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UMS Concert Program, Friday Feb. 14 To 18: University Musical Society: 1996-1997 Winter - Friday Feb. 14 To 18 --

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

University Musical Society
Dear Friends,
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last season, more than 120,000 people attended UMS performances and relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport with Jessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between these artists, UMS and the Ann Arbor community.
Our outstanding Board of Directors offers unique knowledge, experience and perspective as well as a shared commitment to assuring the present and future success of UMS. What a privilege it is to work with a group of people whose vision of UMS is to make it the very best of its kind in the world. I especially want to thank Herbert Amster, who completed three years as Board President in December.
That same vision is shared by members of the UMS staff, who this year invite all of the UMS family to celebrate the 25 years box office manager Michael Gowing has served UMS and this community. Michael has established a stan?dard of patron service that we're told is unmatched anywhere else in this business. Look for the acknowledgment in this program book to find out more about Michael and how you can participate in this season-long celebra?tion.
Last year, UMS volunteers contributed more than 38,000 hours to UMS. In addition
to Board members, volunteers include our Advisory Committee, usher corps, UMS Choral Union members and countless others who give of their time and talent to all facets of the UMS program. Thank you, volunteers!
Relationships with professional colleagues around the world are very special. There is a generosity of spirit in performing arts present?ing that I have rarely seen in other fields. We share our best ideas with one another at con?ferences, in publications, by phone and, increasingly, over the internet. Presenters are joining together more and more to commis?sion new works and to assure their presenta?tion, as we've done this season with William Bolcom's Briefly It Enters and Donald Byrd's The Harlem Nutcracker. I'm pleased to report that The Dreams and Prayers of Isaac the Blind, the stir?ring piece we co-commissioned and presented in April 1995 won the prestigious Kennedy Center Friedham Award for composer Osvaldo Golijov last year.
The most important relationship is that with the community, and that means you. I care deeply about building and strengthening these relationships, whether it be with an indi?vidual patron who comes by the office with a program idea, with the leader of a social ser?vice organization who wishes to use one of our events as a fundraiser, with the nearly 40 school districts whose children will participate in our youth program, or with the audience member who buttonholes me in the lobby with a com?plaint.
Thanks again for coming to this event -and please let me hear from you with ideas or suggestions. Look for me in the lobby, or call me at my office at 313.647.1174.
Kenneth C. Fischer President
UMS Index
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,110
Number of volunteer person-hours spent rehearsing and performing with the Choral Union: 21,700
Number of bottles of Evian that UMS artists drank last season: 1,080
Estimated number of cups of coffee consumed backstage during 199596 performances: 4,000
Number of cough drops consumed in Hill Auditorium each year during UMS concerts: 91,255
Number of costumes in this season's co-commission of The Harlem Nutcracker. 268
Number of individuals who were part of last season's events (artists, managers): 1,775
Number of concerts the Philadelphia Orchestra has performed in Hill Auditorium: 267
Number of concerts the Budapest String Quartet has performed in Rackham Auditorium: 43
Number of times the Philadelphia Orchestra has performed "Hail to the Victors": 24
Number of times the Budapest String Quartet has performed "Hail to the Victors": 0
Number of works commissioned by UMS in its first 100 years of presenting concerts (1879-1979): 8
Number of works commissioned by UMS in the past 6 years: 8
Number of years Charlotte McGeoch has subscribed to the Choral Union series: 58
Number of tickets sold at last autumn's Ford Credit 50 Off Student Ticket Sale: 5,245
Value of the money saved by students at that sale: $67,371
Value of discounts received by groups attending UMS events last season: $36,500
Number of ushers serving UMS: 275
Last year Choral Union Season Ticket Prices were raised: 1994
Number of performances of Beethoven's 7th Symphony under UMS auspices: 27
Number of performances of Tchaikovsky's 5th Symphony: 27
Number of sopranos in the UMS Choral Union: 45
Number of tenors: 32
Number of years Paul Lowry has sung with the Choral Union, including this season: 49
Number of Messiah performances from UMS' inception through 199697: 156
Average number of photographs UMS President Ken Fischer takes each year: 4,500
Number of years Charles Sink served UMS: 64
Cost of a 10-concert Choral Union subscription in 1903: $3.50
Cost of a 10-concert Choral Union subscription in 1945: $15.60
Number of regular season concerts presented by UMS in 199091: 38
Number of regular season concerts presented by UMS in 199697: 71
Number of room nights in Ann Arbor area last season generated by UMS artists: 2,806
Number of airport runs made for UMS artists in 199596: 85
Number of UMS subscribers in 199495: 1,973
Number in 199596: 3,334
of 199596 UMS subscribers who planned to renew their subscriptions this year: 92
With thanks to Harper's Index"
Data taken from UMS archives and audience surveys. Some numbers have been estimated.
Thank You, Corporate Underiuriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of localized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cor?nerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University
Musical Society.
F. Bruce Kulp
Chair, UMS Board of Directors
CARL A. BRAUER, JR. Owner, Braun Inveslmenl 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."
Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased lo support the significant cul-
rural and educational projects of the University Musical Society."
DAVID G. LOESEl President, T.M.L. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Programs is an
honor and a privilege. Together we will enrich and empower our commu?nity's youth to carry forward into future generations this fine tradition of artistic talents."
joseph curtin and Gregg Alf
Oumen, Curtin iff Alf "Curtin & Airs 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."
HOWARD S. HOLMES President, Chelsea Milling Company The Ann Arbor area is very fortu?nate to have the most enjoyable and outstanding musi-
cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
JOHN E. LOBBIA Chairman and Chief Executive Officer, Detroit Edison The University Musical Society is one of the organi?zations that make
the Ann Arbor community a world-renowned center for the arts. The entire community shares in the count?less benefits of the excellence of these programs."
DOUGLAS D. FREETH President, First of America Hank-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."
Chairman, Great Lakes Bancorp "As a long-standing member of the Ann Arbor commu?nity, Great Lakes Bancorp and the
University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural con?tribution it makes to the community."
Alex Trotman
Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ?ation with the
University' Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
john psarouthakis, Ph.D.
Chairman and Chief Executive Officer, JPE Inc.
"Our community is enriched by the University Musical
Society. We warmly support the cultural events it brings to our area."
THOMAS B. MCMULLEN President, Thomas B. McMulkn Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket
in Ann Arbor. Not anymore. UMS provides the best in educational enter-
William E. Odom
Quantum, Ford Motor Credit Company The people of Ford Credit are very proud of our con?tinuing association with the University
Musical Society. The Society's long-established commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many
opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
JORGE A. SOUS First Vice President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 82 years, and UMS has been here for 118, we can still appreciate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
The Edward Surovell
"It is an honor for
Edward Surovell
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
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."
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.1
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."
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."
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."
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.
or more information, call the QMS 53ox Office
Table set
The University Musical Society of the university of Michigan
F. Bruce Kulp, Chair Marina v.N. Whitman
Vice Chair Carol Shalita Smokier
Secretary Elizabeth O. Yhouse
Herbert S. Amster Gail Davis Barnes
Maurice S. Binkow Paul C. Boylan Barbara Everitl Bryant LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Crcsswell Beverley B. Geltner RanclyJ. Harris
Walter L. Harrison Norman G. Herbert Kay Hunt Stuart A. Isaac Thomas E. Kauper Rebecca McGowan Lester P. Monts Homer A. Neal Joe E. O'Neal
John Psarouthakis George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell Susan B. Ullrich Iva M. Wilson
Gail W. Rector President Emrritus
UMS SENATE Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A. Brauer, Jr. Allen P. Britton Douglas D. Crary John D'Arms James J. Duderstadt
Robben W. Fleming Harlan H. Hatcher Norman G. Herbert Peter N. Heydon Howard Holmes Thomas E. Kaupcr David B. Kennedy Richard L. Kennedy Thomas C. Kin near
Patrick Long Judyth Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Picrpont Gail W. Rector John W. Reed Ann Snced Schriber
Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thiemc Jerry A. Wcisbach Eileen Lappin Weiser Gilbert Whitaker
AdministrationFinance Kenneth C. Fischer, President John B. Kennard.Jr.,
Administrative Manager Elizabeth Jahn, Asst. to
President Kate Remen, Admin. Asst.,
Marketing Csf Programming R. Scott Russell, Systems
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Philip Guire, Staff John Peckham, Staff
Choral Union
Thomas Sheets, Conductor Timothy Haggerty, Manager
Catherine S. Arcure, Director Betty Byrne, Volunteers Elaine Economou, Corporate Susan Fitzpairick, Admin. Asst. J. Thad Schork,
Gift Processing Anne Griffin Sloan,
Individual Giving
EducationAudience Development
Ben Johnson, Director Emily Avers, Assistant
Marketing Promo tion Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
Programming Productio n Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artist Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Laura Birnbryer Rcbekah Camm
Meighan Dcnomme 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 Orcult-Grady Caen Thomason-Redus
Maya Savarino, Chair Len Niehoff, Vice-Clmir Dody Viola, Secretary Treasurer Susan B. Ullrich, Chair
Emeritus Belty Byrne, Staff Liaison
Gregg Alf
Paulett Banks
Kathleen Beck
Janice Stevens Botsford
Jeannine Buchanan
Letitia Byrd
Chen Oi Chin-Hsieh
Phil Cole
Mary Ann Daane Rosannc Duncan H. Michael Endres Don Faber Katherine Farrcll Penny Fischer Barbara Gelehrter Beverly Geltner Joyce Ginsberg Linda Greene Esther Hcitler Debbie Herbert Matthew Hoffmann Maureen Isaac
Marcy Jennings Darrin Johnson Barbara k.ilin Mercy Kasle Steve Kasle Maxine Larrouy Barbara Levitan Doni Lystra Margaret McKinley Scott Merz Clyde Metzger Ronald G. Miller Nancy Niehoff Karen Koykka O'Neal
Marysia Ostafin Mary Pittman leva Rasmussen Janet Shatusky Margaret Kennedy Shaw Aliza SheTin Sheila Silver Rita Simpson Cynny Spencer Ellen Stross Nina Swanson Kathleen Treciak David White Jane Wilkinson Shirley Williams
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Councilor Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
General Information
University Musical Society Audiloria Directory & Information
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
Mendelssohn: A drinking fountain is located at the north
end of the hallway outside the main floor seating area.
St. Francis: A drinking fountain is located in the basement at
the bottom of the front lobby stairs.
All auditoria have barrier-free entrances. Wheelchair loca?tions arc available on the main floor. Ushers are available for assistance.
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones arc located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of
the Michigan League.
St. Francis: There are no public telephones in the church.
Pay phones are available in the Parish Activities Center next
door to the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's restrooms are located down the long hallway from the main floor seating area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the from lobby stairs.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria arc available to groups by advance appointment only. Call 313.763.3100 for details.
A wealth of information about events, UMS, restaurants, and the like is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with ques?tions and requests. The information table is open thirty minutes before each concert and during intermission.
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 Gozuing Seat. You may mail your contribution or letters anytime through June 1997 to University Musical Society, Burton Memorial Tower, Ann Arbor, MI 48109-1270.
All contributions arc lax deductible to ili-amount allowed by law.
Going Strong
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.
Thomas sheets conducting Messiah with the UMS Choral Union
Through educational endeavors, commis?sioning of new works, youth programs, artists' residencies such as those with the Cleveland Orchestra and The Harlem Nutcracker, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, the Musical Society is a sepa?rate not-for-profit organization, which supports itself from ticket sales, corporate and individ?ual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Slieets, conductor
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
In its more recent history, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, die 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, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capacity, the ensemble has joined die orchestra for subscription perfor?mances of Beedioven's Symphony No. 9, OrfFs Carmina Burana, Ravel's Daphnis et Chloe and Prokofiev's Aleksandr Nevsky. In 1995, die Choral Union began an artistic association widi the Toledo Symphony, inaugurating die partnership widi 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 frequendy throughout the Musical Society's illustrious history. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in one of his only solo recitals outside of New York), Ernestine Schumann-Heink, Fritz
Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignacejan Paderewski (who often called Hill Auditorium "the finest music hall in the world"), Paul Robeson, Lily Pons;
Leontyne Price, Marion Anderson and, more recently, Yo-Yo Ma, Cecilia Bartoli, Jessye Norman, Van Cliburn, the Metropolitan Opera Orchestra (in the debut concert of its inaugural tour) and the late Sergiu Celibidache 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
Every Angle Tells A Story
The New Acura 2.2CL
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 die years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
Celebrating twenty-five years of wonderful arts presentation, the Power Center for the Performing Arts was originally bred from a realization that the University of Michigan had no adequate theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in the midst of a list of University priorities was mentioned "a new theatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include the two large spiral staircases leading
Auditoria, continued
from the orchestra level to the balcony and the well-known mirrored glass pan?els on the exterior. No seat in the Power Center is more than 72 feet from the stage. In 1981, a 28,000 square-foot addition was com?pleted, providing rehearsal rooms, shops for building sets and costumes, a green room and
power center
office space. At the same time, the eminent British sculptor John W. Mills was commis?sioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addition to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso. The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Over the years, the Theater has undergone many changes. 'Talkies" replaced silent films just one year after the Theater opened, and
vaudeville soon disappeared from the stage. As Theater attendance dwindled in the 1950s, the interior and exterior of the building were both modernized, with much of the intricate plaster work covered with aluminum, polished marble and a false ceiling.
Throughout the 1960s and 1970s, the 1,710-seat theater struggled against changes in the film industry, and the owners put the Theater up for sale, threatening its very existence. The non-profit Michigan Theater Foundation, a newly-founded group dedicated to preserving the facility, stepped in to operate the failing movie house in 1979.
After a partial renovation in 1986 which restored the Theater's auditorium and Grand Foyer to its 1920s-era movie palace grandeur, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. Further restoration of the balcony, outer lobby and facade are planned in coming years.
The University Musical Society first began presenting artists at the Michigan Theater dur?ing the 199495 season, along with occasional film partnerships to accompany presentations in other venues. The Theater's acoustics, rich interiors and technical capabilities make it a natural setting for period pieces and mixed media projects alike. In addition to sponsoring a Twyla Tharp Film Series last fall (September 29-October 20, 1996), UMS presents four events at the Michigan Theater in 199697: Guitar Summit III (November 16); The Real Group (February 8); Voices of Light: 'The Passion of Joan of Arc," a silent film widi live music featur?ing Anonymous 4 (February 16); and The Russian Village (April 11).
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has
grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a fabulous venue for presenting a cappella choral music and early music ensembles. During the 199697 season, UMS presents four concerts at St. Francis of Assisi Catholic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademia (March 15) and the Huelgas Ensemble (April 10).
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recently began presenting
Auditoria, continued
artists in the Lydia Mendelssohn Theatre in 1993, when Eardia 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 majoi facelift in 1979. In 1995, the proscenium curtain was replaced, new carpeting installed, and the seats refurbished.
During the 1930s through the 1950s, Mendelssohn Theatre was home to a five-week Spring Drama Festival, which featured the likes of Hume Cronin, Jessica Tandy, Katharine Cornell, Burgess Meredith and Barbara Bel Geddes. Arthur Miller staged early plays at Mendelssohn Theatre while attending U-M in the early 1930s, and from 1962 through 1971, the University's Professional Theatre Program staged many plays, both originals and revivals. Several went on to Broadway runs, including You Can't Take It With You and Harvey, which starred Helen Hayes and Jimmy Stewart.
The University Musical Society's presentation of four song recitals celebrating the bicentenni?al of Schubert's birth marks the first time in 58 years that UMS has used the Mendelssohn Theatre for regular season programming. The recitals feature baritone Sanford Sylvan (Januan 24), mezzo-soprano Sarah Walker (January 25), baritone Wolfgang Holzmair (February 17) and soprano Barbara Bonney (February 18).
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the mailing address and box office location for the University Musical Society.
During a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles around, be built in the center of campus representing the idealism and loyalty of
U-M alumni. In 1929 the UMS Board of Directors authorized construction of the Marion LeRoy Burton Memorial Tower. The University of Michigan Club of Ann Arbor accepted the project of raising money for the tower and, along with the Regents of the University, the City of Ann Arbor, and the Alumni Association, the Tower Fund was estab?lished. UMS donated 160,000 to this fund.
In June 1935 Charles Baird, who graduated from U-M in 1895 and was the equivalent of today's Athletic Director from 1898-1908, pre?sented the University of Michigan with $70,000 for the purchase of a carillon and clock. These were to be installed in the tower in memory of Burton, former president of the University and a member of the UMS Board of Directors. Baird's intention was to donate a symbol of the University's academic, artistic, and community life a symbol in sight and sound which alumni would cherish in their Michigan memories.
Designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. The tower is 41 feet, 7 inch?es square at the base. Completed in 1936, the Tower's basement and first floor rooms were designated for use by the University Musical Society in 1940. In later years, UMS was also granted permission to occupy the second and third floors of the tower.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from
noon to 12:30pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45am. A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donat?ed labor, materials and funds to this project
The iqq6-qj Season
Chamber Music Society of Lincoln Center
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. ?Oassics Reheard" Weds, Jan 8, 7pm, MI League.
Made possible by a gift from the estate of William R. Kinney.
Thursday, January 16, 8:00pm Hill Auditorium
Presented xtnth support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of America.
This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1997Rev. Dr. Martin Luther King, Jr. Day Symposium.
schubertiade ii
Garrick Ohlsson, piano Late Schubert Piano
Thursday, January 23, 8:00pm K.h Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored fry McKinley Associates, Inc.
schubert song recital i Sanford Sylvan, baritone David Breitman, fortepiano
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repenoire. 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.
Leif Ove Andsnes, piano Vladimir Popov, tenor UMS Choral Union Sunday, January 26, 4:00pm Hill Auditorium
Master of Arts Neeme Jarvi, interviewed by Thomas Sheets, Conductor, UMS Choral Union. Sun.Jan 12, 3:00pm, Rackham.
Sponsored byJPE Inc. and the Paideia Foundation
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 African-American musical Traditions
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
(Family Show)
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
budapest festival
Orchestra Ivan Fischer, conductor
Thursday, February 6, 8:00pm Hill Auditorium
The Real Group
Saturday, February 8, 8:00pm Michigan Theater
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
ars poetica Chamber
Orchestra Anatoli Cheiniouk,
music director
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
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 jirith support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7pm, MI League.
Sponsored by Ortat lAes Bancorp.
Saturday, February 15, 8:00pm Rackham Auditorium
PREP Elwood Derr, U-M Professor of Music. "Nineteenth-Century "CDs' of Brahms' String Quartets: His Piano-Duel Arrangements for Home Use." Sat, Feb 15, 7pm, MI League.
Sponsored by the Edward Surovell Co.Realtors.
I.ucinda Carver, conductor Sunday, February 16, 7:00pm Michigan Theater
Presented xtrith support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
JULIUS DRAKE, PIANO Monday, February 17, 8:00pm Lydia Mendelssohn Theatre
Tuesday, February 18, 8:00pm Lydia Mendelssohn Theatre
puccini's la boheme new york city opera National Company
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21,8:00pm Saturday, February 22, 2:00pm
(Family Show)
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La Wnw'raean" Sat, Feb 22, lpm, MI League.
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. McMullen Co., Inc.
