UMS Concert Program, Thursday Feb. 06 To 12: University Musical Society: 1996-1997 Winter - Thursday Feb. 06 To 12 --
Season: 1996-1997 Winter
University Of Michigan, Ann Arbor
OF THE UNIVERSITY OF MICHIGAN, ANN ARBOR
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last season, more than 120,000 people attended UMS performances and relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport with Jessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between these artists, UMS and the Ann Arbor community.
Our outstanding Board of Directors offers unique knowledge, experience and perspective as well as a shared commitment to assuring the present and future success of UMS. What a privilege it is to work with a group of people whose vision of UMS is to make it the very best of its kind in the world. I especially want to thank Herbert Amster, who completed three years as Board President in December.
That same vision is shared by members of the UMS staff, who this year invite all of the UMS family to celebrate the 25 years box office manager Michael Gowing has served UMS and this community. Michael has established a stan?dard of patron service that we're told is unmatched anywhere else in this business. Look for the acknowledgment in this program book to find out more about Michael and how you can participate in this season-long celebra?tion.
Last year, UMS volunteers contributed more than 38,000 hours to UMS. In addition
to Board members, volunteers include our Advisory Committee, usher corps, UMS Choral Union members and countless others who give of their time and talent to all facets of the UMS program. Thank you, volunteers!
Relationships with professional colleagues around the world are very special. There is a generosity of spirit in performing arts present?ing that I have rarely seen in other fields. We share our best ideas with one another at con?ferences, in publications, by phone and, increasingly, over the internet. Presenters are joining together more and more to commis?sion new works and to assure their presenta?tion, as we've done this season with William Bolcom's Briefly It Enters and Donald Byrd's The Harlem Nutcracker. I'm pleased to report that The Dreams and Prayers of Isaac the Blind, the stir?ring piece we co-commissioned and presented in April 1995 won the prestigious Kennedy Center Friedham Award for composer Osvaldo Golijov last year.
The most important relationship is that with the community, and that means you. I care deeply about building and strengthening these relationships, whether it be with an indi?vidual patron who comes by the office with a program idea, with the leader of a social ser?vice organization who wishes to use one of our events as a fundraiser, with the nearly 40 school districts whose children will participate in our youth program, or with the audience member who buttonholes me in the lobby with a com?plaint.
Thanks again for coming to this event -and please let me hear from you with ideas or suggestions. Look for me in the lobby, or call me at my office at 313.647.1174.
Kenneth C. Fischer President
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,1 10
Number of volunteer person-hours spent rehearsing and performing with the Choral Union: 21,700
Number of botdes 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 (o Harper's Indrx?
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. Oianer, 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, TM.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 Universit)' 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 to support the significant cul-
tural and educational projects of the University Musical Society."
JOSEPH CURTIN AND GREGG ALF Oumers, Curtin jf 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 thai 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 lakes 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-standing member of the Ann Arbor commu?nity. Great Lakes Bancorp and the
University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
Chairman and Chief
"Our community is
enriched by the
Society. We warmly support the cultural events it brings to our area."
President, Mainstreet Ventura, 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."
THOMAS B. MCMULLEN President, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket
in Ann Arbor. Not anymore. UMS provides the best in educational enter?tainment."
Jorge a. Sous
First Vice President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artisuc diversity."
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 "Parkc-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 dfScheetz
"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."
SUE S. LEE
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organization as the
Musical Society at the University of Michigan."
The Edward Surovell
"It is an honor for
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
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
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.
more in'formation) call ne
Q1JK6 O3ox Offic
Table set for the Gala Dinner
AT LAST YEAR'S EVENT
The University Musical Society of ihe university of Michigan
BOARD OF DIRECTORS
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 Evcritt Bryant LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Bevericy B. Geltner Randy J. Harris
Walter L. Harrison Norman G. Herbert Kay Hunt Stuart A. Isaac Thomas E. Kauper Rebecca McGowan Ix-ster P. Monts Homer A. Neal Joe E. O'Neal
John Psaroulhakis 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 JamesJ. Duderstadt
Robbcn W. Fleming Harlan H. Hatcher Norman G. Herbert Peter N. Heydon I loward Holmes Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick Long Judyth Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed Ann Sneed Schriber
Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thursion Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
AdministrationFinance Kenneth C. Fischer, President John B. Kcnnard.Jr.,
Administrative Matiager Elizabeth Jahn, Asst. to
President Kate Remen, Admin. Asst.,
Marketing & Programming R. Scott Russell, Systems
Michael L. Gowing, Manager Sally A. Cushing, Staff Philip Guire, Staff John Peckham, Staff
Thomas Sheets, Conductor
Timothy Haggerty, Manager
Catherine S. Arc lire. Director Betty Byrne, Volunteers Elaine Economou, Corporate Susan Fitzpatrick, Admin. Asst. J. Thad Schork,
Gift Processing Anne Griffin Sloan,
Ben Johnson, Director Emily Avers, Assistant
Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
ProgrammingProduction Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artist Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Work-Study Laura Birnbryer Rebekah Camm
Meighan Dcnommc Amy Hayne Sara Jensen Kirsten Jennings Najean Lee Tansy Rodd Lisa Vogen
Jessica Flint Paula Giardini Michelle Guadagnino Michael Lawrence Bo Lee Lisa Moudy Susanna Orcutt-Grady Caen Thomason-Redus
1996-97 ADVISORY COMMITTEE
Maya Savarino, Chair Len Nichoff, Vice-Chair Dody Viola, SecretaryTreasurer Susan B. Ullrich, Chair
Emeritus Betty Byrne, Staff Uaison
Janice Stevens Botsford
Chen Oi Chin-Hsieh
Mary Ann Daanc Rosanne Duncan H. Michael Endres Don Faber Kathcrine 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 Nichoff Karen Koykka O'Neal
Marysia Ostafin Mary I'mm.in leva Rasmussen Janet Shatusky Margaret Kennedy Shaw Aliza Shevrin Sheila Silver Rita Simpson Cynny Spencer Ellen Stross Nina Swanson Kathleen Treciak David While Jane Wilkinson Shirley Williams
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
University Musical Society Auditoria Directory &f Information
Hill Auditorium: Coat rooms arc located on the east and
west sides of the main lobby and are open only during the
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains arc located throughout
die main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
Mendelssohn: A drinking fountain is located at the north
end of the hallway outside the main floor seating area.
Si. Francis: A drinking fountain is located in the basement at
the bottom of the front lobby stairs.
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
LOST AND FOUND
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
HUI 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 die west side of the main lobby.
Power Center: Men's and women's rooms are located on die 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 die nordi 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 arc located down the long hallway from the main floor sealing area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the front lobby stairs.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMEMBER INFORMATION TABLE
A wealth of information about events, UMS, restaurants, and the like is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with ques?tions and requests. The information table is open thirty minutes before each concert and during intermission.
PHONE ORDERS AND INFORMATION
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313 area code and within Michigan, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
FAX ORDERS 313.647.1171
VISIT OUR BOX OFFICE IN PERSON
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 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
smile on his face!), the University Musical Society would like to invite you, the patrons he has served so devotedly, to contribute toward the purchase of a seat in Hill Auditorium in his honor. We are sure that Michael would be pleased with this tribute to his ser?vice over the past quarter-century. The staff of the Musical Society is also compiling a 25 Year Anniversary Book, filled with con?gratulatory letters from patrons, remembrances and mementos. We hope that you will help us honor Michael by sending anything you think appropriate, to contribute. please make your check payable to the University Musical Society -Michael Gouring Seat. You may mail your contribution or letters anytime throughjune 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, die 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, die 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 die University Musical Society, die 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Three years ago, the Choral Union furdier 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, OrfPs Carmina Burana, Ravel's Daphnis el Chloe and Prokofiev's Aleksandr Nevsky. In 1995, die Choral Union began an artistic association with the Toledo Symphony, inaugurating die partnership with a performance of Britten's War Requiem,
and continuing with performances of the Berlioz Requiem and Bach's Mass in B minor.
In the current season, the UMS Choral Union again expands its scope to include per?formances with a third major regional ensem?ble. In March the chorus makes its debut with the Grand Rapids Symphony, joining with them in a rare presentation of the Symphony No. 8 ("Symphony of a Thousand") by Gustav Mahler. Continuing its association with the Detroit Symphony Orchestra, the Choral Union collaborates in January 1997 with Maestro Jarvi and the DSO in performances at Orchestra Hall and in Ann Arbor. This extraordinary season will culminate in a May performance of the Verdi Requiem with the Toledo Symphony.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one com?mon passion--a love of the choral art.
For information about the UMS Choral Union, please call 313.763.8997.
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is often associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of important debuts and long relationships throughout the past 83 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Hill Auditorium is named for former U-M regent Arthur Hill, who bequested $200,000 to the University for the construction of an audito?rium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing the ever-popular Fifth Symphony of Beethoven. The following evening featured Verdi's "Manzoni" Requiem, a work that has been performed frequently throughout the Musical Society's illustrious history. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in one of his only solo recitals outside of New York), Ernestine Schumann-Heink, Fritz
Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignacejan Paderewski (who often called Hill Auditorium "the finest music hall in the world"), Paul Robeson, Lilv Pons.
Leontyne Price, Marion Anderson and, more recently, Yo-Yo Ma, Cecilia Bartoli, Jessye Norman, Van Cliburn, the Metropolitan Opera Orchestra (in the debut concert of its inaugural tour) and the late Sergiu Celibidache conduct?ing the Munich Philharmonic.
Hill Auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and expanded wheelchair seating (1995), decreased the seating capacity to its current 4,163.
The organ pipes above the stage come from the 1894 Chicago Colombian Exposition. Named after the founder of the Musical Society, Henry Simmons Frieze, the organ is used for numerous concerts in Hill throughout the sea?son. Despite many changes in appearance over
the past century, the organ pipes were restored to their original stenciling, color and layout in 1986.
Hill Auditorium is slated for renovation, with funds currently being raised through the Campaign for Michigan. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conveniences.
Until the last fifty years, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of studying human history and human thought, died in 1933, his will estab?lished the Horace H. Rackham and Mary A. Rackham Fund. It was this fund which subse?quently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
POWER CENTER FOR THE PERFORMING ARTS
Celebrating twenty-five years of wonderful arts presentation, the Power Center for the Performing Arts was originally bred from a realization that the University of Michigan had no adequate theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in the midst of a list of University priorities was mentioned "a new theatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include the two large spiral staircases leading
from the orchestra level to the balcony and the well-known mirrored glass pan?els on the exterior. No seat in the Power Center is more than 72 feet from the stage. In 1981, a 28,000 square-foot addition was com?pleted, providing rehearsal rooms, shops for building sets and costumes, a green room and
office space. At the same time, the eminent British sculptor John W. Mills was commis?sioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addition to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso. The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
THE MICHIGAN THEATER
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Over the years, the Theater has undergone many changes. 'Talkies" replaced silent films just one year after the Theater opened, and H
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 die 199495 season, along with occasional film partnerships to accompany presentations in other venues. The Theater's acoustics, rich interiors and technical capabilities make it a natural setting for period pieces and mixed media projects alike. In addition to sponsoring a Twyla Tharp Film Series last fall (September 29-October 20, 1996), UMS presents four events at the Michigan Theater in 199697: Guitar Summit III (November 16); The Real Group (February 8); Voices of Light: 'The Passion of Joan of Arc," a silent film with live music featur?ing Anonymous 4 (February 16); and The Russian Village (April 11).
ST. FRANCIS OF ASSISI CATHOLIC CHURCH
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has
grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a fabulous venue for presenting a cappella choral music and early music ensembles. During the 199697 season, UMS presents four concerts at St. Francis of Assisi Catholic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademia (March 15) and the Huelgas Ensemble (April 10).
LYDIA MENDELSSOHN THEATRE
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recently began presenting
artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and intimate venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society's roster.
Allen Pond & Pond, Martin & Lloyd, a Chicago architectural firm, designed the Mendelssohn Theatre, which is housed in 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. Ardiur 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).
BURTON MEMORIAL TOWER
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the mailing address and box office location for the University Musical Society.
During a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles around, be built in the center of campus representing the idealism and loyalty of
U-M alumni. In 1929 the UMS Board of Directors authorized construction of the Marion LeRoy Burton Memorial Tower. The University of Michigan Club of Ann Arbor accepted die project of raising money for the tower and, along widi the Regents of die University, the City of Ann Arbor, and die Alumni Association, the Tower Fund was estab?lished. UMS donated $60,000 to diis 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 die 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 die 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 die University Musical Society in 1940. In later years, UMS was also granted permission to occupy die second and third floors of the tower.
The remaining floors of Burton Tower are arranged as classrooms and offices used by die School of Music, with the top reserved for die Charles Baird Carillon. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from
noon to 12:30pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45am. A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donat?ed labor, materials and funds to this project
The 199 6-9 7 Season
schubertiade i andre watts, piano chamber music
Society of Lincoln
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Weds, Jan 8, 7pm, MI League.
