser known songs. From that moment on, he made it a point to visit Kelly whenever
he went home to Savannah. Performing since the age of three, Emma Kelly consid?ered Johnny Mercer her mentor until he died in 1976.
Seventy-six-year-old Emma Kelly is one of the featured characters in the John Berendt novel Midnight in the Garden of Good and Evil She makes her home in Statesboro, Georgia which is sixty-two miles from Hannah's East in Savannah, a club where she sings and plays piano each week with her long-time bassist Ben Tucker. Emma Kelly, as readers of the book will know, spends her time driving to country clubs, lodges, hotels, conventions, churches, mili?tary bases, and virtually anywhere people want her to sing the American classics. 'Just last week I drove 250 miles back and forth," says Kelly. "Never did get back in time for
church." A devout Baptist and teetotaler, she doesn't miss too many services in her home church.
In addition to a lifestyle that would stag?ger most people less than half her age, Kelly has raised ten children. "All," she says, "with university degrees."
Bill Charlap is the son of Broadway compos?er Moose Charlap and singer Sandy Stewart. He was born in New York City and began playing piano at the age of three. A graduate of New York's acclaimed High School of the Performing Arts, he studied both jazz and classical piano with Jack Reilly and Eleanor Hancock.
Mr. Charlap is currently a member of the Phil Woods Quintet. He was a member of the Gerry Mulligan Quartet for two years in the late 1980's, and he appeared with Mulligan at Lincoln Center with the New York Philharmonic under Zubin Mehta. In addition, he has performed with Benny Carter, Red Mitchell, Louie Mellson, Michael Moore, and Jim Hall.
Bill Charlap has been the accompanist of choice for many top vocalists, including Carol Sloane, Helen Merrill, Shelia Jordan, Barbara Lea, Bobby Short, Sandy Stewart, and Barry Manilow. He has appeared at many of the world's major jazz festivals, and he has performed
with Dick Hyman at the Jazz in July series at New York's 92nd Street Y. Also, he has been a featured guest on Marian McPartland's NPR radio program Pianojazz. Charlap served as musical director for the
1995 JVC Festival tribute to Johnny Mercer, Midnight in the Garden of Good and Evil: The Jazz Concert, at Avery Fisher Hall in New York.
Warren Vache was born and raised in Rahway, New Jersey, and began working as a profes?sional musician at an early age. He was fea?tured on stage in the Broadway production
of Dr. Jazz, a musical play based on the early days in New Orleans. As a member of the New York Jazz Repertory Company, he was part of the recon?stituted Wolverine Orchestra in a pro?gram of The Music ofBix Beiderbeche.
This group performed at Carnegie Hall, and was later featured on two television pro?grams, one for NBC and another for PBS.
After college, Vache joined the Benny Goodman orchestra for an association that lasted almost a decade. Later he was in much demand as a member of the Concord All Stars, a group sponsored by Concord Records on recordings and tours around the United States, as well as Japan, Australia, England, and Europe. He was the musical director for the Richard Burton and Elizabeth Taylor revival of Private Lives, and coached actor Richard Gere for his role as a trumpet player in the movie Tlie Cotton Club. Warren was seen performing as an actor, as well as a jazz musician in the movie The Gig, for which he was also musical director.
Warren Vache has toured worldwide as a member of the Benny Goodman Sextet, the Newport All Stars, and as a soloist at fes?tivals in the US and abroad. He has been featured on many records, including several with Rosemary Clooney, with whom he fre?quently appears on stage and television. He has made numerous recordings in his own right, most recently Easy Going, a sextet album and Warm Evenings, recorded with a jazz trio and classical string quartet.
Warren Vache appeared in 1995 with the Lincoln Center Jazz Orchestra. Tonight marks his second appearance under UMS auspices.
Saxophonist Joe Temperley has played with such jazz bands as Humphrey Lyttelton, Woody Herman, Buddy Rich, Thad Jones Mel Lewis, Clark Terry, Duke Pearson, Joe Henderson, Duke Ellington (replacing Harry Carney), and Buck Clayton. He has performed as a jazz soloist at night clubs and jazz festivals including the JVC, COOL, Berlin, Pescara, Edinburgh, Paris, and Moscow Jazz festivals and has joined such singing greats as Ella Fitzgerald, Sara Vaughan, Betty Carter, Billie Holliday, Joe Williams, Tony Bennett, Liza Minelli, Diana Ross, Barbara Streisand, and Milt Grayson. In the 199596 season, Joe performed on two five-week tours with the Lincoln Center Jazz Orchestra and performed in two concerts with Benny Carter -one at Lincoln Center and the other at the Library of Congress.
Joe Temperley's career has also brought him to Broadway performing for Sophisticated Ladies, Peggy Lee, Brigadoon, Gypsy, and Anything Goes. Joe can be heard in The Cotton Club, Brighton Beach Meynoirs, When Harry Mel Sally, and Tune in Tomorrow, as well as on television's Sophisticated Ladies, A Classical Jazz Christmas, the Tonight Shoio, Muscular Dystrophy Telethons, and host for Temperley's Town (Channel 4, London).
Over the years, Temperley has recorded with the Duke Ellington Orchestra, Charles Mingus, Clark Terry, Thad JonesMel Lewis, Wynton Marsalis, Benny Carter, Harry Connick, Jr.,Jon Hendricks, Buck
Clayton, Gerry Mulligan, and was the leader on Nightingale (Hep Records). His most recent releases are Concerto for Joe (Hep Records) and Sunbeam and Thundercloud with Dave McKenna (Concord Records).
For the last two years Joe Temperley has been appointed to faculty at the Manhattan School of Music.
Sean Smith has performed in many of New York's major jazz rooms, including The Blue Note, Fat Tuesday's, Sweet Basil,
Zinno, Visiones, Knickerbocker Bar & Grill, J's, and The Village Gate. Other venues include The Oak Room at the Algonquin, Tavern on the Green, Rainbow & Stars, Michael's Pub, The Ballroom,
Town Hall, The Mellon Jazz Festival, and The Ottawa International Jazz festival.
A graduate of the Manhattan School of Music, he has studied with Michael Moore, Bill Finegan, and Orin O'Brien. He has been featured alongside Gerry Mulligan, Marvin Stamm, Lee Konitz, Gene Bertoncini, Bill Mays, Tom Harrell, Flip Phillips, Hugh Lawson, Don Friedman, Jack Wilkins, and duo with Bill Charlap. Among the many singers he has accompanied are Peggy Lee, Rosemary Clooney, Chris Connor, Diane Schuur, Mark Murphy, Helen Merrill, Jackie and Roy, Ann Hampton Callaway, Maureen McGovern, Nancy Marano, and Susannah McCorkleand, and Liza Minnelli.
A talented composer in his own right, Sean can be found performing his own material on the current Allen Mezquida release A Good Thing. Upcoming releases featuring both Sean's bass as well as his compositions include Along With Me with Bill Charlap on Chiaroscuro and the album Bill Charlap and Sean Smith on Progressive.
Dave Ratajczak is a full-time drummer percussionist in the New York metropolitan area. A highly versatile performer, Ratajczak has played and recorded with Gerry Mulligan, Eddie Daniels, Grady Tate, Milt Hinton, Kenny Rankin, Woody Herman, and the City of Angels and Crazy for You orchestras (on Broadway). As a studio musician, his wide range of experiences include movie soundtracks (Wolf, The Pelican Brief, It Could Happen To You, Miller's Crossing, Brighton Beach Memoirs and Biloxi Blues), numerous television and radio jingles and Broadway cast albums. One of his career highlights involved recreating the role of drum legend Gene Krupa with Bob Wilbur's orchestra in a 1988 Carnegie Hall performance celebrat?ing the fiftieth-anniversary of Benny Goodman's historic 1938 jazz concert.
A graduate of the Eastman School of Music, Ratajczak is also a member of the
Hofstra University
music department faculty. Other teaching and mas?ter class experi?ences include the Eastman School of Music, Hartt College, Glasboro State College, University of Connecticut at Storrs, and many
clinics and workshops while on tour with the Woody Herman Orchestra.
Actor, writer and director Jack Wrangler began his career at the age of eight as the brat in the NBC series Faith of our Children starring Eleanor Powell, which ran for five Emmy award-winning years. His early direc?torial credits for regional theatre include Jane Russell in Catch Me If You Can, Jeanne Crain in Janus, Sal Mineo in Sunday in New York, Betty Hutton in The Inkwell, Ann
Sothern in Glad Tidings, Tom Ewell in Life with Father, Ruth Roman in Beekman Place, Joan Blondell in Come Back, Little Sheba.
He later co-starred with Carmen Matthews in Shaw's Candida and appeared above
the title in Robert Patrick's T-Shirls, Soul Survivor, Special Friends, Rusty, and Buckshot. On the New York cabaret scene Mr. Wrangler has served as writer and director for the superb talents of Margaret Whiting, Carol Woods, Ann Francine, Ann Hampton Callaway, and Julius La Rosa. He was the recipient of the 1992 "Bistro" award for "Outstanding Direction." Wrangler is the author of a new O'Henry-based musical, The Valentine Touch. He created and directed Midnight in the Garden of Good and Evil, The Jazz Concert, for the 1995 JVC Jazz Festival at Lincoln Center. He has written and direct?ed numerous Johnny Mercer revues and special events including And the Angels Sing, a special concert to kickoff the 1996 Olympics in Atlanta. He is currently the co-creator and the co-director of the Broadway bound musical, Dream.
Guitar Summit III
Paco de Lucia Al Di Meola John McLaughlin
Saturday Evening, November 16, 1996 at 8:00
Michigan Theater Ann Arbor, Michigan
Tonight's performance will consist of pieces chosen from the following:
La Esliba, Paco de Lucia
Beyond the Mirage, Al Di Meola
Midsummer Night, John McLaughlin
Manhd de CarnavaL, Luis Bonfa
Letter from India, John McLaughlin
Espiritu, Al Di Meola
Le Monastere Dans Les Montagnes, John McLaughlin
Azzura, Al Di Meola
Cardeosa, Paco de Lucia
Mediterranean Sundance Rio Ancho, Al Di Meola and Paco de Lucia
Short Taks of the Black Forest, Chick Corea
Frevo Rasgado, Egberto Gismonti
Fantasia Suite, Al Di Meola
Guardian Angel, John McLaughlin
Twenty-first Concert of the 118th Season
Six Strings Series
Special thanks to Mrs. Sue Lee for her continued support through Regency Travel.
The Jazz Directions Series is presented
with support from media partner WEMU,
89.1 FM, Public Radio from Eastern ' w 89.1 FM
Michigan University.
Large print programs are available upon request.
The Guitar Trio featuring Paco de Lucia, Al Di Meola, and John McLaughlin, showcases three artists who have had remarkable careers in the fields of jazz, fla?menco, classical, and world music. Their first meeting fifteen years ago is document?ed on two records: Friday Night in San Francisco, and Passion, Grace & Fire.
Flamenco is a blend of the many cul?tures -Gypsy, Muslim, Jewish -that at one time settled in Andalusia, in the South of Spain. Flamenco is, like the blues to which it is often compared, the music of a poor minority. It is also, however, a complex art form that combines guitar playing, singing and dancing, setting off layers of powerful rhythms and emotions. Spanish flamenco genius, Paco de Lucia, made his first public appearance as a child prodigy at the age of eleven. He has had more than fifteen records out with enormous sales, and since he rarely tours, each of his performances is a long awaited event.
Paco de Lucia does not feel bound to the traditional flamenco form and has explored other styles showing the versatility of this art form. With La Fabulosa Guitarra de Paco de Lucia, released in 1967, de Lucia began to distance himself from the tradi?tional masters such as Nino Ricardo and Mario Escudero. By the time he released Fantasia Flamenca in 1969, he had defined his own style. De Lucia has been criticized for his non-traditional approach, but he shrugs off any concerns that he might lose his roots or betray the essence of flamenco. "I have never lost my roots in my music, because I would lose myself," he once said. "What I have tried to do is have a hand holding onto tradition and the other scratching, digging in other places trying to find new things I can bring to flamenco."
American, Al Di Meola made a sensa?tion in 1974 when at only nineteen years of age, he replaced Bill Connors in one of the leading jazz fusion bands of the time, Return to Forever, led by Chick Corea. His lighten?ing virtuosity and his Latin influence shine throughout the RTF records. From 1976 on, Al Di Meola embarked on a solo career with success no other jazz guitarist has seen. The following recordings: Casino, Elegant Gypsy, and the live Tour de Force, show his brilliant creativity. In the early 1980's, Al Di Meola started to play a new kind of music mixing acoustic instruments with synthesizers. Thus, using musicians from horizons as diverse as Bill Bruford (drummer for super groups Yes and King Crimson), Phil Collins, and Argentinean tango-master Astor Piazolla, Di Meola was able to create a style that would come to be called New Age. This collabora?tion of styles resulted in some pieces special?ly written by Piazolla for Al Di Meola that were recorded a few years later with the all acoustic group he founded in the early 1990s, World Sinfonia. The group was com?posed of a Venezuelan guitarist, an Argentinean bandoneon player, and two Turkish and Puerto Rican percussionists.
Englishman, John McLaughlin, has had a dream career, beginning as a session musi?cian in the early 1960s at the same time as Jeff Beck, Jimmy Page (from Led Zeppelin), and Richie Blackmore (from Deep Purple). McLaughlin was then heard and seen with trumpet legend, Miles Davis, in the band that invented jazz fusion in the late 1960s. He was part of the four records that changed the course of music history, which include In a Silent Way and Bitches Brew. In the 1970s, John McLaughlin's search for spirituality led him to Indian philosophy, which in turn inspired him to form one of three major jazz-rock groups, the Mahavishnu Orchestra (the others being RTF and Weather Report, all made of former Miles
Davis musicians). In the 1980s, McLaughlin continued the fusion of Indian music with jazz in his band, Shakti. His curiosity and thirst for musical challenges pushed him towards classical music, where he began pro?ducing records in addition to composing and arranging for the world famous pianists, Katia & Marielle Labeque. John then wrote the Mediterranean Concerto for guitar and orchestra, a masterpiece later recorded in 1990 with the London Symphony Orchestra, conducted by Michael Tilson Thomas. Since the beginning of the 1990s, John McLaughlin has alternatively worked with an Indian
percussionist, American organists and drum?mers, and French and German bassists. His recent exploits include participating in a tribute tojimi Hendrix on In From The Storm with Sting and a collaboration with fellow Guitar Trio members Paco de Lucia and Al Di Meola on one song on his latest album, The Promise.
