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UMS Concert Program, Friday Mar. 14 To 21: University Musical Society: 1996-1997 Winter - Friday Mar. 14 To 21 --

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

University Musical
Dear Friends,
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last season, more than 120,000 people attended UMS performances and relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport with Jessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between these artists, UMS and die Ann Arbor community.
Our outstanding Board of Directors offers unique knowledge, experience and perspective as well as a shared commitment to assuring the present and future success of UMS. What a privilege it is to work with a group of people whose vision of UMS is to make it the very best of its kind in the world. I especially want to thank Herbert Amster, who completed three years as Board President in December.
That same vision is shared by members of the UMS staff, who this year invite all of the UMS family to celebrate the 25 years box office manager Michael Gowing has served UMS and this community. Michael has established a stan?dard of patron service that we're told is unmatched anywhere else in this business. Look for the acknowledgment in this program book to find out more about Michael and how you can participate in this season-long celebra?tion.
Last year, UMS volunteers contributed more than 38,000 hours to UMS. In addition
to Board members, volunteers include our Advisory Committee, usher corps, UMS Choral Union members and countless others who give of their time and talent to all facets of the UMS program. Thank you, volunteers!
Relationships with professional colleagues around the world are very special. There is a generosity of spirit in performing arts present?ing that I have rarely seen in other fields. We share our best ideas with one another at con?ferences, in publications, by phone and, increasingly, over the internet. Presenters are joining together more and more to commis?sion new works and to assure their presenta?tion, as we've done this season with William Bolcom's Briefly It Enters and Donald Byrd's The Harlem Nutcracker. I'm pleased to report that The Dreams and Prayers of Isaac the Blind, the stir?ring piece we co-commissioned and presented in April 1995 won the prestigious Kennedy Center Friedham Award for composer Osvaldo Golijov last year.
The most important relationship is that with the community, and that means you. I care deeply about building and strengthening these relationships, whether it be with an indi?vidual patron who comes by the office with a program idea, with the leader of a social ser?vice organization who wishes to use one of our events as a fundraiser, with the nearly 40 school districts whose children will participate in our youth program, or with the audience member who buttonholes me in the lobby with a com?plaint.
Thanks again for coming to this event -and please let me hear from you with ideas or suggestions. Look for me in the lobby, or call me at my office at 313.647.1174.
Kenneth C. Fischer President
UMS Index
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,110
Number of volunteer person-hours spent rehearsing and performing with the Choral Union: 21,700
Number of bottles of Evian that UMS artists drank last season: 1,080
Estimated number of cups of coffee consumed backstage during 199596 performances: 4,000
Number of cough drops consumed in Hill Auditorium each year during UMS concerts: 91,255
Number of costumes in this season's co-commission of The Harlem Nutcracker. 268
Number of individuals who were part of last season's events (artists, managers): 1,775
Number of concerts the Philadelphia Orchestra has performed in Hill Auditorium: 267
Number of concerts the Budapest String Quartet has performed in Rackham Auditorium: 43
Number of times the Philadelphia Orchestra has performed "Hail to the Victors": 24
Number of times the Budapest String Quartet has performed "Hail to the Victors": 0
Number of works commissioned by UMS in its first 100 years of presenting concerts (1879-1979): 8
Number of works commissioned by UMS in the past 6 years: 8
Number of years Charlotte McGeoch has subscribed to the Choral Union series: 58
Number of tickets sold at last autumn's Ford Credit 50 Off Student Ticket Sale: 5,245
Value of the money saved by students at that sale: $67,371
Value of discounts received by groups attending UMS events last season: $36,500
Number of ushers serving UMS: 275
Last year Choral Union Season Ticket Prices were raised: 1994
Number of performances of Beethoven's 7th Symphony under UMS auspices: 27
Number of performances of Tchaikovsky's 5th Symphony: 27
Number of sopranos in the UMS Choral Union: 45
Number of tenors: 32
Number of years Paul Lowry has sung with the Choral Union, including this season: 49
Number of Messiah performances from UMS' inception through 199697: 156
Average number of photographs UMS President Ken Fischer takes each year: 4,500
Number of years Charles Sink served UMS: 64
Cost of a 10-concert Choral Union subscription in 1903: $3.50
Cost of a 10-concert Choral Union subscription in 1945: $15.60
Number of regular season concerts presented by UMS in 199091: 38
Number of regular season concerts presented by UMS in 199697: 71
Number of room nights in Ann Arbor area last season generated by UMS artists: 2,806
Number of airport runs made for UMS artists in 199596: 85
Number of UMS subscribers in 199495: 1,973
Number in 199596: 3,334
of 199596 UMS subscribers who planned to renew their subscriptions this year: 92
With thankl lo Harprr's Irultx?
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.
Sy. Jajk. &&
F. Bruce Kulp
Chair, UMS Board of Directors
CARL A. BRAUER, JR. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the
University Musical Society in bringing great music to our community."
L. THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cul-
tural and educational projects of the University Musical Society."
David G. Loesel
President, T.M.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 &: Alfs support of the University Musical Society is both a privilege and an
honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
HOWARD S. HOLMES Resident, Chelsea Milling Company The Ann Arbor area is very fortu?nate to have the most enjoyable and outstanding musi-
cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Chelsea Milling Company
JOHN E. LOBBIA Chairman and Chief Executive Officer, Detroit Edison The University Musical Society is one of the organi?zations that make
the Ann Arbor community a world-renowned center for the arts. The entire community shares in the count?less benefits of the excellence of these programs."
DOUGLAS D.FREETH Resident, First of America Bank-Ami Arbor "We arc proud to be a part of this major cultural group in our community
which perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
Chairman, Great Lakes Bancorp "As a long-standing member of the Ann Arbor commu?nity, Great Lakes Bancorp and the
University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural con?tribution it makes to the community."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford lakes particu?lar pride in our longstanding associ?ation with ihe
University Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
Chairman and Chief
Executive Officer,
JPE Inc.
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
President, Thomas B. McMulkn Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket
in Ann Arbor. Not anymore. UMS provides the best in educational enter?tainment."
WILLIAM E. OOOM Chairman, Ford Motor Credit Company "The people of Ford Credit are very proud of our con?tinuing association with the University
Musical Society. The Society's long-established commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many
opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
JORGE A. SOUS First Vice President and Manager, NBD Bank "NBD Bank is honored lo share-in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 82 years, and UMS has been here for 118, we can still appreciate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the I "iiivci -oi Musii ;il
Society for providing quality perfor?mances in music, dance and theater to the diverse communit)' that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
The Edward Surovell
"It is an honor for
Edward Surovell
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
JOE E. O'NEAL President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
Gui Ponce de Leon,
PH.D., P.E.
Managing Principal, Project Management Associates, Inc. "We are pleased to support the University Musical
Society, particularly their educational programs. We at PMA are very com?mitted to the youth of southeastern Michigan and consider our contribu?tion to UMS an investment in the future."
Dr. James R Irwin
Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Temporaries began
ils 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 lo be associ?ated with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
sue s. Lee
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organization as the
Musical Society at the University of Michigan."
ast season's Ford Honors Program, which featured Van Cliburn receiving the First UMS Distinguished Artist Award, was a memo?rable event for the concert and moving tribute
to Van Cliburn as well as for the gala dinner and dance that followed. --' Save the date for this season's Ford Honors Program -Saturday, April 26, 1997 -when the 1997 UMS Distinguished Artist Award will be bestowed upon
another internationally acclaimed artist, announced in late January. Following a performance by and tribute to this year's honoree, a gala dinner in the artist's honor will be followed by entertainment and dancing at the Michigan League.
All proceeds from the Ford Honors Program benefit the UMS Education Program.
more information, call the
QA9KS J3ox Office
Van Cliburn
The University Musical Society of the university of Michigan
F. Bruce Kulp, Chair Marina v.N. Whitman
Vice Chair Carol Shalita Smokier
Secretary Elizabeth O. Yhouse
Herbert S. Amster Gail Davis Barnes
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkim Carl A. Brauer, Jr. Allen P. Britton Douglas D. Crary John D'Arms James J. Duderstadt
Maurice S. Binkow Paul C. Boylan Barbara Everitt Bryant LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Beverley B. Geltner Randy J. Harris
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
Waller L. Harrison Norman G. Herbert Kay Hunt Stuart A. Isaac Thomas E. Kauper Rebecca McGowan Lester P. Monts Homer A. Neal Joe E. O'Neal
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
John Psarouthakis George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell Susan B. Ullrich Iva M. Wilson
Gail W. Rector President Emeritus
Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Wcisci Gilbert Whitaker
AdministrationFinance Kcnnelh C. Fischer, President John B. Kennard.Jr.,
Administrative Manager Elizabeth Jahn, Asst. to
President Kate Rcmcn, Admin. Asst.,
Marketing & Programming R. Scott Russell, Systems
Box Office
Michael L. Gowing, Manager Sally A. dishing. Staff Philip Guire, Staff John Peckham, Staff
Choral Union
Thomas Sheets, Conductor
Timothy Haggerty, Manager
Catherine S. Arcure, Director Betty Byrne, Volunteers Elaine Economou, Corporate Susan Fitzpatrick, Admin. Asst. J. Thad Schork,
Gift Processing Anne Griffin Sloan,
Individual Giving
EducationAudience Development
Ben Johnson, Director Emily Avers, Assistant
Marketing Promotion
Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
ProgrammingProduction Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artist Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Laura Birnbryer Rebekah Camm
Meighan Denomme Amy Hayne Sara Jensen Kirsten Jennings Najean Lee Tans)' Rodd Lisa Vogen
Jessica Flint Paula Giardini Michelle Guadagnino Michael Lawrence Bo Lee Lisa Moudy Susanna Orcult-Grady Caen Thomason-Redus
Maya Savarino, Chair Len Niehoff, Vice-Chair Dody Viola, SecretaryTreasurer Susan B. Ullrich, Chair
Emeritus Betty Byrne, Staff Liaison
Gregg Alf
Paulett Banks
Kathleen Beck
Janice Stevens Botsford
Jeannine Buchanan
Letitia Byrd
Chen Oi Chin-Hsieh
Phil Cole
Mary Ann Daane Rosannc Duncan H. Michael Endres Don Faber Kaiherinc Farrell Penny Fischer Barbara Gelehrter Beverly Geltner Joyce Ginsberg Linda Greene Esther Heitler Debbie Herbert Matthew Hoffmann Maureen Isaac
Marcy Jennings Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Barbara Levitan Doni Lystra Margaret McKinley Scott Merz Clyde Metzger Ronald G. Miller Nancy Niehoff Karen Koykka O'Neal
Marysia Ostafin Mary Pittman leva Rasmussen Janet Shatusky Margaret Kennedy Shaw Aliza Shevrin Sheila Silver Rita Simpson Cynny Spencer Ellen Stross Nina Swanson Kathleen Trcciak 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.