Hu Bingxo, conductor Hai-Ye Ni, cellist Wednesday, February 26,8:00pm Hill Auditorium
Presented with the generous support of Dr. Herbert Sloan.
Friday, March 14, 8:00pm Hill Auditorium
Sponsored by Pepper, Hamilton 6f Scheetz, Attorneys at Imw.
Chorovaya Akademia
Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin Travel and Cunard.
SCHUBERTIADE III HERMANN PREY, BARITONE Michael Endres, piano Auryn String Quartet
with Martin Lovett, cello Thursday, March 20, 8:00pm Rackham Auditorium
SCHUBERTIADE IV HERMANN PREY, BARITONE Michael Endres, piano Auryn String Quartet Martin Katz, piano Anton Nel, piano Friday, March 21, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Mar 21, 7pm, Rackham.
Vocal Master Class Hermann Prey, baritone. Sat, Mar 22, 10:00am-12:00noon. Recital Hall, U-M School of Music. Open to the public.
Mahler's Symphony No. 8 Grand Rapids Symphony
and Chorus UMS Choral Union
Grand Rapids Choir of Men
and Boys
Boychoir of Ann Arbor Cadierine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
Saturday, March 29, 8:00pm
Hill Auditorium
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbett, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, President, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
NEDERLANDS DANS THEATER II & III Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
Bang on a Can All-Stars String Trio of New York
Saturday, April 5, 8:00pm Power Center
Presented with support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
huelgas ensemble Paul Van Nevel, Director The High Art of sacred
Flemish Polyphony Thursday, April 10, 8:00pm St. Francis of Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. "Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, St. Francis Church.
Sponsored by Conlin Travel and Cunard.
Friday, April 11, 8:00pm Michigan Theater
Sponsored by NBD Bank.
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
The Assad Brothers, guitar duo
Friday, April 18, 8:00pm Rackham Auditorium Sponsored by Regency Travel.
Maher Ali Khan and
SherAli Khan, Faridi Qawwals
Saturday, April 19, 8:00pm Rackham Auditorium
ford Honors program
Saturday, April 26, 6:00pm Hill Auditorium
Featuring a recital by and tribute to the recipient of the 1997 UMS Distinguished Artist Award.
Sponsored by Ford Motor Company.
Educational Programming
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of pre-performance presentations, featuring talks, demonstrations and workshops.
Master of Arts A new, free of charge UMS series in col?laboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tit krts required (limit 2 per person), available from the UMS Box Office, 764-2538.
Education and Audience Development
Special Events 1996-1997
Visions and Voices of Women: Panel Discussion
"Women in the ArtsArts in the Academy" In collabora?tion with the Institute for Research on Women and Gender.
Tues.Jan 14, 7:30-9:30pm, Rackham. Panelists: Beth Genne, History of Art and Dance, Residential College
Yopie Prins, English and Comparative Literature
Sidonie Smith, Women's Studies and English
Patricia Simons, History of Art and Women's Studies
Louise Stein, Music History and Musicology
Concerts in Context: Schubert Song Cycle Lecture Series
Three special PREPs held at the Ann Arbor District Library and led by Richard LeSueur, Vocal Arts Information Services, in collaboration with the Ann Arbor District Library.
"Changing Approaches to Schubert Lieder."
Sun, Jan 19, 2:00-3:30pm "Great Schubert Recordings Before 1945."
Sun, Feb 16, 2:00-3:30pm "Great Schubert Recordings After 1945."
Sun, Mar 16, 2:00-3:30pm
Concerts in Context: Mahler's Symphony No. 8 Three special PREPs held at SKR Classical.
"Alles Vergangliche (All That is Transitory):
AustroGermanic Culture in the Fin de Siecle. " Valerie Greenberg, Visiting Professor, U-M German Dept. Mon, Mar 17, 7:00pm
"1st nurein Gleichnis (Are but a Parable): Goethe's Faust in the Fin de 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
Family Programming
UMS presents two family shows during the Winter Season 1997. These programs feature an abbreviated version of the full-length presentations by the same artists.
Blues, Roots, Honks and Moans
Saturday, February 1, 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 Mimf and Rodolfo is a great intro?duction to the world of opera. This abbreviated per?formance of Act II (the cafe scene) and Act IV includes an open curtain scene change as well as an introduction to singers and backstage crew. In Italian with English supertitles and live narration.
'All excellence is equally difficult'.
Thornton Wilder
Qeadership in any arena is not only difficult to achieve but deserving of recognition. The Edward Surovell Company salutes the University Musical Society for its 118-year tradition of excellence in the presentation of the performing arts.
Washtenaw County's leader in real estate sales
A cknowledgments
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from past University Musical Society seasons. The Alvin Ailey American Dance Theater's March 1996 perfor?mances in the Power Center; a capacity audience for a chamber music concert in Rackham Auditorium; and pianist Emanuel Ax performing as part of the Society Bank Cleveland Orchestra Residency Weekend in 1995.
of the University of Michigan 1996 1997 Winter Season
Event Program Book
Friday, February 14, 1997
Tuesday, February 18, 1997
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Brandenburg Ensemble 3
Jaime Laredo, conductor & violin
Friday, February 14, 8:00pm, Hill Auditorium
Emerson String Quartet 13
Saturday, February 15, 8:00pm, Rackham Auditorium
Voices of Light 19
The Passion of Joan of Arc
featuring Anonymous 4
Sunday, February 16, 7:00pm, Michigan Theater
Schubert Song Recital III 29
Wolfgang Holzmair, baritone
Julius Drake, piano
Monday, February 17, 8:00pm, Lydia Mendelssohn Theater
Schubert Song Recital IV 35
Barbara Bonnf.y, soprano
Caren Levine, piano
Tuesday, February 18, 8:00pm, Lydia Mendelssohn Theater
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until 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.
presen t
The Brandenburg Ensemble
Jaime Laredo, conductor and violin
Leila Josefowicz, violin Andreas Haefliger, piano
Friday Evening, February 14, 1997 at 8:00
Hill Auditorium Ann Arbor, Michigan
Johann Sebastian Bach
Concerto for Two Violins in d minor, BWV 1043
Largo, ma non tanto
Wolfgang Amadeus Mozart
Piano Concerto No. 9 ("Jeunehomme") in E-Flat Major, K. 271
Rondo: Presto-Menuetto-Tempo primo
Franz Joseph Haydn
Violin Concerto No. 1 in C Major
Allegro moderato
Finale: Presto
Symphony No. 29 in A Major, K. 201
Allegro moderato
Allegro con spirito
Forty-fifth Concert of the 118th Season
118th Annual Choral Union Series
Special thanks to Robert Delonis for his continued support through Great Lakes Bancorp.
Special thanks to Steven Moore Whiting, Assistant Professor of Musicology, U-M School of Music, for serving as speaker for tonight's Performance Related Educational Presentation (PREP).
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, MI.
Large print programs are available upon request.
Concerto for Two Violins in d minor, BWV 1043
Johann Sebastian Bach
Born on March 21, 1685 in Eisenach
Died on July 28, 1750 in Leipzig
It was the example of Antonio Vivaldi that taught Bach how to write concertos. The Italian composer, who developed and set the standards for the Baroque concerto, had been famous all over Europe since the publication of his Estro armonico in 1712. Bach began to transcribe Vivaldi concertos for the harpsichord during his Weimar years (1708-1717). In his concertos written in Cothen, where he moved in 1717, he not only made this new art form thoroughly his own but handled it with his unequalled musical imagination and technical virtuosity.
On the surface, Bach's Double Concerto follows the Vivaldian models: three move?ments (fast-slow-fast) and ritornello structure, in which a central theme, played by the orchestra, alternates with solo episodes. But Bach infused this formula with his incompa?rable contrapuntal art: the ritornello theme, first stated by the second violin, is repeated in imitation by the first violin a fifth higher, and shortly afterwards by the bass an octave lower. Vivaldi's simple ritornello idea thus becomes a complex contrapuntal statement, made even more exciting by the numerous chromatic notes.
The slow movement is a single uninter?rupted melody, spun out by the two violins. Each time a cadence, or resting point, is reached, the melody immediately starts out in a new direction, so that the phrase never really ends before the whole movement is over.
The third movement is a rhythmically intricate "Allegro," where the two solo vio?lins are often hot on each other's heels, repeating the same melodic line just one beat apart. The ritornello theme is related to the most important episode, so that the
whole movement seems to grow from a single seed -developed, however, with the help of a whole array of fascinating subsidiary ideas.
Piano Concerto No. 9
("Jeunehomme") in E-Flat Major, K. 271
Wolfgang Amadeus Mozart
Born on January 27, 1756 in Salzburg
Died on December 5, 1791 in Vienna
It is somewhat misleading to call the pre?sent work Mozart's ninth piano concerto. Of the eight that precede it in the catalog, Nos. 1-4 are adaptations of other composers' works: under the supervision of his father, composer and violinist Leopold Mozart, the eleven-year-old composer was arranging key?board sonatas by Raupach, Schobert, Honauer, and C.P.E. Bach. Nos. 5-8 are original concertos, written by Mozart between his eighteenth and twentieth year, but one of these (No. 6) is for three pianos instead of one, and is therefore a rather dif?ferent kind of composition. No. 9 is, then, only the fourth work for piano and orches?tra by Mozart, and, we might add, his first mature masterpiece in the genre.
Mozart had written all his earlier concer?tos either for himself or for amateur pianists from the Salzburg aristocracy whose circles he was frequenting. The E-flat Major con?certo K.271 was the first for another profes?sional player, Mademoiselle Jeunehomme about whom, unfortunately, very little is known, not even her first name. We don't know for sure whether she ever played the concerto, but Mozart himself performed it in Munich on October 4, 1777. His sister, Nannerl, an excellent pianist, also studied the work, and in 1783, Wolfgang sent her Eingdnge, or short cadenzas, to be inserted at given points. We can infer, therefore, that
this concerto held a special place in the composer's heart.
In the great piano concertos of the 1780's, Mozart developed certain structural patterns that are clearly recognizable despite the great individuality of each work. The "Jeunehomme" concerto follows no such patterns. One of the longest Mozart concertos, it has many unique features in tone, structure, and design.
The irregularities start at the very begin?ning. This is the only concerto by Mozart where the soloist enters right away, in the second measure of the work. Nor is this ges?ture a mere whim on the composer's part. The combination of two motifs -one for orchestra, the other for piano -is the cen?tral idea of the movement and will recur sev?eral times. In the later concertos, themes tend to have longer breaths and more com?plex, many-layered phrase structures. In the 'Jeunehomme," the units are shorter, changes of direction more frequent and more sudden, giving the music a special sense of vibrancy and excitement. The brief development section (most of which is for piano with only two oboes accompanying) includes a series of modulations anticipating Mozart's later style and the technique of hand-crossing of which Mozart was particu?larly fond. In the recapitulation, the open?ing motif becomes enriched by the addition of a new chromatic figure that darkens the horizon for a brief moment, before the return of the cheerful mood that has char?acterized the entire movement.
The second-movement "Andantino," in a somber c minor, is another Mozartian rarity: it contains some fascinating Baroque remi?niscences that the later work doesn't have. The resemblances to certain slow move?ments from J.S. Bach's concertos -works that Mozart couldn't possibly have known -are uncanny; maybe the music of Bach's son Carl Philipp Emanuel, which Mozart did know, provided a connection. The striking
unison phrase ending (V -1), and the unfolding of an ornate keyboard melody over a repeat of the same string phrase are present in the middle movements of J.S. Bach's d-minor clavier concerto. The deli?cate phrase Mozart wrote for the piano after a modulation to E-flat Major unconsciously echoes a phrase from Bach's E-Major violin concerto. The close imitation between the two violin sections also looks back to the Baroque, which, by the way, was still quite recent history in the 1770s. (It is interesting that Mozart has the violins play with mutes for all but the last few measures of the movement.)
In addition to Baroque concerto ele?ments, Mozart also introduced some operat?ic touches into this movement. The ending of the movement's primary theme sounds like a recitative from an opera seria (eigh?teenth-century tragic opera). From all these different elements, however, Mozart created an entirely personal synthesis.
The finale begins with a bubbly, perpetu?al-motion piano theme. The movement is, in essence, a "Rondo," where a main theme alternates with various episodes. But it also has some sonata-like tendencies, since one of the episodes, first heard in the dominant key (B-flat), later returns in the tonic, as sec?ond themes do in sonata movements. (The sections are punctuated by three Eingdnge, or lead-in cadenzas.) Finally, the movement has a central episode that explodes the Rondo framework: a slow minuet in A-flat Major that almost develops into a separate movement within a movement. The accom?paniment of this section was written with special care: first violins and basses pizzicato (plucked), second violins and violas con sor?dino (muted).
Mozart returned to the idea of a slow movement inserted in the middle of the finale in his last E-flat Major concerto (No. 22, K.482), written in 1785. That work also has a minuet-like slow section in A-flat Major
(scored for piano with prominent woodwind solos) in its finale. The emotional meaning of both passages may probably be best understood if one remembers the finale of Mozart's opera Cost fan tutte (1790), in which another lyrical minuet in A-flat Major occurs as a sudden interruption amidst more hectic goings-on, at the moment where Ferrando (disguised as an Albanian) and Fiordiligi drink to their love. (And, of course, we know that Ferrando is engaged to be married to Dorabella.) In all these instances, the slow minuet calls into ques?tion the normal course of events: a fast movement doesn't always have to be a fast movement; reality can (or could) be differ?ent from what it is. The normal course of events then resumes (in both concertos as in the opera), all the way to an ending that is regular and in harmony with the demands of the everyday world.
Violin Concerto No.i in C Major
Franz Joseph Haydn
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 1760s and 1770s 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; the concerto was a genre to which he was to contribute 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 fre?quency. (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 service since his teens. He was concertmaster of the Prince's orchestra and the first violinist of the 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 incipi?ent Classical style. The numerous double stops and passages in the high register cer?tainly venture far beyond standard Baroque concerto practice. 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 surpassing beauty. The cheerful and virtuosic finale again has its stylistic roots in the Baroque, but near the end there is a surprise that gives us a foretaste of the later Haydn.
Symphony No.29 in A Major, K.201
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 per?formed by the excellent archiepiscopal orchestra, as well as other venues in his native city. No wonder he wrote about thirty sym?phonies 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 Grove 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 "tailpieces" were not usually found in other symphonies 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 -significantly -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" character contrasts with the more "rounded" secondary theme and a light and playful closing motif.
The second-movement "Andante"has the particularity of requiring mutes on the violins. 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 concluding 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 element 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 descend?ing 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 movement in which even the lyrical second idea sustains a high level of excitement. The development section, with its distant modulations and elaborate counterpoint, is one of the most sophisticated Mozart had written to date. An unaccompa?nied, rapidly ascending sixteenth-note scale ushers in the recapitulation, and reappears in the coda before two energetic chords bring the symphony to an end.
Program notes by Peter Laki, program writer of The Cleveland Orchestra
Jaime Laredo has been acclaimed as one of the master musicians of our time, "a vio?linist whose art goes deeper than virtuosity" (Miami Herald). In his forty years before the public, Mr. Laredo has enraptured millions with passionate and polished performances of rare ele?gance. As a soloist, he has played with over one hundred orchestras, including the Boston and Chicago Symphonies, the New York Philharmonic, the Cleveland and Philadelphia Orchestras, the London Symphony and the Royal Philharmonic, with conductors such as Barenboim, Mata, Mehta, Ormandy, Slatkin, Stokowski, and Szell. He has performed in recital at the finest international music centers and festi?vals and has collaborated with many eminent artists of the century, including Pablo Casals, Glenn Gould, Mstislav Rostropovich, Rudolf Serkin, and Isaac Stern.
As a conductor, Mr. Laredo's regular appearances include the Hartford, Houston, Montreal, New Jersey, Ottawa, Phoenix, San Francisco, Seattle, and Utah Symphonies. His twenty year relationship with the Scottish Chamber Orchestra has resulted in several European and two US tours, includ?ing sold-out Carnegie Hall appearances. A past "Distinguished Artist" with the St. Paul Chamber Orchestra, Mr. Laredo has con?ducted the orchestra in Minnesota, on tour, and advised chamber music activities. Over the past three seasons, he has led the Orchestra of St. Luke's on premiere tours to Japan and Europe. On record, he has over forty discs on ten labels and has received a Grammy Award and Deutsche Schallplatten Prize. As an administrator, he directs New York's "Chamber Music at the 92nd Street Y" series, one of the most important forums for
chamber music performance in the US. His continuing interest in contemporary music has led to his premiering works by Haflidi Halgrimsson, John Harbison, Leon Kirchner, Ezra Laderman, Arvo Part, Ned Rorem, and Ellen Taaffe Zwilich.
Born in Cochabamba, Bolivia, Jaime Laredo began playing the violin at the age of five and gave a full recital at age eight. Three years later he made his orchestral debut with the San Francisco Symphony,
prompting tne San Francisco Examiner to pro?claim: "In the 1920'sitwas Yehudi Menuhin; in the '30's it was Isaac Stern; and last night it was Jaime Laredo." Over the next few years he studied with losef Gineold
Jaime Laredo
and Ivan Galamian at the Curtis Institute, and with the great conductor George Szell. In May 1959, at the age of seventeen, Mr. Laredo won first prize in the Queen Elizabeth Competition in Brussels, becom?ing the youngest winner in the history of this prestigious competition.
As a member of the Kalichstein-Laredo-Robinson Trio, which he formed in 1977 with his wife, cellist Sharon Robinson, and pianist Joseph Kalichstein, Mr. Laredo per?forms regularly in the music capitals of North and South America, Europe, Australia, and the Far East.
This season Jaime Laredo conductsplays with the St. Paul Chamber Orchestra, the National Arts Orchestra in Ottawa, the St. Louis, New World, and Dallas Symphonies, the Los Angeles Chamber Orchestra and the Brandenburg Ensemble on this nation?wide tour. The Trio, celebrating their twenti?eth anniversary this year, will give a world
premiere of David Ott's Triple Concerto with the Indianapolis Symphony as well as fur?ther performances of the Zwilich Triple with the National Symphony and Leonard Slatkin and a West Coast tour with Pinchas Zukerman. In duos, Mr. Laredo performs from West to East, from Los Angeles to New York, and with Sharon Robinson in orches?tral engagements which include the Illinois, San Antonio and Louisville Symphonies.
When Mr. and Mrs. Laredo are not on tour, they divide their time between their home in Vermont and their New York City apartment. They are active members of Performing Artists for Nuclear Disarmament and Musicians Against Nuclear Arms.
Jaime Laredo made his UMS debut in November 1980 as a part of the Kalichstein-Laredo-Robinson Trio. Tonight's performance marks his second appearance under UMS auspices.
L t the age of eighteen,
violinisl Leila Josefowicz
has already won acclaim
leu her performances
mL with Fhe Cleveland
M and the Philadelphia
mLm iB ( )l'l lll'slKls. llll'
Los Angeles Philharmonic, the National, Toronto, Montreal, Detroit, Houston, Cincinnati, and Vancouver symphonies, as well as the Academy of St. Martin-in-the-Fields and Sir Neville Marriner.
