UMS Concert Program, Wednesday Jan. 08 To 23: University Musical Society: 1996-1997 Winter - Wednesday Jan. 08 To 23 --
Season: 1996-1997 Winter
University Of Michigan, Ann Arbor
OF THE UNIVERSITY OF MICHIGAN, ANN ARBOR
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last season, 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 outstanding Board of Directors offers unique knowledge, experience and perspective as well as a shared commitment to assuring the present and future success of UMS. What a privilege 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. I especially want to thank Herbert Amster, who completed three years as Board President in December.
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 season 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 last 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 President
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: 5,245
Value of the money saved by students at that sale: $67,371
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 199697: 156
Average number of photographs UMS President Ken Fischer takes each year: 4,500
Number of years Charles Sink served UMS: 64
Cost of a 10-concert Choral Union subscription in 1903: $3.50
Cost of a 10-concert Choral Union subscription in 1945: $15.60
Number of regular season concerts presented by UMS in 199091: 38
Number of regular season concerts presented by UMS in 199697: 71
Number of room nights in Ann Arbor area last season generated by UMS artists: 2,806
Number of airport runs made for UMS artists in 199596: 85
Number of UMS subscribers in 199495: 1,973
Number in 199596: 3,334
of 199596 UMS subscribers who planned to renew their subscriptions this year: 92
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.
F. Bruce Kulp
Chair, 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."
L.THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cul-
tural and educational projects of the University Musical Society."
DAVID G. LOESEL President, T.M.I.. 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."
JOSEPH CURTIN AND GREGG ALF Oumen, Curtin &Alf "Curtin & Alfs support of the University Musical Society is both a privilege and an
honor. Together we share in the joy of bringing die 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."
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
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."
Detroit Edison Foundation
DOUGLAS D. FREETH President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community
which perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
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."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural con?tribution it makes to the community."
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."
Chairman and Chief
"Our community is
enriched by the
Society. We warmly support the cultural events it brings to our area."
THOMAS B. MCMULLEN President, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket
in Ann Arbor. Not anymore. UMS provides the best in educational enter?tainment."
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 commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many
opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
Jorge a. Sous
First Vice President and Manager, NBDBanh "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 82 years, and UMS has been here for 118, we can still appreciate the history they have with the city -and we are glad to be part of that history."
Managing Partner, Pepper, Hamilton &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."
The Edward Surovell
It is an honor for
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
Joe E. O'Neal
O 'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
GUI PONCE DE LEON, PH.D., P.E. Managing Principal, Project Management Associates, Inc. "We are pleased to support the University Musical
Society, particularly their educational programs. We at PMA are very com?mitted to the youth of southeastern Michigan and consider our contribu?tion to UMS an investment in the future."
RONALD M CRESSWELL, PH.D. Chairman, Parke-Uavis Pharmacmtiral "Parke-Davis is very proud lo be associ?ated with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
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."
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 universkyof Michigan
BOARD OF DIRECTORS
F. Bruce Kulp, Chair Marina v.N. Whitman
Vice CHah Carol Shalita Smokier
Secretary Elizabeth O. Yhouse
Herbert S. Amster Gail Davis Barnes
Maurice S. Binkow Paul C. Boylan Barbara Everitt Bryant LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Beverley B. Geltner Randy J. Harris
Walter L. Harrison Norman G. Herbert Kay Hunt Stuart A. Isaac Thomas E. Kauper Rebecca McGowan Lester P. Monts Homer A. Neal Joe E. O'Neal
John Psarouthakis George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell Susan B. Ullrich Iva M. Wilson
Gail W. Rector President Emeritus
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A. Brauer.Jr. Allen P. Britton Douglas D. Crary John D'Arms James J. Duderstadt
Robben W. Fleming Harlan H. Hatcher Norman G. Herbert Peter N. Heydon Howard Holmes Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick I-ong Judylh Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed Ann Sneed Schriber
Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thursion Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
Kenneth C. Fischer, President John B. Kennard.Jr,
Administrative Manager Elizabeth Jahn, Asst. to
President Kate Remen, Admin. Asst.,
Marketing jf Programming R. Scott Russell, Systems
Michael L. Gowing, Manager Sally A. Cushing, Staff Philip Guire, Staff John Peckham, Staff
Thomas Sheets, Conductor Timothy Haggerty, Manager
Catherine S. Arcure, Director Betty Byrne, Volunteers Elaine Economou, Corporate Susan Fitzpatrick, Admin. Asst. J. Thad Schork,
Gift Processing Anne Griffin Sloan,
Ben Johnson, Director
Emily Avers, Assistant
Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Saks
ProgrammingProduction Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artist Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
I.anra Birnbryer Rebekah Camm
Meighan Denommc Amy Hayne Sara Jensen Kirstcn Jennings Najean Lee Tansy Rodd Lisa Vogen
Jessica Flint Paula Giardini Michelle Guadagnino Michael Lawrence Bo Lee Lisa Moudy Susanna Orcutt-Grady Caen Thomason-Redus
1996-97 ADVISORY COMMITTEE
Maya Savarino, Chair Len Niehoff, Vice-Chair Dody Viola, SecretaryTreasurer Susan B. Ullrich, Chair
Emeritus Betty Byrne, Staff Uaison
Janice Stevens Botsford
Chen Oi Chin-Hsieh
Mary Ann Daane Rosanne Duncan H. Michael Endres Don Faber Knthcrine Farrell Penny Fischer Barbara Gelehrter Beverly Geltner Joyce Ginsberg Linda Greene Esther I leitler Debbie Herbert Matthew Hoffmann Maureen Isaac
Marcy Jennings Darrin Johnson Barbara Knhn Mercy ls.i-.lr Steve Kasle Maxine Larrouy Barbara Levitan Doni Lystra Margaret McKinley Scott Merz Clyde Metzger Ronald G. Miller Nancy NiehofF Karen Koykka O'Neal
Marysia Ostafin Mary Pittman leva Rasmussen Janel Shatusky Margaret Kennedy Shaw Aliza Shevrin Sheila Silver Rita Simpson Cynny Spencer Ellen Slross Nina Swanson Kathleen Treciak David White Jane Wilkinson Shirley Williams
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.
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
K.i. kh.mi Auditorium: Coal rooms are located on each side
of the main lobby.
Power Center. Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains arc located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
Mendelssohn: A drinking fountain is located at the north
end of the hallway outside the main floor seating area.
St. Francis: A drinking fountain is located in the basement at
the bottom of the front lobby stairs.
All auditoria have barrier-free entrances. Wheelchair loca?tions arc available on the main floor. Ushers are available for assistance.
LOST AND FOUND
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center. Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of
the Michigan League.
St. Francis: There are no public telephones in the church.
Pay phones are available in the Parish Activities Center next
door to the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's restrooms are located down the long hallway from the main floor seating area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the front lobby stairs.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMEMBER INFORMATION TABLE
A wealth of information about events, UMS, restaurants, and the like is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with ques?tions and requests. The information table is open thirty minutes before each concert and during intermission.
PHONE ORDERS AND INFORMATION
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313 area code and within Michigan, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
FAX ORDERS 3 13.647.1 171
VISIT OUR BOX OFFICE IN PERSON
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
GIFT CERTIFICATES Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
RETURNS If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. You will be given a receipt for an income tax deduction as refunds are not available. Please note that ticket returns do not count toward UMS membership.
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name 'The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by die 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 flourished
with the support of a generous musicand 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 the Berlin and Vienna Philharmonic Orchestras, the Martha Graham Dance Company, Jessye Norman, The Stratford Festival, Cecilia Bartoli, Wynton Marsalis, thejuilliard and Guarneri String Quartets, Nusrat Fateh AH Khan and Ensemble Modern of Frankfurt.
Through educational endeavors, commis?sioning of new works, youth programs, artists' residencies such as those with the Cleveland Orchestra and The Harlem Nutcracker, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, the Musical Society is a sepa?rate not-for-profit organization, which supports itself from ticket sales, corporate and individ?ual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
In its more recent history, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capacity, the ensemble has joined the orchestra for subscription perfor?mances of Beethoven's Symphony No. 9, Orffs Carmina Burana, Ravel's Daphnis et 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. In March the chorus makes 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. Continuing its association with the Detroit Symphony Orchestra, the Choral Union collaborates in January 1997 with Maestro Jarvi and the DSO in performances at Orchestra Hall and in Ann Arbor. This extraordinary season will culminate in a May performance of the Verdi Requiem with the Toledo Symphony.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one com?mon passion--a love of the choral art.
For information about the UMS Choral Union, please call 313.763.8997.
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is often associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of important debuts and long relationships throughout the past 83 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Hill Auditorium is named for former U-M regent Arthur Hill, who bequested $200,000 to the University for the construction of an audito?rium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing the ever-popular Fifth Symphony of Beethoven. The following evening featured Verdi's "Manzoni" Requiem, a work that has been performed frequently throughout the Musical Society's illustrious history. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in one of his only solo recitals outside of New York), Ernestine Schumann-Heink, Fritz
Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignacejan Paderewski (who often called Hill Auditorium "the finest music hall in the world"), Paul Robeson, Lily Pons,
Leontyne Price, Marion Anderson and, more 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 conduct?ing 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 f 4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
POWER CENTER FOR THE PERFORMING ARTS
Celebrating twenty-five years of wonderful arts presentation, the Power Center for the Performing Arts was originally bred from a realization that the University of Michigan had no adequate theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in the midst of a list of University priorities was mentioned "a new theatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include the two large spiral staircases leading
from the orchestra level to the balcony and the well-known mirrored glass pan?els 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 com?pleted, 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 commis?sioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addition to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso. The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
THE MICHIGAN THEATER
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Over the years, the Theater has undergone many changes. 'Talkies" replaced silent films just one year after the Theater opened, and
vaudeville soon disappeared from the stage. As Theater attendance dwindled in the 1950s, the interior and exterior of the building were both modernized, with much of the intricate plaster work covered with aluminum, polished marble and a false ceiling.
Throughout the 1960s and 1970s, the 1,710-seat theater struggled against changes in the film industry, and the owners put the Theater up for sale, threatening its very existence. The non-profit Michigan Theater Foundation, a newly-founded group dedicated to preserving the facility, stepped in to operate the failing movie house in 1979.
After a partial renovation in 1986 which restored the Theater's auditorium and Grand Foyer to its 1920s-era movie palace grandeur, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. Further restoration of the balcony, outer lobby and facade are planned in coming years.
The University Musical Society first began presenting artists at the Michigan Theater dur?ing the 199495 season, along with occasional film partnerships to accompany presentations in other venues. The Theater's acoustics, rich interiors and technical capabilities make it a natural setting for period pieces and mixed media projects alike. In addition to sponsoring a Twyla Tharp Film Series last fall (September 29-October 20, 1996), UMS presents four events at the Michigan Theater in 199697: Guitar Summit III (November 16); The Real Group (February 8); Voices of Light: "The Passion of Joan of Arc," a silent film with live music featur?ing Anonymous 4 (February 16); and The Russian Village (April 11).
ST. FRANCIS OF ASSISI CATHOLIC CHURCH
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has
grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a fabulous venue for presenting a cappella choral music and early music ensembles. During the 199697 season, UMS presents four concerts at St. Francis of Assisi Catholic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademia (March 15) and the Huelgas Ensemble (April 10).
LYDIA MENDELSSOHN THEATRE
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recently began presenting
artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and intimate venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society's roster.
Allen Pond & Pond, Martin & Lloyd, a Chicago architectural firm, designed the Mendelssohn Theatre, which is housed in die Michigan League. It opened on May 4, 1929 with an original equipment cost of $36,419, and received a majoi facelift in 1979. In 1995, the proscenium curtain was replaced, new carpeting installed, and the seats refurbished.