General Information
University Musical Society Auditoria Directory Of Information
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers arc available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
Mendelssohn: A drinking fountain is located at the north
end of the hallway outside the main floor seating area.
Si. Francis: A drinking fountain is located in the basement at
the bottom of the front lobby stairs.
All auditorial have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of
the Michigan League.
St. Francis: There are no public telephones in the church.
Pay phones are available in the Parish Activities Center next
door to the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for die 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 cast side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's restrooms are located down the long hallway from the main floor seating area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the front lobby stairs.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
A wealth of information about events, UMS, restaurants, and the like is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with ques?tions and requests. The information table is open thirty minutes before each concert and during intermission.
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 contributions are tax deductible to the amount allowed by law.
Going Strong
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name 'The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was estab?lished in December 1880. The Musical Society includ?ed the Choral Union and University Orchestra, and throughout the year pre?sented a series of concerts
featuring local and visiting artists and ensem?bles. Professor Frieze became the first presi?dent of the Society.
Since that first season in 1880, UMS has expanded gready 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, die Martha Graham Dance Company, Jessye Norman, The Stratford Festival, Cecilia Bartoli, Wynton Marsalis, thejuilliard and Guarneri String Quartets, Nusrat Fateh Ali Khan and Ensemble Modern of Frankfurt.
Thomas Sheets conducting Messiah with the UMS Choral Union
Through educational endeavors, commis?sioning of new works, youth programs, artists' residencies such as those with the Cleveland Orchestra and The Harlem Nutcracker, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, the Musical Society is a sepa?rate not-for-profit organization, which supports itself from ticket sales, corporate and individ?ual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
In its more recent history, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capacity, the ensemble has joined the orchestra for subscription perfor?mances of Beethoven's Symphony No. 9, Orffs Carmina Burana, Ravel's Daphnis et Chloe and Prokofiev's Aleksandr Nevsky. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership widi a performance of Britten's War Requiem,
and continuing with performances of the Berlioz Requiem and Bach's Mass in B minor.
In the current season, the UMS Choral Union again expands its scope to include per?formances with a third major regional ensem?ble. In March the chorus makes its debut with the Grand Rapids Symphony, joining with them in a rare presentation of the Symphony No. 8 ("Symphony of a Thousand") by Gustav Mahler. Continuing its association with the Detroit Symphony Orchestra, the Choral Union collaborates in January 1997 with Maestro Jarvi and the DSO in performances at Orchestra Hall and in Ann Arbor. This extraordinary season will culminate in a May performance of the Verdi Requiem with the Toledo Symphony.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one com?mon passion--a love of the choral art.
For information about the UMS Choral Union, please call 313.763.8997.
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is often associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of important debuts and long relationships throughout the past 83 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Hill Auditorium is named for former U-M regent Arthur Hill, who bequested $200,000 to the University for the construction of an audito?rium for lectures, concerts and odier 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 Beedioven. The following evening featured Verdi's "Manzoni" Requiem, a work that has been performed frequendy throughout die 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,
Hill auditorium
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 die 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 die size of the gift, which is still considered one of the most ambitious ever given to higher education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
Celebrating twenty-five years of wonderful arts presentation, the Power Center for the Performing Arts was originally bred from a realization that the University of Michigan had no adequate theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in the midst of a list of University priorities was mentioned "a new theatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include the two large spiral staircases leading
Auditoria, continued
from the orchestra level to the balcony and the well-known mirrored glass pan?els on the exterior. No seat in the Power Center is more than 72 feet from the stage. In 1981, a 28,000 square-foot addition was com?pleted, providing rehearsal rooms, shops for building sets and costumes, a green room and
power center
office space. At the same time, the eminent British sculptor John W. Mills was commis?sioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addition to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso. The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Over the years, the Theater has undergone many changes. 'Talkies" replaced silent films just one year after the Theater opened, and
vaudeville soon disappeared from the stage. As Theater attendance dwindled in the 1950s, the interior and exterior of the building were both modernized, with much of the intricate plaster work covered with aluminum, polished marble and a false ceiling.
Throughout the 1960s and 1970s, the 1,710-seat theater struggled against changes in the film industry, and the owners put the Theater up for sale, threatening its very existence. The non-profit Michigan Theater Foundation, a newly-founded group dedicated to preserving the facility, stepped in to operate the failing movie house in 1979.
After a partial renovation in 1986 which restored the Theater's auditorium and Grand Foyer to its 1920s-era movie palace grandeur, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. Further restoration of the balcony, outer lobby and facade are planned in coming years.
The University Musical Society first began presenting artists at the Michigan Theater dur?ing die 199495 season, along with occasional film partnerships to accompany presentations in other venues. The Theater's acoustics, rich interiors and technical capabilities make it a natural setting for period pieces and mixed media projects alike. In addition to sponsoring a Twyla Tharp Film Series last fall (September 29-October 20, 1996), UMS presents four events at the Michigan Theater in 199697: Guitar Summit III (November 16); The Real Group (February 8); Voices of Light: 'The Passion of Joan of Arc," a silent film widi live music featur?ing Anonymous 4 (February 16); and The Russian Village (April 11).
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has
grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a fabulous venue for presenting a cappeUa choral music and early music ensembles. During the 199697 season, UMS presents four concerts at St. Francis of Assisi Catholic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademia (March 15) and the Huelgas Ensemble (April 10).
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recently began presenting
Auditoria, continued
artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and intimate venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society': roster.
Allen Pond & Pond, Martin & Lloyd, a Chicagc 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 majo facelift in 1979. In 1995, the proscenium curtair was replaced, new carpeting installed, and die 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 presentatioi 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).
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is die 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 oi
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 1996-97 Season
schubertiade i Andre Watts, piano Chamber music
Society of Lincoln
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Weds, Jan 8, 7pm, MI League.
Made possible by a gift from the estate of William R. Kinney.
Nexus percussion ensemble with richard stoltzman, clarinet Thursday, January 16, 8:00pm Hill Auditorium
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
SOUNDS OF BLACKNESS with Special Guests, THE
university of michigan Gospel Chorale
Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of America.
This concert is co-presented with the Office of the Via Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1997Rev. Dr. Martin Luther King, Jr. Day Symposium.
Thursday, January 23, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored by McKinley Associates, Inc.
schubert song recital i sanford Sylvan, baritone David Breitman, fortepiano
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Fri.Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:00-4:00 pm, Mclntosh Theater, U-M School of Music. Open to the public.
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.
detroit symphony
Orchestra neeme Jarvi, conductor
Leif Ove Andsnes, piano Vladimir Popov, tenor UMS Choral Union Sunday, January 26, 4:00pm Hill Auditorium
Master of Arts Neeme Jarvi, interviewed by Thomas Sheets, Conductor, UMS Choral Union. Sun, Jan 12, 3:00pm, Rackham.
Sponsored byJPE Inc. and the Paideia Foundation
the elders james carter quartet
and detroit jazz
Friday, January 31, 8:00pm Lydia Mendelssohn Theatre
Part of the Blues, Roots, Honks, and Moans Jazz Residency.
A Festival of jazz and African-American Musical traditions
The Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
His Sanctified Shells Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
(Family Show)
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
IVAN FISCHER, CONDUCTOR Thursday, February 6, 8:00pm Hill Auditorium
Saturday, February 8, 8:00pm Michigan Theater
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Ars Poetica Chamber
orchestra Anatoli Cheiniouk,
music director Cho-Liang Lin, violin Monday, February 10, 8:00pm Rackham Auditorium
Presented with support from Miller, Canfield, Paddock and Stone, P.L.C.
CASSANDRA WILSON Music and libretto by
Wynton Marsalis Wednesday, February 12, 8:00pm Hill Auditorium
Master of Arts Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7pm, MI League.
Sponsored by Great Ijikes Bancorp.
emerson string quartet All-Brahms Program
Saturday, February 15, 8:00pm Rackham Auditorium
PREP Elwood Derr, U-M Professor of Music. "Nineteenth-Century 'CDs' of Brahms' String Quartets: His Piano-Duet Arrangements for Home Use." Sat, Feb 15, 7pm, MI League.
Sponsored by the Edward Surovell Co.Realtors.
voices of light: "The Passion of Joan of Arc" a silent film by carl dreyerwith live music featuring anonymous 4 Los Angeles Mozart Orchestra I Can tori
iii mil.i Carver, conductor Sunday, February 16, 7:00pm Michigan Theater
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Monday, February 17, 8:00pm Lydia Mendelssohn Theatre
Tuesday, February 18, 8:00pm Lydia Mendelssohn Theatre
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21, 8:00pm Saturday, February 22, 2:00pm
(Family Show)
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La Boheme' mean" Sat, Feb 22, lpm, MI League.