Paco de Lucia's Flamenco Masters appeared in Ann Arbor in October 1995. Tonight marks his second appearance under UMS auspices.
Al Di Meola and John McLaughlin make their debuts under UMS auspices.
faculty Artists Concert
Michigan Chamber Players
of the University of Michigan School of Music
Katherine Collier, piano Arthur Greene, piano Paul Kan tor, violin Bryan Kennedy, horn Fred Ormand, clarinet
Yizhak Schotten, viola Logan Skelton, piano Felix Wang, cello Hong-Mae Shiao, viola
Sunday Afternoon, November 17, 1996 at 4:00
Rackham Auditorium Ann Arbor, Michigan
William Albright
Dream Rags
Sleepwalker's Shuffle
Nightmare Fantasy Rag (Nightmare on
Rag Mountain) Morning Reveries
Logan Skelton, piano Dmitri Shostakovich
Viola Sonata
Moderato Allegretto Adagio
Hong-Mae Shiao, viola Arthur Greene, piano
Erno Dohndnyi
Sextet in C, Op. 37
Allegro appassionato Intermezzo--alia marcia Allegro con sentimento
Katherine Collier, piano Paul Kan tor, violin Bryan Kennedy, horn Fred Ormand, clarinet Yizhak Schotten, viola Felix Wang, cello
Twenty-second Concert of the 118th Season
Large print programs are available upon request.
Dream Rags
William Albright
Born October 20, 1944 in Gary, Indiana
William Albright recalls that in 1967 he and fellow-composer William Bolcom became fascinated, quite independently of each other, with the richness of America's ragtime tradition, and both composers fig?ured prominently in the rag revival of the 1970s. As well as performing and recording traditional rag, suide, and boogie-woogie piano works during this period, Albright composed his own series of rag-inspired pieces, beginning with 3 Original Rags in 1967, and including the Grand Sonata in Rag (1968), 3 Novelty Rags (1968), and the multi?media theater piece Beulahland Rag (1967-69). The Dream Rags from 1970 culminate this period in Albright's compositional path.
The three pieces that make up Dream Rags ("Sleepwalker's Shuffle," 'The Nightmare Fantasy Rag," and "Morning Reveries") are linked by a common noctur?nal theme in their titles, rather than any inherent musical relationship. Together they form a loose dream-world sequence, but it is not stricdy-speaking a "cycle."
"Sleepwalker's Shuffle," according to the composer, "evokes Ravel and Mozart, among others." It includes a near-exact quotation from Mozart's famous Piano Sonata in A (K.331) updated in rag rhythms, but Albright seems more concerned with a classical (or neo-classical) approach to structure and tex?ture reminiscent of these composers, rather than strict quotation or parody. This primar?ily calm work is interrupted in the middle section by a boisterous "Chicken Scratch -Harlem Style" that is far removed from Mozartian classicism, but closer to Ravel's Paris of the 1920s.
The "Nightmare Fantasy Rag," subtitled "A Night on Rag Mountain," inhabits a differ?ent world altogether. The subtitle's allusion to Mussorgsky correlates his famous sym-
phonic poem's devilish dramatic conjuring with this rag's "Lisztian kaleidoscope of fast-moving images and Mephistopholean visions," complete with brilliant virtuoso cadenzas. The bulk of the work is a series of sectionalized six-teen-bar strains that follow more closely the traditional formal structures of rag-writing. The contrasting central section, a gently swing?ing fox-trot, provides a respite from the vigor?ous opening themes and their driving rhythms. Before the dramatic final cadence, an extended coda in hard-rock style wrenches the listener away from any possible feeling of rag-induced nostalgia; Albright has said regarding this coda, "alas, the sweet strains of ragtime meet the real world."
The set concludes with "Morning Reveries," a wistful "slow drag" that the composer admits is perhaps the favorite of all his rags. A gentle cantabile piece, it recaptures some of the yearn?ing that had been swept aside at the end of the "Nightmare Fantasy Rag." A soft dynamic level and gentle syncopations recall the fox-trot from that movement, and passages of parallel harmonization suggest possibly another invo?cation of Ravel. "Morning Reveries" not only completes this set of rags -for the composer it also represents a summary of all his impres?sions of ragtime and its influence on his music-making.
Viola Sonata
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg
Died August 9, 1975 in Moscow
A few days before his death in 1975, Dmitri Shostakovich remarked in a letter to a friend, "I manage to write with my right hand only with the greatest difficulty. . . . Although it was very hard for me, I have written a sonata for viola and piano." This was Shostakovich's final composition, and it has subsequently been regarded as his "last will and testament" in music -a view reinforced when, like the read-
ing of a will, the sonata was given a posthu?mous premiere in Shostakovich's home just weeks after his death. Elizabeth Wilson, in her book Shostakovich: A Life Remembered, writes that in this final work the composer "overcomes wordly trivialities and suffering in a mood of exalted philosophical resigna?tion. The Viola Sonata can be regarded as a fitting requiem for a man who had lived through and chronicled the scourges of a cruel age."
The Viola Sonata was written for and dedicated to Fyodor Druzhinin, the violist in the Beethoven Quartet and a long-time friend and collaborator. In his conversations with Druzhinin during the work's composition, Shostakovich mentioned the difficulty he had in writing the piece, but, as if anticipating the tone of lamentation that would later attatch itself to the work, the composer noted: 'The first movement is a novella, the second a scherzo, and the finale is an adagio in memory of Beethoven; but don't let that inhibit you. The music is bright; bright and clear."
Whether the sparse textures and open harmonies in the Viola Sonata are a result of the physical difficulties of writing, or a philo?sophical purity of thought (and perhaps for Shostakovich these were related concerns), they certainly engender much of the work's emotional strength. The first movement begins as if from nothing, with the solo viola playing pizzicato on the open strings. These bare, unadorned fifths are a simple gesture of innocence, perhaps representing a kind of birth in this prefiguring of a gentle death. The piano accompaniment in this move?ment is predominantly linear; only a few chords punctuate what is essentially a two-or three-part contrapuntal texture.
The second movement has more of the dance nature in it. It calls on the same jaun?ty folkishness that had also stirred many other Slavic composers in the early twenti?eth century, including Stravinsky and Bartok. Double-stopping for the viola in
fourths and fifths constitute most of the lim?ited virtuoso writing in this movement, which moves resdessly through a wide tonal spectrum with cautious light-heartedness.
It is in die final movement, the "adagio in memory of Beethoven," that the sonata plumbs its most profound depths. Fleeting references to the Moonlight Sonata and die fugue from the Op. 110 Piano Sonata make the Beethoven allusion clear. But even more striking is the gradual motion toward com?plete repose offered in the final C-Major triad, as pure and unaffected in its own way as die open strings that began the first movement. At die sonata's conclusion the viola plays con sordini (with mute), signifying a furdier distancing of the musical voice, and the final expression marking in this movement, as in all the odiers, is morendo -a literal "dying away." This programmatic suggestion of death also signifies a serenity which Boris Schwarz refers to as "emotion without sentimentality, resignation without bitterness, a closing worthy of a great artist."
Sextet, Op. 37
Erno Dohndnyi
Born July 27, 1877 in Pressburg, Hungary
Died February 9, 1960 in New York
Erno Dohnanyi's renown as a pianist, com?poser, and music administrator spread across Europe and the United States during the early decades of this century. But it was perhaps in his native Hungary that Dohnanyi was most influential. In addition to his international performing career, he was involved with up to 120 concerts a year in Budapest alone. According to Bartok, Dohnanyi was providing "the entire musical life of Hungary" during the 1910s and 20s, and his efforts in championing the music of the younger generation of Hungarian com?posers (including Bartok and Kodaly) were unflagging.
Dohnanyi composed the Sextet (Op. 37) in 1933, while he was simultaneously musical director of Hungarian Radio, conductor of the Budapest Philharmonic Orchestra, and head of the Budapest Academy. Understand?ably, his compositional output had slowed under this workload; he completed only four works in the previous nine years, and did not produce any further new composi?tions until the 1940s.
Although written well into the twentieth century, the Sextet reflects the lingering her?itage of nineteenth-century music, and of Brahms in particular, with whom Dohnanyi enjoyed considerable personal and musical acquaintance. Like Brahms, he preserved the classical forms, imbuing them with a vivacious lyricism and passionate eloquence, and was a master of the chamber music genre; Dohnanyi was one of the first world-famous pianists to make chamber music a regular part of his performance repertoire.
The instrumentation for the Sextet is unusual, consisting of piano with strings (violin, viola, and cello) and winds (clarinet and horn) -the same ensemble as that used by the Viennese classical composer Anton Eberl in his Sextet irom 1800. But these two works are the only examples in the chamber repertoire that use this combi?nation of instruments. Still, it gives the com?poser a remarkably broad palette of timbres within the reduced scope of a small ensem?ble. The first movement, an "Allegro appa-sionato," explores the richness of these mul?tiple timbres in the framework of a classical sonata form, where occasional touches of Debussy-esque impressionism flavor the full-textured harmonic language. The following Intermezzo includes a contrasting "Alia marcia" section. Tranquil chromatic motion opens die "Allegro con sentimento," and moves immediately into a rollicking, cheer?ful Finale which restates material from the previous movements.
Program notes by Luke Howard
William Albright, chair of the Composition Department, studied composition with Olivier Messiaen, Aaron Copland and Leslie Bassett, among others, and organ with Marilyn Mason. Among his honors are com?poser awards from the American Academy of Arts and Letters, the Queen Marie-Jose Prize, two Fulbright Fellowships, two Guggenheim Awards, Koussevitsky Foundation and NEA commissions and the Distinguished Service Award of the University of Michigan. He was honored with the 1993 Composer of the Year Award from the American Guild of Organists. With a Massachusetts State Arts Council Grant, he recently completed a work for computer-generated sound and piano at MIT. Recent commissions include Chamber Music America, Meet the ComposerReader's Digest, New York State Arts Council and the University of Michigan Bands. Mr. Albright regularly gives concert tours in Eastern Europe, Germany and Austria; in 1993 he served on the jury for the Gelsenkirchen (Germany) International Organ Performance Competition.
Katherine Collier (piano) was the top prize winner of the National Young Artists' Competition and the Cliburn Scholarship Competition and was the recipient of a Rockefeller Award and a Kemper Educational Grant. She has bachelor's and master's degrees from the Eastman School of Music, where she received the performer's certifi?cate, and a postgraduate diploma from the Royal College of Music in England. She is an active collaborator with many renowned musicians in performances throughout the United States, Israel, Japan, Taiwan, Malaysia, Britain, Germany, Belgium, Holland, Austria, Denmark, Mexico and Canada.
Arthur Greene (piano) came to Michigan in 1990 following great success as a concert performer throughout the United States,
Europe, and the Far East. He has appeared as soloist with the Philadelphia Orchestra, RAI Orchestra of Turin, the San Francisco, Utah, and National Symphonies, and in recital at Carnegie Hall, Kennedy Center, Tokyo Bunka Kaikan, Lisbon Sao Paulo Opera House, Hong Kong City Hall, and concert houses in Shanghai and Beijing.
Paul Kantor (violin) has appeared as concerto soloist with a dozen symphony orchestras, has served as concertmaster of several orchestral ensembles, including the New Haven Symphony, Aspen Chamber Symphony, Lausanne Chamber Orchestra and Great Lakes Festival Orchestra and has been guest concertmaster of the New Japan Philharmonic and the Toledo Symphony Orchestra. He has been especially active as a chamber musician, with such groups as the New York String Quartet, the Berkshire Chamber Players, the Lenox Quartet and the National Musical Arts Chamber Ensemble. His performances of Bartok, Pearle and Zwilich may be heard on the CRI, Delos and Mark Records labels.
Bryan Kennedy (horn) a two-time prize winner in the Heldenleben International Horn Competition, came to the School of Music in 1995 after a distinguished orches?tral career. He was a member of the Detroit Symphony Orchestra from 1982-1995, play?ing under many renowned conductors, including Neemi Jarvi. Previously, he was a member of the Richmond Symphony, Michigan Opera Theatre and solo horn of the National Symphony of Costa Rica. Mr. Kennedy has been hornist and a frequent soloist with the Detroit Chamber Winds since 1982 and has made several recordings with the ensemble on the Koch International Classics label. He has also recorded on London, Decca, RCA and Chandos, and recently finished recording the Hindemith Sonata in F for Crystal Records. He is also the co-founder and hornist of Premier Brass with four colleagues from the Detroit Symphony Orchestra.
Fred Ormand (clarinet) is a leading performer, educator and scholar. He has played with the Chicago, Cleveland and Detroit symphony orchestras, and has per?formed as a soloist with distinguished orchestras in the United States and abroad. Mr. Ormand founded and toured extensive?ly with the Interlochen Arts Quintet and the Dusha Quartet.
Hailed as a "genius teacher" by Mstislav Rostropovich, Ormand is a member of the faculty of the University of Michigan School of Music. Recently he was awarded the Harold Haugh award in recognition of his outstanding work as a studio teacher. He has taught at several other leading American universities and was visiting professor at the Shanghai Conservatory in 1988, where he attracted students from across China. In 1995 his master classes in England, Denmark and Sweden received great acclaim. Ormand's students have filled positions in major sym?phony orchestras and service bands, and are on the faculties of major universities.
Yizhak Schotten (viola) was born in Israel and brought to the US by the renowned violist William Primrose, with whom he studied at Indiana University and the University of Southern California. Other studies were with Lillian Fuchs at the Manhattan School of Music. Mr. Schotten has concertized in Israel, Holland, England, Austria, Japan, Taiwan, Malaysia, Mexico and Canada and has performed on many prestigious concert series across the US. He was a member of the Boston Symphony, an exchange member of the Japan Philharmonic and principal violist of both the Cincinnati and Houston symphonies.
