UMS Concert Program, Wednesday Feb. 19 To 26: University Musical Society: 1996-1997 Winter - Wednesday Feb. 19 To 26 --
Season: 1996-1997 Winter
University Of Michigan, Ann Arbor
OF THE UNIVERSITY OF MICHIGAN, ANN ARBOR
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last season, more than 120,000 people attended UMS performances and relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport with Jessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between these artists, UMS and the Ann Arbor community.
Our outstanding Board of Directors offers unique knowledge, experience and perspective as well as a shared commitment to assuring the present and future success of UMS. What a privilege it is to work with a group of people whose vision of UMS is to make it the very best of its kind in the world. I especially want to thank Herbert Amster, who completed three years as Board President in December.
That same vision is shared by members of the UMS staff, who this year invite all of the UMS family to celebrate the 25 years box office manager Michael Gowing has served UMS and this community. Michael has established a stan?dard of patron service that we're told is unmatched anywhere else in this business. Look for the acknowledgment in this program book to find out more about Michael and how you can participate in this season-long celebra?tion.
Last year, UMS volunteers contributed more than 38,000 hours to UMS. In addition
to Board members, volunteers include our Advisory Committee, usher corps, UMS Choral Union members and countless others who give of their time and talent to all facets of the UMS program. Thank you, volunteers!
Relationships with professional colleagues around the world are very special. There is a generosity of spirit in performing arts present?ing that I have rarely seen in other fields. We share our best ideas with one another at con?ferences, in publications, by phone and, increasingly, over the internet. Presenters are joining together more and more to commis?sion new works and to assure their presenta?tion, as we've done this season with William Bolcom's Briefly It Enters and Donald Byrd's The Harlem Nutcracker. I'm pleased to report that The Dreams and Prayers of Isaac the Blind, the stir?ring piece we co-commissioned and presented in April 1995 won the prestigious Kennedy Center Friedham Award for composer Osvaldo Golijov last year.
The most important relationship is that with the community, and that means you. I care deeply about building and strengthening these relationships, whether it be with an indi?vidual patron who comes by the office with a program idea, with the leader of a social ser?vice organization who wishes to use one of our events as a fundraiser, with the nearly 40 school districts whose children will participate in our youth program, or with the audience member who buttonholes me in the lobby with a com?plaint.
Thanks again for coming to this event -and please let me hear from you with ideas or suggestions. Look for me in the lobby, or call me at my office at 313.647.1174.
Kenneth C. Fischer President
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,110
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 Harptr's [ndtx?
Data taken from UMS archives and audience surveys. Some numbers have been estimated.
Thank You, Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of localized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cor?nerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University Musical Society.
F. Bruce Kulp
Chair, UMS Board of Directors
CARL A. BRAUER, JR. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the
University Musical Society in bringing great music to our community."
L. THOMAS CONLIN
Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased lo support the significant cul-
tural 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 Owners, Curtin & Alf "Curtin & AIFs 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 Iresident, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community
which perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
ROBERT J. DELONIS Chairman, Great Lakes Bancorp "As a long-standing member of the Ann Arbor commu?nity. Great Lakes Bancorp and the
University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural con?tribution it makes to the community."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ?ation with the
University Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
Chairman and Chief
"Our community is
enriched by the
Society. We warmly support the cultural events it brings to our area."
THOMAS B. MCMULLEN President, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket
in Ann Arbor. Not anymore. UMS provides the best in educational enter-
WILLIAM E. ODOM (Jiainnan, 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?tant!)', 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."
President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 82 years, and UMS has been here for 118, we can still appreciate the history they have with the city -and we are glad to be part of that history."
Managing Partner, Pepper, Hamilton &Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
The Edward Surovell
"It is an honor for
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
JOE E. O'NEAL 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."
GUI PONCE DE LEON, PH.D.. P.E.
Managing Principal, Project Management Associates, Inc. "We are pleased to support the Universitv 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."
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 "Parke-Davis is very proud to be associ?ated with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Sue s. Lee
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organization as the
Musical Society at the University of Michigan."
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.
C7or more information, call the Q1JKS ox Office
AT LAST YEAR'S EVENT
The University Musical Society of the universityof Michigan
BOARD OF DIRECTORS
F. Bruce Kulp, Chair Marina v.N. Whitman
Vice Chair Carol Shalila Smokier
Secretary Elizabeth O. Yhouse
Herbert S. Amster Gail Davis Barnes
Maurice S. Binkow Paul C. Boylan Barbara Evcritt Bryant LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Beverley B. Geltner Randy J. Harris
Walter L. Harrison Norman G. Herbert Kay Hunt Stuart A. Isaac Thomas E. Kaupcr Rebecca McGowan I-ester P. Moms Homer A. Neal Joe E. O'Neal
John Psarouthakis George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell Susan B. Ullrich Iva M. Wilson
Gail W. Rector President Emeritus
Robert G. Aldrich Herbert S. Amsler Richard S. Berger Maurice S. Binkow Carl A. Brauer.Jr. Allen P. Britton Douglas D. Crary John D'Arms James J. Duderstadt
Robben W. Fleming Harlan H. Hatcher Norman G. Herbert Peter N. Heydon Howard Holmes Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick Long Judyth Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed Ann Sneed Schriber
Daniel H. Schnrz Harold T. Shapiro Lois U. Sicgeman E. Tliurston Thiemc Jerry A. Weisbach Eileen Lappin W'cisci Gilbert Whitaker
AdministrationFinance Kenneth C. Fischer, President John B. Kennard.Jr.,
Administrative Manager Elizabeth Jahn, Asst. to
President Kate Remen, Admin. Asst.,
Marketing & Programming R. Scott Russell, Systems
Michael L. Gowing, Manager Sally A. Cushing, Staff Philip Guire, Staff John Peckham, Staff
Thomas Sheets, Conductor
Timothy Haggerty, Manager
Catherine S. Arcure, Director Betty Byrne, Volunteers Elaine Economou, Corporate Susan Fitzpauick, Admin. Asst. J. Thad Schork,
Gift Processing Anne Griffin Sloan,
Ben Johnson, Director
Emily Avers, Assistant
Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artist Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Work-Study Laura Birnbryer Rebckah Camm
Mcighan Denomme Amy Hayne Sara Jensen Kirstcn Jennings Najean Lee Tansy Rodd Lisa Vogen
Jessica Flint Paula Giardini Michelle Guadagnino Michael Lawrence Bo Lee Lisa Moudy Susanna Orcutt-Grady Caen Thomason-Redus
1996-97 ADVISORY COMMITTEE
Maya Savarino, Chair Len Niehoff, Vice-Chair Dody Viola, SecretaryTreasurer Susan B. Ullrich, Chair
Emeritus Betty Byrne, Staff Liaison
Janice Stevens Botsford
Chen Oi Chin-Hsieh
Mary Ann Daane Rosanne Duncan H. Michael Endres Don Faber Kathcrine Farrell Penny Fischer Barbara Gelehrter Beverly Gcllner Joyce Ginsberg Linda Greene Esther HeiUer Debbie Herbert Matthew Hoffmann Maureen Isaac
Marcy Jennings Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Barbara Levitan Doni Lystra Margaret McKinley Scott Merz Clyde Metzger Ronald G. Miller Nancy Niehoff Karen Koykka O'Neal
Marysia Oslafin Mary Pittman leva Rasmusscn Janet Shatusky Margaret Kennedy Shaw Aliza Shcvrin Sheila Silver Rita Simpson Cynny Spencer Ellen Stross Nina Swanson Kathleen Treciak David White Jane Wilkinson Shirley Williams
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
University Musical Society Auditoria Directory & Information
Hill Auditorium: Coat rooms arc located on the east and
west sides of the main lobby and are open only during the
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains 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 are available on the main floor. Ushers are available for assistance.
LOST AND FOUND
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of
the Michigan League.
St. Francis: There are no public telephones in the church.
Pay phones are available in the Parish Activities Center next
door to the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's reslrooms are located down the long hallway from the main floor seating area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the front lobby stairs.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMEMBER INFORMATION TABLE
A wealth of information about events, UMS, restaurants, and the like is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with ques?tions and requests. The information table is open thirty minutes before each concert and during intermission.
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 Gowing Seat. You may mail your contribution or letters anytime through June 1997 to University Musical Society, Burton Memorial Tower, Ann Arbor, MI 48109-1270.
All (inn ii mi in] is are tax dedui tible i the amount allowed by law.
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name 'The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was estab?lished in December 1880. The Musical Society includ?ed the Choral Union and University Orchestra, and throughout the year pre?sented a series of concerts
featuring local and visiting artists and ensem?bles. Professor Frieze became the first presi?dent of the Society.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through the Choral Union, Chamber Arts, Jazz Directions, Moving Truths, Divine Expressions, Stage Presence, Six Strings and many other series, the Musical Society now hosts over 75 concerts and more than 150 edu?cational events each season. UMS has flourished
with the support of a generous musicand arts-loving community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, and the Lydia Mendelssohn Theatre experiencing the talents of such artists as the Berlin and Vienna Philharmonic Orchestras, the Martha Graham Dance Company, Jessye Norman, The Stratford Festival, Cecilia Bartoli, Wynton Marsalis, the Juilliard 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 Sheets, conductor
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
In its more recent history, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, die Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capacity, the ensemble has joined the orchestra for subscription perfor?mances of Beethoven's Symphony No. 9, Orff s Carmina Burana, Ravel's Daphnis et Chloe and Prokofiev's Aleksandr Nevsky. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem,
and continuing with performances of the Berlioz Requiem and Bach's Mass in B minor.
In the current season, the UMS Choral Union again expands its scope to include per?formances with a third major regional ensem?ble. In March the chorus makes its debut with the Grand Rapids Symphony, joining with them in a rare presentation of the Symphony No. 8 ("Symphony of a Thousand") by Gustav Mahler. Continuing its association with the Detroit Symphony Orchestra, the Choral Union collaborates in January 1997 with Maestro Jarvi and the DSO in performances at Orchestra Hall and in Ann Arbor. This extraordinary season will culminate in a May performance of the Verdi Requiem with the Toledo Symphony.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one com?mon passion--a love of the choral art.
For information about the UMS Choral Union, please call 313.763.8997.
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is often associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of important debuts and long relationships throughout the past 83 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Hill Auditorium is named for former U-M regent Arthur Hill, who bequested $200,000 to the University for the construction of an audito?rium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing the ever-popular Fifth Symphony of Beethoven. The following evening featured Verdi's "Manzoni" Requiem, a work that has been performed 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 the years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
POWER CENTER FOR THE PERFORMING ARTS
Celebrating twenty-five years of wonderful arts presentation, die 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 die midst of a list of University priorities was mentioned "a new dieatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include the two large spiral staircases leading
from the orchestra level to the balcony and the well-known mirrored glass pan?els on the exterior. No seat in the Power Center is more than 72 feet from the stage. In 1981, a 28,000 square-foot addition was com?pleted, providing rehearsal rooms, shops for building sets and costumes, a green room and
office space. At the same time, the eminent British sculptor John W. Mills was commis?sioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addition to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso. The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
THE MICHIGAN THEATER
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was die 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 die balcony, outer lobby and facade are planned in coming years.
The University Musical Society first began presenting artists at the Michigan Theater dur?ing the 199495 season, along with occasional film partnerships to accompany presentations in other venues. The Theater's acoustics, rich interiors and technical capabilities make it a natural setting for period pieces and mixed media projects alike. In addition to sponsoring a Twyla Tharp Film Series last fall (September 29-October 20, 1996), UMS presents four events at the Michigan Theater in 199697: Guitar Summit III (November 16); The Real Group (February 8); Voices of Light: 'The Passion of Joan of Arc," a silent film with live music featur?ing Anonymous 4 (February 16); and The Russian Village (April 11).
ST. FRANCIS OF ASSISI CATHOLIC CHURCH
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has
grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a fabulous venue for presenting a cappella choral music and early music ensembles. During the 199697 season, UMS presents four concerts at St. Francis of Assisi Cadiolic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademia (March 15) and the Huelgas Ensemble (April 10).
LYDIA MENDELSSOHN THEATRE
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recently began presenting
artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and intimate venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society's roster.
Allen Pond & Pond, Martin & Lloyd, a Chicago architectural firm, designed the Mendelssohn Theatre, which is housed in the Michigan League. It opened on May 4, 1929 with an original equipment cost of $36,419, and received a 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 Yo Can't Take It With You and Harvey, which starred Helen Hayes and Jimmy Stewart.
The University Musical Society's presentatior 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 (Januar; 24), mezzo-soprano Sarah Walker (January 25), baritone Wolfgang Holzmair (February 17) and soprano Barbara Bonney (February 18).
BURTON MEMORIAL TOWER
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the mailing address and box office location for the University Musical Society.
During a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles around, be built in the center of campus representing the idealism and loyalty of
U-M alumni. In 1929 the UMS Board of Directors authorized construction of the Marion LeRoy Burton Memorial Tower. The University of Michigan Club of Ann Arbor accepted the project of raising money for the tower and, along with the Regents of the University, the City of Ann Arbor, and the Alumni Association, the Tower Fund was estab?lished. UMS donated $60,000 to this fund.
In June 1935 Charles Baird, who graduated from U-M in 1895 and was the equivalent of today's Athletic Director from 1898-1908, pre?sented the University of Michigan with $70,000 for the purchase of a carillon and clock. These were to be installed in the tower in memory of Burton, former president of the University and a member of the UMS Board of Directors. Baird's intention was to donate a symbol of the University's academic, artistic, and community life a symbol in sight and sound which alumni would cherish in their Michigan memories.
Designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. The tower is 41 feet, 7 inch?es square at the base. Completed in 1936, the Tower's basement and first floor rooms were designated for use by the University Musical Society in 1940. In later years, UMS was also granted permission to occupy the second and third floors of the tower.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from
noon to 12:30pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45am. A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donat?ed labor, materials and funds to this project
The 199 6-9 7 Season
schubertiade i andre watts, piano chamber music
Society of Lincoln
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard" Weds, Jan 8, 7pm, MI League.