Academy of St. Martin-
in-the-fields lona 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.
Hu Bingxo, conductor Hai-Ye Ni, cellist Wednesday, February 26,8:00pm Hill Auditorium
Presented with the generous support of Dr. Herbert Sloan.
Friday, March 14, 8:00pm Hill Auditorium
Sponsored by Pepper, Hamilton & Scheetz, Attorneys at Law.
Chorovaya Akademia Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin Travel and Cunard.
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 k.n. piano Anton Nel, piano Friday, March 21, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Mar 21, 7pm, Rackham.
Vocal Master Class Hermann Prey, baritone. Sat, Mar 22, 10:00am-12:00noon. Recital Hall, U-M School of Music. Open to the public.
Mahler's Symphony No. 8 Grand Rapids Symphony
and Chorus UMS Choral Union Grand Rapids Choir of Men
and Boys
Boychoir of Ann Arbor Catherine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
i delfici, strings and continuo gyorgy Fischer, piano
Saturday, March 29, 8:00pm Hill Auditorium
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbelt, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, President, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
Bang on A Can All-Stars String Trio of New York Saturday, April 5, 8:00pm Power Center
Presented with support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne Stale University.
huelgas ensemble Paul Van nevel, director The High art of sacred flemish Polyphony
Thursday, April 10, 8:00pm St. Francis of Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. "Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, St. Francis Church.
Sponsored by Conlin Travel and Cunard.
Friday, April 11, 8:00pm Michigan Theater
Sponsored fry NBD Bank.
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
Friday, April 18, 8:00pm Rackham Auditorium Sponsored by Regency Travel.
maher ali khan and
sheral1 khan, faridi qawwals
Saturday, April 19, 8:00pm Rackham Auditorium
Saturday, April 26, 6:00pm Hill Auditorium
Featuring a recital by and tribute to the recipient of the 1997 UMS Distinguished Artist Award.
Sponsored by Ford Motor Company.
Educational Programming
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of pre-performance presentations, featuring talks, demonstrations and workshops.
Master of Arts A new, free of charge UMS series in col?laboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about dieir 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 nur ein Gleichnis (Are but a Parable): Goethe's Faust in the Fin de Siecle. " Frederick Amrine, Chair, U-M German Dept. Tues, Mar 18, 7:00pm
"Zieht uns hinan (Draws us upward): Mahler's Hymn to Eros."Jim Leonard, Manager, SKR Classical. Wed, Mar 19, 7:00pm
Family Programming
UMS presents two family shows during the Winter Season 1997. These programs feature an abbreviated version of the full-length presentations by the same artists.
Blues, Roots, Honks and Moans
Saturday, February 1, lpm, Hill Auditorium 75-minute family show with no intermission
Featuring Cyrus Chestnut on piano, Twinkie Clark on organ and gospel, and Steve Turre on trombone and "sanctified" shells. Each artist will showcase different influences of jazz and gospel, with parents and chil?dren actively involved in learning and performing some special songs.
Puccini's La Boheme
New York City Opera National Company Saturday, February 22, 2pm, Power Center 75-minute family show with no intermission
The love story of Mimi and Rodolfo is a great intro?duction to the world of opera. This abbreviated per?formance of Act II (the cafe scene) and Act IV includes an open curtain scene change as well as an introduction to singers and backstage crew. In Italian with English supertides and live narration.
'All excellence is equally difficult!
Thornton Wilder
7Qeadership in any arena is not only difficult to achieve but deserving of recognition. The Edward Surovell Company salutes the University Musical Society for its 118-year tradition of excellence in the presentation of the performing arts.
Washtenaw County's leader in real estate sales
A cknowledgments
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from past University Musical Society seasons. The Alvin Ailey American Dance Theater's March 1996 perfor?mances in the Power Center; a capacity audience for a chamber music concert in Rackham Auditorium; and pianist Emanuel Ax performing as part of the Society Bank Cleveland Orchestra Residency Weekend in 1995.
of the University of Michigan 1996 199J Winter Season
Event Program Book
Friday, March 14, 1997
Friday, March 21,1997
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Richard Goode, piano
Friday, March 14, 8:00pm Hill Auditorium
Chorovaya Akademia
Saturday, March 15, 8:00pm
St. Francis of Assisi Catholic Church
with Hermann Prey, baritone Thursday, March 20, 8:00pm Rackham Auditorium
with Hermann Prey, baritone Friday, March 21, 8:00pm Rackham Auditorium
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and scat 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.
Richard goode
Friday Evening, March 14, 1997 at 8:00
Hill Auditorium Ann Arbor, Michigan
Johann Sebastian Bach
Partita No. 4 in D Major, bwv 828
Johannes Brahms
Four Piano Pieces, Op. 119
Intermezzo in b minor: Adagio
Intermezzo in e minor: Andantino un poco agitato Intermezzo in C Major: Grazioso e giocoso Rhapsody in E-flat Major: Allegro risoluto
Six Piano Pieces, Op. 118
Intermezzo in a minor: Allegro non assai,
ma molto appassionato
Intermezzo in A Major: Andante teneramente Ballade in g minor: Allegro energico Intermezzo in f minor: Allegretto un poco agitato Romanze in F Major: Andante Intermezzo in e-flat minor: Andante, largo e mesto
Ludwig van Beethoven
Sonata in c minor, Op. 111
Maestoso: Allegro con brio ed appassionato Arietta: Adagio molto semplice e cantabile
Fifty-ninth Concert of the 118th Season
118th Annual Choral Union Series
Special thanks to Michael Staebler for his continued support through Pepper, Hamilton, and Scheetz.
The Steinway piano used in this evening's performance is made possi?ble by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Large print programs are available upon request.
Partita No.4 in D Major,
BWV 828
Johann Sebastian Bach
Born on March 21, 1685 in Eisenach
Died on July 28, 1750 in Leipzig
In the world's first dictionary of music, published by Johann Gottfried Walther (1732), the entry on Johann Sebastian Bach includes mention of only one set of compo?sitions: the six partitas for keyboard, the only works by Bach then in print. Walther was a cousin of Bach's and therefore may have had more knowledge about Bach's works than he let on in his dictionary entry. Yet for many music-lovers outside Leipzig, who had never heard the Thomaskantor improvise on the organ or direct one of his cantatas on Sunday morning, the 1731 publication of the six partitas, as "Op. 1," provided the first glimpse of the fourty-six-year-old master whose virtuosity on the keyboard was already legendary throughout the German lands.
Actually, the publication of the partitas had begun in 1726. Bach had been bringing out one partita every year, printed at his own expense, and eventually issued a col?lected edition when the set was complete. The title-page read: "Keyboard Practice [Clavir-Ubung] consisting of Preludes, Allemades, Courantes, Sarabandes, Gigues, Minuets and other Galanteries composed for the pleasurable diversion of music-lovers by Johann Sebastian Bach, Acting chapel master to the Court of Saxe-Weisenfels and Conductor of the Leipzig Musical Choir." Bach eventually published three more vol?umes of Keyboard Practice which include such masterpieces as the Italian Concerto and the Goldberg Variations; a fifth volume, containing The Art of Fugue, was left unfinished at the time of Bach's death.
The partitas are akin to Bach's earlier English and French suites for keyboard but, in the words of David Schulenberg (Tlie Keyboard Music of J.S. Bach, Schirmer, 1992), "the technical demands are greater...most of the dances are longer and diverge even far-
ther from the traditional models than in the previous set[s]."
In this D-Major work, which Schulenberg calls "the most splendid of the Partitas," Bach took greater liberties with the tradi?tional dance forms than anywhere else. In several of the partitas, the opening prelude has been expanded into a larger form, as in the "Sinfonia" of No.2 or the "Toccata" of No.6. The "Overture" of No.4 is perhaps the most elaborate of them all, beginning with a grandiose slow introduction featuring the typical dotted rhythms of French baroque overtures and continuing with an extended fugal section. The "Allemande" and the "Courante" are both highly unusual: the first, instead of moving in equal sixteenth-notes as allemandes normally do, presents a beautifully ornamented and freely meander?ing melodic line, while the second enlivens the pattern of the French courante with many metric ambiguities (which would make it very difficult indeed to dance to!) and with a persistently returning "trumpet-call" motif. Next comes an "Aria," a short piece that is not a dance but similar in style to the first movement of the Italian Concerto. The "Sarabande" becomes another richly ornamented instrumental song. The dance character is much clearer in the "Menuet," even though this movement also has its share of ornamental figurations. The "Gigue," like many of Bach's gigues, is a fugal movement whose energetic theme is elaborated in three-part counterpoint.
Four Piano Pieces, Op.i 19 Six Piano Pieces, Op.i 18
Johannes Brahms Born on May 7, 1833 in Hamburg Died on April 3, 1897 in Vienna
Brahms wrote most of his works for solo piano either very early or very late in his career (with only the Eight Piano Pieces, Op.76 and the Two Rhapsodies, Op.79 falling
into his middle years). In the early works, which include the three great sonatas and several sets of brilliant variations, he made the classical piano tradition thoroughly his own and established his reputation as the heir to Beethoven's mantle. In the late piano music, written in die early 1890s, Brahms aimed at something far more per?sonal: die pieces convey an image of the composer withdrawn from die world and playing to himself or a few of his closest friends such as Clara Schumann. Most of the twenty short pieces published as Opp.116-119 are lyrical and introspective in charac?ter; many of diem are called "intermezzi" not because they come between two larger works but because the name connotes some?thing light, transient, and indefinite. Some of die pieces, like the more energetic "Ballade" (Op.1183) and "Rhapsody" (Op.1194), hark back to die earlier Brahms, but even diey have a certain autumnal quality about diem.