Donald Sinta (saxophone) is chair of the Winds and Percussion Department at the University of Michigan School of Music. Mr. Sinta is a graduate of Wayne State University and the University of Michigan, and has taught at the University of Michigan since 1974.
Former saxophonist with the Detroit Symphony Orchestra, he continues a solo and chamber music career. He is an active proponent of new music who has demon?strated a great personal interest in improving the saxophone literature, having premiered more than fifty works written for him, including compositions by Pulitzer Prize winners Leslie Bassett and Karel Husa.
Logan Skelton (piano) maintains an active career as solo pianist, chamber musi?cian, composer and piano pedagogue. He holds degrees from Loyola University where he graduated summa aim laude, the Eastman School of Music where he was awarded the Performer's certificate, and the Manhattan School of Music where he received his doc?torate. His principal teachers include John Murphy, Rebecca Penneys and Artur Balsam. Skelton's performance schedule regularly includes appearances throughout the coun?try in major metropolitan centers as well as several concert tours as a member of the Hawthorne Trio. His performances and compositions have been featured on many public radio and television stations including NPR's Audiophile Audition and Performance Today. His recordings of the music of Thomson, Hanker and Bax, may be heard on four compact discs which he has recorded for Centaur and Albany Records.
Felix Wang (cello), from Okemos, Michigan, is currently working on his Doctorate of Musical Arts at the University of Michigan. He received his Bachelor of Music from the Peabody Institute, and his Master of Music from the New England Conservatory. In 1993, Mr. Wang was a recipient of a prestigious Beebe grant for study abroad and spent a year in London. He has won several competitions, including the 1992 National Arts and Letters Cello Competition, where he appeared with the Phoenix Symphony. During the summer, Mr. Wang has been teaching at the Interlochen Center for the Arts, and in the past has
been a participant of the Tanglewood and Ravinia Festivals. His teachers have included Erling Blondal Bengtsson, William Pleeth, Laurence Lesser, and Stephen Kates.
Hong-Mae Shiao (viola) was the first prize winner of the 1987 Geneva Inter?national Music Competition for Viola. In addition to that honor, she was also awarded the prestigious Patek Philippe Grand Prize.
Born in Tsing-Tao, China, Hong-Mae Shiao began her musical studies with her father, a well-known composer. In 1980, she entered the Shanghai Conservatory and graduated with highest honors. During her last year at the Conservatory, she worked with a visiting American professor, violist John Graham. An award from the Asian Cultural Council enabled her to go to the United States to continue working with Mr. Graham at the State University of New York at Stony Brook, where she received her Master of Music degree.
Ms. Shiao, a frequent soloist with L'Orchestre de la Suisse Romande, has appeared in recital and with orchestras in Switzerland, Belgium, Italy, Yugoslavia, Germany, Hong Kong and throughout the United States and China. Her recordings include the Brahms Sonata inf minor, Op. 120, No. 1, the Hindemith Sonata for Solo Viola, Op. 11, No. 5; and the Frank Martin Ballade for Viola and Orchestra on compact disc.
The Michigan Chamber Players present four to six concerts a year, txvo of which are sponsored by the University Musical Society.
pres ent
The Guarneri String Quartet
Arnold Steinhardt, violin John Dalley, violin
Michael Tree, viola David Soyer, cello
The Orion String Quartet
Daniel Phillips, violin Todd Phillips, violin
Steven Tenenbom, viola Timothy Eddy, cello
Saturday Evening, November 23, 1996 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Wolfgang Amadeus Mozart
Viola Quintet in g minor, K. 516
Menuetto: Allegretto
Adagio ma non troppo
Orion String Quartet with Michael Tree Antonin Dvorak
Sextet for Strings in A Major, Op. 48
Allegro moderato-Allegro con brio Dumka (Poco Allegretto-Andante) Finale: Theme with Variations (Allegretto grazioso, quasi Andantino-Allegro-Presto)
Guarneri String Quartet with Steven Tenenbom and Tim Eddy
Intermission Felix Mendelssohn
Octet in E-Flat Major, Op. 20
Allegro moderato con fuoco
Scherzo: Allegro leggierissimo
Guarneri and Orion String Quartets
Twenty-third Concert of the 118th Season
Thirty-fourth Annual Chamber Arts Series
This performance is sponsored by The Edward Surovell Co. Realtors with additional support from Maurice and Linda Binkow.
Large print programs are available upon request.
Viola Quintet in g minor, K. 516
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg
Died December 5, 1791 in Vienna
Mozart's four mature string quintets, written between 1787 and 1791, must be counted among his greatest works. The addition of the fifth instrument lessens some of the limitations of the string quartet without greatly diminishing the discipline needed to use a small ensemble fully and well as a medium of expression. It enriches the instrumental texture and adds to the freedom of the contrapuntal writing. Musical material moves much more easily among five instrumental "voices" than four. The total number of different instrumental combinations that can be made increases greatly. The overall result is often fuller development, more complex use of the lan?guage of music, and heightened drama. In the late quintets Mozart often writes for different combinations of three of the five instruments. There are frequent passages for two violins and viola or for two violas and cello, for example. In the former, die viola becomes a high bass instrument. In the latter, it is a low-voiced lead-instrument.
Early in April, 1788, Mozart placed three advertisements in a Vienna newspaper offer?ing copies of the Quintets K. 406, 515 and 516 for sale by advance subscription, "beau?tifully and correctly copied," to be delivered on 1 July. In June, Mozart still hoped to earn an important sum from them, but he was so short of money that he wrote to his Masonic brother who was handling the busi?ness arrangements of the subscription sale, asking for a loan against the expected income. The project was not a success. There were so few subscribers that he had to extend the offering to January, 1789.
The g-minor Quintet is a work of passion and pathos that almost demands to be
linked with the great g-minor Symphony, K. 550, that Mozart was to write little more than a year later. It has even been called Mozart's Pathetique, and although Tchaikovsky's reverence for Mozart is not readily apparent in much of his music, he once wrote of the slow movement of this Quintet, "No one else has ever known so well how to interpret so exquisitely in music the sense of resigned and disconsolate sor?row." The sad strength of the extraordinary, muted "Adagio ma non troppo" is without equal anywhere in the works of Mozart or his predecessors and will be challenged only in the late works of Beethoven.
From die very opening of the first move?ment, this is music of troubled passion and bitter tension, the anguish of its themes intensified by a persistent eighth-note rhythm. The Menuetto: "Allegretto" has an extraordinary rhythmic fluidity. Accents and harmonically strong chords shift their positions within the measure and create so marked an instability that even the irregularities of the trio section seem strong and stable in contrast. After the barely breathed ending of the slow movement, Mozart does not go directly into the fast, major-key, main section of the finale. Instead, there is a long, slow introduction, "Adagio," a kind of plaintive aria or arioso for the first violin with a sighing and sobbing accompaniment, that lessens the shock of contrast in moving on to the final "Allegro."
Program note O Burkat Program Notes
String Sextet in A Major, Op.48
Anlonin Dvorak
Born on September 8, 1841 in Miihlhausen,
Czechoslovakia Died on May 1, 1904 in Prague
The String Sextet in A Major was one of the first Dvorak works to become known outside the composer's native Bohemia, thanks to
no less a musician than Joseph Joachim, who gave the first performance with his quartet and two guest artists in Berlin in 1879. The great violinist knew that a major new composer had arrived on the scene, and also that Dvorak had an enthusiastic supporter in Joachim's close friend, Johannes Brahms. The fact that Dvorak's Op.48 showed the influence of Brahms's two string sextets (Opp. 18 and 36) only served to endear him to Joachim even more.
The style of Brahms's sextets was derived in part from the serenade tradition and Dvorak, too, made allusions to that tra?dition -for instance in the warmly melod?ic, lilting opening theme of the first move?ment or the variations of the finale. But Dvorak combined the tone of the serenade with Czech folk elements, as in the second-movement Dumka and third-movement Furiant. The first is a type of folk song, in turn wistful and passionate; the second a rambunctious fast dance. Both were favorites of Dvorak who was to use them in many of his compositions -but it is here that both appear for the first time as part of a multi-movement work.
Yet neither serenade nor Czech folk music sufficiently explains the importance of the A-Major Sextet. The work's appeal lies in Dvorak's unique melodic genius and his ability to breathe new life into classical struc?tural and harmonic procedures. Among the many particular masterstrokes, one should mention how the two themes of the first movement are made to sound simultaneous?ly near the end, or how the excited conclud?ing section suddenly slows down to make room for a powerful and somewhat archaic-sounding final cadence. Throughout the piece, Dvorak achieves a degree of tonal ambiguity by frequent transitions from the major to the minor mode, and by using more distant key relationships where the conventions call for closer ones.
On the whole, the Sextet marks one of
the high points in Dvorak's early career. Its great success in Berlin and elsewhere ush?ered in a glorious period in the composer's life, with rapidly growing international fame and many more masterpieces to follow.
Program note by Peter Laki
Octet in E-flat Major, Op.20
Felix Mendelssohn
Born on February 3, 1809 in Hamburg
Died November 4, 1847 in Leipzig
Mendelssohn wrote his Octet for four violins, two violas and two cellos in 1825, the same year Beethoven composed his a-minor quartet (Op.132). At fifty-five, Beethoven was nearing the end of his career (and he knew it); the sixteen-year-old Mendelssohn was just starting his. A lot of ink has been spilled over who was "modern" and who was "conservative," who was "Classical" and who was "Romantic." Mendelssohn never tried to explode Classical forms the way Beethoven did in his late quartets, with unconventional movement sequences and dramatic inter?ruptions. Yet Mendelssohn infused those same forms with a new energy in ways that were absolutely unheard of. And, incidental?ly, he invented a whole new genre with this work, which calls for what can be seen as either a large chamber group or a small orchestra. As he noted in the manuscript: 'This Octet must be played by all instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than is unusual in pieces of this character."
We are not sure what Mendelssohn meant by "pieces of this character," since it seems that no one had written string octets of this sort before. True, Louis Spohr had composed double quartets for the same instrumental forces, but those works were
conceived as two string quartets in dialog. Mendelssohn, by contrast, treated the eight players as a single, integrated unit -a whol?ly unprecedented procedure as far as any?one knows.
To appreciate the way Mendelssohn expanded upon Classical style in his Octet, one needs only to compare the opening of the work with the opening of Haydn's Quartet in B-flat Major from Op.76, known as the "Sunrise" on account on its gendy rising first theme. Mendelssohn has often been said to have been inspired by that opening, but Haydn's theme is to Mendelssohn's what a sunrise would be to a solar flare! These first measures are a stroke of genius fully matched by the remainder of the move?ment.
The second movement, in c minor, is full of Romantic, nocturnal feeling. It begins and ends in a gentle pianissimo, but there are some extremely powerful emotional out?bursts in between. The third movement is the first in a long line of Mendelssohnian scherzos in a very fast tempo and of a light and impish character. It follows a modified sonata form and is, therefore, not a scherzo structurally speaking -Felix didn't take time to relax in a contrasting Trio as one might have expected. In the concluding "Presto," finally, he pulled out all the plugs: he wrote a brilliant fugue, partly as a bow to the music of the Baroque which he had already begun to study and which would play such an important role in his life later. The quote from Handel's Messiah ("And He shall reign for ever and ever") cannot be missed. But there is also plenty of playful?ness in the movement, along with some har?monic surprises that would have made Handel -and probably Beethoven, too -raise his eyebrows in disbelief mixed with admiration.
Program note by Peter Ltiki
Founded in 1964, the Guarneri String Quartet is an amazing achievement of four diverse personalities, all original members, and is the longest continuing artistic collaboration of any quartet in the world. They have circled the globe countless times together, playing the world's most prestigious halls in North and South America, Mexico, Europe, the Far East, and Australia. In their home town of New York City, they have maintained their two special series, Guarneri and Friends at Lincoln Center (since 1973) and recital programs at the Metropolitan Museum of Art (since 1965.) The international demand to hear the Guarneri String Quartet reflects the emi?nence in which the Quartet is held in North America. It was well defined by the Los Angeles Times in reviewing an all-Beethoven recital: "Beethoven was more than well-served. He was revitalized by playing that probed into dark corners and illuminated hidden mysteries. It was the sort of thing that can occur at any time but that rarely happens. It cannot be ordered or commanded; hard work can hasten its advent, but cannot guarantee its presence. It seemingly has to come from some other worldly source. Whatever its origin it had the Guarneri players
firmly under its spell. They looked like hard?working musicians, but they played like angels."
The Guarneri, hailed by Nenusweek as "one of the world's most elegant chamber ensem?bles," is an amazing accomplishment: four diverse personalities, all original members, the longest surviving artistic collaboration of any quartet in the United States. The anatomy of a string quartet is best summed up by vio?linist Arnold Steinhardt in a paper he wrote on his memories after twenty years with the Quartet: 'There will be hours and hours of brute labor involved in the technical problems of intonation, ensemble, and the critical shadings of four like-sounding instruments. More important will be the unchartered process in which four people let their indi?vidual personalities shine while rinding a unified quartet voice. There will be endless musings, discussions, and criticisms that will finally end up as an interpretation -that almost mystical amalgam of the four players that hovers somewhere in between their music stands."
The Quartet has been featured on many television and radio specials, documentaries and educational presentations both in North America and abroad. It was inter?viewed by Charles Kuralt on CBS' nation?wide television program, Sunday Morning, in the summer of 1990. A full-length film enti?tled High Fidelity -The Guarneri String Quartet was released nationally, to great criti?cal and public acclaim, in the fall of 1989. (The film was directed and produced by Allan Miller who was also the directorpro?ducer of the Academy Award-winning docu?mentary, From Mozart to Mao, which dealt with Isaac Stern's visit to China.) The Quartet is also subject of several books including Quartet by Helen Drees Ruttencutter (Lippincott & Crowell, 1980) and The Art of Quartet Playing: The Guarneri in Conversation rvith David Blum (Alfred A. Knopf, 1986).
In 1982 Mayor Koch presented the
Quartet with the New York City Seal of Recognition, an honor awarded for the first time. The Quartet is on the faculty of the University of Maryland. It was awarded Honorary Doctorate degrees by the University of South Florida (1976) and the State University of New York (1983). In 1992 the Guarneri String Quartet became the only quartet to receive the prestigious Award of Merit from the Association of Performing Arts Presenters.