Made possible by a gift from tlie estate of William R. Kinney.
NEXUS PERCUSSION ENSEMBLE WITH RICHARD STOLTZMAN, CLARINET Thursday, January 16, 8:00pm Hill Auditorium
Presented xoith support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
SOUNDS OF BLACKNESS with Special Guests, THE UNIVERSITY OF MICHIGAN GOSPEL CHORALE
Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of America.
This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1997 Rev. Dr. Martin Luther King, Jr. Day Symposium.
SCHUBERTIADE II GARRICK OHLSSON, PIANO Late Schubert Piano
Thursday, January 23, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored by McKinley Associates, Inc.
schubert song recital i Sanford Sylvan, baritone David breitman, fortepiano
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Fri, Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:0M:00 pm, Mclntosh Theater, U-M School of Music. Open to the public.
schubert song recital ii Sarah Walker, mezzo-soprano Gareth Hancock, piano
Saturday, January 25, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Sat, Jan 25, 6:30pm, MI League.
Presented with support from the World Heritage Foundation and media partner WDET, 101.9FM, Public Radio from Wayne State University.
NEEME JARVI, CONDUCTOR Leif Ove Andsnes, piano Vladimir Popov, tenor UMS Choral Union Sunday, January 26, 4:00pm Hill Auditorium
Master of Arts Neemejarvi, interviewed by Thomas Sheets, Conductor, UMS Choral Union. Sun, Jan 12, 3:00pm, Rackham.
Sponsored by JPE Inc. and the Paideia Foundation
Con versin1 WITH
THE ELDERS JAMES CARTER QUARTET
AND DETROIT JAZZ
Friday, January 31, 8:00pm Lydia Mendelssohn Theatre
Part of the Blues, Roots, Honks, and Moans Jazz Residency.
blues, roots, honks, and moans
a festival of jazz and African-American musical Traditions
The Christian McBridc Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
Hb Sanctified Shells Twinkic Clark and
The Clark Sisters Saturday, February 1, 1:00pm
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation with support from media partner VEMU, 89.1FM, Public Radio from Eastern Michigan University.
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,
Cho-Liang Iin, 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
AND CASSANDRA WILSON
Music and libretto by
Wynton Marsalis Wednesday, February 12, 8:00pm Hill Auditorium
Master of Arts Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, S9.1FM, Public Radio from Eastern Michigan University.
BRANDENBURG ENSEMBLE JAIME LAREDO,
CONDUCTOR VIOLIN LEILA JOSEFOWICZ,VIOLIN ANDREAS HAEFLIGER,
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7pm, MI League.
Sponsored by Great Ijakes Bancorp.
emerson string quartet All-Brahms program
Saturday, February 15, 8:00pm Rackham Auditorium
PREP Elwood Derr, U-M Professor of Music. "Nineteenth-Century 'CDs' of Brahms' String Quartets: His Piano-Duet Arrangements for Home Use." Sat, Feb 15, 7pm, MI League.
Sponsored by the Edward Surmell Co.Realtors.
Voices of light: "The Passion of Joan of arc" a silent film by carl dreyerwith live music featuring anonymous 4 Los Angeles Mozart Orchestra I Cantori
Lucinda Carver, conductor Sunday, February 16, 7:00pm Michigan Theater
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
SCHUBERT SONG RECITAL III WOLFGANG HOLZMAIR,
BARITONE JULIUS DRAKE, PIANO
Monday, February 17, 8:00pm Lydia Mendelssohn Theatre
Schubert Song Recital IV Barbara Bonney,
soprano caren levine, piano
Tuesday, February 18, 8:00pm I.ydia Mendelssohn Theatre
puccini's la boheme New York City Opera National Company
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21, 8:00pm Saturday, February 22, 2:00pm
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La lioheme' mean" Sat, Feb 22, 1 pm, MI League.
ACADEMY OF ST. M ARTIN-
IN-THE-FIELDS IONA BROWN, CONDUCTOR
Sunday, February 23, 4:00pm Rackham Auditorium
PREP Lorna McDaniel, U-M Professor of Musicology. A discussion of the afternoon's repertoire. Sun, Feb 23, 3:00pm, MI League.
Sponsored by Conlin Travel and Cunard.
Monday, February 24, 8:00pm Tuesday, February 25, 8:00pm Power Center
Sponsored by Thomas B. McMullen Co., Inc.
NATIONAL TRADITIONAL ORCHESTRA OF CHINA Hu Bingxo, conductor Hai-Ye Ni, cellist Wednesday, February 26,8:00pm Hill Auditorium
Presented with the generous support of Dr. Herbert Sloan.
RICHARD GOODE, PIANO
Friday, March 14, 8:00pm Hill Auditorium
Sponsored by Pepper, Hamilton & Scheetz, Attorneys at Imw.
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
Boychoir of Ann Arbor Catherine Comet, conductor Sunday, March 23, 4:00pm I lill Auditorium
Sponsored by the University of Michigan.
Cecilia Bartoli, mezzo-soprano
i delfici, strings and continuo
Gyorgy Fischer, piano
Saturday, March 29, 8:00pm
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbett, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, President, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
THEATER II & III
Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
BANG ON A CAN ALL-STARS STRING TRIO OF NEW YORK Saturday, April 5, 8:00pm Power Center
Presented xvilh support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
huelgas ensemble Paul Van Nevel, Director the high art of sacred Flemish polyphony
Thursday, April 10, 8:00pm St. Francis of Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. "Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, St. Francis Church.
Sponsored by Conlin Travel and Cunard.
THE RUSSIAN VILLAGE
Friday, April 11,8:00pm Michigan Theater
Sponsored by NBD Bank.
FACULTY ARTISTS CONCERT
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
THE ASSAD BROTHERS, GUITAR DUO
Friday, April 18,8:00pm Rackham Auditorium Sponsored by Rtgrncy Travel.
maher ali khan and
SherAli khan, Faridi Qawwals
Saturday, April 19, 8:00pm Rackham Auditorium
Ford Honors Program
Saturday, April 26, 6:00pm Hill Auditorium
Featuring a recital by and tribute to the recipient of the 1997 UMS Distinguished Artist Award.
Sponsored by Ford Motor Company.
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of pre-performance presentations, featuring talks, demonstrations and workshops.
Master of Arts A new, free of charge UMS series in col?laboration with the InsiiiuK for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person), available from the UMS Box Office, 764-2538.
Education and Audience Development
Special Events 1996-1997
Visions and Voices of Women: Panel Discussion
"Women in the ArtsArts in the Academy" In collabora?tion with the Institute for Research on Women and Gender.
Tues.Jan 14, 7:30-9:30pm, Rackham. Panelists: Beth Genne, History of Art and Dance, Residential College
Yopie Prins, English and Comparative Literature
Sidonie Smith, Women's Studies and English
Patricia Simons, History of Art and Women's Studies
Louise Stein, Music History and Musicology
Concerts in Context: Schubert Song Cycle Lecture Series
Three special PREPs held at the Ann Arbor District Library and led by Richard LeSueur, Vocal Arts Information Services, in collaboration with the Ann Arbor District Library.
"Changing Approaches to Schubert Lieder."
Sun, Jan 19, 2:00-3:30pm "Great Schubert Recordings Before 1945."
Sun, Feb 16, 2:00-3:30pm "Great Schubert Recordings After 1945."
Sun, Mar 16, 2:00-3:30pm
Concerts in Context: Mahler's Symphony No. 8 Three special PREPs held at SKR Classical.
"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 tins hinan (Draws us upward): Mahler's Hymn to Eros."Jim Leonard, Manager, SKR Classical. Wed, Mar 19, 7:00pm
UMS presents two family shows during the Winter Season 1997. These programs feature an abbreviated version of the full-length presentations by the same artists.
Blues, Roots, Honks and Moans
Saturday, February 1, lpm, Hill Auditorium
75-minute family show with no intermission
Featuring Cyrus Chestnut on piano, Twinkie Clark on organ and gospel, and Steve Turre on trombone and "sanctified" shells. Each artist will showcase different influences of jazz and gospel, with parents and chil?dren actively involved in learning and performing some special songs.
Puccini's La Boheme
New York City Opera National Company Saturday, February 22, 2pm, Power Center 75-minute family show with no intermission
The love story of Mimi and Rodolfo is a great intro?duction to the world of opera. This abbreviated per?formance of Act II (the cafe scene) and Act IV includes an open curtain scene change as well as an introduction to singers and backstage crew. In Italian with English supertitles and live narration.
'All excellence is equally difficult'.
Readership 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.
TOWARD tJROVELL -
Washtenaw County's leader in real estate sales
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 igg6 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 1997 Winter Season
Event Program Book
Wednesday, February 19, 1997
Wednesday, February 26, 1997
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
New York City Opera National Company 3 Puccini's La Boheme
Wednesday-Friday, February 19, 20, 21, 8:00pm Saturday, February 22, 2:00pm (Family Show), 8:00pm Power Center
Academy of St. Martin in the Fields 15
Iona Brown, conductor & violin Sunday, February 23, 4:00pm Rackham Auditorium
Monday, February 24, 8:00pm Tuesday, February 25, 8:00pm Power Center
National Traditional Orchestra 27 of China
Hu Bingxo, conductor Wednesday, February 26, 8:00pm Hill Auditorium
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quicdy in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
WHILE IN THE AUDITORIUM
Starting Time Every attempt is made to begin concerts on time, latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you arc enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
The New York City Opera national Company
Joseph Colaneri, Music Director
Wednesday Evening, February 19, 1997 at 8:00
Thursday Evening, February 20, 1997 at 8:00
Friday Evening, February 21, 1997 at 8:00
Saturday Afternoon, February 22, 1997 at 2:00 (Family Show)
Saturday Evening, February 22, 1997 at 8:00
Ann Arbor, Michigan
Music by Giacomo Puccini
Libretto by Giuseppe Giacosa and Luigi Illica
Based on Scenes de la vie de Boheme by Henry Murger
Conducted by Joseph Colaneri Directed by Beth Greenberg Scenery designed by Lloyd Evans Costumes designed by Joseph A. Citarella Lighting designed by Jeff Davis English supertitles by Sonya Friedman
Fiftieth, Fifty-first, Fifty-second, Fifty-third, and Fifty-fourth Performances of the 118th Season
Stage Presence Series
Special thanks to Helen Siedel, UMS Education Specialist, for serving as speaker for Saturday's Performance-Related Educational Event (PREP).
The carillon concert preceeding Thursday's performance was played by Ray McLellan, Assistant University Carillonist.
New York City Opera National Company exclusive representative: Columbia Artists Management, Inc. Personal Direction: Michael Mushalla and Matilda Hohensee, Associate.
Large print programs are available upon request.
Paris, in the 1890s
ACT I Scene 1: An Attic Studio in Montmartre
Scene 2: The Cafe Momus
ACT II The Gates of Paris
ACT III An Attic Studio in Montmartre
(in order of appearance)
Marcello John Packard (Wednesday, Friday)
Edward Huls (Thursday, Saturday evening) Gregory Rahming (Saturday afternoon)
Rodolfo Bo Song (Wednesday, Saturday evening)
Neal Harrelson (Thursday, Saturday afternoon) Emmanuel di Villarosa (Friday)
Colline Peter Klaveness (Wednesday, Thursday, Friday, Saturday eve
Stephan Kirchgraber (Saturday afternoon)
Schaunard Gregory Rahming (Wednesday, Thursday)
Edward Albert (Friday, Saturday evening) Brian Moon (Saturday afternoon)
Benoit Shawn Roy
Mimi Sara Catarine (Wednesday, Saturday evening)
Jennifer Davis Jones (Thursday, Friday) Jennifer Griffin (Saturday afternoon)
Vendor Drew Martin
Alcindoro Shawn Roy
Musetta April-Joy Gutierrez (Wednesday)
Dianna Heldman (Thursday, Saturday evening)
Indira Mahajan (Friday)
Linda Larson (Saturday afternoon)
Customs Officer Stephan Kirchgraber (Wednesday, Thursday, Friday,
Saturday evening) Drew Martin (Saturday afternoon)
John Arthur Miller
Juli Borst Kit Emory Jennifer Griffin Linda Larson Susan Mclver
Carson Baker Stephan Kirchgraber Drew Martin Brian Moon Edgardo Zayas
It is Christmas Eve in Paris. Two poverty-stricken young bohemians, Marcello, a painter, and Rodolfo, a poet, attempt unsuc?cessfully to work in their freezing garret; in desperation they burn one of Rodolfo's dramas to keep warm. Their two roommates, Colline, a philosopher, and Schaunard, a musician, return home. Even though Schaunard has brought home some food, the bohemians decide to take their holiday dinner in the Latin Quarter. Just then, Benoit, their landlord, arrives to demand his over?due rent. The men ply him with drink, and, when he boasts of marital indiscretions, they throw him out with feigned indignation. Marcello, Colline, and Schaunard leave for the Latin Quarter. Rodolfo promises to join them after finishing some work, but a knock at the door interrupts him. Mimi, a young neighbor, enters, wishing to relight her candle. Obviously ill, she nearly faints and drops her room key. Rodolfo is instantly attracted to her, and manages to detain her by concealing her key after he secretly finds it. He also snuffs out his own candle, and as the two search in the darkness for her key, their hands touch. Spontaneously, they pour out their love for one another.
In the next scene, a festive crowd cele?brates Christmas Eve in the Latin Quarter. Rodolfo introduces Mimi to his roommates at the Cafe Momus. Their carefree mood changes abruptly when Musetta, Marcello's former lover, appears with Alcindoro, her elderly paramour, in tow. Musetta boister?ously attempts to attract the attention of Marcello, who deliberately ignores her but then finally succumbs to her charms. Musetta shrewdly gets rid of Alcindoro, and informs the waiter to give him all of their bills. She escapes with the bohemians through the crowd.