Highlights of recent seasons include her debut performing the Tchaikovsky Concerto with Sir Neville Mariner and the Academy of St. Martin-in-the-Fields, a tour of Japan at the invitation of the Osaka Festival perform?ing to sold out halls in Tokyo and Osaka, performances with the Los Angeles Philharmonic, and her London Philhar?monic debut with Franz Welser-Most. In May of 1994, she was honored to receive a presti-
gious Avery Fisher Career Grant. In the fall of 1995 Miss Josefowicz made her Boston Symphony Orchestra debut with Seiji Ozawa followed by a return visit to Carnegie Hall
with the Boston Symphony and Mr. Ozawa. That season also included re-engagements with The Cleveland and the Philadelphia Orchestras. Her upcoming seasons include a debut tour to Australia and a return visit to Japan, as well as extensive concerts throughout Europe.
Leila Josefowicz's performance on the NBC television special America's Tribute to Bob Hope at the age of ten brought her immedi?ate national attention. Since then, she has been featured on television programs broad?cast in the US, Canada, and the United Kingdom, including a PBS special Evening at Pops with John Williams and the Boston Pops, and the Tonight Slwiv with Johnny Carson. She has also performed at evenings honoring Leonard Bernstein and Sir Georg Sold.
Missjosefowicz resides in Philadelphia where she was a pupil of Jascha Brodsky and Jaime Laredo at the Curtis Institute of Music, graduating in the Spring of 1996. She began her violin studies at the age of three in Los Angeles, where she was a stu?dent of Robert Lipsett at the Colburn School of Performing Arts. Additionally, she has studied privately with Josef Gingold. Chamber music is also important to Miss Josefowicz. She was a participant at the 1993, 1994 and 1995 Marlboro Music Festivals, and most recently performed at the 1996 Verbier Festival in Switzerland.
She has studied chamber music repertoire with Felix Galimar at Curtis.
Leila Josefowicz performs on the 1739 "Ebersolt" Guarnerius del Gesu violin.
77ii5 evening's performance marks Leila Josefowicz'debut under UMS auspices
Andreas Haefliger, whose career spans across two continents, appearing in extensive concert and recital engagements in North America and ? Europe, thrills both audiences and critics with his musicality, command of the piano and the beauty with which he shapes a musical line. "A musician of poise and poetry," he made his New York recital debut at the 92nd Street Yin 1988 to critical acclaim.
Mr. Haefliger began this season playing with the Minnesota Orchestra, the BBC Symphony Orchestra at the London Proms and at the Mostly Mozart Festival at New York's Lincoln Center. Subsequent engagements include concerts with the Philharmonie Hamburg in Germany, the Brussels Philharmonic Society, the Indianapolis Symphony Orchestra, the Milwaukee Symphony, the Detroit Symphony, the San Francisco Symphony and in Zurich at the Tonhalle he plays Brahms and Gubaudulina with the Tonhalle Orchestra. He plays recitals in the US and in Europe, most notably in a return engagement at the Wigmore Hall, London in an all-Schubert program and performs on tour with the Brandenburg Ensemble in this Ann Arbor concert and in New York, Boston, Toronto and Princeton.
Among the highlights of last season were concerts in Cleveland and in Lucerne, Switzerland with The Cleveland Orchestra
and performances with orchestras in Minnesota, St. Louis, Dallas, Montreal, Rochester, Lisbon and Cologne. Mr. Haefliger appeared at the Minnesota Orchestra's 1995 Sommerfest,
where he performed Brahms Piano Concerto No. 1 and later participated in two special chamber music concerts. He appeared with the Los Angeles Philharmonic at the Hollywood Bowl and presented a recital at the Tanglewood Festival.
In addition to his activities as soloist, Mr. Haefliger performs in chamber music con?certs and has also appeared at festivals in Lucerne, Davos, Lausanne, Khumo, Vancouver, Newport, and Rhode Island.
Growing up in a musical household, Andreas Haefliger cannot remember a time when he was not surrounded by music. Mr. Haefliger had lived in several European cap?itals by the time he moved to New York at fifteen. A native of Switzerland, he chose to reside in New York and attended The Juilliard School, where he received his Bachelor of Music (1984) and Master of Music (1985) degrees. He was also the recipient of the Migros Scholarship from Switzerland for the years 1984 to 1986.
This evening's performance marks Andreas Haejliger's debut under UMS auspices.
The Brandenburg Ensemble was founded in 1973 by Frank Salomon to bring together some of the country's finest concert artists and chamber music players under the inspired direction of the late Alexander Schneider. Devoted to the performance of great music and the presentation of out?standing young soloists, the Brandenburg Ensemble plays for only a few audiences each season, sharing with them their joy in making music. The Brandenburg Ensemble has performed throughout the Northeastern and Midwestern United States, at the Bermuda Festival, and in Japan, where they played four different programs in eight concerts during the opening season of the Pablo Casals Concert Hall in Tokyo in 1987. They appear regularly on the Lincoln Center's "Great Performers" series and the Bank of Boston's Celebrity Series.
The Brandenburg Ensemble has contin?ued the tradition of introducing exceptional young soloists together with master artists.
In 1993-94, Todd Phillips led the Ensemble in an all-Bach program with pianist Peter Serkin; in 1995-96, the ensemble toured with famed flutist Jean-Pierre Rampal and violinist Jennifer Koh, again led by Todd Phillips, who is a member of the Orion String Quartet and longtime concertmaster of the Brandenburg Ensemble and Orpheus Chamber Orchestra. Among the artists who have appeared as soloists with the Brandenburg Ensemble are pianists Rieko Aizawa, Emanuel Ax, Yefim Bronfman, Cecile Licad, Murray Perahia, Andras Schiff, and Peter Serkin; violinists Pamela Frank, Jaime Laredo and Scott St. John. Also fea?tured have been wind and brass soloists including flutists Marya Martin, Paula Robison, and Carol Wincenc; clarinetist Richard Stoltzman; and trumpeters Stephen Burns and Gerard Schwarz. Vocal soloists have included soprano Benita Valente and mezzo-soprano Frederica von Stade.
This performance marks the Brandenburg Ensemble's debut under VMS auspices.
Brandenburg Ensemble
Violin I
Mayuki Fukuhara Hirono Oka Robert Chen Mitsuru Tsubota
Violin II
Joseph Schor Lisa-Beth Lambert Andrea Schultz Mira Wang
Naomi Katz Kirsten Johnson Burchard Tang
Karl Bennion Lisa Lancaster Vivian Barton
Double Bass
Carolyn Davis Fryer
Diane Lesser Linda Strommen
Michael Martin Jean Martin
Mary Alderdice Malin
The Emerson String Quartet
Philip Setzer, violin (1st in Op. 51 2 iff Op. 67) Eugene Drucker, violin (1st in Op. 51 1) Lawrence Dutton, viola David Finckel, cello
Saturday Evening, February 15, 1997 at 8:00
Rackham Auditorium Ann Arbor, Michigan
The String Quartets of Johannes Brahms Quartet in a minor, Op. 51, No. 2
Allegro non troppo Andante moderato Quasi Minuetto moderato Finale: Allegro non assai
Quartet in B-Flat Major, Op. 67
Agitato (Allegretto non troppo)
Poco Allegretto con Variazioni
Quartet in c minor, Op. 51, No. 1
Romanza: Poco Adagio
Allegretto molto moderato e comodo
Forty-sixth Concert of the 118th Season
Thirty-fourth Annual Chamber Arts Series
This concert is dedicated to Florence D. Surovell, of Alexandria, Virginia, who is with us this evening and who, in her eighty-first year, by example, still encourages the love and knowledge of music; and to the memory of Elizabeth Jean Surovell (1942-1994), daughter, sis?ter and dear friend to all who knew her.
Special thanks to Ellwood S. Derr, Professor of Music Theory, U-M School of Music, for serving as speaker for tonight's Performance-Related Educational Event (PREP).
The Emerson String Quartet appears by arrangement with IMG Artists and records exclusively for Deutsche Grammophon.
Large print programs are available upon request.
Johannes Brahms
Born on May 7, 1833 in Hamburg Died on April 3, 1897 in Vienna
String Quartet in a minor, Op. 51, No.2 (1873)
The Brahms second string quartet was begun in the 1850s and it was subjected to countless revisions over the following decades before he finally submitted it for publication in 1873. It was given its premiere in Berlin by the Joachim Quartet on October 18, 1873, some two months before the c minor.
If it can be said that the first quartet was written under the specter of Beethoven, the spirit that informs the second belongs to Bach. The music abounds in polyphonic devices that were favored by the older com?poser. Brahms made particular use of canons, in which one instrument imitates another, starting after an initial first. Although polyphony requires a keen intellectual grasp, Brahms, like his forebear, puts the craft to expressive purpose, successfully con?cealing the technical concerns behind the musical effect.
The quartet also pays homage to Brahms's good friend, Joseph Joachim, the outstand?ing violinist, composer, and organizer of the Joachim Quartet. Joachim's personal motto was the notes F-A-E, standing for Frei, aber Einsam (Free, but lonely). Brahms made these notes the second, third, and fourth notes of the first movement's main theme. Inspired by Joachim, Brahms chose as his motto, F-A-F, Frei, aberfroh (Free, but glad), and also wove these notes into the musical texture. Brahms probably would have dedi?cated the two Op. 51 quartets to Joachim, but a petty dispute at the time of publication led him to inscribe them instead to Dr. Theodor Billroth, a well-known physician and avid chamber music player.
The quartet opens with the gracefully arching F-A-E theme, followed by a three-note upbeat, which also appears later in the theme of the last movement. The develop?ment section is an outstanding demonstration of polyphonic writing, replete with canons, inversions, and retrograde motion, in which the melody is, respectively, imitated, turned upside down and played backward. At the start of the recapitulation, the viola plays the Brahms three-note F-A-F motto; just before the coda, the second violin plays F-A-F over?lapped with Joachim's F-A-E.
Over a sinuous, implacable line in the viola and cello, the first violin sings the warmly lyrical theme of the second move?ment. As this melody is extended, the first violin and cello, in canon, interrupt with an outburst that is almost operatic in character. When the first violin comes back with the opening melody, however, it is a false return in the wrong key. Finally, the cello sets things right by bringing the melody back in the expected key of A Major.
Movement three, "Quasi Minuetto," is marked by a charmingly archaic quality. Two sparkling interludes, though, come along to disturb the calm flow. Following each of the interludes are passages that dis?play the telling effect of Brahms' skills. In an amazing double canon, the first violin and viola play a slowed-down augmentation of the interlude theme in imitation, while the second violin and cello have a variant of the minuetto theme, also in imitation.
The "Finale" sparkles with the musical and rhythmic energy of a czardas -a fast, wild Hungarian dance. Alternating with the varied statements of the czardas tune is a relaxed, waltz-like melodic strain. The coda starts with the cello and first violin giving out the opening melody slowly and quietly in canon; then the entire quartet plays it even more softly, with notes of longer dura?tion. Eventually, the four instruments pick up speed and volume, bringing the music to a brilliant conclusion.
String Quartet in B-Flat Major, Op. 67 (1875)
Brahms did most of the work on his third and last string quartet at Ziegelhausen near Heidelberg during the summer of 1875, a particularly pleasant, relaxed time for the composer. "My rooms and daily life are most agreeable," he wrote. "In short, life is only too gay." To some extent, though, his work on the quartet was a release from the strain of working on his monumental first symphony, which he was composing at the same time. In a letter he once described Op. 67 and some smaller pieces from the time as "useless trifles, to avoid facing the serious countenance of a symphony." About fifteen years later, however, he viewed Op. 67 in a different light, confiding that it was the favorite of his three quartets.
Perhaps Brahms favored this quartet over the others because it is the most joyous and lighthearted and is filled with many delight?ful details. Take the cheerful hunting horn that opens the first movement. By tossing in accents on the "wrong" notes, that is, on the third and sixth notes of the six-note groups, Brahms gives it a wonderfully piquant, jest?ing touch. Then, a few measures later, when the horn call is heard again, the violins fix?ate on the third and sixth notes before launching the rapid descending scaled that introduce the second theme, which main?tains the same frivolous mood with its own misplaced accents. A hushed transitional passage (which becomes important in the last movement) leads to the concluding theme, a a rollicking, rhythmic melody firm?ly in 24 meter (two eight notes to a beat) that playfully competes with the already established 68 meter (three eight notes to the same beat). Brahms savors the uncom?fortable fit between the two meters by juxta?posing one on top of the other. The rest of the movement works out this material to wonderful effect.
The second movement is a bit more seri?ous. After a brief introduction, the first violin states a serene, reverential theme. An angry interruption breaks the mood, but the rage soon subsides, leading back to the open melody, now more richly accompanied than in the original form.
Despite the designation, "Agitato" (agi?tated) , Brahms refers to the diird movement as "the tenderest and most impassioned movement I have ever written." Although somewhat elusive in character, there is no mistaking the extraordinary tonal effects he achieves as the muted violins and cello are pitted against the viola playing without a mute. The middle section brings forth a melody in the three muted instruments that sounds like a new subject. Soon, though, the viola enters with a variant of the first melody, showing that the music has not strayed far from its roots. A literal repeat of the first part and a brief coda close out die movement.
Some critics consider the final movement the musical focus of die quartet. It is cast as a theme with eight variations. The theme itself has a simple, naive beauty. In the first two variations the viola, seemingly eager to maintain its newfound prominence, elabo?rates on the basic melody. The first violin reasserts its hegemony in the following two variations. Variation V finds the two-note groupings of the melody played off against a persistent three-note figuration in the cello, and in the sixth variation the leading line is shared by the cello and the viola, which are played pizzicato (plucked) to the bowed syn?copated accompaniment of the others. The big surprise comes in variation VII, when the horn call that opened the quartet returns. It is all more amazing to realize that the first, third, and sixth notes of the horn figure make up the outline of the orig?inal last movement theme. Variation VIII, then, is based on the transition passage from the first movement. And the coda
combines the themes from the two outside movements for a brilliant ending.
The Joachim Quartet gave the first per?formance in Berlin on June 4, 1876.
String Quartet in c minor, Op. 51, N0.1 (1873)
To the listening pubhc of the day, Brahms was the musical heir of Beethoven -a burden he did not bear easily. "You do not know what it is like," Brahms wrote, "hearing his [Beethoven's] footsteps constantly behind me." It is, therefore, not surprising that die two forms in which Beethoven pro?duced such enduring masterworks, die string quartet and the symphony, were precisely those in which Brahms felt the greatest pressure to measure up to his model. Consequently, he wrote and destroyed some twenty string quartets and then spent about two decades revising and polishing his first quartet before he allowed it to be published in 1873, when he was forty. His first sym?phony appeared only after an equally long period of gestation.
Brahms began work on his c-minor quar?tet in the early 1850s. Several times over the following years, he asked various musicians to read through the work. Following each rehearsal, however, he withdrew the music. It was not until the summer of 1873, which he spent at Tutzing on Starnberg Lake, that the quartet finally measured up to his expectations. In September he submitted it for publication, and on December 11, 1873, the Hellmesberger Quartet gave die premiere performance in Vienna.
The quartet opens with an heroic ascending theme. After two sustained notes in the viola, die first violin presents a languid descending counterpart to the vigor of the previous phrase. The second dieme proper, played by the two violins, enters over a rapid leaping figure in the viola. The poised con-
eluding theme is given to the first violin, over a rhythmically complex texture. All of the thematic material is worked over in the brief development section and then recapit?ulated, leading to an exciting, agitated coda.
Intimate and pensive, the second move?ment has been described as a song without words, a favorite Romantic, nineteenth-cen?tury character piece. It is ternary in form: the gently expressive opening section; a wist?ful contrast; and the return of the opening melody, ending with a coda that includes both themes, although in reverse order.
The third movement, really a charmingly simple intermezzo, is removed in mood from the somewhat severe and reserved character of the rest of the quartet. The delightful melody of connected pairs of notes is played by the first violin, while the viola strives for attention with its attractive countermelody. Various episodes follow, until the tempo picks up for a contrasting middle section. To accompany the graceful, naive melody, the second violin employs an effect known as bariolage, in which the same note is played on two different strings, producing a tonal effect not unlike a jazz trumpet player using a wah-wah mute. The movement ends with an exact repeat of the opening section.
Spiritually akin to the first movement, the final movement starts with a terse, force?ful motto theme derived form the opening of the first movement. An excited, passionate melody ensues but with no diminution of energy or drive. The second violin intro?duces the more relaxed subsidiary subject. There is barely any development before Brahms brings back all three themes to end the movement, and the quartet with an extended coda.
Program notes by Melvin Bergerfrom Guide to Chamber Music, Published by AnchorDoubleday.
Acclaimed for its artistry and dynamic perfor?mance style, the Emerson String Quartet has amassed an impres?sive list of achievements: ? an exclusive Deutsche Grammophon recording contract, three Grammy Awards -one for Best Classical Album and two for Best Chamber Music Performance, Gramophone magazine's Record of the Year and Chamber Music Record of the Year awards, regular appearances with virtually every important series and festival world-wide, and an international reputation as a quartet that approaches both the classics and contemporary music with equal mastery
and enthusiasm.
1996 summer engagements included the Mostly Mozart and Caramoor Festivals, and a continued association with the Aspen Music Festival as artists-in-residence. In June 1996, the Emersons made their first appearances in Israel for the 3000th anniverary of Jerusalem at the Israel Music Festival.
The Emerson String Quartet has an extensive 1996-97 season. Last fall, the
Emerson String Quartet
Emerson joined Edgar Meyer in the New York premiere of Mr. Meyer's Bass Quintet at the Chamber Music Society of Lincoln Center. This month, the Quartet plays the first of a two-year series of special perfor?mances at Lincoln Center's Alice Tully Hall: each of theses programs features two Beethoven quartets plus a twentieth-century work. The series offers four such concerts this season plus four in 1997-98, comprising the complete cycle of Beethoven quartets. The Quartet continues their sold-out series at the Smithsonian Institution and Hartt School of Music. Additional North American con?cert venues include this Ann Arbor
concert as well as concerts in Seattle, San Francisco, Pasadena, Mexico City, Denver, Chicago, Milwaukee, Houston, Philadelphia, Boston, and Montreal. They tour in Germany, Holland, Switzerland and Italy, and perform a complete six-concert Beethoven cycle in Tokyo, Japan.
Dedicated to the performance of the classical repertoire, the Emerson also has a strong commitment to the commissioning and performance of twentieth-century music. Important commissions and premieres include compositions by Richard Wernick (1991), John Harbison (1987), and Gunther Schuller (1986). These works are featured on an August 1993 Deutsche Grammophon release.
The Emerson String Quartet took its name
from the great American poet and philosopher Ralph Waldo Emerson in the US Bicentennial year. Violinists Eugene Drucker and Philip Setzer alternate in the first chair position and are joined by violist Lawrence Dutton and cellist David Finckel. All four members have performed many benefit concerts for causes ranging from nuclear disarmament to the fight against AIDS, world hunger
and children's diseases. The Quartet has been the topic of two award-winning films and appears on a laser disc released by Teldec. In 1995 they each received an hon?orary doctoral degree from the Middlebury College in Vermont and received the 1994 University Medal for Distinguished Service from the University of Hartford. They have been featured in The Nexu York Times Magazine, Mirabella, Elle, Bon Appetit, Runner's World, The Strad, and Strings magazines.