The Guarneri String Quartet records exclusively for the Philips label. Several of their recordings have won international awards, on both RCA Red Seal and Philips. Among them are collaborations with such artists as Artur Rubinstein, Pinchas Zukerman; and Boris Kroyt and Mischa Schneider of the Budapest Quartet.
The Guarneri String Quartet first performed under UMS auspices in 1971. This evening's per?formance marks their txventy-sixth appearance.
ailed as combining the best qualities of both the European and American tradi?tions of quartet play?ing, the Orion String Quartet serves as the Quartet-in-Residence at the Chamber Music Society of Lincoln Center. Violinists Daniel Phillips and Todd Phillips (who share the Quartet's violin roles equal?ly) , violist Steven Tenenbom, and cellist Timothy Eddy bring to the Orion Quartet their experiences of having worked with such legendary figures as Pablo Casals, Rudolf Serkin, and members of the Budapest, Vegh, and Guarneri Quartets.
Isaac Stern chose the Orion to perform as part of the Carnegie Hall Centennial cel?ebration as well as to teach at the Isaac
Stern Chamber Music Workshop at Carnegie Hall. The Quartet has been heard in recent seasons at New York's 92nd Street Y, Washington, DCs Kennedy Center, and throughout North America and abroad including the cities of Philadelphia, Los Angeles, Boston, Seattle, Houston, Toronto, Vancouver, London, Vienna, and Amsterdam. The Orion's summer residen?cies have included the Santa Fe Chamber
Music Festival and the Aspen Music Festival, and performances at the Mostly Mozart, Lockenhaus (Austria), Chamber Music Northwest, Spoleto (US and Italy) and Turku (Finland) festivals.
Highlights of the Orion String Quartet's 1996-97 season with the Chamber Music Society of Lincoln Center include an evening celebrating the quartets of Schubert and Brahms, with a program of Schubert's Quartetsatz in c minor, and String Quartet No. 15 in G Major and Brahms' Quartet No. 3 in B-Jlat Major; the New York premiere of George Perle's Quintet for Horn and Strings:, and the Opening Night Gala honoring Marilyn Home. Other appearances this sea?son include concerts in Boston, Chicago, Seattle, Denver, Philadelphia, London's Wigmore Hall, and at Carnegie Hall in col?laboration with the Guarneri String Quartet.
This evening's performance marks the Orion Siring Quartet's debut under UMS auspices.
presen I
Christopher Fritzsche, Corey McKnight, Jay White, Soprano Kenneth Fitch, Michael Lichtenauer, Philip Wilder, Alto Kevin Baum, Tim Krol, David Munderloh, Tenor Eric Alatorre, Frank Albinder, Chad Runyon, Baritone & Bass
Louis Bocto, Artistic Director Susan Duncan, Executive Director Joseph Jennings, Music Director Frank Albinder, Associate Conductor
Wednesday Evening, December 4, 1996 at 8:00
St. Francis of Assisi Catholic Church Ann Arbor, Michigan
Per o tin Viderunt omnes
Thomas Stoltzer O admirabile commercium
William Byrd Lullaby, my sweet little baby
Orlando di Lasso Resonet in laudibus
Traditionalarr. Michael Praetorius Hieronymus PraetoriusJ. S. Bach In dulci iubilo
John Tavener Village Wedding
Anonymous Sa aqui turo zente pleta
Alfonso X de Castille Rosa das rosas
Anonymous Riu, riu chin
Franz Biebl Ave Maria
Herbert Howells Sing Lullaby
Traditional, arr. Dale Grotenhuis Tomorrow shall be my dancing day
W.J. Kirkpatrick, arr. Lowell M. Durham Away in a Manger
Traditional, arr. David Willcocks Quelle est cette odeur agreable
Traditional, arr. Philip Wilder Chanticleer
Gustav Hoist, arr. Joseph Jennings Leslie Woodgate In the bleak midwinter
Steven Sametz Gaudete!
Traditional, arr. Joseph Jennings Wondrous Love
Traditional, arr. Ralph Vaughan Williams Wassail Song
Traditional, arr. Mark Keller I Wonder as I Wander
Traditional, arr. Jennings Glory to the Newborn King Well, the Saviour is born The Virgin Mary had one Son Oh, what a pretty little baby Jesus, oh what a wonderful Child
Twenty-fourth Concert of the 118th Season
Divine Expressions Series
A special thanks to Tom Conlin for his continued support of UMS.
Special thanks to James M. Borders, Associate Dean, U-M School of Music, for serving as speaker for the Performance-Related Educational Presentations (PREPS).
Large print programs are available upon request.
Perotin (Jl. c.1200) is the second known composer of polyphonic music in Western history, the first being Leonin. This four-part organum, with its abundance of "colours" in the art of harmonic music, illustrates many of his important departures from the music of his time, which was basically limited to Gregorian chant.
In 1199, the Bishop of Paris, Eudes de Sully, set the observance of the Feast of the Circumcision (January 1), referring in his decree to "the clerks who sing at Mass the gradual or alleluia in triple or quadruple organum." Viderunt omnes is the gradual for this feast, and it is assumed that Perotin's is the setting referred to in the Bishop's decree. The sustained notes of the tenor voice, which contains the original chant melody, have become so extended that each syllable of text becomes a complete section. Changes of note or syllable in the tenor part herald the introduction of a new group of ideas in the upper parts, which sing vir?tually continuously over the sustained notes. Perotin's vocal writing is eloquent, imaginative, and full of delicate effects.
Viderunt omnes fines terrae salutare
Dei nostri: Iubilate Deo omnis terra.
V. Notum fecit Dominus salutare suum: ante conspectum gentium revelavit iustitiam suam.
All the ends of the earth shall see the salvation
of our God: All the earth shall rejoice in God!
V. The Lord has made known His salvation: Before the face of all peoples He has revealed His righteousness.
As is all too typical for the era, very little is kown about the life of Thomas Stoltzer (c.1480-1526). That he was one of the most important German composers of the sixteenth century is indoubtable. His works were quite popular during his life throughout central Europe, especially in areas where the Reformation was taking hold. Many of his 150 works were still in circulation through the end of the sixteenth century. His German Psalm motets are considered to be almost unsurpassed, the most notable being the four motets based on Luther's translation of the Psalter. They are among the first large-scale religious works stem?ming from the Reformation's drive to conduct religious services in the vernacular.
O admirabile commertium is a Christmas antiphon for five voices of a setting on the mystery of the Incarnation. The "wondrous exchange" is here evoked by a hushed, drawn out "o" in the bass, answered by rich harmony in the full choir. This particular work was so popular that it has been found in no fewer than eleven source manuscripts, and is a beautiful example of Stoltzer's genius in the matching of words and music. Stoltzer has illustrated the text down to the smallest detail, simultaneously integrating the Gregorian melody of the antiphon so that it is nearly undetectable.
O admirabile commercium,
creator generis humani
animatum corpus sumens
de virgine nasci dignatus est
et procedens homo
sine semine
largitus est nobis suam Deitatem.
O wondrous exchange
the creator of the human race,
taking on a living body,
has deigned to be born of a virgin;
and, becoming man,
sprung from no human seed,
has made us a gift of His divinity.
William Byrd (1543-1623), called the "Father of Musick" by his contemporaries, was the sin?gle-most important composer of Elizabethan England. Appointed organist of Lincoln Cathedral at an early age, he became a gentleman of the Chapel Royal in 1570, and had risen high enough in royal favor five years later to secure a monopoly over printed music for himself and his teacher, Thomas Tallis. The quality of his music places him on equal standing with Palestrina and Lasso, yet his circumstances were quite different from theirs. A tenacious Catholic in a militantly Protestant country, he was forced to go underground for much of his sacred works, composing music for Latin masses conducted in secret.
In 1587, Byrd made a new effort to launch himself into the world of publishing. Pslames, Sonets and Songs (1588), which contains "Lullaby, My sweet little Baby," was his first great suc?cess in this endeavor. In the preface, Byrd indicates that most of the songs were originally composed for one voice and four instruments, but had been adapted so that all five parts were sung. This alteration linked the compositions more closely to the Madrigal, which was much in vogue at the time. The harmonic idiom of "Lullaby" is more complex than Byrd's earlier music, and the canonic entrances and textual expressions point to the influence of the Italian Madrigal. "Lullaby" became so famous during Byrd's lifetime that the entire collection was referred to as "Byrd's Lullabys."
Lullaby, My sweet little Baby
Lulla la lulla lullaby,
My sweet little Baby, what meanest
Thou to cry Be still, my blessed baby, though cause
Thou hast to mourn, Whose blood most innocent to shed the
cruel king hath sworn;
And lo, alas, behold what slaughter
he doth make, Shedding the blood of infants all,
sweet Saviour, for Thy sake. A King is born, they say, which King this
king would kill. O woe, and woeful heavy day, when wretches
have their will!
The Renaissance composer Orlando di Lasso (c. 1532-1594), also known as "Orlande de Lassus," "Roland Lassus," or simply "Orlando," was one of the greatest representatives of the all-important Flemish school of composers famed for their contrapuntal skill. Widely trav?eled, he served nearly forty years at the Bavarian court in Munich, where he helped establish the supremacy of the Italianized Flemish style.
Resonet in laudibus has long been one of the most popular of all Christmas songs in Germany, where it is sung to two quite distinct texts: Resonet in laudibus, which dates probably from the fourteenth century, and Joseph lieber, Joseph mein, which is perhaps even older. Resonet was particularly associated with the medieval custom of cradle-rocking which flourished in Rhineland nunneries. By the late Middle Ages, cradles were being enthusiastically rocked at Christmas vespers and matins throughout Germany and the Low Countries. Lasso's setting for five voices opposes rhythmic motives in a rich, virile manner; the sections in compound meter set up a homophonic texture, only to break it up dramatically. The middle section, more factual and less wild in its rejoicing, is set for three voices in complex counterpoint.
Resonet in laudibus
Resonet in laudibus,
cum jucundis plausibus
Sion cum fidelibus:
apparuit, quern genuit Maria.
Sunt impleta quae praedixit Gabriel.
Eja, eja! Virgo Deum genuit:
quod divina voluit dementia.
Hodie apparuit in Israel,
per Mariam Virginem est natus Rex.
Magnum nomen Domini, Emanuel,
quod annuntiatum est per Gabriel.
Eja, eja! Virgo Deum genuit:
quod divina voluit dementia.
Let Zion resound with praise,
with joyful clapping of hands,
for He has appeared to the faithful,
whom Mary bore.
All is fulfilled that Gabriel foretold.
Joy, joy! The Virgin has borne God
because the divine mercy so willed it.
Today a King has appeared in Israel,
born of the Virgin Mary.
Great is the name of the Lord Emanuel
as it was foretold by Gabriel.
Joy, joy! The Virgin has borne God
because the divine mercy so willed.
The fourteenth-century German carol In duld iubilo is believed to be the oldest of all "maca?ronic" (mixed-language) hymns -its text flips frequently from Latin to German. (We know the tune in English as Good Christian Men, Rejoice!) The carol is heard here in four versions. The first setting is the traditional version found in German hymnals. The second is by the famous German Renaissance composer, Michael Praetorius (1571-1621). The third setting is by an unrelated contemporary of his, Hieronymus Praetorius (1560-1629), who provides a rich, eight-part harmonization that almost submerges the familiar tune. The final, chorale-like setting is byJ.S. Bach (1685-1750), and is probably part of a lost cantata.
In dii(iiubilo
In dulci iubilo,
nun singet und seid froh!
Unsers Herzen Wonne leit
in praesepio,
und leuchtet als die Sonne
matris in gremio.
Alpha es el O.
OJesu parvule,
nach dir ist mir so weh.
Trost mir mein Gemute,
o Piter optime,
durch alle deine Gute,
o Princeps Gloriae,
Irahe me post te
O Patris caritas!
O Nati lenitas!
Wir warn all' verloren
per nostra crimina,
so hat er uns erworben
coelorum gaudier,
eia, warn wir da!
Ubi sunt gaudia
Nirgends mehr denn da,
da die Engel singen
nova cantica,
und die Schellen klingen
in Regis curia.
Eia, warn wir da!
Translation by Andrew Morgan
With sweet jubilation,
now sing and be joyful!
Our heart's delight lies
in a manger,
and shines like the sun
in His mother's lap.
He is our Alpha and Omega.
0 infant Jesus,
1 yearn for You always!
Give comfort to me my heart,
O best of boys;
through all of your goodness,
O Prince of Glory,
draw me after you!
O love of the Father! O mercy of the Son! We remain as the lost through our sins; But He has for us gained the joys of Heaven; Oh! there we remain!
Where are joys
Nowhere more than there,
where the angels sing
new songs,
and the bells ring
in the courts of the King.
Oh! there we remain!
Born in London in 1944, John Tavener showed his musical talents at an early age, becoming a remarkably proficient organist and pianist by the time he entered Highgate School. During his studies there, he devoted an increasing amount of time to composition, and proceeded to the Royal Academy of Music where he won many major prizes and awards. In 1965, Tavener's dramatic cantata, The Whale, took the London audience by storm at its premiere, given at the debut concert of the London Sinfonietta. Since that time, he has been commissioned by most of the major organizations in England and, more recently, the US. Choral music makes up the largest part of Tavener's works, ranging from simple carols to large-scale works with orchestral accompaniment.
Tavener joined the Russian Orthodox Church in 1977, and its spirituality, liturgy and music have had an impact on many of his compositions. Tavener notes, "Village Wedding is a series of musical and verbal images, describing a village wedding in Greece. My insertion of Isaiah's Dance (the moment in the Orthodox Marriage Ceremony when the couple is three times led solemnly around the Holy Table by die Celebrant), and the whole tone of Sikelianos' poetry, however, show that everything in the natural and visible world, when right?ly perceived, is an expression of a supernatural and invisible order of reality. The somewhat sober character of the music also hints at the late poems of Sikelianos, where myth becomes the agency for uniting his subjective and narrative voices into a sublime tragic vision." Village WeddingvuLS written in 1992 for the Vale of Glamorgan Festival, where it received its world premiere by the Hilliard Ensemble.