The second act opens early one snowy February morning at the Barriere d'Enfer, a toll gate in Paris. Mimi, terribly ill, arrives seeking Marcello, who is painting a mural at the local tavern. She tells him that she and Rodolfo have separated, driven apart by his irrational jealousy. Earlier that morning, Rodolfo had arrived at the inn himself, and when he now emerges to speak with Marcello, Mimi conceals herself and over?hears their conversation. Rodolfo tells Marcello that he wants to leave Mimi because of her flirtatious and untrustworthy behavior. Finally he confesses that she is mortally ill, and admits his guilty feelings: he knows that the harsh conditions of their life together have undoubtedly worsened her health. Hearing Mimi's coughing, Rodolfo suddenly realizes that she has heard everything. The two lovers pledge to stay together until the spring, while Musetta and Marcello argue viciously, and separate.
As act three opens, Rodolfo and Marcello, now separated from Mimi and Musetta, again attempt to work in their garret. Schaunard and Colline arrive with supper, and the four fantasize about attending a fancy ball and enact a mock duel. Suddenly, Musetta bursts into the room. She has brought Mimi, who is near death and wants to be with Rodolfo. Musetta and Marcello leave to sell some of their possessions in order to buy Mimi medicine and a muff and to summon a doctor. Colline also departs to sell his coat for needed money. Left alone for a few moments, Mimi and Rodolfo remi?nisce about their first meeting and their love. The others return, and before the doctor can arrive, Mimi dies; Rodolfo collapses, sobbing, over her body.
O 1995 Stagebill
La Boheme Historical Note
In February 1893 Giacomo Puccini (1858-1924) scored his first uncontested tri?umph with the opera Manon Lescaut. Since the previous autumn he had been searching for his next operatic subject; after contem?plating a work on the Buddha, Puccini decided to compose La Boheme, an opera based on the French novel Scenes de la vie de Bohemeby Henry Murger (1822-1861). This thinly disguised autobiography of Murger's poverty-ridden bohemian youth had been serialized in the magazine Le Corsaire between 1845 and 1848, and successfully published as a novel in 1851. Its story rang true for Puccini, who had himself spent three years as a starving student at the Milan Conservatory. (He later recalled: "Every time I hear Boheme, I see in my mind's eye...all the squalor that was the bane of my youth. My diet was bread, beans, and her?rings, and I was sometimes so cold that I actually burned the manuscripts of my early attempts at composition to keep warm...") Giulio Ricordi, Puccini's publisher, commis?sioned Luigi Illica and Giuseppe Giacosa, who had assisted on Manon Lescaut and would later collaborate on Tosca and Madama Butterfly, to write Boheme's libretto. Illica developed the opera's scenario and plot, and Giacosa versified it. Though extracting a cohesive libretto from Murger's episodic and nonsequential book posed a great challenge, Illica and Giacosa managed to reproduce the novel's essential spirit and atmosphere. They remained faithful to Murger's charac?terizations (although they made Mimi more sympathetic) and retained the story's general narrative outline and tableau format, but refocused Murger's plot to highlight Mimi and Rodolfo's relationship.
La Boheme's composition did not progress smoothly. In March 1893 Puccini waged a public battle with composer Ruggiero
Leoncavallo over the rights to adapt Murger's novel. Puccini repeatedly neglected his duties as a collaborator during the subsequent year, preferring instead to travel around supervis?ing productions of his previous operas. In spring 1894 Puccini briefly abandoned Boheme in favor of Giovanni Verga's steamy story La lupa. But the opera's biggest problem lay in the often strained relationship between the compulsive, tyrannical Puccini and his libret?tists. Puccini demanded much rewriting of the libretto, including the elimination of whole scenes which fleshed out the charac?ters of Mimi and Musetta. He stubbornly argued over dramaturgical details: "Look over the part where Mimi is given the muff; doesn't this seem to you rather weak at the moment of death A few words more, an affectionate word to Rodolfo would be suffi?cient. This might be quibbling on my part, but at the moment this girl, for whom I have worked so hard, dies, I would like her to leave the world thinking less of herself and a bit more of the man who loved her..." Illica best summed up Boheme's difficult birth: "Working with you, Giacomo, is living in hell. Even the patience of Job could not endure such torment."
Puccini finished La Boheme, the fourth of his twelve operas, in December 1895, and its premiere was immediately scheduled at the Teatro Regio in Turin. He secured his first-choice soprano for Mimi, Cesira Ferrani, who had created the role of Manon Lescaut, but was forced to accept a little-known con?ductor: the twenty-eight-year-old Arturo Toscanini. Leery of the theater's acoustics and the hostility of the local critics, Puccini nervously observed the rehearsals, believing Boheme's success vital to his career. But Ricordi was so confident that he declared to Puccini, "If this time you have not succeed?ed in hitting the nail squarely on the head, I will change my profession and will sell salami."
However, La Boheme's premiere, on February 1, 1896, achieved only moderate
success. The audience, which resented the excessive publicity surrounding the event, was puzzled by the opera's "lightweight" nature -at least compared to Wagner's GoUerdammerung, which had premiered six weeks earlier. Carlo Bersezio's remarks in La gazzetta Piemontese typified the critics' harsh judgements: "La Boheme....will not leave any great mark in the history of our lyric theater; it would be well for the author to consider it a momentary mistake..." Deeply shaken, Puccini complained: "I toiled for three long years at La Boheme.. .years of anguish, distress, agony of mind and soul, torment, torture, and excruciating mental suffering. I was martyred."
But enthusiasm for La Boheme quickly grew. It sold out twenty-four performances during its first season, and within three years was heard throughout Europe and in Russia, South America, Africa, and the United States. In spite of its inauspicious beginnings, La Boheme is considered by many to be Puccini's masterpiece, and remains one of the world's most beloved operas.
O 1995 Mary Lou Humphrey Stagcbill
Established in 1979, the New York City Opera National Company began modestly with a twenty-five performance, five-week tour of La Traviata and a two-fold mandate: to take top-quality opera performances to commu?nities throughout the country and to pro?vide talented young artists with valuable per?forming experience. The company has lived up to its mandate admirably and has grown in step with America's increasing interest in opera. Acclaimed by presenters, audiences and critics alike, the National Company, now in its seventeenth year, is considered
the premier touring opera company in the country.
The company travels in an old-fashioned "bus and truck" style, bringing vivid stagings of classic operas to both small rural communi?ties and bustling urban centers. Productions such as La Boheme, Rigoletto, Faust, Madama Butterfly, The Barber of Seville, La Traviata, The Marriage of Figaro, and Tosca have played to capacity audiences from coast to coast. Each production is specially designed to show off the remarkable creativity and energy of America's best new talent, instrumentalists, and designers, many of whom go on to enjoy successful careers with major opera houses around the world. A National Company tour is also the ideal environment for seasoned singers, as it allows them an unprecedented opportunity to perfect a characterization over numerous perfor?mances. Thus, audiences throughout the United States and Canada are given the opportunity to see both experienced per?formers and the brightest of the up-and-coming young stars.
Following the 1993 tour, the National Company was completely reorganized, and has been consolidated with New York City Opera itself. The touring division now uti?lizes the talents of producers, artists, and administrators who are members of the main company.
Spurred by the growing national interest in opera, this exciting young company con?tinues to expand and flourish, capturing the hearts and imaginations of the American public.
This residency marks the twelfth Ann Arbor visit of the New York City Opera National Company under UMS auspices.
Edward Albert, baritone, joins the National Company as Schaunard. He began this season debuting with Utah Opera in Carmen. Last sea?son he made debuts with Minnesota Opera as Schaunard and Des Moines Metro Opera as Guglielmo in Cost fan tutte followed by Schaunard. He has sung with the Opera Company of Philadelphia as the Erster Soldat in Salome, the Prince George Opera as the Count in Le nozze di Figaro, Maryland Lyric Opera as Guglielmo, Greater Buffalo Opera as Michele in II Tabarro and the Ashlawn Highland Festival as Papageno in Die Zauberflote, Ben in The Telephone and TomJohn in The Face on the Barroom Floor. He made his Carnegie Hall debut in a series of concert performances of Jerome Kern's Very Warm for May as Mr. Magee, sang Leporello in Don Giovanni in Belgium and recorded Peter Maxwell Davies' Le Jongleur de Notre Dame.
Sara Catarine, soprano, sings Mimi. In her native Venezuela, she sang Adina in L'Elisir d'Amore, and most recently, Mimi in her debut with the International Teresa Carreno Opera in Caracas. She has sung Elisetta in U Matrimonio Segreto with San Francisco Opera's Merola Opera Program, Adele in Die Fledermaus with Western Opera Theater, and both Mimi and Musetta in Western Opera Theater's national tour. In concert, she has performed the works of Mahler, Beethoven, Mozart, and Orff s Carmina Burana. Her numerous recitals include the Festival Internazionale Notomusica '95, Italy. In 1997, she tours Europe performing the music of Reinaldo Hahn for the Istituto Musicale "Vincenzo Bellini" of Catania, Italy.
Jennifer Davis Jones, soprano, sings Mimi. Last season the Ohio native sang Micaela in Carmen with Opera Carolina, Constanze in Abduction from the Seraglio with Piedmont Opera, where she has also sung Leonore in 7 Trovatore, and appeared with the Northern Kentucky Symphony for Strauss' Four Last Songs. As a member of San Francisco Opera's Merola Opera Program she sang Alice Ford in Merry Wives of Windsor and Violetta in La Traviata.
She has toured as Violetta and as Mimi with Western Opera Theater, and has also appeared as Fiordiligi in Cosifan tulle with Pennsylvania Opera Theater, Piedmont Opera Theater and Opera Carolina, Rosalinde in Die Fledermaus with the Natchez Opera Festival, and Mimi with Des Moines Metro and Sacramento Operas. Next, she returns to Piedmont Opera as Donna Anna in Don Giovanni.
Emmanuel di Villarosa, tenor, sings Rodolfo. He has sung Valere in Tartuffe with Bronx Opera, Rodolfo with Delaware Valley Opera, and, most recently, Cavaradossi in Tosca with New Rochelle Opera. He has also sung Pinkerton in Madama Butterfly, Cavaradossi, Alfredo in La Traviata and Rodolfo with Amato Opera. He has appeared in concert as a soloist with the Atlanta Symphony Orchestra. His performance as Cavaradossi with the Long Island Lyric Opera Company was filmed for television broadcast. Upcoming engagements include Dick Johnson in LaFanciulla del West with La Gran Scena and his debut with Des Moines Metro Opera as Ruggero in La Rondine.
Jennifer Griffin, soprano, is making her National Company debut as Mimi. She recendy per?formed with The CoOPERAtive in scenes from Mahagonny as Jenny, The Bartered Bride as Marenka, IPagtiacci as Nedda, Turandot as Liu, II viaggio a Rheims as Madame Cortese, Don Giovanni as Donna Anna, Fidelio as Leonora and in the title roles of Lulu and Rusalka. The Memphis native made her operatic debut as Micaela in Carmen with Opera Memphis, where she has also sung Zemier in Zemier et Azor, Sarah in King of the Clouds, and Lena in Light in August. At Yale University she has sung the Queen of the Night in Die Zauberflote, Madame Cortese and performed as a soloist in Verdi's Requiem. A district winner of the Metropolitan Opera Competition and a recipient of the Sue M. Weisen Award from Connecticut Opera Guild, her upcoming schedule includes a New York recital with American Landmark Festivals, and leading roles in the 1997-98 CoOPERAtive
April-Joy Gutierrez, soprano, sang Violetta in La Traviata with the National Company last year and returns this season as Musetta. The Colorado native recendy sang Musetta widi die Opera Festival of New Jersey, Micaela in Carmen with Dayton Opera, and made solo appearances with the American Symphony Orchestra at Avery Fisher Hall in Bruckner's Psalms and die Denver Symphony Orchestra in Brahms' Requiem. She has also sung Konstanze in Die Entfuhrung aus dem Serail at the Caramoor Festival, and Lauretta in Gianni Schicchi and Micaela with Opera Colorado. This season she sings Gilda in Rigoletto at Bob Jones University, and Mimi with Gold Coast Opera.
Neal Harrelson, tenor, is making his National Company debut as Rodolfo. This season he has sung Arturo in Lucia di Lammermoorvrith Virginia Opera, Gennaro in Lucrezia Borgia with Opera Manhattan, the tide role of Faust with American Opera Projects, Henri Smith in LaJolieFille de Perth with Sarasota Opera, and, most recendy die Second Priest in Die Zauberflote in a return to Virginia Opera. He has also per?formed with Knoxville Opera, the Pittsburgh Opera Center, and as a soloist in Bach's Magnificat at Carnegie Hall. His upcoming schedule includes Nemorino in L'Elisir d'Amore with Nashville Opera.
Dianna Heldman, mezzo-soprano, sings Musetta. Her other National Company roles include both Rosina and Berta in Barbiere di Siviglia. She made her City Opera debut last season as the Countess in Rigoletto, followed by Flora in La Traviata, Peep-Bo in The Mikado, the Harlot in Kinkakuji, Mercedes in Carmen, Annina in Der Rosenkavalier and the Second Lady in Die Zauberflote. She has also sung Rosina with the Opera Festival of New Jersey, Birmingham Opera Theater and Lyric Opera of Dallas. Her most recent engagements include Despina in Cost fan tuttevnth Birmingham Opera Theater, Hansel in Hansel and Gretel with Opera North (Vermont), and her solo appearance widi die Catskill Symphony in Beethoven's Symphony No. 9.
Edward Huls, baritone, sings Marcello. He made his City Opera debut in 1992 as Alfio in Cavalleria rusticana. Other NYCO credits include Escamillo in Carmen, the Lion in Griffelkin, Midsummer Marriage, Skula in Prince Igor and, with the National Company, Germont in La Traviata and Escamillo. Trained at Lyric Opera of Chicago, he has been heard there as Figaro in The Barber of Seville, Tarquinius in The Rape of Lucretia, and Dr. Malatesta in Don Pasquale. The Michigan native has appeared with various opera companies throughout the US including Cleveland Opera, Opera Delaware, National Grand Opera, Augusta Opera, Boheme Opera of New Jersey, Lyric Opera of Chicago, Opera Company of Boston, Pittsburgh Opera, Florentine Opera, Baton Rouge, Cincinnati, Western Opera Theater, Texas Opera Theater, and Michigan Opera Theater. He recently sang Schaunard and Amanasro in Aida with Opera at Florham.