The Emerson String Quartet made their UMS debut in March of 1989. This performance marks the Emerson String Quartet's fifth appear?ance under UMS auspices.
presen Is
The Passion of Joan of Arc
An Oratorio with Silent Film
Music by
Richard Einhorn
Film by
Carl Dreyer
Sunday Evening, February 16, 1997 at 7:00
Michigan Theater Ann Arbor, Michigan
Anonymous 4
as the Voice of Joan of Arc Ruth Cunningham Johanna Maria Rose Marsha Genensky Susan Hellauer
Lucinda Carver, conductor
Camille King, soprano Kris Gould, soprano Norman Goss, baritone Daniel Ebbers, tenor
Los Angeles Mozart Orchestra Zephyr Chorus
Forty-seventh Performance of the 118th Season
Visions and Voices of Women Series
The Visions and Voices of Women Series is presented with support from media partner WDET, 101.9 FM, Public Radio from Wayne State University.
The Voices of Light tour is made possible in part through the generous support of Sony Classical and Gaumont.
Columbia Artists Management Inc.
Personal Direction: Michael Mu.shalla. Associate: Matilda Hohensee
Anonymous 4 represented exclusively by Herbert Barrett Management Inc.
Large print programs are available upon request.
Notes from composer Richard Einhorn
Imagine walking down an ordinary street in an ordinary city on an ordinary day. You turn the corner and suddenly with?out warning, you find yourself staring at the Taj Mahal. It was with that same sense of utter amazement and wonder that I watched Carl Dreyer's The Passion of Joan of Arc for the first time.
That was back in January of 1988. I was idly poking around in the film archives of New York's Museum of Modern Art, looking at short avant-garde films, when I happened across a still from Joan ofArc'm the silent film catalog. In spite of a deep love of cine?ma and its history, I had never heard of either the director or the film, but since my friend Galen Brandt had suggested that I do a piece about Joan of Arc at some point, I asked to take a look at it. Some eighty-one minutes later, I walked out of the screening room shattered, having unexpectedly seen one of the most extraordinary works of art that I know. I immediately began to plan the piece about Joan of Arc that my friend had suggested.
In early 1993, Bob Cilman of the Nordiampton Arts Council agreed to pre?sent Voices of Light and I wrote the entire score in about three and a half months. In February of 1994, Voices of Light premiered to sold-out crowds at the Academy of Music in Northampton, Massachusetts, performed by the Arcadia Players and conducted by Margaret Irwin-Brandon.
Voices of Light is a meditation on the life and personality of Joan of Arc. It is scored for soloists, chorus, orchestra, and one very special bell (about which I will say more later). The libretto is a montage of ancient writings, assembled primarily from female medieval mystics including Joan of Arc her?self. The "staging" of the work is a screen?ing of The Passion of Joan of Arc. The piece
explores the patchwork of emotions and thoughts that are stitched together into the notion of a female hero. Such a hero invari?ably transgresses the conventions and restrictions her society imposes. And Joan of Arc -the illiterate teenage peasant girl who led an army, the transvestite witch who became a saint --Joan of Arc transgressed them all.
About Joan of Arc
Joan of Arc was deeply religious, utterly chaste, and astonishingly brave in the face of horrific abuse. She certainly deserves the sainthood the Church bestowed upon her. But Joan challenges die very meaning of holiness. True, this image of the virginal shepherd girl called to a divine mission by angels is part of her story, but it is only one part.
It seems to clash with the fact that her closest companions were brutal soldiers with names like The Bastard of Orleans or La Hire (The Rage). It seems impossible that another of Joan's close intimates was Gilles de Rais, the infamous "Bluebeard" who was burned at the stake for the serial murder of young boys. And the humble pious image simply cannot accommodate a woman who, when asked about one of her childhood neighbors, a man who sympathized with her enemies, responded that she would cut his head off ("God willing," of course).
She was born in about 1412 in Domremy, France, a tiny farming village in the Meuse Valley. When Joan was thirteen or so, she began to hear voices. At seventeen, her voices told her that she had been given a divine mission to reunite France. At the time, in the middle of the Hundred Years War, much of France was in the hands of the hated English and their Burgundian allies. Charles, the uncrowned king or dauphin, was in exile and his path to Reims, where all
the kings of France had been crowned since time immemorial, was blocked by the English troops. Orleans, a city that lay in a strategically important area of the strife, had been besieged for over a year and had begun to weaken.
Spurred on by her voices, Joan implored Robert de Baudricourt, the governor of nearby Vaucouleurs, to permit her to travel to Charles's court at Chinon. Initially reluc?tant, even incredulous, Baudricourt finally granted the permission and Joan, "borrow?ing" some men's clothing to disguise herself during the journey, left with two friends for the court of the uncrowned king.
Joan's powers of persuasion must have been remarkable. She managed not only to arrange an audience with Charles but also to convince him she should travel with an army to help lift the siege of Orleans. Within days of her arrival, the French army, with Joan's active participation, had destroyed the besieging English forces, a turning point in the war. Although seriously wounded, Joan helped lead the final success?ful assault on the Tourelles, the English gar?rison, an attack that resulted in the deaths of two of England's most important military commanders.
With Orleans secure, Joan and the army cleared a path to Reims for the coronation, recapturing numerous towns along the way. Joan was so feared by the English and their Burgundian allies that the mere announce?ment of her presence outside the walls of a town would elicit a quick surrender. Charles VII was crowned in Reims on July 17, 1429, with Joan of Arc by his side. It had been less than seven months since she had left her farm village, and Joan was seventeen years old.
For about a year or so, Joan was a merce?nary knight, fighting (and winning) numer?ous batdes. However, after she failed to take Paris in September of 1429, her fortunes began to wane, and in May of 1430, outside
the walls of Compiegne, she was dragged from her horse by a Burgundian archer and captured. She was subsequently sold to the English and transported to Rouen, where the English and the Burgundians had arranged for a court of the Inquisition to try her for heresy. The trial's purpose was not only to discredit her among her people (as she was already a legend in France), but also to cast doubt on the legitimacy of the king whom she had helped to crown. While in prison, Joan refused to give up her male clothes, was kept in a tiny cell and was always in chains (she had tried to escape earlier in her captivity by leaping from the turret of a castle).
In Rouen, arraigned before a panel of learned judges, priests, and lawyers, Joan was questioned repeatedly about her voices, her male dress, and sense of her mission. After months of resistance which left her ill and exhausted, Joan was dragged out into a courtyard of the church of St. Ouen and publicly coerced into signing a statement of adjuration in which she denied that her voices were from God. She was sentenced to life imprisonment and her head was shaved. Three days later, however she retracted her abjuration and affirmed that her voices were divine. She was promptly excommunicated for heresy and burnt on May 30, 1431. Joan of Arc was nineteen years old when she died.
Twenty-five years later, Charles VII and Joan's mother, Isabelle Romee, petitioned the pope to restore her to the Church. Many of the women and men who knew Joan from Domremy and from her career as a solider were interviewed. These tran?scripts (which, like the trial transcripts, have survived) provide substantial corroboration for a story that would otherwise seem unbe?lievable. In 1920, nearly 500 years after her death, Joan was declared a saint, the only saint who was first excommunicated and burned.
Joan's refusal to conform to our normal categories of behaviors creates many appar?ent paradoxes and contradictions. Yes, she was a great warrior, but she was also a pious mystic who would halt her soldiers simply to listen to church bells. She was an illiterate farm girl, but she had no problem consort?ing with royalty. Although she was the most practical and skeptical of leaders -she had quite a reputation for debunking fraudulent prophets -she heard voices that today would probably earn her a diagnosis of para?noid schizophrenia.
Her powerful, complex personality has attracted an amazingly disparate group of admirers over the years, from George Bernard Shaw to Andrea Dworkin, to name just a few. She is a beloved Cadiolic saint and a hero for many young girls, regardless of their religious background. But in die course of my research, I also met with mem?bers of covens who worshipped Joan as a great witch. In the United States and England, numerous feminist and lesbian authors have written eloquently on Joan of Arc. Meanwhile, in France, her role as die supreme symbol of French nationalism has been co-opted by the extreme right wing. And, of course, Joan embodies die romantic myth of the misunderstood, uncompromis?ing artist: true to herhis inner voice until death.
Carl Dreyer's
The Passion of Joan of Arc
The strange history of The Passion of Joan of Arc (1928) nearly equals Joan's itself. It has many of the same elements, including obsession, madness, and even fire.
The Passion of Joan of Arc was made by Societe Generale, the studio that had pro?duced Abel Gance's Napoleon. In fact, Dreyer himself was on the set of the Gance
film and used many members of the techni?cal crew and several of the actors (notably Antonin Artaud, the stunningly handsome enfant terrible of the avant-garde theater, who was later incarcerated in a mental institu?tion). The original screenplay for Joan was by Joseph Delteil, who had written a rather hyperventilated book about her. For one reason or another, Dreyer chose to forgo most of Delteil's ideas and instead used actual excerpts from the trial transcripts as the script (the film, which is set entirely at Joan's trials, and burning, compresses the action of the trial from seven months into a single day).
To portray Joan of Arc, Dreyer cast against type Renee Falconetti, a leading member of the Comedie-Francais. Rumors abound about the excruciating ordeal Falconetti suffered during the shoot: when her head was shaved for the final sequence of the film, apparently the entire crew wept for her and she broke down; the shooting ground to a halt while she recovered.
The film, censored somewhat by the Catholic Church prior to its release, was soon hailed as one of the greatest films of all time. Falconetti's performance was (and is) considered one of the most extraordi?nary ever filmed. With its extreme close-ups and bizarre camera angels, with an editing rhythm that breaks nearly every rule of the craft, The Passion of Joan of Arc makes virtual?ly every movie critic and scholar's short list of masterpieces. It clearly influenced such filmmakers as Bergman, Fellini, and Hitchcock, and echoes of its intense style appear in the work of such contemporary masters as Martin Scorsese. Shot without makeup and with "natural" acting, Joan looks like it was finished yesterday.
But a few months after the premiere, Joan's judges descended upon Dreyer's film. The negative and virtually all prints of The Passion of Joan of Arc were destroyed in a warehouse fire. Dreyer, referring in all like-
lihood to his workprint for the original cut, painstakingly reconstructed the entire film from outtake footage that had survived the fire. This second version was destroyed in a second fire! Devastated, Dreyer gave up and moved on to his next film, Vampyr.
From here the history of the film becomes confusing. Highly corrupt prints that somehow managed to survive the fires circulated for a while. In addition, the Cinematheque Francais unearthed a copy of the film in its vaults (at the time, it was unclear which version it was). In the late forties and early fifties, a French film histori?an by the name of Lo Duca pieced together his version of the film (apparendy using prints from bodi versions) and added a score that was a montage of Albinoni, Vivaldi, and other Baroque composers. The result so horrified Dreyer that he completely disowned the "Lo Duca" version.
Then, in 1981, several film cans from the 1920s were discovered at a mental institution in Oslo, Norway, stashed in the back of a closet. They were shipped, unopened to the Norwegian Film Institute. Inside the cans, in nearly perfect condition, was a copy of The Passion of Joan of Arc with Danish interti-des. The accompanying shipping informa?tion made it clear that it was, in fact, a print of the original version of Dreyer's great film.
Voices of Light
The Passion of Joan of Arc was an inspiration for Voices of Light, but my goal was to attempt a stand-alone work that would speak to vari?ous aspects of Joan's life and legend.
As I was developing the piece, I recalled my studies of medieval musical practice, in particular the multi-lingual motets to which I loved to listen. The notion of a work of art with simultaneous layers of text struck me as a medieval idea that was also delightfully modern as well.
Since Joan heard voices, I knew the work would have singing, but what would every?one sing I did a considerable amount of research into the history of Joan's life and persona and began to explore the rich body of literature written by female mystics from the Middle Ages. I decided to create a libretto that would consist primarily of excerpts from these writings, chosen for their beauty as literature and also for their relevance to themes in Joan's life. In addi?tion, I decided that all the words sung in the score would be in ancient languages (Latin, Old and Middle French, and Italian).
A brief example: Although the Inquisitors did not physically harm Joan, she was shown the instruments of torture. I thought that, rather than speak directly about this horror, it might be more interest?ing to explore some of the stranger aspects of the medieval view of physical pain, the tradition of suffering as a means of achieving spiritual ecstasy. Accordingly, the chorus obsessively repeats die phrase "glorious wounds" while a solo soprano sings a combi?nation of lurid texts from both Blessed Angela and Na Prous Boneta, a thirteenth-century penitent and fourteenth-century heretic, respectively.
I didn't want to have any characters in a conventional sense, but after reading Joan of Arc's military correspondence (although illiterate, Joan dictated her letters to a scribe), I decided that I wanted her to make an appearance in my piece, singing excerpts from her letters as well as some other texts that she either certainly said or could have said. Since no one knows what Joan looked like, I decided that no one would know much about her singing voice: accordingly, Joan's "character" is sung neither in a sopra?no nor alto range, but in both simultaneous?ly, with simple harmony and in rhythmic unison.
Just prior to writing Voices of Light, I trav?eled to France to visit some of the important
Joan of Arc historical sites. I went to Orleans where she won her first battle and also to Rouen, where I was deeply moved by the ruins of the castles where Joan was held and the cross erected at the site of her mar?tyrdom. I also traveled to the little village of Domremy, Joan's birthplace in the south?east, where her house and church, much restored, still stand. I took along a portable DAT recorder and recorded the sound of the Domremy churchbell and later incorpo?rated it into my score. I felt that Joan, who so loved churchbells, whose voices seemed to speak to her whenever they were ringing, would appreciate the effort.
Program notes by Richard Einhorn
A note from Gaumont on the restoration of the film
The Cinematheque Francaise presents The Passion of Joan of Arc by Danish director, Carl Theodor Dreyer restored in 1985. Shot in France in 1927 and released in 1928, the film has undergone several mis?fortunes. Many scenes were censored. The original negative was destroyed in a fire several months after the film opened. Later, Dreyer made a second negative using out-takes and dupes. This second negative was also lost in a fire.
For over fifty years, The Passion of Joan of Arc, a classic of silent cinema, could be seen only in mutilated forms made from inferior duplicate negatives, with erroneous intertitles -and sometimes, even in a sound version!
After an excellent vintage print with Danish intertitles was discovered in 1984, the Cinematheque Francaise was able to restore this version. In all likelihood, it is very close to the original French version. Ib Monty head of the Danske Filnimuseum and Maurice Drouzy, who reestablished the French text, were instrumental in getting the job done.
Composer Richard Einhorn's unique music has been described as "hauntingly beautiful," "sensational," and "over?whelming in its emotional power." He has become one of a small handful of living composers who not only reaches a large world-wide audience but receives widespread critical praise for his integrity, emotional depth, and craft.
Since its CD release on Sony Classical, Richard Einhorn's Voices of Light has become
a Billboard best?seller. Hailed in reviews as "a great masterpiece of contemporary music" and "a work of meticu?lous genius," Voices of Light com?pletely sold out its New York City premiere perfor?mances at the
Brooklyn Academy of Music Next Wave Festival, receiving extraordinary popular and critical acclaim. Voices of Light was named Record of the Year by NPR's New Sounds with John Schaefer and described by Colorado Public Radio as "without question the most powerfully emotional piece of new music that I've ever had the privilege to pro?gram." The work has been the subject of feature articles in the Wall Street Journal and on All Things Considered, Performance Today, and other major national radio and television programs.
Einhorn has written opera, chamber music, song cycles, ballets, and numerous film scores. Red Angels, a ballet to Einhorn's music with choreography by Ulysses Dove, is in the repertory of the New York City Ballet. Einhorn's double electric string quartet, The Silence, premiered on New Sounds Live!
where it was broadcast nationally. Einhorn's collaboration with choreographer Annie-B Parson, City of Brides, was commissioned by the American Dance Festival and was the subject of a Guggenheim Museum Projects and Process concert: the piece also enjoyed an extended New York City run, including two performances at Lincoln Center. Educating Peter, an HBO film that Einhorn scored, won an Academy Award for Best Documentary Short. Wild by Law, a Florentine Films release directed by Lawrence Hott and Diane Garey, with music by Einhorn, was nominated for an Oscar. Among Einhorn's numerous feature film credits are scores for Arthur Penns's Dead of Winter (MGM), John Coles' Darrow (American Playhouse), and Radha Bharadwaj's Closet Land (Imagine).
Richard Einhorn graduated summa cum laude in music from Columbia University, where his teachers included Jack Beeson, Vladimir Ussachevsky, and Mario Davidovsky. In the early 1980s, Einhorn produced numer?ous recordings for CBS Masterworks and others, working with artists like Meredith Monk, Zubin Mehta, Jean-Pierre Rampal, and Murray Perahia. In 1981, Yo-Yo Ma's record?ing of the Bach Cello Suites, produced by Einhorn, won a Grammy for Best Instrumental Performance.
Presently, Richard Einhorn is completing Maxwell's Demon, a violin concerto and Freud and Dora: A Case of Hysteria, a comic opera about Sigmund Freud.
Lucinda Carver, Music Director and Conductor of the Los Angeles Mozart Orchestra, is in increasing demand as a guest con?ductor. She is scheduled to debut at the Edinburgh Festival in the summer of 1997. In 1996 she made her first appearances with the Minnesota
Opera, leading the Saint Paul Chamber Orchestra in a new production of Don Giovanni, and the National Symphony at Wolf Trap. Her critical?ly acclaimed New York debut came at the Brooklyn Academy of
Lucinda Carver
Music's Next Wave Festival in October 1995, conducting the Brooklyn Philharmonic in Richard Einhorn's operaoratorio Voices of Light for Carl Dreyer's 1928 silent film, The Passion of Joan of Arc.
During the 1996-97 season, Ms. Carver conducts the Los Angeles Mozart Orchestra on two North American tours. The itiner?aries include San Francisco, Los Angeles, Orange County, Phoenix, Tucson, Atlanta, Charleston, Columbus, Ann Arbor, Champaign and Chicago.
Lucinda Carver studied piano with emi?nent artists such as Murray Perahia, Gary Graffman, Hans Leygraf and John Perry. Her conducting studies were with William Schaefer and Hans Beer. She holds a Doctor of Musical Arts for the University of Southern California, an Artist Diploma from the Salzburg Mozarteum and a Master of Music from the Manhattan School of Music. She has served on the music faculties of Occidental College and the California State University, Fullerton.
This performance marks Lucinda Carvers debut under UMS auspices.
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Anonymous 4 has become renowned for its astonishing vocal blend and technical virtuosity. The four women on Anonymous 4, Ruth Cunningham, Johanna Maria Rose, Marsha Genensky and Susan Hellauer, combine musical, literary, and historical scholarship with twentieth-century performing intuition as they create innovative programs interweaving music with poetry and narrative. The ensemble takes its name from the designation given by musicologists to an anonymous thirteenth-century Englishman who, as a student in Paris, wrote about the vocal polyphony then being performed at the Cathedral of Notre Dame.
In addition to presenting their own con?cert series at New York's St. Michael's Episcopal Church, Anonymous 4 has per?formed in every major city throughout the United States. Their 1996-97 season includes debut tours of Japan, Australia and New Zealand and return appearances in many US cities including, San Francisco, Atlanta, Cleveland, Kansas City, Seattle, Houston, and Chicago. They also tour the US per?forming Richard Einhorn's Voices of LightThe Passion of Joan of Arc.