Village Wedding
To my beloved, who breaks my heart.
0 Isaiah, dance for joy, for the Virgin is with child. Do you listen within your veil, Silent, God-quickened heart
0 Isaiah, dance for joy. . . (O depth and stillness of Virginity!) Follow your man.
O Isaiah, dance for joy. . . Let them throw white rice Like a spring shower.
O Isaiah, dance for joy. . . Like a spring cloud let her now tenderly spread her bridal veil.
O Isaiah, dance for joy. . . O the peace of the bridal dawn.
O Isaiah, dance for joy. . . And he listens.
O Isaiah, dance for joy. . . And as in front of a fount of crystal water Let the girls pass in front of the bride, Observing her look from the corner of
their eyes As though balancing pitchers on their heads.
O Isaiah, dance for joy. . .
Oh, like Leto giving birth to Apollo
(Do you listen within your veil)
O Isaiah, dance for joy. . . When, standing, her hands slight and pale.. (Let them throw white rice)
O Isaiah, dance for joy. . . She clasped the ethereal palm tree on Delos.. (Like a spring cloud)
O Isaiah, dance for joy. . . May you her mystical image. . . (O the peace of the bridal dawn)
0 Isaiah, dance for joy. . . held by your husband's strong heart, (And he listens.)
O Isaiah, dance for joy. . . Bring into the world With a single cry your child
as the Poet brings forth his creation.
O Isaiah, dance for joy. . .
Text by Angelas Sikelianos
Sd aqui turo zente pleta is a rousing guineo, so-called because of its roots in the language and rhythms of the people of Guinea.
SA aqui turo zente pleta
(Portugal, Seventeenth century)
Sa aqui turo zente pleta,
turo zente de Guine,
Tambor flauta y cassaeta
y carcave na sua pe.
Vamos o fazer huns fessa
o menino Manue.
He he he.
Canta Baciao, canta tu Thome!
canta Flansiquia; canta Caterija,
canta tu Flunando, canta tu Resnando.
Oya, oya; turo Neglo hare canta,
ha can tamo y bayamo,
que fosso ficamo,
ha tanhemo y cantamo,
ha frugamo y tanhemo,
ha tocamo panciero,
ha tocamo pandero,
ha flauta y carcave.
Ha dizemo que biba
biba mia siola y biba Zuze.
Anda tu Flancico.
Bori mo esse pe
biba ese menino que mia Deuza
Biba Manue.
Nacemo de huns may donzera
huns Rey que mia Deuza he,
que ha de forra zente pleta,
que cativo he
dar sua vida por ella
que su Amigo ate more
All the black folk are here,
all the Guinea folk,
with drum, flute,
and leg rattles.
We're ready
for Festival Emmanuel.
Sing, Baciao; you sing, Thomas;
sing, Francis; sing, Catherine;
you sing, Fernando; you sing, Resnando.
Listen; all we blacks will sing,
sing and dance,
that we may enjoy ourselves
play and sing,
enjoy ourselves and play,
play the hand drum,
play the cymbal,
flute and rattle.
We say,
"Long live Our Lady and Joseph.
Go on, shake your foot, Francis.
Hail the Child
who is God.
Hail Emmanuel!"
Born of a maiden
is the King who is my God
and for the black folk
that are captive
and for all His friends
He will give His life.
Alfonso X de Castille ('The Learned") was, by all accounts, a remarkable figure. He was a brilliant intellectual, with a great capacity for sustained study. Aside from numerous advances in literature and science, Alfonso also served as an innovative and just administrator for his kingdom. Most notable was his work in the areas of societal, educational and judiciary reform, including the encouragement of employing the vernacular in learning and art. He was even accused of sacrificing his family and political position in the advancement of his liberal reforms.
Rosa das rosas is taken from La Musica de las Cantigas de Santa Mar'a del Rey Alfonso El Sabio, a collection of 400 songs from the thirteenth century, mainly in virilai (refrainverse refrain) form, compiled and written by Alfonso. Rosa das rosas, like every tenth song in the collection, is a loor, or praise song, in which Alfonso personally contemplates the Virgin as an object of adoration. The language is Gallo-Portuguese, a dialect familiar to Alfonso, and used as a literary language in the same way thirteenth-century Italian poets used the Provencal of the Troubadours.
Rosa das rosas
Rosa das rosas, et Fror das frores, Dona das donas, Sennor das sennores
Rosa de beldad e de parecer, et Fror d'alegria et de prazer; Dona en mui pladosa seer, Sennor en toller coitas et doores.
Rosa das rosas...
Esta Dona que tenno por Sennor et de que quero seer trobador, se eu per ren poss' auer seu amor, dou ao demo os outros amores.
Rosa das rosas...
Rose of all roses, and Flower of all flowers, Lady of all ladies, Liege of all lords.
Rose of beauty and truth
and flower of joy and of youth;
Lady enthroned in great holiness,
liege Lord, who bears our sorrows and sins.
Rose of all roses...
This is the Lady I hold as Liege, And of whom I long to be the troubadour, So that, in this, I may have Her love, Giving myself over all other loves.
Rose of roses...
The Spanish word villandco, which now means "Christmas carol," in earlier times referred to polyphonic love songs consisting of several stanzas and a refrain, derived from dance lyrics, with a distinctly rustic and folk-like flavor. By the middle of the sixteenth century, the term became associated with popular devotional compositions (in Spanish rather than in Latin) introduced into the liturgy on feast days, especially Christmas and Corpus Christi.
Riu, riu, chiu can be found in the Villancicos de diversos autores of 1556. While all of the pieces in this volume are listed anonymously, this one is often attributed to Mateo Fletcha the elder (1481-1553), who was a composer in the Valencian court, and famous for his jokey, quodlibet-like Christmas ensaladas. Riu, riu, chiu, one of the most well-known villancicos, dis?plays a fiercely energetic dance quality, with its appealing solo melody answered by the com?plex choral entrances of the refrain. The opening words, meant to resemble a nightingale's song, introduce a colorfully metaphorical text.
Riu, riu, chiu, la guarda ribera:
Dios guardo el lobo de nuestra cordera.
El lobo rabioso la quiso morder, mas Dios poderoso la supo defender; quiso la hazer que no pudiesse pecar, ni aun original esta Virgen nos tu viera.
Este qu'es nascido es el gran monarca, Christo patriarca de carne vestido; hanos redimido con se hazer chiquito, aunqu'era infinito finito se hiziera.
Muchas profecias lo han profetizado
y aun en nuestros dias lo hemos alcancado.
A Dios humanado vemos en el suelo
y al hombre nel cielo porqu'el le quisiera.
Riu, riu, chiu, he who herds by the river: God kept the black wolf from our ewe, our Lady.
The mad wolf attempted to bite Her,
but God the almighty protected Her;
pure He wished to keep Her so She would never sin
a Virgin unstained by our father's fault.
The newly born Child is our mighty Monarch, Christ patriarchal in flesh incarnate. Through His humble birth He has redeemed us; He who was infinite has become finite.
Many ancient prophets foretold His coming; In our own time it has come to pass. We see God in human form on earth and we see man in heaven because God loved him.
Franz Biebl was born on September 1, 1906 in Oberpfalz, Germany. He studied music at the Humanistic Gymnasium in Amberg, and received Master of Music degrees in composition and choral conducting at the State Music Academy in Munich. He taught music theory and choral conducting at the Mozarteum in Salzburg until he was drafted in 1943. After the war, Biebl worked as the choral-music consultant to the Bavarian State radio station. There, he became a radio pioneer, working relentlessly to fill the station's archives with popular choral music, and listening to and encouraging small choral groups all over Germany. As a compos?er, Biebl has worked to expand the German folk-song repertoire, composing hundreds of arrangements for all types of choral groups.
Biebl's setting of Ave Maria exploits the richly sonorous possibilities of double-chorus writing for men's voices. The familiar Ave Maria antiphon is sung by a four-part choir answered by a three-part group of soloists. This forms a refrain which separates the plain-chant-style verses, resulting in a satisfying blend of medieval melodic sound and warm, multi-voiced choral harmonies. This piece, as well as two other versions for mixed chorus, has been published in the Chanticleer Choral Series by Hinshaw Music of Chapel Hill, NC.
Ave Maria
Angelus Domini nuntiavit Mariae et concepit de Spiritu sancto.
Ave Maria, gratia plena, Dominus tecum;
benedicta tu in mulieribus,
et benedictus fructus ventris tui Jesus.
Maria dixit: Ecce ancilla Domini; fiat mihi secundum verbum tuum.
Ave Maria, gratia plena...
Et verbum caro factum est et habitavit in nobis.
Ave Maria, gratia plena...
Sancta Maria, mater Dei
ora pro nobis peccatoribus,
Sancta Maria, ora pro nobis,
nunc et in hora mortis nostrae, Amen.
The angel of the Lord made his annunciation
to Mary and She conceived by the Holy Spirit.
Hail, Mary, full of grace, the Lord is with Thee.
Blessed art Thou among women,
and blessed is the Fruit of Thy womb Jesus.
Mary said: Behold the handmaiden of the Lord. Let it be unto me according to Thy word.
Hail Mary, full of grace...
And the Word was made flesh and dwelt among us.
Hail Mary, full of grace...
Holy Mary, Mother of God,
pray for us sinners.
Holy Mary, pray for us,
now and at the hour of our death, Amen.
By the time of his death at the age of ninety, Herbert Howells (1892-1983) was revered as one of this century's most distinguished English choral composers, representing the tradition of such wise men as Walton, Elgar and Vaughan Williams. His church music combines many of their influences, and displays a keen sense of the choral textures appropriate for resonant cathedral acoustics. Sing Lullaby is one of three "carol anthems" dating from the period 1918-1920. The poem, by F.W. Harvey, is set in a free-flowing, almost meterless movement that evokes the character of plainchant.
Sing Lullaby
Sing lullaby, While snow doth gently fall,
Sing lullay, To Jesus born in an oxen stall,
Sing lullaby, To Jesus born now in Bethlehem,
The Naked black-thorn's growing to weave his diadem.
Sing lullaby, While thickly snow doth fall,
Sing lullaby, To Jesus, the Savior of all.
Quelle est cette odeur agreable, Bergers, qui ravit tous nos sens S'exhale-t-il rien de semblable Au milieu des fleurs du printemps
Mais quelle eclatante lumiere Dans la nuit vient frapper les yeux! L'astre du jour, dans sa carriere, Fut-il jamais si radieux
A Bethleem, dans une creche, II vient de vous naitre un Sauveur; Allons, que rien ne vous empeche D'adorer votre Redempteur.
Dieu tout-puissant, gloire eternelle Vous soit rendue jusqu'aux cieux; Que la paix soit universelle, Que la grace abonde en tous lieux.
Translation by Andrew Morgan
What is this pleasant fragrance, Shepherds, that robs all of our senses That resembles no other fragrance found in fields of Spring flowers
But what brilliant light
comes to strike our eyes in the night
The day-star, in its course,
never is so bright!
In Bethlehem, in a manger,
a Savior is born unto you.
Let us go! let nothing impede you
from worshipping your Redeemer.
God all-powerful, eternal glory You are given, even to the Heavens; that peace may become universal, that grace may abound everywhere.
Gaudete! gaudete! Christus est natus Ex Maria Virgine: gaudete!
Tempus adest gratiae, Hoc quod optabamus; Carmina laetitiae Devote reddamus.
Deus homo factus est, Natura mirante; Mundus renovatus est A Christo regnante.
Ezechielis porta Clausa pertransitur; Unde Lux est orta, Salus invenitur.
Ergo nostra concio Psallat iam in lustro; Benedicat Domino; Salus Regi nostro.
Program notes by Frank Albinder, Kip Cranna and Andrew Morgan
Rejoice! rejoice! Christ is born of the Virgin Mary: rejoice!
The time of grace has come for which we have prayed; let us devoutly sing songs of joy.
God is made man, while nature wonders; the world is renewed by Christ the King.
The closed gate of Ezekiel
has been passed through;
from where the Light has risen [the East],
salvation is found.
Therefore let our assembly
sing praises now at this time of purification;
let it bless the Lord;
greetings to our King.
hanticleer, the only full-time classical vocal ensemble in the US, has developed a remarkable reputation over its eigh?teen-year history for its interpretation of vocal literature, from Renaissance to jazz, and from gospel to venturesome new music. With its seamless blend of male voices rang?ing from countertenor to bass, Chanticleer has earned international renown as "an orchestra of voices."
Chanticleer, which takes its name from the "clear-singing" rooster in Geoffrey Chaucer's Cantebury Tales, was founded in 1978 by tenor and current Artistic Director Louis Botto and made its debut in San
Francisco's Mission Dolores. Joseph Jennings, the group's Music Director, joined Chanticleer in 1983 and sang with the ensemble until 1995.
Since 1994, the ensemble has been recording exclusively for Teldec Classics International, making the ensemble's recordings available to a worldwide audi?ence. Chanticleer performs over 100 con?certs a year across the US as well as in Europe and Asia, appearing regularly in New York, Boston, Los Angeles, Toronto, Washington, DC, Dallas, Seattle, and Vancouver, as well as in San Francisco where the group is based.
The summer of 1996 marked Chanticleer's debut with the New York Philharmonic in a series of city-wide parks
concerts, singing music from the group's most recent recording, Lost in the Stars. The summer also included debuts at the music festivals of Tanglewood and Grant Park, the Minnesota Orchestra' Sommerfest, and a return visit to the prestigious Schleswig-Holstein Music Festival in Germany.
This season will take Chanticleer to twenty states, and to Australia and Sweden for the first time. The group will also make return visits to Japan, Germany, Singapore and Tiawan. Chanticleer will once again col?laborate with the St. Paul Chamber Orchestra, this time performing the music of Antonio Vivaldi under the direction of Christopher Hogwood, and will return to New York's Metropolitan Museum for its annual series of Christmas concerts. The ensemble will also present a concert of Mexican Baroque music with the Janus Ensemble at New York's 92nd Street Y.