Stephan Kirchgraber, bass, returns to the National Company as Colline and the Customs Officer. He has toured with the National Company in two productions of La Traviata, once as Doctor Grenvil and last season as the Baron. He began his career as a young artist with Greater Miami Opera where he sang Banco in Macbeth, Timur in Turandot and Oroveso in Norma. He has also performed with Baltimore Opera and Opera Delaware, and appeared in Don Carlos and Salmnevnth Opemhaus Zurich and Meistersingernt the Spoleto Festival in Italy. A native of Washington state, he created roles in the world premieres of The Woodlanders as John Upjohn and foruri as the Third Assistant both at the Opera Theatre of Saint Louis. He later sang the Third Assistant at the Nissei Theater in Tokyo, which was released on video disc.
Peter Klaveness, bass, sings Colline. The Norwegian native recently sang Sarastro in Die Zauberflotenh Berkeley Opera, debuted with Utah Opera in Strauss' Salome, and performed Sparafucile in Rigoletto with Nevada Opera, where he debuted as the Bonze in Madatna Butterfly in 1995. Later this summer, he will
appear as Leporello in Don Giovanni and as Alcindoro and Benoit in La Boheme in summer festival productions in California vineyards and mountains. This year he also appears as the bass soloist with the American Bach Soloists in Mozart's Grand Mass in c minor, and the Philharmonia Baroque Orchestra in Handel's Israel in Egypt. In concert, he has performed Messiah with the symphonies of San Diego, Fresno, Bakersfield and Auburn, and appeared as a soloist in Verdi's Requiem, Beethoven's Symphony No. 9and Haydn's Creation. His future engagements include a debut with Baltimore Opera as Capulet in Romeo et Juliette.
Linda Larson, soprano, is making her National Company debut as Musetta. She recently sang Musetta, Antonia in Les Contes d'Hoffmann and Gilda in Rigoletlo with Tri-Cities Opera. The Oregon native also sang Gilda with Opera Theater Corvallis. A Metropolitan Opera national council southwest regional finalist, she was a soloist in Mozart's Requiem at the New Texas Festival. She has sung Gretel in Hansel and Gretel with the Opera Theatre of Rochester, Fiordiligi in Cost fan lutte with Peoria Civic Opera, Indianapolis Opera and Opera Memphis, Micaela in Carmen with Tacoma Opera, Abigail in The Crucible with Tri-Cities Opera, and Adele in Die Fledermaus with Uptown and Ithaca operas. Ms. Larson is a graduate of the University of Michigan in Ann Arbor.
Indira Mahajan, soprano, debuts with the National Company as Musetta. She has sung Clara in Porgy and Bess with the New York Harlem Theater on their European tour, at the George Enesco International Music Festival in Romania, and in Tokyo. Most recently, she sang the title role of Treemonisha in Costa Rica. She has also performed with the Metropolitan Opera Guild in Different Fields and First Up Opera, and as Moppett in Paul Bunyan with Glimmerglass Opera. Her other roles include Norina in I Pazzi per progetto, Sandrina in Finta Giadiniera, Lauretta in Gianni Schicchi, Saint Teresa I in Four Saints in Three Acts, Ino in Semele, Tigrane in Radamisto and the title role in La Dafne.
Brian Moon, baritone, debuts with the National Company as Schaunard. This past year he sang Sharpless in Madama Butterfly and Noye in Noye's Fludde at the Aspen Music Festival and Escamillo in Peter Brook's La Tragedie de Carmen. He recently sang Kaspar in Amahl and the Night Visitors with Piccolo Teatro dell'Opera and Ping in Turandot with the Hawaii Opera Theatre. He has sung Peachum in Die Dreigroschenoper with Piccolo Teatro dell'Opera for the Kurt Weill Festival in Bitterfeld, Germany. In concert he was a soloist with the Korean Chamber Orchestra at Carnegie Hall, and in recital sang Schubert's Winterreise for his New York debut at Symphony Space and in Seoul, Korea. Next, he sings Prince Yamadori in Madama Butterfly and Slim in Floyd's Of Mice and Men with Glimmerglass Opera.
John Packard, baritone, last appeared with the National Company as Figaro in II Barbiere di Siviglia. He returns this season as Marcello, the role he also sang with NYCO for his debut in 1994. Last season, he made debuts with Dallas Opera as Sharpless, followed by Yamadori in Madama Butterfly, and La Fenice in Venice as Sharpless. He also performed Brahms' Requiem at Concordia College. Other engagements include his appearance as Figaro, Malatesta in Don Pasquale and Sharpless with the Academy of Vocal Arts in Philadelphia, and as Silvio in a concert performance of Pagliacci with the Orchestra Colonne in Paris. Most recently, he debuted at the Vienna Volksoper as Valentin in Faust. Next season he reprises Valentin in Vienna.
Gregory Rahming, baritone, is making his National Company debut as Schaunard and Marcello. His engagements for the 199697 season include performances of El Cinarron at the Munich Biennale, his return to Mobile Opera as Marcello in La Boheme, his appear?ance as a soloist in the concert suite from Porgy and Bess in Miami, and recitals in Los Angeles, Danbury, Connecticut and Camden, New Jersey. Last season, he made debuts with Anchorage Opera as Germont in La Traviata and Houston Ebony Opera as Iago in a concert ver?sion of Otello, sang Escamillo in Carmen with
Opera Carolina, Balthazar in Amahl and the Night Visitors with Atlanta Opera, and appeared in a Town Hall concert of Rodgers & Hammerstein songs. The Miami native is a winner of the Opera Index Competition.
Bo Song, tenor, is making his National Company debut as Rodolfo, the role he sang last summer with Des Moines Metro Opera and Washington Opera International. A native of Dalian, China, he was an Apprentice Artist with Santa Fe Opera for two seasons where he received the Grand Award. He recently returned to China as a soloist at the Sixth Dalian International Custom Grand Opening Gala, which was broadcast on China Central television. He has also shared the stage with Yo-Yo Ma at the Sanders Theatre at Harvard University, and sung with the Opera Theatre of Saint Louis as Ajax B in La Belle Helene and appeared in their Twentieth Anniversary Gala. Other roles include Ferrando in Cosifan tutte and the Prince in Cendrillon with Boston University, and the Farmer in The Nymph and the Farmer with the Foundation for Chinese Performing Arts.
Joseph Colaneri, conductor, has been NYCO's chorus master since 1983, and music director of the NYCO National Company since 1991. Since making his NYCO conducting debut in 1987 with South Pacific, he has lead numerous performances including La Traviata, The New Moon, La Boheme, the 1993 world premiere of Hugo Weisgall's Esther, II Barbiere di Siviglia, and last season's Tosca, Rigoletto, and Kinkakuji. This season he conducts Rigoletto and Carmen. As music director of NYCO's National Company, he has conducted Tosca, Carmen, Madama Butterfly, II Barbiere di Siviglia, and most recently, La Traviata on tour throughout the US. He has been featured as a frequent speaker in the New York metropolitan area and has his own series of Opera Insights lec?tures each season at NYCO. He also teaches the Saturday Opera Seminar at New York University's School of Continuing Education. Maestro Colaneri was City Opera's acting music director for the 1995-96 season.
Beth Greenberg, director, made her New York City Opera directorial debut this fall with Les Conies d'Hoffmann. She began her association with NYCO eight years ago, and has directed the revivals of Jonathan Miller's Der Rosenkavalier, La Boheme and Renata Scotto's La Traviata. She directed the New York pre?miere of Jorge Martin's Tobermory for the American Chamber Opera, and has also staged productions for the Pittsburgh Opera Center, the Center for Contemporary Opera in New York, and Montclair State College. As an assis?tant director she has worked for San Francisco Opera, Houston Grand Opera and San Diego Opera, among others. In Europe, she assisted Francesca Zambello on Street Scene for Berlin's Theatre des Westens. A former Fulbright schol?ar, Ms. Greenberg has also worked as an assis?tant to Diana Vreeland at the Costume Institute of the Metropolitan Museum of Art.
Lloyd Evans, set designer, joined New York City Opera in 1965 and created twenty-three pro?ductions for the Company. His work is seen at City Opera this season in the productions of La Boheme and Madama Butterfly. The Michigan native's other credits include the world pre?miere of Hoiby's Summer and Smoke for St. Paul Opera and the American premieres of Britten's Curlew River, The Burning Fiery Furnace, and The Prodigal Son for the Caramoor Festival. In 1978 he won an Emmy Award for his work on Love of Life. He was an art director for As the World Turns until his death in 1989.
Joseph A. Citarella, costume designer, has been New York City Opera's director of wardrobe since 1980. He made his Company debut in 1992 with costumes for Regina, and since then has created the costumes for Hugo Weisgall's Esther, La Boheme and, this season's H.M.S. Pinafore. In addition, he has designed costumes for the NYCO National Company tours of Carmen, The Marriage of Figaro, Tosca, II Barbiere di Siviglia, and last season's La Traviata. He has also designed costumes for Ashley Putnam and Sherrill Milnes in Hamlet and Lombardi. Outside City Opera, he has created costumes
for many regional companies and festivals, and has been an adjunct professor in costume design at Fashion Institute of Technology in New York City for over ten years.
Jeff Davis, lighting designer, recently designed Malhis der Maler, La Boheme, Kinkakuji, The Dreyfus Affair, Cinderella, Turandot, and Carmen for NYCO. Previous City Opera credits include Harvey Milk, Wonderful Town, Prince Igor, La Traviata for the stage and Live From Lincoln Center, Cavalleria rusticana and Pagliacci, 110 in
the Shade, Regina, Esther, Griffelkin, and Marilyn. This season his work at City Opera is represent?ed by Falstaff and Madama Butterfly. His Broadway credits include revivals of Born Yesterday, I Never Sang for My Father, The Man Who Came To Dinner, and Albee's The Man Who Had Three Arms. For television, he has designed Brian Boitano's Canvas of Ice, and Skates of Gold for ABC; Ice Wars for CBS; Live From Lincoln Center and Great Performances for PBS, as well as various soap operas.
New York City Opera National Company Orchestra
Dale Chao, Concertmaster Elizabeth Kaderabek, Asst. Concertmaster Marya Columbia, Principal Second Peter Borten G. Eric Chapman Rachel Heineman Nina Saito Shuo Zhang
David Lennon, Principal Carol Benner Glenn Loontjens
Patricia Edens, Principal Tara Chambers Peter Howard
Martha Cox, Principal
Peter Ader, Principal
Lisa Kozenko, Principal
Cris Inguanti, Principal
Stephen Wisner, Principal
John Paul Aubrey, Principal Mark Martin
John Sheppard, Principal John Trujillo
Jay Evans, Principal
James Thoma, Principal
Steven Machamer, Principal
New York City Opera National Company
General and Artistic Director Sherwin M. Goldman,
Executive Producer Joseph Colaneri, Music Director Julie N. Samuels, Business Manager Linda Jackson, Company Manager John Knudsen, Technical Director Bettina Altman-Abrams,
Publicity Coordinator Caren France, Asst. Company Manager
Production Staff Manager
Michele McCoy Staff Manager
Dcnise Winter Head Carpenter
Jim McWilliams Head Electrician
Matthew Noesen Head of Properties
Eric Thoben Wardrobe Supervisor
Tony Gorzycki Assistant Carpenter
Gavin Holmes Assistant Electrician
Support for the National Company's activities is provided by Metropolitan Life Foundation; the GTE Foundation; the Hoechst Celanese Corporation; The Marie and Victoria Marcheso Trust; and the National Endowment for the Arts.
Scenery built by Center Line Studios, Inc. Lighting equipment supplied by Production Arts Lighting. Poster design created and donated by Arden von Haeger. Rehearsal facilities provided by Aaron Davis Hall, New York.
CONLIN TRAVEL and
The Academy of St. Martin in the fields
Iona Brown, Artistic Director
Sunday Afternoon, February 23, 1997 at 4:00
Rackham Auditorium Ann Arbor, Michigan
George Frideric Handel
Concerto Grosso in a minor, Op. 6, No. 4
Larghetto affettuoso Allegro
Largo, e piano Allegro
Johann Sebastian Bach
Concerto in d minor for Harpsichord and Orchestra, bwv 1052
Allegro Adagio Allegro
Ian Watson, Harpsichord
Johann Sebastian Bach
Orchestral Suite No. 2 in b minor, bwv 1067
Ouverture Rondeau Sarabande Bourree I Bourree II Polonaise Menuet Badinerie
Jaime Martin, Flute
Johann Sebastian Bach
Brandenburg Concerto No. 5 in D Major, bwv 1050
Fifty-fifth Concert of the 118th Season
Special thanks to Mr. Tom Conlin for his continued support through Conlin Travel.
Special thanks to Lorna A. McDaniel, Associate Professor of Musicology, U-M School of Music, for serving as speaker for tonight's Performance-Related Educational Event (PREP).
Columbia Artists Management Inc.
Tour Direction: Deborah Silverstein and Ronald A. Wilford
Philips Classics, EMIAngel, Hanssler Classic,
Collins Classics, Capriccio, Chandos, and Virgin Classics recordings
Large print programs are available upon request.
Concerto grosso in a minor, Op. 6 No. 4
George Frideric Handel
Born on February 23, 1685 in Halle
Died on April 14, 1759 in London
The concerto grosso form existed as early as 1675. During the Baroque period, the concerto grosso form occupied a posi?tion similar to that of the symphony in Classical times. This essentially Italian com?positional form, with its emphasis on pure string tone, was taken by Handel as a model for his Twelve Concerti Grossi, Op. 6. The divi?sion of ensemble into ripieno (tutti) and con?certino (small ensemble) appears even in Stradella's sinfonias (1644-1682). It was in arias of his that the characteristic pattern of dialogue and echo was created. Originally, the term "concerto grosso" signified not the concerto form itself, but the larger "tutti" ensemble of players. Today, however, the term typically refers to concertos with a large section contrasting a smaller soloistic group, without account for style, instrumen?tation or sequence of movements.