In Op.119, die final Rhapsody is preceded by diree intermezzi. The first, in b minor, is dreamy and has a sustained slow modon going all die way through; die second, in e minor, is "un poco agitato" (slighdy agitated) widi a tenderly lyrical E-Major middle section, and the third, in C Major, begins like a gen-de lullaby (widi die melody in the middle voice) diough it becomes more grandiose as it evolves. The Rhapsody takes the form of a Rondo, widi a muscular main dieme and more graceful episodes. Its main key is E-Flat Major, but surprisingly, it ends widi a dramat?ic outburst in e-flat minor (works in minor keys often end in die major, but die reverse is much less frequent).
The six pieces of Op.118 consist of four intermezzi, a "Ballade" (No.3) and a "Romance" (No.5). No.l (a minor) is filled with that well-controlled passion diat is one of the defining traits of Brahms' music. No.2 (A Major), marked "teneramente" (tenderly), is one of die most intimate pieces of music
ever written. In No.3, "Ballade" in g minor, has a strongly profiled main theme and an ethereally soft middle section in the distant key of B Major. The recapitulation of the main theme is followed by a faint reminis?cence of the middle section returns as a wistful epilog. After three eminently melod?ic pieces, No.4 (f minor) is a haunting study in textures and colors. No.5, "Romance" in F Major, is in A-B-A form like the "Ballade," but despite the changes in key and meter, the mood is expressive and lyrical through?out. The "Intermezzo" in e-flat minor (No.6) is arguably the most extraordinary piece in the set. Brahms' first biographer, Max Kalbeck, believed it was intended for a never-to-be-written Fifth Symphony. Its wavering melody starts with the first four notes of the Dies irae. The doleful theme eventually gives way to a poignant rhythmical idea that grows in volume. At the climactic moment, the Dies irae theme returns fortissimo, followed by a more peaceful recapitulation.
Sonata in c minor, Op.i i 1
Ludurig van Beethoven
Born on December 15 or 16, 1770 in Bonn
Died on March 26, 1827 in Vienna
This last of Beethoven's thirty-two piano sonatas occupies a special chapter in the his?tory of Western music and intellectual thought. It has given rise to myriads of inter?pretations, most of which agree that Beethoven moved here into a transcendent realm that has rarely been reached by musicians, or anyone else for that matter. The ascent from the turmoil of the opening to the ethereal calm of the conclusion -an ascent directly mirrored by the registers of the piano used -is so palpable that for once, no one seems to question that there is something essential here that points beyond the "purely musical." Commentators have used various metaphors to express the complementary
nature of the two movements: "resistance" and "submission," "here" and "beyond," or, to use a Buddhist analogy first invoked more than a hundred years ago: "Samsara" (desiring, becoming) and "Nirvana" (transcendence of desire, pure being).
Op.lll, completed in 1822, is in only two movements, and it has often been asked why Beethoven had not written a finale. Beethoven himself, with characteristic sarcasm (which some have missed), remarked that "he had had no time," adding that he had expanded the second movement instead. Yet to suppose that the sonata could have a third movement would be to miss the point completely; the most beautiful demonstra?tion of this can be found in Thomas Mann's novel Doktor Faustus, where a fictional music professor, Wendell Kretzschmar, delivers an eloquent lecture on the subject (hampered only occasionally by his violent stuttering). Kretzschmar concludes that after the "part?ing" in the second movement, there could never be a return, and the second movement represents not only a farewell to the piece, but "a farewell to sonata form."
Although others have written sonatas after Beethoven's Op.lll, it is true that the genre has never been quite the same again. The discovery that a sonata didn't have to end loud and fast (a discovery anticipated in the E-Major sonata, Op. 109) but could instead be adapted to express unique feelings changed musical thinking in fundamental ways. In his last sonata, Beethoven left tradi?tional conventions far behind and in the solitude of his deafness wrote some of his most personal and most heart-rending music.
The first movement continues the "tragic" c-minor mood of such earlier works as the Fifth Symphony or the Coriolan Overture. This is a memory of Beethoven's "heroic" period -music of conflicts, struggle, temporary respites and dramatic surges. The ending, however -soft and mysterious instead of powerful and sweeping -leaves no doubt
that times have irrevocably changed. The pianissimo last chord of the movement (identical to the first chord of the "Arietta") forms a natural bridge to the magical second movement.
The tempo marking, "Adagio molto, semplice e cantabile," never changes, but the note values gradually become shorter and shorter so that the pace of the music seems to increase enormously. The movement is a theme and variations, a form Beethoven had often used since the beginning of his career; yet he gave variation form an entirely new meaning here. In the course of only five variations, the simple theme of the "Arietta" becomes a statement of unprece?dented sublimity at the end of the sonata. The utter simplicity of the theme allows for a "transfiguration of the commonplace," which has been said to be one of the charac?teristic features of mystical experience. In the course of its evolution, the theme moves faster and faster (a classic variation technique, yet it sounds completely new here!). At the end of the fourth variation, the long-sustained trill (a favorite Beethovenian device since, at least, the "Waldstein" Sonata) appears, and -following a temporary removal into a for?eign key -die continuous trills in die high register carry die sonata to its apodieosis-like conclusion.
In DoklorFaustus, Kretzschmar set words to the opening dieme of die Adagio: "Fare thee well," "Heaven's blue." In the final vari?ation, he heard "Great was God in us," "Twas all a dream." And who would deny that there is in fact something of an eternal ending in die whispered final measures of Beethoven's last sonata
Program notes by Peter Laki Cleveland, Ohio, 1997
j ichard Goode has been A hailed foi music-making m oi tremendous emotional B power, depth, and
k expressivity and has been k acknowledged worldwide ?fl. H as one of today's lead?ing interpreters of the music of Beethoven. In regular performances with the major orchestras, recitals in the world's music capi?tals, and acclaimed recordings, he has won a large and devoted following, including scores of fellow musicians. In an extensive profile in The New Yorker, David Blum wrote: "What one remembers most from Goode's playing is not its beauty -exceptional as it is -but his way of coming to grips with the composer's central thought, so that a work tends to make sense beyond one's previous perception of it...The spontaneous formulat-
ing process of the creator [becomes] tangible in the concert hall."
A native of New York, Goode studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute. He has won many prizes, including the Young Concert Artists Award, first prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy Award with clarinetist Richard Stoltzman. Richard Goode's remark?able interpretations of Beethoven came to national attention in 1986 when he played all five concern with the Baltimore Symphony under David Zinman, and again during the 1987-88 season, when he performed the complete cycle of sonatas at New York's 92nd Street Y and Kansas City's Folly Theater.
Richard Goode has made more than two dozen recordings, including Mozart, Lieder of Schubert, Brahms,
and Wolf with Benita Valente, and chamber and solo works of Brahms, Schubert, Schumann, and George Perle. Goode is the first American-born pianist to have recorded the complete Beethoven Sonatas, which were nominated for a 1994 Grammy Award. His recordings of these works have become a favorite of record buyers around the world.
Highlights of recent seasons have includ?ed first-time appearances with the orchestras of Boston, Chicago, and Cleveland as well as return engagements with New York and Philadelphia. Other orchestral appearances have included Atlanta, Dallas, Detroit, Indianapolis, Los Angeles, Minnesota, and Canada's National Arts Centre Orchestra. In Europe, Goode appeared with the Berlin Radio Symphony, the Finnish Radio Symphony, and on a tour of Germany with
Richard coode
the Bamberg Symphony. His eagerly await?ed, standing-room-only Carnegie Hall recital debut in December of 1990 was cited as a "Best of the Year" in the New York Times year-end wrap-up. His subsequent annual New York recitals at Lincoln Center, Carnegie Hall, the Metropolitan Museum, and the 92nd Street Ys Tisch Center have also been hailed as highlights of the season.
Highlights of Richard Goode's 1996-97 season include festival appearances at Ravinia with the Chicago Symphony; at Tanglewood with the Boston Symphony Orchestra; at London's Proms with the BBC Symphony; and at the Berlin Festival with the Deutsches Symphonie Orchester. Further orchestral appearances include the Bamberg Symphony; the Minnesota
Orchestra; and the NHK Symphony Orchestra and the Stuttgart Radio Orchestra. He also gives recitals in the major centers of North America, Europe, and Japan, including this Ann Arbor recital and recitals in New York, Chicago, Boston, London, Paris, Munich, and Tokyo. He con?tinues a project to perform and record twelve Mozart concertos with the Orpheus Chamber Orchestra over the next few sea?sons.
Richard Goode lives in New York City with his wife, violinist Marcia Weinfeld.
Richard Goode made his UMS debut in February 1969 as a part of Music from Marlboro. Tonight's performance marks his fourth appear?ance under UMS auspices.
Chorovaya Akademia
Alexander Sedov, artistic director and conductor
Saturday Evening, LlTUR(
March 15, 1997 No. 2
at 8:00 No. 3
St. Francis of Assisi No. 5
Catholic Church No. 6
Ann Arbor, Michigan No. 7
No. 8
No. 9
Piotr Ilyich Tchaikovsky (Arr. by Alexander Sedov)
Liturgy of St. John Chrysostom, Op.41
Only-begotten Son
Come, Let us worship
After the reading of the Gospel
Hymn of the Cherubim
Father and Son
I Believe (The Creed)
Mercy of peace No. 10 We hymn Thee No. 11 Meet it is No. 13 Our Father No. 14 Praise the Lord from the Heavens
Anton Farmakovsky, Tenor soloist Andjei Beletsky, Baritone soloist
Dimitri Bortniansky
Glory be to God in the Highest
Mikhail Ippolitov-Ivanov
The Great Doxology
Georgii Izvekov
With Mine Tears
Pavel Chesnokov
I Believe Mother of God
Vladimir Albataev, Tenor soloist Nineteenth-Century Anonymous
Blessed is the Man
(A chant of the Monastery of the Caves in Kiev) Dimitri Bortniansky
We Praise Thee, O God
Sixtieth Concert of the 118th Season
Divine Expressions Series
Special thanks to Mr. Tom Conlin for his continued support through Conlin Travel.