During the 1930s through the 1950s, Mendelssohn Theatre was home to a five-week Spring Drama Festival, which featured die likes of Hume Cronin, Jessica Tandy, Katharine Cornell, Burgess Meredith and Barbara Bel Geddes. Arthur Miller staged early plays at Mendelssohn Theatre while attending U-M in the early 1930s, and from 1962 through 1971, the University's Professional Theatre Program staged many plays, both originals and revivals. Several went on to Broadway runs, including You Can't Take It With You and Harvey, which starred Helen Hayes and Jimmy Stewart.
The University Musical Society's presentation of four song recitals celebrating die 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 (Januan 24), mezzo-soprano Sarah Walker (January 25), baritone Wolfgang Holzmair (February 17) and soprano Barbara Bonney (February 18).
BURTON MEMORIAL TOWER
Seen from miles away, diis well-known University of Michigan and Ann Arbor landmark is the mailing address and box office location for the University Musical Society.
During a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles around, be built in the center of campus representing the idealism and loyalty of
U-M alumni. In 1929 the UMS Board of Directors authorized construction of the Marion LeRoy Burton Memorial Tower. The University of Michigan Club of Ann Arbor accepted the project of raising money for the tower and, along with the Regents of the University, the City of Ann Arbor, and the Alumni Association, the Tower Fund was estab?lished. UMS donated $60,000 to this fund.
In June 1935 Charles Baird, who graduated from U-M in 1895 and was the equivalent of today's Athletic Director from 1898-1908, pre?sented the University of Michigan with $70,000 for the purchase of a carillon and clock. These were to be installed in the tower in memory of Burton, former president of the University and a member of the UMS Board of Directors. Baird's intention was to donate a symbol of the University's academic, artistic, and community life a symbol in sight and sound which alumni would cherish in their Michigan memories.
Designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. The tower is 41 feet, 7 inch?es square at the base. Completed in 1936, the Tower's basement and first floor rooms were designated for use by the University Musical Society in 1940. In later years, UMS was also granted permission to occupy the second and third floors of the tower.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from
noon to 12:30pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45am. A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donat?ed labor, materials and funds to this project
The 19 9 6-9 7 Season
SCHUBERTIADE I ANDRE WATTS, PIANO CHAMBER MUSIC
SOCIETY OF LINCOLN
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Weds, Jan 8, 7pm, MI League.
Made possible by a gift from the estate of William R. Kinney.
NEXUS PERCUSSION ENSEMBLE WITH RICHARD STOLTZMAN, CLARINET
Thursday, January 16, 8:00pm Hill Auditorium
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
SOUNDS OF BLACKNESS with Special Guests, THE UNIVERSITY OF MICHIGAN GOSPEL CHORALE
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, Jr. Day Symposium.
SCHUBERTIADE II GARRICK OHLSSON, PIANO 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 I cli.i Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Fri, Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:00-4:00 pm, Mclntosh Theater, U-M School of Music. Open to the public.
SCHUBERT SONG RECITAL II SARAH WALKER, MEZZO-SOPRANO
gareth Hancock, piano
Saturday, January 25, 8:00pm I.ydia 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 the World Heritage Foundation and media partner WDFT, 101.9FM, Public Radio from Wayne State University.
NEEME JARVI, CONDUCTOR Leif Ove Andsnes, piano Vladimir Popov, tenor UMS Choral Union Sunday, January 26, 4:00pm Hill Auditorium
Master of Arts Neeme Jarvi, interviewed by Thomas Sheets, Conductor, UMS Choral Union. Sun, Jan 12, 3:00pm, Rackham.
Sponsored byJPE Inc. and the Paideia Foundation
THE ELDERS JAMES CARTER QUARTET
AND DETROIT JAZZ
Friday, January 31, 8:00pm I.vim Mendelssohn Theatre
Part of the Blues, Roots, Honks, and Moans Jazz Residency.
BLUES, ROOTS, HONKS,
AND MOANS A FESTIVAL OF JAZZ AND
MUSICAL TRADITIONS featuring
The Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
His Sanctified SheUs Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation with support from media partner VEMU, S9.1FM, Public Radio from Eastern Michigan University.
IVAN FISCHER, CONDUCTOR Thursday, February 6, 8:00pm Hill Auditorium
THE REAL GROUP
Saturday, February 8, 8:00pm Michigan Theater
Presented urith support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
ARS POETICA CHAMBER
ORCHESTRA ANATOLI CHEINIOUK,
MUSIC DIRECTOR Cho-Liang Lin, violin Monday, February 10, 8:00pm Rackham Auditorium
Presented urith support from Miller, Canfield, Paddock and Stone, P.L.C.
blood on the Fields Wynton Marsalis and the lincoln center jazz orchestra with jon hendricks
AND CASSANDRA WILSON
Music and libretto by
Wynton Marsalis Wednesday, February 12, 8:00pm Hill Auditorium
Master of Arts Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
BRANDENBURG ENSEMBLE JAIME LAREDO,
CONDUCTOR VIOLIN LEILA JOSEFOWICZ, VIOLIN ANDREAS HAEFLIGER,
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7prn, 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-Duel 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 SILENT FILM BY CARL DREYERWITH LIVE MUSIC FEATURING ANONYMOUS 4 Ios Angeles Mozart Orchestra I Cantori
I.ucinda Carver, conductor Sunday, February 16, 7:00pm Michigan Theater
Presented with support from media partner WDET, I01.9FM, Public Radio from Wayne State University.
SCHUBERT SONG RECITAL III WOLFGANG HOLZMAIR,
BARITONE JULIUS DRAKE, PIANO
Monday, February 17, 8:00pm I.ydia Mendelssohn Theatre
SCHUBERT SONG RECITAL IV BARBARA BONNEY,
SOPRANO CAREN LEVINE, PIANO
Tuesday, February 18, 8:00pm I.ydia Mendelssohn Theatre
puccini's la boheme New York city opera national Company
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21, 8:00pm Saturday, February 22, 2:00pm
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La lloheme'mean}" Sat, Fcb 22, lpm, MI League.
Academy of St. Martin-
in-the-fields iona brown, conductor
Sunday, February 23, 4:00pm Rackham Auditorium
PREP Lorna McDaniel, U-M Professor of Musicology. A discussion of the afternoon's repertoire. Sun, Fcb 23, 3:00pm, MI League.
Sponsored by Conlin Travel and Cunard.
Monday, February 24, 8:00pm Tuesday, February 25, 8:00pm Power Center
Sponsored by Thomas B. McMulUn Co., Inc.
NATIONAL TRADITIONAL ORCHESTRA OF CHINA Hu Bingxo, conductor Hai-Ye Ni, cellist Wednesday, February 26,8:00pm Hill Auditorium
Presented with the generous support of Dr. Herbert Sloan.
RICHARD GOODE, PIANO
Friday, March 14, 8:00pm Mill Auditorium
Sponsored by Pepper, Hamilton & Scheetz, Attorneys at Lm
CHOROVAYA AKADEMIA Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin Travel and Cunard.
SCHUBERTIADE III HERMANN PREY, BARITONE
Michael Endres, piano Auryn String Quartet
with Martin Lovett, cello Thursday, March 20, 8:00pm Rackham Auditorium
SCHUBERTIADE IV HERMANN PREY, BARITONE Michael Endres, piano Auryn String Quartet Martin Kalz, piano Anton 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. Open to the public.
MAHLER'S SYMPHONY NO. 8 GRAND RAPIDS SYMPHONY
AND CHORUS UMS CHORAL UNION Grand Rapids Choir of Men
Boychoir of Ann Arbor Catherine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
CECILIA BARTOLI, MEZZO-SOPRANO
i delfici, strings and continuo 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, President, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
NEDERLANDS DANS THEATER II & III
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 high Art of Sacred Flemish polyphony
Thursday, April 10, 8:00pm St. Francis of Assist Catholic Church
PREP James Borders, Associate Dean, School of Music. "Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, St. Francis Church.
Sponsored by Conlin Travel and Cunard.
THE RUSSIAN VILLAGE
Friday, April 11,8:00pm Michigan Theater
Sponsored by NBD Bank.
FACULTY ARTISTS CONCERT
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
THE ASSAD BROTHERS, GUITAR DUO
Friday, April 18, 8:00pm Rackham Auditorium Sponsored by Regency Travel.
maher ali khan and
SherAli khan, Faridi Qawwals
Saturday, April 19, 8:00pm Rackham Auditorium
FORD HONORS PROGRAM
Saturday, April 26, 6:00pm Hill Auditorium
Featuring a recital by and tribute to the recipient of the 1997 UMS Distinguished Artist Award.
Sponsored by Ford Motor Company.
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of prc-performance presentations, featuring talks, demonstrations and workshops.
Master of Arts A new, free of charge UMS series in col?laboration with ihe Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person), available from the UMS Box Office, 764-2538.
Education and Audience Development
Special Events 1996-1997
Visions and Voices of Women: Panel Discussion
"Women in the ArtsArts in the Academy" In collabora?tion with the Institute for Research on Women and Gender.
Tues,Jan 14, 7:30-9:30pm, Rackham. Panelists: Beth Genne, History of Art and Dance, Residential College
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
Concerts in Context: Schubert Song Cycle Lecture Series
Three special PREPs held at the Ann Arbor District Library and led by Richard LeSueur, Vocal Arts Information Services, in collaboration with the Ann Arbor District Library.
"Changing Approaches to Schubert Lieder."
Sun, Jan 19, 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
Concerts in Context: Mahler's Symphony No. 8 Three special PREPs held at SKR Classical.
"Alia Vergangliche (All That is Transitory):
AustroGermanic Culture in the Fin de Siecle. " Valerie Greenberg, Visiting Professor, U-M German Dept. Mon, Mar 17, 7:00pm
"1st nurein Gleichnis (Are but a Parable): Goethe's Faust in the Fin de Siecle. " Frederick Amrine, Chair, U-M German Dept. Tues, Mar 18, 7:00pm
"Zieht tins hinan (Draws us upward): Mahler's Hymn to Eros."Jim Leonard, Manager, SKR Classical. Wed, Mar 19, 7:00pm
UMS presents two family shows during the Winter Season 1997. These programs feature an abbreviated version of the full-length presentations by the same artists.
Blues, Roots, Honks and Moans
Saturday, February 1, lpm, Hill Auditorium 75-minute family show with no intermission
Featuring Cyrus Chestnut on piano, Twinkie Clark on organ and gospel, and Steve Turre on trombone and "sanctified" shells. Each artist will showcase different influences of jazz and gospel, with parents and chil?dren actively involved in learning and performing some special songs.
Puccini's La Boheme
New York City Opera National Company Saturday, February 22, 2pm, Power Center 75-minute family show with no intermission
The love story of Mimi and Rodolfo is a great intro?duction to the world of opera. This abbreviated per?formance of Act II (the cafe scene) and Act IV includes an open curtain scene change as well as an introduction to singers and backstage crew. In Italian with English supertitles and live narration.
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from past University Musical Society seasons. The Alvin Ailey American Dance Theater's March 1996 perfor?mances in the Power Center; a capacity audience for a chamber music concert in Rackham Auditorium; and pianist Emanuel Ax performing as part of the Society Bank Cleveland Orchestra Residency Weekend in 1995.
of the University of Michigan 1996 199J Winter Season
Event Program Book
Wednesday, January 8, 1997
Thursday, January 23, 1997
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Andre Watts and The Chamber 3
Music Society of Lincoln Center
Wednesday, January 8, 8:00pm Rackham Auditorium
Richard Stoltzman, clarinet 17
Thursday, January 16, 8:00pm Hill Auditorium
Sounds of Blackness 25
Monday, January 20, 8:00pm Hill Auditorium
Garrick Ohlsson 29
Thursday, January 23, 8:00pm Rackham Auditorium
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
WHILE IN THE AUDITORIUM
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 313-763-1131.