Several of Anonymous 4's programs have been broadcast nationally on National Public Radio's Performance Today, and other concerts have been recorded and broadcast by NPR stations around the country. The group was recently featured on CBS Sunday Morning with Charles Osgood, Garrison Keillor's A Prairie Home Companion, and NPR's Weekend Edition, and has appeared fre?quently on WNYC-FM's live radio program, Around New York They are also featured this year on the Australian Broadcasting Company's
Anonymous 4
new television program Access All Areas. Anonymous 4 records exclusively for Harmonia Mundi USA and appears by arrangement with Harmonia Mundi USA on SONY Classical's Voices of Light recording.
Anonymous 4 made their UMS debut in April 1995. This performance marks their second appearance under UMS auspices.
Camille King, (soprano) a student of the latejudith Raskin, has appeared with many opera companies, including the San Francisco Opera, Los Angeles Music Center Opera, Minnesota Opera, Innsbruck Opera and Rome Opera. Principal roles have
included Blonchen in Die Entfuhrung aus dem SeraiL, Susanna in Le Nozze di Figaro, and Zerbinetta in Ariadne auNaxos. She maintains an active oratorio, chamber and orchestral schedule, having appeared with the Virginia
Symphony, Santa Barbara Symphony, Los Angeles Mozart Orchestra and with the Long Beach Bach Festival. During the 1996-97 season, Ms King will appear as soprano soloist in Handel's Messiah, Brahms' Requiem, and Mozart's C-minor Mass.
This performance marks Camille King's debut under UMS auspices.
Kris Gould (soprano) has been a frequent soloist in the Los Angeles area, performing such roles as Belinda in Purcell's Dido and Aeneas, L'Amour in Ramcau's Anacreon, Galatea in Handel's Ads & Galatea, and the Angel in Charpentier's Nativity Pastorale
with the Los Angeles Baroque Orchestra. Ms. Gould has also been a featured soloist in the J. Paul Getty Museum's concert series, has performed with the Los Angeles Musica Viva under the direction of renowned lutenist James Tyler, and
Kris Gould
has sung in Germany performing Bach's Cantata 51 and Weihnacht's Oratorium with the Bremen Domchor Orchestra. Future concerts include performances with the Ensemble de'Medici, die Los Angeles Mozart Orchestra and the Seattle Baroque Orchestra.
This performance marks Kris Gould's debut under UMS auspices.
Norman Goss, (baritone) is a Los Angeles-based concert singer. He received critical acclaim for his New York debut in 1995 at the Brooklyn Academy of Music Next Wave Festival as a soloist with the Brooklyn Philharmonic in the New York premiere of
Richard Einhorn's Voices of LightThe Passion offoan of Arc Mr. Goss also appeared as soloist in the West Coast premiere of Voices in Los Angeles in 1995. Mr. Goss' numerous solo appearances throughout
Southern California also include concerts with Roger Wagner and the Los Angeles Master Chorale, the Los Angeles Mozart Orchestra, the Pacific Symphony, the Los Angeles Baroque Orchestra, I Cantori, the Nakamichi Baroque Music Festival, and the Long Beach Bach Festival, as well as con?certs at the Performing Arts Center of Orange County, UCLA, and the J. Paul Getty Museum, to name of few. Mr. Goss has also appeared as a soloist on the Music in Historic Sites concert series in Los Angeles, and has been heard over radio stations KUSC and KFAC.
This performance marks Norman Goss' debut under UMS auspices.
Daniel Ebbers (tenor) recently concluded his second season as a Resident Artist at the Los Angeles Music Center Opera. Since debuting with that company in the role of Gastone in La Traviata, he made his solo European debut in a concert tour with the Los Angeles Music Center Association as a representative of the L.A. Opera. In addi?tion to his responsibilities in the educational outreach programs and public relations events, he has covered a number of leading roles such as Don Ottavio, Albert Herring, Lysander and Ernesto. Mr. Ebbers' main stage appearances have included the roles of the Young Servant in Elektra, and the notary in Madama Butterfly. He has been cast with
Placido Domingo in Verdi's Otello as Roderigo, and as Federico in the West coast premiere of the recendy discovered Verdi work, Stiffelio. Mr. Ebbers is a graduate of the University of Southern
California with a Master's degree in voice.
This performance marks David Ebbers' debut under UMS auspices.
The Los Angeles Mozart Orchestra is an
ensemble of twenty-eight to thirty-five musi?cians which specializes in introducing eigh?teenth-century chamber orchestra reper?toire to its audiences as well as selected repertoire from the nineteenth and twenti?eth centuries. Founded in 1975, the orches?tra has expanded its activities in recent years, since the appointment of Lucinda Carver as music director and conductor in 1992.
During the 1996-97 season the orchestra goes on national tour for the first time. The itinerary includes this concert in Ann Arbor and concerts in San Francisco, Phoenix,
Tucson, Savannah, Atlanta, Charleston, Columbus, Chicago, Champaign and Toronto.
The orchestra presents its subscription concerts from October through May at the Wilshire-Ebell Theatre in the historic Hancock Park section of Los Angeles. An outdoor summer concert at the John Anson Ford Amphitheatre has become an annual event. Members of the orchestra and Ms. Carver perform programs of chamber music at various sites throughout the Los Angeles area. Ms. Carver also spearheads an exten?sive outreach program for youngsters. The orchestra has been named to the California Arts Council touring roster.
This performance marks the debut of the Los Angeles Mozart Orchestra under UMS auspices.
Zephyr: Voices Unbound is a Los Angeles-based collective of professional singers who specialize in unconventional programming. Founded in 1992, Zephyr's schedule has grown from two performances a year to a full concert season in venues throughout Southern California. In each themed pro?gram, Zephyr interweaves vocal music from virtually every era with humor and poetry for a "theatrical" choral experience.
Zephyr members include composers, opera and jazz singers, music professors, and conductors united in their devotion to bring the world of choral music to a new audience. Zephyr is proud to be a part of Voices of LightThe Passion of Joan of Arc and thanks Columbia Artists Management and Lucinda Carver for their support.
This performance marks the debut of Zephyr under UMS auspices.
p res en ts
Schubert Song Rfxital III ---' Leon & Heidi Cohan, Honorary Chairs
Monday Evening, February 17, 1997 at 8:00
Lydia Mendelssohn Theater Ann Arbor, Michigan
Lieder on Texts by Schubert's Friends
Die Taubenpost, D. 965A
Im Freien, D. 880
Der Wanderer an den Mond, D. 870
Irdisches Gluck, D. 866, No. 4
Widerspruch, D. 865
Am Fenster, D. 878
Selige Welt, D. 743
Genugsamkeit, D. 143
Sehnsucht, D. 879
Am Strome, D. 539
Der Zwerg, D. 771
Der Winterabend, D. 938 Widerschein, D. 639 Am Bach im Friihling, D. 361 Gondelfahrer, D. 808 Wie Ulfru fischt, D. 525 Liebeslauschen, D. 698 Fischerwiese, D. 881 Abendstern, D. 806 Der Schiller, D. 536 Die Sterne, D. 939
The audience is politely requested to withhold applause until the end of each group of songs.
Forty-eighth Concert of the 118th Season
Schubert Cycle Series
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Special thanks to Trudy Miller, Program Director, The Schubertiade, New York, for program book consultation.
Exclusive North American representation for Mr. Holzmair: by arrangement with Matthew Sprizzo, Staten Island, NY
Large print programs are available upon request.
Dilettantes, professors, civil servants, and a Tyrolean patriot: these were the professions of the seven members of Schubert's circle whose poetry is featured in
tonight's program. While many of the six hundred poems Schubert set to music come from such renowned poets as Goethe, Schiller, and Shakespeare, nearly half were by occasional poets Schubert knew personal?ly. These men led very different lives, but they shared a love of poetry and an acquain?tance with Franz Schubert.
Because Schubert knew these men, their poems must have attracted him not only for their musical potential, but for personal rea?sons as well. Two examples of possible hid?den meanings in tonight's songs may illus?trate this point. The island sought in Johann Senn's Selige Welt (Blessed World) may refer to Tyrol, the poet's native land. Senn supported the cause of Tyrolean inde?pendence, but was financially and emotion?ally ruined after being imprisoned for his activities; Schubert no doubt understood Senn's bitterness and disillusionment when setting the words, "Folly seeks a blessed isle, but no such isle exists." Johann Mayrhofer's Gondelfahrer (The Gondolier) may seem an
innocent Venetian barcarole, but it contains an insidious reference of which Schubert must have been aware.
In German, midnight is Mitternacht, very close in sound to Metternich, the name of the all-powerful Viennese prince: when we substitute the latter for the former, the line, "From the tower... mid?night's decree tolled forth" changes meaning consider?ably. Many other hidden ref-
erences, whether subversive or innocent, may lurk in these songs. Some we may guess at, others we will never know.
The poems selected for tonight's recital may be divided into two general categories: those that explore the inner world of human emotion and those that focus on the natural world. More specifically, the emotion-ori?ented poems center on longing; the nature poems feature the stars, moon, and water.
Longing -usually denoted in German as Sehnsucht -is an important topic in Schubert's songs, and in German Romantic poetry in general. The object of longing may be love, happiness, or the better days of one's past. The Romantic twist is that the object of longing is often secondary to the longing itself; more important is the state of longing and its effect upon the sensitive soul. True longing, it often seems, cannot be satisfied.
Several songs in tonight's program explore this Romantic longing. The opening song, Die Taubenpost (Pigeon Post), is ostensibly about a carrier-pigeon that serves as a mes?senger to a distant sweetheart, but it really concerns the bittersweet pleasure of savoring one's yearning. This is made clear in the last stanza, for the "fairest prize," is not the beloved, but Sehnsucht -longing. The dis?tant beloved also figures in Sehnsucht
(Longing), but again, her purpose is to allow the subject to dwell on his own suffer?ing. In Genugsamkeit (Simple Needs) too, longing itself is the focus -the content?ment sought will never be attained. Im Freien (In the Open) and Widerspruch (Contradiction) explore impossible desires. Im Freien shows a traveler looking upon the village of his youth, yearning for the return of the past, while in Widerspruch the subject desires at the same time the free and open expanse of nature and the security of a litde chamber (a coffin, perhaps). Der Zwerg (The Dwarf)
-a truly disturbing song -shows a self-fulfilled impossible longing. The dwarf of the poem murders of the object of his desire
-the queen he had once served. The heartbroken dwarf is left only with his longing.
Not all desires expressed in Schubert's songs are impossible to satisfy. In Irdisches Gliick (Earthly Happiness), happiness seems eminently attainable, for it is defined in this poem simply as living for the moment, living free from illusion, and departing from the world surrounded by loved ones.
The "nature" songs in tonight's program treat their subjects in a variety of ways. Natural objects may serve as metaphors for human action or emotion, act as silent con?versation partners, or by their presence set the emotional tone of the poem.
The moon and stars are central to a number of songs in the program. In Der Wanderer an den Mond (The Wanderer's Address to the Moon), a homeless wanderer speaks to the moon as a fellow traveller, but expresses his envy, for unlike him, the moon is at home in any land. The moonlight's silvery sheen in Am Fenster (At the Window) symbolizes the "new light" that has dawned for the protagonist, who we realize speaks from the mausoleum where he has recently been laid to rest. In Der Winterabend (The Winter Evening-), the moon quietly spins a shimmering veil of light to a drape over the contents of a room where a man silently
reminisces about lost love. The moon also serves as a backdrop to a knight's silent serenade in Liebeslauschen (Serenade). In Abendstem (The Evening Star) and Die Sterne (The Stars), stars personify human attributes: in the former, the evening star is a lonely wanderer, in the latter we learn of the secret lives of stars -they guide pilgrims, bless lovers, and comfort those in pain.
Water imagery also figures prominently in tonight's program. The river in Am Strome (By the River), is a metaphor for the yearning of the soul. A very different river song, Am Bach imFruhling (By the Stream in Spring), shows an observer disheartened, rather than uplifted, by the renewal of a brook after winter. Boating and fishing fig?ure in several of the water-poems. The speaker in Selige Welt (Blessed World) com?pares his directionless life to sailing on the ocean without a tiller; in Gondelfahrer (Gondolier), the canals of Venice rock a gondola in the still of the night; and a boat?man finds fatalistic joy in rowing towards a river tempest in Der Schiffer. Fishing is cen?tral to Widerschein (Reflection), in which a fisherman is "caught" by the beauty of his beloved reflected in a brook; to Wie Ulfru fischt (Ulfru Fishing), in which water pixies stymie the protagonist's attempts to reap the sea's fruit; and to Fischerweise (Fisherman's Song), which tells of a robust fisherman who sings as he works in the sea.
The Argentine writer Jorge Luis Borges once wrote that the arrangement of books on a shelf is an act of literary criticism. The same might be said for the arrangement of songs on a recital program. Longing, water, moon, and stars are just some of the themes that unite this program. One of the plea?sures of tonight's recital will be discovering the many new meanings and provocative connections that arise from this arrangement of songs.
Program notes by Mark Katz Ann Arbor, Michigan, 1997
A 1996 Grammy nominee for his Philips recording of Schumann's Dichterliebe, Liederkreis and Heine-Lieder and a soloist on the 1996 ? Grammy-winning "Best Choral Recording" (the Brahms Requiem with Herbert Blomstedt and the San Francisco Symphony on the Decca label), Austrian lyric baritone Wolfgang Holzmair is consis?tently acclaimed for his uncommon sensitivi?ty to text and the intelligence and dramatic urgency with which he employs a voice of rare refinement and beauty. In addition to countless recitals in the world's major venues (including Zurich, Edinburgh, Paris,
Vienna, and London's Wigmore Hall to which he has regularly returned since his sensational 1989 debut there), 1997 marks his fifth consecutive North American recital tour, with another scheduled for 1998 (a GermanFrench program with pianist Gerard Wyss). He is deservedly credited with almost single-handedly reviving the inti?mate art of the song recital on this conti?nent, with invitations from New York's Alice
Tully Hall, the Frick Collection, and the Metropolitan Museum of Art; as well as the premier series in San Francisco, Cleveland, Detroit, Washington, DC, Houston, Los Angeles, Toronto, Vancouver, and Philadelphia.
Mr. Holzmair first came to international attention for his interpretation of Hans Scholl in Udo Zimmerman's Die weifie Rose at both the Vienna State and Zurich Operas, and as Debussy's Pelleas-perhaps his "sig?nature" role -in both Zurich and Essen. Operatic appearances since then have included principal roles at the opera compa?nies of Berlin, Vienna, Lyon, Leipzig, and the Royal Opera House, Covent Garden (the latter as Papageno in Die Zauberflote, another favorite). Under conductor Nikolaus Harnoncourt he has appeared at the Salzburg Festival (Monteverdi's Poppea and 1610 Vespers), the Vienna Festival (Haydn's L'anima delfilosofo), and the Berlin Festival (Weber's Der Freischutz). His Japanese opera debut occurred last summer, Seiji Ozawa conducting Poulenc's Les Mamelles de Tiresias at the Saito Kinen Festival. Next season, he makes his North American operatic debut as Papageno with the Los Angeles Music Center Opera. Orchestras with which he has appeared include the Berlin, Hamburg, and Israel Philharmonics; Cleveland and Royal Concertgebouw Orchestras; Orchestre National de Lyon; London Classical Players; and the Vienna and San Francisco Symphonies. Among the conductors with whom he has collaborated are Riccardo Chailly, Roger Norrington, Christoph von Dohnanyi, and Kent Nagano. In March 1996 he sang Mozart arias with the English Chamber Orchestra conducted by Pinchas Zukerman at London's Barbican Centre, with HRH Prince Charles among the distin?guished guests.
Born in Upper Austria, Mr. Holzmair graduated from the Vienna University of
Economics, subsequently studying singing at the Vienna Academy of Music and Dramatic Arts. Major awards include Holland's Hertogenbosch International Vocal Competition and the Vienna Musikverein International Competition for Lieder Singers.
This performance marks Wolfgang Holzmair's debut under UMS auspices.
?B he British pianist
? Julius Drake is estab?lished as one of the outstanding accompanists and chamber music pianists of his generation. flA regular visitor to
the major concert halls and leading music festivals in Britain, Julius Drake also works extensively overseas. Recent concerts have taken him, in association with many outstand?ing artists, to Madrid, Barcelona, Zurich, Cologne, Amsterdam, as well as on wide-rang?ing tours of the US, Sweden, and Japan.
Recent concerts have included recitals in Utrecht and London with Derek Lee Ragin and in Tokyo with Emma Johnson; return visits to the Kohmo Chamber Music Festival in Finland, and the Kitakyshu Chamber Music Festival in Japan; presenting and per?forming for the BBC the complete songs of Gabriel Faure; a series of five recitals in the 1995 Cheltenham International Festival; a series of Schubertiades in the song recital series at Wigmore Hall; and a recital with Victoria de los Angeles at the Snape Makings, Aldeburgh.
In 1996, Julius Drake took a major part in The Britten Songs Series at Wigmore Hall, London, giving seven recitals, all broadcast with -artists that included Barbara Bonney and Philip Langridge. Other
London concerts included recitals with Felicity Lott at the Royal Opera House, Covent Garden (to inaugurate the new lunch time series); Michael Chance in the BBC lunch time series from St. John's Smith Square; Yvonne Kenny at the Victoria and Albert Museum; and Joan Rogers and Gerald Finley in the song recital series at Wigmore Hall (Hugo Wolfs Italienisches Liederbuch);] Gomez in The Britten Festival at Snape Mailings, Aldeburgh; Julian Lloyd Webber at The National Portrait Gallery; and various concerts, broadcasts, and recordings in Britain, France, and Switzerland, with among others, Nathan Berg, Ian Bostidge, Sally Burgess, Natalie Clein, Robert Cohen, Peter Coleman Wright, Nicholas Daniel, William Dazeley, Emma Johnson, Anthony Michael More, Ruby Philogene, and Paul Whelan.
This evenings performance marks Julius Drake's debut under UMS auspices.
present s
Schubert Sonc Recital IV ---' Leon & Heidi Cohan, Honorary Chairs
Tuesday Evening, February 18, 1997 at 8:00
Lydia Mendelssohn Theater Ann Arbor, Michigan
Lieder on Texts ofjohann Wolfgang von Goethe by Franz Schubert
Ganymed, D. 554
Nahe des Geliebten, D. 162
Liebhaber in alien Gestalten, D. 558
Vier Mignon Lieder
Kennst du das Land, D. 321
HeiB mich nicht reden, D. 877, No. 2
So laB mich scheinen, D. 877, No. 3
Nur wer die Sehnsucht kennt, D. 877, No. 4
Suleika (Was bedeutet die Bewegung), D. 720 Clarchens Lied, D. 210 Gretchen am Spinnrade, D. 118
Edvard Grieg Solveigs sang, Op. 23, No. 18 Med en vandlilje, Op. 25, No. 5 Fra Monte Pincio, Op. 39, No. 1 Varen, Op. 33, No. 2 En dr0m, Op. 48, No. 6
Richard Strauss
Ich wollt' ein Strausslein binden, Op. 68, No. 2 Die Nacht, Op. 10, No.3 Allerseelen, Op. 10, No. 8 Schlagende Herzen, Op. 29, No. 2 Standchen, Op. 17, No. 2
The audience is politely requested to xuithhold applause until the end of each group of songs.
