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UMS Concert Program, Friday Jan. 24 To Feb. 01: University Musical Society: 1996-1997 Winter - Friday Jan. 24 To Feb. 01 --

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

University Musical
Dear Friends,
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last 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
UMS Index
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,1 10
Number of volunteer person-hours spent rehearsing and performing with the Choral Union: 21,700
Number of bottles of Evian that UMS artists drank last season: 1,080
Estimated number of cups of coffee consumed backstage during 199596 performances: 4,000
Number of cough drops consumed in Hill Auditorium each year during UMS concerts: 91,255
Number of costumes in this season's co-commission of The Harlem Nutcracker. 268
Number of individuals who were part of last season's events (artists, managers): 1,775
Number of concerts the Philadelphia Orchestra has performed in Hill Auditorium: 267
Number of concerts the Budapest String Quartet has performed in Rackham Auditorium: 43
Number of times the Philadelphia Orchestra has performed "Hail to the Victors": 24
Number of times the Budapest String Quartet has performed "Hail to the Victors": 0
Number of works commissioned by UMS in its first 100 years of presenting concerts (1879-1979): 8
Number of works commissioned by UMS in the past 6 years: 8
Number of years Charlotte McGeoch has subscribed to the Choral Union series: 58
Number of tickets sold at last autumn's Ford Credit 50 Off Student Ticket Sale: 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 lo Harper's Index1"
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."
David g. loesel
President, T.M.L. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Programs is an
honor and a privilege. Together we will enrich and empower our commu?nity's youth to carry forward into future generations this fine tradition of artistic talents."
HOWARD S. HOLMES President, Chelsea Milling Company The Ann Arbor area is very fortu?nate to have the most enjoyable and outstanding musi-
cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Chelsea Milling Company
L THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased lo support the significant cul-
tural and educational projects of the University Musical Society."
Conlin Travel
JOSEPH CURTIN AND GREGG ALF Owners, Curtin & Alf "Curtin & Alfs support of the University Musical Society is both a privilege and an
honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
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."
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."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ?ation with the
University Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
WILLIAM E. ODOM Chairman, Ford Motor Credit Company The people of Ford Credit are very proud of our con?tinuing association with the University
Musical Society. The Society's long-established 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."
ROBERT J. DELONIS Chairman, Great Lakes Bancorp "As a long-slanding member of the Ann Arbor commu?nity, Great Lakes Bancorp and the
UnKersity Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many
opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
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."
MCMULLEN President, Thomas B. McMullrn 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 educauonal enter-
JORGE A. SOUS First Via President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud iradition 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."
JOE E. O'NEAL President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
RONALD M. CRESSWELL, PH.D. Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to 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."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton &Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
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."
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."
The Edward Surovell
"It is an honor for
Edward Surovell
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
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 1997 Ford Honors Program
, 1997
ast season's Ford Honors Program, which featured Van Cliburn receiving the First UMS Distinguished Artist Award, was a memo?rable event for the concert and moving tribute
to Van Cliburn as well as for the gala dinner and dance that followed. '--Save the date for this season's Ford Honors Program -Saturday, April 26, 1997 -when the 1997 UMS Distinguished Artist Award will be bestowed upon
another internationally acclaimed artist, announced in late January. Following a performance by and tribute to this year's honoree, a gala dinner in the artist's honor will be followed by entertainment and dancing at the Michigan League.
All proceeds from the Ford Honors Program benefit the UMS Education Program.
IJor more information, caff the
QA9KS ox Office
Gala Dinner
The University Musical Society of the university of Michigan
F. Bruce Kulp, Chair Marina v.N. Whitman
Vice Chair 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 I l.n H. Hatcher Norman G. Herbert Peter N. Heydon Howard Holmes Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick Long Judyth Maugh Paul W. McCracken Alan G. Mertcn John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed Ann Sneed Schriber
Daniel H. Schurz Harold T. Shapiro Lois U. Slegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
AdministrationFinance Kenneth C. Fischer, President John B. Kennard.Jr.,
Administrative Manager Elizabeth Jahn, Asst. to
President Kate Rcmen, Admin. Asst.,
Marketing & Programming R. Scott Russell, Systems
Box Office
Michael L. Gowing, Manager Sally A. Qubing, Staff Philip Guire, Staff John Peckham, Staff
Choral Union
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,
Individual Giving
Education Audience Development
Ben Johnson, Director Emily Avers, Assistant
MarketingPromotion Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artist Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Work-Study Laura Birnbryer Rebi-kah Camm
Mcighan Dcnomme Amy Hayne Sara Jensen Kirsten Jennings Najean Lee Tansy Rodd Lisa Vogen
Jessica Flint Paula Giardini Michelle Guadagnino Michael Lawrence Bo Lee Lisa Mi iiiiK Susanna Orcutt-Grady Caen Thomason-Redus
Maya Savarino, Chair Len Niehoff, Vice-Chair Dody Viola, SecretaryTreasurer Susan B. Ullrich, Chair
Emeritus Betty Byrne, Staff Liaison
Gregg Alf
Paulctt Banks
Kathleen Beck
Janice Stevens Botsford
Jeannine Buchanan
Letitia Byrd
Chen Oi Chin-Hsieh
Phil Cole
Mary Ann Daanc Rosanne Duncan H. Michael Endres Don Faber Katherine Farrell Penny Fischer Barbara Gelehrter Beverly Geltner Joyce Ginsberg Linda Greene Esther Heitler Debbie Herbert Matthew Hoffmann Maureen Isaac
Marcy Jennings Darrin Johnson Barbara Kahn Mercy Kasle 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 Janet Shatusky Margaret Kennedy Shaw Aliza Shevrin Sheila Silver Rita Simpson Cynny Spencer Ellen Stross 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 Midivest members and friends in partnership with the National Endowment for the Arts.
General Information
University Musical Society Auditoria Directory & Information
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coat rooms arc located on each side
of the main lobby.
Power Center. Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on die 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 .iiHim .1 i.i have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of
the Michigan League.
St. Francis: There are no public telephones in the church.
Pay phones are available in the Parish Activities Center next
door to the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's restrooms are located 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.
A wealth of information about events, UMS, restaurants, and the like is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with ques?tions and requests. The information table is open thirty' minutes before each concert and during intermission.
Ticket Services
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313 area code and within Michigan, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
FAX ORDERS 3i3.647.li7i
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
GIFT CERTIFICATES Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
RETURNS If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. You will be given a receipt for an income tax deduction as refunds are not available. Please note that ticket returns do not count toward UMS membership.
Perhaps as easily recog?nized as Ann Arbor's most famous landmark. Burton Memorial Tower, is the cheerful face behind the counter of the University Musical Society's Box Office in the same building. Box Office Manager Michael Gowing cele?brated his 25th anniversary with the Musical Society this year, having joined the Box Office staff on October 18, 1971. Over the course of his 25 years at the Musical Society, he has sold tickets to 1,319 UMS events, as well as the Ann Arbor Summer Festival. A walking archive, Michael is a veritable repository of information relating to the Musical Society and its illustrious history, in recognition of the outstanding service Michael has given thousands of ticket buyers over the years, always with a twin?kle in his eyes (and usually with a
Going Strong
smile on his face!), the University Musical Society would like to invite you, the patrons he has served so devotedly, to contribute toward the purchase of a seat in Hill Auditorium in his honor. We are sure that Michael would be pleased with this tribute to his ser?vice over the past quarter-century. The staff of the Musical Society is also compiling a 25 Year Anniversary Book, filled with con?gratulatory letters from patrons,
remembrances and mementos. We hope that you will help us honor Michael by sending anything you think appropriate, to contribute, please make your check payable to the University Musical Society -Michael Gowing Seat. You may mail your contribution or letters anytime through June 1997 to University Musical Society, Burton Memorial Tower, Ann Arbor, MI 48109-1270.
All contributions are tax deductible to the amount allowed by law.
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name 'The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was estab?lished in December 1880. The Musical Society includ?ed the Choral Union and University Orchestra, and throughout the year pre?sented a series of concerts
featuring local and visiting artists and ensem?bles. Professor Frieze became the first presi?dent of the Society.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through the Choral Union, Chamber Arts, Jazz Directions, Moving Truths, Divine Expressions, Stage Presence, Six Strings and many other series, the Musical Society now hosts over 75 concerts and more than 150 edu?cational events each season. UMS has 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 Ali Khan and Ensemble Modern of Frankfurt.
Through educational endeavors, commis?sioning of new works, youth programs, artists' residencies such as those with the Cleveland Orchestra and The Harlem Nutcracker, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, the Musical Society is a sepa?rate not-for-profit organization, which supports itself from ticket sales, corporate and individ?ual contributions, foundation and government grants, and endowment income.
Thomas Sheets conducting Messiah with the UMS Choral Union
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 Chfoe 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 die 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 widi the Chicago Symphony Orchestra performing the ever-popular Fifth Symphony of Beethoven. The following evening featured Verdi's "Manzoni" Requiem, a work mat 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
Hill Auditoril-
the past century, the organ pipes were restored to their original stenciling, color and layout in 1986.
Hill Auditorium is slated for renovation, with funds currently being raised through the Campaign for Michigan. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conveniences.
Until the last fifty years, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of studying human history and human thought, died in 1933, his will estab?lished the Horace H. Rackham and Mary A. Rackham Fund. It was this fund which subse?quently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
Celebrating twenty-five years of wonderful arts presentation, the Power Center for the Performing Arts was originally bred from a realization that the University of Michigan had no adequate theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in the midst of a list of University priorities was mentioned "a new theatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
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
Rackham auditorium
Auditoria, continued
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 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).
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).
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recently began presenting
Auditoria, continued
artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and intimate venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society's roster.
Allen Pond & Pond, Martin & Lloyd, a Chicago architectural firm, designed the Mendelssohn Theatre, which is housed in the Michigan League. It opened on May 4, 1929 with an original equipment cost of $36,419, and received a major facelift in 1979. In 1995, the proscenium curtain was replaced, new carpeting installed, and the seats refurbished.
During the 1930s through the 1950s, Mendelssohn Theatre was home to a five-week Spring Drama Festival, which featured the likes of Hume Cronin, Jessica Tandy, Katharine Cornell, Burgess Meredith and Barbara Bel Geddes. Arthur Miller staged early plays at Mendelssohn Theatre while attending U-M in the early 1930s, and from 1962 through 1971, the University's Professional Theatre Program staged many plays, both originals and revivals. Several went on to Broadway runs, including You Can't Take It With You and Harvey, which starred Helen Hayes and Jimmy Stewart.
The University Musical Society's presentation of four song recitals celebrating the bicentenni?al of Schubert's birth marks the first time in 58 years that UMS has used the Mendelssohn Theatre for regular season programming. The recitals feature baritone Sanford Sylvan (January 24), mezzo-soprano Sarah Walker (January 25), baritone Wolfgang Holzmair (February 17) and soprano Barbara Bonney (February 18).
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the mailing address and box office location for the University Musical Society.
During a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles around, be built in the center of campus representing the idealism and loyalty of
U-M alumni. In 1929 the UMS Board of Directors authorized construction of the Marion LeRoy Burton Memorial Tower. The University of Michigan Club of Ann Arbor accepted the project of raising money for the tower and, along with the Regents of the University, die City of Ann Arbor, and die 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 die Charles Baird Carillon. During die academic year, visitors may climb up to the observation deck and watch die 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 i 9 9 6-9 7 Season
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 (he estate of William ft 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 Slate 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 1997 Rev. Dr. Martin Luther King, fr. Day Symposium.
Late Schubert Piano
Thursday, January 23, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored by McKinUy Associates, Inc.
Schubert song Recital I sanford sylvan, baritone David Breitman,
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Fri.Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:0fr4:00 pm, Mclntosh Theater, U-M School of Music. Open to the public.
gareth Hancock, piano
Saturday, January 25, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Sat, Jan 25, 6:30pm, MI League.
Presented with support from the World Heritage Foundation and media partner WDhT, 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 Neemejarvi, interviewed by Thomas Sheets, Conductor, UMS Choral Union. Sun, Jan 12, 3:00pm, Rackham.
Sponsored byJPE Inc. and the Paideia Foundation
conversin' with
the elders James Carter quartet
and detroit jazz
Friday, January 31, 8:00pm Lydia Mendelssohn Theatre
Part of the Blues, Roots, Honks, and Moans Jazz Residency.
The Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
His Sanctified Shells Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
(Family Show)
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
IVAN FISCHER, CONDUCTOR Thursday, February 6, 8:00pm Hill Auditorium
Saturday, February 8, 8:00pm Michigan Theater
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Ars poetica Chamber
Orchestra Anatoli Cheiniouk,
music director
Cho-Liang Lin, violin Monday, February 10, 8:00pm Rackham Auditorium
Presented with support from Miller, Canfield, Paddock and Stone, P.L.C.
Blood on the fields
wynton Marsalisand 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.
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7pm, MI League.
Sponsored by Great hikes Bancorp.
emerson string quartet All-Brahms Program Saturday, February 15, 8:00pm Rackham Auditorium
PREP Elwood Derr, U-M Professor of Music. "Nineteenth-Century 'CDs' of Brahms' String Quartets: His Piano-Duet Arrangements for Home Use." Sat, Feb 15, 7pm, MI League.
Sponsored by the Edward Surovell Co.Realtors.
Lucinda Carver, conductor Sunday, February 16, 7:00pm Michigan Theater
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Monday, February 17, 8:00pm I.ydia Mendelssohn Theatre
Schubert Song Recital IV Barbara Bonney,
soprano caren levine, piano
Tuesday, February 18, 8:00pm I.ydia Mendelssohn Theatre
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21, 8:00pm Saturday, February 22, 2:00pm
(Family Show)
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does LLa lioheme' mean" Sat, Feb 22, lpm, MI League.
Sunday, February 23, 4:00pm Rackham Auditorium
PREP Lorna McDanicl, U-M Professor of Musicology. A discussion of the afternoon's repertoire. Sun, Feb 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. McMullen Co., Inc.
NATIONAL TRADITIONAL ORCHESTRA OF CHINA Hu Bingxo, conductor Hai-Ye Ni, cellist Wednesday, February 26,8:00pm Hill Auditorium
Presented urith the generous support of Dr. Herbert Sloan.
RICHARD GOODE, PIANO Friday, March 14, 8:00pm Hill Auditorium
Sponsored by Pepper, Hamilton 6f Scheetz, Attorneys at Law.
Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin Travel and Cunard.
SCHUBERTIADE 111 HERMANN PREY, BARITONE Michael Endres, piano Auryn String Quartet
widi Martin Lovett, cello Thursday, March 20, 8:00pm Rackham Auditorium
SCHUBERTIADE IV HERMANN PREY, BARITONE Michael Endres, piano Auryn String Quartet Martin Katz, 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.
and Boys
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
I hi! 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.
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 Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, St. Francis Church.
Sponsored by Conlin Travel and Cunard.
Friday, April 11, 8:00pm Michigan Theater
Sponsored by NBD Bank.
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
Friday, April 18,8:00pm Rackham Auditorium Sponsored by Regency Travel
Maherali khan and Sher Ali Khan,
faridi qawwals ensemble
Saturday, April 19, 8:00pm Rackham Auditorium
Saturday, April 26, 6:00pm Hill Auditorium
Featuring a recital by and tribute to the recipient of the 1997 UMS Disunguished Artist Award.
Sponsored by Ford Motor Company.
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.
"Alles 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 SiecU." Frederick Amrine, Chair, U-M German Dept. Tues, Mar 18, 7:00pm
"Zieht uns hinan (Draws us upward): Mahler's Hymn to Eros." Jim Leonard, Manager, SKR Classical. Wed, Mar 19, 7:00pm
Family Programming
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, 1pm, 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.