Made possible by a gift from the estate of William R. Kinney.
NEXUS PERCUSSION ENSEMBLE WITH RICHARD STOLTZMAN, CLARINET
Thursday, January 16, 8:00pm Hill Auditorium
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
SOUNDS OF BLACKNESS with Special Guests, THE UNIVERSITY OF MICHIGAN GOSPEL CHORALE
Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of America.
This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1997 Rev. Dr. Martin Luther King, Jr. Day Symposium.
SCHUBERTIADE II GARRICK OHLSSON, PIANO Late Schubert Piano
Thursday, January 23, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored by McKinley Associates, Inc.
Schubert Song Recital I
SANFORD SYLVAN, BARITONE DAVID BREITMAN, FORTEPIANO
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Fri.Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:00-4:00 pm, Mclntosh Theater, U-M School of Music. Open to the public.
schubert song recital ii Sarah Walker, mezzo-soprano Gareth Hancock, piano
Saturday, January 25, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Sat, Jan 25, 6:30pm, MI League.
Presented with support from the World Heritage Foundation and media partner WDET, 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
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.
Blues, Roots, honks,
and moans A Festival of jazz and
Musical Traditions featuring
The Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
His Sanctified Sheik Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
IVAN FISCHER, CONDUCTOR Thursday, February 6, 8:00pm Hill Auditorium
THE REAL GROUP
Saturday, February 8, 8:00pm Michigan Theater
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Ars Poetica Chamber
orchestra Anatoli Cheiniouk,
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 Marsalis and the lincoln center jazz orchestra
WITH JON HENDRICKS
CASSANDRA WILSON Music and libretto by
Wynton Marsalis Wednesday, February 12, 8:00pm Hill Auditorium
Master of Arts Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Brandenburg Ensemble Jaime Laredo,
conductor violin leila josefowicz, violin andreas haefliger,
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7pm, MI League.
Sponsored by Great Ijikes Bancorp.
emerson string quartet All-Brahms program Saturday, February 15, 8:00pm Rackham Auditorium
PREP Elwood Derr, U-M Professor of Music. "Nineteenth-Century 'CDs' of Brahms' String Quartets: His Piano-Duet Arrangements for Home Use." Sat, Feb 15, 7pm, MI League.
Sponsored by the Edward Surovell Co.Realtors.
VOICES OF LIGHT: "THE PASSION OF
JOAN OF ARC" A SILENT FILM BY CARL DREYERWITH LIVE MUSIC FEATURING ANONYMOUS 4 1 ns .Angeles Moai I (i hcsliii 1 Cantori
l.ucinda Carver, conductor Sunday, February 16, 7:00pm Michigan Theater
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
SCHUBERT SONG RECITAL III WOLFGANG HOLZMAIR,
JULIUS DRAKE, PIANO Monday, February 17, 8:00pm I.ydia Mendelssohn Theatre
SCHUBERT SONG RECITAL IV BARBARA BONNEY,
SOPRANO CAREN LEVINE, PIANO
Tuesday, February 18, 8:00pm I.ydia Mendelssohn Theatre
PUCCINI'S LA BOHEME NEW YORK CITY OPERA NATIONAL COMPANY
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February121, 8:00pm Saturday, February 22,2:00pm
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Sicdel, UMS Education Specialist. "What does 'La lioheme' mean" Sal, Feb 22, lpm, MI League.
ACADEMY OF ST. MARTIN-
IN-THE-FIELDS IONA BROWN, CONDUCTOR
Sunday, February 23, 4:00pm Rackham Auditorium
PREP Lorna McDaniel, U-M Professor of Musicology. A discussion of the afternoon's repertoire. Sun, 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. McMulIm Co., Inc.
NATIONAL TRADITIONAL ORCHESTRA OF CHINA Hu Bingxo, conductor Hai-Ye Ni, cellist Wednesday, February 26,8:00pm Hill Auditorium
Presented with the generous support of Dr. Herbert Sloan.
RICHARD GOODE, PIANO
Friday, March 14, 8:00pm Hill Auditorium
Sponsored fry Pepper, Hamilton & Scheetz, Attorneys at Ijiw.
Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin Travel and Cunard.
schubertiade iii Hermann Prey, baritone
Michael Endres, piano Auryn String Quartet
with Martin Lovett, cello Thursday, March 20, 8:00pm Rackham Auditorium
SCHUBERTIADE IV HERMANN PREY, BARITONE
Michael Endres, piano Auryn String Quartet Martin Katt, piano Anton Nel, piano Friday, March 21, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Mar 21, 7pm, Rackham.
Vocal Master Class Hermann Prey, baritone. Sat, Mar 22, 10:00am-12:00noon. Recital Hall, U-M School of Music. Open to the public.
Mahler's symphony no. 8 grand rapids symphony
and chorus ums choral union Grand Rapids Choir of Men
Boychoir of Ann Arbor Catherine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
CECILIA BARTOLI, MEZZO-SOPRANO
I DELFICI, STRINGS AND CONTINUO GYORGY FISCHER, PIANO Saturday, March 29, 8:00pm Hill Auditorium
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbett, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, President, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
THEATER II & III
Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
bang on a Can all-Stars String Trio of New York
Saturday, April 5, 8:00pm Power Center
Pres&ited 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.
THE RUSSIAN VILLAGE
Friday, April 11, 8:00pm Michigan Theater
Sponsored by NBD Bank.
FACULTY ARTISTS CONCERT
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
THE ASSAD BROTHERS, GUITAR DUO
Friday, April 18, 8:00pm Rackham Auditorium Sponsored by Regmcy Travel.
Maher Ali Khan and
Sher Ali Khan, Faridi Qawwals
Saturday, April 19, 8:00pm Rackham Auditorium
FORD HONORS PROGRAM
Saturday, April 26, 6:00pm Hill Auditorium
Featuring a recital by and tribute to the recipient of the 1997 UMS Distinguished Artist Award.
Sponsored by Ford Motor Company.
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.
"AUes Vergangliche (All That is Transitory):
AustroGermanic Culture in the Fin de Siecle. " Valerie Greenberg, Visiting Professor, U-M German Dept. Mon, Mar 17, 7:00pm
"1st nurein Gleichnis (Are but a Parable): Goethe's Faust in the Fin de Siecle." Frederick Amrine, Chair, U-M German Dept. Tues, Mar 18, 7:00pm
"Zieht uns hinan (Draws us upward): Mahler's Hymn to Eros." Jim Leonard, Manager, SKR Classical. Wed, Mar 19, 7:00pm
UMS presents two family shows during the Winter Season 1997. These programs feature an abbreviated version of the full-length presentations by the same artists.
Blues, Roots, Honks and Moans
Saturday, February 1, lpm, Hill Auditorium 75-minute family show with no intermission
Featuring Cyrus Chestnut on piano, Twinkie Clark on organ and gospel, and Steve Turre on trombone and "sanctified" shells. Each artist will showcase different influences of jazz and gospel, with parents and chil?dren actively involved in learning and performing some special songs.
Puccini's La Boheme
New York City Opera National Company Saturday, February 22, 2pm, Power Center 75-minute family show with no intermission
The love story of Mimi and Rodolfo is a great intro?duction to the world of opera. This abbreviated per?formance of Act II (the cafe scene) and Act IV includes an open curtain scene change as well as an introduction to singers and backstage crew. In Italian with English supertides and live narration.
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from past University Musical Society seasons. The Alvin Ailey American Dance Theater's March 1996 perfor?mances in the Power Center; a capacity audience for a chamber music concert in Rackham Auditorium; and pianist Emanuel Ax performing as part of the Society Bank Cleveland Orchestra Residency Weekend in 1995.
of the University of Michigan 1996 199J Winter Season
Event Program Book
Thursday, February 6, 1997
Wednesday, February 12, 1997
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Budapest Festival Orchestra 3
Ivan Fischer, conductor Thursday, February 6, 8:00pm Hill Auditorium
The Real Group i 1
Saturday, February 8, 8:00pm Michigan Theater
Ars Poetica Chamber Orchestra 15
Monday, February 10, 8:00pm Rackham Auditorium
Blood on the Fields 23
Wynton Marsalis and the
Lincoln CenterJazz Orchestra with
Jon Hendricks and Cassandra Wilson
Wednesday, February 12, 8:00pm Hill Auditorium
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
WHILE IN THE AUDITORIUM
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 313-763-1131.
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.
The Budapest Festival Orchestra
Ivan Fischer, conductor
Thursday Evening, February 6, 1997 at 8:00
Hill Auditorium Ann Arbor, Michigan
Concerto for Orchestra
Introduzione: Andante non troppo Allegro vivace Giuocco delle copie: Allegretto scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante Presto
Symphony No. 2 in D Major, Op. 73
Allegro non troppo
Adagio non troppo
Allegretto grazioso, quasi andantino
Allegro con spirito
Forty-first Concert of the 118th Season
118th Annual Choral Union Series
Large print programs are available upon request.
Concerto for Orchestra
Born March 25, 1881 in Nagyszentmiklos,
Hungary (now Sinnicolau Mare, Romania) Died September 26, 1945 in New York, New York
Bartok was a prolific composer of con-certante works. In addition to his six concertos for soloist and orchestra -three for piano, two for violin and one for viola -he also wrote the Scherzo-Burlesque, Sz 27 and the Rhapsody, Sz 28 (both of which are large scale compositions for piano and orchestra), the two Rhapsodies for violin and orchestra (Sz 87 and 90), and the magnificent Concerto for Orchestra which constantly highlights dif?ferent instruments, alone and in multiple combinations, as soloists.
The Concerto for Orchestra was written for the Koussevitsky Music Foundation in mem?ory of Natalie Koussevitsky, wife of the emi?nent conductor. The work was completed on October 8, 1943, and had its first perfor?mance by the Boston Symphony Orchestra under Serge Koussevitsky, on December 1, 1944.
The composer supplied the following notes on the work at the time of its pre?miere performance:
The general mood of the work repre?sents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life assertion of the last one.
The title of this symphony-like orches?tral work is explained by its tendency to treat the single instruments or instru?ment groups in a concertante or soloistic manner. The virtuoso treatment, appears, for instance, in the fugato sections of the development of the first movement (brass instruments), or in the perpetuum mobile-like passage of the principal theme in the last movement (strings) and,
especially, in the second movement in which pairs of instruments consecutively appear with brilliant passages.
As for the structure of the work, the first and fifth movements are written in a more or less regular sonata form. The development of the first contains fugato sections for brass; the exposition in the finale is somewhat extended, and its development consists of a fugue built on the last theme of the exposition. Less tra?ditional forms are found in the second and third movements. The main part of the second consists of a chain of indepen?dent short sections, by wind instruments consecutively introduced in five pairs (bassoons, oboes, clarinets, flutes, muted trumpets). Thematically, the five sections have nothing in common. A kind of trio -a short chorale for brass instruments and side-drum follows, after which the five sections are recapitulated in a more elaborate instrumentation. The structure of the fourth movement likewise is chain-like; three themes appear successively. These constitute the core of the movement, which is enframed by a misty texture of rudimentary motifs. Most of the thematic material of this movement derives from the 'Introduction' to the first movement. The form of the fourth movement -Intermezzo interrotto (Interrupted Intermezzo) -could be rendered by the letter symbols "ABA-interruptionBA."
The "life assertion" to which Bartok refers in his first paragraph concerns his last illness which made itself apparent two years before his death. Bartok was in Doctor's Hospital in the summer of 1943 when he was visited by Koussevitsky, who came bearing a commis?sion. Koussevitsky had never performed any of Bartok's scores and this was a special honor to a composer who was not yet known to the general public and who was dying from a broken heart as much as from a
physical disease. This commission came as an unexpected reprieve -and the results were startling. Bartok took an incredible turn for the better, so much so, that he was released from the hospital and sent to con?valesce in Asheville, North Carolina. He wrote the Concerto for Orchestra in this quiet setting -and, in fact, several other works before death claimed him two years later.
Symphony No. 2 in D Major, Op. 73
Born on May 7, 1833, in Hamburg
Died on April 3, 1897, in Vienna
Brahms has often, with arguable justifi?cation, been called the last of the great clas?sical composers; a fervent admirer of Beethoven, he was moved by a desire to be linked to the tradition of the symphony as set by the master. However, Brahms cannot so easily be regarded as a mere neo-classicist (as he was called in life and even after his death); it is only the most superficial listen?er who could deny that his music possesses qualities of the most intense romanticism. The richness and abundance of his musical genius poured forth in his symphonies, as it did in his chamber works, choral pieces and his long list of songs. Like Beethoven before him, he provided a strong voice, dramatic content and perfection of structure to the symphony; this, however, he complemented with the introduction of the German Lied to the essence of symphonic form. Beethoven had not made use of this lyric, uncomplicated and somewhat rustic vein in his symphonies as it was later to be found in Brahms', but the practice was perpetuated into the turn of this century by Mahler, and to some small degree by Bruckner.