Special thanks to the St. Francis of Assisi congregation for their support of these sacred music concerts presented by UMS.
Exclusive Tour Management by ICM Artists, Ltd.
Lee Lamont, Chairman
David V. Foster, President and CEO
Large print programs are available upon request.
Liturgy of Saint John Chrysostom, Op. 41
Piotr llyich Tchaikovsky
Born on May 7, 1840 in Votkinsk,
Viatka district (Russia) Died on November 6, 1893 in St. Petersburg
Arranged by Alexander Sedov
The basis for Tchaikovsky's creativity was secular music -symphonies, operas, bal?lets, romances. At the same time, Tchaikovsky was very interested in Russian church choral singing as part of Russian national culture. Tchaikovsky was a member of the Overseeing Council of the Moscow Synodal school and choir. He wrote several sacred compositions: Liturgia, Op. 41, Ail-Night Vigil, Op. 52.
The Liturgy of Saint John Chrysostom for four part mixed chorus was written by Tchaikovsky as a free standing sacred-music composition (not only for liturgical use) and was published in 1879 by the largest music publishing house of Russia, headed by P. Yurgenson in Moscow. The first Liturgy was performed as a concert of sacred music in
A Note On The Costumes
The Choir's Formal Kaftan
In the first half of the concert, the singers perform in formal kaftans of the Moscow Synodal Choir (as worn at the end of the nineteenth cen?tury). The sketches for these costumes were done by the great Russian painter 'Vasnetsov. The cut of the kaftans is based on old photographs. The color of the kaftans changed depending on the occasion: for formal, holiday ser?vices, the kaftans were crimson, cerise, deep blue, green, and other bright shades. Black was worn only for funeral services.
the Hall of the Moscow Conservatory in November 1880. For a very long time the Liturgy was not performed in church, because the hierarchy of the Church found it not conforming to Orthodox church ser?vices. However, the Liturgy was of great importance in the creative development of Russian composers who wrote sacred music. This Liturgy consists of fifteen parts. The arrangement for male chorus was made by Alexander Sedov in May 1996 and is being performed for the first time. The traditional intonations used by die priest and the dea?con in the Orthodox church service between the different parts of the Liturgy that are performed in this concert, are absent in the original score by Tchaikovsky. The concert performance includes only the main chants of the Liturgy. All texts of Russian sacred chants are sung in Church Slavonic.
Only-begotten Son
Glory to the Father, and to the Son, and to the Holy Spirit, now and ever and unto the ages of ages. Amen.
Only-begotten Son and Word of God, Who art Immortal and Who for our salvation willed to be incarnate of the Holy Theotokos and ever-virgin Mary;
Who without change of essence became man and was crucified for us,
O Christ-God, trampling down death by death;
Who art one of the Holy Trinity, and art
glorified togedier with the Father and the Holy Spirit:
Save us.
Intonations oftlie deacon and priest.
Come, Let us worship
Come, let us worship and fall down
before Christ. Save, O Son of God, Who didst rise again
from the dead, and who sing unto Thee: Alleluia, Alleluia,
0 Lord save the God-fearing and hear us!
Intonation of the deacon: And unto ages of ages. Amen! Holy God, Holy Mighty, Holy
Immortal One, have mercy upon us!
(Thrice) Glory to the Father and to the Son and to
the Holy Spirit, now and ever,
and unto ages of ages. Amen. Holy Immortal One, have mercy on us. Holy God, Holy Mighty, Holy Immortal
One, have mercy upon us.
After the reading of the Gospel
Glory to Thee, O Lord; glory to Thee. Lord have mercy, Lord have mercy, Lord have mercy. Amen.
Hymn of the Cherubim
Let us, who mystically represent the Cherubim, and who sing the thrice-holy hymn to the life-giving Trinity, now lay aside all earthly cares.
That we may receive the King of All,
Who comes invisibly upborne by the angelic hosts.
Alleluia. Alleluia. Alleluia!
Deacon's intonation.
Father and Son
Father, Son and Holy Spirit! The Trinity, one in Essence, and Undivided!
1 Believe
I believe in One God the Father Almighty, Maker of heaven and earth,
and of all things visible and invisible.
And in one Lord Jesus Christ, the Son of God, the Only-begotten,
begotten of the Father before all worlds. Light of Light; true God of true God;
begotten, not made; of one essence with the Father, by Whom all things were made;
Who for us men, and for our salvation, came down from heaven, and was incar?nate of the Holy Ghost and of the Virgin Mary, and was made man.
And was crucified for us under Pontius
Pilate, and suffered, and was buried. And the third day He rose again, according
to the Scriptures. And ascended into heaven, and sitteth on
the right hand of the Father. And shall come again with glory to judge
the living and the dead, Whose kingdom
shall have no end. And in the Holy Spirit, the Lord, the Giver
of Life, Who with the Father and the Son
together is worshipped and glorified, Who
spake by the prophets.
In one Holy Catholic and Apostolic Church. I acknowledge one Baptism for the remission
of sins.
I look for the Resurrection of the dead, And life in the world to come. Amen.
Deacon's intonation.
Mercy of peace
A mercy of peace, a sacrifice of praise.
Priest's intonation.
And with Thy spirit.
Priest's intonation.
We lift them up unto the Lord.
Priest's intonation.
Meet and right it is to worship the Father and the Son, and the Holy Spirit: the Trinity, one in Essence and Undivided.
Priest's intonation.
Holy! Holy! Holy! Lord of Sabaoth! Heaven
and earth are full of Thy glory! Hosanna in the highest! Blessed is He that
comes in the name of the Lord! Hosanna in the highest! Amen. Amen.
We hymn Thee
We praise Thee. We bless Thee. We give
thanks unto Thee, O Lord. And we pray unto Thee, O our God.
Meet it is
Meet it is, in truth, to bless Thee, the Birth-giver of God, ever-blessed and all-unde-filed, and the Mother of our God. More honorable than the Cherubim, and beyond compare more glorious than the Seraphim, Thou who without defilement barest God the Word, true Birth-giver of God, we magnify Thee.
Our Father
Our Father, who art in heaven, hallowed be Thy Name. Thy kingdom come. Thy will be done on earth, as it is in heaven. Give us this day our daily bread. And forgive us our trespasses, as we forgive those who trespass against us. And lead us not into temptation; but deliver us from the Evil One.
Praise the Lord from the Heavens
Praise the Lord from the heavens: Praise
Him in the highest. Alleluia! Alleluia! Alleluia!
Glory be to God in the Highest
Dimitri Bortniansky
Born in 1751 in Glukhov, Ukraine
Died on October 10, 1825 in St. Petersburg
A liturgical concert piece, performed as a prichasten during the days celebrating Christmas. A. Turenkov arranged this adap?tion for male choir.
Glory be to god on high, and on earth peace. Today Bethlehem shall receive Him, Who
sittest forever with the Father; Today the angels glorify the Child born
Divinely; Glory be to God on high, and on earth
peace, good will towards men.
The Great Doxology
Mikhail Ippolitov-Ivanov
Born on November 19, 1859 in Gatchina, Russia
Died on January 28, 1935 in Moscow
This is a hymn which is sung at the end of Vespers and inspires the faithful to spirit?ed prayer to the glory of God. This adapta?tion for performance by male choir was done by P. Chesnokov.
Glory to God on high, and peace on earth,
goodwill towards men. We praise Thee, we bless Thee, we bow, we
glorify Thee, we thank Thee, great Joy is
Your glory. To the Lord, our Heavenly Ruler, Our
Father, to the Lord, and to the only
begotten Son, Jesus Christ, and to the
Holy Spirit. Lord God, Lamb of God, Son of the Father,
heed the sins of the world, accept our
prayer. Father, have mercy on us, for You alone are
holy, You alone are God, Jesus Christ in
the glory of God the Father. Amen. Each day, we bless Thee and praise Your
name now and forever. Lord, preserve us this day from sin. You are blessed, Lord, God our Father, and
praiseworthy, and glorious is Thy name
forever. Amen. Awaken, Lord, Thy mercy on us, for we
hope in Thee. You are blessed, Lord, teach us Your
righteousness. You are blessed, Lord, teach us Your
righteousness. You are blessed, Lord, teach us Your
righteousness. Lord, our refuge from generation to
generation. I have said: Lord, have mercy, heal my soul,
for I have sinned against Thee. Lord, teach us to fulfill Your will, for You are
our God, for You are the source of life, in
Your light do we see the light. Holy God, our strength, immortal God, have
mercy on us. Holy God, our strength, immortal God, have
mercy on us. Holy God, our strength, immortal God, have
mercy on us.
With Mine Tears
Georgii Izvekov
Born in 1865
Date of death unknown
Georgii Izvekov, a Russian priest and composer of sacred music, was repressed during the terrible years of Stalin's regime. The choral concert piece With mine tears was written with a piece of charcoal on his jail cell wall a week before his death. This arrangement for male voices is by A. Toma.