A cknowledgments
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from 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 1997 Winter Season
Event Program Book
Friday, January 24, 1997
Saturday, February 1, 1997
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Schubert Song Recital I
Sanford Sylvan, baritone 3
David Breitman, fortepiano Friday, January 24, 8:00pm Lydia Mendelssohn Theater
Schubert Song Recital II
Sarah Walker, mezzo-soprano i 1
Gareth Hancock, piano Saturday, January 25, 8:00pm Lydia Mendelssohn Theater
Detroit Symphony Orchestra 15
Neemejarvi, conductor Leif Ove Andsnes, piano Sunday, January 26, 4:00pm Hill Auditorium
Blues, Roots, Honks, and Moans 29
A Festival of Jazz and African-American Musical Traditions Saturday, February 1, 1:00pm (75-minute Family Show) Saturday, February 1, 8:00pm Hill Auditorium
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until sealed 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, beepittg 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.
present s
Schubert Song Recital I -Leon & Heidi Cohan, Honorary Chairs
Sanford Sylvan
Friday Evening, January 24, 1997 at 8:00
Lydia Mendelssohn Theater Ann Arbor, Michigan
The Music of Franz Schubert
Drei Klavierstucke, D. 946
No. 1 in e minor No. 2 in E Major No. 3 in C Major
Die schone Mullerin, D. 795 (The Fair Maid of the Mill)
Das Wandern
Danksagung an den Bach
Am Feierabend
Der Neugierige
Des Mullers Blumen
Mit dem grunen Lautenbande
Eifersucht und Stolz
Die liebe Farbe
Die bose Farbe
Trockne Blumen
Der Muller und der Bach
Des Baches Wiegenlied
The audience is politely requested to withhold applause until the end of the song cycle.
Thirty-seventh Concert of the 118th Season
Schubert Cycle Series
Special thanks to Susan Youens, Professor of Musicology, University of Notre Dame, for serving as speaker for tonight's Performance-Related Educational Event (PREP).
Special thanks to Trudy Miller, Program Director, The Schubertiade, New York, for program book consultation.
The fortepiano used in tonight's performance is a replica of an 1824 instrument by the Viennese builder Conrad Graf, now in the Finchcock's Collection (Kent, England). It was built for Mr. Breitman in 1995 by Rodney J. Regier of Freeport, Maine.
Large print programs are available upon request.
Franz Schubert
Born January 31, 1797 in Vienna Died November 19, 1828 in Vienna
Drei Klavierstucke, D. 946
The Drei Klavierstucke (Three Piano Pieces) were composed in May 1828 during Schubert's final agonizing but prolific year. Wracked by the syphilis from which he had been suffer?ing since 1822 and beset by near poverty, the composer managed nonetheless to pour out some of his most supreme achievements, among them the f-minor Fantasy and a-minor sonata, both for piano duo, the last three piano sonatas, and the great C-Major string quintet.
Schubert's publisher had voiced repeat?ed entreaties for piano works on a more manageable scale. The request resulted in eight impromptus in 1827 and the Drei Klavierstucke the following year, set in e-flat minor, E-flat Major, and C Major. While not boasting the stature of the final sonatas, these are nonetheless challenging and sub?stantial essays, each a monument to the composer's infallible lyrical impulses.
The first and third pieces are couched in straightforward ABA form. Their outer sec?tions, respectively impetuous and playful, each frame a more tranquil interlude. The second piece, however, unfolds on a broader scale, incorporating a second Trio to yield an ABACA structure. Interestingly, the haunting refrain that closes each of the A sections links the piece to the chronological period of Die schb'ne Mullerin five years earli?er: it is a loose appropriation of choral music from Act III of Schubert's opera Fierabras, which he completed in October of 1823 just before beginning work on the song cycle.
Die schone Mullerin, D. 795 (1823)
(The Fair Maid of the Mill)
It takes little to incite knowledgeable music-lovers to extol the remarkable virtues of Schubert's songs. Arthur Hutchings, for example, waxed eloquent about their "perfect union of poetry, instrument, and personality," while the more academically-oriented Lawrence Kramer praised the unique "tension between tradition and innovation, structure and texture, musical form and musical lan?guage" Schubert's output of Lieder displays.
Perhaps nowhere in Schubert's oeuvre are the qualities that gave rise to the new form known as the art song presented with such clarity and simplicity as in his cycle Die schone Mullerin. What proves so fascinating here -and so utterly unprecedented -is the purely musical representation of the central character's psychological journey from spiritual birth to physical and spiritual death. With subtle yet deliberate strokes the composer has painted nothing less than the life of a soul, related not in emotional terms that defy complete verbal expression, but rather in purely musical terms. In this lies the true measure of Schubert's genius.
In composing this cycle, Schubert set twenty of Wilhelm Muller's twenty-three poems in the cycle by the same name, pub?lished in 1820 in a collection entitled Sieben und siebzig Gedichte aus den hinterlassenen Papieren eines reisenden Waldhornisten (Seventy-Seven Poems from the Papers of a Traveling Horn Player). They tell the story of a youth, his heart full of romantic yearn?ing for true love, who comes upon a mill as he follows a brook in the course of his trav?els. After asking for and receiving work as an apprentice, he falls in love with the miller's daughter and briefly wins her affec?tions. But the fickle maiden then yields her heart to a lusty hunter. Desolate and incon-
solable in his loss, the miller lad drowns himself in the brook, which he has come to know as his only friend.
The popular story that Schubert came upon the texts of the Muller poems in the autumn of 1823 at the house of the private secretary to one Count Seczenyi, spirited away the little book so that he could begin heated composition of the miller songs, and returned it the next day to its surprised owner with a few of the songs already com?pleted, has been proved by Walther Durr to be apocryphal. But whatever the circum?stances of Schubert's first encounter with the poems, it is certain that he was immedi?ately captivated by their simple, sincere sen?timents and touching images.
Composition of the cycle occupied Schubert during October and November of 1823. Apparently it did not find immediate success upon publication in 1824: "So...your miller songs have brought no great acclaim" wrote his friend Franz von Schober late that year. But not long thereafter the work received Beethoven's hearty approbation. Studying the songs on his sickbed in 1826, he is reported to have said repeatedly to Anton Schindler that "truly this Schubert has the divine fire" and "had I come across this poem, I would have set it."
Two ideas act as agents of coherence in this work: that of traveling and that of human speech, as Arnold Feil has noted in a recent study. The element of travel is expressed in the piano as the steady, reassur?ing presence of the brook, whether it flows serenely, babbles happily, or rushes violently. But it is the unfolding element of speech that provides a gauge of this soul's progress. Where voice and piano establish and main?tain regular melodic and metrical patterns, we are presented with a detached portrait, as a leaf from a picture book. But where the music boldly defies expectation -in partic?ular, where the vocal line erupts in the will?ful, passionate manner of verbal discourse
we are confronted with the vivid reality of human feeling.
The musical means Schubert employs to take the listener from objective perception to subjective reality are dazzling in their vari?ety and inventiveness. With the piano's con?tinuous sixteenth-note figurations, the fourth song, "Danksagung an den Bach," (Thanks to the Brook) extends the idea of travel presented in the first and second songs, but here, for the first time, joins it with a human utterance. The regular four-measure introduction in the piano leads us to expect a similar response from the voice; instead, in the manner of one speaking aloud, the antecedent phrase is extended by a bar and then followed by three measures of "afterthought" as the question to the brook is repeated. Disturbance of the estab?lished metrical pattern applies equally for the ensuing exclamatory word Gelt.
The youth's desire to impress the lovely miller maiden erupts in "Am Feierabend," (On Resting at Evening) driven by the vigor?ous turning of the mill wheels, softly at first but ultimately with explosive force. Schubert introduces two new voices here -the miller maiden and her father -rendered in the manner of recitative, with simple chordal accompaniment. The placement on the downbeat of the maiden's utterance intensi?fies its poignant effect, and hints at the pain her actions are to bring about. The persona of the miller lad is further developed in the eighth song, "MorgengruB" (Morning Greeting). Its restrained melodies are launched by sixths, but to contrasting effect: by altering the rhythmic placement of the interval, the amiable greeting at the outset is transformed into an expression of delicate hurt in the concluding line of each stanza, accompanied by a yearning echo in the piano.
"Mein!" (Mine)signifies the cycle's mid?point as the lad sings joyously of the con?quest that is at long last his. In place of the
abstractions of the first song, this one is rife with first-person imperatives and rhapsodic extensions, thus giving us the tangible impression of the lad's presence. But "Pause" (Pause) finds the apprentice at a loss for song. Perplexed, he can emit only broken phrases which, more often than not, are in direct opposition to the gentle strum?ming of the lute as represented in the piano part.
The cycle lurches forward ominously when the hunter enters the scene. In its bat?tering relentlessness, "Der Jager" (The Hunter) exudes jealousy in every bar, which mounts as each successive section rises in both musical and emotional pitch. The anger is personally assumed by the lad in "Eifersucht und Stolz" (Jealousy and Pride). Here there is virtually no melodic regularity, all is impassioned verbal outpouring.
The magnificent funeral march conclud?ing "Trockne Blumen" (Dried-up Flowers) marks the apotheosis of the miller lad's anguished longing. But his vision of fields erupting in bloom to greet the new spring as the maiden passes by his grave is only an illusion, and ultimately crumbles. In "Der Miiller und der Bach" (The Miller and the Brook) the lad's connection with the brook is re-established. As the uncertain melody and rhythm tell us, his energy is spent; he seeks only peace beneath the cool waters. The final song, "Des Baches Wiegenlied" (The Brook's Cradle-song) gently welcomes home the weary wanderer. The line Wandrer, du miider, du bist zu Haus (Wanderer, you weary one, now you are at home) in the first stanza is given as a direct, intimate address, the only phrase not repeated in the song. It in fact sums up the intent of the entire cycle, which comes to rest in the afterglow of an ever-expressive rising sixth in the voice linking the vastness of the heavens to the brook's infinite depths.
Program notes by Nancy Raabe
From Schubert's Die schone Mullerin to the operas of John Adams, the American baritone Sanford Sylvan dis?plays a remarkable range of vocal expression and com?municative power. On the concert stage and in recordings, his radiant?ly pure, lyric tone, clarity of diction and pro?found understanding of both words and music speak directly and intimately to his audience.
Deeply committed to the art of the vocal recital, Mr. Sylvan and his long-time collabo?rator, pianist David Breitman, have per?formed extensively throughout the United States and Europe, in venues including Carnegie's Weill Recital Hall and London's Wigmore Hall. This season Mr. Sylvan and Mr. Breitman (accompanied by noted Schubert scholar Susan Youens) perform sixteen recitals nationwide as part of a "Schubert Celebration" which will feature Die schone Mullerin, Winterreise, and a pro?gram of selected Schubert lieder, of which this concert is a part. Sylvan and Breitman's highly acclaimed recording of Die schone Mullerin was released by ElektraNonesuch in December 1992. The duo have also col?laborated with die Lydian String Quartet in performances of Faure's La Bonne Chanson in recitals across the country, a recording of the work, as the cornerstone of an all-Faure disk, was released in the spring of 1996. Mr. Sylvan's debut recital album on Elektra Nonesuch, Beloved That Pilgrimage -an ail-American program of music by Barber, Copland, and Chanler -was nominated for a Grammy as "Best Classical Vocal Performance" in 1991. An earlier recording of John Adams' The Wound Dresser, composed especially for him, was also a Grammy nomi?nee.
In the summer of 1994, Mr. Sylvan made his debut at the Glyndebourne Festival in
England, performing the role of Leporello in Mozart's Don Giovanni, conducted by Simon Rattle, with Deborah Warner, stage director. Mr. Sylvan has been acclaimed in the United States and Europe for his por?trayals of Figaro in Le nozze di Figaro and Don Alfonso in Cost fan tutte in the Peter SellarsCraig Smith productions of Mozart's operas, which have been seen on PBS's "Great Performances" series, and which are available on videocassette and laserdisc from DeccaLondon. He originated the roles of Chou-En Lai in John Adams' Nixon in China and Leon Klinghoffer in Adams' The Death of Klinghoffer. Both these operas were recorded by ElektraNonesuch. He has also partici?pated in the American premiere of Peter Maxwell Davies' The Lighthouse, the world premiere of Philip Glass' The Juniper Tree, and a performance at the Proms in London of Michael Tippett's The Ice Break, which was recorded by Virgin Classics. During the
1995-96 season, Mr. Sylvan appeared with the Houston Grand Opera in a production of Virgil Thomson's Four Saints in Three Ads, which was also performed at the Lincoln Center Festival last July and at the Edinburgh Festival last August.
Mr. Sylvan has performed with The Cleveland Orchestra, New York Philharmonic, Boston Symphony, San Francisco Symphony, St. Paul Chamber Orchestra, Los Angeles Philharmonic, London Sinfonietta, Orchestra of the Age of Enlightenment, NHK (Japanese Broadcasting Corp.) Symphony and the Zurich Tonhalle Orchestra, under such conductors as Christoph von Dohnanyi, Pierre Boulez, Herbert Blomstedt, Simon Rattle, Kent Nagano, and Edo de Waart. In addition to Mr. Sylvan's busy recital schedule, this sea?son includes appearances with the Royal Concertgebouw Orchestra of Amsterdam, the Duisberg Symphony Orchestra, and a
Sanford Sylvan (r) and David Breitman
return engagement with the Carmel Bach Festival under the direction of Bruno Weil. Sanford Sylvan's other festival appearances have included the Tanglewood Festival, Schleswig-Holstein Music Festival, Cabrillo Music Festival, and Ojai Festival, in addition to annual performances with the New England Bach Festival under the direction of Blanche Moyse, and Emmanuel Music in Boston, under the direction of Craig Smith. As a chamber musician, he has toured, per?formed and recorded with the Chamber Music Society of Lincoln Center, Music from Marlboro, Ensemble Sequentia, and the Boston Symphony Chamber Players, with whom he has recorded John Harbison's Words from Paterson.
Born in New York City, Sanford Sylvan is a graduate of the Manhattan School of Music. He also studied at the preparatory division of Thejuilliard School, and at the Tanglewood Music Center.
This evening's performance marks Sanford Sylvan's debut under UMS auspices.
David Breitman enjoys an active and varied career as a soloist and collaborative artist, and is equally at home with the modern piano and its historical ancestors. As part of a seven-fortepianist team led by Malcolm Bilson, he participated in the first-ever com?plete Beethoven piano sonata cycle on origi?nal instruments, given at Merkin Hall in New York, at the Utrecht Festival in Holland, and at Duke and Cornell Universities. Other recent performances include solo engage?ments with the Albany Symphony Orchestra (a performance of two concertos in a re?creation of Mozart's 1784 benefit concert), Apollo's FireThe Cleveland Baroque Orchestra, and recitals for CBC Radio in Montreal, at the Cleveland Museum of Art, in Princeton, NJ and Charleston, SC. Mr. Breitman is also a frequent guest at festivals
and symposia, including Aston Magna, the Southeastern Historical Keyboard Society, the Oberlin Summer Piano Institute, and the Westfield CenterSmithsonian Institution's "Schubert's Piano Music" Symposium in April of 1995.
In addition to the growing discography with Mr. Sylvan for ElektraNonesuch, Breitman has recorded the complete music of Chopin for piano and cello with Kim Scholes for Titanic Records, and is prepar?ing a four-CD set of all of the Mozart violin-piano sonatas with Jean Francois Rivest for UMMUS, the label of the University of Montreal.
A native of Montreal, Mr. Breitman did his undergraduate work at the Massachusetts Institute of Technology, and holds degrees from the' New England Conservatory (a Masters in piano performance with Patricia Zander) and Cornell University (a doctorate in Historical Performance Practice with Malcolm Bilson). He currently teaches at the Oberlin College Conservatory of Music.