Brahms was over forty years old when he completed his First Symphony; having gar-
nered a substantial reputation with his small scale works (particularly his chamber music), and with Schumann's pronounce?ment naming him Beethoven's successor as a symphonist, Brahms felt tremendous pres?sure and weight of responsibility in present?ing his first work in the form to the world. As a result, work on the First Symphony took him fifteen years between initial con?ception and the production of the complet?ed score in 1876. Opus 68 turned out to be a magisterial work, and having overcome his fears regarding his abilities to compose in the grandest of forms for instrumental music, he immediately set to work on his next symphony.
Brahms wrote his Symphony No. 2 in D Major in 1877, completing the score in less than four months. This work has often been called Brahms' "Pastoral" Symphony. There is perhaps an element of truth in this descriptive nickname, particularly in rela?tion to the first and second movements and, possibly the third. Of his four symphonies, the tone of the Second is the most idyllic. The serene expression of the first move?ment is contrasted with the more deeply contemplative character of the second movement, where the lyrical sentiment is most apparent as the style of the Lied is clearly found in the melody. The third movement demonstrates a skillful use of variation technique and an effective juxtapo?sition of alternating fast and moderately slow sections. The finale expresses great jubilation. All in all, Opus 73 provides a vivid example of Brahms' long melodic lines, his contrapuntal skill as demonstrated in the combination of melodic lines, the richness of harmony dictated by seriousness of purpose, the impressive coherence obtained in the use of thematic material, and the feeling of balance and unity in the structure as a whole.
The first movement, "Allegro non troppo," is written in sonata-allegro form. The tran-
quil opening of basses, horns and wood?winds reveals the emotional tone as well as the musical keynote of the symphony; the first theme compounds musical ideas to be utilized later in the work. A second portion of the first theme is stated in a quiet undu?lating melody played in the violins' high reg?ister. A transition builds to a full climax; this leads into the tender second theme, which is introduced by the cellos and casts a shade of melancholy on the previously sunny pro?ceedings. The development section begins with an elaboration of the first theme; the intermingling melodies and vigorous con?trasting phrases of the development finally subside into a quiet passage which leads into the recapitulation. Here, the return of the first theme is combined with the second theme winding about it. The coda that con?cludes the movement features an ethereal horn solo.
Unlike Mendelssohn and Schumann for instance, Brahms followed the practice of the classics by placing the slow movement as the second instead of the third movement of his symphonies. The song-like "Adagio non troppo," is deeply contemplative in character with long phrases and rich chromaticism. The cellos introduce the first theme based on a descending line, which leads to an accompanying counterpoint, ascending and played by the bassoons. A transition passage introduces a new key and leads into the sec?ond theme, marked "L'istesso tempo, ma grazioso." A third theme introduces the development; this section builds up with increased rhythmic and melodic motion. The recapitulation brings back the second theme, this time richly ornamented, before closing with a restatement of the second theme.
The third movement, "Allegretto grazioso, quasi andantino," is more like a song than a scherzo, and is perhaps closer in style to some of Brahms' piano pieces labeled Intermezzi. The main theme, introduced by
the oboe with pizzicato accompaniment from the cellos, suggests the steps of a dance; however, there is nothing dance-like about the development section or the rich?ness of thematic variation in the middle episode.
The last movement, "Allegro con spirito," is once again built on the sonata-allegro form. The principal theme begins mysteriously in the strings, extends to the woodwinds, and at last is expounded by the entire orchestra. The second theme is also introduced by the strings. In the development section, Brahms' mastery of contrapuntal technique is most evident; here the composer makes frequent use of broken polyphony as the thematic threads of melody and counter?point are distributed into small and even smaller motifs. With one last statement of die second theme, proclaimed by the trum?pets, Brahms brings his Symphony No. 2 to its brilliant conclusion.
Program notes by Edgar Colon-Hernandez
Ivan Fischer's international career was launched at the age of twenty-five by capturing the Rupert Foundation Conducting Award -the young inspiring conductor immediately garnered critical praise during the engagements with all of the major British orchestras.
Ivan Fischer appears frequently in America, where he is principal guest con?ductor of the Cincinnati Symphony, and has appeared in recent seasons with die orches?tras of Chicago, Los Angeles, Houston, Montreal, San Francisco, Minnesota and Pittsburgh. Maestro Fischer is regularly seen on the podiums of many of the world's leading orchestras including the Berlin Philharmonic, The Royal Concertgebouw, Chamber Orchestra of Europe, and the Orchestre National de France among others.
Maestro Fischer was music director of the Kent Opera for five seasons, and he has led three Mozart productions at the Vienna State Opera. In addition, he has conducted many of the leading Opera houses, includ?ing the Bastille Opera of Paris, The Royal Opera, Covent Garden and the operas of Brussels, Zurich, Frankfurt, Budapest and Stockholm.
Born into a musical family, he undertook early musical studies at the Bartok Conser?vatory in Budapest before going to Salzburg to study with Nikolaus Harnoncourt. He completed advanced studies at the Vienna Academy of Music where he graduated from the conducting class of Hans Swarowsky.
This performance marks Ivan Fischer's debut under UMS auspices.
Founded in 1983 by renowned conductor Ivan Fischer in collaboration with pianist and pedagogue Zoltan Kocsis, the Budapest Festival Orchestra has already developed into an acclaimed international touring orchestra and prize-winning recording ensemble.
Debuts in London, Vienna, Paris, along with the prestigious festivals of Lucerne and Salzburg, immediately established the young orchestra's remarkable artistic standard. The orchestra made their North American debut with a highly acclaimed residency at the Hollywood Bowl in July of 1994 under the baton of Principal Conductor Ivan Fischer, which resulted in an immediate invitation for their return in the summer of 1995.
In the fall of 1995, the orchestra made their Carnegie Hall debut in an all-Bartok program to honor the fiftieth anniversary of the death of the composer and performed similar commemorative concerts in Paris, Cologne, Frankfurt, and Brussels. Additional highlights of the orchestra's 1995-96 season include highly acclaimed performances in Vienna with pianist Andras Schiff as well as an extensive tour of Spain, Switzerland and Italy under the baton of the legendary Sir Georg Solti. The Budapest Festival Orchestra recently toured in Japan and they return to the United States in 1997 for this Ann Arbor concert, as well as engagements in Chicago and New York. In addition to their busy touring schedule, the orchestra offers a full series of concerts in Budapest at the Franz Liszt Academy of Music, featuring such celebrated soloists as Gidon Kremer and Andras Schiff.
The Budapest Festival Orchestra is fund?ed by the city of Budapest and receives gen?erous support from a number of Hungarian and international corporations.
This performance marks the debut of the Budapest Festival Orchestra under UMS auspices.
Budapest Festival Orchestra
Ivan Fischer, Music Director
I .mi.is Zalay
Second Violins Tamas Szabo Tibor Gatay Bence Asztalos Katalin Lukacs Eva Nadai Zsolt Szefcsik RitaToth NatasaSos Paljasz Agnes Biro Gyorgyi Czirok Zsuzsa Bitay
Peter Lukacs Miklos Banyai Judit Bcnde Laszlo Bolyki Agnes Csoma Barnajuhasz Judit Kelemen (ill.in Fekcte Nikoletta Szoke Nikoletta Reinhardt
Gyorgy Eder Laszlo Bank Lajos Dvorak Gyorgy Kertesz Gyorgy Marko . Judit Szabo Peter Szabo RitaSovany Zsolt Kovacs Endre Balog
Zsolt Fejervari Karoly Kaszas Geza Lajho Ivan Sztankov Laszlo Bencze Vera Papai Kn.in Bartanyi Jozsef Horvath
Flutes Erika Sebok Gabriella Pivon Anettjofoldi
Bela Horvath Szilvia Papai Szilvia Becze
I .isl,. Kiss Cy.
Bassoons 1 .mi,i-. Benkocs Sandor Patkos Judit Bodnar
Horns Laszlo Rakos Laszlo Gal Tibor Maruzsa Zsolt Peter
Trumpets Tamas Velenczei Zsolt Czegledi Gabor Boldoczki
Ferenc Koczias Peter I. Balint Sandor Balogh
i iM-l Bazsinka
Aurel Hollo Bojtos Karoly
Touring Manager Friderika Lukacs
SheldonConnealy Division Columbia Artists R. Douglas Sheldon Mark Maluso Lee-Ann Pinder
The Real Group
Johanna Nystrom, soprano Katarina Nordstrom, alto Anders Edenroth, countertenor Peder Karlsson, tenor Anders Jalkeus, bass
PROGRAM The Real Group will announce the program from the stage.
February 8 1997 There will be one intermission.
Michigan Theater Ann Arbor, Michigan
Forty-second Concert of the 118th Season
Jazz Directions Series
The Jazz Directions Series is presented
with support from media partner
WEMU, 89.1 FM, Public Radio from
Eastern Michigan University. --!-------
Large print programs are available upon request.
lthough The Real Group's recordings are frequently featured on radio stations through?out this country, the Swedish singing ensemble
is making its first extended tour of the United States this winter. Formed in Stockholm in 1984, the group of five singers has appeared in concerts and in clubs throughout Europe, with brief forays to the Far East, and to several cities in Canada and the States.
The five first met at Fredrik's Music School in Stockholm, but it was not until they all attended the Royal Academy of Music
that they created The Real Group. Singing without instrumental accompa?niment was at first a necessity, and then became a preference. So much so that they were able to give public con?certs to fulfill their Royal Academy course requirements.
The Real Group soon devel?oped a broad and diverse repertoire encompassing jazz, rock, pop, and even Latin American tunes. Their instru?mental imitations and vocal artistry have brought them to the forefront of the jazz and a cappella worlds. They j
have attracted the attention of such artists as The King's Singers, soprano Barbara Hendricks, and vocal virtuoso Bobby McFerrin, all of whom have performed in concert with The Real Group.
The Real Group bases its name on the "text" that the singers use in preparing con?cert material. In jazz parlance, the "fake book" is a massive accumulation of lead-sheets from songs covering the whole history of popular music. It gives the melody, basic harmony, rhythm and the lyrics for thousands of songs, and it is used by all jazz and pop musicians as the ultimate source book for
their work. It is entitled The Real Book, and hence, the group decided to
call itself The Real Group.
The Real Group makes its UMS debut in tonight's performance.
The Real Group
Ars Poetica Chamber Orchestra
Anatoli Cheiniouk, conductor Cho-Liang Lin, violin
Monday Evening, February 10, 1997 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Wolfgang Amadeus Mozart
Symphony No. 29 in A Major, K. 201
Allegro con spirito
Violin Concerto No. 1 in C Major
Cho-Liang Lin, violin
Symphony No. 45 in f-sharp minor (Farewell)
"... carmina fingi posse linenda cegro et levi servanda cuppresso"
"...songs worthy of cedar oil and the cypress case"
Horace Ars Poetica
Forty-third Concert of the 118th Season
Michigan Pride Series
This performance is sponsored in part by Miller, Canfield, Paddock and Stone, PLC.
Large print programs are available upon request.
A Note from Anatoli Cheiniouk
Music is heard everywhere and always. Where there is no man, the wind touches the strings of the Aeolian harp. Where there are no strings, it is answered by the reed-pipe. The conch shells sing, the cliffs resound melodiously.
Where there is man, someone is whistling, making noise, snapping his fin?gers, clicking his tongue...but more impor?tantly, he is constantly listening, consciously or subconsciously to the sound of the har?mony which surrounds him.
Sometimes this harmony reaches a level at which it can be perceived by only a few: Mozart, Bach, Shostakovich....They put down on paper what they heard and we, using what they left us, perform it.
We of the Ars Poetica Chamber Orchestra are not simply a group of musi?cians, each of whom is a master of his or her own instrument. We are united by a com?mon understanding of what our music rep?resents. One can say that we are continually playing it together, although we live in Detroit, Chicago, Boston, or Cleveland. Even a family scattered across the world remains a family, continues to think related thoughts, to communicate wordlessly. We gather together, as we do today, to enjoy playing music in each other's company -and to convey that pleasure to you.
Symphony No. 29 in A Major, K.201
Wolfgang Amadeus Mozart
Born on January 27, 1756 in Salzburg
Died on December 5, 1791 in Vienna
In the early 1770s, Mozart the child prodigy was transforming himself into the great composer we all know and love. The
transformation took place within a few short years, stimulated in part by three extended trips to Italy, taken by Mozart and his father between 1771 and 1773, and a ten-week stay in Vienna in the summer of 1773 during which the teen-ager got to know some of the most recent works of his future friend, Franz Joseph Haydn.
Having returned to Salzburg, Mozart took up his duties in the service of Archbishop Hieronymus Colloredo, and he quickly made a name for himself locally as a keyboard player and composer. The young Mozart had ample opportunity to refine his skill as a composer of symphonies, and to hear his works performed by the excellent archiepiscopal orchestra, as well as other venues in his native city. No wonder he wrote about thirty symphonies between 1770 and 1775, more than at any other time in his life. Some of these symphonies are among the earliest works to show Mozart in his full artistic maturity.