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.
SCHUBERTIADE I --Leon and Heidi Cohan, Honorary Chairs
The Chamber Music society of Lincoln Center
Beverly Hoch, soprano David Shifrin, clarinet Robert Routch, horn
Ani Kavafian, violin Paul Neubauer, viola Gary Hoffman, cello Edgar Meyer, 6055
Wednesday Evening, January 8, 1997 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Auf dem Strom (On the River)
for Soprano, French Horn, and Piano, D. 943 Hoch, Routch, Watts
Sonata in a minor for Arpeggione and Piano, D. 821
performed this evening on cello Allegro moderato Adagio Allegretto
Der Hirt auf dem Felsen (The Shephard on the Rock)
for Soprano, Clarinet, and Piano, D. 965 Andantino Allegretto
Hoch, Shifrin, Watts
Quintet in A Major for Piano and Strings, D. 667 (Trout)
Scherzo e Trio: Presto
Thema con Variazione: Andantino
Finale: Allegro giusto
Kavafian, Neubauer, Hoffman, Meyer, Watts
Thirty-third Concert of the 118th Season
Schubert Cycle Series
This performance is made possible by a gift from the estate of William R. Kinney.
Special thanks to Steven Moore Whiting, Assistant Professor of Musicology, U-M School of Music, for serving as speaker for tonight's Performance Related Educational Presentation (PREP).
Special thanks to Trudy Miller, Program Director,
The Schubertiade, New York, for program book consultation.
Large print programs are available upon request.
Auf dem Strom
D. 943 Ludwig Rellstab
Nimm die letzten Abschiedskusse, Und die wehenden, die GruBe, Die ich noch ans Ufer sende, Eh' dein FuB sich scheidend wende! Schon wird von des Stromes Wogen Rasch der Nachen fortgezogen, Doch den tranendunklen Blick Zieht die Sehnsucht stets zuruck!
Und so tragt mich denn die Welle Fort mit unerflehter Schnelle. Ach, schon ist die Flur verschwunden, Wo ich selig sie gefunden! Ewig hin, ihr Wonnetage! Hoffnungsleer verhallt die Klage Um das schone Heimatland, Wo ich ihre Liebe fand.
Sieh, wie flieht der Strand voruber, Und wie drangt es mich hinuber, Zieht mit unnennbaren Banden, An der Hutte dort zu landen, In der Laube dort zu weilen; Doch des Stromes Weilen eilen Weiter ohne Rast und Ruh, Fuhren mich dem Weltmeer zu!
Ach, vor jener dunklen Wuste, Fern von jeder heitern Kuste, Wo kein Eiland zu erschauen, O, wie faBt mich zitternd Grauen! Wehmutstranen sanft zu bringen, Kann kein Lied vom Ufer dringen; Nur der Sturm weht kalt daher Durch das grau gehob'ne Meer!
On the River
Take these final farewell kisses and these wafted greetings that I send to the shore before you turn to leave. The boat is already swiftly borne away by the river's waves, but longing constantly draws my tear-dimmed gaze back.
And so with unwelcome speed the waves carry me hence. Ah, gone already are the meadows where I happily found her: gone for ever, you days of bliss! Hopelessly my plaint echoes round the fair homeland where I found her love.
See how the shore rushes past
and how I am impelled there,
drawn by invisible ties
to the land by yonder cottage,
to linger in yonder arbour.
But the river's waves hurry onwards
without rest or peace
beating me towards the ocean.
Ah, what quaking dread seizes me
at those dark wastes
far from every friendly coast,
where no island is to be seen!
No song can reach me from the shore
to evoke tears of sadness:
only die tempest blows cold
across the grey, raging sea.
Der Hirt auf dem Felsen
Text by Wilhelm Miiller and Helmina von Chezy
Wenn auf dem hochsten Fels ich steh',
ins tiefe Tal hernieder seh',
und singe, und singe;
fern aus dem tiefen, dunklen Tal
schwingt sich empor der Widerhall,
der Widerhall der Klufte.
Je weiter meine Stimme dringt,
je heller sie mir widerklingt
von unten, von unten.
Mein Liebchen wohnt so weit von mir,
drum sehn' ich mich so heiB nach ihr
In tiefem Gram verzehr' ich mich, mir ist die Freude hin, auf Erden mir die Hoffnung wich, ich hier so einsam bin.
So sehnend klang im Wald das Lied, so sehnend klang es durch die Nacht, die Herzen es zum Himmel zieht mit wunderbarer Macht.
Der Fruhling will kommen, der Fruhling,
meine Freud', nun mach' mich fertig zum Wandern bereit!
Kann des Auges sehnend Schweifen Keine Ufer mehr egreifen, Nun so schau' ich zu den Sternen Auf injenen heil'gen Fernen! Ach, bei ihrem milden Scheine Nannt' ich sie zuerst die Meine; Dort vielleicht, o trostend Gluck! Dort begegn' ich ihrem Blick.
The Shepherd on the Rock
When I stand on the highest rock, look down into the deep valley and sing and sing, from out of the deep, dark valley my song echoes back to me, echoes back from the gorge.
The deeper my voice penetrates, the more clearly it resounds from below, from below. My love lives far away from here, and so I yearn ardently for her over there, over there.
In deep sorrow I waste away,
my pleasure is gone,
all hope has left me,
I am so lonely here on earth.
So longingly my song rang through the forest, so longing it rang through the night it drew all hearts Heavenward with miraculous power.
Spring will come, spring, my happiness Now I'll get ready to be on my way!
Now that my longing eyes' ranging can no longer make out the shore, I shall look up to the stars there in that hallowed distance. Ah, by their gentle light I first called her mine: there perhaps, O consoling fortune, there I shall meet her gaze.
Translation: O1991 Lionel Sailer, reprinted with permission
?1. on't you wish you
k could have been there,
A raising a glass of
I Heuriger with the
V Schubertians, hearing
J Vienna's lines] singers
K bring to life the inspi?rations of music's greatest melodist while he
accompanied them at the key?board Though the Schiibertiades and the genteel world that fos?tered them have long since faded, the conviviality and warm-hearted?ness of those soirees come down to us in the music Schubert creat?ed for his friends, music such as that heard on this concert. In this bicentennial year of his birth, Schubert continues to reach out with a smiling gentleness to touch
us, to cheer us, to renew us, and to make us, too, his friends. Welcome to the UMS Schubertiade series of concerts and recitals which run through March.
Last Friday I had excellent entertainment: as [Frdulein] Schober was at St. Pollen, Franz [Schober] invited Schubert for the evening and fourteen of his close acquaintances. So a lot of splendid songs by Schubert were sung and played by himself, which lasted until after 10 o'clock in the evening. After that punch was drunk, offered by one of the parly, and, as it was very good and plentiful, the party, in a happy mood, became even merrier; so it was 3 o'clock in the morning before we parted.
-from a letter of Josef Huber,
January 30, 1821
To Spaun's, where there is a Schubertiade.... We had a splendid sonata for four hands, glorious variations and many magnificent songs....Then we had a delicious repast, and several toasts were drunk. Suddenly Spaun arrived and said we must drink brotherhood, which much surprised and pleased me. Then we tossed some fellows in a
blanket....At last we took leave of our kind hosts and went heller-skelter to Bogner's [cafe], where we smoked a few pipes, and in the street Schwind, running and flapping his cloak, gave a striking illusion of flying.
-from Franz von Hartmann's diary,
January 12, 1827
Born January 31, 1797 in Vienna Died November 19, 1828 in Vienna
Auf dem Strom (On the River)
for Soprano, French Horn and Piano, D. 943
Schubert gave only one public concert of his works during his lifetime. It was held in Vienna on March 26, 1828. The event was an artistic and financial success, and he used the proceeds to celebrate at a local tavern, pay off old debts, acquire a new piano, and buy tickets for Nicolo Paganini's much-antic?ipated debut in Vienna three days later. Schubert's program included the first move?ment of his String Quartet in G Major (D. 887), the Piano Trio inE-flat (D. 929), the Schlachtgesang (Battle Song) for male chorus (D. 912), and a setting of Rellstab's Auf dem Strom, which he composed specially for the event.
Ludwig Rellstab was a prominent music crit?ic in Berlin and a writer of high ambitions. In April 1825 he came to Vienna, hoping to convince Beethoven to set some of his poems, perhaps even one of his opera librettos. While Rellstab was ultimately
unsuccessful with Beethoven -the coi poser never set a syllable of his poetry -he had better luck with Schubert, who set some of his last songs to Rellstab's poetry. Aufdem Strom was the first of Schubert's nine Rellstab settings, all composed within the final eight months of his life.
Aufdem Strom falls into eleven short, distinct sections. Six parts f
for horn and piano (an introduc-tion, four interludes, and a coda) alternate with five sections for soprano, horn, and piano, corre?sponding to the stanzas of Rellstab's
poem. (The soprano, however, repeats her final line in the coda.) Musicologist Rufus Hallmark has noted Schubert's indebted?ness to Beethoven in this work. Most striking among the many connections he raises is Schubert's quotation of the "Marcia fune-bre" from Beethoven's Third Symphony, heard in the setting of the second stanza. Hallmark suggests that Schubert's work may have a tribute to the memory of the older composer. Perhaps it was no coincidence, then, that the concert for which Aufdem Strom was written fell on the first anniversary of Beethoven's death.
Sonata in a minor for Arpeggione and Piano, D. 821
The guitarist Vincenz Schuster was among the regular participants in the evening musical salons that Ignaz Sonnleithner held at his Viennese townhouse during the 1820s. It was there that Schuster met Franz Schubert, whose compositions and piano playing were
the chief attractions of those convivial soirees. In September 1824 Schuster asked him to write a piece for a new instrument, a curious hybrid of guitar, cello and viola da ? gamba called an arpeggione. The arpeg-
gione was about the size of a modern cello, but had a smooth waist, a series of some two-dozen frets (like a guitar), six strings tuned in fourths, and an elaborately carved scroll (like the old gamba). The w instrument could be either bowed or m strummed. Schuster had become one m of its first exponents, and even wrote
a tutor for it. Schuster's faith quickly proved misplaced, however, and the arpeggione became extinct widiin a decade. Schubert's piece, dedicated to Schuster, is the only one known to have been composed for the instru?ment. When the score was first pub?lished in 1871, it was issued in a version
for cello, the form in which it has become the best-known of his few compositions for solo instrument and piano.
The "Arpeggione" Sonata is a friendly and ingratiating specimen of Biedermeier Hausmusik. The opening movement, more wistful than dramatic, is one of the most compact of Schubert's late sonata-form movements, and eschews the glorious prolix?ity -what Schumann called the "heavenly length" -of his other late instrumental works. The "Adagio" is a song of sweetness and simplicity that leads without pause to the A Major finale, constructed in a section?al design buttressed by the returns of die lyrical main theme.
Der Hirt auf dem Felsen (The Shepherd on the Rock)
for Soprano, Clarinet and Piano, D. 965
Anna Milder-Hauptmann (1785-1838) was one of the leading sopranos of her day. At a very young age she had attracted the
attention of Emanuel Schikaneder--the impresario and friend of Mozart's, studied with Salieri and Tomaselli, and joined the roster of the Court Opera. Beethoven wrote the role of Leonora in Fidelio for Milder-Hauptmann in 1805, and her fame grew with highly acclaimed tours in northern Europe during the following years.