This evening's concert marks David Breitman's debut under UMS auspices.
Sanford Sylvan and David Breitman appear by arrange?ment with The Aaron Concert Management, New York, New York.
Schubert Song Recital II J Leon & Heidi Cohan, Honorary Chairs
Saturday Evening, January 25, 1997 at 8:00
Lydia Mendelssohn Theater Ann Arbor, Michigan
Franz Schubert WlNTERREISE, D. gil. OP. 89
(Winter Journey)
Gute Nacht
Die Wetterfahne
Gefror'ne Tranen
Der Lindenbaum
Auf dem FluBe
Fruh lings trau m
Die Post
Der greise Kopf
Die Krahe
Letzte Hoffnung
Im Dorfe
Der sturmische Morgen
Der Wegweiser
Das Wirtshaus
Die Nebensonnen
Der Leiermann
The audience is politely requested to withhold applause until the end oftlie song cycle.
Thirty-eighth Concert of the 118th Season
The Schubert Song Recital II is presented with support from the World Heritage Foundation of Mr. and Mrs. Heinz Prechter.
The Visions and Voices of Women Series is presented with support from media partner WDET, public radio, 101.9 FM, Public Radio from Wayne State University.
FM 1O1.9 M
Special thanks to Susan Youens, Professor of Musicology, University of Notre Dame, for serving as speaker for tonight's Performance-Related Educational Event (PREP).
Special thanks to Trudy Miller, Program Director, The Schubertiade, New York, for program book consultation.
Schubert Cycle Series
Large print programs are available upon request.
Franz Schubert
Born January 31, 1797 in Vienna Died November 19, 1828 In Vienna
WlNTERREISE, D. gil (Winter Journey)
On 16 January 1822, the young Prussian poet Wilhelm Muller (1794-1827) sent the first twelve poems of his poetic cycle Die Winterreise (The Winter Journey) to the Leipzig literary periodical, Urania, for its 1823 issue. Schubert discovered the work at some unknown time, perhaps in late 1826, with what delight we can only imagine; he had already demonstrated an uncanny affin?ity for Muller's poetry with his first song cycle Die schone Mullerin (The Fair Maid of the Mill), D. 795, composed in 1823. By some time in early 1827 (chronological mys?teries abound in the genesis of diis work), Schubert had set die twelve Urania poems as a "closed" cycle, beginning and ending in d minor, entided simply Winterreise-he deleted the definite article for a stronger, starker effect -and then discovered still more poems belonging to die winter journey. Perhaps Muller wanted to go beyond die null and void of TLinsamkeit" (Loneliness) at die end of the Urania set, perhaps he wanted to provide answers to the protagonist's search for self-understanding, but whatever die reasons, he extended die cycle by double its original lengdi. The final version of die winter journey appeared in die second anthology of Muller's poems, like the first volume entitled Gedichte aus den hinterlasse-nen Papieren eines reisenden Waldhornisten II: Lieder des Lebens und der Liebe (Poems from the Posdiumous Papers of a Traveling Horn-player, Vol. 2: Songs of Life and Love), pub?lished in die poet's nadve town of Dessau in 1824. Muller by then had re-ordered die poems, but Schubert could not duplicate it widiout disrupting the musical structure
already created. Therefore, he simply set the remaining poems in order as a Fortsetzung (Continuation) or Part II, beginning with "Die Post," (The Post) although he reversed the succession of "Die Nebensonnen" (The Mock Suns) and "Mut" (Courage) in Muller's cycle, perhaps in order to "wind down" more gradually at the end and to make evident the musical links between his last two songs. This is truly a powerful tale, a monodrama sung by a solitary wanderer. The poet adopts the frequent Romantic theme of a spiritual journey by an isolated, alienated protagonist with a tragic finale in madness or death, but Muller transforms the conventions he borrows. We never know the poetic persona's name, his occupation, or his background. We know only the stages of his voyage into the self throughout a long winter of the spirit; die journey is more inward than outward, the winter more a metaphorical climate of the soul dian a season of the year. The quest to discover why he acts and feels as he does (this is self-analysis long before Freud) is impelled by his rejection in love, though the shadowy sweedieart is less important than the wanderer's sense of estrangement from the world and from himself. It was once fashionable to decry Muller as a "naive" poet, second-rate at best, but the pendulum of critical perception has finally righted itself, and we can see more clearly what is powerful and original in dais cycle. Certainly Schubert could: he matched Muller's grim truths widi music of the highest inspiration. When the composer first performed what he called "horrifying [schauerlicher] songs" for his friends (again, we do not know when), they were dumbfounded and did not know what to think. "I like these songs more than all the rest," Schubert replied, "and you will come to like diem as well." Indeed we have, aldiough "like" is too pallid a word for die bleakly beautiful experience of Muller's and Schubert's winter journey.
Program Note by Susan Youens
Sarah Walker began her musical life as a violinist at the Royal College of Music and subse?quently studied voice with Vera Rozsa, with whom she built a wide repertoire rang?ing from Bach to twentieth-century works. She appears frequently on the recital stage, and since the great success of her Wigmore Hall debut some twenty-five years ago, she has performed in all the major European cities and festivals, as well as in the United States, Australia and New Zealand. She has made numerous record?ings which reflect her vast recital repertoire.
Miss Walker is in great demand on the concert platform worldwide, where she has worked with Ozawa, Davis, Mackerras, Sold, Norrington, Boulez, Rhozdestvensky, Bernstein, Tilson Thomas, Marriner, Masur, Rattle and Harnoncourt. She appears regu?larly with major British orchestras and at European festivals, and sang under Leonard Bernstein in the performance of Beethoven's Ninth Symphony in Berlin diat celebrated the opening of the Berlin Wall.
She is closely associated with the Royal Opera House, Covent Garden and has also
appeared with the English National Opera, Vienna State Opera, Scottish Opera, Glynde-bourne, Geneva, Lisbon and San Francisco Operas, and the Metropolitan Opera in New York. She is on the EMI recording of Peter Grimes led by Bernard Haitink.
In recent seasons, Sarah Walker has given recitals in Cleveland at the Art Song Festival, at the Theatre Royal de la Monnaie in Brussels, the Concertgebouw in Amsterdam, Wigmore Hall in London, as well as in Spain and Scotland; concerts in Vienna and London with Roger Norrington; and opera appear?ances in Romeo el Juliette at Covent Garden, Peter Grimes in Brussels, New York and Paris, Eugene Onegin at Covent Garden, La Fille du Regiment at the Metropolitan Opera and Don Giovanni at the Theatre Royal, Bath.
Sarah Walker was made a C.B.E. in the 1991 Queen's Birthday Honors.
This concert marks Sarah Walker's debut under UMS auspices.
Gareth Hancock was born in Worcester, England and educated at Clare College, Cambridge and the Royal Academy of Music, London, where he won all the major accompaniment prizes. Since graduating, he has enjoyed a busy freelance career as coach, accompanist and repititeur. He has worked with all the major opera companies in Britain and was recently appointed Music Director of Music Theatre Kernow.
His recital schedule last season took him to France, where he recorded for national radio Germany (Berlin and Bayreuth), and throughout the United Kingdom including the Buxton and Warwick Festivals.
Future plans include a CD of sea songs with young British singers and a series of London recitals celebrating the anniversaries of Purcell and Faure, together with a season at Glyndebourne. Mr. Hancock is on the teaching staff of the Royal Academy of Music.
This concert marks Gareth Hancock's debut under UMS auspices.
The Detroit
NeemeJarvi, conductor
Leif Ove Andsnes, piano Vladimir Popov, tenor UMS Choral Union Thomas Sheets, director
Sunday Afternoon, January 26, 1997 at 4:00
Hill Auditorium Ann Arbor, Michigan
Peter Ilych Tchaikovsky
Overture from THE VOYEVODE, Op. 3
Cantata in Commemoration
of the Bicentenary of the Birth of Peter the Great
(North American premiere)
Vladimir Popov UMS Choral Union
Sergei Rachmaninoff
Concerto for Piano and Orchestra No. 3 in d minor, Op. 30
Allegro ma non tanto Intermezzo: Adagio Alia breve
Leif Ove Andsnes
Thirty-ninth Concert of the 118th Season
118th Annual Choral Union Series
Special thanks to Dr. John Psarouthakis for his continued support through JPE Inc. and the Paideia Foundation.
Special thanks to Thomas Sheets, Conductor, UMS Choral Union for serving as Master of Arts interviewer. The Master of Arts Series is a col?laborative effort of UMS, the University of Michigan Institute for the Humanities and WUOM. This Master of Arts interview will be aired on WUOM on Monday, February 3, 1997 at 8PM.
The Steinway piano used in this afternoon's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Overture from THE VOYEVODE, Op. 3
Peter Ilych Tchaikovsky
Born on May 7, 1840, in Votkinsk,
Viatka district, Russia Died on November 6, 1893, in St. Petersburg
Tchaikovsky's first opera, The Voyevode, had its premiere at the Bolshoi Theatre in St. Petersburg on February 11, 1869.
First, some explanations. The word "voyevode" is not a name but a title, one that belonged to the provincial governors in Russia before the early nineteenth century. They played a crucial role in ruling a far-flung empire, one that in many ways was still feudal. Concertgoers may be familiar with the name from the tone poem by Tchaikovsky, based on Pushkin's translation of a poem by Adam Mickiewicz.
The work from which excerpts are heard at these concerts is a different and much earlier one, Tchaikovsky's first opera, which he composed in 1867-68. Though he was a novice at writing for the stage, he managed to enlist Alexander Ostrovsky, one of the leading playwrights of the day, as his libret?tist. Perhaps he had warmed up Ostrovsky by composing a tone poem based on his play The Storm. In any case, he did curry favor by providing an Introduction and Mazurka for the playwright's Dmitri the Pretender and Vasily Shuisky.
The Voyevode had already been performed as a play, and it might have been short work for Ostrovsky to turn it into a libretto. The collaboration went promisingly at first, but after he had received the first act, Tchaikovsky alienated the librettist by losing his copy of the text and requesting that Ostrovsky write out another. With much wheedling, Tchaikovsky got this, and a bit of Act Two, but then their working relation?ship collapsed, and the composer had to provide the rest of the libretto himself.
The public was enchanted with its first hearing of an excerpt from the opera, the Dances of the Hay Maidens, which were per?formed at a concert in Moscow, conducted by Nicolai Rubinstein in December 1867. Recognizing a hit, Tchaikovsky's publisher, Jurgenson, quickly turned out an arrange?ment for piano for four hands.
The premiere of the opera itself, which took place fourteen months later in St. Petersburg, was only a partial success. The orchestral writing was generally admired, but as a drama, The Voyevode had little to rec?ommend it. According to one observer, it was staged "with odds and ends of scenery and any old costumes." A weak chorus and a lazy conductor further dimmed the work's prospects, and the critics all found fault with . the music: too German, too Italian, an insipid libretto, and so on.
Altogether, the opera had four perfor?mances, after which it disappeared from the stage. After salvaging some of the music for his next opera, The Oprichnik, Tchaikovsky destroyed the full score. The individual parts, vocal and instrumental, survived for the most part, and from these a complete score was reassembled by Soviet scholars, and The Voyevode had a revival in Leningrad in 1949.
The Overture, which prominently fea?tures a theme reminiscent of Russian liturgi?cal chant, sets the scene for a tale of emo?tional intrigue. The Voyevode of the title, Shaligin by name, abducts Maria, the sister of the woman he had pledged to marry. Maria's beloved, the young nobleman Bastryukov, conspires with Dubrovin, whose wife the governor has also abducted, to free the women from his clutches. The Voyevode returns home unexpectedly and almost foils their plan, but at the last moment, a new governor arrives on the scene, putting Shaligin under arrest and liberating his victims.
Cantata in Commemoration of the Bicentenary of the Birth of Peter the Great
Peter Ilych Tchaikovsky
This cantata was first heard at an open-air performance on the Troitsky Bridge in Moscow on June 12, 1972.
When Peter the Great became Tsar of Russia in 1695, his country looked backward and inward. In the West, the Age of Reason had trimmed the powers of the churches, made science the new source of wisdom, and encouraged people to question, think, and innovate. But Russia remained in the grip of the hereditary nobility and the Orthodox Church.
All of that changed with a jolt after the young Tsar visited Western Europe in 1697-98. The first sign of cultural innovation was his decree in 1700 that men should shave their beards and wear up-to-date short coats, in the German fashion. That was only the beginning. Between then and his death in 1725, he reorganized the ranks of the nobili?ty along "rational" lines; brought the church under state control; instituted Prussian-style discipline in the army; drove the Swedes out of the Balkans; and perhaps most important, built a modern city first called by the Dutch name Sankt Piter Bourkh. It became in turn St. Petersburg, Petrograd, Leningrad, and once again St. Petersburg.
In 1871, the new Russia Peter the Great had helped to create was planning a massive celebration of the 200th anniversary of his birth, which would fall the next year. Among other things, Nicolai Rubinstein, who was in charge of the musical side of the celebra?tions, proposed gathering folk songs from around the empire, and bringing folk singers to Moscow for the Exhibition. Tchaikovsky was one of those to be sent in
search of Russian roots, but when the com?mittee failed to raise the 1,000 rubles neces?sary for the project, it floundered.
Something even better came Tchaikovsky's way, however, a commission worth 750 rubles for him alone to write a cantata in commemoration of Peter the Great, to be performed in 1872 for the opening of the Polytechnic Exhibition. He was on his way abroad for the Christmas holidays when the commission arrived, and he apparently spent no time working on the cantata dur?ing his travels through Berlin, Paris, Nice, Genoa, Venice, and Vienna. He arrived back in Moscow on February 10, with the pre?miere of the cantata just four months away.
He was warned that Yakov Polonsky's text was "most unmusical," and for much of die cantata, he relied on works he already had in hand. From the introduction to the finale of his Symphony No. 1, he took die beginning of the cantata, and ended it with a version of the folk song on which the symphonic passage is based. 'To be fair," writes David Brown, in Tchaikovsky: The Early Years, "just as diese appropriations signified a debt to die past, so the piece also provided a legacy to die future, for Tchaikovsky rounded off die orchestral introduction widi a new section which diree years later was to form die basis of die Scherzo's trio in his Symphony No. 3.
One looks in vain for any mention of Peter the Great in die Soviet edition of Tchaikovsky's complete works. The music of die cantata is diere, but under die tide Cantata for the Opening of the Moscow Polytechnic Exhibition. This text is a latter-day muddle, concocted by die Soviet editors, who expunged any reference to Tsar Peter or his regime. Widi die opening of die former Soviet Union, Tchaikovsky's manuscripts have once more become available to schol?ars in die West, and for diese performances, die original text has been restored, and a new transladon prepared by DSO librarian Elkhonon Yoffe.
Cantata in Commemoration of the Bicentenary of the Birth of Peter the Great
Text by Yakov Polonshy Translation by Elkhonon Yoffe
As if through a foggy night distant Stars in the heavens flicker in a circle-dance, So through the murky depths of ancient times Gleam to us what was their wandering light.
A hero, a fearsome sorcerer Here, in the oaks a highwayman, A prince's feast, bustle of people's assembly, A row of icon-lamps in a cavern at the foot of the hill.
And sometimes singing voices are heard Or hermits' holy words.
The sacred grain of our Rus
Was trampled into the ground by the
Mongol Lords. Burial mounds were growing, Rus was filled
with blood, Her grain was silently breaking through to
the light.
Moscow rose with golden crowns. Like the sun into the sky Moscow rose with golden crowns Another war and a river of blood flows.
The bell of alarm, raids and fires, Tsar Ivan, the boyards' heroic deeds, The stench of executions, the smell of
burning bodies, The Time of Troubles and
self-proclaimed Tsar.