In his article on Mozart in The New drove Dictionary of Music and Musicians, Stanley Sadie called the A-Major symphony a "land?mark," and it is hard to disagree with his assessment. In this work Mozart enriched the established conventions of symphonic writing with individual strokes of genius to a quite unprecedented degree. The melodic material is more sharply defined than before, the thematic development more complex. Mozart's overflowing musical imagination requires substantial codas, that is, special extensions, in the first, second, and fourth movements, whereas such "tail?pieces" were not usually found in other sym?phonies of the time.
An unusual feature occurs right at the beginning of the symphony; instead of a fan?fare or other loud and energetic opening statement, we hear a descending octave leap played -significandy -piano by the first violins. This octave leap is the central idea for the entire movement; it is elaborated
contrapuntally, repeated in forte volume, and subjected to may other ingenious modifica?tions. Its assertive, somewhat "angular" char?acter contrasts with the more "rounded" sec?ondary theme and a light and playful clos?ing motif.
The second-movement "Andante" has the particularity of requiring mutes on the vio?lins. Like the opening movement, the Andante is in sonata form, with a second theme (an exceptionally lovely, lyrical idea), development section (with some harmonic and rhythmical excitement) and a recapitu?lation. For the last four measures of the con?cluding coda, the violins take off their mutes, and state the main theme in an ener?getic forte instead of the gentle piano that has prevailed throughout.
The third-movement "Menuetto" is based on an idea in dotted rhythm that is possibly an allusion to French style; some of the har?monic progressions are reminiscent of Baroque music. The most surprising ele?ment is the repeated-note fanfare at the end of the first phrase, played by two oboes and two horns while the strings are silent. It is answered by the strings playing the same repeated-note figure a step higher. The melody of the trio, or middle section, is scored for strings only, with the wind instru?ments merely supplying long-held pedal notes.
The "Finale"begins with the same descending octave we heard in the first movement, but it is now embedded in a theme with a different direction: instead of rising step-by-step in pitch, the melody shoots up like a rocket, introducing a move?ment in which even the lyrical second idea sustains a high level of excitement. The development section, with its distant modu?lations and elaborate counterpoint, is one of the most sophisticated Mozart had written to date. An unaccompanied, rapidly ascend?ing sixteenth-note scale ushers in the reca?pitulation, and reappears in the coda before
two energetic chords bring the symphony to an end.
Program note by Peter Laki
Violin Concerto No. i in C Major
Born March 31, 1732 in Rohrau, Lower Austria
Died on May 31, 1809 in Vienna
Franz Joseph Haydn spent almost thirty years of his life in the service of Prince Nikolaus Esterhazy who resided in Eisenstadt, Austria, and in the new palace he built dur?ing the late 1760's and '70s at Eszterhaza, just across the Hungarian border. For the better part of the season, the composer was removed from the great musical centers but had the privilege of working with an excel?lent orchestra and many first-rate soloists the Prince had engaged. During the first years of his tenure at Eisenstadt (1761-65), Haydn wrote a series of concertos for some of these distinguished colleagues; die con?certo was a genre to which he was to con?tribute only sporadically during his later years.
The group of early concertos comprises six works for the organ, three for violin, and one each for horn, cello, and harpsichord. Of these works, the cello concerto in C Major is probably the best known, although the first of the violin concertos, written in the same key, is also heard with increasing frequency. (It is interesting that none of these works was printed until the twentieth century.)
The violin concertos were written for Luigi Tomasini (1741-1808), a native of Italy who had been in Esterhazy's service since his teens. He was concertmaster of the Prince's orchestra and the first violinist of die resident string quartet for which Haydn wrote his early quartets.
Haydn's early concertos are transitional works between the Baroque and the Classical concerto forms, and the present work is no exception. The first movement bears traces of the "ritornello" structure known from Vivaldi's and Bach's concertos. The melodic writing is also replete with Baroque turns, but some of the episodes already announce the incipient Classical style. The numerous double stops and pas?sages in the high register certainly venture far beyond standard Baroque concerto prac?tice. The second-movement "Adagio" begins and ends with a "curtain" consisting of an ascending F-Major scale played by the solo violin. The main body of the movement is made up of a single lyrical violin solo of sur?passing beauty. The cheerful and virtuosic finale again has its stylistic roots in the Baroque, but near the end there is a sur?prise that gives us a foretaste of the later Haydn.
Program note by Peter Laki
Symphony No. 45 in f-sharp minor (farewell)
The Symphony, nicknamed the "Farewell", was composed for a special occasion. There are several versions of the story, but the most reliable is that Prince Nicolaus Esterhazy had overstayed his usual period at Esterhaza -the new Princely Castle -by rather a long time, and his musicians turned to Haydn, their conductor and "union representative" for help to getback to their homes and fami?lies at Eisenstadt. In response Haydn wrote this superb symphony with its double last movement during which one musician after another quietly leaves the stage. The Prince was delighted, took the hint, and the whole court departed the next day. But the passion and originality of the symphony transcends
any external circumstances. The symphony begins with a fiery "Allegro assai," which maintains its power and tension relentlessly, (the lyrical melody in the major key which lightens the middle section is soon thrust aside by the return of the opening theme, freely and powerfully expanded). The inno?vative pastoral start of the "Adagio," with its muted strings, belies the seriousness with which it evolves, moving through passages of haunting harmonic ambiguity. The "Minuet" offers brightness and contrast with its F-sharp Major tonality and its gleaming horn tone, but the underlying minor repeatedly breaks the surface. The finale is, in effect, two linked sonata-form movements. First comes the vigorously rhythmic "Presto"in the minor, then, in A Major, a gracious "Adagio " unfolds, fully scored at the outset, but gradually and unobtrusively shedding its instrument -winds first, then the double-bass as it moves, magically, into F-sharp Major; at last, only the two muted violins are left to bring die symphony to its close.
J rs Poetica Chamber
Orchestra is a unique
group of nationally and
into nationally fk acclaimed virtuosi from m L world famous symphony
JL. _H. orchestras, such as the
Boston Symphony, the Detroit Symphony, the Chicago Symphony, the Cleveland Orchestra, and the Dallas Symphony. They are united by their love of chamber music, a common understanding of what this music represents, and a dedication to its perfor?mance.
The name of this unique orchestra is derived from the work of the Roman poet Horace, entitled Ars Poelica, written in the First Century BC. Equilibrium, the main theme of this work, has been chosen by the orchestra as the vital and most important
characteristic, not only of the pieces selected for performance, but also of the make-up of the orchestra, of every individual program and of the long-term repertoire.
Clearly, all musicians and all orchestras strive toward this goal, but for Ars Poetica it is the motto.
Future performances of Ars Poetica Chamber Orchestra will feature world renowned guest soloists Yo-Yo Ma, Radu Lupu, Yefim Bronfman, and Emanuel Ax.
Tonight's performance marks the Ars Poetica Chamber Orchestra's debut under UMS auspices.
Anatoli Cheiniouk, Music Director and founder of Ars Poetica Chamber Orchestra, is a musician of great artistry and mastery. He is among the finest violinists produced by die Violin School in Russia.
Mr. Cheiniouk was a soloist and member of the Moscow Chamber Orchestra, found?ed and directed by Rudolf Barshai from 1968 until 1980. During these twelve years,
he performed return engagements in Western Europe, the US, Japan, Australia, and South America, and as a part of the major European festivals of Salzburg, Lucerne, Prague, and Edinburgh.
In the late 1970's Mr. Cheiniouk became a co-founder and a soloist of the Moscow Virtuosi Chamber Orchestra, directed by Vladimir Spivakov. From 1980 until 1985 when he came to the United States, he toured with this orchestra throughout Europe and Japan and participated in many festivals including Granada, Spain, Spring in Prague, and Tours, France.
His performances at many concerts, including participation in the premiere con?cert of the works of Dimitri Shostakovich, were critically acclaimed.
Anatoli Cheiniouk performed with the Moscow Chamber Orchestra at the opening of the Sydney Opera House, Australia, before her Majesty, Queen Elizabeth the Second, and many other royal families.
With Vladimir Spivakov and Yuli Turovsky, cello soloist of the Borodin Trio and Music Director of I Musici de Montreal, Anatoli Cheiniouk recorded works by Corelli, Vivaldi, Mozart, Schubert, and Bach. The recordings were produced by Melodiya Recording Company in Russia and Odyssey Recording Company in the US.
Ars Poetica Chamber Orchestra has been highly acclaimed and is a unique contribu?tion to music and this country.
This performance marks Anatoli Cheiniouk's debut under UMS auspices.
Cho-Liang Lin, the Chinese-American violin?ist, is well known to audiences around the world for his technical brilliance and the warmth and beauty of his playing.
Highlights of this season include a US tour with the Orchestre National de France led by Charles Dutoit and appearances with the orchestras of Baltimore, Indianapolis, Atlanta and Oregon. Mr. Lin will also per?form with the Chamber Music Society of Lincoln Center. In Europe he will perform in Paris with Orchestre National de France, Madrid's Orquesta Sinfonica de RTVE, the Halle Orchestra, and the Royal Liverpool Philharmonic. Recital appearances include London's Wigmore Hall, Paris and Spain. Tours to Asia take Mr. Lin to the Presidential Inauguration concert in Taiwan, as well as recital and orchestral appearances in Japan with the Kyushu Symphony and Japan Philharmonic. In Australia he will perform with orchestras in Sydney, Melborne, and Brisbane.
This summer's appearances included returns to the Aspen Music Festival, Minnesota Orchestra's Sommerfest, Grand Teton Festival, Milwaukee Symphony, Oregon's Chamber Music Northwest, and the Lajolla Summerfest. Mr. Lin performed
with the Chamber Music Society of Lincoln Center and at the Ravinia Festival. Overseas visits included Norway's Stavanger Festival and Finland's Naantali Festival,
Born in Taiwan, Cho-Liang Lin began his studies at the age of five and gave his first public performance at the age of seven. When he was twelve, he was sent to Australia to study at the Sydney Conservatorium. After a master class given there by Itzhak Perlman, Mr. Lin was inspired to study with Mr. Perlman's teacher, Dorothy DeLay. He arrived in New York in 1975, and was enrolled in The Juilliard School immediate?ly following his audition. Mr. Lin is now a member of the Juillard faculty and resides in New York. His violin is the 1734 Guarneri del Gesu 'The Duke of Camposelice."
Cho-Liang Lin made his UMS debut in October of 1992 with the Frankfurt Radio Symphony. Tonight's performance marks his second appear?ance under UMS auspices.
Ars Poetica Chamber Orchestra
Anatoli Cheiniouk, Music Director
Victor Romanul Emanuel Borok Wei Fang Gu Alexander Romanul Adam Stepniewski Nancy Park Boris Chusid Hai Xin Wu Marian Tanau
Michael Zaretsky Catherine Brubaker Glenn Mellow
Elizabeth Anderson Margery Hwang
Double Bass Peter Guild
Don Baker Kristen Beene
Bryan Kennedy Mark Abbott
Ars Poetica Chamber Orchestra
Board Of Directors
Dr. Deirdre Golden-Dutka, President and Cofounder
Gillian Von Drehle, Vice President and Cofounder
James Sansoterra, Vice President
The Honorable Dr. Michcle Quaroni, Consul of Italy
Mrs. Veronika Quaroni
Hon. Anna Diggs-Taylor
Thomas Gianncarlo DO
Daniel j. Meglar MD
S. Martin Taylor
Anthony Tersigni Ed. D.
Hon. M. Wahls
Yiili Turovsky Timothy Nasso Dr. David Wagner Mary Ellen Mooney Mado Lie
Jacquie Wetherholt Isaac Lakritz Daniel Krickbaum Michael Remnyi Michael Goddard Patricia Williams-Taitt
Musici de Montreal
Commercial Attache, Italian Consulate
WQRS, 105.1 FM
American Lung Society
Detroit Symphony Orchestra
St. John Health System
American Society for Technion
WTVSCh. 56 Detroit
Remnyi International Music, Toronto
American Cancer Society
Honorary Board Members Mr. Leon Cohan Patrick C. Wrenn John Huetteman III
Detroit Edison Foundation
St. John Health System
Ford Motor Company Fund
Hon. Senator Carl Levin
Hon. Senator Jack Faxon
Mr. and Mrs. Leon S. Cohan
Mrs. Roger Kyes
Dr. and Mrs. Bhaskar Shenai
Detroit Edison Foundation
Ford Motor Company
Michigan Neurology Assoc.PC
Systems and Management
Curt Wunderlich and Son
WQRS 105.1 FM
Donald J. Ulrich and Assoc.
St. John Health System
WTVS, Channel 56
Blood on the Fields
Wynton Marsalis and the
Lincoln Center Jazz Orchestra
Jon Hendricks and Cassandra Wilson
Wednesday Evening, February 12, 1997 at 8:00
Hill Auditorium Ann Arbor, Michigan
The full text for tonight's performance may be found in the libretto insert.