Forty-ninth Concert of the 118th Season
Schubert Cycle Series
Special thanks to Trudy Miller, Program Director, The Schubertiade, New York, for program book consultation.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Large print programs are available upon request.
s. Bonney has selected a program of only three com?posers, but a trio more dedicated to the realm of the i Song would be hard to find indeed. All three wrote songs continuously throughout their lives; all three accompanied these gems themselves at the keyboard. While these men com?posed magnificent music in many other gen?res (symphony, sonata, opera, tone poem or chamber works), it may be said that a very helpful guide to their styles lies in these shorter melodic works for voice and piano. If you want to better understand a string quartet or a piano fantasy, study a song!
Schubert's songs are so universally cher?ished that it is altogether too easy to forget how extraordinary his Liedervere for their time. We admire the startling quantity of songs he produced -145 in the year 1815 alone -but being so prolific would count for nothing if the quality were not so incred?ible. The fact is, there was simply no histori?cal precedent for Schubert's way of writing a song. True, there is an occasional example in Mozart or Beethoven of songwriting on this lofty level, but this must be regarded as the exception rather than Schubert's rule. Before Schubert, accompaniments were generic at best, and a melody could be used for any text almost interchangeably. Suddenly with Schubert, an inexhaustible supply of specific accompaniments is avail?able. Be it Marguerite's relentless spinning wheel in Gretchen am Spinnrade or the youth?ful Ganymede greeting the loveliest of spring mornings, Schubert is able to capture the external picture and the internal mes?sage in only a few bars of piano introduc?tion. Just when we believe we've heard all the keyboard figures possible for describing a brook rustling, tears flowing, or wind howling, Schubert invents yet another piano
texture, and another poem is brilliantly illu?minated. The melodies which the piano underlines are remarkable: they seem sim?ple and modest, even folksong-like at times, yet in their balanced symmetry they are welded to both the poet's words and his heart. Few composers can hold our atten?tion for an entire program; with Schubert's songs, the infinite variety leaves us always ready for more.
It is particularly appropriate that Ms. Bonney has chosen songs to Goethe's texts. Many scholars feel that without the advent of this great writer and his immediate and universal popularity, Schubert would not have had such an easy time finding his inspi?ration. Whether this is true or not, we are the lucky recipients of more than seventy songs to Goethe poems, more than any other poet whom Schubert used. As tonight's selection demonstrates, Goethe's ideas run the full spectrum of emotion and situation, and Schubert has responded with compositions which mirror this diversity.
The mythical tale of Ganymede's ascent to Zeus challenged Schubert to invent an almost operatic scene, pushing the accepted boundaries of the "simple song" to the limit. In Ganymed each strophe has a new piano part, and by the end one has almost forgot?ten the opening music, such is the excite?ment of this rhapsody. The following two songs, Nahe des Gelieblen (Nearer to the Beloved) and Liebhaber in alien Gestalten (Lover in All Disguises) are in the form Schubert uses most often, an exact strophic song where the verses change but the music remains constant. (It will be interesting to note the differences the performers bring to each successive verse.) And let us not forget to acknowledge how lighthearted Goethe can sometimes be -"I wish I were a fish!" does not quite fit our customary notion of this global thinker.
Goethe's great novel Wilhelm Meister offers the composer many opportunities,
both for Mignon's own songs as well as the other principal characters. In fact Beethoven, Schumann, Wolf, Liszt, Thomas, and Tchaikovsky have all been inspired by these same poems. This young orphan girl feels herself utterly alone and alienated in her surroundings; she cannot remember her family or the route home. In Schubert's case, Mignon's tragedy is made even more poignant by the simplicity and purity of the idiom. This group of four songs begins with a verse-refrain song from Schubert's youth (1815) and is followed by more sophisticat?ed forms all composed close to his death (1826). "None but the lonely heart," which ends this group, is an excellent example of how folk-like a Schubert song can seem.
Whether Suleika is a poem of Goethe's or in fact written by his mistress, Marianne von Willemer, as is usually thought, it is obvious that it offered Schubert a chance to explore a more exotic world than was conventional in mainstream Vienna of that era. The wind is Suleika's only means of communicating with her lover, and Schubert has created a marvelously specific piano part for this scene. This is neither a naive breeze nor a threatening tempest, but a dangerously sen?suous and highly-charged ally to Suleika's yearning. Clarchens Lied (Clarchen's Song)
is perhaps better known in Beethoven's set?ting as incidental music to Egmont, written five years earlier than Schubert's in 1815. Beethoven creates a universal credo; Schubert is more comfortable with a bit of personal advice. Last of these songs tonight is Oretchen am Spinnrade (Gretchen at the Spinning Wheel), Schubert's first published setting of a Goethe poem. Its sophistication belies the fact that it is the earliest composed (1814) of those heard tonight. This piano part could fit no other text, and completely paints the scene for us. As Gretchen's anxi?ety mounts, the pianistic and harmonic devices show us her lack of control. She requires three attempts to re-start her wheel as her hapless rondo continues. Schubert's immortality could rest on this song alone.
Schubert has defined for us -more than 600 times -our notion of song. All song composers who have followed him have been profoundly affected by his handi?work, and those of us lucky enough to per?form his songs never cease to feel we are handling miracles...very carefully.
Edvard Grieg and Richard Strauss are two of those lucky recipients of Schubert's pioneering work. These composers also share something special: both were married
Manuscript for gretchen am spinnraue
to accomplished sopranos who served as constant inspiration for their songwriting. Grieg can quite reasonably be called the Schubert of Scandinavia, for he is clearly most at home with songs and shorter works for piano. One third of his total output is music for voice and piano. Most of these songs are strophic, and indeed the first three of tonight's group are in that form. Solveigs sang (Solveig's Song) comes from Grieg's incidental music to Ibsen's Peer Gynt. This folk-like lament is central to the third act of the drama, and the heroine's two refrains sung without text are never less than haunting. Med en vandlilje (With a Waterlily) demonstrates perfectly how Grieg, like Schubert, creates water images in his piano parts. Obviously Vinje's poem about die changing of die seasons has far deeper meaning for people whose lives are spent in such a northern climate. Indeed, when Vdren (Spring) is performed in Norway, it has the feeling of a national anthem, and it is actually difficult to prevent the audience from singing along! The last song, En drom (A Dream), was originally composed in German and is the finale to Opus 48. It begins its expected ethereal existence with bird songs and distant chimes, but soon breaks its strophic mold and becomes a full-throated paean to waking love. Grieg's songs are not often performed outside Scandinavia, probably because of the diffi?culties of mastering the Norwegian texts. We are indebted to Ms. Bonney for offering us this unusual treat.
There are more than two hundred songs of Richard Strauss, and tonight's choices are among the most known and most often per?formed, widi good reason. The light and high soprano is Strauss' favorite instrument, and his lyric gifts, coupled with just a bit of coloratura, are always most active in reper?toire for this particular voice. The first song, Ich wollt'tin Slrausslein binden (I Wanted to
Tie a Nosegay), is part of a larger opus on poems of Brentano and was later orchestrat?ed by the composer. Strauss' mixing of major and minor modes serves to highlight the bittersweet philosophy expressed in the poem's last line. In Die Nachl (Night), Strauss restricts himself to a miniature world where the pianist's terrified heartbeat is always audible -such is his fear of the dark. With Allerseelen (All Souls' Day), we return to the customary sonorous and rap?turous qualities of this composer. No better examples of enthusiastic young love exist in all the song repertoire than tonight's last two songs, SchlagendeHerzen (Beating Hearts), and Standchen (Serenade). Both songs begin as modest strophic experiences, but soon leave all traditional form behind as requited love is sketched in full-throated lyricism and sensuous pianism.
Program notes by Martin Katz
Considered one of today's most accomplished lyric sopranos, Barbara Bonney is widely recognized as a superlative recital and concert artist and a prime exponent of the Mozart and Strauss roles she has made her own in the world's leading opera houses. Ms. Bonney has been praised for her radiant tone and the engaging warmth of her per?sonality, as well as for her stylistic versatility in a broad repertoire that ranges from the Baroque to twentieth-century music. Her artistic scope and interpretative gifts are most evident in her thoughtful program?ming of the Lieder recitals that serve as the cornerstone of her career.
Ms. Bonney regularly appears at the Vienna Staatsoper, the Metropolitan Opera, the Royal Opera, Covent Garden, Opera Bastille, Paris, and the Operas of Munich
Barbara Bonney
and Hamburg. Among her signature roles are her interpretations of Sophie in Der Rosenkavalier, Pamina in Die Zauberjlote and Susanna in Le None di Figaro, a role she will sing at the Metropolitan Opera and the Vienna Staatsoper this season.
Barbara Bonney is highly sought-after and frequently re-engaged by today's lead?ing conductors. In recent seasons, she has regularly appeared with the Vienna Philharmonic, the Berlin Philharmonic, the Boston Symphony, the Berlin Symphony, and the Philharmonia of London. She has also appeared with three of Europe's most respected authentic performance ensem?bles: the English Concert, the Concentus Musicus Wien, and the English Baroque Soloists. She has made numerous record?ings with these conductors and ensembles.
This season, Ms. Bonney returns to the Metropolitan Opera for appearances as Adina in L'ElisirD'amoreand Susanna in Le Nozze di Figaro. Additional North American engagements include performances of works by Mozart and Andre Previn with the Pittsburgh Symphony, sacred works by Faure and Mozart with the Saint Paul Chamber Orchestra, and recitals here in Ann Arbor
and in Toronto. With the Boston Symphony, Ms. Bonney gives six perfor?mances of Samuel Barber's song cycle Knoxville, Summer of 1915 in Boston and at Carnegie Hall. She also appears with the San Francisco Symphony performing that composer's orchestral version of Debussy's Cinq Poemes de Baudelaire.
Born in Montclair, New Jersey, Barbara Bonney began her piano studies at the age of five and took up the cello three years later. She moved with her family to Maine at the age of thirteen, joined the Portland Symphony Youth Orchestra, and studied music at a special high school. After two years at the University of New Hampshire, where she participated in orchestral and choral ensembles and studied German, she decided to spend her junior year at the University of Salzburg further her German studies. This decision proved to be a turn?ing point in her career; while in Salzburg, she enrolled in the vocal program at the Mozarteum and soon became a member of a soloist with three Salzburg choral groups. An audition for the Darmstadt City Opera secured her "fach" or repertory position. Ms. Bonney appeared in almost every pro?duction with that company during the next for years.
Ms. Bonney lived in Sweden for seven years before moving in 1993 to London, where she now resides with her husband, Maurice Whitaker, a string player with the English Concert.
This performance marks Ms. Bonney's debut under UMS auspices.
?? orn in New York, the
A American pianist, m Caren Levine, is a H? graduate oi Phe Peabod) (lonsei vatory of Music m and I hejuilliard School, --B where she studied ii11 such renowned musicians as Lillian Freundlich, Martin Canin, and Samuel Sanders. Awarded the Peabody Conservatory prize in chamber music and the William Petschek Award at Juilliard, she has per?formed and recorded extensively both as a soloist and chamber musician throughout Asia, Europe, Central America, Canada, and the United States.
Miss Levine's collaborations include such artists as Paula Robison. Carol Wincenc.
Michael Parloff, Peter Schickele, Denis Brott, Jayne West, and Barbara Bonney. She has per?formed for WQXR in New York, WFMT in Chicago, WJJY in Minnesota, Canadian Broadcasting Corporations,
Caren levine
and the television show Best Talk in Town. Winner of the Munz-Chopin Piano Competition, she was also awarded the accompanying prize at the 1996 Tilden Prize Competition, the 1992 Meistersinger Vocal Competition in Austria, and the Boca Raton Vocal Competition. She has received a fel?lowship to study vocal accompanying at The Music Academy of the West, the Aspen
Music Festival, and the New York State Summer School of the Arts. In addition, Caren was awarded a full scholarship to attend the Fontainebleau American Conservatory, a faculty position at the American Institute of Musical Studies in Austria as well as the Pacific Music Festival in Japan, and a grant from the Jewish Foundation for the Education of Women. Miss Levine has given concerts recently at Carnegie Hall, Alice Tully Hall, Avery Fisher Hall, The Corcoran Gallery in Washington, DC, and The National Arts Center in Ottowa, Canada. She is currently a candidate for the Doctor of Musical Arts Degree at The Juilliard School and has par?ticipated in the Fellowship Program of The Tanglewood Music Center as a vocal coach for two consecutive summers.
This performance marks Caren Levine's debut under UMS auspices.
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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 Nutcracker, Sounds of Blackness, New York City Opera National Company's La Boheme and the National Traditional Orchestra of China.
Other activities that further the understand?ing of the artistic process and appreciation for the performing arts include:
MASTERS OF ARTS A new, free-of-charge UMS series in collaboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person), available from the UMS Box Office.
PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS (PREPS) A series of free pre-performance presentations, featuring talks, demonstrations and workshops. Usually held 60-90 minutes before performances.
In addition to these events, which are listed on pages 22-23 of this program book, UMS presents a host of other activities, including master class?es, workshops, films, exhibits, panel discussions, in-depth public school partnerships and other residency activities related to winter season pre?sentations of "Blues, Roots, Honks and Moans," the series of Schubert concerts and the Lincoln Center Jazz Orchestra with Wynton Marsalis.
Like to help out
" Tblunteers are always welcome and needed to assist the UMS staff with
T many projects and events during the concert season. Projects include helping with mailings; ushering for the Performance Related Educational Presentations (PREPs); staffing the nformation Table in the lobbies of concert lalls; distributing publicity materials; assisting vith the Youth Program by compiling educa?tional materials for teachers, greeting and escorting students to seats at performances; and serving as good-will representatives for JMS as a whole.
If you would like to become part of the Jniversity Musical Society volunteer corps, please call 313.936.6837 or pick up a volunteer application form from the Information Table n the lobby.
Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, jromotion, production and arts education. Semesterand year-long internships are avail?able in many aspects of the University Musical Society's operations. For more information, please call 313.647.4020 (Marketing Internships) or 313.647.1173 (Production nternships).
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.g696
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds going to benefit UMS programs.
Following two years of resounding success, wonderful friends and supporters of the University Musical Society are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS.
Treat yourself, give a gift of tickets, purchase an entire event or come alone meet new people and join in the fun while supporting UMS! Among your choices are A Celebration of Schubert (January 18); A Luncheon Inspired by the Czars (January 26); A Valentine's Brunch (February 9); La Boheme Dinner Party (March 1); Easter Luncheon with Cecilia Bartoli (March 30); Dinner with a Victorian Influence (April 12); Grandmothers, Mothers & Little Girls Tea and Fashion Show (April 19); An Afternoon Tea (May 15); A Taste of Spring Garden Dinner (May 31); and Nat & Ed's Porch Party (June 7).
For the most delicious experience of your life, call 313.936.6837!
The University Musical Society Board of Directors and Advisory Committee are pleased to host pre-performance din?ners before a number of the year's great events. Arrive early, park with ease, and begin your evening with other Musical Society friends over a relaxed buffet-style dinner in the University of Michigan Alumni Center. The buf?fet will be open from 6:00 to 7:30 p.m. and is $25 per person. For reservations and informa?tion on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
National Company
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and Subscribers receive discounts at a vari?ety of local businesses by using UMS Card. Participating businesses support the UMS through advertising or sponsorship, and by patronizing the following establishments, you can support the businesses that support UMS.
Amadeus Cafe Ann Arbor Acura Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc. Fine Flowers Candy Dancer Great Harvest John Leidy Shops
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Marty's Menswear
Schoolkids Records
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Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
Sponsorships and Advertising
Corporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-mance mentions, tickets, backstage passes and the opportunity to host receptions. Whether increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current goals, sponsorship of UMS provides visibility to our loyal patrons and beyond. Call 313.647.1176 for more information about the UMS Corporate Sponsor Program.
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro?vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a restaurant that meets your group's culi?nary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
Advisory Committee
of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and the behind-the-scenes tasks asso?ciated 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.
Thank You!
Great performances--the best in music, theater and dance--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of November 15, 1996. If there has been an error or omission, we apologize and would appreciate a call at (313) 647-1178 to correct it.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support enabling us to continue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Elizabeth S. Bishop
Mr. and Mrs. Pal E. Borondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Ralph Conger
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin Elizabeth E. Kennedy Randall and Mary Pittman John Psarouthakis Richard and Susan Rogcl Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie 1-acy Ronald and Eileen Weisei Paul and Elizabeth Yhouse
Conlin Travel
Detroit Edison
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPE IncThe Paideia Foundation
McKinley Associates, Inc.
NBD Bank
NSK Corporation
Regency Travel
The Edward Surovell Co.Realtors
TriMas Corporation
Parkc Davis Pharmaceutical Research
University of Michigan
Wolverine Temporaries, Inc.
Arts Midwest
Grayling Fund
Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Robert and Ann Meredith Mrs. John F. Ullrich
Continental Cablevision Great Lakes Bancorp Harman Motive Audio Systems Pepper, Hamilton and Scheetz VVQRS
Herb and Carol Amster
Carl and Isabcllc Brauer
Dr. James Byrne
Mr. Ralph Conger
Margaret and Douglas Crary
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
Sun-Chien and Betty Hsiao
Mr. and Mrs. Howard S. Holmes
F. Bruce Kulp
Mr. David G. Loesel
Charlotte McGeoch
Mr. and Mrs. George R. Mrkonic
Joe and Karen Koykka O'Neal
Monti and Gui Ponce de Leon
Mrs. M. Titiev
Marina and Robert Whitman
The Anderson Associates
Chelsea Milling Company
Curtin & Alf Violinmakers
First of America Bank
Thomas B. McMullen Company
Masco Corporation
O'Neal Construction
Project Management Associates
KMD Foundation
World Heritage Foundation
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 Slaebler
Thomas and Shirley Kaupcr Dr. and Mrs. Joe D. Morris John W. and Dorothy F. Reed Map Savarino and Raymond Tamer Mrs. Francis V. Viola III ohn Wagner
Corporations AAA Michigan Environmental Research
Institute of Michigan Ford Audio Maude's Miller, Canfield, Paddock
and Stone Mission Health Waldenbooks
Benard L. Maas Foundation
Dr. and Mrs. Gerald Abrams 'rofessor and
Mrs. Gardner Ackley Dr. and Mrs. Robert G. Aldrich Robert and Martha Ause James R. Baker, Jr., M.D. and
Lisa Baker A. . and Anne Bartolclto Bradford and Lydia Bates Raymond and Janet Bernreuter oan A. Binkow Howard and Margaret Bond Tom and Cannel Borders Barbara Kverilt Bryant and
John H. Bryant Mr. and Mr. Richard J. Burstein Betty Byrne LelitiaJ. Byrd Kdwin F. Carlson ean 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 Patty Donahcy Jan and Gil Dorcr Chcri and Dr. Stewart Epstein
r. and Mrs. S.M. Partial I David and Jo-Anna Feathcrman
Adricnnc and Robert Feldstein Richard and Marie Flanagan Robbcn and Sally Fleming Michael and Sara Frank Margaret Fisher Mr. Edward P. Frohlich Marilyn G. Gallatin Beverley and Gerson Geltner William and Ruth Gilkey Drs. Sid Oilman and
Carol Barbour Sue and Carl Ginglea Paul and Anne Glendon Norm Gottlieb and
Vivian Sosna Gottlieb Dr. and Mrs. William A. Grade Ruth B. and
Edward M. Gramlich Linda and Richard Greene Seymour D. Greenstone Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Julian and Diane Hoff Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Keki and Alice Irani Mercy and Stephen Kaslc Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kinncar 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 Steinhoff Judy the and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Reiko McKcndry Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Millard Dr. and Mrs. Andrew and
Candice Mitchell Virginia Patlon and
Cruse W. Moss William A. Newman Len and Nancy NichofT 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 Maxinc and Wilbur K. Picrpont Professor and
Mrs. Raymond Rcilly Glenda Renwick Jack and Margaret Rickctts Prudence and Amnon Rosenthal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Runu-lhai t Richard and Norma Sarns Rosalie and David Schottenfeld Janet and Mike Shatusky Cynthia J. Sorcnsen Gerard H. and Colleen Spencer Dr. Hildreth H. Spencer Mr. and Mrs. John C. Stegcman Victor and Marlene Stoeffler Dr. and Mrs. Jeoffrcy K. Stross Dr. and Mrs.