Handel's Op. 6 consists of twelve con?certi grossi. With astonishing facility, Handel began to compose these works on September 29, 1739, and completed the collection on the last day of the following month. All of the concertos feature a concertino of two vio?lins and one cello in contrast with the full string ripieno. They are filled with the fresh?ness and spontaneity that marked so much of his music, but differ essentially among themselves only in melodic content.
Handel composed his Op. 6 concertos to meet the taste of a specific public--the English aristocracy, whose taste was decidedly conservative. The more modern concertos of Vivaldi and other Venetians had, of course, been played in London, but the favorite composer of concertos by far was Corelli. Handel eschewed the new, three-movement form, with its clear-cut ritornello patterns in
favor of such Corellian usages as unpre?dictable, often quite loose overall structures, solo episodes of a trio sonata character, a lack of differentiation between solo and tutti material and the inclusion of fugal quick movements and sarabande-like slow ones. In his Concerto Grosso, Op. 6, Handel managed to imitate virtually every European composi?tional style of his day.
Concerto in d minor for Harpsichord and Orchestra, bwv 1052
Johann Sebastian Bach
Born on March 21, 1685 in Eisenach, Germany
Died on July 28, 1750 in Leipzig
Between the years 1717 and 1723, Bach was employed as Kapellmeister at the court of Prince Leopold of Anhalt-Cothen. The composer was well known in his time as an organ virtuoso, but he was also an accom?plished violinist and an excellent viola da gamba player. Having no organ available there, Bach turned his attention to works for other instruments. It was at this time that he composed most of his instrumental chamber music, as well as the six Brandenburg Concertos and the concertos for one or more violins, which were later arranged for harpsichord (s) and orchestra. The Harpsichord Concerto in d minor, BWV 1052 was arranged as such by Bach from his Violin Concerto in d minor, composed circa 1720; ironically, the original violin concerto was lost and exists today as a reconstruction of the arrangement for harpsichord.
Indeed, it is interesting to note that, aside from the transcription for harpsichord and orchestra, all three of this concerto's movements were also used in Bach's own choral works: the first movement appeared as the "Sinfonia" to Cantata No. 146: Wir
mtissen durch viel Triibsal; the "Adagio", with a four-part choral overlay, became the open?ing chorus for the aforementioned cantata; and the last movement was used as the "Sinfonia" in Cantata No. 188: Jch habe meine Zuversicht. It is Bach's practice of "recycling" his own music that has allowed musicologists to reconstruct some of his lost masterpieces, as is the case with the magnificent version for violin of this concerto in d minor.
Bach wrote this d-minor Concerto in the Italian style after Vivaldi, employing the pattern of three movements with a tempo scheme of fast-slow-fast. The outer movements feature the exact repetition of longer or shorter formal sections; refrains employing fundamental thematic material are repeated in various tonalities, while inserted between these thematic recurrences are several episodes of musical material, either thematically bor?rowed or altogether new in thematic content.
The opening "Allegro" combines the concerto principle with da capo (A-B-A) form; it is distinguished by its relentless and irresistible forward drive. The orchestra reveals a severe theme played in unison, after which the solo harpsichord declaims a new theme in the same key. Through frag?mentation and clever transformation, both subjects are elaborately worked out.
The second movement, marked "Adagio," is based on beautifully woven repetitions in ostinalo fashion. Throughout the proceed?ings, the harpsichord adds considerable ornamentation to each phrase of the deeply expressive melody.
The third movement, "Allegro," is quite animated and rhythmically bears a resem?blance to the first movement. The thematic material for this dance-like finale is all derived from its opening measures. The mood generated throughout is sharp and vigorous.
Orchestral Suite No. 2 in b minor, bwv 1067
Johann Sebastian Bach
It is generally believed that Bach com?posed his four orchestral suites (referred to as overtures in his day) during his service to Prince Leopold in Cothen (1717-1723). However, it has also been theorized that, due to the elaborate nature of these works, they may be the product of Bach's tenure at Leipzig, where he conducted them at concerts of the Collegium Musicum after he assumed the directorship in 1729. Unfortunately, the original manuscripts have not survived, and there are no written records giving us any clear details of the advent of these works. In any event, modern-day musicians and audiences alike are indeed fortunate to have in the concert repertoire these exquisite compositions, which have been reconstructed from existing individual parts collected from various libraries and other sources.
Clearly marked by French influences, the Suites are composed of a number of dances, favorites of the time, and intended for a rel?atively small instrumental group. It is one of Bach's many wonderful achievements, that he was able to raise the popular dance movements of his time to the highest level of art without sacrificing their natural fresh?ness and vitality.
Among the orchestral suites, the one in b minor occupies a special place, as it is per?haps the most outstanding and ingenious in its content and form. The Orchestral Suite No.2 is also unique in its instrumentation which is limited to one solo flute and strings, imparting the piece with a character of chamber music, while approaching at the same time the realm of the solo concerto, given the treatment of the flute as soloist. The mood of this suite is soft, delicate and distinguished throughout.
As in the rest of the Suites, the "Ouverture" to the Suite No.2 is in the French fashion
(slow quick slow) and essentially bears a contrapuntal style. The outer sections in which trills vibrate throughout are elegantly solemn, while the animated middle section alternates between solo passages highlight?ing the solo flute and fugato episodes for the whole ensemble. Six dances follow -all of i French origin, except for the "Sarabande."
The "Rondeau " exhibits great finesse and I is truly a masterpiece in miniature. The "Sarabande" is replete with all the nobility of this dance of Spanish origin; here, the outer voices (flute along with first violins and the basso continuo) build a canon while the middle voices provide intricate counterpoint.
The first "Bourree" is built upon an osti-nato bass and exhibits a rather haughty nature. The second "Bourree" is sweet and played piano throughout, after which the first "Bourree" is repeated.
The "Polonaise" employs the marking Lentement -rare in itself for Bach -and features soft echo repeats. The middle section, designated as Double, features the solo flute against the sole, scant accompaniment of the basso continuo. This is followed by a repeat of the "Polonaise."
The short "Menuet" is a tender character piece; it proceeds with elastic flow. The Suite concludes with a "Badinerie," the forerunner of the Scherzo. This last movement is distin?guished by a fantasy, at the same time both brilliant and measured; the flute sparkles throughout with music of exacting virtuosity as Bach brings his suite to its spirited conclusion.
Brandenburg Concerto No. 5 in D Major, bwv 1050
Johann Sebastian Bach
In 1717, Johann Sebastian Bach began a six year term as Kapellmeister to Prince Leopold of Anhalt-Cothen; this post was to provide him the most agreeable interlude in a life-long career that was mostly dedicated
to the church. Prior to this, Bach had spent nine years as Kammer Musicus and Organist to Duke Wilhelm Ernst of Saxe-Weimar, who imprisoned him when the composer expressed a desire to leave; this period saw the creation of the great organ works. After his post in Anhalt-Cothen, Bach spent his remaining twenty-seven years as Cantor at the St. Thomas and St. Nicholas churches in Leipzig, where he wrote his greatest choral works (the Passions, the b-minor Mass and the long catalogue of church cantatas) which were considered mediocre by the church officials of the city.
Prince Leopold, on the other hand, was far more musically intelligent and apprecia?tive of the composer's obvious talents, and he put a small orchestra of excellent musicians at the composer's complete disposal. Thanks to Prince Leopold, Bach was able to write some of his most important instrument works such as the violin sonatas (which were likely intended for the Prince to play), the first volume of The Well-tempered Clavier, some of the orchestral suites and the six Brandenburg Concertos.
Among the friends of Prince Leopold was Christian Ludwig, Margrave of Brandenburg, who commissioned Bach to write a set of six concertos for court celebra?tions. In March, 1721, Bach forwarded the score of the six concertos to the Margrave with a humble letter of dedication in French. It is not known what Christian Ludwig replied or even if he ever heard the music performed, but his name is still known today because of these works; although Bach never referred to these concertos by the qualifier "Brandenburg," this title was added one hundred years later when the manu?scripts were first published.
As the concerto form at that time had not yet become clearly defined, the compos?er was free to write for any combination of instruments diat seemed fitting. Consequendy, the choice of instrumentation for the six concertos offers the utmost variety, as each
work was written for differing ensembles. With the sole exception of the Third Concerto (which is written for three equal choirs of strings), the Brandenburg Concertos adhere to the then favored concerto grosso form; in each of these concertos the con?certino (a group of solo instruments) is set against the ripieni (full complement) of other instruments. (The concerto grosso was developed throughout the seventeenth and eighteenth centuries. The form relies on the contrast and interplay of two distinct textures, generated by the "competition" between the solo concertino instruments and the rest of the orchestra. More often than not, the ripieni included a harpsichord to achieve a more defined sound; this bass accompaniment by the harpsichord was called a continuo. However, as has already been established, the fifth Brandenburg Concerto deviates from this norm, as the harpsichord plays the role of a soloist rather than that of providing the basis for the con?tinuo.)
The Brandenburg Concerto No. 5 in D Major is essentially a "triple" concerto, featuring the harpsichord, violin and flute as soloists in all three of its movements. The thematic material of the opening "Allegro" is present?ed at once by the ripieno and is repeated by the concertino before being reiterated in the dominant key of A Major. The solo violin and flute have frequent responsive passages which are juxtaposed against the ripieno accompaniment. Before the coda, the harp?sichord presents an elaborate and extended (sixty-six measures-long) solo cadenza of extraordinary virtuosity.
The second movement, "Affetuoso," in the relative key of bminor, presents the three solo instruments of the concertino, without ripieno, in an intricately interwoven and expressive melody. The trio, in canonic style, creates a solemn, reflective mood which highly contrasts the intense vitality of the outer movements.
The final "Allegro" is similar in structure to the opening movement, except that the concertino gets to present the thematic material and there is no solo cadenza at the end. In marked contrast to the preceding movement, the finale features lively, dance-like music with bright rhythms, effervescent melodies and richly-hued sonorities. Developed in an energetic fugato, the main theme is then expanded into a more fluent style as it brings the concerto to its emphatic and joyful conclusion.
Program notes by Edgar Colon-Hernandez.
Iona Brown was born in Salisbury, England into a highly musical family. She went on to study in Rome, Brussels, Vienna, and in Paris with Henryk Szerying. Iona Brown has been a member of the Academy since 1967, and in 1974 was appointed artistic director of the Academy of St. Martin in the Fields.
In 1981 Iona Brown became artistic director of the Norwegian Chamber Orchestra. Since that time, she has made several recordings and many successful tours with the orchestra in countries such as Germany, Holland, Spain, Norway, Sweden, and the US, and has made numerous tours of the United Kingdom, including perfor?mances at the Henry Wood Promenade Concerts in the Royal Albert Hall.
From 1985 to 1989, Iona Brown was guest director of the City of Birmingham Symphony Orchestra, and from 1987 to 1992 was music director of the Los Angeles Chamber Orchestra. She has also conduct?ed orchestras in the US and Europe, includ?ing the San Francisco Symphony, St. Louis Symphony, National Symphony, San Diego Symphony, St. Paul Chamber Orchestra, Leipzig MDR Chamber Philharmonic,
Stockholm Sinfonietta, and Nieuw Sinfonietta Amsterdam.
In 1986 Iona Brown was awarded the Order of the British Empire for her services to music. In 1991 she was honored by King Harald of Norway, in recognition of her contribution to Norway's musical life.
Iona Brown plays on the Booth Stradivari, dating from 1716.
Iona Brown made her UMS debut in November 1980. This afternoon's performance marks her fourth appearance under UMS auspices.
Founded in 1959, the Academy of St. Martin in the Fields was originally conceived by Sir Neville Marriner as a small, conductorless string ensemble to reflect the per?formance practice of the baroque era. Since those early days, when its concerts took place at the eighteenth-century church of St. Martin in the Fields on Trafalgar Square, the Academy has expanded and experimented widely. Today, this versatile ensemble performs at home and abroad as a small ensemble, chamber orchestra, or symphony orchestra.
Sir Neville Marriner is the orchestra's artistic director and music director; Kenneth Sillito and Iona Brown are artistic directors of the orchestra.
The Academy of St. Martin in the Fields is the most recorded chamber orchestra in the world, with almost 1,000 recordings and a repertoire that ranges from the seven?teenth to the twentieth century. Among its international awards are eight Edisons, the Canadian Grand Prix, and innumerable "gold discs." Under the direction of Sir Neville Marriner, the Academy received thir?teen gold discs alone for its soundtrack for Milos Foreman's award-winning film, Amadeus, and recorded the soundtrack for Valmont, a film adaptation of Les Liaisons Dangereuses.
In recent seasons, Iona Brown and the Academy of St. Martin in the Fields' tours included highly acclaimed performances in Scandinavia, Spain, Holland, Germany, and a sold-out tour in the US. Iona Brown and the Academy have also performed at the Bergen and Schleswig-Holstein Festivals, and tour Germany, Spain, and Norway. In April 1993, the Academy of St. Martin in the Fields became the first orchestra to be hon?ored with the Queen's Award for export achievement.
In response to its enormous popularity with American and Canadian audiences, the Academy of St. Martin in the Fields has per?formed in North America every season since its first tour here in 1980.
The Academy of St. Martin in the Fields' made their UMS debut in 1980. This afternoon's performance marks their third appearance under UMS auspices.
Academy of St. Martin In The Fields
Iona Brown, Artistic Director
Iona Brown Keith Pascoe Mark Butler Edmund Butt Darrell Kok Maxine Kwok Adrian Levine Carmine Lauri Katherine Loynes Eleanor Mathieson Helen Paterson
Anthony Jenkins Rachel Bolt Susan Knight Ralf Ehlers
Mats Lidstrom Joanne Cole Josephine Knight
Mrs. George Brown
THOMAS B. MCMULLEN CO.