Forty-fourth Concert of the 118th Season
Jazz Directions Series
Special thanks to the Detroit Edison Foundation for support of this performance and the related educational events.
This performance is presented with support from media partners WEMU, 89.1 FM, and Continental Cablevision.
Special thanks to Stanley Crouch, Jazz Musician, Critic and Audior, for serving as Master of Arts Interviewer. The Master of Arts Series is a collaborative effort of UMS, the University of Michigan Institute for the Humanities and WUOM. This Master of Arts interview will be aired on WUOM on Monday, March 3, 1997 at 8PM.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
The carillon concert preceeding tonight's performance was played by Judy Ogden, Assistant University Carillonist.
Large print programs are available upon request.
"" c( ause nl the historical A importance oi the pre-D miere of on tin-
F. Fields, iliis program ini ludes the original R miles and the comments ,Kmr thai Wynton Marsalis made on the work and its meaning. Nothing quite like it had ever been written, either by a jazz musician or one from another disci?pline. It was fitting that the opening night was on April Fool's Day, 1994, because Marsalis went beyond all that even those who most admired his writing expected of him. He reached a level of expression arrived at by only the very great artists, but the composer had achieved his new position through absolute contact with the mud and swamp water of the earth. At every turn, no matter how abstractly he might have han?dled his themes, his rhythms, and his orchestration, there was always something inside the writing that was very old and very profound, something that drew upon the vitality of the Negro spirituals and the blues, those musics of spiritual concern in religious and secular contexts.
Blood on the Fields was sold out both of its two nights, with many standing outside the hall hoping they might convince others who had seats to sell one or two of their tickets. Excitement put another layer of heat into the incipient spring night. The audience reflected the ethnic variety of Manhattan as well as the universal appeal of the music. As George Kanzler of the Newark Star Ledger reported, "It was one of those rare concerts where you knew something magnificent, even history-making, was taking place. At intermis?sion, the audience was buzzing widi excitement and by concert's end there was a palpable feeling of awe, of being almost overwhelmed by the sheer power of the music."
The epic length of the piece, nearly three hours, put it in a category beyond all other jazz composition. Where many had
fumbled before him, either out of lack of compositional skill or a tendency to preten?sion, Marsalis was showing how well all of the elements of jazz and its antecedents could work together. Marsalis used a jazz orchestra comprised of young musicians whom he had known almost since they began playing, musicians who were once no more than novices showing up at clinics or backstage following performances. They executed an extremely demanding score with valor and precision. Marsalis utilized the marvelous singing styles of Jon Hendricks, Cassandra Wilson, and Miles Griffith, each a representative of a specific era in jazz singing and jazz knowing. Hendricks, Wilson and Griffith reached levels of swing, tragedy, stoic lyricism and anger that were much deeper than what one is accustomed to in our time.
Marsalis was doing his own turn on the way Duke Ellington had used so many differ?ent styles for his 1943 historical masterpiece, Black, Brown, and Beige. But at thirty-two, neither Ellington nor anyone else had written a work this ambitious, primarily because they had neither the amount of music that Marsalis has to draw on -which is not only everything that came before Ellington, but everything that came in his wake. The result was that Marsalis, who had been in pitched battle with the critical establishment, won them over just as he did the audiences that stood shouting and clapping when the piece ended. The New York Times reported, "Wynton Marsalis' skills have grown as fast as his ambitions and he is the most ambitious younger composer in jazz...His music holds on to jazz fundamentals -blues and bal?lads, swing and Afro-Caribbean rhythms, call-and-response -while abstracting them into fast-mutating collages. With Bfood on the Fields, he also proves he can write melodies that sound natural for singers...Mr. Marsalis' ensembles bristle with polytonality, disso?nance and jagged, jumpy lines and counter melodies, but the rhythm section pushes
them along as if they were dance music... He comes up with elaborate structures and musicianly abstractions, but he also encour?ages old-fashioned jazz pleasures: snappy riffs, strutting syncopations, repartee between sections, competitive solos and the bedrock of the blues."
Blood on the Fields was the sort of across-the-board conquest that signals fresh possi?bilities in American art because, in a time of so much disorder, so many cliches, and such cynicism, the listener is ennobled by the experience of the music.
Who Ain't a Slave
(original notes on the program, April 1994)
The evolution of Wynton Marsalis as a composer is one of the forces that defines the quality of our American art. His body of work now stands above that of all but the most important writers of jazz music. Marsalis has taken on such a large position in the writing of jazz music because he is in possession of a very rich talent and has no difficulty perceiving what kind of a Western music jazz is. He understands how it combines African-derived ideas about per?cussion and European harmony, drawing its primary melodic sources from the uniquely American line of the blues on one hand and Negro spirituals on the other. He is also aware of the impact that jazz, blues, and spirituals had on the music of Tin Pan Alley and the impact Tin Pan Alley had on jazz.
One of the reasons Marsalis is so clear on the elements that give his art its identity is that he has not only worked with jazz mas?ters of every style but has had wide and suc?cessful experience in European concert music, performing everything from Bach to the avant garde of the twentieth century (the work of composers such as Stravinsky, Bartok, Stockhausen, Zwillich, and Ralph Shapey). That rich background has given
Marsalis a strong and thorough grounding; not a superficial perception of what consti?tutes modern music. This technical educa?tion has allowed Marsalis to grow ever stronger over the last fifteen years. The consistent growth of his mastery has been documented on nearly twenty albums, each addressing the basics of jazz with compositional variety and adventure. Over and over, one hears how clearly he has brought his own voice to the fundamentals that have given common?ality to the highly individual work of the finest jazz musicians -44 swing (fast, medium, and slow), the blues, ballads, and Afro-Hispanic rhythms (what Jelly Roll Morton heard as an essential "Spanish tinge").
In Blue Interlude, he went beyond even the best jazz writers of the fifties and the six?ties to create a form for a small group that lasted nearly fourty minutes but maintained cohesion through thematic and harmonic control. In Citi Movement, his ballet for Garth Fagan, he wrote a three-movement symphony for seven pieces, a two-hour work that had no precedent. In This HouseOn This Morningwas commissioned by Jazz at Lincoln Center in 1992 and found Marsalis working with a structure based on the Afro-American church service, exceeding in qual?ity and complexity previous jazz pieces that built their foundations on the music of the Negro church. In This House was a whole work, not a group of pieces that had no for?mal relationship to each other. For a collabo?ration with the New York City Ballet, Marsalis wrote Jazz (Six Syncopated Movements). It used riotous dissonance, marches, railroad train onomatopoeia, ballroom lines, and ragtime to give another form to the composer's epic understanding of American life and history.
Tonight we will hear Marsalis' first extended composition for large jazz band. He calls it Blood on the Fields and explains that American slavery is its subject. Slavery was the buzzard pecking at the liver of the Constitution, and its shadow, like a dark
virus, infected everything it touched. It made America schizoid, touched off increasingly hostile debate, challenged the Christian underpinnings of universal humanism, inspired the abolition movement, made vis?ceral every national shortcoming. That is why Marsalis is convinced that much of our iden?tity as Americans is the result of what slavery meant to our country -its social contract, its laws, its politics, its literature, its military history, its theater, its film. The issues sur?rounding slavery led to the Civil War, to Reconstruction, and the ninety-year-long struggle to take the Constitution south, resulting in the Civil Rights Movement, our second Civil War.
But the subject of American slavery is much more than a tale of racial degradation. To leave it there is to trivialize what it meant and should mean. No, American slavery isn't the rhetorical football sentimentalists, hysterics, and demagogues so easily kick around. It was a long tragic condition that continues to loom larger than slaves them?selves. As a genuine tragedy, slavery is a pris?matic metaphor through which we can see beyond color by seeing all colors. American issues of labor, of gender, of the exploitation of children, and, finally, of human rights within this society are traceable back to that phenomenon, for it defined every inadequacy that was allowed to exist within the United States. The "peculiar institution" raised high the central issue facing civilization under capitalism, which is bringing together morality and the profit motive. Slavery also found in its opponents a deeper understand?ing of the meaning of democracy and inspired actions that helped define the ethical grandeur of courage within our culture. It is, therefore, a metaphor for every question of unfairness and every question of servitude. As Herman Melville wrote in Moby Dick, understanding this well, "Who ain't a slave"
Of the work, Marsalis says,
"It starts on a slave ship during the mid?dle passage. We meet two Africans, Jesse and Leona, who until being forced into the equality of a tragic circumstance, occupied very different stations in life -he a prince; she a commoner. They get sold to the same plantation and are chained together on a coffle. Jesse gets wounded trying to escape, and in order to survive the journey to his new home (for lack of a better term), he has to lean on Leona. When they arrive, he doesn't even thank her for saving his life. He has been a prince in Africa, so perhaps it was beneath his noble station to express gratitude to a commoner. But one thing is apparent, he's caught up in the injustice of his circumstance. For him, freedom is a purely personal thing. He needs to have his understand?ing expanded, and Leona is equipped with the tools to do the job.
"Eventually, Jesse goes to seejuba, a wise man posing as a fool. And Juba tells him that he needs to do three things. He has to love his new land, he has to learn how to sing with soul, and he has to learn who he will be when free -what will he call himself Nigger, colored, Negro, black, Afro-American, African-American or the next name (maybe just American). Juba's advice sounds too "Uncle Tom-ish."Jesse escapes and gets caught. He has a painful awakening under the bite of the lash. This convinces him to trans?form his attitude and ultimately his character. This transformation is com?plete when he sings the blues chant, "oh, anybody hear this plaintive song. Oh, who wants to help their brother dance this dance Oh, I sing with soul, heal this wounded land." Blood on the Fields details in music what I feel it takes to achieve soul: the willingness to address adversity with elegance." Program Notes OStanley Crouch
First formed in 1988, the iLincoln Center Jazz Orchestra (LCJO) is the official "house band" for Jazz at Lincoln Center activi?ties. Under the direction of Wynton Marsalis, the orches?tra is dedicated to developing a performance repertory of historic compositions and newly-commissioned works for big band. The LCJO specializes in the music of Duke Ellington, and its annual presentation of Ellington's music at Lincoln Center has become a cultural highlight of New York City. The LCJO annually tours the United States and has also performed across Europe and Asia. Their music is document?ed on three recordings produced by Jazz, at Lincoln Center for ColumbiaSony Music, including Portraits by Ellington (1992), The Fire oj the Fundamentals (1993), and They Came to Swing (1994).
Performance highlights include concerts in The Hollywood Bowl, Vienna Opera House, Chicago's Orchestra Hall, Tanglewood, London's Royal Festival Hall, and the Symphony Halls of Boston, Atlanta, Detroit, Munich, and Hong Kong. The orchestra has appeared on television broadcasts in France, Spain, Finland, Germany, and the Czech Republic, and has also appeared on Live From Lincoln Center and the Tonight Show. Along the way, the LCJO has performed numerous concerts for young people and has conducted workshops and master classes for students at universities and high schools nationwide.
The historic repertory of the LCJO includes compositions and arrangements by Duke Ellington, Count Basie, Fletcher Henderson, Sy Oliver, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Jay McShann, Benny Goodman, Charles Mingus, Bennie Moten, Eddie Durham, Edgar Sampson, Eddie Sauter, Woody Herman,
John Lewis, and others. Jazz at Lincoln Center has commissioned works for the LCJO from Benny Carter, Joe Henderson, Jimmy Heath, Chico O'Farrill, Freddie Hubbard, Wynton Marsalis, Christian McBride, and Stephen Scott. Guest conductors for the LCJO have included Benny Carter, Jon Faddis, Robert Sadin, David Berger, and Loren Schoenberg.
Tonight's performance marks the fourth appearance of the LCJO under UMS auspices.
Wynton Marsalis (Conductor, Trumpet) was born in New Orleans, the cradle of jazz, on October 18, 1961. He began taking the trumpet seriously at age twelve, when he started classical training. As a young musi?cian he acquired quality experience in local marching bands, jazz bands, funk bands, and classical youth orchestras. At age eigh?teen he entered Thejuilliard School, and was soon recognized as its most impressive trumpeter. Later that year, he continued his schooling when he joined Art Blakey and the Jazz Messengers. In 1982, Mr. Marsalis began his recording career as a leader. Over the last fourteen years he has produced a
catalogue of outstand?ing recordings, winning numerous awards including eight Grammy Awards and eight hon?orary doctorate degrees. He has maintained a relentless performance schedule with his vari?ous working groups,
and his interest in composition has resulted in a prolific body of work.