Perhaps from these evil years The fathers' heritage is left to us. And not one buried rich treasure lies Where the river flows and dark pine wood sighs.
And young and old -we'll search for the
hidden treasure, We'll search -there's a chance we'll find
the treasure.
The fathers left us semi-barbarian Rus, But faith in forbearance and power vast, A prayer heartfelt -for crucified God, The everlasting battle with nature and men. Must we fight and suffer again, Take flight to the wilderness to pray, Find secret backwoods places -refugees From foes and malice
Must we sharpen swords protecting cities,
Live through lean years,
And not give up and die in the
prime of life -Is this the wisdom of the holy fathers
They left us to a land which encompasses South ever-blooming and North non-thawing, East with its mysteries, West and many ways To halt troubles, animosity and misery
But who, absolve us, Heavenly Father,
Who'll find this miraculous way
But who, absolve us, Heavenly Father,
Who'll find this miraculous way,
Who'll find this miraculous way,
This desired and bright way
Who on the way to such a treasure
Will overstep obstacles of evil,
Who is so great as to stir the grim spirit of
the people to a new life But who, absolve us, Heavenly Father, Who'll find this miraculous way This desired and bright way Who is so great as to stir the grim spirit of
the people to a new life
Oh, there was this genius, a tsar and workman, He was a navigator, carpenter and craftsman, While studying he taught and with
a divine grit He boldly began working for the cause
of the people.
The Great passed away, and his cause also died. From gloom to light we are timidly moving. Arrogant obeyers like children we
carelessly whistle, And seek neither glory nor famous affair.
He was the gift of the Holy Father,
He showed us the miraculous way,
He was so great, he stirred the grim spirit
Of people to a new life,
For a new life, for a new life.
He was so great, he stirred the grim spirit
Of people for a new life.
The progeny of the Great on the
Russian throne,
He opposes tyranny headstrong, Slavery mute or laziness dishonorable For the sake of the people deserving his
toilsome struggle.
So that our road to happiness will
be straighter,
Bless, the people's labor, The Lord's Anointed, The Lord's Anointed. May peace rejoice, let freedom reign. So that our road to happiness
will be straighter.
May peace rejoice, let freedom reign, So that our road to happiness
will be straighter, Bless the people's labor, The Lord's Anointed
Let there be, let there be eternal peace,
freedom, Let there be, let there be eternal peace,
Let reign, let there be eternal peace, freedom, Let freedom reign
Let freedom reign and rejoice, forever, Long live peace,
Let there be peace forever, forever, Let there be peace, Let there be peace, Let there be peace,
Peace and freedom,
Peace and freedom,
Peace and freedom,
Long live freedom and peace,
And peace forever!
Concerto for Piano and Orchestra No. 3 in d minor, Op. 30
Sergei Rachmaninoff
Bom on April 1, 1873, in Semyonovo, Russia Died on March 28, 1943, in Beverly Hills, California
Rachmaninoff was the soloist at the first perfor?mance of his Third Piano Concerto in New York on November 28, 1909.
In spite of all the adulation Rachmaninoff received in the United States, he was never quite at home here. From 1918 on, America was home, insofar as he had a home, but not until the month before his death did he and his wife take out US citizenship. His first concert tour of the States, in 1909, was especially trying, as he told a Russian maga?zine when interviewed upon his return in 1910.
"America was a strain," he reported. "Imagine giving an almost daily concert for three whole months. I played only my own works. The success was great. They forced me to play as many as seven encores, which is quite a lot for that audience. The audi?ences are astonishingly cold, spoiled by the tours of first-class artists and forever looking for novelty, for something they've never heard before. Local papers are obliged to note the number of times you are recalled to the stage, and the public regards this as a yardstick of your talent." He first appeared in Ann Arbor as a part of the Choral Union series in November 1920.
Yet Rachmaninoff had one memory to cherish from the American tour: his perfor?mance of the Third Piano Concerto with the New York Philharmonic-Symphony on January 16, 1910, under Mahler's direction. This was not the premiere -that had taken place under Walter Damrosch's direction the previous November. But Rachmaninoff was grateful for the rehearsal time Mahler lavished on the new work.
"At that time Mahler was the only con?ductor whom I considered worthy to be classed with Nikisch," he said. "He devoted himself to the concerto until the accompani?ment, which is rather complicated, had been practiced to the point of perfection, although he had already gone through another long rehearsal [Berlioz' Symphonie fantastique]. According to Mahler, every detail of the score was important -an atti?tude too rare amongst conductors."
Rachmaninoff had written the concerto during the summer of 1909, near the end of a particularly rich and gratifying period for him as a composer. He had spent die years from 1906 to 1908 in Dresden wiui his family, in partial retreat from the concert platform. There, he composed the Second Symphony, the First Piano Sonata, and the tone poem, The Isle of the Dead. Even after he returned to Moscow, and to the routine of conducting and playing the'piano, die fires he had stoked in seclusion burned steadily. The Third Concerto is not only a vehicle for virtuoso pianists and a favorite widi audiences, but a coherent and well-planned work that even Rachmaninoff's detractors cannot help praising.
The melody that opens the first movement sounds as if it had grown rather dian been invented. The musicologist Joseph Yasser pointed out its similarity to the liturgical melody, Thy Tomb, O Savior, Soldiers Guarding, but when he asked Rachmaninoff about die connection, he wrote back to say that it was borrowed "neidier from folk song forms nor
from church sources."
"It simply 'wrote itself!," the composer added. "If I had any plan in composing this theme, I was thinking only of sound. I want?ed to 'sing' the melody on the piano, as a singer would sing it -and to find a suitable orchestral accompaniment, or rather one that would not muffle this singing. That is all!"
In this he succeeded, and if the orches?tral part never challenges the soloist, it offers such carefully tailored support that it never seems superfluous, like the instru?mental parts in the Chopin concertos. Throughout the Third Concerto, Rachmaninoff is especially careful to mark each change of direction for the listener with a shift in tempo, an orchestral punctua-. tion, or a striking modulation. Here, he pre?pares the way for his second subject with a lingering cadence in the piano part, and with a sketch, as it were, of the tune itself, setting the stage for the main cantabile state?ment. Meanwhile, the orchestra bridges the gap with a slowed-down version of its accom?paniment to the first theme. A good thing that Mahler rehearsed his orchestra so thor?oughly, and a pity that other conductors have not always done so!
For a moment, Rachmaninoff seems to be repeating his exposition, introductory vamp and all, but a single note in the melody -C instead of C-sharp -pushes the music gently in another direction. It is easy to hear what follows as so much postur?ing by the soloist, but in fact, almost every note can be accounted for in relation to the main theme. A written-out cadenza, for which Rachmaninoff supplied two versions, functions as a sort of pre-recapitulation. The real recapitulation, when it arrives, is stun?ningly compressed -hardly more than a backward glance over the vast territory Rachmaninoff has covered.
To call the following movement "Intermezzo" would seem grotesque in any
other context, but that is precisely its function: to serve as a bridge linking the outer move?ments. The piano makes a striking entrance here, turning suddenly and decisively from the A Major in which the movement began to D-flat Major, a key beloved of pianists because it lies so comfortably under the fin?gers. What follows seems so easy-going that only after die waltz-like middle section is well underway do we feel it as a variation of the principal theme of the first movement. As die piano completes its cadenza, leading into the finale, we understand in retrospect why Rachmaninoff set the movement in A Major, rather dian the F Major one would expect: the "Intermezzo" does not exist in its own right, but as a gloriously embellished upbeat to the Finale.
The orchestra proclaims -sotto voce -that we have come full circle by preparing for the entrance of die piano with a vamp like the one in the first movement. Closer examination reveals that the rhythm here is a variant of the one we heard long ago, and the piano part, too, grows out of die orches?tra, asserting its independence gradually.
One can approach this movement in one of two ways: either by being carried along on the flood tide of virtuosity -pianistic and orchestral; or by following the variation and transmutation of themes one by one. As he had done in the "Intermezzo," Rachmaninoff recalls themes from the first movement in disguise, allowing the listener to sense the affinity before making it explicit.
Reticence is not a characteristic most people associate with Rachmaninoff, but anyone who has listened to his recorded performances of his own music and other composers' will note the parallels between Rachmaninoff the composer and Rachmaninoff the performer. In both roles, his strengdi lies in the piling up of details into an unshakable structure; and in both, he is utterly frank with the listener, never pointing in the wrong direction and never
promising more than he can deliver. Program Notes by Michael Fleming
? W eeme Jarvi became
k the eleventh music
L director ol the Detroil
Symphony Orchestra
L I on September 1. 1990,
B his first such position Lk. with an American sym-
phony orchestra. Internationally acclaimed for his performances with orchestras and opera houses around the world, Mr. Jarvi is one of today's mo?t sought-after conductors. He is also one of the world's most recorded
conductors with over 300 titles in his discography.
Neeme Jarvi was born in Tallinn, Estonia. He graduat?ed from the Tallinn Music School with degrees in percussion and choral conduct?ing, and continued his studies at the St.
Petersburg Conservatory (1955-60), where he received training in opera and symphonic conducting under mentors Nicolai Rabinovich and Yevgeny Mravinsky. He made his conducting debut at the age of eighteen in Estonia, and his operatic debut was Bizet's Carmen, at the Kirov Theatre.
In 1963 Neeme Jarvi began his career as his country's music mogul. He became Music Director of the Estonian Radio & Television Orchestra, founded the Tallinn Chamber Orchestra, and was appointed Chief Conductor of the Opera House Estonia in Tallinn, a position he held for thirteen years. From 1976-1980, he was Chief Conductor and Artistic Director of the newly-founded Estonian State Symphony Orchestra.
Neeme Jarvi
During the 1960's Jarvi gained a reputa?tion far beyond the borders of his native Estonia, appearing regularly with the Leningrad Philharmonic, and conducting major orchestras in Moscow and other important music centers in the former Soviet Union, Eastern Europe and England. He captured the international spotlight in 1971, when he won First Prize at the Conducting Competition of the Accademia Nazionale di Santa Cecilia in Rome. Following this distinction, he received invita?tions to conduct the leading orchestras and opera companies of Great Britain, Sweden, Holland, Germany, Argentina, Canada and Japan. In the Soviet Union, he conducted that country's first-ever performances of Der Rosenkevalier, Porgy and Bess and II Turco in Italia. In 1973 and 1977 he made appear?ances in the USA with the Leningrad Philharmonic and the Leningrad Symphony, followed by his debut in 1979 at the Metropolitan Opera in New York conduct?ing Eugene Onegin.
Maestro Jarvi is an acknowledged leader in the crusade to resuscitate neglected works by both popular and lesser-know com?posers. This philosophy developed early in his career. From the podium of the Estonian State Symphony, he presented many pre?mieres of works by his countryman Eduard Tubin, Arvo Part and others. In 1979, he created a stir when he brought Credo, a Part work containing words from the Bible, to the Estonian concert hall. As Jarvi had not secured the party's seal of approval for the concert, the ensuing controversy con?tributed to his decision to emigrate to the West.
In January 1980, Neeme Jarvi and his family left the Soviet Union and settled in the USA. Just one month later he made his debut appearances with the Boston Symphony, the Philadelphia Orchestra and the New York Philharmonic. He was soon
making guest appearances with North America's leading orchestras, which led to close associations with the orchestras of Chicago, Los Angeles, San Francisco and Detroit. Also at this time Jarvi served as Principal Guest Conductor of England's Birmingham Symphony (1981-83), and Music Director of the Royal Scottish Orchestra (1984-1988), of which he is now Conductor Laureate. Since 1982 he has been Principal Conductor of the Gothenburg Symphony Orchestra of Sweden.
Neeme Jarvi holds honorary doctorates from Wayne State University in Detroit, the University of Aberdeen in Scodand, the Tallinn Music Academy in Estonia, and Gothenburg University in Sweden. An honorary member of the Royal Swedish Academy of Music, Jarvi was dubbed a Knight Commander of the North Star Order by the King of Sweden in 1990. In addition, the Mahler Society recendy honored Mr. Jarvi with the Toblach-Mahler Award for "Best New Recording" for his Symphony No. 3 with the Royal Scottish Orchestra.
Neeme Jarvi and his wife Liilia have three children, all of whom are musical. Their son Paavo is Chief Conductor of the Malmo Symphony Orchestra in Sweden, and Principal Guest Conductor of both the Stockholm Philharmonic and the City of Birmingham Symphony Orchestra in Birmingham, England; daughter Maarika is Principal Flutist with the Orquesta Sinfonica RTVE Madrid, Spain; and son Kristjan is studying conducting at the University of Michigan. Kristjan is also the founder and conductor the Absolut Ensemble in New York City.
Neeme Jarvi first appeared under UMS auspices in November 1973 conducting the Leningrad Philharmonic Orchestra. This concert marks his seventh appearance under UMS auspices.
Born in 1970, pianist Leif Ove Andsnes
made his critically acclaimed North American orchestral debut in 1990 with The Cleveland Orchestra at the Blossom Festival under the baton of Neemejarvi. Since then, he has appeared with the Los Angeles Philharmonic,
the Detroit, San Francisco, St. Louis and Chicago sym?phonies, and made his recital debuts in New York at the 92nd Street Y as well as the Kennedy Center and Ravinia. During the 1995-96 season, Mr. Andsnes performed with The Cleveland
Orchestra in Severance Hall, the Toronto, Montreal, and Baltimore symphonies, and was re-engaged with the Los Angeles Philharmonic.
Already acknowledged in Europe as one of today's most exciting young pianists, Mr. Andsnes regularly appears with the leading orchestras, including the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Philharmonia Orchestra, Oslo Philharmonic, Frankfurt Radio Orchestra and the Bergen Philharmonic, with which he will tour Europe and Japan. His schedule also includes recitals in major cities such as London, Paris, Amsterdam, Berlin, Prague and Copenhagen.
Leif Ove Andsnes began playing the piano at the age of five and in 1986 entered the Bergen Music Conservatory where he stud?ied with Jiri Hlinka. He has received numer?ous awards including the Hindemith Prize (Frankfurt 1987), the Levin Prize (Bergen 1988), the Norwegian Music Critics Prize (Oslo 1988), the Grieg Prize (Bergen 1990) and, most recently, the Dorothy B. Chandler Performing Arts Award in Los Angeles.
This performance marks Leif Ove Andsnes' debut under UMS auspices.
One of the leading dramatic tenors today, Vladimir Popov has become a regular at the Metropolitan Opera since his debut in 1984 as Lensky in Eugene Onegin. Also at the Met, Popov has sung Cavaradossi in Tosca, Johnson in La Fandulla del West, the title role of Andrea Chenier, Turiddu in Cavalleria rustkana, Adorno in Simon Boccanegra, Don Jose in Carmen, Andrei in Khovanschina, Dimitri in Bora Gudonov, Calaf in Turandot and Radames in Aida.
Popov has sung with: the San Francisco Opera as Gherman in Pique Dame, Radames and Macduff in Macbeth; Covent Garden as Calaf, Samson and Dmitri; at La Scala as Gherman and in Rimsky's Tsar Sultan; at the Arena di Verona as Dick Johnson, the Vienna Staatsoper as Calaf, Don Jose and Andrei, and the Paris Opera Bastille in Pique Dame, an opera that
has figured strongly in his career since he first sang the role in Philadelphia in a pro?duction by Gian Carlo Menotti which was telecast by PBS in the Great Performers series. While a student at La Scala in 1982, Vladimir Popov
defected to the West from Russia, where he had been with the Bolshoi. That same year, he made his US debut as Dick Johnson with the Seattle Opera.
This performance marks Vladimir Popov's debut under UMS auspices.