One Earth Tour
Kazunari Abe, Takeshi Arai, Sayo Asai, Yoshikazu Fujimoto, Kazuki Imagai, Sachiko Inoue, Ryutaro Kaneko, Isao Murakami, Tetsuro Naito, Akira Nanjo, Ayako Onizawa, Eiichi Saito, Hideyuki Saito, Motofumi Yamaguchi, Michiko Yanagi
Monday Evening, February 24, 1997 at 8:00
Tuesday Evening, February 25, 1997 at 8:00
Ann Arbor, Michigan
Fifty-sixth and Fifty-seventh Performances of the 118th Season
World Tour Series
Special thanks to Tom McMuUen for his continued support through the Thomas B. McMuUen Company.
Large print programs are available upon request.
Composed by Tetsuro Naito The beat is an important factor in creating the rhythm and music. This piece is com?posed of a 78 beat which is an unusual rhythmic pattern for our style. Another characteristic of Nanafushi highlights the performers improvising freely to show the range of unique rhythms and sounds that is produced by their individual personalities and inspirations.
On Miyake Island, one of the seven volcanic islands of Izu south of Tokyo, there is a festi?val centered on this very unique style of drumming. The drums are set very low to the ground, requiring the strenuous stance. Kodo's arrangement of this piece features the flamboyant technique and free improvi?sation of the performers.
Composed by Motofumi Yamaguchi This piece was one of a number that was composed for J. F. Lawton's film The Hunted (1995). The movie is about a clash between the decendants of traditional Japanese samu?rai and ninja. The music was composed with the intention to create a score diat stands alone for listeners, without the benefit of seeing the film.
Composed by Maki Ishii
Weaving constant rhythmic patterns togeth?er with highly irregular ones, Monochrome develops spirally to an exciting climax. The listener might interpret the sounds as those of the changing of the seasons, or perhaps even the progression of life itself. The
ambitions pace expands greatly the range and power of expressison of the roped shime-daiko. A companion piece, Monoprism, writ?ten for performance with full orchestra, was premiered at Tangelwood by Kodo and the Boston Symphony under Seiji Ozawa.
The origins of this piece are from a style of dance known as Jangara-Nenbutsu from the area around Iwaki City in Fukushima Prefecture. This dance is performed in rememberance of the dead during the late summer festival, known as Obon. With a drum slung around their waist, the perform?ers play and dance interactively. The ele?gant handling of the drum sticks is also a characteristic of Kodo's arrangement of this piece.
Composed by Roetsu Tosha The piece features four drummers playing Okedo daiko (barrel) and Shime daiko (roped), and one drummer on a larger Miya daiko. The players pass the sounds from one to another, playing at a frenetic speed, mix?ing traditional Japanese rhythms with more modern tempos, blending tense excitement with subtle humor. The title Chonlima -One Thousand League Horse alludes to a stal?lion in a well-known Korean legend that pos?sessed great speed and stamina.
Kiyari was a working song used to help co?ordinate the efforts of woodsmen as they were hauling huge trees. The song has also become popular for celebrating happy occa?sions. One singer would lead and the other workers would respond together in unison.
The story is told of a baby who upon hear?ing the thunderous sound of the O-daiko dropped off into a peaceful slumber. The powerful sounds emanating from the 0-daiko possess a deep tranquility. The arrangement is simple. The drummer on one side beats out a basic rhythm while the main player improvises freeley. When they become united with each other and the rhythm, both the drummers and the listen?ers find themselves wrapped within the embrace of the O-daiko. This miyadaiko carved from a single tree, measures about four feet across and weighs about 800 pounds.
Every year on December 3 in Saitama Prefecture, an allnight festival is held featur?ing richly decorated two story yatai (carts) pulled from village to village. The people hauling the yatai are urged on by the power?ful beating of the taiko, concealed in the cramped first story of the carts. This gave rise to a techinque of drumming while seat?ed. Turning the two-ton fixed axel carts at intersections requires complex team work. And is accompanied by precise and intricate lama-ire solos on the shime-daiko.
odo, the Japanese percus?sion company whose per?formances on the taiko (Japan's traditional drum) have electrified audiences on five conti?nents, has become one of the world's most celebrated and popular performing companies. 1997 marks the occasion of Kodo's fourteenth tour of North America.
"Kodo" means both "Heartbeat" and "Children of the Drum" and expresses not only the sound of a mother's heartbeat as heard and felt from within the womb, but also the desire to play the drums purely, with the heart of a child. In addition to drums of assorted sizes, Kodo employs dance, mime, and a variety of other instru?ments, including the shamisen, bamboo xylophone, gong, bamboo flute, and wood?en clacker. But the drums dominate a Kodo performance, and the most majestic is the odaiko, a huge, decorated 800 pound instru?ment carved from the trunk of a single tree and played by two men. The New York Post wrote: There is both innocence and tradi?tion embodied in this drumming, as well as virtuosity and a subtlety of detail. Its rhythms really do move the tribal blood still
running through our urban veins."
Drawing from its country's rich tradition of music and performance, Kodo has created a vital sound and tradition of its own, one which is decidedly contemporary in presentation. Kodo has also made an incal?culable contribution to the worldwide renais?sance of interest in per?cussion, both through
its own artistry on the taiko and through its numerous relationships with symphony orchestras, dance companies, and major jazz and popular musicians. Kodo has collabo?rated on original compositions with the Boston Symphony Orchestra, the Berlin Radio Symphony Orchestra, the Tokyo Symphony Orchestra, the Deutsche Oper Berlin, the Circle Ensemble of Holland, and with renowned American jazz drummers Max Roach and Elvin Jones. Kodo's music has also been a part of three recent major motion pictures: J-F.K, Hard Target, and The Hunted, in which Kodo composed and per?formed the entire film score.
Kodo is based on Sado Island in the Sea of Japan, an isolated setting of great natural beauty and home to the company since its founding in 1971. When not on tour, which occupies approximately eight months each year, the members live communally on Sado. Each day is spent in study, practice, and exercise to develop the physical strength, energy, and stamina demanded in perfor?mance. The company spent many of its early years training and rehearsing, appear?ing in the Far East, and making debut tours to the US and France.
In August 1988 a dream was realized when Kodo Village was officially opened on Sado Island and the first Earth Celebration was held. This week-long series of concerts, lectures, discussions, workshops, and art
exhibitions brought together percussion companies and musicians from throughout the world and is now an annual event on Sado.
In ancient Japan the taiko was the symbol of the rural community, and it is said that the village limits were not solely determined by geography, but by the farthest distance at which the drum could be heard. It is Kodo's desire that its One Earth Tours bring the sounds of the taiko to the ears of people around the world, so that we might all be reminded of our membership in that much larger and more important village of the world.
Kodo made their UMS debut as part of their first US lour in October 1982. These performances mark Kodo's seventh and eighth appearances under UMS auspices.
Motofumi Yamaguchi Richard A. Maldonado Masafumi Kazama Takashi Akamine Nobuko Yamada Donnie Keeton
Artistic Director Techinical Director Stage Manager Company Manager Assistant Manager Assistant Manager
148-1 Kanetashinden, Ogi, Sado Island, 952-06 Japan
DR. HERBERT SLOAN
The national Traditional Orchestra of China
Hu Bingxu, Conductor
Hei-Ye Ni, cello Wu Yuxia, pipa Song Fei, erhu
Wednesday Evening, February 26, 1997 at 8:00
Hill Auditorium Ann Arbor, Michigan
Traditional (Arranged by Peng Xiu Wen)
The General's Command
Traditional (Arranged by Qin Peng Zhang)
Spring on a Moonlit River
for pipa and orchestra Wu Yiixia, pipa
Hua Yan Jun (Arranged by Wang Zhu Jie)
Reflections of the Moon
for erhu and orchestra Song Fei, erhu
Xin Hu Guang (Arranged by Lui Wen Jin)
Ga De Mei Lin: Symphonic Poem
Spring Dreams (Dedicated to Yo-Yo Ma)
for cello and orchestra of traditional Chinese instruments
Midnight Bells Spring Opera
Hei-Ye Ni, cello
Liu Tian Hua (Arranged by Peng Xiu Wen)
Jin Jian Shu
Battle at the Golden Beach
for percussion and orchestra
Fifty-eighth Concert of the 118th Season
World Tour Series
This concert is presented with the generous support of Dr. Herbert Sloan.
Large print programs are available upon request.
The General's Command
Traditional (Arranged by Peng Xiu Wen)
This is an orchestral piece derived from the traditional work of the same name for pipa. It has a deep, sonorous, robust and solemn character and creates the impression of a great army on the march. This work was originally for the pipa, and in this orchestral version the use of semi-quavers is retained to preserve its original flavour.
Spring On A Moonlit River
Traditional (Arranged Qin Peng Zhang)
Spring On A Moonlit River is an ancient tune adapted from the pipa classic Flute and Drum of the Twilight by Liu Yaozhang, a member of the Tatung Music Club in Shanghai, in 1925. Over the decades the work has been refined by a number of musicians and is now a much-loved piece.
In the first section, 'The Bells and Drums of the Pavilion by the River," the pipa strikes out in imitation of drums, while die xiao and the cheng softly suggest a river scene in the evening, when the sun sets and a gen?tle breeze rises. This is followed by the beautiful theme, played by the entire orchestra. The second and third sections vividly describe 'The Moon Rises on Dongshan " and "A Breeze Over the Meandering Water." In the next section, which refers to the clouds, the pipa, the erhu and the chonghu continue to render a pas?sage of remarkable depth. Then the xiao, accompanied by the pipa and the wood?block, plays a cantabile passage. This leads into another passage played by the full orchestra. The tempo picks up speed and attempts to paint a scene of the sails of many boats approaching. In the seventh section, a series of slow then fast, sonorous and powerful notes are heard from the pipa, as if fishing boats are breaking the waves to
hurry home. The climax of the whole work is the ninth section, 'The Home-going Boat," where the chengand the pipa, accom?panied by the tutti orchestra, play from slow to fast and from piano to forte, depicting a speeding boat and the sight and sound of the waves. The boat is now far away and the music gradually reduces in strength and vol?ume. The whole work then ends with a melodious passage that invites the listener to reflect on its meaning.
Reflections of the Moon
Hua Yanjun (Arranged by Wang Zhujie)
This work, inspired by moonlight shining on spring water, leads the composer to reflect on his own vicissitudes in life, and a sense of frustration and anger is apparent in the music.
Ga De Mei Lin: Symphonic Poem
Xin Hu Guang (Arranged by Liu Wen Jin)
This work extols the Mongolian hero Ga Da Mei Lin, who led a revolt against his cruel overlord and other warlords of the times. The symphonic poem, based on a Mongolian folk song of the same name, is written in the sonata form. It brought con?siderable fame to its composer after he com?pleted the work in 1956.
The work begins with a quiet, slow intro?duction, after which the beautifully flowing first theme, reminiscent of a folk song, appears. It brings to mind an expansive vista of grassland, the land that nurtures folk heroes. Then a vigorously rhythmic second theme enters, symbolizing the uprisings of Ga Da Mei Lin and his friends. A series of variations on the theme follows, culminating in an emotional climax depicting the epic tragedy of the battles. At this point, the first
theme reappears, mourning and in deep sorrow, as people lament over the death of their hero. Then the piece undergoes changes in both dynamics and tempo, and the lament is transformed into a panegyric for Ga Da Mei Lin, pushing finally to vibrant trumpet sounds signifying an upsurge of emotions.
In traditional Chinese music, almost without exception, a composition is decorated with a descriptive title. In addition, different sec?tions within one work (even when played without interruption) are often given differ?ent names. These titles, though not neces?sarily programmatic, usually suggest and evoke the essential character and nature of a work. And traditionally they benefit all three groups of people participating in a composition: the composer, the performer, and the listener. While the advantages for a listener might be obvious, a title also typical?ly serves as a "jumping-off point" for the composer's imagination (whether it was given before, during, or after the comple?tion of the work) and, as a point of depar?ture for the recreation by the performer, frequently the composer himor her-self.
The word chun (spring) in classical Chinese also has strong connotations of "lust" and "sensual love."
The first movement, "Midnight Bells," is in part inspired by some of the lines in a Tang Dynasty poem:
. . .And, from afar, of the temples in the
Chilly Mountains The sound of the midnight bells sings over
the arriving boat.
Spring Dreams was commissioned for Yo-Yo Ma and the National Traditional Orchestra of China by the Carnegie Hall Corporation. The premiere performance was given at Mechanics Hall, Worcester, MA on February 19, 1997 and the New York premiere on February 20, 1997, at Carnegie Hall. It is dedicated to Yo-Yo Ma. Bright Sheng is a Professor of Composition at the U-M School of Music.
The National Traditional Orchestra of China would like to thank AT&T for making possible this commis?sioned work fry Bright Sheng.
Liu Tian Hua (Arranged by Peng Xui Wen)
This work was originally written by Liu Tianhua in the 1930s as an Erhu solo. Some Western composing techniques are incorpo?rated into the music. The orchestral version presented here makes it more cheerful, smooth, and rhythmic, expressing people's longing and seeking for a beautiful future life.
Battle at the Golden Beach
This piece is performed by the combination of Chinese traditional orchestra and tradi?tional percussion, with Chinese big drum, Pai-ku drum, Tang-ku drum and gongs as the main instruments, and the support of other percussion instruments such as the "Hoof Bowl" and the "Can Tube." The music describes the scene of an army of olden times in full battle array, going on an expe?dition and fighting, bringing people's imagi?nation back to an ancient battlefield with cold steel glinting and flashing, and horses neighing.
Instruments of the
National Traditional Orchestra of China
Bowed String Instruments
Erhu-Evolved from the Hu-qin instruments of the nomadic people during the Tang dynasty (AD 618-907), the Erhu has since become one of the best known Chinese instruments. The two stringed Erhu is played with a bow passing between the strings instead of pressing on top of them as with the violin. Because of its mellow, expressive tone and penetrating power, the Erhu is a favored solo instrument.
Gaohu -A variation of the Erhu, the Gaohu is similar to the Erhu in shape, but is capable of producing much higher pitches.