Mr. Marsalis has played a critical role in awakening the consciousness of a new gen?eration of fans and fellow musicians. As Artistic Director oijazz at Lincoln Center and conductor of the Lincoln Center Jazz Orchestra (LCJO), he has helped establish a standard of excellence in jazz presentation. Other commissioned works include 1992's In The House, On This Morning, which explored
the structure of a traditional church service and how the church has played an integral role in the development of jazz music. In 1993, Mr. Marsalis collaborated with Peter Martins, Ballet Master-in-Chief at New York City Ballet, to produce Jazz: Six Syncopated Movements. In the 1995 collaboration between Jazz at Lincoln Center and The Chamber Music Society of Lincoln Center, Mr. Marsalis com?posed his first string quartet, At The Octoroon Balls, utilizing such motifs as Creole dances and runaway trains. Recently, Mr. Marsalis completed Sxueet Release, a new ballet for jazz orchestra choreographed by Judith Jamison for Alvin Ailey American Dance Theater and the LCJO, which premiered in August 1996 as part of Lincoln Center Festival '96.
Mr. Marsalis has attained world class prominence as both a musician and a spokesman for music education. He regularly lectures and conducts master classes for stu?dents of all ages and interests, including his popular Jazz for bung People series produced by Jazz at Lincoln Center. His devotion to edu?cation led him to 1995's Sony Classical pro?duction of Marsalis on Music for the Public Broadcasting System (PBS) and 1996's Peabody Award winning Making the Music series for National Public Radio (NPR). Mr. Marsalis also wrote a companion book to the PBS series for W.W. Norton. This comes on the heels of his first book, a collaboration with photographer Frank Stewart entided Sweet Swing Blues On The Road.
In June of 1996, Time magazine listed Marsalis as one of "America's 25 Most Influential People," and Life magazine's July 1996 issue named him one of "The 50 Most Influential Boomers." His continuing efforts in the crusade to heighten jazz awareness in America and overseas make him one of the most unique citizens of our time.
Wynton Marsalis debuted under UMS asupices in January 1996 in a program devoted to the music of Morton, Monk and Marsalis. Tonight's perfor?mance marks his second appearance under UMS auspices.
Wess Anderson (Alto and Soprano Saxophones) began playing the saxophone at age fourteen and attended Jazzmobile workshops in Harlem, studying with Frank Wess, Frank Foster, and Charles Davis. Jazzmobile classes were supplemented with jam session performances led by saxophon?ist Sonny Stitt at the Blue Coronet, where he learned the discipline needed for perfor?mance. Prior to beginning his college career, he met Wynton and Branford Marsalis, who became instrumental in his professional suc?cess. He attended Southern University and studied with clarinetist Alvin Batiste. In 1988, he became a member of Wynton Marsalis' Septet, with which he toured and recorded for seven years. As a leader, Mr. Anderson has recorded and released two solo albums entitled Warmdaddy in the Garden of Swing, and The Ways of Warmdaddy. He tours and performs regularly with the Lincoln Center Jazz Orchestra worldwide.
Farid Barron (Piano) was born and raised in Philadelphia, Pennsylvania. While attending Central High School, he received the Down Beat MusicFest Jazz Ensemble first prize and Outstanding Soloist awards. He has studied at the New School of Music at Drexel University and Temple University, and has performed with Wynton Marsalis, Ralph Peterson, Johnnie Coles, Micky Roker and Bobby Durham, among others. He has toured extensively throughout the United States, Europe and South America. In 1993, Mr. Barron entered the United States Air Force, where he performs in the Concert Band, Dimensions in Blue Jazz Ensemble, and the Protocol Combo.
Regina Carter (Violin, Guest Soloist) studied European Classical and African American music both at the New England Conservatory and Oakland University in Rochester, MI, where she earned a Bachelor of Arts degree in Performance. She has recorded with many diverse musical groups including pop
star MaryJ. Bilge, Losjovenos del Barrios, Madeleine Peyroux, and the String Trio of New York. In 1995, her self-titled debut album was released. In October 1996, she premiered a composition by Muhal Richard Abrams at the John F. Kennedy Center for the Performing Arts. Carter has performed with her own band at many jazz festivals including Newport Jazz Festival, The Capital Jazz Festival, and the Black Arts Festival in Albany, New York.
Gideon Feldstein (Baritone Saxophone, Bass Clarinet, Clarinet) a native New Yorker, graduated from the Manhattan School of Music in May 1995. He has studied with Wynton Marsalis, Jon Hendricks and Barry Harris. He began playing and studying alto saxophone at age eleven and later switched to baritone saxophone, under the tutelage of renowned baritone saxophonist Joe Temperley. Mr. Feldstein has performed and toured with the Lincoln Center Jazz Orchestra and regularly works with Jon Hendricks.
Victor Goines (Tenor and Soprano Saxophones, Clarinet, Bass Clarinet) was born on August 6, 1961 in New Orleans, Louisiana. Mr. Goines began studying clar?inet at age eight, continuing his studies through high school. He received a Bachelor of Music Education in 1984 from Loyola University and his Masters at Virginia University in 1990. Mr. Goines toured inter?nationally with Ellis Marsalis' quartet before joining the orchestra of the Broadway musical Black and Blue. He has recorded or worked with Lionel Hampton, Terence Blanchard, James Moody and Dizzy Gillespie, among many others. He released his own album entided Genesis in 1991. Currently, Mr. Goines resides and teaches in New Orleans as a member of the faculty at the University of New Orleans. He joined Wynton Marsalis' Septet in the summer of 1993 and toured with the band through 1994. Mr. Goines reg?ularly performs and tours with the Lincoln Center Jazz Orchestra.
Wayne Goodman (Trombone) was born and raised in Brooklyn, New York. At the age of eleven, he began studying the trombone and received his bachelor of music degree from William Patterson College in 1991, and his Masters Degree in Music in May, 1995 from Manhattan School of Music. An active composer and arranger, Mr. Goodman received a full scholarship to the BMI com?posers workshop. As a jazz trombonist, he has toured the Far East, Europe and South America, and performed regularly with Jon Hendricks' band "Explosion." He performed and recorded the world premiere of Wynton Marsalis' Blood on the Fields at J@LC in 1994 and was also seen on Live from Lincoln Center, the PBS broadcast of Jazz at Lincoln Center's City of Jazz concert presentation.
Wycliffe Gordon (Trombone) was born in 1967, in Waynesboro, Georgia. He began playing the trombone at age twelve. During high school in Augusta, Georgia, he was honored with a place on the All-State Concert and Jazz Band, as well as McDonald's Ail-American High School Marching Band and Jazz Band. He attended Florida A & M University in Tallahassee, Florida, where during his sophomore year he met Wynton Marsalis while attending a class he was teaching. Impressed with Mr. Gordon's play?ing, Marsalis asked him to perform with him and Mr. Gordon officially joined the band touring with Marsalis' Septet internationally for five years. Most recendy, Mr. Gordon recorded an album entided Bone Structure with trombonist Ron Westray. Currently, Mr. Gordon tours and performs regularly with the LCJO and teaches at Augusta Music and Dance Company, which he founded in Georgia.
Miles Griffith (Vocals) was born in Brooklyn, New York and has been singing locally and regionally in a variety of churches. Mr. Griffith joined the world-renowned Boys Choir of Harlem at age eleven, and studied voice diroughout high school. His non-tradi-
i ic H 1.11 use of the voice as a percussive instru?ment has led him to perform recently with a number of bands, including Jon Hendricks' Explosion, James Williams' ICU, Jimmy Heath's Big Band and others. Over the years, Mr. Griffith has performed with Barry Harris, Bill Lee, James Williams, Jon Hendricks, Stephen Scott, Christian McBride and Roy Hargrove, among many others. Mr. Griffith enjoys writing lyrics and leads his own col?lective ensemble which operates at the improvisatory level, inviting the audience to actively engage in the musical experience.
Russell Gunn (Trumpet) was born in 1971 in Chicago, Illinois. He started playing the trumpet at the age of nine, and by the time he was fifteen, he had decided on a career as a jazz musician after touring Europe with the East St. Louis Lincoln High School Jazz Band. In 1989, he was recognized at Down Beat's MusicFest USA Competition as the "best high school trumpet player in the United States." Mr. Gunn has performed with Marcus Roberts, Roy Hargrove, Oliver Lake, John Hicks and James Moody. He has recorded for the TV show Moon Over Miami, played the lead trumpet in Gunther Schuller'soum)i Intojazzwith the Mississippi Symphony, and recorded with Lou Reed on his recent release, Set The Twilight Reeling. Mr. Gunn is currently a member of Branford Marsalis' group called Buckshot LeFonque, and he is touring with his own sextet in the United States and Europe. He has recently released his first album, Young Gunn.
Jon Hendricks (Vocals) is a jazz singer, a lyri?cist, and a philosopher whose vision is shot through with wit. He is the "King of Scat," and the spirit he maintains is very nearly the definition of the soul that gives the music of jazz its compelling motion -swing. Born in 1921 in Newark, Ohio, he has been called the "James Joyce of Jive" by Time magazine and 'The Poet Laureate of Jazz" by jazz critic and historian Leonard Feather. Before Mr.
Hendricks reached his teens, his family moved to Toledo, where he began appearing on radio and where he encountered the pianist extraordinaire Art Tatum, who took a keen interest in Mr. Hendricks' artistic development. A brief encounter with Charlie Parker caused him to pursue a career in music. Mr. Hendricks was the key lyricist and principal member of the vocal trio Lambert, Hendricks, and Ross, which formed in 1958. The group toured widely and recorded extensively, featuring a repertory of jazz vocals. The trio mastered the technique of adding lyrics to jazz instrumental classics, including those of Basie and Ellington. His 1985 album Vocalese, featuring The Manhattan Transfer, won five Grammy Awards. His tele?vision documentary, Someiohere to Lay My Weary Head, garnered Emmy, Iris, and Peabody Awards. Mr. Hendricks' stage work, Evolution oftlie Blues, ran an unprecedented five years at the Broadway Theatre in San
Francisco and was recently performed at the 1996 Monterey Jazz Festival. Mr. Hendricks has worked with some of the most distin?guished musicians in jazz, including: Count Basie, Dizzy Gillespie, Art Blakey, Buck Clayton,
Miles Davis, Thelonious Monk, and Bobby McFerrin. Most recently, he celebrated his seventy-fifth birthday with a concert on September sixteenth, opening the Jazz at Lincoln Center 1996-97 season.
Roger Ingrain (Trumpet) was born in Los Angeles in 1957. He started playing trumpet at age eight and was working professionally by age fourteen. Two years later, Mr. Ingram was performing on tour with the Louis Bellson Big Band, in a trumpet section that included Bobby Shew, Blue Mitchell, Cat Anderson, and Frank Szabo. Mr. Ingram has
played lead trumpet with QuincyJones, Harry Connick, Jr., Woody Herman, and Maynard Ferguson. He also collaborated on projects with Mel Lewis and Bob Brookmeyer in Cologne, Germany for the West Germany Radio Program. A performing artist and clinician, Mr. Ingram leads his own big band in Los Angeles, and has taught at universities across the United States.
Marcus Printup (Trumpet) is a native of Conyers, Georgia, where his first musical influence was being exposed to gospel and spirituals in the church. He later discovered jazz in school. While attending college Mr. Printup represented the United States, one of twenty musicians selected worldwide, in the first annual Louis Armstrong Trumpet Competition held at the Smithsonian. That same year he won the International Trumpet Guild Competition. In 1992, he began touring with pianist Marcus Roberts, who introduced him to Wynton Marsalis. In addition, Mr. Printup has performed with Dr. Billy Taylor and Betty Carter. Currently, Mr. Printup tours and performs regularly with the LCJO, and his own band. He has recorded two solo albums, Songs for the Beautiful Woman and most recently, Unveiled.
I lei lin Riley (Drums) was born into a musi?cal family in New Orleans, Louisiana, and he began playing the drums at age three. Mr. Riley studied trumpet throughout high school and two years of college. He per?formed briefly as a trumpeter, however, he remained drawn to the drums. Mr. Riley was a member of Ahmad Jamal's band from 1984 through 1987. He has recorded with Marcus Roberts, Dr. John, Harry Connick, Jr., George Benson, Benny Wallace and Mark Whitfield. His theater experience includes playing in One Mo' Time and Satchmo: America's Musical Legend. In the spring of 1988, he joined Wynton Marsalis' Septet with which he toured and recorded for six years. He has since toured and per?formed regularly with the LCJO.
Robert Stewart (Tenor and Soprano Saxophones) is a concert artist, educator and freelance studio musician. He received his Bachelor of Music Education from the Philadelphia College of the Performing Arts and pursued his Masters in Education at Lehman College Graduate School. Mr. Stewart also teaches and has been involved with public education for over twenty-five years. He has toured and recorded with artists such as Charles Mingus, Gil Evans, Carla Bley, David Murray, Taj Mahal, Dizzy Gillespie, McCoy Tyner, Arthur Blythe, Freddie Hubbard, Don Cherry, Charlie Haden and many others in the United States, Europe and the Far East. Most recendy, Mr. Stewart has recorded two albums entitled Goin' Home and First Line with a quintet of the same name, First Line Band.