The Detroit Symphony Orchestra celebrates its eighty-third year with the 1996-97 season. The Orchestra is heard live by over 440,000 people annually with a year-round perfor?mance schedule that include twenty-six weeks of classical subscription concerts, the Pops Series, the Ameritech Jazz Series, the annual Christmas Festival featuring The Nutcracker ballet, The Detroit News Young People's Concerts, the Tiny Tots Series and a diverse summer season. Among the educa?tional activities the Orchestra offers are the free Educational Concert Series, Detroit Symphony Civic Orchestra concerts, a Docent and Student Ticket Distribution Program, the DSO Fellowship Program, and the Unisys African-American Composers Residency & National Symposium.
In September 1990, internationally-acclaimed conductor Neeme Jarvi became the eleventh Music Director of the DSO.
With the generous support of General Motors, the DSO also continues its long his?tory of national radio broadcasts. The DSO originated the first complete symphonic radio broadcast in 1922, and became the first official radio broadcast orchestra in the nation that same year. Today, the DSO is heard on over 500 radio stations nationwide, reaching approximately 1,150,000 listeners weekly -more than any other American orchestra.
The Orchestra has toured extensively in its history, both in Michigan and around the country. A pair of very well-received European tours took the DSO to twenty-four cities in 1979, and to fourteen music capi-tols in 1989. In 1994, the DSO and Maestro Jarvi performed five concerts as part of a week-in-residency at the Hollywood Bowl in Los Angeles. Then, in April 1995, Mr. Jarvi and the Orchestra returned to Carnegie Hall in New York for a highly-lauded, sold-out concert -the Orchestra's thirty-fourth
appearance at this legendary venue since 1920. An appearance at the prestigious Lucerne Festival in Switzerland in the spring of 1995 also drew critical praise. The DSO began an annual two-week residency at the Bravo! Colorado Music Festival in Vail, Colorado in 1995.
The Detroit Symphony Orchestra is cur?rently enjoying one of its most successful periods. Site preparation has begun for the new eighty million dollar Orchestra Place development, which will improve facilities at historic Orchestra Hall and add a new office building and a performing arts high school. This joint project with the Detroit Medical Center and the Detroit Public School system is one of the premier developments now being built in the city of Detroit. With Orchestra Place underway and Music Director Neeme Jarvi at the helm, the Detroit Symphony Orchestra and the place it calls home have many reasons to look foward to an even brighter future.
UMS is proud of its ongoing relationship with the DSO which first performed under UMS auspices in 1919. Their most recent appearance was in May of 1995 where they performed Mahler's Symphony No. 2. Tonight's performance marks their seventy-fifth appearance under UMS aus?pices and their eleventh performance in the last ten years.
Detroit Symphony Orchestra
Neemejarvi, Music Director
Music Directorship endowed by the Kresge Foundation Leslie B. Dunner, Resident Conductor Lan Shui, Associate Conductor Erich Kunzel, Pops Music. Advisor
First Violins
Emmanuelle Boisvert Concertmaster Katherine Tuck Chair
John Hughes
Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair
Joseph Goldman
Assistant Concertmaster Walker L. CislerDetroit Edison Foundation Chair
Laura Rowe
Assistant Concertmaster
Beatriz Budinszky
Marguerite Deslippe-Dene
Derek Francis
Alan Gcrstel
Elias Friedenzohn
Malvern Kaufman'
Laurie Landers
Bogos Mortchikian
Linda Snedden-Smith
Ann Strubler
LeAnn Toth
Margaret Tundo
Second Violins
Geoffrey Applegate+ Adam Stepniewski++ Alvin Score Lillian Fenstermacher Ron Fischer Lenore Sjoberg Walter Maddox Thomas Downs Robert Murphy Felix Resnick Bruce Smith Joseph Striplin Marian Tanau James Waring Hai-Xin Wu
Alexander Mishnaevski+ James VanValkenburg++ Philip Porbe Manchin Zhang Caroline Coade Hart Hollman Gary Schnerer Catherine Compton David Ireland Glenn Mellow Walter Evich
Violoncellos Italo Babini+
James C. Gordon Chair Marcy Chanteaux++ John Thurman Mario DiFiore Robert A. Bergman Barbara Hassan Debra Fayroian Carole Gatwood Haden McKay Paul Wingert
Robert Gladstone+
Van Dusen Family Chair Stephen Molina++ Maxim Janowsky Linton Bodwin Stephen Edwards Craig Rifel Marshall Hutchinson Richard Robinson
Patricia Masri-Fletcher+ Winifred E. Polk Chair
Ervin Monroe+
Women's Association for the DSO Chair
Shaul Ben-Meir
Philip Dikcman++
Jeffery Zook
Jeffery Zook
Donald Baker+ Jack A. and Aviva Robinson Chair
Shelley HeronAA
Brian Ventura++
Treva Womble
English Horn Treva Womble
Clarinets Theodore Oien+
Robert B. Semple Chair Douglas Cornelsen Laurence Liberson++ Oliver Green
E-Flat Clarinet
Laurence Liberson
Bass Clarinet Oliver Green
Robert Williams+ Victoria King Paul Ganson++ Marcus Schoon
Marcus Schoon
French Horns
Eugene Wade+ Adam Unsworth Corbin Wagner Willard Darling Mark Abbott++
Trumpets Ramon Parcells+ KevinGood Stephen Anderson+ William Lucas
Nathaniel Gurin++,= Joseph Skrzynski Randall Hawes
Bass Trombone Randall Hawes
Wesley Jacobs+
Salvatore Rabbiot Robert Pangborn++
Robert Pangborn+ Norman Fickett++ Sam Tundo
Librarians Elkhonon YofFe Charles Weaver
Personnel Managers
Michael J. McGillivray Personnel and Operations Manager
Stephen Molina
Associate Personnel Manager
+ Principal
++ Assistant Principal
= Acting Principal
These members may voluntarily revolve seating within the section on a regular basis.
A Extended leave AA Sabbatical, first half of 1996-97
Orchestra Fellow
Partial sponsorship provided by Howard & Howard
Chairman of the Board Alfred R. Clancy III
Executive Director
Mark Volpe
Activities of Detroit Symphony Orchestra Hall arc made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs, and the City of Detroit. Detroit Symphony Orchestra Hall is an affirmative action, equal opportunity institution.
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distin?guished orchestras and conductors.
In recent years, the chorus has sung under the direction of Neeme Jarvi, 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 performances 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 capaci?ty, the ensemble has joined the orchestra for subscription performances 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 this past season with perfor?mances of the Berlioz Requiem and Bach's Mass in b minor.
In the upcoming season, the UMS Choral Union will again expand its scope to include performances with a third major regional orchestra. Continuing its associa?tion with the Detroit Symphony Orchestra, the Choral Union will collaborate in January 1997 with Maestro Jarvi and the DSO to pro?duce a second CD recording for Chandos Ltd. In March, the chorus will make its debut with the Grand Rapids Symphony,
joining with them in a rare presentation of the Symphony No. 8 (Symphony of a Thousand) by Gustav Mahler. This extraordi?nary season will culminate in a May perfor?mance 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 towns?people, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
The UMS Choral Union began performing in 1879 and has presented Messiah in annual per?formances. This performance marks their 369th appearance under UMS auspices.
The UMS Choral Union
Thomas Sheets, conductor Donald Bryant, conductor emeritus Jean Schneider-Claytor, accompanist Timothy Haggerty, manager
Marie Ankenbruck-Davis
Elizabeth Ballenger
Marisa Bond
Edith Leavis Bookstein
Debra Joy Brabenec
Susan F. Campbell
Laura Christian
Cheryl D. Clarkson
Carla Dirlikov
Kathy Neufeld Dunn
Kathryn Foster Elliott
Laurie Erickson
Patricia Forsberg-Smith
Mary L. Golden
Lori Kathleen Gould
Deirdre Hamilton
Elizabeth E.Jahn
Doreen J. Jessen
Mercdyth M.Jones
Kelly Klooster
Mary Kay Lawless
Carolyn Leyh
Loretta Lovalvo
Melissa Hope Marin
Linda Marshall
Marilyn Meeker
Shin-Jung Park
Carole Lynch Pennington
Margaret Dearden Petersen
Judith A. Premin
Virginia Reese
Jennifer Richardson
Mary A. Schieve
Denise Rae Scramstad
Lindsay Shipps
Leslie Helene Smith
Sue Ellen Straub
Barbara Hertz Wallgren
Rachelle Barcus Warren
Margaret Warrick
Mary Wigton
Linda Kaye Woodman
Kathleen A. Young
Karin Zitzewitz
Leslie Austin Mary Jo Baynes Carol Beardmore Myrna Berlin Paula Brostrom Nancy Wilson Celebi Alice Cerniglia Laura Clausen Dolores Davidson Anne C. Davis Deborah Dowson Anna Egert Marilyn Finkbeiner LeAnn Eriksson Guyton Hilary Haftel Nancy Ham Carol Hohnke Nancy Houk Sally A. Kope Jean Lcverich Suzanne Stepich Lewand Cynthia Lunan Jeanette Luton Laura McDonald Erin McFall-Witte Carol Milstcin Joan L. Morrison Holly Ann Muenchow Nancy L. Murphy Lisa Michiko Murray Lotta Olvegard Kathleen Operhall Karen Osborn Lynn Powell Carren Sandall Beverly N. Slater Amy Smith Jari Smith Cynthia Sorensen Patricia Steiss Cheryl U tiger Jane Van Bolt
Chris Bartlett
Fred L. Bookstcin
Tobias Breyer
Fr. Timothy J. Dombrowski
Philip Enns
Stephen Erickson
John W. Etsweiler
Albert P. Girod
Roy Glover
Lionel R. Guerra
Arthur Gulick
Brandon Ivie
Henry Johnson
Douglas Keasal
Robert Klaffke
Martin G. Kope
Howard Lee
Paul Lowry
Robert MacGregor
Mike Needham
William Ribbens
Phillip Rodgers
Scott Silveria
Elizabeth Sklar
Carl Smith
Daniel Sonntag
Thomas Spafford
John Stiles
Samuel C. Ursu
James Van Bochove
Nicholas Wall in
Richard Ward
William Guy Barast Howard Bond Harry Bowen Thomas Bress John M. Brueger Glenn Bugala Jonathan Burdette Kee Man Chang Don Faber C. William Ferguson Philip Gorman Donald L. Haworth Gene W. Hsu Charles T. Hudson Andrew Jordan Mark K. Lindley George Lindquist Thomas Litow Lawrence Lohr Charles Lovelace Robert A. Markley Jeremy Mathis William McAdoo Joseph D. McCadden Gerald Miller Cameron Paterson Michael Pratt William Premin Bradley Pritts Sheldon Sandwciss Edward Schramm Marshall S. Schuster John T. Sepp William Simpson Alan Singer Jeff Spindler Robert Stawski Jayme Stayer Robert D. Strozier Terril O. Tompkins John Van Bolt Jack Waas Benjamin Williams
Blues, roots, Honks, and moans
A Festival of Jazz and African-American Musical Traditions Robert Sadin, Artistic Director
The James Carter Quartet
The Cyrus Chestnut Trio
Twinkie Clark
The Christian McBride Quartet
The Leon Parker Duo
Steve Turre Shell Choir
PROGRAM The program for these concerts will be announced
Saturday Afternoon, from the stage.
February 1, 1997 at 1:00 (75-minute Family Show)
Saturday Evening, February 1, 1997 at 8:00
Hill Auditorium Ann Arbor, Michigan
Fortieth Concert of the 118th Season
Jazz Directions Series
Special thanks to Mr. Larry McPherson for his continued support through NSK Corporation.
The Jazz Directions Series is presented with support from media partner WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
The Steinway piano used in this afternoon and evening's per?formance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Cyrus Chestnut was born in Baltimore and started playing piano at Mt. Calgary Baptist Church at the age of seven and organ at the age of nine. Chestnut received further musi?cal training from the Peabody Conservatory in Baltimore, then the Berklee School of Music in Boston.
He began his professional career work?ing with several celebrated artists, including Wynton Marsalis, drummer Carl Allen, and trumpeter Terence Blanchard. In 1990, he
began two years as the pianist in Betty Carter's trio. He then recorded Revelation, his debut for Atlantic Jazz. This album spent seven weeks at 1 on Gavin's jazz chart. It also ended 1994 as 1 on both the Gavin and CMJ year-end jazz charts.
Steve Futterman of The New Yorker maga?zine states, "why does Chestnut standout It's a matter of authenticity: Chestnut's flu?ency with blues phraseology, his unaffected romanticism, and a splendid touch that never glosses over a battering ram rhythmic sense."
Cyrus Chestnut made his UMS debut with Betty Carter in 1993 and returned in 1996 with Kathleen Battle. These performances mark his third and fourth appearances under UMS aus?pices.
James Carter was born and raised in Detroit, Michigan. His musical education consisted of private studies with local bop scene veter?an Donald Washington as well as tenures at the prestigious Blue Lake Fine Arts Camp. Carter first came to national attention tour?ing with Wynton Marsalis while only seven?teen. Since then, he has worked with Lester Bowie, Julius Hemphill, The Charles Mingus Big Band, The Lincoln Center Jazz
Orchestra, and Kathleen Battle, among many others.
In addition to studying with Washington, Carter spent his youth per?forming regularly. During his summers as a teenager, he played jazz at the
Blue Lake Fine Arts Camp in Muskegon County, Michigan. And when he won a scholarship to the prestigious Interlochen classical music camp 100 miles away, he attended both sessions concurrently. In 1985 he made his first tour of Europe with a stu?dent band known as the Blue Lake Jazz Ensemble. Before graduation, he returned to Europe that same summer as a a member of the camp's faculty band, the Blue Lake Monster Ensemble. Earlier in 1985, Carter met Wynton Marsalis, who hired the young?ster to play with him at DCs Blues Alley. For the next eighteen months, Carter toured with Marsalis -filling in for the trum?peter's younger brother Branford, who had left to join Sting's band. After graduating from high school, Carter began working with trumpeter Lester Bowie in November, 1988.
Mr. Carter has received critical acclaim for his current CD entitled The Real Quietstorm on Atlantic Jazz, with Craig Taborn on piano, Jaribu Shahid on bass, Dave Holland on bass, Tani Tabbal on drums, and Leon Parker on drums.
James Carter made his UMS debut in December 1996 performing with Kathleen Battle. These per?formances mark his second and third appearances under UMS auspices.
Christian McBride was born in Philadelphia and started out by playing the electric bass when he was eight years old. Inspired by his father, Lee Smith, he studied classical bass at
Cyrus Chestnut
James Carter
Philadelphia's High School for the Creative and Performing Arts. He also took lessons from Neil Courtney, bassist with the Philadelphia Orchestra.
In 1989, McBride was awarded a scholar?ship to attend Juilliard. However, saxophon?ist Bobby Watson put him to work in his band, and after that he began recording withjoe Henderson, Etta Jones, Betty Carter, Wynton Marsalis, Bruce Hornsby, Cyrus Chestnut, and Joshua Redman, among many others.
On his Verve recording, Gettin' To It, McBride contributed six original composi?tions, including the title track -a tribute to his idol, James Brown. Richard Seidel, Vice President of A&R at Verve and co-producer of the album says, "He transcends whatever
limitations the bass places on a leader. He's got the sound, intonation, and time, and he's an excep?tional accompanist and soloist; it's rare to have all five qualities in a bassist. And he's very soulful."
Last June, the city of Philadelphia hon-
ored McBride by establishing a "Christian McBride Day" during the Mellon Jazz Festival.
Christian McBride made his UMS debut in December 1996 performing with Kathleen Battle. These performances mark his second and third appearances under UMS auspices.