Chanticleer's artistic accomplishments have earned the ensemble numerous awards, as well as major foundation support and governmental grants. Chanticleer is the recipient of major grants from the California Arts Council, the E. Nakamichi Foundation, the William and Flora Hewlett Foundation and the City of San Francisco. For the past several years, the National Endowment for the Arts has awarded its largest choral grants to the ensemble. With the help of foundation and corporate sup?port, the group brings the gift of singing to young people by conducting artist-in-the-schools residencies both on tour and in the San Francisco Bay Area. Chanticleer's activi?ties are supported by its Board of Trustees and an administrative staff of eight.
Chanticleer made their debut performance under UMS auspices in October 1989 and returned in November 1992. Tonight marks their third UMS appearance.
Chanticleer recordings are available on the Teldec Classics and Chanticleer Records labels.
Chanticleer appears by arrangement with Herbert Barrett Management of New York, NY.
The Chanticleer Choral Series is published by Hinshaw Music, Inc. of Chapel Hill, North Carolina.
chantecleer 650 5th Street, Suite 311 San Francisco, CA 94107 415-896-5866 e-mail:
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 Bohetne, 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 are always welcome and needed to assist the UMS staff with many projects and events during the ftoncert season. Projects include helping with mailings; ushering for the Performance Related Educational Presentations (PREPs); staffing the Information Table in the lobbies of concert halls; distributing publicity materials; assisting svith the Youth Program by compiling educa?tional materials for teachers, greeting and escorting students to seats at performances; knd serving as good-will representatives for ?JMS as a whole.
If you would like to become part of the ?Jniversity Musical Society volunteer corps, fclease call 313.936.6837 or pick up a volunteer application form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, .promotion, production and arts education. Bemesterand year-long internships are avail?able in many aspects of the University Musical Society's operations. For more information, llease 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
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 Boheme Dinner Party (March 1); Easter Luncheon with Cecilia Bartoli (March 30); Dinner with a Victorian Influence (April 12); Grandmothers, Mothers & Little Girls Tea and Fashion Show (April 19); An Afternoon Tea (May'15); A Taste of Spring Garden Dinner (May 31); and Nat & Ed's Porch Party (June 7).
For the most delicious experience of your life, call 313.936.6837!
This season, the University Musical Society Board of Directors and Advisor; Committee are pleased to host pre-per-formance dinners before a number of the year's great events. Arrive early, park with ease, and begin your evening with other Musical Society friends over a relaxed buffet-style dinner in the University of Michigan Alumni Center. The buffet will be open from 6:00 to 7:30 p.m. and is $25 per person. For reservations and information on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Saturday, October 12 The Cleveland Orchestra
Tuesday, October 29
State Symphony Orchestra of Russia
Friday, November 8 Les Arts Florissants
Friday, December 13
"So Many Stars," Kathleen Battle and Friends
Wednesday, January 8
Schubertiade I (Andre Watts and the Chamber
Music Society of Lincoln Center)
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
National Company
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and series subscribers receive discounts at a vari?ety of local businesses by using the UMS Card. Participating businesses support the UMS through advertising or sponsorship, and by patronizing the following establishments, you can support the businesses that support UMS. (Listing accurate through September 8.)
Ann Arbor Acura Cafe Marie Chelsea Flowers Dobbs Opticians Gandy Dancer
Perfectly Seasoned Shaman Drum Bookstore SKR Classical Sweetwaters Cafe Whole Foods Market
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
Sponsorships and Advertising
orporations 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.
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro?vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a facility that meets your group's culinary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
Advisory Committee
of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and the behind-the-scenes tasks asso?ciated with every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
Ford Honors Program
The Ford Honors Program is a relatively new University Musical Society pro?gram, made possible by a generous grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform individuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the Second UMS Distinguished Artist Award will be announced in January.
Thank You!
Great performances--the best in music, theater and dance--are presented by 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 then has been an error or omission, we apologize and would appreciate a call at (313) 647-1175 to correct this at your earliest convenience.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support enabling us to continue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Mr. and Mrs. Pal E. Borondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Graham H. Conger (deceased)
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Judith Heekin (deceased)
Marilyn Jeffs
William R. Kinney (deceased)
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Marie Schlesinger (deceased)
Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin Elizabeth E. Kennedy Randall and Mary Pittman John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ron and Eileen Weiser
Conlin Travel
Detroit Edison
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPEincThe Paideia Foundation
Mainstreet Ventures, Inc.
Masco Corporation
McKinley Associates, Inc.
NBD Ann Arbor
Regency Travel
TriMas Corporation
Wolverine Temporaries, Inc.
Arts Midwest
The Grayling Fund
Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts
Robert and Ann Meredith
Mrs. John F.Ullrich
Paul and Elizabeth Yhouse
Harman Motive Audio Systems NSK Corporation
Herb and Carol Amster Carl and Isabelle Brauer Dr. James Byrne Mr. Ralph Conger Margaret and Douglas Crary Ronnie and Sheila Cresswell
Mr. and Mrs. Howard S. Holmes Sun-Chien and Betty Hsiao F. Bruce Kulp Mr. David G. Loescl Charlotte McGcoch Mr. and Mrs. George R. Mrkonic Joe and Karen Koykka O'Neal Mrs. M. Titiev
Marina and Robert Whitman and several anonymous donors
The Anderson Associates Cafe Marie
Chelsea Milling Company Curtin and Alf Violinmakers Environmental Research Institute
of Michigan First of America Great Lakes Bancorp Thomas B. McMullen Company O'Neal Construction Pepper, Hamilton & Scheetz
Maurice and Linda Binkow
Dr. Kathleen G. 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
John Wagner
Miller, Canfield, Paddock
and Stone, PLC Mission Health
Benard 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 Bernreuter Joan A. Binkow 1 Ioward and Margaret Bond Tom and Carmel Borders Barbara Everitt and
John H. Bryant Mr. and Mrs.
Richard J. Burstein UtitiaJ. Byrd David and Pat Clyde Ii'on and Heidi Cohan Roland J. Cole and
Elsa Kircher Cole Dennis Dahlmann Robert and
Janice DiRomualdo Jack and Alice Dobson Jan and Gil Dorer Cheri and Dr. Stewart Epstein David and Jo-Anna Featherman Margaret Fisher Richard and Marie Flanagan Robben and Sally Fleming Michael and Sara Frank Mr. Edward P. Frohlich Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Paul and Anne Glendon Norm Gottlieb and
Vivian Sosna Gottlieb Dr. and Mrs. William A. Grade Ruth B. and
Edward M. Gramlich Linda and Richard Greene Seymour D. Greenstone Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Julian and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Kcki 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 Kusisio Mr. Henry M. Lee Carolyn and Paul Lichter Evie and Allen Lichter Patrick B. and Kathy Long Dean S. Louis Brigitte and Paul Maassen Ms. Francine Manilow Marilyn Mason and
William Steinhoff Judythe and Roger Maugh Joseph McCune and Georgiana Sanders Paul and Ruth McCracken Reiko McKendry Dr. H. Dean and
Dolores Millard Dr. and Mrs. Andrew
and Candicc Mitchell Virginia Palton 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 Maxinc and
Wilbur K. Pierpont Professor and Mrs.
Raymond Reilly Glenda Renwick Prudence and
Amnon Rosenthal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumelhart Richard and Norma Sarns Rosalie and David Schottenfeld Janet and Mike Shatusky CynthiaJ. Sorensen Gerard H. and
Colleen Spencer Dr. Hildrelh H. Spencer Mr. and Mrs.
John C. Stegeman Victor and Marlene Stoeffler Dr. and Mrs.
Jeoffrey K. Stross Dr. and Mrs.
E. Thurston Thieme Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
Laura A. Van House Ellen C. Wagner Martha Wallace and
Dennis White Elise and Jerry Weisbach Roy and JoAn Wetzel Len and Maggie Wolin Nancy and
Martin Zimmerman and several anonymous
3M Health Care Chi Systems, Inc. Comerica Bank Ford Audio Jacobson Stores Inc. Kitch, Drutchas, Wagner,
& Kenney, P.C. Pastabilities
Shar Products Company Wise and Marsac, P.C.
Chrysler Corporation Fund The Mosaic Foundation
(of Rita and Peter Heydon) Washtenaw Council
for the Arts
Jim and Barbara Adams Bernard and Raquel Agranoff Carlene and Peter Aliferis Catherine S. Arcure Robert L. Baird Emily Bandera Dr. and Mrs. Robert Bartlett Mrs. Martha K. Beard Ralph P. Beebe Mrs. Kathleen G. Benua Mr. and Mrs. Philip C. Berry Robert Hunt Berry Suzanne A. and
Frederick J. Beutler John Blankley and
Maureen Foley Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Britton David and Sharon Brooks Phoebe R. Burt Betty Byrne Jean W. Campbell Bruce and Jean Carlson Edwin F. Carlson and
Barbara Cooper Jean and Kenneth Casey Mrs. Raymond S. Chase Susan and Arnold Coran H. Richard Crane Alice B. Crawford Peter and Susan Darrow Judith and Kenneth DeWoskin Elizabeth A. Doman Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Ken, Penny and Matt Fischer Phyllis W. Foster Dr. William and Beatrice Fox DavidJ. Fugenschuh and
Karey Leach
Bcvcrlcy and Gerson Gcltncr Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Grace M. Girvan John R. and Helen K. Grimth 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 Hermine Roby Klingler Jim and Carolyn Knake John and Jan Kosta Mr. and Mrs. Samuel Krimm Suzanne and Lee E. Landes Elaine and David Lebenbom Leo A. Legatski Mr. and Mrs. Carl J. Lutkehaus Robert and Pearson Macek John and Cheryl MacKrcll Mark Mahlberg Alan and Carla Mandel Ken Marblestone and
Janisse Nagel
Mr. and Mrs. Damon L. Mark David G. McConnell John F. McCuen Kevin McDonagh and
Leslie Crofford Richard and
Elizabeth McLeary Thomas B. and
Deborah McMullen Hattie and Ted McOmber Mr. and Mrs.
Warren A. Merchant Myrna and Newell Miller Grant Moore and
Douglas Weaver John and Michelle Morris M. Haskell and
Jan Barney Newman Marysia Ostafin and
George Smillie Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and Lorna Prescott 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 Rcstuccia Jack and Margaret Ricketts James andjune Root Mrs. Doris E. Rowan
Benefactors, continued
Peter Savarino Peter Schaberg and
Norma Amrhein Mrs. Richard C. Schneider Professor Thomas J. and
Ann Sneed Schriber Juliannc and Michael Shea Mr. and Mrs.
Fredrick A. Shimp.Jr. Helen and George Siedel Steve and Cynny Spencer Lloyd and Ted St. Antoine Mrs. John D. Stoner Nicholas Sudia and
Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Herbert and Anne Upton Don and Carol Van Curler Bruce and Raven Wallace Angela and Lyndon Welch Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Ruth and Gilbert Whitaker Frank E. Wolk Walter P. and
Elizabeth B. Work, Jr.
Ann Arbor Stage Employees,
Local 395 Emergency Physicians
Medical Group, PC Guardian Industries
Corporation Masco GmbH Scientific Brake and
Equipment Company
The Power Foundation Foundation Ti 1M
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
Paulett and Peter Banks
M. A. Baranowskl
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barnetl
Dr. and Mrs. Mason Barr.Jr.
Astrid B. Beck and
David Noel Frecdman
Ncal Bedford and
Ccrlinda Mclchiori Harry and Belty Benford Ruth Ann and StuartJ. Bergstein Ron and Mimi Bogdasarian Jim I'.iusinul 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 Jeannelte 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 Marjoric A. Cramer Merle and Mary Ann Crawford William H. Damon III I mm:; R. Davidspn, M.D. Jean and John Dcbbink Benning and Elizabeth Dexter Martin and Rosalie Edwards Dr. Alan S. Eiser Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Filgas Sidney and Jean Fine Herschel and Annette Fink Linda W. Fitzgerald Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnelte Forde llcnc H. Forsyth Deborah and Ronald Frcedman Harriet and Daniel Fusfeld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Henry and Beverly Gershowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon ' Elizabeth Needham Graham Jerry and Mary K. Gray Dr. John and Renee M. Greden Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Margaret and Kenneth Guire Philip E. Guire Don P. Haefner and
CyndiiaJ. Stewart Veronica Haines Margo 11.listed Dagny and Donald Harris Susan R. Harris
Mr. and Mrs. Ramon Hernandez Fred and Joyce Hcrshenson Herb and Dec Hildebrandt 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 Wallie and Janet Jeffries Ellen C.Johnson Susan and Stevo Julius Mary B. and Douglas Kahn Anna M. Kauper Beverly Kleibcr 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. Era L. Mueller Barry Nemon and
Barbara Stark-Nemon MartinNeuIiep 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. Saycd David and Marcia Schmidt
Dr. and Mrs.