With mine tears I want to wash away the
scrolls of my transgressions. And the rest of the days of my life I will
please, Thee, O Lord, with repentance. Yet the enemy tempts me and wrests my
soul, O Lord. Ere I perish till my very end, save me, save
I Believe Mother of God
Pavel Chesnokov Born in 1877 Died in 1944
Pavel Chesnokov was one of the most prominent Russian sacred music composers of the Moscow school, noted choral director and professor of the Moscow Conservatory. He was born into the family of a church choir director. He graduated from the
Synodal school with a gold medal and the Moscow Conservatory. Chesnokov was a dis?tinguished expert and master of choral singing and his theoretical work The Choir and its Direction is well-known.
I believe in One God the Father Almighty,
Maker of heaven and earth, and of all things visible and invisible. And in one Lord Jesus Christ, the Son of
God, the Only-begotten, begotten of the Father before all worlds.
Light of Light; true God of true God; begotten, not made; of one essence with the
Father, by Whom all things were made; Who for us men, and for our salvation,
came down from heaven, and was incarnate of the Holy Ghost and of
the Virgin Mary, and was made man. And was crucified for us under Pontius
Pilate, and suffered, and was buried. And the third day He rose again, according
to the Scriptures. And ascended into heaven, and sitteth on
the right hand of the Father. And shall come again with glory to judge
the living and the dead, Whose kingdom shall have no end. And in the Holy Spirit, the Lord, the Giver
of Life, Who with the Father and the Son together is worshipped and glorified, Who
spake by the prophets. In one Holy Catholic and Apostolic Church. I acknowledge one Baptism for the remis?sion of sins.
I look for the Resurrection of the dead, And life in the world to come. Amen.
Mother of God keep under Thy protection
the Christ-loving army and Kingdom of all-Russia.
And by Thy supplications to Thy Son, Christ our God, grant us victory
over our foes and adversaries. Mother of God protect (us).
Blessed is the Man
(A chant of the Monastery of the Caves
[Pechera] in Kiev)
Ninteenth Century Anonymous
Kievan chant appeared in Russia at the end of the sixteenth and beginning of the seventeenth centuries. The characteristic trait of the Kievan chant is the brevity and simplicity of its melody. In the nineteenth century, monophonic Kievan chants were harmonized along the models of classic European harmony. Since the nineteenth century and to this day, Kievan chants are frequently used during religious services in the Monastery of the Caves in the center of Kiev.
Blessed is the man. Alleluia.
That hath not walked in the counsel of the
ungodly. Alleluia.
For the Lord knoweth the way of the right?eous, and the way of the ungodly shall
perish. Alleluia. Work for the Lord with fear and rejoice in
Him with trepidation. Alleluia. Blessed art all who putteth their hope in
Him. Alleluia. Glory to the Father and to the Son, and to
the Holy Spirit. Alleluia. Now and for ever and unto the ages of ages,
amen. Alleluia. Now and for ever and unto the ages of ages,
amen. Alleluia. Now and for ever and unto the ages of ages,
amen. Alleluia.
We praise Thee, O God
Dimitri Bortniansky
This composition belongs to the genre of liturgical concert: a secular polyphonic composition for choir, written to religious text, usually adapted. "Glory to God in the highest" is performed as a prichasten, i.e., before the rite of Confession on high holy days, for example, at Easter.
E. Azeev (1851-1918) adapted this work for male choir. The text of this composition is the Song of St. Ambrosius, Bishop of Mediolansk.
We praise Thee, O God; we acknowledge
Thee to be the Lord. All the earth doth worship Thee, the Father
everlasting. To Thee all angels call aloud; the Heavens,
and all the Powers there. To Thee Cherubim and Seraphim
continually cry out: Holy, Holy, Holy. Lord God of Sabaoth! Heaven and earth are
full with the Majesty of Thy Glory. The glorious company of Apostles praises
Thee, The goodly fellowship of the Prophets praises
The noble army of Martyrs praises Thee, The Holy Church throughout all the world
doth acknowledge Thee, The Father of an infinite Majesty, Thine
adored, True and Only-begotten Son.
The male choir Chorovaya Akademia was founded in Moscow in 1989 under the direction of Alexander Sedov. The members of the ensemble are each professional musicians -virtually all are graduates of the Moscow or St. Petersburg conservatories -with a deep commitment to choral singing. The choir has been heralded for its brilliant technique, wide range of vocal tim?bres, and impassioned interpretations.
Mr. Sedov, born in 1961 into a musical family, received his training at the Sveshnikov Academy and the Moscow Conservatory, where he studied conducting with Professor Tevlin. His extensive experience as a choral conductor includes work on numerous arrangements and transcriptions for men's choir.
The repertoire of the Chorovaya Akademia includes both ecclesiastical and secular works from different historical peri?ods. Its liturgical repertoire emphasizes the rich tradition of Russian orthodox music of the late nineteenth and early twentieth cen?turies, notably the composers associated with the Moscow Synoday School, a choral academy that later merged with the Moscow Conservatory. This group of musiciancom?posers, whose works incorporate modern musical styles into the traditional orthodox liturgical forms, includes Alexander Kastalsky, Pavel Chesnokov, Nikolai Golovanov, and Alexander Gretchaninov. The choir's secular repertoire includes compositions by Russian composers such as Sergei Taneyev and Tchaikovsky as well as genre and folk pieces from the comic to the meditative.
The Chorovaya Akademia has performed throughout Russia and in the leading con?cert halls and museums of Moscow. It has given concerts at the annual International Festivals of Orthodox Music in Moscow and has been a participant in the Moscow Charitable Movement. Its highly successful European concerts have included a
Christmas program prepared by Justus Franz in Germany. In May 1991 the choir was awarded first prize at the "Black Madonna" International Festival of Religious Music in Poland, and later returned to Poland with equal success at the "Muzika Antiqua" festi?val in September 1991. Its debut American tour in 1993 was also met with exceptional acclaim.
This performance marks Chorovaya Akademia's UMS debut.
Chorovaya Akademia
Alexander Sedov, Artistic Director and Conductor
Tenor I
Vladimir Albatacv Victor Bouzlov Viktor Radkcvitch Oleg Serebrennikov
Tenor II
Alexandre Chimko Anton Farmakovski Anton Kourcnkov Roman Laptev
Andjei Bclctsky Alexandre Lioubarski Vassili Mamtchour Alcxandr Zotov
Viktor Davydenko Evgueni Hinski Konstanlin Novikov Iouri Scmenov
leaders and Soloists
Marina Smirnova, Administrator
ICM Artists Touring Division Byron Gustafson, Director
and Senior Vice President Leonard Stein,
General Manager Tanya Jasterbov,
Tour Manager
Schubertiade III '--' Leon & Heidi Cohan, Honorary Chairs
Hermann Prey
Michael Endres, piano with the
Auryn String Quartet
Matthias Lingenfeder, violin Jens Oppermann, violin
and Martin Lovett, cello
Andreas Arndt, cello Steuart Eaton, viola
Thursday Evening, March 20, 1997 at 8:00
Rackham Auditorium Ann Arbor, Michigan
String Quartet in a minor, D. 804
Allegro ma non troppo
Menuetto: Allegretto
Allegro moderato
Auryn String Quartet
SCHWANENGESANG, D. 957 (Texts by Ludwig Rellstab)
Kriegers Ahnung
In der Feme
Mr. Prey and Mr. Endres
String Quintet in C Major, D. 956
Allegro ma non troppo
ScherEo: Presto; Trio: Andante sostenuto
The Auryn String Quartet with Mr. Lovett
Sixty-first Concert of the 118th Season
Schubert Cycle Series
Special thanks to Trudy Miller, Program Director, The Schubertiade, New York for program book consultation.
Large print programs are available upon request.
Franz Schubert
Born on January 31, 1797 in Vienna Died on November 19, 1828 in Vienna
String Quartet in a minor, D. 804
Once heard, the pianissimo opening of Schubert's a-minor Quartet is never forgot?ten. The accompaniment combines a wan?dering stream of eighth notes in the second violin with throbbing pizzicatos in the viola and cello. The melody, "sung" by the first violin, respects the range of the human voice. Its first, tiny phrases sink dejectedly, but the singer takes deeper breaths, and the song gathers strength. An A-Major variant soars to forte -and is suddenly terminated by a fortissimo a minor cadence. The remain?der of the entire spacious movement can be heard as a struggle to reconstitute a shel?tered lyric dream. The second subject restores the opening texture of intimacy. The intervening episodes, employing the motivic trill, are violent and argumentative.
In the development section, these contrasts heighten, then resolve to a magically quies?cent recapitulation. But the coda is not paci?fying. Returning once more to the quartet's hypnotic starting point, it struggles to repeat the ascent to A Major -and cannot. The last cadence asserts the finality of the a-minor trill.
The second movement, a C Major "Andante," appropriates a well-known tune from Schubert's Rosamunde-the Entr'acte No. 3. (Schubert used a similar theme in his B-flat Impromptu, D. 935.) In the string quartet, the structure falls into two parts, of which the second begins by subjecting the Rosamunde tune to a fleet, twisting accompa?niment in the second violin destined to take on a life of its own. An expanded and agitat?ed variant of part one ensues, during which the G-Major second subject moves to the tonic.
The second movement's quiet C-Major cadence falls to a minor to commence the next movement -the "Menuetto: Allegretto" whose key, it turns out, is again in C Major. Here, Schubert's harmonic feints fail to evade a prevailing pensiveness and indecision. The central trio, in A Major, offers respite -and also a seductive rocking motion. What Schubert may have intended by this may perhaps be gleaned from the 1819 song, Die Glitter Griechenlands (The Gods of Greece), which the minuet theme quotes; it begins, "Schone Welt, wo bist du" (Fair world, where are you).