E. Thurston Thieme Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
Laura A. Van House Ellen C. Wagner Elise and Jerry Weisbach Roy and JoAn Welzel Lcn and Maggie Wolin Nancy and Martin Zimmerman
and srvrral anonymous donors
SM Health Care Jacobson Stores Inc. Michigan National Bank Shar Products Company
The Mosaic Foundation
(of Rita and Peter Hcydon) Washteuaw Council for the Arts
Jim and Barbara Adams Bernard and Raquel AgranofT M. Bernard AidinofT Carlene and Peter Alifcris Catherine S. Arcure Essel and Menakka Bailey Robert L. Baird
Emily Bandera
Dr. and Mrs. Robert Bartlett
Ralph P. Beebe
Mrs. Kathleen G. Bcnua
Robert Hunt Berry
Suzanne A. and
Frederick J. Beutler Ron and Minn Bogdasarian Editii and Fred Bookstcin Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Britton David and Sharon Brooks Jcannine and Robert Buchanan Phoebe R. Bun Freddie Caldwell Jean W. Campbell Bruce and Jean Carlson Mrs. Raymond S. Chase Susan and Arnold Coran Mrs. David Cox H. Richard Crane Alice B. Crawford Peter and Susan Darrow Katy and Anthony Derezinski Judith and Kenneth DeWoskin Elizabeth A. Doman Bita Esmaeli, M.D. and Howard Gutstein, M. D. Claudine Farrand and
Daniel Moorman Mrs. Beth B. Fischer Ken, Penny and Matt Fischer Susan R. Fisher and
John W. WaJdlcy Phyllis W. Foster Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach Elmer G. Gilbert and
Lois M. Vcrbrugge 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 Hooblcr Mary Jean and Graham Hovey Che C. and Teresa Huang Gretchen and John Jackson Robert L. and Beatrice H. Kahn Herb Katz
Richard and Sylvia Kaufman Howard King and
Elizabeth Sayre-King Richard and Pat King Hcrminc Roby Klinglcr Jim and (iirolyii Knakc John and Jan Kosui Mr. and Mrs. Samuel Kiiiimi
Benefactors, continued
Bud and Justine Kulka Suzanne and Lee E. Landcs Elaine and David Lebcnbom Leo A. Lcgatski
Mr. and Mrs. Fernando S. Leon Mr. and Mrs. CarlJ. Lutkehaus Donald and Doni Lystra Robert and Pearson Macek John and Cheryl MacKrcll Mark Mahlberg Alan and Carla Mandel Ken Marblestone and
JanitK Nagel
Mr. and Mrs. Damon L. Mark David G. McConnell John F. McCuen Kevin McDonagh and
Leslie CrofTord
Richard and Elizabeth McLeary Thomas B. and
Deborah McMullen Hatlie 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. Seigo Nakao John and Michelle Morris John Blankley and
Maureen Foley M. Haskcll and
Jan Barney Newman Virginia and Gordon Nordby Marysia Ostafin and
George Smillie
Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and Lorna Prescott Tom and Mary Princing Jerry and Millard Pryor Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Stephen and Agnes Reading Jim and Bonnie Reece Mr. Donald H. Regan and
Ms. Elizabeth Axclson Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Restuccia Kulherinc and William Ribbens 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 Schribcr Edward and Jane Schulak
Julianne and Michael Shea Mr. and Mrs.
Fredrick A. Shimp, Jr. Helen and George Siedel Steve and Cynny Spencer Lloyd and Ted St. Antoine Ron and Kay Stefanski Mrs. Ralph L. Steflek Mrs. John D. Stoncr Nicholas Sudia and
Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Herbert and Anne Upton Don and Carol Van Curler Bruce and Raven Wallace K.i" ml Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Angela and Lyndon Welch Ruth and Gilbert Whitaker Brymcr and Ruth Williams Frank E. Wolk MaryGrace and Tom York
Coffee Express Co. Emergency Physicians
MedicaJ Group, PC Guardian Industries Corporation Masco
Red Hawk Bar and Grill St. Joseph Mercy Hospital
Medical Staff University Microfilms
The Power Foundation Shiffinan Foundation Trust
Mr. Gregg T. Alf
Dr. and Mrs. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlcne and Henry Appelman
Sharon and Charles Babcock
Lesli and Christopher Ballard
Dr. and Mrs. Peter Banks
M. A. Baranowski
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barnctl
Dr. and Mrs. Mason Barr.Jr.
Aslrid B. Beck and
David Noel Freedman
Ncal Bedford and
Gerlinda Mclchiori Harry and Bctly Benford Ruili Ann and StuartJ. Bcrgstcin Jim Botsford and
Janice Stevens Botsford Betsy and Ernest Brater Mr. and Mrs. Gerald Bright Morton B. and Raya Brown Mrs. Theodore Cage Jim and Priscilla Carlson Professor Bricc Carnahan Jeannettc and Robert Carr Mr. and Mrs. Dennis Carroll Janet and Bill Casscbaum Andrew and Shelly Caughcy Yaser Ccreb
Tsun and Siu Ying Chang Pal and George Chatas Ed and Cindy Clark Janice A. Clark Jim and Connie Cook Mary K. Cordes Alan and Bette Cotzin Merle and Mary Ann Crawford William H. Damon III Laning R. Davidson, M.D. Jean and John Debbink Elizabeth Dexter Delia DiPietro and
Jack Wagoner, M.D. Thomas and Esther Donahue Cecilia and Allan Drcyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser David and Lynn Engclbcrt Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Filgas Sidney and Jean Fine Herschel and Annette Fink Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnette Forde Deborah and Ronald Freedman Harriet and Daniel Fusfcld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Wood and Rosemary Geist Henry and Beverly Gershowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon Dr. Alexander Gotz Mrs. William Grabb Elizabeth Needham Graham Jerry and Mary K. Gray Dr. John and Rence M. Greden Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Margaret and Kenneth Guire Philip E. Guire Don P. Haefner and Cynthia J. Stewart Veronica Haincs Marcia and Jack Mall
Mrs. William Halstcad Margo H aisled Dagny and Donald Harris Bruce and Joyce Herbert Mr. and Mrs. Ramon Hernandez Fred and Joyce Hcrshcnson Herb and Dee Hildebrandt John H.and
Maurita Peterson Holland Drs. Linda Samuclson and
Joel Howell Ronald R. and
Gaye H. Humphrey Mrs. Hazel Hunschc George and Katharine Hunt Wallie and Janet Jeffries Ellen C.Johnson Susan and Stevo Julius Mary B. and Douglas Kahn Steven R. Kalt and
Robert D. Heeren Anna M. Kauper David and Sally Kennedy Beverly KIciber Bert and Catherine La Du Henry and Alice Landau Mr. and Mrs. Henry M. I.apcz;i Ted and Wendy Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann Lcidy Jacqueline H. Lewis Jody and Leo Lighthammer Edward and Barbara Lynn Jeffrey and Jane Mackie-Mason Frederick C. and
PamelaJ. Mackintosh Steve and Ginger Maggio Virginia Mahle
Thomas and Barbara Mancewicc Edwin and Catherine Marcus Rhoda and William Martcl Mrs. Lester McCoy Griff and Pal McDonald Walter and Ruth Metzgcr Deanna Rclyca and
Piotr Michalowski Sally and Charles Moss Marianne and MuLsumi Nakao Barry Ncmon and
Barbara Stark-Nemon Martin Nculicp and
Patricia Pancioli Peter F. Norlin Richard S. Nottingham Marylen and Harold Oberman Richard and Joyce Odell Mark Ouimct and
Donna Hroencik Donna D. Park Randolph Paschke Mrs. Margaret D. Pctersen Lorraine B. Phillips Frank and Sharon Pignanelli Dr. and Mrs. Michael Pilcpich Richard and Meryl Place Cynthia and Roger Postmus Charlccn Price
Hugo and Sharon Quiroz William and Diane Rado Jim and leva Rasmussen I.a Vonne and Gary Reed Anthony L. Reflells 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
Kim111 Skalitzky Sarosi Sarah Savarino
Dr. Albert J. and Jane K. Saycd David and Marcia Schmidt David E. and
Monica N. Schteingart Art and Mary Schuman Marvin and Harriet Selin Joseph and Patricia Setiimi Roger ShefTrey Constance Sherman Dr. and Ms. Howard and
Aliza Shcvrin
Hollis and Martha A. Showalter John Shultz Edward and Marilyn Sichler
Diane Siciliano
John and Anne Griffin Sloan
Alene M. Smith
Carl and Jari Smith
Jorge and Nancy Solis
Dr. Elaine R. Soller
Mr. and Mrs. Edward Sopcak
Mr. and Mrs. NeilJ. Sosin
Gus and Andrea Stager
Irving M. Stahl and
Pamela M. Rider Dr. and Mrs. Alan Steiss Charlotte 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. Vassell Sally Wacker Warren Herb Wagner and
Florence S. Wagner Gregory and Annette Walker Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardncr Karl and Karen Weick Dr. Steven W. Wcrns Marcy and Scott Westerman
Associates, continued
B. Joseph and Mary White Mrs. Clara G. Whiting Marion T. Wirick Farris and Ann Womack Richard and Dixie Woods Don and Charlotte Wychc Mr. and Mrs. David Zuk
Atlas Tool, Inc. Borders Books and Music Edwards Brothers, Inc. Hagopian World of Rugs Scientific Brake and Equipment Company
Shlomo and Rhonda Mandell Philanthropic Fund
Tim and Leah Adams Michael and Hiroko Akiyama Michael and Suzan Alexander Anastasios Alcxiou James and Catherine Allen Augustine and Kathleen Amaru Mr. and Mrs. David Aminoff Dr. and Mrs. Charles T. Anderson Hugh and Margaret Anderson Howard Ando and Jane Wilkinson Jim and Cathy Andonian T.L. Andrcscn James Antosiak and Eda Wedding ton
Jill and Thomas Archambeau, M.D. Patricia and Bruce Arden Bert and Pat Armstrong Gaard and Ellen Arncson 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 Auilcr Eric M. and Nancy Aupperle
Erik W. and Linda Lcc Austin
Eugene and Charlenc Axelrod
Shirley and Don Axon
Jonathan and Marlcnc Ayers
Virginia andjerald Bachman
Richard and Julia Bailey
Doris I. Bailo
Morris and Beverly Baker
Barbara and Daniel Balbach
Roxannc Balousck
Kate Barald and Douglas Jcwett
Rosalyn and Mel Barclay
John R. Bareham
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
Kathleen Beck
Mr. and Mrs. Steven R. Bcckcrt
Dr. and Mrs. Richard Bcil.Jr.
Walter and Antje Benenson
Mcrcte and
Erling Blondal Bcngtsson Dr. and Mrs. Ronald M. Benson Dr. Rosemary R. Berardi Helen V. Berg Marie and Gerald Beilin L S. Berlin
Gone and Kay Berrodin Andrew H. Berry, D.O. Hli.n.ii C. Bhushan John and Marge Biancke John and Laurie Birchler William and Ilenc Birge Elizabeth S. Bishop Art and Betty Blair Ralph B. Blaster Mr. and Mrs. Ray Blaszkiewicz Marshall Blondy and Laurie Burry Dr. George andjoyce Blum BeverlyJ. Bole Robert S. Bolton Mi. and Mrs. Mark D. Bomia Dr. and Mrs. Frank Bongiorno Harold W. and Rebecca S. Bonnell Roger and Polly Bookwalu-i Edward G. and Luctana Borbcly 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. andjoyce E. Bracuningcr Mr. William R. Brashear Representative Liz and
Professor Enoch Brater Dr. and Mrs. James Breckenfeld Bob and Jacki Brcc Professor and Mrs. Dale E. Briggs William and Sandra Broucek Ms. Mary Jo Brough June and Donald R. Brown
Linda Brown and Joel Goldberg Molly and John Bruegcr Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Dr. Frances E. Bull Robert and Carolyn Burack Arthur and Mice Burks Robert and Miriam BuLsch Sherry A. Byrnes Dr. Patricia M. Cackowski Edward and Mary Cady Louis and Janet Callaway Susan and Oliver Cameron Nancy Campbell-Jones Charles and Martha Cannell Kathleen and Dennis Canlwell Isabcllc Caxduner George R. Carignan Dr. and Mrs. James E. Carpenter Jan Carpman
M,in hall F. and j.inn ? L. Carr Mr. and Mrs. Jeffrey A. Carter Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Kaihran M. Chan Bill and Susan Chandler J. Wchrley and Patricia Chapman Jama S. Chen Joan and Mark Chester George and Sue Chism Dr. Kyung and Young Cho nlm and Susan lit istensen Edward and Rebecca Chudacoff Dr. and Mrs. David Church Robert J. Cierzniewski Nancy Cillcy Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson John and Kay Clifford ( foarlea and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffcy Alice S. Cohen Hubert and Ellen Cohen Mr. Larry Cohen
Gerald S. Cole and Vivian Smargon Howard and Vivian Cole Ed and Cathy Colone Wayne and Mclinda Colquitt Edward J. and Anne M. Comcau Gordon and Marjoric Comfort Lolagenc C. Coombs Gage R. Cooper Mr. and Mrs. Herbert Couf Bill and Maddic Cox Clifford and I .mi .1 Craig Kathleen J. Grispell and
Thomas S. Porter Mr. Lawrence Crochicr April Cronin
Mr. and Mrs. James I. Crump, Jr. Pedro and Carol Cuatrccasas Mary R. and John G. Curtis Jeffrey S. Cutter R.K. and MA. Daanc Mr. and Mrs. John K Dale Marylec Dal ton Lee and Millie Daniclson
Jane and Gawaint Dart Dr. and Mrs. Sunil Das DarLinda and Robert Dascola Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Ed and Ellic 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 oc and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DcGrood Uiurcnce and Penny Deitch Elena and Nicholas Delbanco Peter M. dcLoof and Sara A. Basset! Raymond A. Deticr Elizabeth and Edmond DeVinc Maiiha and Ron DiCecco
.llll I liMll! 11! Ill
A. Nelson Dingle
Helen M. Dobson
Molly and Bill Dobson
Dr. and Mrs. Edward R. Doezema
Fr. Timothy J. Dombrowski
Dr. and Mrs. Edward F. Domino
Dick and Jane Dorr
Professor and Mrs. William G. Dow
Mr. Tbomas Downs
Paul Drake andjoyce Penner
Roland and Diane Drayson
Harry M. and Norrcnc M. Dreffs
John Drydcn and Diana Raimi
Dr. and Mrs. Cameron B. Duncan
Robert and Connie Dunlap
Jean and Russell Dunnaback
Edmund H. and Mary B. Durfec
lm W. Durstinc
George C. and Roberta R. Earl
Jacquclynnc S. Ecctes
Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Mr. and Mrs. John R. Ed man Sally and Morgan Edwards David A. Eklund and
ttit-y B. Green Judge and Mrs. S.J. Eldcn Ethel and Sheldon Ellis Mrs. Genevieve Ely Mai kemie and Marcia Endo Patricia Randlc and James Eng 1 iiul and Joan Engcl Mark and Patricia Enns Carolyne 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 Mr. and Mrs. Clifton Evans Adclc Ewcll
Mr. and Mrs. Robert B. Fair Jr. Mark and Karen Falahce Elly and Harvey Falit Dr. and Mrs. Cyrus Farrehi Katherine and Damian Farrell Dr. and Mrs. John A. Faulkner Inka and David Felbeck
Reno and Nancy Fcldkamp
Irving and Cynthia Feller
Phil and Phyllis Fell in
Ruth Ficgel
Carol Finerman
Clay Finkbcincr
C. Peter and Bcv A. Fischer
Patricia A. Fischer
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
James and Barbara Fitzgerald
Linda and Thomas Fiugerald
Jonathan Fliegel
Jennifer and Guillcrmo Florcs
David and Ann Fluckc
Ernesi and Margot Foniheim
Mr. and Mrs. George W. Ford
Susan Goldsmith and
Spencer Ford Paula L. Bockcnstedt and
David A. Fox
Howard and Margaret Fox Ronald Frackcr Lucia and Doug Frecth Richard andjoann Frcethy Joanna and Richard Friedman Gail Fromes Bart and Fran Fruch LelaJ. Fuester
Ken and Mary Ann Gacrtner Walter and Heidi Gage Lourdes and Otto Gago Jane Galantowii Thomas II. Galantowicz Arthur Gallagher Bernard and Enid Gallcr Mrs. Shirley H. Garland Stanley and Priscilla Garn Del and Ixmise Garrison Janet and Charles Garvin Professor and Mrs. David M. Gates I h s Slcvit .en inci and
Karen Bantcl
Thomas and Barbara Gclehrter Mil h.u-1 (.i-isti-iihrii;c[ W. Scott Gerstenbergcr and
Elizabeth A. Sweet Beth Genne and Allan Gibbard Paul and Suzanne Gikas Fred andjoyce M. Ginsberg Maureen and David Ginsburg Albert and Almcda Girod Peter and Roberta Gluck Sam Goburdhun Robert and Barbara Gockcl Albert L. Goldberg Dr. and Mrs. Edward Goldberg Mary L. Golden Ed and Mona Goldman IrwinJ. Goldstein and Marty Mayo Mrs. Eszler Ckunbosi Elizabeth Goodcnough and
James G. Leaf Graham Gooding Mitch and Barb Goodkin Jesse E. and Anitra Gordon Don Gordus Sclma and Albert Gorlin sin Gottlieb
Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham
Advocates, continued
Whit and Svca Gray
Alan Green
Lila and Bob Green
Dr. and Mrs. IzarJ. Greenfield
Frances Grccr
Bill and Louise Gregory
Daphne and Raymond Grew
Mr. and Mrs.JamesJ. Cribble
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
Harry L. and Mary L. Hallock Mr. and Mrs. Elmer F. Hamcl Dora E. Ham pel Lourdes S. Bastos Hanscn Herb and Claudia Harjes M.C. Harms Nile and Judith Harper Stephen G. and Mary Anna Harper Mr. and Mrs. Robert B. Harris Robert and Susan Harris Clifford and Alice Hart Jerome P. Hartweg Elizabeth C. Hassinen James B. and Roberta Hause Mr. and Mrs. 0. Hawkins Laureen Haynes J. Theodore Hcfley Kenneth and Jeanne Heininger Mrs. Miriam Heins Sivana Heller Rose and John Henderson Rose S. Henderson John L and Jacqueline Hcnkel Mr. and Mrs. Karl P. Henkcl Dr. and Mrs. Keith S. Henley Rudy and Kathy Hentschel C.C. Hcrrington M.D. Mr. Roger Hewitt Charles W. Fisher and
Elfrida H. Hiebert Mr. and Mrs. Thomas Hilbish Peter G. Hinman and
Elizabeth A. Young Jacques Hochglaubc, M.D., P.C. Louise Hodgson Bob and Fran Hoffman Carol and Dieter Hohnkc Dr. Carol E. Holden and
Mr. Kurt Zimmer Richard Holmes John F. and Mary Helen Holt Ronald and Ann Holz Jack and Davctta Homer Dave and Susan Horvath George M. Houchcns Fred and Betty House Jim and Wendy Fisher House Hclga Hover
Drs. Richard and Diane Howlin Mrs. V. C. Hubbs Charles T. Hudson Jude and Ray Huettcman Harry and Ruth Huff Mr. and Mrs. William Huflbrd
Joanne W. Hulcc
Ralph and Del Hulett
Ann D. Hunger man
Diane Hunter and Bill Zieglcr
Mr. and Mrs. Russell L. Hurst
Eileen and Saul Hymans
Amy lannacone
Robert B. and Virginia A. Ingling
Margaret and Eugene Ingram
Ann K. Irish
Carol and John Isles
John and Joan Jackson
Edgar F. and M.JaniceJacobi
Manuel and Joan Jacobs
Harold and Jean Jacobson
K. John Jarrett and
Patrick T. Sliwinski Professor and
Mrs. Jerome Jclinck James and Elaine Jensen Keith and Kay Jensen Dr. and Mrs. James Jerome JoAnn J.Jcromin Mr. and Mrs. Donald L. Johnson Billie and Henry Johnson Paul and Olga Johnson Timothy and Jo Wiese Johnson Constance L. Jones Marilyn S.Jones John and Linda K. Jonides Stephen G.Joscphson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmcs and Larry Friedman Dr. and Mrs. Mark S. Kaminski Paul Kantor and
Virginia Wecksirom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Noboru and Atsuko Kashino Alex F. and Phyllis A, Kato David J. Katz Elizabeth Harwood Katz Martin and Helen Katz Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy Richard L. Kennedy Linda Atkins and Thomas Kenney Donald and Mary Kiel Konstantyn Kim William and Betsy Kincaid Brett and Lynnettc King Eva J. Kinncy
John and Carolyn Kirkendall Rhca and Ixslic Kish Paul Kissncr MD and
Dana Kissncr MD James and Jane Kister Shira and Steve Klein Drs. Peter and Judith Klcinman Gerald and Eileen Klos Barbel Knaupcr Sharon L. Knight Shirley and Glenn Knudsvig Joseph J. and Marilynn Kokoszka Charles and Linda Koopmann Melvyn and Linda Korobkin Dimitri and Suzanne Kosacheff Edward and Marguerite Kowalcski
Jean and Dick Kraft
Marjoric A. Kramer
Barbara and Charles Krause
Doris and Donald Kraushaar
David and Martha Krehbiel
William J. Bucci and Janet Kreiling
Alexander Krezel
William G. Kring
Alan and Jean Krisch
Danielle and George Kuper
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A Kutcipal
Dr. and Mrs. J. Daniel Kutt
Jane Laird
Mr. and Mrs. John Laird
Mr. and Mrs. Seymour Lampert
Connie and Dick Landgraff
Patricia M. Lang
Marjorie Lansing
Carl and Ann LaRue
Ms. Jill Laita and Mr. David S. Bach
John K. Lawrence
Laurie and Robert LaZebnik
Robert and Leslie Lazzerin
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Diane and Jeffrey Lehman
Sue Leong
Margaret E. Leslie
Richard LeSueur
Myron and Bobbie Lcvine
Tom and Kadiy Lewand
Deborah S. Lewis
Thomas and Judy Lewis
Lawrence B. Lindemcr
Mark Lindley
Mr. Ronald A. Lindroth
Daniel and Susan Lipschulz
Rod and Robin Little
Vi-Cheng and Hsi-Yen Liu
Jackie K. Livesay
Dr. and Mrs. Peter Y. Lo
Louis Locb and Tully Lyons
Kay H.Logan
Naomi E. Lohr
Jane Lombard
Dan and Kay Long
Leslie and Susan Loomans
Bruce and Pat Loughry
Joann Love
Donna and Paul Lowry
Janny Lu
Dr. and Mrs. Charles P. Lucas
Lynn Luckenbach
Fran Lyman
LaMuriel Lyman
Susan E. Macias
Marcy and Kerri MacMahan
Sally Maggio
Geoffrey and Janet Mahcr
Suzanne and Jay Mahler
Deborah Malamud and
Ncal Plotkin Dr. Karl D. Malcolm Claire and Richard Malvin Mr. and Mrs. Kazuhiko Manabe Melvin and Jean Manis Pearl Manning Professor Howard Markel Lee and Greg Marks
James E. and Barbara Martin
Rebecca Martin and James Grieve
John D. Marx, D.D.S.