Schubert's earliest exposure to Milder-Hauptmann's artistry came in 1812, while he was still a music student at the imperial choir school. So moved was he by her singing that he almost came to blows with a university professor who expressed an opposing view. Sometime before she left for Berlin, she and Schubert became friends, and they occasionally corresponded during the following years. Early in 1825, she asked him if he had any operas that she could pro?pose for production in Berlin. Schubert promptly sent her the score for Alfonso und Estrella, and, in appreciation of her interest, dedicated to her his new song Suleika II. After she had performed Suleika and the Erlkonig on a Berlin recital, she replied, "Suleika's Second Song is heavenly and moves me to tears....However many songs you may want to dedicate to me, this can only be most agreeable and flattering to me." Her report concerning Alfonso und Estrella was less encouraging, however: "I am very sorry to say that its libretto does not accord with local taste. Alfonso und Estrella could not pos?sibly make its fortune here."
In 1828, Anna requested from Schubert a bravura concert piece for her recitals. Out of regard for her encouragement and her artistry, and with the hope that she might help his gestating opera, Der Graf von Gleichen, onto the stage, he created for her the delightful song Der Hirt aufdem Fehen (The Shepherd on the Rock). The text, a conflation of verses by Wilhelm Muller and Helmine von Chezy, concerns the longing of a shepherd boy for his lady love and the wel?come arrival of spring. Schubert included a
part for clarinet, giving this song something of the quality of a vest-pocket operatic scena in which the agility and limpid sonority of the instrument serve as foil and collegial challenge for the voice. Schubert finished DerHirt auf dem Felsen in October 1828, but Milder-Hauptmann did not receive a copy of the song until the following September. She premiered the work at Riga in March 1830, and thereafter included it frequently on her recitals. Tobias Haslinger of Vienna pub?lished the score in June as Schubert's Op. 129. The composer, however, was never to hear it performed: DerHirt auf dem Felsen, elegant, brilliant, touching and bursting with melody, was the last of Schubert's more than 600 songs. On November nineteenth, a month after writing it, he died.
Quintet in A Major for Piano and Strings, D. 667 (Trout)
Early in July 1819, Franz Schubert left the heat and dust of Vienna for a walking tour of Upper Austria with his friend, the baritone Johann Michael Vogl. The goal of the journey was Steyr, a small town in the foothills of the Austrian Alps where Vogl was born and to which he returned every summer. Schubert enjoyed the venture greatly, writ?ing home to his brother, Ferdinand, that the countryside was "inconceivably beautiful." In Steyr, Vogl introduced the composer to the village's chief patron of the arts, Sylvester Paumgartner, a wealthy amateur cellist and ardent admirer of Schubert's music. Paumgartner asked the composer for a new piece that could be performed at his private soirees, and stipulated that the instrumenta?tion be the same as that of Hummel's Grande Quintourot 1802 (piano, violin, viola, cello and bass). The work, he insisted, must also include a movement based on one of his favorite songs, Schubert's own Die Forelle
(The Trout) of 1817. Schubert, undoubtedly flattered, welcomed the opportunity, and sketched the work immediately. He complet?ed the piece after returning to Vienna in mid-September, and sent the score to Paumgartner as soon as it was finished. There are no further records of the 'Trout" Quintet until 1829, a year after the compos?er's death, when the publisher Josef Czerny issued the score with this statement: "We deem it our duty to draw the musical pub?lic's attention to this work by the unforget?table composer."
Musicologist Alfred Einstein wrote that the 'Trout" Quintet is music "we cannot help but love." It is a work brimming with good-natured Gemutlichkeit, closer in spirit to the serenade than the sonata, and rarely hinting at the darker, Romantic emotions that Schubert explored in his later instru?mental works. The first of the Quintet's five movements is a richly lyrical and expansive sonata form whose recapitulation begins in the subdominant key, one of Schubert's favorite instrumental techniques for extend?ing the harmonic range and color of his music. The Andante is a two-part form, like an extended song comprising two large stan?zas. Following the delightful Scherzo comes the famous set of variations on Die Forelk, which lent the Quintet its sobriquet. Of Schubert's use of his own song here, and in the "Wanderer" Fantasy and the d minor Quartet ("Death and the Maiden"), Einstein wrote, "It was not for self-glorification, but merely the simple or naive knowledge of how good those melodies were and of the harmonic wealth they contained. He felt the need to spin out a concentrated musical idea which was [originally] fettered by the text to make it a plaything for his imagina?tion, to demonstrate how far he could elabo?rate it." The formal model for the move?ment was probably the variations in Haydn's "Emperor" Quartet (Op. 76, No. 3): as in that composition, the theme is presented
once by each of the ensemble's instruments, but its content is distinctly and characteristi?cally Schubertian. A Gypsy-like sonatina clos?es this deeply satisfying work.
O1997 Richard E. Rodda
Pianist Andre Watts, burst upon the music world at the age of sixteen, when Leonard Bernstein chose him to make his debut with the New York Philharmonic in their Young People's Concerts, broadcast nationwide on CBS-TV. Only two weeks later, Bernstein asked him to substitute at the last minute for the ailing Glenn Gould in performances of Liszt's B-flat Concerto with the New York Philharmonic.
Mr. Watts' involvement with television is unique in the field of classical music. His PBS Sunday afternoon telecast in 1976 was not only the first solo recital presented on Live From Lincoln Center, but the first full-length piano recital in the history of televi?sion, and his 1985 Live From Lincoln Center performance was the first full-length recital to be aired nationally in prime time. In addition to his numerous TV appearances since then, he was a featured soloist in the 1993 Live From Lincoln Center telecasts of the opening of the Mostly Mozart Festival and the Gala opening concert of the Chamber Music Society of Lincoln Center's twenty-fifth Anniversary Season. Most recently, he appeared in a special program highlighting the thirty-eighth annual Casals Festival in Puerto Rico, aired nationally on the Arts & Entertainment Network in January 1995, and his performance was nominated for an Emmy Award.
Andre Watts' extensive itinerary for this season takes him throughout North America and Europe, featuring engagements with the Philadelphia Orchestra (both in
Philadelphia and at the Kennedy Center in DC), Atlanta Symphony (in Atlanta, at Carnegie Hall and on tour in the north?east) , St. Louis Symphony, Baltimore Symphony, Dallas Symphony, Detroit Symphony, Milwaukee Symphony and the Minnesota Orchestra. In Europe, he will be the featured soloist for three orchestral tours: in Switzerland and Germany with the Orchestra of St. John's Smith Square, in Austria with die Bergen Philharmonic, and in Spain with the National Orchestra of Spain. Highlights of his recital tours include concerts in such cities as San Francisco, Seattle, Miami, and Pittsburgh, and he also appears in these concerts with the Chamber Music Society of Lincoln Center.
Mr. Watts is unique among artists of his stature in his generosity and dedication to help support important not-for-profit orga?nizations which serve the arts world and society in general. In addition to perform?ing a number of benefit concerts for a vari?ety of causes, he has taken a leadership role in his involvement with Classical Action: Performing Arts Against AIDS, an organiza?tion which raises funds to benefit AIDS ser?vice, education and prevention programs nationwide.
A much-honored artist who has played for royalty in Europe and heads of govern?ment in nations all over the world, Andre Watts was selected to receive the Avery Fisher Prize in 1988. He is the youngest per?son ever to receive an Honorary Doctorate from Yale University, and in 1984 the Peabody Conservatory of Johns Hopkins University honored Mr. Watts with its Distinguished Alumni Award. Mr. Watts has additionally received honorary degrees from University of Pennsylvania, Miami University of Ohio, Albright College, Brandeis University, Trinity College, and most recendy, The Julliard School of Music.
Andre Watts made his UMS debut in September 1969. This evening's performance marks his tenth performance under UMS auspices.
he founding of The I Chamber Music Society of Lincoln Center in 1969 was the realization of the dream of William Schuman, Alice Tully and Charles Wadsworth to establish a constituent of Lincoln Center devoted to the outstanding performance and creation of chamber music. Its pioneer?ing structure -a core of Artist Members, augmented by invited guests -allows Artistic Director David Shifrin to present concerts of every instrumentation, style and historical period, at Lincoln Center, on national and international tours, and on national television via Live From Lincoln Center. Last season marked the introduction of several new ventures for the Chamber Music Society, including Meet the Music!, a family concert series for children ages six-twelve, and Chamber Music Society Two, a multi-faceted professional development pro?gram for outstanding emerging musicians. The CMS discography comprises numerous
releases ranging from Bach to Zwilich, including a critically acclaimed recording of Dvorak's Serenade and Quintet, Beethoven's Septet and Serenade, and a new release of Bach's Complete Brandenburg Concerti, which was just named one of the best recordings of the year by Hi Fi Magazine -all on the Delos label. Future releases include the complete chamber music of Debussy and a children's album with Itzhak Perlman. In its twenty-seven years the CMS has commissioned over ninety new works from a formidable array of composers including Samuel Barber, Leonard Bernstein, William Bolcom.John Corigliano, George Crumb, Lukas Foss.John Harbison, Alberto Ginastera, Morton Gould, Keith Jarrett, Oliver Knussen, Gian Carlo Menotti, Darius Milhaud, Peter Schickele, Bright Sheng, Joan Tower and Ellen Taaffe Zwilich. The Chamber Music Society also supports the work of living composers by awarding the Elise L. Stoeger Prize, a $10,000 award given to each of two outstanding composers of chamber music each year. Last season's Beethoven Festival was the first of many such celebrations planned far into the future. This season, several concerts from January through April are devoted to the works of Johannes Brahms and Franz Schubert. The Chamber Music Society has been guided by three Artistic Directors: Founding Artistic Director Charles Wadsworth, Fred Sherry, and David Shifrin, who became an Artist Member in 1989.
The Chamber Music Society of Lincoln Center last appeared in November of 1995. This evening's performance marks their fifth appearance under UMS auspices.
Clarinetist David Shifrin has been Artistic Director of The Chamber Music Society of Lincoln Center since 1992. Mr. Shifrin is in demand as a soloist with orchestras all over the world. He appears frequently with
ensembles such as the Emerson, Guarneri and Tokyo quartets and recently toured with pianist Andre Watts and cellist Gary Hoffman. He will perform Brahms' Clarinet Sonatas as part of the Chamber Music Society's
BrahmsSchubert festival in April, 1997. Mr. Shifrin has made significant contributions to the clarinet repertoire through the commis?sioning and premiering of new works by John Corigliano, Joan Tower, Bruce Adolphe, Ellen Taaffe Zwilich, Peter Schickele, Paul Chihara, Paul Schoenfield and David Schiff (commissioned by the Chamber Music Society of Lincoln Center andor Chamber Music Northwest, of which Mr. Shifrin is also artistic director). He premiered Stephen Albert's Wind Canticle for Clarinet and Orchestra with the Philadelphia Orchestra, Ezra Laderman's Clarinet Concerto With the Fort Worth Symphony and Lalo Schifrin's Clarinet Concerto with the Kansas City Symphony. In December, 1996 he will per?form in the World Premiere of the Chamber Music Society's most recent commission, Christopher Rouse's Compline for Harp, Strings, Flute and Clarinet. Mr. Shifrin was a recipient of an Avery Fisher Career Grant and a Solo Recitalists Fellowship from the National Endowment for the Arts. A mem?ber of the faculty of Yale University, he has been an Artist Member of the Chamber Music Society since 1989. Mr. Shifrin lives in Connecticut with his wife, Dr. Laurie Talbot, a psychologist and their three year old son, William.