Trombonist composer-arranger seashell-ist Steve Turre, born to music-loving Mexican-American parents, grew up in the San Francisco Bay area and was influenced at a young age to the music of Duke Ellington, Count Basie, Stan Kenton, and Woody Herman. After a brief flirtation with the vio?lin, he settled on the trombone. At the age
of thirteen, he was a paid-in-full member of the brass section of his junior high jazz band. He studied music at Sacramento State University and on weekends, played with the San Francisco-based Escovedo, a crack
salsa band.
In 1972, Turre's snowball began to gath?er momentum. Ray Charles hired him for his world touring band. In 1973, he appren?ticed with Art Blakey's Jazz Messengers. Additionally, he played with Thad JonesMel Lewis Big Band, Van Morrison, Rashaan Roland Kirk, and Woody Shaw. It was working with Kirk which began his involvement with seashells.
After a weekly stint with the Saturday Night Live Band, his ten-piece band, Sanctified Shells, began to mature. His recording, Right There, is a heady mixture of soul, salsa, and instrumental swingosity. More recently, his recording of Rhythm Within is considered to be a "triumph of the shell."
These performances mark Steve Turre's debut under UMS auspices.
Leon Parker, a native of the New York sub?urb of White Plains, has been drumming since the age of three. By age fifteen, Parker was playing in a local youth jazz ensemble; at seventeen he began to study classical per?cussion. His passion for music led him to turn down a scholarship to study religion and philosophy at Fordham University. Instead, he got on a train and went to New York City.
Parker studied at Barry Harris' Jazz Cultural Theater. He played steadily in Elmsford, New York and performed fre?quently at the Blue Note jam sessions run by
Christian McBride
Steve turre
Philip Harper. In 1989 Parker moved to Spain, and on his return, began an associa?tion with the famed Village Gate. One of the last groups Parker put together for the Village Gate consisted of tenor saxophonist
David Sanchez, pianist Jacky Terrasson, and bassist Ugonna Okegwo -all of who appear on his recording Above and Below.
Leon Parker's unusual approach to drumming has received critical
acclaim. Don Heckman, jazz writer for the Los Angeles Times, said of the recording Above and Below, "It is Parker's imagination and sheer joy in the act of taking musical chances that energize this important recording."
Tliese performances mark Leon Parker's debut under UMS auspices.
As the musical impetus behind the famous sibling group, the Clark Sisters, Twinkie Clark performed with them for over twenty-two years. Her unique styling and arranging beean to take center stage. In addition to
her many gifts, which include writing, pro?ducing, singing and aranging with the Clark Sisters, the Greensboro, North Carolina based Twinkie Clark has garnered five Grammy Award nomi?nations, a Dove Award, a NAACP
Award and two GMWA Excellence Awards. Twinkie's talents have been witnessed not only by the gospel world, but she is well-respected throughout the music arena. With hits like You Brought the Sunshine, Is My
Living in Vain and Name It, Claim It, Twinkie received urban air-play. Her music has also charted high on Billboard urban and gospel charts.
An accomplished keyboardist, with a spe?cialty in the Hammond B-3 organ, Twinkie's influences include Thomas Whitfield, the Hawkins Family, Andrae Crouch and several other world-class musicians. Her mass appeal with music lovers has taken her to major concert halls across the country and has placed her on international stages. She has performed with the likes of The Winans, Vanessa Bell Armstrong and The Mighty Clouds of Joy.
Following a successful career with the Clark Sisters, Twinkie launched a solo career in 1991.
These performances mark Twinkie Clark's debut under UMS auspices.
Robert Sadin, Artistic Director of Blues Roots Honks and Moans, has distinguished himself in a remarkably wide range of musical idioms as a conductor, arranger, music director, record producer, teacher and counsel to many great classical, jazz and gospel artists.
As conductor of the Lincoln Center Jazz Orchestra, Mr. Sadin has toured throughout the United States in addition to numerous performances at Lincoln Center and record?ed Duke Ellington's major tone poem The Tattooed Bride. At the 1995 JVC Jazz Festival he collaborated with Marcus Roberts in a striking interpretation and reworking of Gershwin's masterpiece Rhapsody in Blue.
During 1995, Mr. Sadin and Kathleen Battle produced the cross-over release So Many Stars featuring Grover Washington, Jr., Cyrus Chestnut and Christian McBride, the concert form of which was presented by UMS this past December.
Leon Parker
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 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; jand serving as good-will representatives for jlt'MS as a whole.
If you would like to become part of the [University Musical Society volunteer corps, Iplease call 313.936.6837 or pick up a volunteer application form from the Information Table nn the lobby.
Internships with the University Musical Bociety provide experience in performing arts [management, marketing, journalism, publicity, promotion, production and arts education. (Semesterand year-long internships are avail?able in many aspects of the University Musical Society's operations. For more information, Iplease 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
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
National Company
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and 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
Kerrytown Bistro
Marty's Menswear
Schoolkids Records
Shaman Drum Bookshop
SKR Classical
Sweerwaters Cafe
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
sponsorships and Advertising
Corporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-mance mentions, tickets, backstage passes and the opportunity to host receptions. Whether increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current goals, sponsorship of UMS provides visibility to our loyal patrons and beyond. Call 313.647.1176 for more information about the UMS Corporate Sponsor Program.
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro?vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a 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.
Advisory Committee
of the University Musical Society ..............................................................................................
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and the behind-the-scenes tasks asso?ciated with every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
ord 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.
Thank You!
Great performances--the best in music, theater and dance;--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of November 15, 1996. If diere 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 conunue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Elizabeth S. Bishop
Mr. and Mrs. Pal E. Borondy
Mr. Hilbcrt Beyer
Mr. and Mrs. John Alden Clark
Ralph Conger
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin Elizabeth E. Kennedy Randall and Mary Pittman John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovcll and Natalie Lacy Ronald and Eileen Weiser Paul and Elizabeth Yhouse
Conlin Travel
Detroit Edison
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPE IncThc Paideia Foundation
McKinley Associates, Inc.
NBD Bank
NSK Corporation
Regency Travel
The Edward Surovell Co.Realtors
TriMas Corporation
Parkc Davis Pharmaceutical Research
University of Michigan
Wolverine Temporaries, Inc.
Arts Midwest
Grayling Fund
Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Robert and Ann Meredith Mrs. John F. Ullrich
Corporations Continental Cabicvision Great Lakes Bancorp Harman Motive Audio Systems Pepper, Hamilton and Scheetz WQRS
Herb and Carol Amsler
Carl and Isabcllc Brauer
Dr. James Byrne
Mr. Ralph Conger
Margaret and Douglas Crary
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
Sun-Chien and Betty Hsiao
Mr. and Mrs. Howard S. Holmes
F. Bruce Kulp
Mr. David G. Loesel
Charlotte McGeoch
Mr. and Mrs. George R. Mrkonic
Joe and Karen Koykka O'Neal
Monti and Gui Ponce de Leon
Mrs. M. Titiev
Marina and Robert Whitman
The Anderson Associates
Chelsea Milling Company
Curtin & Alf Violinmakers
First of America Bank
Thomas B. McMullcn Company
Masco Corporation
O'Neal Construction
Project Management Associates
KMD Foundation
World Heritage Foundation
Individuals Maurice and Linda Binkow Kathleen G. Charla Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans John and Esther Floyd Rebecca McGowan and Michael Staebler
Thomas and Shirley Kauper Dr. and Mrs. Joe D. Morris John W. and Dorothy F. Reed Maya Savarino and Raymond Tanter Mrs. Francis V. Viola III John Wagner
AAA Michigan Environmental Research
Institute of Michigan Ford Audio Maude's Miller, Canficld, Paddock
and Stone Mission Health Waldenbooks
Bcnard L. Maas Foundation
Dr. and Mrs. Gerald Abrams Professor and
Mrs. Gardner Ackley Dr. and Mrs. Robert G. Aldrich Robert and Martha Ause Jama R. Baker. Jr., M.D. and
Lisa Baker A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreuter Joan A. Binkow Howard and Margaret Bond Tom and Carmel Borders Barbara Everitt Bryant and
John H. Bryant Mr. and Mrs. Richard J. Burstein Belly Byrne I-etitiaJ. Byrd Edwin F. Carlson Jean and Kenneth Casey David and Pal Clyde Leon and Heidi Cohan Maurice Cohen RolandJ. Cole and
Elsa Kircher Cole Dennis Dahlmann Jack and Alice Dobson Jim and Patsy Donahey Jan and Gil Dorer (-lien and Dr. Stewarl Epstein Dr. and Mrs. S.M. Farhat David and Jo-Anna Fealherman
Adrienne and Robert Feldstein Richard and Marie Flanagan Robben and Sally Fleming Michael and Sara Frank Margaret Fisher Mr. Edward P. Frohlich Marilyn G. Gallatin Beverley and Gerson Geltncr William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Paul and Anne Glendon Norm Gottlieb and
Vivian Sosna Gotdieb Dr. and Mrs. William A. Grade Ruth B. and
Edward M. Gramlich Linda and Richard Greene Seymour D. Greenstone Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Julian and Diane HofT Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Kcki and Alice Irani Merc)' and Stephen Kasle Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kinnear Bethany and A. William Klinke II Michael and Phyllis Korybulski Barbara and Michael Kusisto Mr. Henry M. Lee Evie and Allen Lichter Carolyn and Paul Lichter Patrick B. and Kathy Long Dean S. Louis Brigitte and Paul Maassen Ms. Francine Manilow Marilyn Mason and
William Steinhoff Judythe and Roger Maugh Paul and Ruth McCrackcn Joseph McCunc and
Georgiana Sanders Reiko McKcndry Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Millard Dr. and Mrs. Andrew and
Can dice Mitchell Virginia Patton and
Cruse W. Moss William A. Newman Len and Nancy Nichoff Bill and Marguerite Oliver
Mark and Susan Orringcr Mr. and Mrs. David W. Osier Mr. and Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and Wilbur K. Pierpont Professor and
Mrs. Raymond Reilly Glenda Rcnwick Jack and Margaret Rickets Prudence and Amnon Roscnthal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumclhart Richard and Norma Sams Rosalie and David Schottcnfcld Janet and Mike Shatusky Cynthia J. Sorcnsen Gerard H. and Colleen Spencer Dr. Hildreth H. Spencer Mr. and Mrs. John C. Stegcman Victor and Marlcne Stocffler Dr. and Mrs. Jeoffrey K. Stross Dr. and Mrs.
E. Thurston Thieme Jcrrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
Laura A. Van House Ellen C. Wagner Elise and Jerry Weisbach Roy and JoAn Wetzel Len and Maggie Wolin Nancy and Martin Zimmerman
and several anonymous donors
SM Health Care Jacobson Stores Inc. Michigan National Bank Shar Products Company
The Mosaic Foundation
(of Riia and Peter Heydon) Washlcnaw Council for the Arts
Jim and Barbara Adams Bernard and Raquel AgraiiolT M. Bernard Aidinoff Carlene and Peter AHferis Catherine S. Arcure Essel and Menakka Bailey Robert I.. Baird
Emily Bandera
Dr. and Mrs. Robert Bar dell
Ralph P. Beebe
Mrs. Kathleen G. Benua
Robert Hunt Berry
Suzanne A. and
Frederick J. Bcutlcr Ron and Mimi Bogdasarian Edith and Fred Bookstcin Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Britton David and Sharon Brooks Jeannine and Robert Buchanan Phoebe R. Bun Freddie Caldwell Jean W. Campbell Bruce and Jean Carlson Mrs. Raymond S. Chase Susan and Arnold Coran Mrs. David Cox H. Richard Crane Alice B. Crawford Peter and Susan Darrow Katy and Andiony Derezinski Judith and Kenneth DeWoskin Elizabeth A. Doman Bita Esmaeli, M.D. and Howard Gutstcin, M. D. Claudinc Farrand and
Daniel Moerman Mrs. Beth B. Fischer Ken, Penny and Matt Fischer Susan R. Fisher and
John W. Waidley Phyllis W. Foster Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert James and Janet Gilsdorf John R. and Helen K. Griffith Susan R. Harris Jay and Maureen Hartford Harlan and Anne Hatcher Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hooblcr Mary Jean and Graham Hovey Che C. and Teresa Huang Gretchen and John Jackson Robert L. and Beatrice H. Kahn Herb Katz
Richard and Sylvia Kaufman Howard King and
Elizabeth Sayre-King Richard and Pat King Hcrmine Roby Klingler Jim and Carolyn Knake John and Jan Kosta Mr. and Mrs. Samuel Krimm
Benefactors, continued
Bud and Justine Kulka Suzanne and Lee E. landes Elaine and David Lcbenbom Leo A. Legatski
Mr. and Mrs. Fernando S. Leon Mr. and Mrs. CarlJ. Lmkehaus Donald and Doni Lystra Robert and Pearson Macek John and Cheryl MacKrcll Mark Mahlbcrg Alan and Carla Mandel Ken Marblestone and
Janisse Nagel
Mr. and Mrs. Damon L. Mark David G. McConncll John F. McCuen Kevin McDonagh and
Leslie Crofford
Richard and Elizabeth McLcary Thomas B. and
Deborah McMullcn Hattie and Ted McOmbcr Mr. and Mrs.
Warren A. Merchant Myrna and Newell Miller Ronald Miller Grant Moore and
Douglas Weaver Mr. Erivan R. Morales and
Mr. Seigo Nakao John and Michelle Morris John Blankleyand
Maureen Foley M. Haskell and
Jan Barney Newman Virginia and Gordon Nordby Marysia Oslafin and
George Smillie
Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and lxrna Prescott Tom and Mary Princing Jerry and Millard Pryor Mrs. Gardner C Quarton Mrs. Joseph S. Radom Stephen and Agnes Reading Jim and Bonnie Rcece Mr. Donald H. Regan and
Ms. Elizabeth Axclson Dr. and Mrs.
Rudolph E. Rcichert Maria and Rusty Restui (ia Katherine and William Ribbens James and June Root Mrs. Doris E. Rowan Peter Savaiino Peter Schaberg and
Norma Amrhcin Mrs. Richard C Schneider Professor Thomas J. and
Ann Snccd Schribcr Edward and Jane Schulak
Juliannc and Michael Shea Mr. and Mrs.
Fredrick A. Shimp, Jr. Helen and George Siedel Steve and Cynny Spencer Lloyd and Ted Si. Antoine Ron and Kay Stcfanski Mrs. Ralph L. Steffek Mrs. John D. Stoner Nicholas Sudia and
Nancy Biclby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Herbert and Anne Upton Don and Carol Van Curler Bruce and Raven Wallace Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Angela and Lyndon Welch Ruth and Gilbert Whitaker Brymcr and Ruth Williams Frank E. Wolk M;u i.i v .mil loin Yoi k
Coffee Express Co. Emergency Physicians
Medical Group, PC Guardian Industries Corporation Masco
Red Hawk Bar and Grill St. Joseph Mercy Hospital
Medical Staff University Microfilms
The Power Foundation Shiftman Foundation Trust
Mr. Gregg T. Alf
Dr. and Mrs. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlene and Henry Appelman
Sharon and Charles Babcock
Lcsli and Christopher Ballard
Dr. and Mrs. Peter Banks
M. A. Baranowski
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barnctt
Dr. and Mrs. Mason Barr.Jr.