Zhonghu --Because of its larger res?onating body, the Zhonghu produces a darker tone than the Erhu. Its timbre resembles that of the Western viola. The Zhonghu is primarily used in ensemble but occasionally serves as a solo instrument.
Plucked String Instruments
Pipa-Pipa was the common name for all plucked instruments in ancient times. The origin of the Pipa can be traced back to the third century BC The modern pear-shaped Pipa is based on the early pipa instruments while adopting the twelve-tone equal temperament. Its frets have also been increased from the original twelve to twenty-six. The Pipa is strummed or picked, like a lute, and can be used as a solo instrument as well as for accom?panying plays, acrobatics and songs.
Juan-It is believed that the Juan got its name from "Juan Hsien," one of the seven famous sages of the Chin dynasty (BC 221-206) who was very adept at playing this instrument. After years of refinement, the Juan has evolved into its modern configuration
in three sizes -small, medium, and large. The medium Juan has a long neck and a small resonating body while the large Juan has a shorter neck but a round and much bigger body. Both are commonly used in the Chinese orchestra. These instruments are equipped with three and four strings respectively and are played in the same way as the Pipa.
Struck String Instrument
Yangqin --Imported to the Guangdong coastal regions from Persia in the Ming dynasty (AD 1368-1644), the Yangqin has since been introduced to the rest of main?land China. Resting on a stand, the Yangqin is a multi-stringed instrument with a crisp sound and is played by striking the strings with a pair of mallets. It is a versatile instrument because of its ability to produce simul?taneous chords and rapid arpeggios.
Di-Made of bamboo, the Di is the equivalent of the Western flute. Configured with six fingering holes, a blowing hole and a membrane hole, the Di has a range of about two octaves. The Di dates back to the Han dynasty (206 BC-AD 221) and became an important instrument for accompanying plays during the Sung dynasty (AD 960-1279).
Sheng -A multi-pipe mouth organ, the Sheng is one of the most ancient woodwind instruments in China. Its long history goes as far back as the eighteenth century BC. The modern Sheng comes in various sizes and can be equipped with as many as thirty-six pipes. It is the only polyphonic wind instrument and can be used for solo playing and accompaniment.
Suona -The Suona was imported from Persia during the Ming dynasty (AD 1368-1644). It resembles a valve-less trumpet and comes in different sizes -soprano, tenor and bass. Its varied timbre makes it a versatile instrument for different occasions like wedding, funeral and folk festivals.
Cymbals, small gongs, clappers and bells -The Chinese percussion family consists of some of the most ancient instruments in history. The Cymbal came to China around the fourth century together with Indian music, and was employed in the banquet music of the Tang dynasty. Small gongs and the bell have flour?ished since the early sixth century, and the clapper became widely used after the rise of the clapper tunes in the seventeenth century.
Pan-ku -This is a drum with leather on one side only and is the leading percussion instrument used in Chinese orchestras and Chinese operas.
Pai-ku-The Pai-ku is a relatively new member of the percussion family. It is a set of drums in different pitches arranged in order to be used in orchestras. The two sides of the drums are of different pitches.
Yun-luo -This is a set of gongs in different pitches arranged in a partic?ular order. It can be used to play tunes. In the Yuan dynasty, such sets consisted of ten or thirteen gongs. The modern version has been gradually increased according to the needs of the orchestra to as many as thirty-six gongs.
Conductor Hu Bingxu was admitted into the junior division of the Central Conservatory of Music in Beijing to study the oboe in 1955. Three years later he was promoted to the orchestral department of die Conservatory, which he studied under musicians from Czechoslovakia. In 1963 he graduated with honors and joined China's Central Philharmonic Orchestra as an oboist.
In June 1966, Mr. Hu took up die con?ductor's baton for the first time. Since Uien he has served as resident conductor of the Central Philharmonic Orchestra, the Peking Opera Theatre of Shanghai, the Peking Opera Theatre of Beijing, the Song and Dance Troupe of the East, the Central Opera and the Central Ballet. He has con?ducted such works as the symphonic poem Shajia Bang, the modern Peking operas Taking the Tiger Mountain and Dujuan Mountain, the Western operas Carmen and La Traviata, the ballets Swan Lake and Mountain Lake, and music for films and tele?vision series. He conducted the orchestra at Tonight the Stars Glimmer, a large-scale cultural show at the opening of the elevendi National Games, and won the Ministry of Culture's award for contemporary performance for
the opera Peng Dehuai in a Sedan Chair. He has been met with an enthusiastic reception on visits to Algeria, Japan and Taiwan.
This evening's performance marks Hu Bingxu 's debut under UMS auspices.
One of the most accomplished young cellists of our time, Hai-Ye Ni first came into promi?nence after her critically praised New York debut at Alice Tully Hall in 1991. This noted performance came as a result of Hai-Ye having captured the first prize at the Naumburg International Cello Competition, and thus became the youngest recipient ever of this distinguished award.
In 1996, Hai-Ye Ni took first prize in the International Paulo Cello Competition, Helsinki, winning over a crowded field as the unanimous choice of the jury.
Engagements for this season include the Chicago Symphony under the baton of Christopher Eschenbach, the Ravinia Festival; a fourteen city tour of the US, including this Ann Arbor concert with the National Traditional Orchestra of China, and performances in Spoleto, Italy. Solo recitals include the Phillips Collection in Washington DC and the Detroit Institute of the Arts.
Born in Shanghai in 1972, Hai-Ye Ni began her cello studies with her mother and later at the Shanghai Conservatory of Music. Hai-Ye continued her musical education with Irene Sharp at the San Francisco Conservatory of Music, with Joel Krosnick atTheJuilliard School and with William Pleeth in London.
This evening's performance marks Hai-Ye Ni's debut under UMS auspices.
Wu Yuxia was born in 1959 in Shanghai. She started pipa lessons as a child, having studied under such famed teachers as Liu Dehai, Li Guanghua, Chen Zemin, Li Guangzu, Wu Guoliang, Wei Zuguang, Yang Chengye and Zhao Zhongda. She also worked with a number of eminent pipa players, including Wei Zuongyue, Quin Pengzhang, Bo Dongsheng, Chen Kungze and Chen Chaoru. In 1986 she graduated with honors from the traditional music department of the Central Conservatory of Music.
Ms. Wu is renowned for the refinement and interpretive depth of her performances and is acknowledged as the leading figure in her generation of pipa soloists. Since winning a second-class award at the National Pipa Competition in 1980, she has been active on the concert stage in Beijing. In 1988 she was
selected as a young performer of special potential by the Ministry of Culture. She has visited Japan, the US, Burma, India, Pakistan and Singapore, winning consistent critical and popular acclaim. She has been to Japan on three occasions for recital performances and, most recently, has been invited to Holland, Russia, Hong Kong and Macao. Apart from her successful performing career, Ms. Wu is also a committed teacher. Many of her students have won prizes at major pipa competitions in China. She is a member of the Chinese Musicians Association and the Chinese Folk Music Association. She is the principal of the pipa section and leader of the plucked instruments section of the National Traditional Orchestra of China.
This evening's performance marks Wu Yuxia's debut under UMS auspices.
Song Fei is recognized as one of China's leading young erhu players. She is a mem?ber of the Chinese Musicians Association, the Beijing Erhu Research Institute, the Chinese Folk Music Association and the Traditional Chinese Music Association.
From an early age Ms. Song has studied the erhu with her father, the renowned per?former Professor Song Guosheng. She attended the Secondary School of the Tianjin Conservatory and, later, the Central Conservatory of Music in Beijing, where her teacher was the master of Chinese bowed instruments, Professor Liu Mingyuan. She won prizes at the 1985 National Beijing Erhu Invitational Competition and the Mountain City Cup Competition for folk instruments, which was televised in April 1989. In June 1989 she won a top award in the young professional category at the ART Cup International Competition for Chinese Instruments.
This evenings performance marks SongFei's debut under UMS auspices.
Composer Bright Sheng's music has been widely performed in the US, Europe and China. He has received commissions and performances of his works from the Houston Grand Opera, New York Philharmonic, Cleveland Orchestra, Chamber Music Society of Lincoln Center, the symphony orchestras of Chicago, San Francisco, Baltimore, New York Chamber, Honolulu, and Shanghai. Mr. Sheng is the recipient of numerous honors, including awards from the National Endowment for the Arts, American Academy and Institute of Arts and Letters, the Guggenheim Foundation and the Rockefeller Foundation, among others. In his native China, Mr. Sheng received the first and second prizes in the Chamber Music Composition Competition in 1980 and first prize in the Art Song Competition in 1979. Mr. Sheng holds a bachelor's degree in music from Shanghai Conservatory of Music, a master's from CUNY and a doctor of musical arts degree from Columbia. Mr. Sheng is a Professor of Composition at the U-M School of Music.
The National Traditional Orchestra of China was founded in 1960 in Beijing as part of the China Central Ensemble of National Music (CCENM), the largest and most prestigious organization devoted to the performance of Chinese folk music. Created in an effort to preserve and bring to mod?ern audiences the traditional music of China, the CCENM also maintains a folk chorus and a division of composition and research, which has helped develop the repertoire of the orchestra. Among the founders of the CCENM are Li Huangzhi, a well-known composer and the acting presi?dent of the Chinese Musicians Association; Tang Rongmei, a distinguished vocal teacher; and Qin Pengzhang, a prominent conductor. The musicians of the National
Traditional Orchestra are all leading gradu?ates of such institutions as the China Central Conservatory in Beijing and the Shanghai Conservatory.
The National Traditional Orchestra per?forms on native Chinese instruments, some of which originated more than a thousand years ago, arrayed in sections similar to those of Western symphony orchestras. In addition to strings, winds and percussion, the orchestra has a section of plucked instruments that contributes to its distinctive sound. Its repertoire is drawn from diverse regions of China with distinctive musical styles and instruments. Many of the tradi?tional folk melodies are presented in mod?ern arrangements for the orchestra.
The National Traditional Orchestra has performed not only in Beijing but also throughout China and other Asian coun?tries. With conductors Yu Songlin and Hu Bingxu, the orchestra has toured Japan, Korea, Singapore, Taiwan and Hong Kong, as well as France, Sweden and Russia. Musicians from the CCENM have visited the US in small ensembles, but the current tour marks the first American appearance of the full orchestra.
This evening's performance marks the National Traditional Orchestra of China's debut under UMS auspices.
National Traditional Orchestra of China
Hu Bingxu, conductor
Wang Ci Heng Ning Bao Sheng Du Ci Wen
Li Guang Chi
Feng Xiao Quan
Wang Hui Zhong Hujian Bing Guo Wan Peng
Zheng Xin Hua
Li Bao Lin
Shen Xiang Yang
Wu Yuxia Yangjing
YuXin Wei Yu Ru Sun Qin Ying Chen Gui Ping
Sanxian Cheng Jia Peng
Zhu Xiao Lin Hejian Guo Li Zhong Sun Zh Cheng Zhao Zheng Jie Liu Bo Sheng
Tang Feng Zhu Lin Lujian Min Liu Xiang
Li Bao Shun
Li Fu Hua
Zhang Xiao Feng
Zhang Zeng Shan
Xiajun Liu Yiqun Xi Qiang Ding Sheng Li
Lu Yi Qiao Wang Yue Ling Zhang Kun Ming Zhang Xiu Li
Zhang Hui Yuan Hong
ICM Artists, Ltd.
Jane Hermann, Vice President
Byron Gustafson, Director and Senior
Leonard Stein, General Manager Richmond Davis, Tour Majtager Gerald Breault, Stage Manager Django Haskins, Interpreter
Yu Song Lin, Director
Lu Pei Ren, Stage Director
Man Ning, Representative of China
Performing Arts Agency and
Interpreter Cai I i.iii. Interpreter
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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
VOLUNTEERS AND INTERNS
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with nailings; 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 internships).
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 313.764.2538 or 313.647.4020.
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasandy.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer.
For more information about joining the UMS usher corps, call 313.913.9696
DINING EXPERIENCES TO SAVOR: THE THIRD ANNUAL "DELICIOUS EXPERIENCES"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds going to benefit UMS programs.
Following two years of resounding success, wonderful friends and supporters of the University Musical Society are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS.
Treat yourself, give a gift of tickets, purchase an entire event or come alone meet new people and join in the fun while supporting UMS! Among your choices are A Celebration of Schubert (January 18); A Luncheon Inspired by the Czars (January 26); A Valentine's Brunch (February 9); La Boheme Dinner Party (March 1); Easter Luncheon with Cecilia Bartoli (March 30); Dinner with a Victorian Influence (April 12); Grandmothers, Mothers & Little Girls Tea and Fashion Show (April 19); An Afternoon Tea (May 15); A Taste of Spring Garden Dinner (May 31); and Nat & Ed's Porch Party (June 7).
For the most delicious experience of your life, call 313.936.6837!
The University Musical Society Board of Directors and Advisory Committee are pleased to host pre-performance din?ners before a number of the year's great events. Arrive early, park with ease, and begin your evening with other Musical Society friends over a relaxed buffet-style dinner in the University of Michigan Alumni Center. The buf fet will be open from 6:00 to 7:30 p.m. and is $25 per person. For reservations and informa?tion on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
@@@@Our gift to you! UMS Members (Advocate level and above) and Subscribers receive discounts at a vari?ety of local businesses by using UMS Card. Participating businesses support the UMS through advertising or sponsorship, and by patronizing the following establishments, you can support the businesses that support UMS.
Amadeus Cafe Ann Arbor Acura Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc. Fine Flowers Gandy Dancer Great Harvest John Leidy Shops
Shaman Drum Bookshop
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
Sponsorships and Advertising
UMS CORPORATE SPONSORSHIPS
Corporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-inance mentions, tickets, backstage passes and the opportunity to host receptions. Whether increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current goals, sponsorship of UMS provides visibility to our loyal patrons and beyond. Call 313.647.1176 for more information about the UMS Corporate Sponsor Program.