Violinist Ani Kavaiian has been an Artist of the Chamber Music Society longer than any other current artist member, having joined CMS in 1979. As soloist she has performed with most major American orchestras including those in Cleveland, Philadelphia and New York. With the St. Paul Chamber Orchestra, Ms. Kavafian recently gave the world premiere performances of Tod Machover's Concerto for Hyper Violin and Ordiestra -which she also performed at Lincoln Center Festival 96 -and Henri Lazarofs Concerto for Violin and String Ordiestra with the American Composers Orchestra. She has given recitals at Carnegie Hall and Alice Tully Hall, and regularly appears at Chamber Music Northwest, Mostly Mozart and the Santa Fe Chamber Music Festival. Ms. Kavafian has appeared at the White House three times and has been featured on PBS and network television spe?cials. She often performs with her sister, vio?linist Ida Kavafian, and is a member of the Walden Horn Trio with pianist Anne-Marie McDermott and hornist Robert Routch. She will give a recital with Ms. McDermott as part of CMS's Celebration Recital Series: Franz Schubert and Johannes Brahms in March, 1997. Born of Armenian parents in Istanbul, Ms. Kavafian moved to the United States at age nine and later studied with Ivan Galamian at Thejuilliard School. She was a recipient of an Avery Fisher Prize and winner of the Young Concert Artists International Auditions. Ms. Kavafian serves on the faculties of the Manhattan School of Music and Mannes College of Music. She has recorded for Columbia (Sony Classical), Musical Heritage Society, Nonesuch and RCA. She resides in Northern Westchester with her husband, artist Bernard Mindich, and son Matthew. Ms. Kavafian performs on the Muir Mackenzie Stradavarius made in 1736.
Cellist Gary Hoffman received international recognition in 1986 as the first American to win the Rostropovich International Cello
Competition. One of six professional musi?cians in his family, Mr. Hoffman made his London recital debut at age fifteen and is now in demand around the world as a soloist with orchestra, recitalist and as a chamber musician. His orchestral engagements include appearances with the Chicago, London, Montreal, Toronto, and San Francisco symphonies, the Rotterdam Philharmonic, Orchestra Philharmonique de Radio France, and the English Chamber Orchestra. As a recitalist, he has performed on major series in such cities as New York, London, Paris, Tokyo, Los Angeles, Florence, and Copenhagen. He has also been a frequent guest artist with numerous quartets including the Emerson and Tokyo Quartets. Mr. Hoffman was a recipient of a 1995 Avery Fisher Career Grant. His cello is the 1662 Nicolo Amati formerly owned by Leonard Rose. He will perform on a Chamber Music Society program that will be broadcast on Live From Lincoln Center in May, 1997. Mr. Hoffman has been an Artist Member of the Chamber Music Society since 1993.
Bass player Edgar Meyer is an instrumentalist and composer known in both the classical and bluegrass communities. He was a mem?ber of the progressive bluegrass band Strength in Numbers and has recorded with such artists as Mary Chapin Carpenter, Garth Brooks and The Chieftains. He has been featured as a performer and composer at the Aspen, Chamber Music Northwest, Marlboro and Tanglewood festivals and in 1985 became the regular bass player for the Santa Fe Chamber Music Festival, for which he has written six works. Mr. Meyer premiered his Bass Concerto with the Minnesota Orchestra, and performed his bass quintet on tour with the Emerson String Quartet. In 1994 he became the first bassist to receive an Avery Fisher Career Grant. Last season he collabo?rated with Yo-Yo Ma and Mark O'Connor, performed in a Live from Lincoln Center
broadcast of Schubert's "Trout" Quintet that was recorded on compact disc (Sony Classical), and gave the premiere of a dou?ble concerto that he wrote for himself and cellist Carter Brey widi a grant from the Meet the ComposerReader's Digest Commissioning Program. On its 1995-96 national tour, The Chamber Music Society of Lincoln Center performed his Trio No. 1 for Violin, Cello and Bass. In October, 1996 Mr. Meyer and the Emerson String Quartet will perform the New York premiere of his String Quintet at Alice Tully Hall. Mr. Meyer has been featured in the Wall Street Journal and on CBS Sunday Morning. As a solo artist he records exclusively for Sony Classical. He has been an Artist of the Chamber Music Society since 1994.
Last season at Lincoln Center, Paul Neubauer gave the New York premiere of the newly revised Bartok Viola Concerto with the American Symphony Orchestra and also performed the Double Concerto of Max Bruch with clarinetist David Shifrin and the Little Orchestra Society. In 1993, he gave the world premiere of the Bartok Concerto with
conductor Dennis Russell Davies and the Orchestra der Beethovenhalle Bonn. This season, Mr. Neubauer will appear with orchestras in Germany, Denmark, Mexico and Finland (with the Helsinki Philharmonic Orchestra performing Mozart's Sinfonia Concertante with violinist Cho-Liang Lin). As recital-ist and chamber music, he will perform in Holland, Korea and London (at Wigmore Hall with Joshua Bell and Friends), and in concerts throughout the United States. He has per?formed with the New York
and Los Angeles Philharmonics, St. Luke's, English Chamber and Santa Cecilia orches?tras, and the St. Louis, Cincinnati and San Francisco symphonies. As a special guest of the New York City Ballet he recently appeared in multiple performances of Viola Alone. Mr. Neubauer, has been featured on CBS Sunday Morning, A Prairie Home Companion with Garrison Keillor, in People magazine and most recently in Strings magazine. This is his fourth year as music director of the Festival Masters Chamber Series at the OK Mozart Festival in Bartlesville, Oklahoma. His awards include an Avery Fisher Career Grant and first prizes in the Whitaker, D'Angelo and Lionel Tertis International Competitions. He was principal violist of the New York Philharmonic for six years, having joined at the age of twenty-one as the youngest principal string player in that orchestra's history. Mr. Neubauer is on the faculty of Thejuilliard School. He has been an Artist of the Chamber Music Society since 1989.
Beverly Hoch is among the most versatile of sopranos today. Her orchestral repertoire is vast, she creates credible operatic heroines onstage, and she has given over 200 recitals to date, including such "theme" programs as Emily Dickenson in Song, In Praise of WoTnen, Baroque and Americana with trumpeter Stephen Burns, Divas of the Silver Screen, and A Tribute to Marcella Sembrich. Highlights of this season include this national tour with The Chamber Music Society of Lincoln Center (as well as two concerts with Andre Watts and David Shifrin at New York's Alice
Tully Hall), eight Christmas con?certs with the Dallas Symphony and a New Year's Eve concert with the Detroit Symphony. Last season brought debuts with the San Francisco, Montreal and Houston sym?phonies and Philadelphia Orchestra. She
also recorded Carmina Burana with Charles Dutoit and the Montreal Symphony for Decca.
Ms. Hoch has been welcomed at the Newport, Ravinia, Wexford, Marlboro, Aldeburgh, Glyndebourne, Kuhmo, Santa Fe, Aspen, Carmel Bach, and Spoleto festivals. She is also a faculty member of the distinguished Bach Aria Group. She has been guest soloist with the Saint Louis, Dallas, Milwaukee, Phoenix, Baltimore, Pacific, National and American symphonies; BBC Concert Orchestra, l'Orchestre National de France, Royal and Hong Kong Philharmonics; National Orchestra of Spain and Saint Paul Chamber Orchestra; she has collaborated with such conductors as
Andrew Davis, Zdenek Macal, Roger Norrington, Theodore Guschlbauer, Yan Pascal Yortelier, Lukas Foss, Pinchas Zukerman, Richard Westenburg, Leon Kirchner, Catherine Comet, and Maximiano Valdes. She has performed in New York's Carnegie Hall, Alice Tully and Avery Fisher Halls, the 92nd Street Y and Metropolitan Museum of Art, London's Royal Auditorium and San Francisco's Herbst Theatre. In addi?tion she has sung principal roles with the Washington and Arizona operas, and recent?ly earned great acclaim as Adele for two consecutive seasons in the Strasbourg Opera's Die Fledermaus. Last season she sang her first-ever Violetta, in concert version of La Traviala with the El Paso Symphony.
Ms. Hoch's recording include The Art of the Coloratura, Handel's Imeneo and Die Zauberflote (NorringtonLondon Classical Players). She recendy participated in a Messiah performance in Bethlehem, shown at the 1995 Cannes Film Festival.
This evening's concert marks Ms. Hoch's debut under UMS auspices.
The Chamber Music Society of Lincoln Center is made up of twenty Artist Members. They are joined by many guest artists throughout the season. Current Artists of the Chamber Music Society are: Ransom Wilson, Flute; Stephen Taylor, Oboe; David Shifrin, Clarinet; Milan Turkovic, Bassoon; Robert Routch, Horn; Ani Kavafian, Violin; Ida Kavafian, Violin; Cho-Liang Lin, Violin; Joseph Silverstein, Violin; Paul Neubauer, Viola; Gary Hoffman, Cello; Fred Sherry, Cello; Edgar Meyer, Contrabass; David Golub, Piano; Lee Luvisi, Piano; Anne-Marie McDermott, Piano; Orion String Quartet, Quartet-in-Residence (Daniel Phillips, Violin; Todd Phillips, Violin; Steve Tenenbom, Viola; Timothy Eddy, Cello).
Underwriting for the Chamber Music Society's tour?ing has been generously provided by the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Reader's Digest Association Inc.
Bob Becker, William Cahn, Robin Engelman, Russell Hartenberger.John Wyre
Wednesday Evening, January 8, 1997 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Together in Reflections
Music for Pieces of Wood
Nexus Sieve Reich
New York Counterpoint
Richard Stoltzman Heitor Villa-Lobos
Richard Stoltzman and Nexus
Heitor Villa-Lobos MODINHA
Richard Stoltzman and Nexus
Richard Stoltzman and Nexus
Nexus Richard Stoltzman and Nexus
Richard Stoltzman and Nexus Traditional, arranged by Nexus
Richard Stoltzman and Nexus
Thirty-fourth Concert of the 118th Season
New Interpretations Series
The New Interpretations Series is presented with support from media partner WDET, 101.9 FM, Public Radio from Wayne State University.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Music for Pieces of Wood
Born on October 3, 1936 in New York
Music for Pieces of Wood relies on the compos?er's process of "rhythmic construction," or substitution of beats for rests in a rhythmic pattern. The piece requires five performers each playing a tuned pair of large wooden dowels called claves. One player maintains a steady pulse throughout the piece while another performs a short rhythmic pattern over and over. One by one the other players build up this same pattern one note at a time, but several beats out of phase with the original pattern. This process is carried out in three sections with patterns of six, four, and three beats.
New York Counterpoint
Neiu York Counterpoint was written for Richard Stoltzman by Steve Reich in 1985. The music is in three movements, performed attacca, connected by an underlying uniform pulse. After a chordal introduction of clarinets playing in overlapping waves of repeated eighth-notes, the first movement gradually builds a tonal tapestry from small melodic patterns initiated by one clarinet and then passed on and integrated into a clarinet ensemble. From this tapestry, Steve Reich chooses single threads of melody and gives each one to the lead clarinet to play for a few moments. The second movement applies this idea to new melodic groups and an under?lying rhythm. The first movement introduc?tion is recalled. In the third movement Reich plays with the ambiguity between a fixed melody felt in groups of two and groups of three. It finishes with a riding riff very remi?niscent of the American big bands and revealing a bit of Steve Reich's American jazz background.
Program note by Richard Stoltzman
Tristeza and Modinha
Born on March 5, 1887 in Rio de Janeiro
Died on November 17, 1959 in Rio de Janeiro
Tristeza and Modinha are two haunting Portuguese love songs from Villa-Lobos in the 1920s. The first speaks of endless days spent like someone who doesn't see the ground on which he is walking because the world is not worth even the scent of his love -but the days go by and "she will not be mine." In Modinha "from the distance will arrive the lonely and sad voice of the trou?badour and you will hear from the past the voice of my affection repeating quietly by the sad confession of my love."
Program note by Richard Stollzman
Feast celebrates the rhythmic diversity of Irish and African music and was written by Bill Douglas, who grew up in Toronto, the stomping ground for Nexus, and now teaches his rock etudes to music students at the Naropa Institute in Boulder, Colorado. His keyboard and bassoon playing and his com?positions have been a regular part of Richard Stoltzman's recordings and performances.