Astrid B. Beck and
David Noel Frecdman
Ncal Bedford and
Gerlinda Mclchiori Harry and Betty Benford Ruih Ann and SuiartJ. Bergstein Jim Botsford and
Janice Stevens Botsford Betsy and Ernest Brater Mr. and Mrs. Gerald Bright Morton B. and Raya Brown Mrs. Theodore Cage Jim and Priscilla Carlson Professor Brice Carnahan Jeannette and Robert Carr Mr. and Mrs. Dennis Carroll Janet and Bill Cassebaum Andrew and Shelly Caughey Yascr Cercb
Tsun and Sill Ying Chang Pat and George Chatas Ed and Cindy dark Janice A. Clark Jim and Connie Cook Mary K. Cordes Alan and Bette Cotzin Merle and Mary Ann Crawford William H. Damon III Laning R. Davidson, M.D. Jean and John Debbink Elizabeth Dexter Delia DiPietro and
Jack Wagoner, M.D. Thomas and Esther Donahue Cecilia and Allan Dreyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser David and Lynn Engelbert Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Filgas Sidney and Jean Fine Herschcl and Annette Fink Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnelle Forde Deborah and Ronald Frcedman Harriet and Daniel Fusfeld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Wood and Rosemary Geisl Henry and Beverly Gershowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon Dr. Alexander Gotz Mrs. William Grabb Elizabeth Ncedham Graham Jerry and Mary K. Gray Dr. John and Renee M. Greden Mr. and Mrs. Robert Grijalva Ix'slic and Mary Ellen Guinn Margaret and Kenneth Guirc Philip E. Guire Don P. Haefner and
Cynthia J. Stewart Veronica Haines Marcia and Jack Hall
Mrs. William Halstcad Margo Halstcd Dagny and Donald Harris Bruce and Joyce Herbert Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershenson Herb and Dee Hildebrandt John H.and
Mauri (a Pelerson Holland Drs. Linda Samuelson and
Joel Howell Ronald R. and
Gaye H. Humphrey Mrs. Hazel Hunsche George and Katharine Hunt Wallie and Janet Jeffries Ellen C.Johnson Susan and Stevo Julius Mary B. and Douglas Kahn Steven R. K.ili and
Robert D. Heeren Anna M. Kauper David and Sally Kennedy Beverly Kleiber Bert and Catherine La Du Henry and Alice Landau Mr. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann Lcidy Jacqueline H. Lewis Jody and I-eo Lightliammcr Edward and Barbara Lynn Jeffrey and Jane Mackic-Mason Frederick C. and
Pamela J. Mackintosh Steve and Ginger Maggio Virginia Mahle
Thomas and Barbara Mancewiec Edwin and Catherine Marcus Rhoda and William Martel Mrs. Lester McCoy Grill" and Pat McDonald Walter and Ruth Mctegcr Dcanna Relyea and
Piotr Michalowski Sally and Charles Moss Marianne and Mutsumi Nakao Barry Nemon and
Barbara Stark-Ncmon Martin Neuliep and
Patricia Pancioli Peter F. Norlin Richard S. Nottingham Marylen and Harold Oberman Richard and Joyce Odell Mark Ouimet and
Donna Hrozencik Donna D. Park Randolph Paschke Mrs. Margaret D. Petcrsen Lorraine B. Phillips Frank and Sharon Pignanclli Dr. and Mrs. Michael Pilepich Richard and Meryl Place Cynthia and Roger Postmus Charlcen Price
Hugo and Sharon Quiroz William and Diane Rado ini and leva Rasmussen La Vonnc and Gary Reed Anthony L. Reffells and
Elaine A. Bennett Mr. and Mrs. Neil Ressler Elizabeth G. Rjchart Barbara A. Anderson and
John H. Romani Mrs. Irving Rose Dr. Nathaniel H. Rowe Jerome M. and Lee Ann Salle Georgiana M. Sanders Michael Sarosi and
Kiiinii Skalitzky Sarosi Sarah Savarino
Dr. Albert J. and Jane K. Sayed David and Marcia Schmidt David E. and
Monica N. Schteingart Art and Mary Schuman Marvin and Harriet Selin Joseph and Patricia Settimi Roger Sheffrey Constance Sherman Dr. and Ms. Howard and
Aliza Shevrin
Hoilis and Martha A. Showalter John Shultz Edward and Marilyn Sichler
Diane Siciliano
John and Anne Griffin Sloan
Alene M. Smith
Carl and Jari Smith
Jorge and Nancy Solis
Dr. Elaine R. Soller
Mr. and Mrs. Edward Sopcak
Mr. and Mrs. NeilJ. Sosin
Gus and Andrea Stager
Irving M. Stahl and
Pamela M. Rider Dr. and Mrs. Alan Steiss Charlotte Sundclson Ronald and Ruth Sutton Brian and Lee Talbot Kathleen Treciak Joyce A. Urba and
David J. Kinsella Hugo and Karla Vandersypen Mr. and Mrs.
John van der Velde William C. Vassell Sally Wacker Warren Herb Wagner and
Florence S. Wagner Gregory and Annette Walker Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Karl and Karen Weick Dr. Steven W. Werns Marcy and Scott Westerman
Associates, continued
B.Joseph and Mary White Mrs. Clara G. Whiting Marion T. Wirick Farris and Ann Womack Richard and Dixie Woods Don and Charlotte Wyche Mr. and Mrs. David Zuk
Atlas Tool, Inc. Borders Books and Music Edwards Brothers, Inc. Hagopian World of Rugs Scientific Brake and Equipment Company
Shlomo and Rhonda Mandell Philanthropic Fund
Tim and I,eah Adams Michael and Hiroko Akiyama Michael and Suzan Alexander Anastasios Alexkm James and Catherine Allen Augustine and Kathleen it Mr. and Mrs. David Aminoff Dr. and Mrs. Charles T. Anderson Hugh and Margaret Anderson Howard Ando and Jane Wilkinson Jim and Cathy Andonian T.L. Andresen James Anlosiak and Eda Weddington
Jill and Thomas Archambeau, M.D. Patricia and Bruce Arden Bert and Pat Armstrong Caard and Ellen Arneson Mr. and Mrs. Lawrence E. Arncll Jeffrey and Deborah Ash Mi. and Mrs. Arthur J. Ashe Mr. and Mrs. Dan E. Atkins III Jim and Patsy Auiler Eric M. and Nancy Auppcrlc
Erik W. and Linda Lee Austin
Eugene and Charlenc Axclrod
Shirley and Don Axon
Jonathan and Marlcne Aycrs
Virginia and Jerald Bachman
Richard and Julia Bailey
Doris I. Bailo
Morris and Beverly Baker
Barbara and Daniel Balbach
Roxannc Balousck
Kate Barald and Douglas Jewell
Rosalyn and Mel Barclay
John R. Barcham
Maria Kardas Barna
Mr. and Mrs. Robert M. Barnes
Laurie and Jeffrey Barnell
Karen and Karl Bartscht
Leslie and Anita Bassctt
Mr. John Batdorf
Dr. and Mrs. Jere M. Bauer
Kathleen Beck
Mr. and Mrs. Steven RBcckert
Dr. and Mrs. Richard Bcil.Jr.
Walter and Antje Bcnenson
Mcrete and
Erling Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Dr. Rosemary R. Bcrardi Helen V. Berg Marie and Gerald Berlin L. S. Berlin
Gene and Kay Berrodin Andrew H. Berry, D.O. Bharat C. Bhushan John and Marge Biancke John and Laurie Birchler William and Ilene Birgc Elizabeth S. Bishop Art and Betty Blair Ralph B. Blaster Mr. and Mrs. Ray Blaszkiewicz Marshall Blondy and Laurie Burry Dr. George and Joyce Blum BeverlyJ. Bole Robert S. Bolton Mr. and Mrs. Mark D. Bomia Dr. and Mrs. Frank Bongiorno Harold W. and Rebecca S. Bonncll Roger and Polly Bookwalter Edward G. and Luciana Borbely LolaJ. Borchardt Gil and Mona Borlaza Dr. and Mrs. David Bostian I ).i K1 and Tina Bowcn Bob and Jan Bower Sally and Bill Bowers Laurence Boxer, M.D. and
Grace J. Boxer, M.D. Dr. and Mrs. Ralph Bozell Paul and Anna Bradley William F. and Joyce E. Braeuninger Mr. William R. Brashcar Representative Liz and
Professor Enoch Brater Dr. and Mrs. James Breckenfeld Bob andjacki Brec Professor and Mrs. Dale E. Briggs William and Sandra Broucck Ms. Mary Jo Brough June and Donald R. Brown
IJnda Brown and Joel Goldberg Molly and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Dr. Frances E. Bull Robert and Carolyn Burack Ar ilnii and Alice Burks Robert and Miriam Butsch Sherry A. Byrnes Dr. Patricia M. Cackowski Edward and Mary Cady Louis and Janet Callaway Susan and Oliver Cameron Nancy Campbell-Jones Charles and Martha Cannell Kathleen and Dennis Cant well Isabellc Carduner George R. Carignan Dr. and Mrs. James E. Carpenter Jan Carpman
M.ii i lull F. and Janice L. Carr Mr. and Mrs. Jeffrey A. Carter Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Kathran M. Chan Bill and Susan Chandler J. W'ehrlcy and Patricia Chapman James S. Chen Joan and Mark Chester George and Sue Chism Dr. Kyung and Young Cho John and Susan Christensen Edward and Rebecca ('hudacoff Dr. and Mrs. David Church Robert J. Cierznicwski Nancy Cillcy Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson John and Kay Clifford Charles and Lynne Clipper! Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen Hubert and Ellen Cohen Mr. Larry Cohen
Gerald S. Cole and Vivian Smargon Howard and Vivian Cole Ed and Cathy Colone Wayne and Melinda Colquitt Edward J. and Anne M. Comcau Gordon and Marjorie Comfort Lolagcne C. Coombs Gage R. Cooper Mr. and Mrs. Herbert Couf Bill and Maddic Cox Clifford and Laura Craig Kathleen J. Crispell and
Thomas S. Porter Mr. Lawrence Crochier April Cronin
Mr. and Mrs. James I. Crump, Jr. Pedro and Carol Cuatrccasas Mary R. and John G. Curtis Jeffrey S. Cutler R.K. and M.A. Daanc Mr. and Mrs. John R. Dale Marylee Dalton Ixc and Millie Danielson
June and Gawainc Dart
Dr. and Mrs. Sunil Das
1 i.ii 1 ii it la and Robert Dascola
Dr. and Mrs. Charles Davenport
Mr. and Mrs. Arthur W. Davidge
Ed and Ellic Davidson
Mr. and Mrs. Bruce P. Davis
ames H. Davis and
Elizabeth Waggoner Mr. and Mrs. Roy C. Davis Mr. and Mrs. Ronald Dawson Mr. and Mrs. Kenneth Dec Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DcGrood I jurence and Penny Deitch Elena and Nicholas Delbanco Peter H. dcLoof and Sara A. Bassett Raymond A. Dettcr Elizabeth and Edmond DeVinc Martha and Ron DiCecco Nancy DiMercurio A. Nelson Dingle Helen M. Dobson Molly and Bill Dobson Dr. and Mrs. Edward R. Doczema Fr. TimothyJ. Dombrowski Dr. and Mrs. Edward F. Domino Dick and Jane Dorr Professor and Mrs. William G. Dow Mr. Thomas Downs Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Drcffs John Dryden and Diana Raimi Dr. and Mrs. Cameron B. Duncan Robert and Connie Dunlap Jean and Russell Dunnaback Kdinund H. and Mary B. Durfee John W. Durstinc George C. and Roberta R. Earl Jacquclynne S. Eccles Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Mr. and Mrs. John R. Edman Sally and Morgan Edwards David A. Eklund and
Jeffrey B. Green Judge and Mrs. S.J. Elden Ethel and Sheldon Ellis Mrs. Gencvicve Ely Mackenzie and Marcia Endo Patricia Randle and James Eng Emil and Joan Engel Mark and Patricia Enns Carolyne and Jerry Epstein Mr and Mrs. Frederick A. Erb Dr. Stephen A. Ernsi, Dr. Pamela A. Raymond Ernst Dorothy and Donald F. Eschman Barbara Evans Mr. and Mrs. Clifton Evans Adclc Ewcll
Mr. and Mrs. Robert B. Fair Jr. Mark and Karen Falahee Elly and Harvey Falil Dr. and Mrs. Cyrus Farrehi Kutherinc and Damian Farrell Dr. and Mrs. John A. Faulkner Inka and David Felbeck
Reno and Nancy Feldkamp
Irving and Cynthia Feller
Phil and Phyllis Fcllin
Ruth Fiegel
Carol Finerman
Clay Fmkbcincr
C. Peter and Bcv A. Fischer
Patricia A. Fischer
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
James and Barbara Fitzgerald
Linda and Thomas Fitzgerald
Jonathan Flicgcl
Jennifer and Guillcrmo Flores
David and Ann Flucke
Ernest and Margol Fonthcim
Mr. and Mrs. George W. Ford
Susan Goldsmith and
Spencer Ford Paula L Bockcnstedt and
David A. Fox
Howard and Margaret Fox Ronald Fracker Lucia and Doug Frccth Richard andjoann Frccthy Joanna and Richard Friedman Gail Fromcs Bart and Fran Fruch LelaJ. Fuester
Ken and Mary Ann Gaertner Walter and Heidi Gage Lourdes and Otto Gago Jane Galantowicz Thomas H. Galantowicz Arthur Gallagher Bernard and Enid Galler Mrs. Shirley H. Garland Stanley and Priscilla Gam Del and Louise Garrison Janet and Charles Garvin Professor and Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantcl
Thomas and Barbara Gclchrter Mil h.ii I ( .11 nIciiIki ri W. Scott Gerstcnbcrger and
Elizabeth A. Sweet Beth Genne and Allan Gibbard Paul and Suzanne Gilcas Fred and Joyce M. Ginsberg Maureen and David Ginsburg Albert and Almeda Girod Peter and Roberta Gluck Sara Goburdhun Robert and Barbara Gockel Albert L. Goldberg Dr. and Mrs. Edward Goldberg Mary L. Golden Ed and Mona Goldman Irwin J. Goldstein and Marty Mayo Mrs. Esztcr Gombosi Elizabeth Goodenough and
James G. Leaf Graham Gooding Mitch and Barb Goodkin Jesse E. and Anitra Gordon Don Gordus Selma and Albert Gorlin Siri Gottlieb
Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham
Advocates, continued
Whit and Svca Gray
Alan Green
Ula and Bob Green
Dr. and Mrs. Lazar J. Greenfield
Frances Greer
Bill and Louise Gregory
Daphne and Raymond Grew
Mr. and Mrs. James J. Gribblc
Carlelon and Mary Lou Griffin
Mark, and Susan Griffin
Werner H. Grilk
Robert M. Grover
Ms. Kay Gugala
Arthur W. Gulick. M.D.