To conclude the a-minor Quartet, Schubert opts for an A-Major rondo largely untroubled by what has gone before. If the slowish minuet suggested a sublimated folk dance, here the main tune springs straight from a tavern fiddle. As the music gathers steam, the first violin superimposes skittish triplets in sixteenth notes. The triplets spread to the other three instruments, sud?denly intensifying the texture. A. fortissimo climax abruptly stills the dancers. For a moment, the plaintive intimacy of movement one is recalled -after which the dance
recommences. A teasing and high-spirited coda, aswirl with triplets, drives the work to a close.
(Texts by Ludurig Rellstab)
Schwanengesang (Swan Song) was not Schubert's idea. Its fourteen songs were posthumously collected, and titled, by the publisher Tobias Haslinger. Weeks after Schubert died, his brother Ferdinand sold to Haslinger the last three piano sonatas, six settings of poems by Heinrich Heine and seven by Ludwig Rellstab. As likely as not, Schubert had intended to publish the Heine and Rellstab songs as separate sets. Haslinger packaged all thirteen together, added Schubert's last song, Die Taubenpost (Pigeon Post, text byjohann Gabriel Seidl), and pre?sented the entirety as Schwanengesang in May 1829. In an announcement, he wrote: These are the tone-poems [Schubert] wrote in August 1828, shortly before his death; works that demonstrate most convincingly the commitment of his richly gifted mastery, so that we are tempted to believe that this genius, cut off in the full flower of life, raised itself to new richness and power so as to leave behind a gift truly worthy of his farewell."
We now doubt that all the Schwanengesang songs were in fact composed in August 1828. And yet Haslinger's grouping, however com?mercially inspired, has endured -to this day, we hear Schwanengesang performed as a third Schubert cycle, with the songs in Haslinger's sequence. The presentation of Schwanengesang here, however, is more in keeping with Schubert's likely intentions: the Rellstab and Heine songs will be per?formed separately over two evenings (Seidl's Die Taubenpost will not be performed). Tonight we hear the Rellstab songs.
The Rellstab songs are a varied group. The rippling Liebesbotschaft (Love's Message)
is a luscious example of a type of Schubert love-song we associate with brooks in gener?al, and with the brook of Die schone MiiUerin in particular -in contrast with the more breadiless ardor of Friihlingssehnsucht (Spring Longing). Kriegers Ahnung (Warrior's Foreboding) looks back to Schubert's narra?tive songs, little heard today, whose sectional structure dramatizes shifting moods and events. Abschied (Farewell) is an invigoratingly blithe horseback song, demonstrating Schubert's mastery of perpetual motion. Aufenthalt (Resting Place) and In derFerne (Far Away) are wanderer songs, of which the throbbing accompaniment to the first (another perpetual motion) partakes of the c-minor Impromptu, and the grave melody of die second recalls Der Wanderer (The Wanderer) of 1816, and its offshoot, die Wanderer Fantasy.
If all diese songs seem shadowed by pre?cursors, the most magical, most famous of the Rellstab songs, Stdndchen (Serenade), casts its shadow on all other lover's sere?nades. Its ravishing tune is merely the most obvious of its virtues. The play of major and minor, pervading the song, layers its emo?tional content. The piano participates in this oscillation of d minor, D Major, and F Major, commenting, advising, and singing along. In fact, the song is a lover's duet with his guitar. The final whispered feint toward the minor -the errant B-flat darkening "begliicke mich" (make me happy!) -is either delicious or forlorn. In other words, this sere?nade is casual, or earnesdy heartfelt, or ironic.
Songs to texts by Ludwig Rellstab
Rauschendes Bachlein, so silbern und hell, Eilst zur Geliebten so munter und schnell Ach, trautes Bachlein, mein Bote sei du; Bringe die GruBe des Fernen ihr zu.
All ihre Blumen im Garten gepflegt, Die sie so lieblich am Busen tragt, Und ihre Rosen in purpurner Glut, Bachlein, erquicke mit kuhlender Flut.
Wenn sie am Ufer, in Traume versenkt, Meiner gedenkend, das Kopfchen hangt, Troste die SuBe mit freundlichem Blick, Denn der Geliebte kehrt bald zuriick.
Neigt sich die Sonne mit rotlichem Schein, Wiege das Liebchen in Schlummer ein. Rausche sie murmelnd in suBe Ruh', Flustre ihr Traume der Liebe zu.
Kriegers Ahnung
In defer Ruh liegt urn mich her Der Waffenbriider Kreis; Mir ist das Herz so bang und schwer, Von Sehnsucht mir so heiB.
Wie hab' ich oft so suB geruht
An ihrem Busen warm!
Wie freundlich schien des Herdes Glut,
Lag sie in meinem Arm!
Hier, wo der Flamme diist'rer Schein Ach! nur auf Waffen spielt, Hier fuhlt die Brust sich ganz allein, Der Wehmut Trane quillt.
Herz! DaB der Trost Dich nicht verlaBt! Es ruft noch manche Schlacht -Bald ruh' ich wohl und schlafe fest, Herzliebste -Gute Nacht!
Love's Message
Murmuring brook, so silver and bright,
Do you hasten, so lively and swift, to my beloved
Ah, sweet brook, be my messenger;
Bring her greetings from her distant lover.
All the flowers, tended in her garden, Which she wears so charmingly on her breast, And her roses with their crimson glow; Refresh them, brooklet, with your cooling waters.
When on your banks she inclines her head, Lost in dreams, thinking of me, Comfort my sweetheart with a kindly glance, For her beloved will soon return.
When the sun sinks in a red flush,
Lull my sweetheart to sleep.
With your soft murmurings bring her sweet repose,
And whisper dreams of love.
Warrior's Foreboding
In deep repose my comrades-in-arms Lie in a circle around me; My heart is so anxious and heavy, So ardent with longing.
How often I have dreamt sweetly Upon her warm breast! How cheerful the fireside glow seemed When she lay in my arms.
Here, where the somber glimmer of the flames, Alas, plays only on weapons, Here the heart feels utterly alone; A tear of sadness wells up.
Heart, may comfort not forsake you; Many a battle still calls. Soon I shall rest well and sleep deeply. Beloved, good night!
Sauselnde Lufte wehend so mild, Blumiger Dufte atmend erfullt! Wie haucht Ihr mich wonnig begruBend an! Wie habt Ihr dem pochenden Herzen getan Es mochte Euch folgen auf luftiger Bahn, Wohin Wohin
Bachlein, so munter rauschend zumal, Wollen hinunter silbern ins Tal. Die schwebende Welle, dort eilt sie dahin! Tief spiegeln sich Fluren und Himmel
darin. Was ziehst Du mich,
sehnend verlangender Sinn, Hinab Hinab
GruBender Sonne spielendes Gold, Hoffende Wonne bringst Du hold, Wie labt mich Dein selig
begruBendes Bild!
Es lachelt am tiefblauen Himmel so mild Und hat mir das Auge mit Tranen gefullt, Warum Warum
Grunend umkranzet Walder und Hoh'. Schimmernd erglanzet Blutenschnee. So dranget sich alles zum brautlichen Licht; Es schwellen die Keime, die Knospe bricht; Sie haben gefunden, was ihnen gebricht: Und Du Und Du
Rastloses Sehnen! Wunschendes Herz, Immer nur Tranen, Klage
und Schmerz
Auch ich bin mir schwellender Triebe bewuBt! Wer stillet mir endlich die drangende Lust Nur Du befreiest den Lenz in der Brust, Nur Du! Nur Du!
Spring Longing
Whispering breezes, blowing so gently, Exuding the fragrance of flowers; How blissful to me is your welcoming breath! What have you done to my beating heart It yearns to follow you on your airy path. Where to
Silver brooklets, babbling so merrily, Seek the valley below. Their ripples glide swiftly by! The fields and the sky are deeply
mirrored there. Why yearning, craving senses,
do you draw me Downwards
Sparkling gold of the welcoming sun,
You bring the fair joy of hope.
How your happy, welcoming countenance
refreshes me!
It smiles so benignly in the deep-blue sky,
And yet has filled my eyes with tears.
The woods and hills are wreathed in green.
Snowy blossoms shimmer and gleam.
All things strain towards the bridal light;
Seeds swell, buds burst;
They have found what they lacked:
And you
Restless longing, yearning heart,
Are there always only tears, complaints,
and pain
I too am aware of swelling impulses! Who at last will still my urgent desire Only you can free the spring in my heart, Only you!
Leise flehen meine Lieder Durch die Nacht zu Dir; In den stillen Hain hernieder, Liebchen, komm' zu mir!
Flusternd schlanke Wipfel rauschen In des Mondes Licht; Des Verraters feindlich Lauschen Furchte, Holde, nicht.
Horst die Nachtigallen schlagen Ach! sie flehen Dich, Mit der Tone suBen Klagen Flehen sie fur mich.
Sie versteh'n des Busens Sehnen, Kennen Liebesschmerz, Ri'ihren mit den Silbertonen Jedes weiche Herz.
LaB auch Dir das Herz bewegen, Liebchen, hore mich! Bebend harr' ich Dir entgegen! Komm, begliicke mich!
Rauschender Strom, brausender Wald, Starrender Fels, mein Aufenthalt. Wie sich die Welle an Welle reiht, FlieBen die Tranen mir ewig erneut.
Hoch in den Kronen wogend sich's regt, So unaufhorlich mein Herze schlagt. Und wie des Felsen uraltes Erz, Ewig derselbe bleibet mein Schmerz.
Softly my songs plead Through the night to you; Down into the silent grove, Beloved, come to me!
Slender tree-tops whisper and rustle
In the moonlight;
My darling, do not fear
That the hostile betrayer will overhear us.
Do you not hear the nightingales call Ah, they are imploring you; With their sweet, plaintive songs They are imploring for me.
They understand the heart's yearning,
They know the pain of love;
With their silvery notes
They touch every tender heart.