Program note by Richard Stoltzman
John Wyre Born in 1941
Marubatoo is an expansion of Maruba, a recent composition for marimba and tuba, written for Beverly Johnson and Scott Irvine in the summer of 1987. In developing Maruba for Nexus, John Wyre gave the
melody (tuba line) to the bass marimba and has added (rotates (tuned antique cymbals) to support the melodic line. He also added two other marimba parts and vibraphone part so there are three voices that support the melodic lines in the bass marimba and crotates. Marubatoo was completeled in October 1988.
Note by John Wyre
Richard Stoltzman and Nexus
This piece is a spontaneous, free form improvisation, inspired by a mutual interest among the performers in exploring perhaps this purest form of muscial creation. By listen?ing intensely, by allowing (rather than forcing) one's innermost being to be evoked, and by harnessing skills developed over many years of experience, the music is born. The late Cornellius Cardew, British composer and performer wrote:
"Improvisation cannot be rehearsed. Training is substantial for rehearsal, and a certain moral discipline is an essential part of this training. Improvisation is in the pre?sent. Its effect may live in in the souls of the participants, both active and passive (the audience), but in its concrete form it is gone forever from the moment that it occurs, nor did it have any previous existence before the moment that it occurred, so neither is there any historical reference available. Informal 'sound' has a power over our emotional responses that formal 'music' does not, in that it acts subliminally rather than on a cultural level. I am searching for sounds and for the responses that attach to them, rather than thinking them up, preparing them and producing them. The search is conducted in the medium of sound and the
musician himself is at the heart of the experi?ment. "
Richard Stoltzman and Nexus delight in sharing this musical experience.
Traditional (Zimbabwe), arranged by Nexus
The mbira is a type of plucked idiophone found throughout Africa and sometimes called a "thumb piano" in the west. The mbira performing the leading part is a twen?ty-two keyed Shona mbira, known as "mbira dza Vadzimu" (mbira of the ancestral spirits). The music is Nexus' own interpretation of a traditional Zimbabwean melody. Accompanying instruments include a marim-bula (bass mbira from the Caribbean Islands, gankogui (iron bell), Axatse (gourd rattle) and a variety of drums.
Traditional (Ghana), arranged by Nexus
Kobina is Nexus' synthesis of one of the more popular recreational dances per?formed by the people of Ghana in West Africa. The captivating rhythm of the music has traveled with the Ewe people on their migrations from northern Nigeria through Togo and Dohomey into southeastern Ghana. The music is played on the standard "family" of Ewe drums: the high-voiced Kagan, the medium Kidi, the bass Sogo, and the leader or "master drum" Atsimevu. Completing the ensemble are the iron bell Gankogui and the gourd rattle Axatse. The drum ensemble of Ghana is renowned for the intricate complexity of its cross-rhythms and for the musical "call and response" which gives the performance the quality of a group conversation.
Formed in 1971 by Bob Becker, William Cahn, Robin Engelman, Russell Hartenberger, and John Wyre, Nexus has come to be recognized as one of Canada's premier chamber groups and one of the foremost percussion ensembles in the world. Through more than twenty-five years of performing together in concerts, recordings, and broadcasts, the group's five members have developed a unique repertoire, allowing audiences to enter and enjoy the special world that is Nexus.
International acclaim has resulted from Nexus' performances of Toru Takemitsu's From me flows what you call Time composed for Nexus and the Boston Symphony Orchestra under the direction of
Seiji Ozawa and commissioned by Carnegie Hall for its 1990-91 Centennial celebration.
Nexus performs a wide and eclectic range of music, much of which has been recorded on compact disc. Their solo concerts repertoire includes works by some of the world's most famous composers, early twentieth century xylophone ragtime music, ethnic music, com?positions by members of Nexus, and group improvisations. Their distinctive repertoire for percussion and symphony orchestra has led to appearances with the New York Philharmonic, The Cleveland Orchestra, and orchestras through?out North America. Their programs for children, teenagers, and young adults introduce the broad and colorful range of percussion instru?ments and music in a delightful and entertaining style.
Nexus created and performed the music for the Academy Award winning film The Man Who Skied Down Mount Everest. In April of 1992 the ensemble was featured on CBS Television's Sunday Morning with Charles Kuralt and Eugenia Zuckerman.
Since 1975 the group has traveled exten?sively, including tours of Australia, New Zealand, Asia (they were the first western percussion group to perform in the People's Republic of China), Scandinavia, and Europe, as well as regular appearances throughout the United States and Canada. In addition, Nexus has given workshops and masterclasses at universities around the world.
The recipient of the Toronto Arts Award in 1989, Nexus has also received the support of the Canada Council, the Canada Council
Touring Office, the Government of Canada Department of External Affairs, the Ontario Arts Council, the Ontario Ministry of Culture, Tourism and Recreation, the New York State Council for the Arts, the Western States Arts Federation, and the Connecticut Commission on the Arts.
This evening's performance marks Nexus' third appearance under UMS auspices.
ichard Stoltzman's virtu?osity, musicianship, and sheer personal magnet?ism have catapulted him to the highest ranks of international acclaim, making him one of today's most sought-after concert artists. As soloist with more than a hundred
orchestras, as a captivating recitalist and chamber music performer, as an innovative jazz artist, and as an exclu?sive RCA recording artist, Stoltzman has defied categorization, dazzling critics and audiences alike in his per?formances of all genres of music.
Stoltzman's graduated from Ohio State University with a double major in music and mathematics. He earned his Master of Music degree at Yale University while studying with Keith Wilson, and later worked toward a doctoral degree with Kalmen Opperman at Columbia University. As a ten year participant in the Marlboro Music Festival, Stoltzman gained extensive chamber music expe?rience, and subsequently became a founding member of the noted ensemble Tashi, which made its debut in 1973.
Since then, Stoltzman's unique way with the clarinet has earned him an international reputation as he has opened up possibilities for the instrument no one could have pre?dicted, doing for the clarinet what Rampal and Galway have done for the flute. He gave the first clarinet recitals in the histories of both the Hollywood Bowl and Carnegie Hall. In 1986, he became the first wind play?er to be awarded the Avery Fisher Prize. His talents as a jazz performer as well as a classi?cal artist have been heard far beyond his annual tours. He has performed or record?ed with such jazz and pop greats as Gary Burton, the Canadian Brass, Chick Corea, Judy Collins, Eddie Gomez, Keith Jarrett, the King Singers, George Shearing, Wayne Shorter, Mel Torme, and Spyro Gyra founder Jeremy Wall. His commitment to new music has resulted in the commission-
ing and premiere of dozens of new concer?tos and sonatas for the clarinet.
Highlights of the 1995-1996 season included the US premiere of the Bernstein Sonata (orchestrated by Sid Ramin) with Hugh Wolff at the Grant Park Festival in Chicago, a celebration of the Hindemith Centennial with the National Symphony Orchestra and on Spanish television, as well as orchestral engagements throughout North America, Europe, and Japan. The world premiere of William Bolcom's Second Piano Quartet with the Beaux Arts Trio, and crossover concerts at New York's Carnegie Hall, Chicago's Orchestra Hall, and at the Disney Development Institute in Orlando also marked the 1995-96 season.
Richard Stoltzman, also a Cordon Bleu trained pastry chef, is the father of two chil-
dren, Margaret Anne and Peter John with whom he shares a passion for the Boston Red Sox baseball team. Stoltzman, his wife Lucy, and their children reside in Winchester, Massachusetts.
This performance marks Richard Stollzman 's fifth appearance under UMS auspices.
FIRST OF AMERICA
Sounds of Blackness
The University of Michigan Gospel Chorale
Monday Evening, January 20, 1997 at 8:00
Hill Auditorium Ann Arbor, Michigan
This evening's program will be announced from the stage.
Thirty-fifth Concert of the 118th Season
African American Stories Series
This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1997 Rev. Dr. Martin Luther King, Jr. Day Symposium.
Large print programs are available upon request.
Sounds of Blackness is a forty member vocal and instrumental ensemble that has been the toast of Minneapolis' thriving recording scene and has pre?sented their own elaborately staged musicals since 1971. Sounds of Blackness takes the listener on a journey through the rich heritage of African American music. They perform African melodies, spirituals, rhythm and blues, gospel, blues, pop, jazz, urban contemporary and rap. From New York's historic Apollo Theater to London's Royal Albert Hall, from the legendary Montreauxjazz Festival to the traditional sur?roundings of Kyoto, Japan, from the festive streets of Rio de Janeiro, to the somber environs of the Cape Coast Castle slave dungeons in West Africa, they are among the best repre?sentatives of the "exportation of American culture," as their special brand of music has reached millions through live performances in venues all over the world. They have per?formed at the 1994 World Cup, at the 1996 Centennial Olympic Games, and at the White House for President and Mrs. Clinton.
Sounds of Blackness have had their music featured on numerous soundtracks including Batman, Mo Money, House Party II, Posse, Panther, Moses in Egypt and the Disney animation People.
Their credits include contributions on a num?ber of tribute albums to such legends as John Lennon, Marvin Gaye, Curtis Mayfield and Rosa Parks. They have recorded and performed with the likes of Sting, Elton John, Pattie Labelle.John Cougar Mellencamp, Quincy Jones, Stevie Wonder, Simply Red, Luther Vandross, Jimmy Cliff, and Salt N' Peppa. Their television appearances include The Tonight Show, Arsenio Hall, The Today Show, CNN, Christinas in Washington, and The Grammy Awards Show.
1996 marks the twenty-fifth anniversary of Sounds of Blackness, and although there have been a number of changes in the personnel through the years, it has thrived the entire time under the directorship of Gary Hines. They have proved to be one of the most influ?ential musical ensembles of the nineties. They have won two Grammy Awards, a Soul Train Music Award, and countless national and inter?national awards recognizing their achievements.
This performance marks Sounds of Blackness' debut under UMS auspices.
In October 1988, the vision of the University of Michigan Gospel Chorale became a reality. The visionaries were Barbara Robinson of Minority Student Services and Michael Swanigan of the Trotter House. These individ?uals held a meeting for all interested persons, and approximately fifty were in attendance. At this gathering, Rev. Mark Wilson agreed to be the head director and Darnell Ishmel was the associate director. Due to extenuating cir?cumstances, Rev. Wilson was unable to work with the Chorale and Darnell Ishmel was pro?moted to head director. The blessings contin?ued to flow as the UMGC formed an execu?tive board and appointed designated officers in November 1988.
The UMGC has participated in the 1994, 1995 and 1996 MLK day celebrations. Today, under the leadership of President Angela O. Thomas and the directorship of R. Janae Pitts, they remain dedicated to the mission of min?istering to God's people through song and are striving for excellence in our Lord and Savior's name.
SCHUBERTIADE II '---' Leon and Heidi Cohan, Honorary Chairs
Thursday Evening, January 23, 1997 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Drei Klavierstuck, D. 946
No. 1 in e-flat minor No. 2 in E-flat Major No. 3 in C Major
Sonata in A Major, D. 959
Scherzo & Trio: Allegro vivace
Rondo: Allegretto Presto
Sonata in B-Flat Major, D. 960
Scherzo & Trio: Allegro vivace con delicatezza
Allegro ma non troppo
Thirty-sixth Concert of the 118th Season
Schubert Cycle Series
Special thanks to Ron and Eileen Weiser for their continued support through McKinley Associates.
Special thanks to Steven Moore Whiting, Assistant Professor of Musicology, U-M School of Music, for serving as speaker for tonight's Performance Related Educational Presentation (PREP).
Special thanks to Trudy Miller, Program Director, The Schubertiade, New York, for program book consultation.
Large print programs are available upon request.
Born January 31, 1797 in Vienna Died November 19, 1828 in Vienna
Drei Klavierstucke, D. 946
The Klavierstucke of 1828 violate stylistic decorum. The swiftness of juxtaposition is uncanny. They oscillate suddenly between the beer garden and the concert hall; demonic, driving energy alternates with spectral and immobile calm.