Charles R. Schmitter, Jr. Edward and Jane Schuhik John Schultz An and Mary Schuman Joseph and Patricia Scttimi 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 Sutton Brian and Lee Talbot Kathleen Treciak uy ? . I ] ti.t .mil
David J. Kinsella Hugo and Karla Vandersypcn Mr. and Mrs. John van der Veldc Warren Herb Wagner and
Florence S. Wagner Gregory and Annette Walker Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Karl and Karen Weick Dr. Steven W. Werns Marcy and Scott Wcsterman B.Joseph and Mary While Mrs. Clara G. Whiting Brymcr and Ruth Williams Marion T. Wirick Harris 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 Aii.isi.isn is Alexiou Augustine and Kathleen Amaru Hugh and Margaret Anderson James Antosiak and Eda Weddington Jill ;md Thomas Archambeau, M.D. Bert and Pat Armstrong Gaard and Ellen Arneson Mr. and Mrs. Arthur J. Ashe Eric M. and Nancy Aupperlc
Erik and Linda Lee Austin
Michael Avsharian
Eugene and Charlene Axel rod
Shirley and Don Axon
Virginia andjerald Bachman
Richard and Julia Bailey
Barbara and Daniel Balbach
Roxanne Balousek
John R. Bareham
Mr. and Mrs. Robert M. Barnes
Karen and Karl Bartscht
Mr. John Batdorf
Mr. and Mrs. Steven R. Bcckcrt
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 Blaszluewicz
Dr. George and Joyce Blum
Beverly J. Bole
Robert S. Bolton
Mr. and Mrs. Mark D. Bomia
Harold W. and
Rebecca S. Bonnell Roger and Polly Bookwalter Edward G. and Luciana Borbely Sally and Bill Bowers Paul and Anna Bradley William F. and
Joyce E. Braeuninger Mr. William R. Brashear Representative Liz and
Professor Enoch Brater Mr. and Mrs. James Breckenfeld
Ms. Mary Jo Brough June and Donald K Brown Linda Brown and Joel Goldberg Arthur and Alice Burks Ellen M. Byerlein and
Robert A. Sloan Sherry A. Byrnes Dr. Patricia M. Cackowski Louis and Janet Callaway Edward and Mary Cady Charles and Martha Cannell George R. Carignan Dr. and Mrs. James E. Carpenter Jan Carpman
Marchall 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 ChudacofT Robert J. Cierzniewski Pat Clapper
Brian and Cheryl Clarkson John and Kay Clifford Charles and Lynne Clippert Roger and Mary Coc Dorothy Burke Coffey Mr. Larry Cohen Gerald S. Cole and
Vivian Smargon Howard and Vivian Cole Ed and Cathy Colone Lolagene C. Coombs Gage R. Cooper
Advocates, continued
Mary K. Cordes Bill and Maddic Cox Kathleen j. Crispell and
Thomas S. Porter Mr. Lawrence Crochier April Cronin
Pedro and Carol Cuatrecasas Jeffrey S. Cutter Mr. and Mrs. John R. Dale Marylee Dalton DarLinda and Robert Dascola Dr. and Mrs. Charles Davenport Ed and Ellic Davidson Mr. and Mrs. Bruce P. Davis James H. Davis and
Elizabeth Waggoner Dr. and Mrs. Raymond F. Decker Laurence and Penny Deitch Peter H. deLoof and
Sara A. Bassett Martha and Ron DiCecco Nancy DiMercurio Molly and Bill Dobson Fr. Timothy J. Dombrowski Dick and Jane Dorr Professor and Mrs.
William G. Dow Mr. Thomas Downs Roland and Diane Drayson Harry M. and Norrene M. Drefis Cecilia and Allan Dreyfuss Rhetaugh G. Dumas Dr. and Mrs. Cameron B. Duncan
Robert and Connie Duntap
Richard and Myrna Edgar
Mr. and Mrs. John R. Edman
Judge and Mrs. SJ. Elden
Ethel and Sheldon Ellis
Patricia Randle and James Eng
Emil and Joan Engel
David and Lynn Engelbert
Mr. and Mrs. Frederick A. Erb
Mark and Karen Falahee
Elly and Harvey Falit
Dr. and Mrs. Cyrus Farrehi
Cynthia Feller
Phil and Phyllis Fellin
Mrs. Beth B. Fischer
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
James and Barbara Fitzgerald
Jonathan Fliegel
Ernest and Margot Fontheim
Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Richard 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
Karen Bantel
Wood and Rosemary Geist Thomas and Barbara Gelehrter Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Paul and Suzanne Gikas James and Janet Gilsdorf Fred and Joyce M. Ginsberg Maureen and David Ginsburg Albert and Almeda Girod Robert and Barbara Gockel Dr. and Mrs. Edward Goldberg Mary L. Golden Elizabeth Goodenough and
James G. Leaf Graham Gooding Don Gordus Seima and Albert Gorlin Siri Gottlieb Mrs. William Grabb Christopher and Elaine Graham Alan Green
Bill and Ixjuise 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 Henkcl 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 JoAnn J. Jeromin Paul and Olga Johnson Stephen G.Josephson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmes and
Larry Friedman Paul Kamor and Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao
Noboru Kashino
Elizabeth Harwood Kalz
Martin and Helen Kalz
Mr. and Mrs. N. Kazan
Konstantyn Kim
William and Betsy Kincaid
Brett and I.ynnette King
John and Carolyn Kirkendall
Rhea and Leslie Kish
Shira and Steve Klein
Gerald and Eileen Klos
Barbel Knauper
Joseph J. and Marilynn Kokoszka
Melvyn and Linda Korobkin
Dimitri and Suzanne Kosacheff
Edward and Marguerite Kowaleski
Jean and Dick Kraft
Marjorie A. Kramer
Doris and Donald Kraushaar
Alexander Krezel
AJan and Jean Krisch
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs. J. Daniel Kutt
Mr. and Mrs. Seymour Lampert
Connie and Dick Landgraff
Patricia M. Lang
Carl and Ann LaRue
Laurie and Robert LaZebnik
Robert and Leslie Lazzerin
Fred and Ethel Lee
Sue Leong
Margaret E. Leslie
Richard LeSueur
Tom and Kalhy Lewand
Thomas and Judy Lewis
Mark Lindley
Vi-Cheng and Hsi-Yen Liu
Dr. and Mrs. Peter Y. Lo
Kay H. Logan
Naomi E. Lohr
Dan and Kay Long
Donna and Paul Lowry
Janny Lu
LaMuriel Lyman
Susan E. Macias
Jeffrey and Jane Mackie-Mason
Marcy and Kcrri MacMahan
Sally Maggio
Suzanne and Jay Mahler
Dr. Karl D. Malcolm
Claire and Richard Malvin
Mr. and Mrs. Kazuhiko Manabc
Melvin and Jean Manis
John D. Marx, D.D.S.
Dr. and Mrs.Josip Matovinovic
Tamotsu Matsumoto
Mary and Chandler Matthews
Margaret E. McCarthy
Ernest and Adele McCarus
Dores M. McCree
Mary and Bruce McCuaig
Bill and Ginny McKeachie
Dr. and Mrs. Theodore Meadows
Robert and Doris Mclling
Mr. and Mrs. John Merrificld
Robert and Betlie Metcalf
Elizabeth B. Michael
lx'o and Sally Micdler
Andy and Nancy Miller
Thomas and Doris Miree
Olga Moir
Mr. and Mrs. William G. Moller.Jr.
Rosalie E. Moore
Marvin and Karen Moran
Robert and Sophie Mordis
Jane and Kenneth Moriarty
Paul and Terry Morris
Melinda and Bob Morris Dick and Judy Morrissctt Brian and Jacqueline Morton Hideko and Tatsuyoshi Nakamura Dr. andMrs.J.V. Neel Frederick G. Neidhardt and
Germaine Chipault Shinobu Niga Pamcia O'Connor Michael J. O'Donnell and
Jan L. Garfinkie Kathleen I. Operhall Dr. Jon Oscherwilz Julie and Dave Owens Dr. and Mrs. Sujil K. Pandit Donna D. Park Evans and Charlene Parrott Eszther T. Pattantyus Shirley and Ara Paul Robert and Arlene Paup Ruth and Joe Payne Dr. Owen Z. and
Barbara Perlman Joyce H. Phillips Robert and Mary Ann Pierce Dr. and Mrs. James Pikulski Sheila A. Pitcoff Donald and Evonne Planiinga Mr. and Mrs. John R. Politzer Philip and Kathleen Power Bill and Diana Pratt David and Stephanie Pyne Leland and
Elizabeth Quackenbush William and Diane Rado Michael and Helen Radock Mr. and Mrs.
Douglas J. Rasmusscn Katherine R. Reebel Mr. and Mrs. Stanislav Rehak Charles and Betty Reinhart Molly Resnik and John Martin Constance Rinehart Lisa Rives and Jason Collcns 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 Schmidt Albert and Susan Schultz R. Ryan Lavclle, 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. Slaler
Mr. and Mrs. Robert W. Smiih
Virginia B. Smith
Richard Soblc and
Barbara Kessler Juanita 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 Steck Thorn and Ann Sterling Harold Stevenson Robert and Shelly Stoler Wolfgang F. Stolper Mrs. William H. Stubbins Drs. Eugene Su and Christin Carte r-Su Kciko 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 Mei Mei Uy Madeleine B. Vallier Carl and Sue Van Appledorn Michael L. Van Tassel Phyllis Vegler
Mr. and Mrs. Theodore R. Vogt John and Maureen Voorhees Delia DiPielro 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. Whin-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. Wool! Mr. and Mrs. RA.. Yagle Ryuzo Yamamoto Frank O. Youkstetler 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 anonvmmis donois
Advocates, continued
American Metal Products
Brass Craft
Coffee Express Co.
Garris, Garris, Garris 8c Garris
Law Office
Marvel Office Furniture New View Corporation Sahadi Interiors, Inc. St. Joseph Mercy Hospital Medical Staff Stritch School of Medicine Class
of 1996 University Microfilms
Mr. 1 s.nn.i Abdah and
Ms. Kisook Park Judith Abrams Fran Cowen Adler Mary and Bill Ager Robert Ainswordi Harold and Phyllis Alien 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. Annul Hiroshi and Matsumi Arai Mary C. Arbour Eduardo and Nancy Arciniegas Thomas J. and Mary E. Armstrong Rudolf and Mary Arnheim Mr. and Mrs. Jim Asztalos Jack and Rosemary Austgen Vladimir and Irina Babin Drs. John and Lillian Back Rohit Badola
Mr. and Mrs. Joseph C. Bagnasco Marian Bailey Bill andjoann Baker Laurence R. Baker and
Barbara K. Baker Mr. and Mrs. Richard P. Baks Drs. Helena and Richard Balon Ann Bardcn
Mr. and Mrs. David Barera Daid amd Laurel Barnes Joan W. Barth Karla K. Bardiolomy Rajecv Batra Dorothy Bauer
Thomas and Sherri L. Baughman Harold F. Baut Evelyn R. Beals Dr. Rosemary R. Berardi James K. and Lynda W. Berg Barbara Levin Bergman Ralph and Mary Bcuhler Bharat K Bhatt Rosalyn Bicderman Eric and Doris Billes Drs. Ronald C. and
Nancy V. Bishop Donald and Roberta Blitz Dr. and Mrs. Duane Block Jane M. Bloom Henry Blosscr
Mr and Mrs. Francis X. Blouin Karin L. Bodycombc
Kenneth E. Bol
LolaJ. Borchardi
Paul D. I'...1 mi.m
Reva and Morris Bornstein
John D. and M. Leora Bowden
Dennis and Grace Bowman
Melvin W. and Ethel F. Brandt
Patricia A. Bridges
Cy and Luan Briefer
John and Amanda Brodkin
AmyJ. and Clifford L. Broman
Dr. and Mrs. Ernest G. Brookfield
Razclle and George Brooks
Cindy Browne
Teresa Bruggeman
Trudy and Jonathan Bulkley
Marilyn Burhop
Dennis Burke
Sibyl Burling
Betty M. Bust
Father Roland Calvcrt
Gail Cam panel la
Jenny Campbell
Dr. Ruth Canticny
Susan Y. Cares
Lynne C. Carpenter
Carolyn M. Carty and
Thomas H. Haug Jack Cederquist David J. and Ilene S. Chait Bill and Susan Chandler Catherine Christen Ching-wci 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. Courant and
Marta 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 DcGalan Margaret H. Dcmant Richard and Sue Dempsey Michael T. DePlonty Larry and Kerry Dickinson Richard and Mary Dingeldey Douglas and Ruth Doane Hilde and Ray Donaldson Ruth P. Dorr
Eugene and Elizabeth Douvan Carole F. Dubritsky Dr. and Mrs. Charles H. Duncan Elsie Dyke John Ebcnhoch Ingrid Eidnes
Martin B. and Vibeke G. Einhorn Mr. and Mrs. Charles Eiscndradi Charles and Julie Ellis James Ellis and Jean Lawton Mr. and Mrs. H. Michael Endres Karen Epstein and
Dr. Alfred Franzblau Jane L. Espcr Thomas L. Burean Deborah Ellington
Thomas and Julia Falk Paul and Mary Fanchcr Janice and Peter Farrehi Philip C. Fedewa Dorothy Gittleman Fcldman George J. and Bcnita Fcldman C. William and H.Jane Ferguson Dennis J. Fernly Jon and Kayne Fcrricr Clay Finkbciner Linda J. Firnhaber Mrs. Carl H. Fischer Dr. Lydia Fischer Eileen Fisher Susan R. Fisher and John W. Waidley Linda and Tom Fitzgerald David and Susan Fitzpatrick Jessica Fogel and Lawrence Weincr Scott and Janet Foglcr Daniel R. Foley
George E. and Kathryn 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. Freiiag CyndiiaJ. Frcy Philip and Renee Frost Bruce and Rebecca Gaffncy Mr. and Mrs. Robert R. Gamble C.J.Gardiner Sharon Gardner Mrs. Don Gargaro Ina Hanel-Gcrdcnich Deboraha and Henry Gerst Beverly Jeanne Gilirow Dr. and Mrs. J. Globerson Edward and Kathe Godsalve Mr. and Mrs. Robert Gold Dr. and Mrs. Howard S. Goldberg Edie Goldenberg Anita and Al Goldstein Mr. and Mrs. David N. Goldswcig C. Ellen Comer Dr. and Mrs. Luis Gonzalez M. Sarah Gonzalez Enid M. Gosling Bill and Jean Gosling Pearl Graves Larry and Martha Gray Jeffrey B. Green