ADVERTISING WITH UMS
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope you will patronize the businesses who advertise with UMS and tell them that you saw dieir ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro?vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a restaurant that meets your group's culi?nary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, diis hardworking group generously donates many valuable hours in assisting with educational programs and the behind-the-scenes tasks asso?ciated with every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
Ford Honors Program
The Ford Honors Program is a relatively new University Musical Society pro?gram, made possible by a generous grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform individuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the 1997 UMS Distinguished Artist Award is announced in late January.
Great performances--the best in music, theater and dance--are presented by the I 'nivci sin Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of November 15, 1996. If there has been an error or omission, we apologize and would appreciate a call at (313) 647-1178 to correct it.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support enabling us to continue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Elizabeth S. Bishop
Mr. and Mrs. Pal E. Borondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Dr. Eva Mueller
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin Elizabeth E. Kennedy Randall and Mary Pittman John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ronald and Eileen Weiscr Paul and Elizabeth Yhouse
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPE IncThe Paideia Foundation
McKinley Associates, Inc.
The Edward Surovell Co.Realtors
Parke Davis Pharmaceutical Research
University of Michigan
Wolverine Temporaries, Inc.
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 ll.iini.iii Motive Audio Systems Pepper, Hamilton and Scheetz WQRS
Herb and Carol Amsicr
Carl and Isabcllc Braucr
Dr. James Byrne
Mr. Ralph Conger
Margaret and Douglas Crary
Ronnie and Sheila Crcsswell
Robert andjanice DiRomiialdo
Sun-Chien and Betty Hsiao
Mr. and Mrs. Howard S. Holmes
F. Bruce Kulp
Mr. David G. Loesel
Mr. and Mrs. George R. Mrkonic
Joe and Karen Koykka O'Neal
Monti and Gui Ponce de Leon
Mrs. M. Titiev
Marina and Robert Whitman
The Anderson Associates Chelsea Milling Company Curtin 8c Alf Violinmakcrs First of America Bank Thomas B. McMullen Company Masco Corporation O'Neal Construction Project Management Associates
World Heritage Foundation
Maurice and I.inda Binkow Kathleen G. Charla Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans John and Esther Floyd Rebecca McGowan and Michael Staebler
Thomas and Shirley Kauper Dr. and Mrs. Joe D. Morris John W. and Dorothy F. Reed Maya Savarino and Raymond Tanter Mrs. Francis V. Viola III ohn Wagner
AAA Michigan Environmental Research
Institute of Michigan Ford Audio Maude's Miller, Canfield, Paddock
and Stone Mission Health Waldenbooks
Benard L. Maas Foundation
Or. and Mrs. Gerald Abrams Professor and
Mrs. Gardner Acklcy Dr. and Mrs. Robert G. Aldrich Robert and Martha Ause amea R. Baker, Jr., M.D. and
Lisa Baker A.J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bcrnrcuter Joan A. Binkow Howard and Margaret Bond Tom and Carmcl Borders Barbara Event! Bryant and
John H. Bryant Mr. and Mrs. Richard J. Burslein Betty Byrne LeliliaJ. Byrd Edwin F. Carlson can and Kenneth Casey David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Roland J. Cole and
F.lsa Kircher Cole Dennis Dahlmann a k and Alice Dobson Jim and Palsy Donahey Jan and Gil Dorer :h;ri and Dr. Stewart Epstein Dr. and Mrs. S.M. Farhal David and Jo-Anna Fealhri man
Adrienne and Robert Feldstein Richard and Marie Flanagan Robbcn and Sally Fleming Michael and Sara Frank Margaret Fisher Mr. Edward P. Frohlich Marilyn G. Gallaiin Bevcrley and Gerson Geltner William and Ruth Gilkcy Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Paul and Anne Glendon Norm Gottlieb and
Vivian Sosna Gottlieb Dr. and Mrs. William A. Grade Ruth B. and
Edward M. Gramlich Linda and Richard Greene Seymour D. Greenstone Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Julian and Diane Hoff Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Keki and Alice Irani Mercy and Stephen Kasle Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kinnear Bethany and A. William Klinkc II Michael and Phyllis Korybalski Barbara and Michael Kusisto Mr. Henry M. Lee Evie and Allen Lichter Carolyn and Paul Lichier Patrick B. and Kathy I-ong Dean S. Louis Brigitte and Paul Maassen Ms. Francine Manilow Marilyn Mason and
William StcinhofT Judythe and Roger Maugh Paul and Rudi McCracken Joseph McCune and
Georgiana Sanders Reiko McKendry Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Millard Dr. and Mrs. Andrew and
Candice Mitchell Virginia Patton and
Cruse W. Moss William A. Newman Leu and Nancy Niehoff Bill and Marguerite Oliver
Mark and Susan Orringer Mr. and Mrs. David W. Osier Mr. and Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and Wilbur K. Pierpont Professor and
Mrs. Raymond Reilly Glenda Renwick Jack and Margaret Ricketts Prudence and Amnon Rosenlhal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumelhart Richard and Norma Sarns Rosalie and David Schottenfeld Janet and Mike Shatusky Cynthia J. Sorenscn Gerard H. and Colleen Spencer Dr. Hildrcth H. Spencer Mr. and Mrs. John C. Stegcman Victor and Marlene Stoeffler Dr. and Mrs. Jcoffrey K. Stross Dr. and Mrs.
E. Thurston Thieme Jcrrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Bell Richard E. and
Laura A. Van House Ellen C. Wagner Elise and Jerry Weisbach Roy and JoAn Wcucl Len and Maggie Wolin Nancy and Martin Zimmerman
and srvrral anonymous donors
3M Health Care Jacobson Stores Inc. Michigan National Bank Shar Products Company
The Mosaic Foundation
(of Rita and Peter Hcydon) Washtcnaw Council for the Arts
Jim and Barbara Adams Bernard and Raquel Agranoff M. Bernard AidinoB Carlenc and Peter Aliferis Catherine S. Arcurc Essel and Menakka Bailey Robert L. Baird
Dr. and Mrs. Robert BarUett
Ralph P. Becbe
Mrs. Kathleen G. Bcnua
Robert Hunt Berry
Suzanne A. and
FredcrickJ. Bcutlcr Ron and Mimi Bogdasarian Edith and Fred Bookstcin Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Brit ton David and Sharon Brooks Jeannine and Robert Buchanan Phoebe R. Burl Freddie Caldwell [ean W. (Campbell Bruce and jean Carlson Mrs. Raymond S. Chase Susan and Arnold Coran Mrs. David Cox M. Richard Crane Alice B. Crawford Peter and Susan Darrow Katy and Anthony Derezinski Judith and Kenneth DeWoskin Elizabeth A. Doman Bita Estnaeli, M.D. and Howard Gut-stein, M. D. Claudinc Farrand and
Daniel Moerman Mrs. Beth B. Fischer Ken, Penny and Matt Fischer Susan R. Fisher and
John W. Waidley Phyllis W. Foster Dr. William and Beatrice Fox David J. Fugenschuh and
Karcy Leach Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert James and Janet Gilsdorf John R. and Helen K. Griffith Susan R. Harris Jay and Maureen Hartford Harlan and Anne Hatchei Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Mary Jean and Graham Hovey Che C. and Teresa Huang Gretchen and John Jackson Robert L ;uid Beatrice H. Kahn Herb Katz
Richard and Sylvia Kaufman Howard King and
Elizabeth Sayre-King Richard and Pat King Hermine Roby Klingler Jim and Carolyn Knakc John and Jan Kosta Mr. and Mis. Samuel kiiinin
Bud and Justine Kulka J
Suzanne and Lee E. Landes Elaine and David Lebenbom Leo A. Legatski 1
Mr. and Mrs. Fernando S. Leon I Mr. and Mrs. CarlJ. Lulkehaus ] Donald and Doni Lystra 1
Robert and Pearson Marck John and Cheryl MacKrcll Mark Mahlberg Alan and Carla Mandcl Ken Marblestone and
Mr. and Mrs. Damon L. Mark David G, McConnell John F. McCuen Kevin McDonagh and
Richard and Elizabeth McLeary Thomas B. and
Deborah McMullen Hattie and Ted McOmbcr Mr. and Mrs.
Warren A. Merchant Myrna and Newell Miller Ronald Miller Grant Moore and
Douglas Weaver Mr. Erivan R. Morales and
Mr. Seigo Nakao John and Michelle Morris John Blanklcy and Maureen Foley M. Haskell and
Jan Barney Newman Virginia and Gordon Nordby Marysia Ostafin and
Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and Lorna Prcscott Tom and Mary Princing Jerry and Millard Pryor Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Stephen and Agnes Reading Jim and Bonnie Recce Mr. Donald H. Regan and Ms. Elizabeth Axelson Dr. and Mrs.
Rudolph E. Rcichcrt Maria and Rusty Restuccia Katherine and William Ribbens James and June Root Mrs. Doris E. Rowan Peter Savarino Peter Schaberg and Norma Amrhein Mrs. Richard C Schneider Professor Thomas J. and Ann Snccd Schriber Edward and Jane Schulak
ulianne and Michael Shea vlr. and Mrs.
Fredrick A. Shiinp. Jr. Men and George Siedel Steve and Cynny Spencer Lloyd and Ted Si. Antoine Ron and Kay Slefanski Mrs. Ralph L. Steffck Mrs. John D. Stoner Nicholas Sudia and
Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter fames L. and Ann S. Telfer Herbert and Anne Upton Don and Carol Van Curler Bruce and Raven Wallace Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Angela and Lyndon Welch Rulh and Gilbert Whilaker Brymcr and Ruth Williams Frank E. Wolk MaryGracc and Tom York
Coffee Express Co. Emergency Physicians
Medical Group, PC Guardian Industries Corporation Masco
Red Hawk Bar and Grill St. Joseph Mercy Hospital
Medical Staff University Microfilms
The Power Foundation Shiftman Foundation Trust
Mr. Gregg T. Alf
Dr. and Mrs. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlcne and Henry Appelman
Sharon and Charles Babcock
Lcsli and Christopher Ballard
Dr. and Mrs. Peter Banks
M. A. Baranowski
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barneti
Dr. and Mrs. Mason Barr.Jr.
Astrid B. Beck and
David Noel Frccdman
Neal Bedford and
Gerlinda Melchiori Harry and Betty Benford Ruth Ann and Stuart J. Bergstcin Jim Botsford and
Janice Stevens Botsford Betsy and Ernest Brater Mr. and Mrs. Gerald Bright Morton B. and Raya Brown Mrs. Theodore Cage Jim and Priscilla Carlson Professor Brice Carnahan Jcannette and Robert Carr Mr. and Mrs. Dennis Carroll Janet and Bill Cassebaum Andrew and Shelly Caughey Yaser Cereb
Tsun and Siu Ying Chang Pat and George Chatas Ed and Cindy Clark Janice A. Clark Jim and Connie Cook Mary K. Cordes Alan and Bette Cotzin Merle and Mary Ann Crawford William H. Damon III Laning R. Davidson, M.D. Jean and John Dcbbink Elizabeth Dexter Delia DiPietro and
Jack Wagoner, M.D. Thomas and Esther Donahue Cecilia and Allan Drcyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser David and Lynn Engelbert Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Filgas Sidney and Jean Fine Herschcl and Annette Fink Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnetie Forde Deborah and Ronald Frcedman Harriet and Daniel Fusfeld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Wood and Rosemary Gcist Henry and Beverly Gershowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon Dr. Alexander Gotz Mrs. William Grabb Elizabeth Needhatn Graham Jerry and Mary K, Gray Dr. John and Rente M. Gredcn 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 Haines Marcia and Jack Hall
Mrs. William Haistead
Dagny and Donald Harris
Bruce and Joyce Herbert
Mr. and Mrs. Ramon Hernandez
Fred and Joyce Hcrshenson
Herb and Dee Hildcbrandt
Maurita Peterson Holland
Drs. Linda Samuclson and Joel Howell
Ronald R. and
Gaye H. Humphrey
Mrs. Hazel Hunschc
George and Katharine I [tint
Wallic and Janet Jeffries
Susan and Stcvo Julius
Mary B. and Douglas Kahn
Steven R. Kalt and Robert D. Hceren
Anna M. Kauper
David and Sally Kennedy
Bert and Catherine La Du
Henry and Alice Landau
Mr. and Mrs. Henry M. Lapeza
Ted and Wendy Lawrence
Mr. and Mrs. Henry M. Lee
John and Theresa I-ee
Jacqueline H. Lewis
Jody and Leo Lighthammer Edward and Barbara Lynn
Jeffrey and Jane Mackie-Mason Frederick C. and
Pamela J. MacKintosh Steve and Ginger Maggio
Thomas and Biirbara Mancewicc Edwin and Catherine Marcus Rlioda and William Martcl Mrs. Lester McCoy Griff and Pat McDonald Walter and Ruth Meuger Dcanna Rclyca and
Piotr Michalowski Sally and Charles Moss Marianne and MuLsumi Nakao Barry Nemon and
Barbara Stark-Nemon Martin Nculiep and Patricia Pancioli Peter F. Norlin Richard S. Nottingham Marylen and Harold Obcrman Richard and Joyce Odell Mark Ouimet and
Donna Hrozcncik Donna D. Park Randolph Paschkc Mrs. Margaret D. Petcrsen Ixjrraine B. Phillips Frank and Sharon Pignanelli Dr. and Mrs. Michael Pilepich Richard and Meryl Place Cynthia and Roger Posimus Charlecn Price
Hugo and Sharon Quiroz William and Diane Rado Jim and leva Rasmussen La Vonne and Gary Reed Anthony L. Reflells and
Elaine A. Bennett Mr. and Mrs. Neil Rcssler 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
Kimm Skalitzky Sarosi Sarah Savarino
Dr. Albert J. and Jane K. Sayed David and Marcia Schmidt David E. and
Monica N. Schteingart Art and Mary Schuman Marvin and Harriet Selin Joseph and Patricia Sctiimi Roger Sheffrey Constance Sherman Dr. and Ms. Howard and
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Dr. and Mrs.Josip Matovinovic
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26 Edward Surovell Company 25 Emerson School
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