Ron Westray (Trombone) was born in 1970 and grew up in Columbia, South Carolina. He began playing music at age ten and selected the trombone as his instrument of choice. His primary influences were JJ. Johnson, Trummy Young, and Lawrence Brown. In 1991, Mr. Westray received his B.A. from South Carolina State University and later graduated from Eastern Illinois University in Charleston. He has made sev?eral recordings with Marcus Roberts and toured nationally as a member of the Marcus Roberts Septet. In the summer of 1992, Mr. Westray toured Europe as a member of the group Jazz Futures II. He is a regular mem?ber of the LCJO and has recently released an album with fellow trombonist Wycliffe Gordon entided Bone Structure.
Rodney Whitaker (Bass) was born on February 20, 1968, in Detroit, Michigan. He began playing violin at age eight and later studied contrabass. Mr. Whitaker has per?formed with many musicians including Branford Marsalis, Johnny Griffin, Joe Henderson, Joshua Redman, Stanley Turrentine, Antonio Hart and Donald
Harrison. Mr. Whitaker also appeared with Branford Marsalis on Jay Leno's Tonight Show and performed on Spike Lee's film soundtracks of Jungle Fever and Malcolm X. His compositions have been included on Roy Hargrove's Kindred Souls album and Junko Onishi's Woman Child and Roz. He recently recorded an album entitled Children of the Light.
Cassandra Wilson (Vocals) was born and raised in Jackson, Mississippi. Her father, guitarist and bassist Herman B. Fowlkes, was a jazz musician and kept an extensive music library in the house which Ms. Wilson was
exposed to her entire life. She started playing music at the age of six and began writing her own songs, on the guitar, at twelve. Ms. Wilson's musical inter?ests range from jazz to popular music, rhythm and blues to folk, blues
to rock. She graduated from Jackson State University in Mississippi with a degree in mass communications and took time out during college to perform with a blues band called Bluejohn before devoting herself to jazz music. In the early 1980s, Ms. Wilson moved to New York. She has since released
nine albums as a leader, includinginn; World, Blue Skies, the highly-acclaimed Blue Light 'til Dawn, and, most recently, New Moon Daughter. She has appeared on screen in the Arnold Schwarzenegger movie Junior.
Jazz at Lincoln Center Staff
Wynton Marsalis, Artistic Director
Rob Gibson, Executive Producer and Director
Lesley J. Barovick, Director of Development
Laura Johnson, Director of Education
Philip T. Bonaventura, Director of Finance and
Business Affairs Valerie Capers Workman, Director of Marketing
Mary Fiance Fuss, Public Relations Manager April Smith, Production Manager Oliver Albu Ionita, Development Associate Tiffany A. Ellis, Marketing Associate Christa Fama, Administrative Coordinator Kimberley Reagan, Receptionist
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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 Nutcradter, Sounds of Blackness, New York City Opera National Company's La Boheme and the National Traditional Orchestra of China.
Other activities that further the understand?ing of the artistic process and appreciation for the performing arts include:
MASTERS OF ARTS A new, free-of-charge UMS series in collaboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person), available from the UMS Box Office.
PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS (PREPS) A series of free pre-performance presentations, featuring talks, demonstrations and workshops. Usually held 60-90 minutes before performances.
In addition to these events, which are listed on pages 22-23 of this program book, UMS presents a host of other activities, including master class?es, workshops, films, exhibits, panel discussions, in-depth public school partnerships and other residency activities related to winter season pre?sentations of "Blues, Roots, Honks and Moans," the series of Schubert concerts and the Lincoln Center Jazz Orchestra with Wynton Marsalis.
Like to help out
VOLUNTEERS AND INTERNS
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings; ushering for the Performance Related Educational Presentations (PREPs); staffing the Information Table in the lobbies of concert halls; distributing publicity materials; assisting with the Youth Program by compiling educa?tional materials for teachers, greeting and escorting students to seats at performances; and serving as good-will representatives for SUMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call 313.936.6837 or pick up a volunteer application form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, promotion, production and arts education. Semesterand year-long internships are avail?able in many aspects of the University Musical Society's operations. For more information, please call 313.647.4020 (Marketing Internships) or 313.647.1173 (Production Internships).
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 313.764.2538 or 313.647.4020.
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer.
For more information about joining the UMS usher corps, call 313.913.9696
DINING EXPERIENCES TO SAVOR: THE THIRD ANNUAL "DELICIOUS EXPERIENCES"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds going to benefit UMS programs.
Following two years of resounding success, wonderful friends and supporters of the University Musical Society are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS.
Treat yourself, give a gift of tickets, purchase an entire event or come alone meet new people and join in the fun while supporting UMS! Among your choices are A Celebration of Schubert (January 18); A Luncheon Inspired by the Czars (January 26); A Valentine's Brunch (February 9); La Boheme Dinner Party (March 1); Easter Luncheon with Cecilia Bartoli (March 30); Dinner with a Victorian Influence (April 12); Grandmothers, Mothers & Little Girls Tea and Fashion Show (April 19); An Afternoon Tea (May 15); A Taste of Spring Garden Dinner (May 31); and Nat & Ed's Porch Party (June 7).
For the most delicious experience of your life, call 313.936.6837!
The University Musical Society Board of Directors and Advisory Committee are pleased to host pre-performance din?ners before a number of the year's great events. Arrive early, park with ease, and begin your evening with other Musical Society friends over a relaxed buffet-style dinner in the University of Michigan Alumni Center. The bul-fet will be open from 6:00 to 7:30 p.m. and is $25 per person. For reservations and informa?tion on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and Subscribers receive discounts at a vari?ety of local businesses by using UMS Card. Participating businesses support the UMS through advertising or sponsorship, and by patronizing the following establishments, you can support the businesses that support UMS.
Amadeus Cafe Ann Arbor Acura Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc. Fine Flowers Gandy Dancer Great Harvest John Leidy Shops
Shaman Drum Bookshop
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
There's probably not much you can do directly, personally, and immediately to save the Manatee or the Spotted Owl.
But by taking action now, you can assure that Hill Auditorium will never become extinct
That's right, Hill Auditorium. Scene of great musical events and University of Michigan milestones for 84 years. ( V A TI 0 N
Right now, this wonderful and unique building needs $20 million TurriinniramDimi . , 1 rit, LnMrAlljIN rUK HILL
worth of repairs and renovations. Half of that amount will come from
the University of Michigan, half from private gifts. A Highlight
You can help by naming a seat or a room in Hill Auditor?f the
ium, or by making a tax-deductible gift. For information, Campaip for Michigan
contact The Campaign for Hill at (313) 647-6065. Or mail
your tax-deductible gift to: 3003 South State Street, Suite
9000, Ann Arbor, MI 48109-1288. Act now. And help ensure that Hill will always be part of the
University of Michigan landscape.
Sponsorships and Advertising
MS CORPORATE SPONSORSHIPS
orporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-mance mentions, tickets, backstage passes and the opportunity to host receptions. Whether increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current goals, sponsorship of UMS provides visibility to our loyal patrons and beyond. Call 313.647.1176 for more information about the UMS Corporate Sponsor Program.
ADVERTISING WITH UMS
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro?vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a restaurant that meets your group's culi?nary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and die behind-the-scenes tasks asso?ciated widi every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
Ford Honors Program
The Ford Honors Program is a relatively new University Musical Society pro?gram, made possible by a generous grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform individuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the 1997 UMS Distinguished Artist Award is announced in late January.
I tJ T T f Great performances--the best in music, theater ;
J. I l(JL I Lfl JL JUL University Musical Society because of the much-n
r and dance--are presented by the of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of November 15, 1996. If there has been an error or omission, we apologize and would appreciate a call at (313) 647-1178 to correct it.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support enabling us to continue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Elizabeth S. Bishop
Mr. and Mrs. Pal E. Borondy
Mr. 1 lilbert Beyer
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Dr. Eva Mueller
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin Elizabeth E. Kennedy Randall and Mary Piltman John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ronald and Eileen Weiser Paul and Elizabeth Yhouse
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPE IncThe Paideia Foundation
McKinley Associates, Inc.
The Edward Surovell Co.Realtors
Parke Davis Pharmaceutical Research
University of Michigan
Wolverine Temporaries, Inc.
Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Robert and Ann Meredith Mrs. John F. Ullrich
Corporations Continental Cablevision Great Lakes Bancorp Harman Motive Audio Systems Pepper, Hamilton and Scheetz WQRS
Herb and Carol Amstcr
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
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 Cuiiin & AlfViolinmakers First of America Bank Thomas B. McMullen Company Masco Corporation O'Neal Construction Project Management Associates
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 ohn Wagner
AAA Michigan Environmental Research
Institute of Michigan Ford Audio Maude's Miller, Canfield, Paddock
and Stone Mission Health Waldcnbooks
Bcnard L. Maas Foundation
Dr. and Mrs. Gerald Abrams Professor and
Mrs. Gardner Ackley Dr. and Mrs. Robert G. Aldrich Robert and Martha Ause James R. Baker, Jr., M.D. and
A.J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bcrnreuter 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 LcliliaJ. Byrd Edwin F. Carlson Jean and Kenneth Casey David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Roland J. Cole and
Elsa Kircher Cole Dennis Dahlmann Jack and Alice Dobson Jim and Patsy Donahey jjan and Gil Dorer Chcri and Dr. Stewart Epstein Dr. and Mrs. S.M. Farhat David and Jo-Anna Featherman
Adrienne and Robert Feldstein Richard and Marie Flanagan Robben and Sally Fleming Michael and Sara Frank Margaret Fisher Mr. Edward P. Frohlich Marilyn G. Gallatln Beverley and Gerson Geltner William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Paul and Anne Glendon Norm Gottlieb and
Vivian Sosna Gottlieb Dr. and Mrs. William A. Grade Ruth B. and
Edward M. Gramlich Linda and Richard Greene Seymour D. Greenstone Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Julian and Diane HofT Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Keki and Alice Irani Mercy and Stephen Kasle Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kinnear Bethany and A. William Klinke II Michael and Phyllis Korybalski Barbara and Michael Kusisto Mr. Henry M. Lee 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 SteinhofT Judythe and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Reiko McKendry Dr. and Mrs. Donald A. Meter Dr. H. Dean and
Dolores Millard Dr. and Mrs. Andrew and
Candicc Mitchell Virginia Patton and
Cruse W. Moss William A. Newman Lcn 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. Picrpont Professor and
Mrs. Raymond Rcilly Glenda Renwick Jack and Margaret Ricketls Prudence and Amnon Rosenlhal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumclhari Richard and Norma Sarns Rosalie and David Schottenfeld Janet and Mike Shatusky Cynthia J. Sorenscn Gerard H. and Colleen Spencer Dr. Hildreth H. Spencer Mr. and Mrs. John C. Stegeman Victor and Marlene Stoefiler Dr. and Mrs. JcofTrcy K. Stross Dr. and Mrs.
E. Thurston Thieme Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Bell 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
3M Health Care Jacobson Stores Inc. Michigan National Bank Shar Products Company
The Mosaic Foundation
(of Rita and Peter Heydon) Washtenaw Council for die Arts
Jim and Barbara Adams Bernard and Raquel Agranoff M. Bernard Aidinoff Carlene and Peter Aliferis Catherine S. Arcure Essel and Menakka Bailey Robert L. Baird
Dr. and Mrs. Robert Bartlell
Ralph P. Becbe
Mrs. Kathleen G. Benua
Robert Hunt Berry
Suzanne A. and
Frederick J. BeuUer Ron and Mimi Bogdasarian Editl) and Fred Bookstein Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Britton David and Sharon Brooks Jeanninc and Robert Buchanan Phoebe R. Bun Freddie Caldwcll Jean VV. 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 Knty and Anthony Dcrezinski Judith and Kenneth DeWoskin Elizabeth A. Doman Bita Esmaeli, M.D. and Howard Gutstcin, M. D. Claudine Farrand and
Daniel Moerman Mrs. Beth B. Fischer Ken, Penny and Malt 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. WA Hiltner Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Mary Jean and Graham Hovcy Che C. and Teresa Huang Grctchcn and John Jackson Robert L. and Beatrice H. Kalin Herb Katz
Richard and Sylvia Kaufman Howard King and
Elizabeth Sayre-King Richard and Pat King Hermine Roby Klingler Jim and Carolyn Knake John and Jan Kosla Mr. and Mrs. Samuel Krimm
Bud and Justine Kulka Suzanne and Ix-c E. Landes Elaine and David Ixbenbom Leo V Legatski
Mr. and Mrs. Fernando S. Leon Mr. and Mrs. CarlJ. Lutkehaus Donald and Doni Lystra Robert and Pearson Macek John and Cheryl MacKrell Mark Mahlberg Alan and Gsuria Mandel Ken Marblcsione and
Mr. and Mrs. Damon L. Mark David G. McConnell John F. McCucn Kevin McDonagh and
Richard and Elizabeth McLeary Thomas B. and
Deborah McMullen Hattie and Ted McOmber Mr. and Mrs.