Dr. and Mrs.Josip Matovinovic
Tamotsu Matsumoto
Mary and Chandler Matthews
Margaret Maurer
John M. Allen and Edith A. Maynard
Nuvim C. Guszynski and
Gregory F. Mazurc Margaret E. McCarthy Ernest and Adele McCarus Margaret and Harris McClamroch Dores M. McCree Mary and Bruce McCuaig Joseph and Susan McGralh Bill and Ginny McKcachie Margaret B. McKinley Daniel and Madelyn McMurtrie Nancy and Robert Mcader Dr. and Mrs. Theodore Meadows Samuel and Alice Meisels Robert and Doris Melling Mr. and Mrs. John Merrifield Bernice and Herman Merte Henry D. Mcsser Carl A. House Robert and Bcttie Mctcalf John and Fei Fei Metzler Don and Lee Meyer Valerie Meyer Shirley and Bill Meyers Elizabeth B. Michael Helen M. Michaels Leo and Sally Miedler Andy and Nancy Miller Carmen and Jack Miller Mr. and Mrs. Milton . Miller Dr. Robert R. Miller Thomas and Doris Miree Kathleen and James Mm him i Olga Moir
Mr. and Mrs. William G. Moller.Jr. Rosalie E. Moore Marvin and Karen Moran Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Dr. and Mrs. George W. Morlcy Paul and Terry Morris Mclinda and Bob Morris Dick and Judy Morrissett Brian and Jacqueline Morton Cyril and Rona Moscow Dr. Thomas E. Muller and
Barbara J. Levitan Gavin Eadic and Barbara Murphy Dr. and Mrs. Gunder A. Myran Hidcko and Tatsuyoshi Nakamura President and Mrs. Homer Neal Frederick G. Neidhardt and
i i in.inii Chipault Nancy Nelson
Mr. and Mrs. Marvin Nichuss Karina H. Nicmeyer Shinobu Niga Susan and Richard Nisbctt Virginia and Clare North John and Lexa O'Brien Patricia O'Connor Dr. and Mrs. Frederick C. O'Dell
Michael J. O'Donnell and
Jan L. Garfinkle Henry and Patricia O'Kray Nels and Mary Olson Mr.J. L. Oncley Zibby and Bob Oneal Mr. and Mrs. James O'Neill Kathleen I. Opcrhall Dr. Jon Oscherwitz Mrs. Charles Overberger Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Michael P. Parin Evans and Charlenc Parrott Shirley and Ara Paul Robert and Arlcne Paup Elizabeth and Beverly Payne Ruth and Joe Payne Dr. Owen Z. and Barbara Pcrlman Susan A. Perry Doris I. Persyn Frank and Nelly Petrock James L. and Julie Phclps Joyce H. Phillips
Mr. and Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Mr. and Mrs. Roy Pierce William and Barbara Pierce Dr. and Mrs. James Pikulski Sheila A. Piicoff Donald and Evonne Plantinga
Martin Podolsky
Mr. and Mrs. John R. Poliuer
Stephen and Tina Pollock
Philip and Kathleen Power
Drs. Edward and Rhoda Powsner
Bill and Diana Pratt
Larry and Ann Prcuss
Jacob M. Price
Richard H. and Mary B. Price
Wallace and Barbara Prince
Bradley and Susan Pritts
Ernst Pulgram
David and Stephanie Pyne
Ldand and Elizabeth Quackenbush
Michael and Helen Radock
Homayoon Rahbari, M.D.
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Douglas J. Rasmussen
Mr. and Mrs. Robert H. Rasmussen
Sandra Reagan
Professor Gabriel M. Rcbeiz
Katherine R. Reebel
Mr. and Mrs. Stanislav Rehak
Molly Resnik and John Martin
JoAnne C. Reuss
H. Robert and Kristin Reynolds
John and Nancy Reynolds
Alice Rhodes
Ms. Donna Rhodes
Paul Rice
Constance Rinehart
Dennis and Kn.i Ringlc
Lisa Rives and Jason Collcns Joe and Carolyn Roberson Peter and Shirley Roberts Robert A Sloan and
Ellen M. Bycrlcin Dave and Joan Robinson Janet K. Robinson, Ph.D. Mary Ann and Willard Rodgcrs Mr. and Mrs. Stephen J. Rogers Yelcna and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Bernard and Barbara Rosen Marilynn M. Roscnthal Gay and George Roscnwald Gustave and Jacqueline Rosseels Mr. and Mrs. John P. Rowe Dr. and Mrs. Raymond W. Ruddon Tom and Dolores Ryan Mitchell and Carole Rycus Ellen and James Saalberg Theodore and Joan Sachs Dr. and Mrs. Jagneswar Saha Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Howard and I Hi Sandier John and Reda Santinga Harry W. and Elaine Sargous Elizabcdi M. Savage Court and Inga Schmidt
Charlcnc and Carl Schmuk Thomas Schramm Gerald and Sharon Schrcibcr Albert and Susan Schultz R. Ryan Lavelle, Ph.D
Marshall S. Schuster, D.O. Alan and Marianne Schwartz-
I in Shapero Foundation Ed and Sheila Schwartz Jane and Fred Schwarz Jonathan Bromberg and
Barbara Scott Mr. and Mrs. David Scovell John and Carole Scgall Richard A. Seid Suzanne Sclig Ms. Janet Sell Sherry and Louis Senunas Erik and Carol Sen-George H. and Mary M. Sexton Nancy Silver Shalit Dr. and Mrs.J. N. Shanbcrge Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shappirio Maurice and Lorraine Sheppard Dr. and Mrs. Ivan Sherick William J.Sherzer Mr. and Mrs. George Shirley Drs. Jean and Thomas Shope Mary Ann Shumaker
Advocates, continued
Dr. Bruce M. Sicgan
Dr. and Mrs. Milton Sicgcl
Eldy and Enrique Signori
Ken Silk and Peggy Buttcnhcim
Drs. Dorit Adler and Terry Silver
Frances and Scott Simonds
Robert and Elaine Sims
Alan and Eleanor Singer
Donald and Susan Sinta
Mrs. Lorctta M. Skcwcs
Martha Skindcll
Beverly N. Slater
John W. Smillie, M.D.
Dr. and Mrs. Michael W. Smith
Mr. and Mrs. Robert W. Smith
Susan M. Smith
Virginia B. Smith
Richard Soble and Barbara Kcssler
Lois and William Solomon
Dr. Yoram Sorokin
Juanita and Joseph Spallina
;nnc L. Spcndlovc
Grelta Spier and Jonathan Rubin
L. Grassclli Sprankle
Edmund Sprungcr
David and Ann Staiger
Caren Stalburg M.D.
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Thorn and Ann Sterling
Barbara and Bruce Stevenson
Harold Stevenson
John and Beryl Stimson
Mr. James L Stoddard
Robert and Shelly Stoler
Wolfgang F. Stolper
Anjanette M. Stoltz, M.D.
Ellen M. Strand and
Dennis C. Regan Aileen and Clinton Stroebel Joe Stroud and Kathleen Fojuk Mrs. William H. Stubbins Drs. Eugene Su and
Christin Carter-Su Valerie Y. Suslow Earl and Phyllis Swain Mr. and Mrs. Robert S. Swanson Richard and June Swartz Ronna and Kent Talcott Jim and Sally Tamm Kciko Tanaka Eva and Sam Taylor George and Mary Tcwksbury Lois A. Thcis Paul Thiclking Edwin J. Thomas Bcttc M. Thompson Ted and Marge Thrasher Mrs. Peggy Ticman Mr. and Mrs. W. Paul Tippett Albert Tochct
Dr. and Mrs. Merlin C. Townley James W. Toy
Dr. and Mrs. John Triebwasser Angic and Bob Trinka Sarah Trinkaus
Irene Truesdell
Marilyn Tsao and Sieve Gao
Drs. Claire and Jeremiah Turcoite
Michael and Nancy Udow
Taro Ucki
Alvan and Katharine Uhle
Mr. Gordon E. Ulrcy
Dr. and Mrs. Samuel C. Ursu
Joaquin and Mci Mei Uy
Madeleine Vallier
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Mr. and Mrs.
Douglas Van Houweling Fred and Carole S. Van Reesema Michael L. Van Tassel Kate and Chris Vaughan Phyllis Vegter
Mr. and Mrs. Theodore R. Vogt Carolyn S. and Jerry S. Voight John and Maureen Voorhees John and Jane S. Voorhorst Mi. and Mrs. Norman C. Wait Richard and Mary Walker Charles and Barbara Wallgrcn Lorraine Nadclman and
Sidney Warschausky Robin and Harvey Wax Mr. and Mrs. Barrett Wayburn Christine L. Webb Mrs. Joan D. Weber Willes and Kathleen Weber Deborah Webster and
George Millci
Leone Buysc and Michael Webster Jack and Jerry Weidcnbach Lawrence A. Weis and
Sheila Johnson Barbara Weiss lisa and Steve Weiss Mrs. Stanfield M. Wells, Jr. Carol Campbell Wclsch and
John Wclsch
Rosemary and David Wesenberg Mr. and Mrs. Peter Westcn Ken and Cherry Westcrman Marjorie Wcslphal Paul E. Duffy and
Marilyn L. Wheaton Harry C. White Janet F. White
Christina and William Wilcox William and Cristina Wilcox Reverend Francis E. Williams Mr. and Mrs. R. Jamison Williams Jr. Shelly F. Williams Mrs. Elizabeth Wilson Beth and I.W. Winsten Jeffrey and Linda Witzburg Charlotte Wolfe Dr. and Mrs. Ira S. Wollner Muriel and Dick Wong J. D. Woods
Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wright David and April Wright Phyllis B. Wright Fran and Ben Wylic
Mr. and Mrs. R.A. Yaglc
Ryuzo Yamamoto
Sandra and Jonathan Yobbagy
Frank O. Youksteiter
Professor and Mrs, Edwin H. Young
Shirley Young
Ann and Ralph Youngren
Olga Zapotny
Mr. and Mrs. F.L. Zcisicr
Bertram and Lynn Zheutlin
Roy and Helen Ziegicr
David S. and Susan H. Zurvalec
American Metal Produces
Brass Craft
Garris, Garris, Garris and Garris
Law Office John Leidy Shop Marvel Office Furniture St. Joseph Mercy Hospital
Medical Staff Switch School of Medicine
Class of 1996
Robert S. Fcldman Zclina Krauss Firth George R. Hunsche Ralph Herbert Kathcrine Mabarak Frederick C. Matthaei, Sr. Gwen and Emerson Powric Steffi Reiss Clare Siegcl Ralph L. Steffek Charlcne Parker Stern William Swank Charles R. Tieman John F. Ullrich Francis Viola III Peter Holderness Woods
In-Kind Gifts
Catherine Arcure Paulctt and Peter Banks Buck Alley Gourmet Barnes and Noble Bookstore Maurice and Linda Binkow Jeannine and Bob Buchanan Edith and Fred Bookstein Pat and George Chatas Paul and Pat Cousins
Cousins Heritage Inn Katy and Anthony Dcrezinski Espresso Royale Fine Flowers Ken and Penny Fischer Kcki and Alice Irani Maureen and Stu Isaac Matthew Hoffman Jewelry Mercy and Stephen Kaslc Howard King F. Bruce Kulp Barbara Lcvitan Maxine and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LystraDough Boys Steve MaggioThe Maggio Line James McDonaldBella Ciao Karen and Joe O'Neal Richard and Susan Rogel Janet and Mike Shatusky SKR Classical Herbert Sloan David Smith
David Smith Photography Sweet Lorraine's Susan B. Ullrich Elizabeth and Paul Yhouse
Giving Levels
The Charles Sink Society cumulative giving
totals of $15,000 or more.
Maestro $10,000 or more
Virtuoso $7,500-9,999
Concertmaster $5,000 7,499
Leader $2,500-4,999
Principal $1,000 2,499
Benefactor $500-999
Associate $250-499
Advocate $100 249
Friend $50 99
Youth $25

Advertiser's Index
35 Afterwords
16 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproductive
39 Ann Arbor Symphony
35 Arbor Hospice
30 Bank of Ann Arbor
43 Barclay's Gallery 33 Beacon Investment
40 Benefit Source 25 Bivouac
20 Bodman, Longley and
49 Butzel Long 47 Cafe Marie 39 Chamber Music Society
of Detroit 18 Charles Reinhart
25 Chelsea Community
11 Chisholm and Dames Investment Advisors
36 Chris Triola Gallery
27 David Smith Photography 39 Detroit Edison
11 Dickinson, Wright, Moon, Van Dusen and Freeman 35 Dobbs Opticians
31 Dobson-McOmber 54 Dough Boys Bakery
26 Edward Surovell Company 25 Emerson School
43 ER1M
2 Ford Motor Company 31 Fraleighs Landscape Nursery
21 Garris, Garris, Garris,
and Garris, P.C.
28 General Motors
54 Gifford, Krass, Groh, Sprinkle, Patmore, Anderson 8c Citkowski
11 Glacier Hills
15 Hagopian World of Rugs
54 Harmony House
37 Hill Auditorium Campaign 35 Interior Development
51 Jacobson's
47 Karen DcKoning and
48 Katherine's Catering and
Special Events 43 Kerrytown Bistro 29 KeyBank
40 King's Keyboard House 21 Lewis Jewelers 27 Marty's Menswear 56 Matthew C. Hoffmann
Jewelry Design
31 Miller, Canfield, Paddock
& Stone
42 M i mi Inand Mundus
12 NBD Bank
40 Nichols, Sacks, Slank
and Sweet
35 Packard Community Clinic
19 Pen in Hand
43 Persian House of Imports
20 Red Hawk Bar and Grill
48 Regrets Only
24 SKR Classical
19 Snyder and Company
25 Sweet Lorraine's 10 Sweetwaters Cafe
49 Toledo Museum of Art
21 Top Drawer
36 Ufer and Company 27 U-M Urology
34 University Productions
55 Whole Foods Market 54 WQRS
36 Wright, Griffin, Davis and Company

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