The headlong propulsion of the first Klavierstuck, in e-flat minor, makes Schubert's other late keyboard works seem tame in comparison. In maximum contrast, its cen?tral Andante in B Major is far-sighted and resigned -and mimics, with its tremolos, arpeggios, and feathery scales, a tavern zither. This passage does not end, but evaporates in a series of twelve hypnotic, ppp chordal triplets: a ghost image of the churning left hand figuration of the main Allegro assai.
The second piece, an E-flat Major Allegretto, begins casually, sublimely. The menacing double trills and shifting chromatics of its first c minor episode insinuate the upper reaches of an inferno. A second episode, in E-flat Major, seems pierced by pain.
The last of the Drei Klavierstucke is skit?tish, unnerving, and suddenly mutable. The syncopations of its C Major main theme fly past dizzily. A central section, hiked half a step to D-flat Major, shifts meters from 24 to 32. Here, the half-note triads, breathtak-ingly static, comprise a layer of calm atop a speeding trajectory. The coda is manic.
The Drei Klavierstucke may represent three-quarters of a set of impromptus that Schubert did not live to finish. They were first published in 1868, forty years after his death; the title Three Piano Pieces is not Schubert's.
Piano Sonata in A Major, D959
No Schubert sonata begins more majestically. But the proud opening measures, with their chordal pillars, dissipate to wispy arpeggios and spiraling passagework. The chordal theme now recurs softly in the bass with a countermelody on top. The arpeggios and passagework return, cascading waywardly toward the dominant E Major. Here, a lyric second subject suggests an anchor of sorts -only to be dismantled by a furious fugato. To an unusual degree for Schubert, these opening sallies amass a pile of useful motivic scraps -characteristic intervals, rhythms, and the like -that Schubert uses in all four movements. Yet the movement's central development is less a systematic investiga?tion than a trance that homes on the A Major terra firma of the recapitulation with clairvoyant intuition. The coda, a supreme inspiration, is no summing up, but a subli?mation of the majestic beginning. A sweep?ing B-flat Major arpeggio, preceding the final, arpeggiated rise and fall of the tonic, is a visiting wave from another ocean.
The second movement, Andanlino, begins and ends with a F-sharp Major barca?role. The central episode is the most trau?matic piano music Schubert ever wrote. Schnabel called its delirious athematic pat?terns and rootless modulations "a wholly new type of expression." More recently, Alfred Brendel has remarked diat it leaves "conventional construction so far behind that it needed Schoenberg to surpass its degree of anarchy." The C-sharp Major tran?sition is a vision of wholeness made more poignant by its desperate necessity. And yet the movement ends in a gloom.
Back in the tonic, the Scherzos play of light and shadow is superbly calibrated to guide this big sonata toward a healing close. A c-sharp minor scalar rocket midway
through, for instance, deliberately recalls the rupture of movement two -but here causes no rupture. The Trio, in D Major, hints at the ineffable with the simplest of means.
The following Allegretto is one of the most gorgeous and substantial of all Schubert's finales. It is varied and expansive enough to enfold and pacify all that has gone before. Its theme derives from an earlier, much slighter Schubert sonata movement: the Allegretto quasi Andantino of D. 537. Its form derives from the finale of Beethoven's Sonata in G, Op. 31, no. 1; each structural block and -in terms of register and accom?paniment -each repetition of the main theme follows Beethoven's model. At the same time, Schubert's movement, encom?passing stretches of sublime stillness as well as a central storm, is the more expansive and varied. For the coda, both composers recapitulate fragments of the theme -an effect teasing in Beethoven, somnambulato-ry in Schubert. Then there is a closing Presto, of which Schubert's explosive version eschews Beethoven's humor. Finally, consoli?dating a gesture hinted at by Beethoven, Schubert alludes to the majestic chord for?mations with which the sonata began. The grandeur of this ending, atypical for Schubert, is here wholly appropriate, even necessary.
Piano Sonata in B-flat Major, D. 960
The first movement of Schubert's final piano sonata breathes an intoxicating quies?cence. Its superbly scored textures murmur and throb; its melodies are longer-breathed than any song. The effect, solemn and sub?lime, is one of private communion. Schubert's rapturous excursions are not only harmonic and melodic but registral, for in this sonata he surges ecstatically toward
the high treble and plunges deep in the bass. A motivic left-hand trill appears in the eighth measure, blurring into silence. At first a cryptic rumble -soothing nervous -the trill unexpectedly flares to fortissimo to complete the exposition's first ending. The development, unusually varied for Schubert, ends with wafted, palpitating melodies which beckon the principal theme. It is the sheerest siren music, in which the enigmatic trill participates as a peaceful yet detachable partner. Only in the coda is this errant detail locked into place.
This coda prepares the most rarefied of all Schubert's sonata movements, a distilled c-sharp minor barcarole afloat through remote modulations. The outer sections crest and recede, framing a more animated A Major episode. Once the ppp coda in C-sharp Major is attained, the sonata's remain?ing movements can only flutter earthward. The distinctive texture of this famous Andante sostenuto, with its "plucked" bass, demonstrates how Schubert's "orchestral" piano writing does not preclude mastery of keyboard color and sonority.
The Scherzo, in B-flat, is gossamer. The closing Allegro, ma non troppo, in sonata-rondo form, is the only movement that does not begin and end in a whisper. Its cryptic theme was once put to words by Artur Schnabel: Ich lueiss nicht ob ich lachenIch weiss nicht ob ich weinen (I know not if I'm laugh?ingI know not if I'm crying). This ambigui?ty colors the entire finale, in which Elysian ascents trail echoes of rustic merriment. The Presto coda, culminating in the sonata's most resounding cadence, seems poles apart from its starting point. Schumann comment?ed: "Thus [Schubert] ends gaily and cheer?fully, as though fully able to face another day's work." Schubert, then thirty-one years old, had only two months to live.
Program notes by Joseph Horowitz O1997
inner of the 1994 Avery Fisher Prize, Garrick Ohlsson
is one of the premier pianists of our time. He appears regularly as both recitalist and orchestral soloist in the great concert halls of the world and his repertoire and recordings cover the entire spectrum of piano literature. Ann Arbor audiences were recently privileged to witness Mr. Ohlsson's reputation as one of today's finest interpreters of the music of
Chopin. UMS present?ed his cycle of perfor?mances devoted to the composer's works for solo piano in the 1994-95 and 1995-96 seasons; Mr. Ohlsson also per?formed the cycle at New York's Lincoln Center and SUNY
Purchase. He has performed with the Philadelphia Orchestra, the Houston Symphony, the Minnesota Orchestra, and the Cleveland Orchestra, as well as many recitals and chamber appearances.
Mr. Ohlsson's first Arabesque recording, the Complete Sonatas of Carl Maria von Weber, was nominated as "Solo Instrumental Record of the Year" by Ovation magazine in 1989. His Telarc recording of the Busoni Concerto with the Cleveland Orchestra under Christoph von Dohnanyi was Grammy-nominated as "Best Classical Album of the Year" in 1990; and his Delos International recording of Henri LazaroFs Tableaux for Piano and Orchestra with the Seattle Symphony under Gerard Schwarz was Grammy-nominat?ed in 1991 as "Best Classical Performance by an Instrumentalist with Orchestra."
Garrick Ohlsson was born in White Plains, New York where he began piano study at age
eight. At age thirteen he entered The Juilliard School. In high school, a distinct aptitude for mathematics and languages placed him in accelerated classes, but his earliest career objective remained the concert stage. Although he won first prizes at the 1966 Busoni Competition in Italy and at the 1968 Montreal Piano Competition, it was his gold medal at the 1970 Chopin Competition in Warsaw that assured his international stature.
Chopin has always been and continues to be an important composer for Mr. Ohlsson, but his repertoire ranges throughout the piano literature. He has an active concerto repertoire of seventy works. Each season he performs not only Beethoven, Brahms, Mozart, Prokofiev, and Rachmaninoff, but also Dvorak, Reger, Bartok, Barber, Ravel, et. al. Perhaps his extraordinary range can be somewhat attributed to his six major piano teacherscoaches, each of whom enriched him differently: Claudio Arrau and Olga Barabini (the Classical tradition starting with Haydn and Beethoven); Tom Lishman (the French-Italian school of Debussy and Busoni), Sacha Gorodnitzki and Rosina Lhevinne (the Russian school of Anton Rubinstein), and Irma Wolpe (the Classic-Contemporary tradition coming down from Leschetizky and Schnabel).
As a chamber musician, Garrick Ohlsson has collaborated with such major artists as sopranos Jessye Norman and Magda Olivero, clarinetist Richard Stoltzman, cellist Heinrich Schiff, violinist Gil Shaham, and the Cleveland, Emerson, Guarneri, Takacs, and Tokyo String Quartets. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, Mr. Ohlsson is a founding mem?ber of the San Francisco-based FOG Trio.
Garrick Ohlsson first performed under UMS aus?pices in July, 1971. Beginning in 1995, he per?formed the complete solo piano music of Frederic Chopin in six concerts over two seasons. Tonight's performance marks Mr. Ohlsson's eighth appear?ance under UMS auspices.
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 per?forming arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collaborations and partner?ships 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) perfor?mances. This year, more than 7,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Sounds of Blackness, New York City Opera National Company's La Boheme and the National Traditional Orchestra of China.
Other activities that further the understand?ing of the artistic process and appreciation for the performing arts include:
MASTERS OF ARTS A new, free-of-charge UMS series in collaboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person), available from the UMS Box Office.
PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS (PREPS) A series of free pre-performance presentations, featuring talks, demonstrations and workshops. Usually held 60-90 minutes before performances.
In addition to these events, which are listed on pages 22-23 of this program book, UMS presents a host of other activities, including master class?es, workshops, films, exhibits, panel discussions, in-depth public school partnerships and other residency activities related to winter season pre?sentations of "Blues, Roots, Honks and Moans," the series of Schubert concerts and the Lincoln Center Jazz Orchestra with Wynton Marsalis.
Like to help out
VOLUNTEERS AND INTERNS
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert 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 with the Youth Program by compiling educa?tional materials for teachers, greeting and escorting students to seats at performances; and serving as good-will representatives for L'MS as a whole.
If you would like to become part of the University Musical Society volunteer corps, blease call 313.936.6837 or pick up a volunteer application form from the Information Table n the lobby.
Internships with the University Musical society provide experience in performing arts nanagement, marketing, journalism, publicity, jromotion, production and arts education. Semesterand year-long internships are avail?able in many aspects of the University Musical Society's operations. For more information, blease 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.
For more information about joining the UMS usher corps, call 313.913.9696
DINING EXPERIENCES TO SAVOR: THE THIRD ANNUAL "DELICIOUS EXPERIENCES"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds going to benefit UMS programs.
Following two years of resounding success, wonderful friends and supporters of the University Musical Society are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS.
Treat yourself, give a gift of tickets, purchase an entire event or come alone meet new people and join in the fun while supporting UMS! Among your choices are A Celebration 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!
The University Musical Society Board of Directors and Advisory Committee are pleased to host pre-performance din?ners 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 buf?fet will be open from 6:00 to 7:30 p.m. and is $25 per person. For reservations and informa?tion on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and Subscribers receive discounts at a vari?ety of local businesses by using 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.
Amadeus Cafe Ann Arbor Acura Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc. Fine Flowers Gandy Dancer Great Harvest John Leidy Shops
Shaman Drum Bookshop
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
Sponsorships and Advertising
UMS CORPORATE SPONSORSHIPS
Corporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-mance mentions, tickets, backstage passes and the opportunity to host receptions. Whether increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current goals, sponsorship of UMS provides visibility to our loyal patrons and beyond. Call 313.647.1176 for more information about the UMS Corporate Sponsor Program.