Warren A. Merchant Myrna and Newell Miller Ronald Miller Grant Moore and
Douglas Weaver Mr. Erivan R. Morales and
Mr. Scigo Nakao John and Michelle Morris John Blanklcyand
Maureen Foley M. Haskell and
Jan Barney Newman Virginia and Gordon Nordby Marysia Oslafin and
Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and Lorna Prescotl Tom and Mary Princing Jerry and Millard Pryor Mrs. Gardner C Quarion Mrs. Joseph S. Radom Stephen and Agnes Reading Jim and Bonnie Reece Mr. Donald H. Regan and
Ms. Elizabeth Axelson Dr. and Mrs.
Rudolph E. Reichcrt Maria and Rusty Restuccia Kathcrine and William Rjbbens James and June Root Mrs. Doris E. Rowan Peter Savarino Peter Schaberg and
Norma Amrhcin Mrs. Richard C. Schneider Professor Thomas J. and
Ann Snced Schriber 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 St. Anloine Ron and Kay Stcfanski Mrs. Ralph L. StefTek Mrs. John D. Sloner Nicholas Sudia and
Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfcr 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 Whiiakcr Brymer and Ruth Williams Frank E. Wolk MaryGrace and Tom York
Corporations 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 Shiffman Foundation Trust
Mr. Gregg T. Alf
Dr. and Mrs. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlenc and Henry Appelman
Sharon and Charles Babcock
Lesli and Christopher Ballard
Dr. and Mrs. Peier Banks
M. A. Baranowski
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barnett
Dr. and Mrs. Mason Barr.Jr.
Astrid B. Beck and
David Noel Freedman
Neal Bedford and
Gcrlinda Mclchiori Harry and Betty Benford Ruth Ann and Stuart J. Bergstcin Jim Boisford 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 Yaser Cereb
Tsun and Siu Ying Chang Pat and George Chatas Ed and Cindy Clark Janice A. Clark Jim and Connie Cook Mary K. Cordes Alan and Betlc Cotzin Merle and Mary Ann Crawford William H. Damon III Laning R. Davidson, M.D. Jean and John Dcbbink Elizabeth Dexter Delia DiPietro and
Jack Wagoner, M.D. Thomas and Esther Donahue Cecilia and Allan Dreyfuss Mat lin 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 Hcrschcl and Annette Fink Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnctte Forde Deborah and Ronald Freedman Harriet and Daniel Fusfeld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Wood and Rosemary Gcist Henry and Beverly Gcrshowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon Dr. Alexander Gou Mrs. William Grabb Elizabeth Nrrdham Graham Jerry and Mary K. Gray Dr. John and Renee M. Grcdcn Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Margaret and Kenneth Guire Philip E. Guire Don P. Haefncr and Cynthia J. Stewart Veronica Haines M.ui i.i and Jack Hall
Mrs. William Halstcad Margo Halstcd Dagny and Donald Harris Bruce and Joyce Herbert Mr. and Mrs. Ramon Hernandez Fred and Joyce Hcrshcnson Herb and Dee Hildebrandl John H. and
Maurita Peterson Holland Drs. Linda Samuelson and
Joel Howell Ronald R. and
Gaye H. Humphrey Mrs. Hazel Hunschc George and Katharine Hunt Wallic and Janet Jeffries Ellen C.Johnson Susan and Stevo Julius Mary B. and Douglas Kahn Steven R. Kalt and
Robert D. Hceren Anna M. Kauper David and Sally Kennedy Beverly Kleiber Bert and Catherine L-a Du Henry and Alice Landau Mr. and Mrs. Henry M. Lapcza Ted and Wendy Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann Lcidy Jacqueline H. Lewis Jody and Ixo Lighihammcr Edward and Barbara Lynn Jeffrey and Jane Mackie-Mason Frederick C. and
PamelaJ. Mackintosh Steve and Ginger Maggio Virginia Mahlc
Thomafl and Barbara Mancewiec Edwin and Catherine Marcus Rhoda and William Mai tel Mrs. Lester McCoy Griff and Pat McDonald Walter and Ruth Melzger Dcanna Relyca and
Piotr Michalowski Sally and Charles Moss Marianne and Mutsumi Nakao Barry Nemon and
Barbara Stark-Nemon Martin Nculicp and
Patricia Pancioli Peter F. Norlin Richard S. Nottingham Marylen and Harold Obcrman Richard and Joyce Odell Mark Ouimct and
Donna Hrozencik Donna D. Park Randolph Paschke Mrs. Margaret D. Petcrscn Lorraine B. Phillips Frank and Sharon Pignanelli Dr. and Mrs. Michael Pilepich Richard and Meryl Place Cynthia and Roger Poslmus Charleen Price
Hugo and Sharon Quiroz William and Diane Rado Jim and leva Rasmusscn I,a Vonne and Gary Reed Anthony L. Reffells and
Elaine A. Bennett Mr. and Mrs. Neil Ressler Elizabeth G. Richart 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
Kitnm 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
Hollis and Martha A. Showalter John Shultz Edward and Marilyn Sichler
John and Anne Griffin Sloan
Alene M. Smith
Car) 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 Sundelson 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. VasseU 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
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 Mandcll Philanthropic Fund
Tim and Leah Adams Michael and Hiroko Akiyama Michael and Suzan Alexander Anasuisios Alexiou James and Catherine Allen Augustine and Kathleen Amaru Mr. and Mrs. David AminofT Dr. and Mrs. Charles T. Anderson Hugh and Margaret Anderson Howard Ando and Jane Wilkinson Jim and Cathy Andonian T.L. Andrcscn James Antosiak and Eda Weddington
Jill and Thomas Archambeau. M.D. Patricia and Bruce Arden Bert and Pat Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Jeffrey and Deborah Ash Mr. and Mrs. Arthur J. Ashe Mr. and Mrs. Dan E. Atkins III Jim and Patsy Auilci Eric M. and Nancy Aupperlc
Erik W. and Linda Lee Austin
Eugene and Charlcnc Axclrod
Shirley and Don Axon
Jonathan and Marlcnc Aycrs
Virginia audjerald Bachman
Richard and Julia Bailey
Doris I. Bailo
Morris and Beverly Baker
Barbara and Daniel Balbach
Kate Barald and Douglas Jewett
Rosalyn and Mel Barclay
John R. Barcham
Maria Kardas Barna
Mr. and Mrs. Robert M. Barnes
Laurie and Jeffrey Barnett
Karen and Karl Bartscht
Leslie and Anita Bassett
Mr. John Batdorf
Dr. and Mrs.Jere M. Bauer
Mr. and Mrs. Steven R. Beckert
Dr. and Mrs. Richard Beil, Jr.
Waller and Antje Benenson
Erling Blondal Bcngtsson Dr. and Mrs. Ronald M. Benson Dr. Rosemary R. Berardi Helen V. Berg Marie and Gerald Berlin L. S. Berlin
Gene and Kay Bcrrodin Andrew H. Berry, D.O. Bharat C. Bhushan John and Marge Biancke John and Laurie Birchlcr William and Ilene Birge Elizabeth S. Bishop Art and Betty Blair Ralph B. Blasicr Mr. and Mrs. Ray Blaszkicwicz Marshall Blondy and Laurie Burry Dr. George and Joyce Blum Beverly J. 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 David 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. Bracuningcr Mr. William K. Brashear Representative Liz and
Professor Enoch Brater Dr. and Mrs. James Brcckcnfeld Bob andjacki Bree Professor and Mrs. Dale E. Briggs William and Sandra Broucck Ms. Mary Jo Brough June and Donald K Brown
Linda Brown and Joel Goldberg Molly and John Brucgcr Mrs. Webster Brumbaugh Dr. Donald and Lcla Bryant Dr. Frances E. Bull Robert and Carolyn Burack Arthur and Mice Burks Robert and Miriam Butsch Sherry A. Byrnes Dr. Patricia M. CackowskJ Edward and Mary Cady Louis and Janet Callaway Susan and Oliver Cameron Nancy Campbell-Jones Charles and Martha Canncll Kathleen and Dennis Cantwcll Isabellc Carduner George R. Carignau Dr. and Mrs. James E. Carpenter Jan Carpman
M.i 11 lull F. and Janice L. Carr Mr. and Mrs. Jeffrey A. Carter Carolyn M. Carty and
Thomas II. Haug John and Patricia Carver Kalhran M. Chan Bill and Susan Chandler UVhrley and Patricia Chapman James S. Chen Joan and Mark Chester George and Sue Chism Dr. Kyung and Young Cho John and Susan Christcnscn Edward and Rebecca Chudacoff Dr. and Mrs. David Church Robert J. Cierznicwski Nancy Cilley Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson John and Kay Clifford Charles and Lynne Clipper! Roger and Mary Coc Dorothy Burke Coffey Alice S. Cohen Hubert and Ellen Cohen Mr. Larry Cohen
Gerald S. Cole and Vivian Smargon Howard and Vivian Ckle Ed and Cathy Colonc Wayne and Mclinda ColquiU Edward J. and Anne M. Comcau Gordon and Marjoric Comfort Lolagcnc C. Coombs Gage R. Cooper Mr. and Mrs. Herbert Couf Bill and Maddie Cox Clifford and Laura Craig Kathleen J. Crispell and
Thomas S. Porter Mr. Lawrence Crochicr April Cronin
Mr. and Mrs. James I. Crump, Jr. Pedro and Carol Cuatrecasas Mary R. and John G. Curtis Jeffrey S. Cutter R.K. and M.A. Daane Mr. and Mrs. John R. Dale Marylee Dalton Lee and Millie Danielson
Jane and Gawainc Dart Dr. and Mrs. Sunil Das DarLinda and Robert Dascola Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidgc Ed and Ellie Davidson Mr. and Mrs. Bruce P. Davis James 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 DeGrood Laurence and Penny Deitch Elena and Nicholas Dclbanco Peter H. dcljoof and Sara A. Bassctt Raymond A. Detter Elizabeth and Edmond DeVine Martha and Ron DiCccco Nancy DiMcrcurio A. Nelson Dingle Helen M. Dobson Molly and Bill Dobson Dr. and Mrs. Edward R. Doezcma Fr. Timothy J. 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. Drefis John Dryden and Diana Raimi Dr. and Mrs. Cameron B. Duncan Robert and Connie Dunlap Jean and Russell Dunnahack Edmund H. and Mary B. Durfce John W. Duntine 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. SJ. Eldcn Ethel and Sheldon Ellis Mrs. Genevieve Ely Mackenzie and Marcia Endo Patricia Randlc and James Eng Emil and Joan Engel Mark and Patricia Enns Carolync and Jerry Epstein Mr. and Mrs. Frederick A. Erb Dr. Stephen A. Ernst, Dr. Pamela A. Raymond Ernst Dorothy and Donald F. Eschman Barbara Evans Mi. and Mrs. Clifton Evans Adelc Ewcll
Mr. and Mrs. Robert B. Fair Jr. Mark and Karen Falahce Elly and Harvey FaMt Dr. and Mrs. Cyrus Farrchi Kaiherine and Damian Farrcll Dr. and Mrs. John A. Faulkner I nka and David Felbeck
Reno and Nancy Fcldkamp
Irving and Cynthia Feller
Phil and Phyllis Fellin
C. Peter and Bcv A. Fischer
Patricia A. Fischer
Dr. and Mrs. Richard L. Fisher
James and Barbara Fitzgerald
Linda and Thomas Fitzgerald
Jennifer and Guillermo Florcs
David and Ann Fluikr
Ernest and Margot Fontheim
Mr. and Mrs. George W. Ford
Susan Goldsmith and
Spencer Ford Paula L Bockenstcdt and
David A. Fox
Howard and Margaret Fox Ronald Frackcr Lucia and Doug Frceth Richard andjoann Frccthy Joanna and Richard Friedman Gail Fromes Bar! and Fran Frueh LelaJ. Fuestei
Ken and Mary Ann Gaertncr Walter and Heidi Gage Lourdcs 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 [.nut and Charles Garvin Professor and Mrs. David M. Gates Drs. Steve Gciringer and
Thomas and Barbara Gelehrter Michael Gerstcnbcrger W. Scott Gcrsicnbergcr and
Elizabeth A. Sweet Beth Genne and Allan Gibbard Paul and Suzanne Gikas Fred and Joyce M. Ginsberg Maureen and David Ginsburg Albert and Almcda Girod Peter and Roberta Gluck Sara Goburdhun Robert and Barbara Gockel AJbcrt L. Goldberg Dr. and Mrs. Edward Goldberg Mary L. Golden Ed and Mona Goldman Irwin J. Goldstein and Marty Mayo Mrs. Eszier Gombosi Elizabeth Goodenough and
James G. Leaf Graham Gooding Mitch and Barb Goodlun Jesse E. and Anitra Gordon Don Gordus Sclma and Albert Gorlin Siri Gottlieb
Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham
Whit and Svea Gray
I il.t and Bob Green
Dr. and Mrs. LazarJ. Greenfield
Bill and Louise Gregory
Daphne and Raymond Grew
Mr. and Mrs.JamesJ. Gribble
Carlcton 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
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