Dr. Robert and Eileen Greenberger G. Robinson and Ann Gregory Linda and Roger Grekin Melissa Gross
Cyril Grum and Cathy Strachan Mr. and Mrs. Lionel Guregian Joseph and Cloria Gurt Caroline and Roger Hackctt J.M. Hahn Patrick and Usa Hall Dr. and Mrs. Carl T. Hanks David and Patricia Hanna Glenn A. and Eunice A. Harder Marguerite B. Harms Tina Harmon Jane A. Harrell Connie Harris Laurclynnc Daniels and
George P. Harris Denis B. Hart, M.D. James R. Hartley John and Anita Hartmus Carol and Steve Harvath Jcannine and Gary Haydcn Mr. and Mrs. Edward J. Hayes Robert and Mara Hayes Charles Heard
Mr. and Mrs. Eugene Hcffclfinger Mr. and Mrs. W.J. Heider
Dr. John Hcidkc
Jeff and Karen Hclmick
Paula B. Hcncken
Leslie and William Hennessey
Dr. and Mrs. Michael Hepner
Mr. and Mrs. Ralph Herbert
Mr. and Mrs. Albert Hcrmalin
Jeanne B. Hernandez
William and Bernadctte Hcston
Emily F. Hicks
Mark and Debbie Hildebrandt
Lorna and Mark Hildebrandt
Peggy Himler
Aki Hirata
YnmLi Hirosc
Louise Hodgson
Deborah and Dale Hodson
Jane and Dick Hoerncr
Melanie and Curtis Hoff
Mclvin and Vcrna Holley
Hisato and Wikiko Honda
Kenneth and Carol Hovey
Sally Howe
Barbara Hudgins
Hubert and Helen Hucbl
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
Frank and Sharon Johnson
Mr. Robert D.Johnson
Wilma M.Johnson
Lyslc and Agncta Johnston
Helen Johnstone
Elizabeth M. Jones
Phillip S. Jones
Cole and Diane Jordan
Betty Hicks Jozwick
Sally and Harold Joy
Chris and Sandy Jung
Dr. and Mrs. Alan Kaplan
Edward M. K.irls
Franklin and Judith Kaslc
Deborah and Ralph Katz
Dennis and Linda Kayes
Julia and C. Philip Kearney
Wendy Scott Kceney
Carrie and Erich Kcil
Janice Keller
Mary, Michael, and
Charles Kcllcrman Mary L. Kemme Milton C. Kcndrick Bryan Kennedy Joan Kerr Lawrence Kestenbaum and
Janice Cutfreund Michael and Barbara Kilbourn Jeanne M. Kin Robert and Vicki Kiningham Klair H. Kissel Joseph W. Kltnglcr, Ph.D. Alexander Klos Dr. and Mrs. William L. Knapp Rosalie and Ron Kocnig Seymour Koenigsbcrg Jeremy M. Kopkas Alan and Sandra Kortcsoja Ann Marie Kotrc Mr. and Mrs. Jerome R. Koupal Rebecca and Adam Kozma Mr. and Mrs. A. Richard Krachcnbcrg Kathy Krambrink Gale and Virginia Kramer Shcryl E. Krasnow Robert Krasny Edward and Lois Kraynak Mr. James Krick John and )nstinc Krsul
.. ?.?) it ?? B. Kuczmarski Helen and Arnold Kuethe Kulpinski H. David Laidlaw Bcmice B. Lamey (ilc and Martin Landay K.i Rose Lands Janet Landsberg Mr. and Mrs. G. Robert Langford Jean S. Langford Waller and Lisa Langlois Guy and Taffy Larcom Louis and Gail LaRichc Christine Larson S. Laurent RuthJ. Lawrence Judith andjerold Lax Stcphane Legault 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 Arlcne Levenson David E. Levine Dr. David J. Lieberman Dr. and Mrs. Byung H. lim Dr. and Mrs. Richard H. Uneback Gail and Ncal Little Rebecca and Lawrence Lohr Mr. and Mrs. Richard S. Lord Pamela and Robert Ludolph Jeanneite Luton ohnj. Lynch, Airy. Dr. and Mrs. Cecil Mackey Janice E. Macky Lois and Alan Macncc
Dr. and Mrs. Chun II Mah
Doris Maltese
Allen MatinofT
Mr. and Mrs. Anthony E. Mansueio
Mat M Margeson
Alice and Bob Marks
Erica and Harry Marsden
Bumble Marshall
Vincent and Margot Masscy
H.L. Mason
Debra K Mattison
Robert and Betsy Maxwell
Anne McAulifTe
Rebecca C. McCiear
Elaine McCrate
Cathryn S. and
Ronald G. McCready David and Claire McCubbrey Bernard and MaryAnn McCulloch James M. Beck and
Robert J. McGranaghan Ralph R. McKce Jack A. McKimmy Donald and Elizabeth McNair Joseph E and Johanna Y. Meara Anthony and Barbara Mcdciros Ensign Michael S. Mendelsohn Helen F. Meranda Rev. Harold L. Merchant Judith A. Mertens Russ and Brigitte Merz Suzanne and Henry J. Meyer Mr. and Mrs. Herbert M. Meyers Dr. Robert and Phyllis Meyers William M. Mikkelsen Virginia A. Mikola Gerald A. Miller Dr. and Mrs. Josef M. Miller
Murray H. and Yclia R. Miller
Randy and Sue Miller
Ronald Miller
Ruth M. Monahan
Kent and Roni Moncur
Gail Monds
Mr. Erivan R. Morales and
Mr. Seigo Nakao Kittic Bergcr Morclock Mrs. Erwin Muchlig James and Sally Mueller Brian Mulcahy Bernhard and Donna Mullcr Colleen M. Murphy Lora G. Myers Yoshiko Nagamatsu Louts and Julie Nagel R. andj. Ncedlcman Martha K. Niland Joan and John Nixon Laura and Ross Norbcrry Jolanta and Andrzej Nowak Dr. Nicole Obrcgon Steve O'Day Martha R. O'Kennon Paul L. and Shirley M. Olson Fred Ormand
David Orr and Gwynnc Jennings James J. Osebold Lynda Oswald and Brad Tomtishen David H. Owens and Ruih A. Mohr Mr. and Mrs. James R. Packard George Palty
Penny and Steve Papadopoulos Mr. and Mrs. Kenneth Pardonnet Prayoon Patana-Anake Vassiliki and Dimitris Pavlidis Edward J.Pawlak
Donald and Edith Pcb
William A. Pcnner.Jr.
Bradford Perkins
Marilyn Pcrlmulter
Mrs. George Peruski
Ann Marie Pctach
Jane Peterson
Douglas and Gwcn Phclps
C. Anthony and Marie B. Phillips
Nancy S. Pickus
Edward C. and Mary Lee Pierce
Daniel Piesko
Mr. and Mrs. Robert H. Plummcr
Thomas and Sandra Plunkett
Alan Posner
Mr. and Mrs. Gerald Powrozek
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 Raikhel
Rebecca Scott and Peter Railton
Alfred and Jackie Raphaelson
Dr. and Mrs. Mark Rayport
Russ and Nancy Reed
ElisabethJ. Rccs
Caroline Rchberg
Esther M. Rcilly
Anne and Fred Remley
Molly H. Reno
Mr. and Mrs. Neil Ressler
Lou and Sheila Rice
Frand and Elizabeth Richardson
Friends, continued
Lisa Richardson Mr. and Mrs.
Thomas D. Richardson Kurt and Lori Ricggcr R.L. Riley Judy Ripple Lita Risline
Irving and Barbara Rittcr Kathleen R. Roberts Marilyn L. Rodzik Drs. Dietrich and
MaryAnn RololT Edith and Raymond Rose Drs. Janet and Seymour R. Rosen Dorric E. Rosenblatt, M.D. Ph.D. Charles W. Ross Christopher Rothko Dr. and Mrs. David Roush Roger and O.J. Rudd Mabel E. Rugen Dr. Glenn R. Ruihlcy Bryant and Anne Russell Ray and Re Sage Dr. Jagncswar Saha Sandra and Doyle Samons Miriam Jofle Samson Klavier S.D.G. Dr. Anna M. Santiago Gary Sauer
June and Richard Saxe Karen and Gary Scanlon Helga andjochen Schacht Bonnie R. Schafer Mr. and Mrs. Alan Schall Chuck and Gail Scharte Mr. and Mrs. F. Allan Schenck Christine J. Schesky Suzanne Schluedcrberg and
John S. Lcsko.Jr. Jcannctic Schnecberger Thomas H. Schopmeyer Yizhak Schottcn and
Kaihcrine Collier Sue Schroeder Ailccn M. Schulze Jay and Leah Schultz Byron and Melodye Scott Dorothy Scully Michael and Laura Seagram Anne Brantley Segall Sylvia and Leonard Segcl Richard A. Scid Marilyn Sexton Richard Shackson Kirtikant and Sudha Shah Brahm and Lorraine Shapiro Kathleen A. Sheehy Ingrid and ClifTord Sheldon Ms. Joan D. Showaher 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 Sivyer Jurgcn O. Skoppek Tad Slawecki Dr. and Mrs. Greg Smith Haldon and Tina Smith Arthur A. and Mindy Soclof Hindc R. Socol and John D. Hall Arthur and Elizabeth Solomon James A. Somcrs Judy Z. Somers
Thomas and Elinor Sommcrfeld Mina Diver Sonda h in,i Soukhoproudskaia William Spalding Jim Spevak and Leslie Bruch Charles E. Sproger Mary Stadel
Neil and Burnettc Stacbler Joan and Ralph Stahman Hull .ind Dfcda Stanczak
Barbara and Michael Steer
Ron and Kay Stcfanski
John and Elaine Wu Stephenson
Robin Stcphenson
William and Gcorgine Stcude
Ms. Lynette Stindt and
Mr. Craig S. Ross Lawrence and Lisa Slock Mr. and Mrs. Frank A. Stocking Mr. and Mrs. James Bower Stokoe Judy and Sam Stulberg Jim and Bcv Sturek Theresa & Presley Surratt Alfred and Sclma Sussman Anne Sutherland Robert and
Mary Margaret Sweeten Joanne Ceru and James Swonk Junko Takahashi Larry and Roberta Tankanow Dr. and Mrs. Robert C. Taylor Robert Teicher and
Sharon Gambin Leslie and Thomas Tender Paul Thielking Carol andjim Thiry D. Kathryn Thompson Anne M. Thorne Eugene and Marlenc Tierney Neal A. Tolchin Egons and Susan nc Tons Ms. Barbara J. Town Mr. and Mrs. Louis F. Trubshaw Luke and Merling Tsai Jeffrey and Lisa Tulin-Silver Dr. Hazel M. Turner ' Nub and Jan Turner William H. and Gerilyn K. Turner Nann Tyler
Mr. and Mrs. Marshall Tymn Mr. Masaki Ueno Sheryl Ulin Akira Umehara Paul and Frcdda Unangst Iris Cheng and Daniel Uri Dr. and Ms. Samuel C. Ursu Esther C. Valvanis Judith and Arthur Vander Bram and Lia van Leer Virginia Vass
Kilty Bridges and David Velleman Mrs. Durwell Vetter Alice and Joseph Vining John and Jane S. Voorhorst Deborah Wagner Mr. and Mrs. Fred R. Waidelich Virginia Wait
Mr. and Mrs. Howard Waldrop Mr. and Mrs. David C. Walker Patricia Walsh Margaret Walter Martha Walter Orson and Karen Wang Eric and Sherry Warden Alice and Martin Warshaw Arthur and Renata Wasserman Dr. and Mrs. Andrew S. Watson Loraine Webster Alan and Jean Weamer Edward C. Weber Joan M. Weber Steve Weikal
David and Jacki Wcisman Donna G. Wcisman Drs. Bernard and Sharon Weiss April Wcndling Elizabeth A. Wcntzicn 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
Mary Winter
Lawrence and Mary Wise
Esther and Clarence Wisse
Danielle Wittmann
Mr. Henry Wqjcik
Joyce Cuior 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 Charlene R. Zand Mr. and Mrs. Martin Zeile Gary and Rosalyn Zcmbala George and Nana Zissis
and several anonymous donors
Corporations Organizations
Barton Hills Women's
Golf Association Crown Steel Rail Company Delta Sigma Theta Sorority -
Ann Arbor Alumnae Liberty Sports Complex Mas teller Music, Inc. Michigan Carlcton Alumni Club Morgantown Plastics Company Staples Building Company Weiser Lock
Robert S. I Mm.hi Zelina Krauss Firth George R. Hunsche Ralph Herbert Kaihcrine Mabarak Frederick C. Matthaei, Sr. Gwcn and Emerson Powrie Steffi Rciss Clare Sicgcl Ralph L. Stcffek Charlene Parker Stern William Swank Charles R. Tieman John F. Ullrich Francis Viola III Peter H. Woods
In-Kind Gifts
Catherine Arcure Paulctt 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 M.i? nu and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LystraDough Boys Steve MaggioThe Maggio Line James McDonaldBella Ciao Karen and Joe O'Neal Richard and Susan Rogcl Janet and Mike Shatusky SKR Classical Herbert Sloan David Smith
David Smith Photography Sweet Lorraine's Susan B. Ullrich Elizabeth and Paul Yhousc
Giving Levels
The Charles Sink Society cumulative giving totals of more than $15,000.
Maestro $10,000 or more Virtuoso $7,500 9,999 Concertmaster $5,000 7,499 Leader $2,500 4,999 Principal $1,000 2,499 Benefactor $500-999 Associate $250 499 Advocate $100 249 Friend $50 99 Youth $25
Advertiser's Index
36 Afterwords
16 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproductive
Medicine 39 Ann Arbor Symphony
Orchestra 35 Arbor Hospice 29 Bank of Ann Arbor
43 Barclay's Gallery 33 Beacon Investment
Company 39 Benefit Source 10 Bodman, Longley and
54 Butzel Long 51 Cafe Marie
39 Chamber Music Society
of Detroit
18 Charles Rcinhart
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, Van Dusen and Freeman Dobbs Opticians Dobson-McOmber Dough Boys Bakery Edward Surovell Company Emerson School ERIM
Ford Motor Company Fraleighs Landscape
Nursery General Motors Corporation Gifford, Krass, Groh, Sprinkle, Patmore, Anderson & Citkowski
11 Glacier Hills
15 Hagopian World of Rugs
49 Harmony House
37 Hill Auditorium Campaign
36 Interior Development
47 Jacobson's
47 Karen DeKoning and
43 Katherine's Catering and Special Events
Kerrytown Bistro
King's Keyboard House
Lewis Jewelers
Marty's Menswear
Matthew C. Hoffmann Jewelry Design
Miller, Canfield, Paddock & Stone
Mundus and Mundus
NBD Bank
Nichols, Sacks, Slank and Sweet
Packard Community Clinic
Pen in Hand
Persian House of Imports
Red Hawk Bar and Grill Zanzibar
Regrets Only
SKR Classical
Snyder and Company
Sweet Lorraine's
Swectwatcrs Cafe
Toledo Museum of Art 34 Top Drawer 36 Ufer and Company 29 U-M Urology
University Productions
Whole Foods Market
WQRS 27 Wright, Griffin, Davis and
Company 41 WUOM

Download PDF