Margaret Gutowski and
Michael Marietta Helen C. Hall
Harry L. and Mary L. Hallock Mr. and Mrs. Elmer F. Hamel Dora E. Hampel Lourdes S. Bastos Hansen Herb and Claudia Harjes M.C. Harms Nile and Judith Harper Stephen G. and Mary Anna Harper Mr. and Mrs. Robert B. Harris Robert and Susan Harris Clifford and Alice Hart Jerome P. Hartweg Elizabeth C. Hassinen James B. and Roberta Hause Mr. and Mrs. G. Hawkins Laureen Haynes J. Theodore Heflcy Kenneth and Jeanne Heininger Mrs. Miriam Hcins Sivana Heller Rose and John Henderson Rose S. Henderson John L. and Jacqueline Henkcl Mr. and Mrs. Karl P. Henkel Dr. and Mrs. Keith S. Henley Rudy and Kathy Hcntschcl C.C. Herrington M.D. Mr. Roger Hewitt Charles V. Fisher and
Elfrida H. Hiebcrt Mr. and Mrs. Thomas Hilbish Peter G. Hinman and
Elizabeth A. Young Jacques Hochgtaube, M.D., P.C. Louise Hodgson Bob and Fran Hoffman Carol and Dieter Hohnke Dr. Carol E. Holden and
Mr. Kurt Zimmer Richard Holmes John F. and Mary Helen Holt Ronald and Ann Holz Jack and Davetta Homer Dave and Susan Horvath George M. Houchcns Fred and Betty House Jim and Wendy Fisher House Hclga Hover
Drs. Richard and Diane Howlin Mrs. V. C. Hubbs Charles T.Hudson Jude and Ray Huettcman Harry and Ruth Huff Mr. and Mrs. William Hufford
Joanne W. Hulcc
Ralph and Del Hulett
Ann D. Hungcrman
Diane Hunter and Bill Ziegler
Mr. and Mrs. Russell L. Hurst
Eileen and Saul Hyinans
Amy Iannaconc
Robert B. and Virginia A. Ingling
Margaret and Eugene Ingram
Ann K. Irish
Carol and John Isles
John andjoanJackson
Edgar F. and M. Janice Jacobi
Manuel and Joan Jacobs
Harold and Jean Jacobson
K.JohnJarrett and
Patrick T. Sliwinski Professor and
Mrs. Jerome Jclinek James and Elaine Jensen Keith and Kay Jensen Dr. and Mrs.JamcsJerome JoAnn J. Jcromin Mr. and Mrs. Donald L. Johnson Billie and Henry Johnson Paul and Olga Johnson Timothy and Jo Wiese Johnson Constance L. Jones Marilyn S. Jones John and Linda K-Jonides Stephen G.Josephson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmcs and Larry Friedman Dr. and Mrs. Mark S. Kaminski Paul Kantor and
Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Noboru and Atsuko Kashino Alex F. and Phyllis A. Kato David J. Katz Elizabeth Harwood Katz Martin and Helen Katz Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy Richard L. Kennedy Unda Atkins and Thomas Kenney Donald and Mary Kiel Konstantyn Kim William and Betsy Kincaid Brett and Lynnctte King EvaJ. Kinncy
John and Carolyn Kirkcndall Rhca and Leslie Kish Paul Kissner MD and
Dana Kissner MD James and Jane Kistcr Shira and Steve Klein Hi. Peter and Judith Kleinman Gerald and Eileen Klos Barbel Knauper Sharon L. Knight Shirley and Glenn Knudsvig Joseph J. and Marilynn Kokoszka Charles and Linda Koopmann Melvyn and Linda Korobkin Dimitri and Suzanne Kosachcff Edward and Marguerite Kowaleski
Jean and Dick Kraft
Marjoric A. Kramer
Barbara and Charles Krausc
Doris and Donald Kraushaar
David and Martha Krchbicl
William J. Bucci and Janet Kreiling
Alexander Krczel
William G. Kring
Alan and Jean Krisch
Danielle and George Kuper
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs.J. Daniel Kutt
Jane Laird
Mr. and Mrs. John Laird
Mr. and Mrs. Seymour Lampcrt
Connie and Dick Landgraff
Patricia M. Lang
Marjoric Lansing
Carl and Ann LaRue
Ms. Jill Latta and Mr. David S. Bach
John K. Lawrence
Laurie and Robert LaZebnik
Robert and Leslie Lazzerin
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Diane and Jeffrey Lehman
Sue Leong
Margaret E. Leslie
Richard LeSueur
Myron and Bobbie Levine
Tom and Kathy Lewand
Deborah S. Lewis
Thomas and Judy Lewis
Lawrence B. Lindemcr
Mark Lindley
Mr. Ronald A. Undroth
Daniel and Susan Lipschutz
Rod and Robin Little
Vi-Cheng and Hsi-Yen Uu
Jackie K. Livesay
Dr. and Mrs. Peter Y. Lo
Louis Loeb and Tully Lyons
Kay H. Logan
Naomi E. Lohr
Jane Lombard
Dan and Kay Long
Leslie and Susan Loomans
Bruce and Pat Loughry
Joann Love
Donna and Paul Lowry
Janny Lu
Dr. and Mrs. Charles P. Lucas
Lynn Luckcnbach
Fran Lyman
LaM uriel Lyman
Susan E. Macias
Marcy and Kerri MacMahan
Sally Maggio
Geoffrey and Janet Maber
Suzanne and Jay Mahler
Deborah Malamud and
Neal Plotkin Dr. Karl D. Malcolm Claire and Richard Malviu Mr. and Mrs. Kazuhiko Manabe Mclvin and Jean Manis Pearl Manning Professor Howard Market Lee and Greg Marks
James E. and Barbara Martin
Rebecca Martin and James Grieve
John D. Marx, D.D.S.
Dr. and Mrs.Jo.sip Matovinovic
Tamotsu Maisumoto
Mary and Chandler Matthews
Margaret Maurer
John M. Allen and Edith A. Maynard
Susan C. Guszynski and
Gregory F. Mazure Margaret E. McCarthy Ernest and Adclc McCarus Margaret and Harris McClamroch Dorcs M. McCrce Mary and Bruce McCuaig Joseph and Susan McGrath Bill and Ginny McKcachie Margaret B. McKinlcy Daniel and Madelyn McMurtric Nancy and Robert Mcadcr Dr. and Mrs. Theodore Meadows Samuel and Alice Meisels Robert and Doris Mclling Mr. and Mrs. John Merrifield Bernice and Herman Merit Henry D. Messcr Carl A. House Robert and Bcttie Metcalf John and Fei Fci Metzlcr Don and Lee Meyer Valerie Meyer Shirley and Bill Meyers Elizabeth B. Michael Helen M. Michaels Leo and Sally Miedler Andy and Nancy Miller Carmen and Jack Miller Mr. and Mrs. Milton J. Miller Dr. Robert K Miller Thomas and Doris Miree Kathleen and James Mitchiner Olga Moir
Mr. and Mrs. William G. Moller.Jr. Rosalie E, Moore Marvin and Karen Moran Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Dr. and Mrs. George W. Morlcy Paul and Terry Morris Melinda and Bob Morris Dick and Judy Morrisseti Brian and Jacqueline Morton Cyril and Rona Moscow Dr. Thomas E. Muller and
Barbara J. Levitan Gavin Eadic and Barbara Murphy Dr. and Mrs. Gunder A. Myran Hideko and Taisuyoshi Nakamura President and Mrs. Homer Neal Frederick G. Neidhardt and
Germainc Chipault Nancy Nelson
Mr. and Mrs. Marvin Nichuss Karina H. Niemeyer Shinobu Niga Susan and Richard Nisbett Virginia and Clare North John and Lcxa O'Brien Patricia O'Connor Dr. and Mrs. Frederick C. ODcll
Michael J. O'Donncll and
Jan L. Garfinkle Henry and Patricia O'Kray Ncls and Mary Olson Mr.J. L.Oncley Zibby and Bob Oneal Mr. and Mrs. James O'Neill Kathleen I. Operhall Dr. Jon Oscherwiu Mrs. Charles Overberger Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Michael P. Parin Evans and Charlenc Parrott Shirley and Ara Paul Robert and Arlcnc Paup Elizabeth and Beverly Payne Ruth and Joe Payne Dr. Owen Z. and Barbara Perlman Susan A. Perry Doris I. Persyn Frank and Nelly Petrock James I . and Julie Phelps Joyce H. Phillips
Mr. and Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Mr. and Mrs. Roy Pierce William and Barbara Pierce Dr. and Mrs. James Pikulski Sheila A. PitcofT Donald and Evonne Plantinga
Martin Podolsky
Mr. and Mrs. John R. Politzcr
Stephen and Tina Pollock
Philip and Kathleen Power
Drs. Edward and Rhoda Powsner
Bill and Diana Pratt
Larry and Ann Prcuss
Jacob M. Price
Richard H. and Mary B. Price
Wallace and Barbara Prince
Bradley and Susan Pritts
Ernst Pulgram
David and Stephanie Pync
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
(Catherine R. Rcebel
Mr. and Mrs. Stanislav Rchak
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 Rinchart
Dennis and Rita Ringlc
Lisa Rives and Jason Collcns Joe and Carolyn Roberson Peter and Shirley Roberts Robert A. Sloan and
Ellen M. Byerlcin Dave and Joan Robinson Janet K. Robinson, Ph.D. Mary Ann and Willard Rodgers Mr. and Mrs. Stephen J. Rogers Yclena and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Bernard and Barbara Rosen Marilynn M. Rosen thai Gay and George Roscnwald Gustavc and Jacqueline Rossccls Mr. and Mrs. John P. Rowc 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. Jagncswar Saha Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Howard and I ill Sandier John and Rcda Santinga Harry V. and Elaine Sargous Elizabeth M. Savage Court and Inga Schmidt
Charlenc and Carl Schmuh Thomas Schramm Gerald and Sharon Schrcibcr Albert and Susan Schultz R. Ryan Lavcllc, 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. Scid Suzanne Selig Ms. Janet Sell Sherry and Louis Senunas Erik and Carol Serr George H. and Mary M. Sexton Nancy Silver Shalit Dr. and Mrs.J. N. Shanberge Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shappirio Maurice and Lorraine Shcppard Dr. and Mrs. Ivan Sherick William J. Sherzer Mr. and Mrs. George Shirley Drs. Jean and Thomas Shopc Mary Ann Shumaker
Advocates, continued
Dr. Bruce M. Sicgan
Dr. and Mrs. Milton Sicgcl
Eldy and Enrique Signori
Ken Silk and Peggy Buttenheim
Drs. Dorit Adlcr and Terry Silver
Frances and Scott Simonds
Robert and Elaine Sims
Alan and Eleanor Singer
Donald and Susan Sinta
Mrs. Loretta M. Skewcs
Martha SttndeU
Beverly N. Slaicr
JohnW. Smillie, M.D.
Dr. and Mrs. Michael W. Smith
Mr. and Mrs. Robert W. Smith
Susan M. Smith
Virginia B. Smith
Richard Soblc and Barbara Kcssier
Lois and William Solomon
Dr. Yoram Sorokin
Juanita and Joseph Spallina
Anne L. Spcndlove
Gretia Spier and Jonathan Rubin
L. Grasselli Sprankle
Edmund Sprunger
1 t.i n 1 and Ann Staigcr
Carcn Stalburg M.D.
Beity and Harold Stark
Dr. and Mrs. William C. Stebbins
Ben and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Thorn and Ann Sterling
Barbara and Bruce Stevenson
Harold Stevenson
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
Wolfgang F. Stolpcr
Anjanette M. Stoltz, M.D.
Ellen M. Strand and
Dennis C. Regan Ailccn and Clinton Strocbcl Joe Stroud and Kathleen 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 Swaru Ronna and Kent Talcott Jim and Sally Tamm Kciko Tanaka Eva and Sam Taylor George and Mary Tewksbury Ixis A. Theis Paul Thielking Edwin J. Thomas Bette M. Thompson Ted and Marge Thrasher Mrs. Peggy Ticman Mr. and Mrs. W. Paul Tippctt Albert Tochct
Dr. and Mrs. Merlin C. Townlcy James W. Toy
Dr. and Mrs. John Tricbwasser Angie and Bob Trinka Sarah Trinka us
Irene Trucsdell
Marilyn Tsao and Steve Gao
Drs. Claire and Jeremiah Turcouc
Michael and Nancy Udow
Taro Ucki
Alvan and Katharine Uhlc
Mr. Gordon E. Ulrcy
Dr. and Mrs. Samuel C. Ursu
Joaquin and Mei Mei Uy
Madeleine Vallier
Carl and Sue Van Applcdorn
Tanja and Rob Van dcr Voo
Rebecca Van Dyke
Robert P. Van Ess
Mr. and Mrs.
Douglas Van Houweling Fred and Carole S. Van Reescma Michael L. Van Tassel Kate and Chris Vaughan Phyllis Vcgter
Mr. and Mrs. Theodore R. Vogt Carolyn S. and Jerry S. Voight John and Maureen Voorhees John and Jane S. Voorhorst Mr. and Mrs. Norman C. Wait Richard and Mary Walker Charles and Barbara Wallgrcn Lorraine Nadelman and
Sidney Warschausky Robin and Harvey Wax Mr. and Mrs. Barrett Wayburn Christine L. Webb Mrs. Joan D. Weber Willcs and Kathleen Weber Deborah Webster and
George Miller
Leone Buysc and Michael Webster Jack and Jerry Weidenbach Lawrence A. Weis and
Sheila Johnson Barbara Weiss Lisa and Steve Weiss Mrs. Stanfield M. Wells, Jr. Carol Campbell Welsch and
John Welsch
Rosemary and David Wescnberg Mr. and Mrs. Peter Wcsten Ken and Cherry Westerman Marjoric Westphal 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. Winsten Jeffrey and Linda Wiizburg 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 I'lnllis B.Wright Fran and Ben Wylic
Mr. and Mrs. R.A. Yaglc
Ryuzo Y.irii.uiinh .
Sandra and Jonathan Yobbagy
Frank O. Youkstettcr
Professor and Mrs. Edwin H. Young
Shirley Young
Ann and Ralph Youngrcn
Olga Zapotny
Mr. and Mrs. F.L. Zeislcr
Bertram and Lynn Zhcudin
Roy and Helen Ziegler
David S. and Susan H. Zurvalec
American Metal Products
Brass Craft
Garris, Carris, Carris and Carris
Law Office John Leidy Shop Marvel Office Furniture St. Joseph Mercy Hospital
Medical Staff Stritch School of Medicine
Class of 1996
Robert S. Fcldman Zclina Krauss Firth George R. Hunschc Ralph Herbert Kathcrinc Mabarak Frederick C. Matthaci, Sr. Gwen and Emerson Powrie Steffi Reiss Clare Sicgel Ralph L. StefTek Charlene Parker Stern William Swank Charles R. Tieman John F. Ullrich Francis Viola HI Peter Holderncss Woods
In-Kind Gifts
Catherine Arcure Paulett and Peter Banks Back Alley Gourmet Barnes and Noble Bookstore Maurice and Linda Binkow Jeanninc and Bob Buchanan Edith and Fred Bookstcin Put and George Chatas Paul and Pat Cousins
Cousins Heritage Inn Katy and Anthony Derezinski Espresso Royalc Fine Flowers Ken and Penny Fischer Kcki and Alice Irani Maureen and Stu Isaac Matthew Hoffman Jewelry Mercy and Stephen Kaslc Howard King F. Bruce Kulp Barbara Lcvitan Maxine and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LystraDough Boys Steve MaggioThc Mnggio Line James McDonaldBel la Ciao Karen and Joe O'Neal Richard and Susan Rogel Janet and Mike Shatusky SKR Classical Herbert Sloan David Smith
David Smith Photography Sweet Lorraine's Susan B. Ullrich Elizabeth and Paul Yhoiue
Giving Levels
The Charles Sink Society cumulative giving lotah of $15,000 or more.
Maestro $10,000 or more
Virtuoso $7,5?? -9.999
Concertm aster $5,000 7,499
Leader $2,500 4,999
Principal $1,000 2,499
Benefactor $500-999
Associate $250 499
Advocate $100 249
Friend $50 99
Youth $25

Advertiser's Index
35 Afterwords
16 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 25 Bivouac
20 IdiiIni.iii. Longley and
49 Butzel Long 47 Cafe Marie 39 Chamber Music Society
of Detroit 18 Charles Reinhart
25 Chelsea Community
11 Chisholm and Dames Investment Advisors
36 Chris Triola Gallery
27 David Smith Photography 39 Detroit Edison
11 Dickinson, Wright, Moon, Van Dusen and Freeman 35 Dobbs Opticians
31 Dobson-McOmber 54 Dough Boys Bakery
26 Edward SurovcU Company 25 Emerson School
2 Ford Motor Company 31 Fraleighs Landscape Nursery
21 Garris, Garris, Garris,
and Garris, P.C.
28 General Motors
54 Gifford, Krass, Groh, Sprinkle, Patmore, Anderson & Citkowski
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
& Stone
42 Mundus and Mundus
12 NBDBank
40 Nichols, Sacks, Slank
and Sweet
35 Packard Community Clinic
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
34 University Productions
55 Whole Foods Market 54 WQRS
36 Wright, Griffin, Davis and Company

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