ADVERTISING WITH UMS
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro?vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a restaurant that meets your group's culi?nary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and the behind-the-scenes tasks asso?ciated with every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
Ford Honors Program
The Ford Honors Program is a relatively new University Musical Society pro?gram, made possible by a generous grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform individuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the 1997 UMS Distinguished Artist Award is announced in late January.
Great performances--the best in music, theater and dance--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of November 15, 1996. If there has been an error or omission, we apologize and would appreciate a call at (313) 647-1178 to correct it.
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
Elizabeth S. Bishop
Mr. and Mrs. Pal E. Borondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Dr. Eva Mueller
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin
Elizabeth E. Kennedy
Randall and Mary Pittman
Richard and Susan Rogcl
Carol and Irving Smokier
Edward Surovell and Natalie I -arv
Ronald and Eileen Weiscr
Paul and Elizabeth Yhouse
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPE IncThe Paideia Foundation
McKinley Associates, Inc.
The Edward Surovell Co.Realtors
Parke Davis Pharmaceutical Research
University of Michigan
Wolverine Temporaries, Inc.
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Mr. and Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Mr. and Mrs. Roy Pierce William and Barbara Pierce Dr. and Mrs. James Pikutski Sheila A. Pitcoff Donald and Evonne Plantinga
Martin Podolsky Mr. and Mrs. John R. Politzer Stephen and Tina Pollock Philip and Kathleen Power Drs. Edward and Rhoda Powsner Bill and Diana Pratt Larry and Ann Preuss Jacob M. Price
Richard H. and Mary B. Price Wallace and Barbara Prince Bradley and Susan Prills Ernst Pulgram David and Stephanie I'mic Lcland and Elizabeth Quackenbush Michael and Helen Radock Homayoon Rahbari, M.D. Dr. and Mrs. Robert Rapp Mr. and Mrs. DouglasJ. Rasmussen Mr. and Mrs. Robert H. Rasmussen Sandra Reagan Professor Gabriel M. Rebeiz Kathcrine R. Reebcl Mr. and Mrs. Slanislav Rehak Molly Rcsnik and John Martin JoAnne C. Rcuss H. Robert and Kristin Reynolds John and Nancy Reynolds Alice Rhodes Ms. Donna Rhodes Paul Rice
Constance Rinehart Dennis and Rita Ringle
Lisa Rives and Jason Collcns Joe and Carolyn Robcrson Peter and Shirley Roberts Robert A Sloan and
Ellen M. Bycrlein Dave and Joan Robinson Janet K. Robinson, Ph.D. Mary Ann and Willard Rodgcrs Mr. and Mrs. Stephen J. Rogers Yelena and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Bernard and Barbara Rosen Marilynn M. Rosen thai Gay and George Rosenwald Gustave and Jacqueline Rosscels Mr. and Mrs. John P. Rowe Dr. and Mrs. Raymond W. Ruddon Tom and Dolores Ryan Mitchell and Carole Rycus Ellen and James Saalberg Theodore and Joan Sachs Dr. and Mrs. Jagneswar Saha Arnold SamerofTand
Susan McDonough Ina and Terry Sandalow Howard and Lili Sandier John and Rcda Santinga Harry W. and Elaine Sargous Elizabeth M. Savage Court and Inga Schmidt
Chartene and Carl Schmult Thomas Schramm Gerald and Sharon Schreibcr Albert and Susan Schultz R. Ryan Lavclle, Ph.D
Marshall S. Schuster, D.O. Alan and Marianne Schwartz-
The Shapero Foundation Ed and Sheila Schwartz Jane and Fred Schwarz Jonathan Brombcrg and
Barbara Scott Mr. and Mrs. David Scovcll John and Carole Segall Richard A. Seid Suzanne Sclig Ms. Janet Sell Sherry and Louis Senunas Erik and Carol Serr George H. and Mary M. Sexton Nancy Silver Shallt Dr. and Mrs.J. N. Shanberge Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shappirio Maurice and Lorraine Sheppard Dr. and Mrs. Ivan Sherick William J. Sherzer Mr. and Mrs. George Shirley Drs. Jean and Thomas Shope Mary Ann Shumaker
Dr. Bruce M. Sicgan
Dr. and Mrs. Milton Siegcl
Eldy and Enrique Signori
Ken Silk and Peggy Buttenheim
Drs. Dorit Adlcr and Terry Silver
Frances and Scon Simonds
Robert and Elaine Sims
Alan and Eleanor Singer
Donald and Susan Sinta
Mrs. Loretta M. Skcwcs
Beverly N. Slater
John W. Smillic, M.D.
Dr. and Mrs. Michael W. Smith
Mr. and Mrs. Robert W. Smith
Susan M. Smith
Virginia B. Smith
Richard Soble and Barbara Kessler
Lois and William Solomon
Dr. Yoram Sorokin
Jtianitn and Joseph Spallina
Anne L. Spendlovc
.11 ii.t Spier .mil i hi,uli.in Rubin
L. Grassclli Spranklc
David and Ann Staiger
Carcn Slalburg M.D.
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Sieck
Virginia and Eric Stein
Frank D. Stella
Thorn and Ann Sterling
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
Wolfgang F. Stolper
Anjanette M. Stoltz, M.D.
Ellen M. Strand and
Dennis C. Regan Ailccn and Clinton Stroebel Joe Stroud and Kadilecn Fojtik Mrs. William H. Stubbins Drs. Eugene Su and
Christin Cartcr-Su Valerie Y. Suslow Earl and Phyllis Swain Mr. and Mrs. Robert S. Swanson Richard and June Swartz Kinili.i and Kent Talcott Jim and Sally Tamm Kciko Tanaka Eva and Sam Taylor George and Mary Tewksbury Lois A. Thcis Paul Thielking Edwin J. Thomas Bctte M, Thompson Ted and Marge Thrasher Mrs. Peggy Ticman Mr. and Mrs. W. Paul Tippett Albert Tochet
Dr. and Mrs. Merlin C. Townley James W. Toy
Dr. and Mrs. John Tricbwasscr Angic and Bob Trinka Sarah Trinka us
Marilyn Tsao and Steve Gao
Drs. Claire and Jeremiah Turcotte
Michael and Nancy Udow
Alvan and Katharine Uhle
Mr. Gordon E. Ulrey
Dr. and Mrs. Samuel C. Ursu
Joaquin and Mci Mei Uy
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Mr. and Mrs.
Douglas Van Houweling Fred and Carole S. Van Recscma Michael L. Van Tassel Kate and Chris Vaughan Phyllis Vcgtcr
Mr. and Mrs. Theodore R. Vogt Carolyn S. and Jerry S. Voight John and Maureen Voorhccs John and Jane S. Voorhorst Mr. and Mrs. Norman C. Wait Richard and Mary Walker Charles and Barbara Wallgren Lorraine Nadelman and
Sidney Warschausky Robin and Harvey Wax Mr. and Mrs. Barrett Wayburn Christine L. Webb Mrs. Joan D. Weber Willes and Kathleen Weber Deborah Webster and
Leone Buyse and Michael Webster Jack and Jerry Wcidcnbach Lawrence A. Weis and
Sheila Johnson Barbara Weiss lisa and Steve Weiss Mrs. StanficldM. Wells, Jr. Carol Campbell Welsch and
Rosemary and David Wcsenberg Mr. and Mrs. Peter Weslen Ken and Cherry Westerman Marjoric Wcstphal Paul E. Duffy and
Marilyn L. Whcaton Harry C. White Janet F. White
Christina and William Wilcox William and Cristina Wilcox Reverend Francis E. Williams Mr. and Mrs. R. Jamison Williams Jr. Shelly F. Williams Mrs. Elizabeth Wilson Beth and I.W. Winsien Jeffrey and Iinda Witzburg Charlotte Wolfe Dr. and Mrs. Ira S. Wollner Muriel and Dick Wong J. D. Woods
Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wright David and April Wright Phyllis B. Wright Fran and Ben Wylie
Mr. and Mrs. R.A. Yaglc
Ryuzo '.mi,inn in i
Sandra andjonathan Yobbagy
Frank O. Youkstctter
Professor and Mrs. Edwin H. Young
Ann and Ralph Youngrcn
Mr. and Mrs. F.L. Zeisler
Bertram and Lynn Zhcutlin
Roy and Helen Zicglcr
David S. and Susan H. Zurvalcc
American Metal Products
Garris, Garris, Garris and Garris
Law Ofiicc John Leidy Shop Marvel Office Furniture St. Joseph Mercy Hospital
Medical Staff Stritch School of Medicine
Class of 1996
Robert S. Feldman Zclina Krauss Firth George R. Hunschc Ralph Herbert Katherine Mabarak Frederick C. Matthaci, Sr. Gwcn and Emerson Powrie StcfTi Reiss Clare Siegel Ralph L. Stcffck Charlene Parker Stern William Swank Charles R. Tieman John F. Ullrich Francis Viola HI Peter Holdcrness Woods
Catherine Arcurc Paulctt and Peter Banks Back Alley Gourmet Barnes and Noble Bookstore Maurice and Linda Binkow Jeannine and Bob Buchanan Edith and Fred Bookstcin Pat and George Chatas Paul and Pat Cousins
Cousins Heritage Inn Katy and Andiony Dcrczinski Espresso Royale Fine Flowers Ken and Penny Fischer Keki and Alice Irani Maureen and Stu Isaac Matthew Hoffman Jewelry Mercy and Stephen Kaslc Howard King F. Bruce Kulp Barbara Lcvitan Maxinc and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LystraDough Boys Ste-e MaggioThe Maggio Line James McDonaldBella Ciao Karen andjoc O'Neal Richard and Susan Rogel Janet and Mike Shatusky SKR Classical Herbert Sloan David Smith
David Smith Photography Sweet Lorraine's Susan B. Ullrich Elizabeth and Paul Yhouse
L6 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproductive
39 Ann Arbor Symphony
35 Arbor Hospice
30 Bank of Ann Arbor
43 Barclay's Gallery
33 Beacon Investment
40 Benefit Source
20 Bodman, Longley and
I'.i Butzel Long
47 Cafe Marie
39 Chamber Music Society
18 Charles Reinhart
25 Chelsea Community
11 Chisholm and Dames
36 Chris Triola Gallery
27 David Smith Photography
39 Detroit Edison
11 Dickinson, Wright, Moon,
Van Dusen and Freeman
35 Dobbs Opticians
-, Dough Boys Bakery
26 Edward Surovell Company
25 Emerson School
2 Ford Motor Company
31 Fraleighs Landscape
21 Garris, Garris, Garris,
and Garris, P.C.
28 General Motors
54 Gilford, Krass, Groh,
Anderson & Cilkowski
11 Glacier Hills
15 Hagopian World of Rugs 54 Harmony House 37 Hill Auditorium Campaign 35 Interior Development 51 Jacobson's
47 Karen DeKoning and
48 Katherine's Catering and
Special Events 43 Kerrytown Bistro 29 KeyBank
40 King's Keyboard House 21 Lewis Jewelers 27 Marty's Menswear 56 Matthew C. Hoffmann
Jewelry Design 31 Miller, Canfield, Paddock
42 Mundus and Mundus
12 NBD Bank
40 Nichols, Sacks, Slank
35 Packard Community Qinic
19 Pen in Hand
43 Persian House of Imports
20 Red Hawk Bar and Grill
48 Regrets Only
24 SKR Classical
19 Snyder and Company
25 Sweet Lorraine's 10 Sweetwaters Cafe
49 Toledo Museum of Art
21 Top Drawer
36 Ufer and Company 27 U-M Urology
University Productions WDET Ul Ml
Whole Foods Market WQRS
36 Wright, Griffin, Davis and Company