Let your heart, too, be moved, Beloved, hear me! Trembling, I await you! Come, make me happy!
Resting Place
Surging river, roaring forest, Immovable rock, my resting place. As wave follows wave, So my tears flow, ever renewed.
As the high tree-tops stir and heave, So my heart beats incessantly. Like the rock's age-old ore My sorrow remains forever the same.
In der Ferne
Wehe dem Fliehenden Welt hinaus ziehenden!-Fremde durchmessenden, Heimat vergessenden, Mutterhaus hassenden, Freunde verlassenden Folget kein Segen, ach! Auf ihren Wegen nach!
Herze, das sehnende, Auge, das tranende, Sehnsucht, nie endende, Heimwarts sich wendende! Busen, der wallende, Klage, verhallende, Abendstern, blinkender, Hoffnungslos sinkender!
Lufte, ihr sauselnden, Wellen sanft krauselnden, Sonnenstrahl, eilender, Nirgend verweilender: Die mir mit Schmerze, ach! Dies treue Herze brach -GruBt von dem Fliehenden Welt hinaus ziehenden!
Ade, Du muntre, Du frohliche Stadt, Ade! Schon scharret mein Rosslein mit
lustigem FuB; Jetzt nimm noch den letzten,
den scheidenden GruB. Du hast mich wohl niemals traurig geseh'n, So kann es auch jetzt nicht beim Abschied
gescheh'n. Ade ...
Far Away
Woe to those who flee, Who journey forth into the world, Who travel through strange lands, Forgetting their native land, Spurning their mother's home, Forsaking their friends: Alas, no blessing follows them On their way!
The yearning heart, The tearful eye, Endless longing Turning homewards! The surging breast, The dying lament, The evening star, twinkling And sinking without hope!
Whispering breezes,
Gently ruffled waves,
Darting sunbeams,
Lingering nowhere:
Send her, who broke
My faithful heart with pain,
Greetings from one who is fleeing
And journeying forth into the world!
Farewell, lively, cheerful town, farewell! Already my horse is happily
pawing the ground; Take now my final,
parting greeting.
I know you have never seen me sad, Nor will you now
as I depart. Farewell!
Ade, Ihr Baume, Ihr Garten so grun, Ade! Nun reit' ich am silbernen Strome entlang, Weit schallend ertonet mein Abschiedsgesang; Nie habt Ihr ein trauriges Lied gehort, So wird Euch auch keines beim Scheiden
beschert. Ade . ..
Ade, Ihr freundlichen Magdlein dort, Ade! Was schaut Ihr aus blumenumduftetem Haus Mit schelmischen, lockenden Blicken heraus Wie sonst, so gruB' ich und schaue mich um, Doch nimmer wend' ich mein Rosslein um. Ade...
Ade, Hebe Sonne, so gehst Du zur Ruh', Ade! Nun schimmert der blinkenden Sterne Gold. Wie bin ich Euch Sternlein am
Himmel so hold;
Durchziehn die Welt wir auch weit und breit, Ihr gebt uberall uns das treue Geleit. Ade ...
Ade, Du schimmerndes Fensterlein hell, Ade! Du glanzest so traulich mit
dammerndem Schein
Und ladest so freundlich ins Huttchen uns ein. Voriiber, ach, ritt ich so manches Mai Und war' es denn heute zum lezten Mai Ade...
Ade, Ihr Sterne, verhullet Euch grau! Ade! Des Fensterleins trubes,
verschimmerndes Licht Ersetzt Ihr unzahligen Sterne mir nicht; Darf ich hier nicht weilen, muB hier vorbei, Was hilft es, folgt Ihr mir noch so treu! Ade, Ihr Sterne, verhullet Euch grau! Ade!
Farewell, trees and gardens so green, farewell!
Now I ride along the silver stream;
My song of farewell echoes far and wide.
You have never heard a sad song,
Nor shall you do so
at parting. Farewell!
Farewell, charming maidens, farewell!
Why do you look out with roguish, enticing eyes
From houses fragrant with flowers
I greet you as before, and look back;
But never will I turn my horse back.
Farewell, dear sun, as you go to rest, farewell! Now the stars twinkle with shimmering gold. How fond I am of you, little stars
in the sky;
Though we travel the whole world, far and wide, Everywhere you faithfully escort us. Farewell!
Farewell, little window gleaming brightly, You shine so cozily with
your soft light,
And invite us so kindly into the cottage. Ah, I have ridden past you so often, And yet today might be the last time. Farewell!
Farewell, stars, veil yourselves in gray! Farewell! You numberless stars cannot replace for us
The little window's dim, fading light; If I cannot linger here, if I must ride on, How can you help me, though you follow me so faithfully Farewell, stars, veil yourselves in gray! Farewell!
String Quintet in C Major, D. 956
Perhaps it is merely a sentimental con?ceit to imagine that Schubert's truncated output telescopes a lifetime of experience, that his late works intimate mortality. Still, we cannot suppress the knowledge that the C-Major Quintet, freighted with nostalgia and otherworldly calm, was his last work of chamber music; that, months later, he turned his head to the wall and died.
The C-Major Quintet is sui generis. Mozart, of course, had written six remarkable string quintets -but these are for string quartet plus viola, whereas Schubert adds an extra cello. The difference is revealing: Mozart aims more for ingenious polyphony; Schubert achieves ingenious sonority, fortified with Romantic warmth. He emancipates the first cello as a melodic voice, and gives it two of the most gorgeous tunes ever written.
Harmonic emancipation is another keynote of the C-Major Quintet. By 1828, Schubert's chromatic wanderings were an essential aspect of his style. The quintet's C Major is not the blazing or serene C Major of the "Great" Ninth Symphony. Rather, C Major is here shadowed by chromatic expe?rience. Even the opening fails to disclose a tonic key. So much instability is conducive to emotional unrest -and the quintet's pas?sages of turbulence nearly fracture its course. Schubert's vicissitudes promote an epic breadth: quietly migrating through dis?tant harmonic realms, he attains a vast purview. This is one of the ways his music seems to speak of death and the hereafter.
The scope of the quintet's first move?ment is also varied and enlarged by its diver?sity of material. Following the indeterminate opening comes a fiery first subject. The sec?ond subject is the famous song for two cel?los, accompanied by viola pizzicatos alternat?ing with staccato chords in the violins: a feat
of scoring as sublime as the tune itself. The strenuous developmental conflicts to which these polarized parts give rise exhaust the musical engine; when it comes, the moment of recapitulation is fractured and fatigued. Once the movement regathers strength, its momentum jars loose new, syncopated explosions in the coda. The entire structure is calibrated with an infallible instinct for the long-range ebb and resurgence of its energies.
Even die "Scherzo" of this quintet sus?tains its expressive scope. With its heavy, foot-stomping downbeats, the first part, in C, is formidably physical, hugely sonorous. The "Trio: Andante sostenuto" in D-flat Major, is evanescent. Its rhetoric of grave query-and-answer, of descent and response, exudes Weltschmerz (world pain).
The dancing finale begins demonically, in c minor. As it turns out, Schubert has C Major in mind. To seal a positive outcome, he inserts another two-cello tune; its mark?ing, espressivo, is surely superfluous. To the despair of certain commentators, this move?ment does not disdain the sounds of jolly fiddles and wheezing accordions; like Mahler (whom he inspired), Schubert moves swifdy from the tavern to Elysium and back. The coda is both a summation and a solution; it leans heavily on the dissonant D-flat of the "Scherzo's" morbid Trio before sinking to the tonic C.
I leave for the last the most famous, most haunting movement in all Schubert's cham?ber music: the Adagio. It encapsulates die duality of Schubert's leave-taking. If the first section, in E Major, evokes "easeful death," die central episode, in f minor, is all termi?nal strife and torment. The reprise of sec?tion one conveys a residue of section two: the second cello's soft swirling ascents dis?turb the calm. In the coda, they pass to die first violin and are pacified.
W.W. Cobbett, in his Cyclopedic Survey of Chamber Music, writes of Schubert's C Major
Quintet: "I have known four musicians, all greatly experienced in this class of music, and none in the least inclined by disposition to sentimentality, who with strange unanimi?ty expressed the feeling that, were they fated in their last hours to listen to some lovely strain, this would be the music of their elec?tion."
Program notes by Joseph Horowitz
He lives songs like "Abschied" and "Der Atlas," feels every word of pain or con tentment...The words resonate as much as the tones that support them...What is the world of singing to do when Hermann Prey can no longer sing
Bernard Holland
New York Times, April 30, 1994
This extraordinary tribute to Hermann Prey was just one in a series of outpourings from the New York critics when this sublime artist returned to the 92nd Street Y to continue his Schubertiade, of which he has been the central participant since its inception in 1988.
The University Musical Society's Schubertiade culminates in the two concerts Mr. Prey gives here in Ann Arbor. Additional engagements for this season include recitals at the San Diego Opera, the National Gallery of Art in Washington, University of Texas at Austin, and Siena College. Mr. Prey also returns to the Manhattan School of Music for a master class in German Lieder. Hermann Prey's international performance schedule includes the Prague Autumn Inter?national Music Festival and he will also be heard in concert, recital and opera perfor?mances in Zurich, Madrid, Mexico City,
Hermann prey
Vienna, Hamburg, Tokyo, Berlin, and Bayreuth.
Mr. Prey has recently returned to the Metropolitan Opera for performances as the Music Master in Ariadne aufNaxos, and Eisenstein in Die Fledermaus. In addition, he sang Schubert and Mozart at Lincoln Center's Mosdy Mozart Festival with Gerard Schwarz and the Mosdy Mozart orchestra.
Mr. Prey was born in Berlin and studied at the Berlin Music Academy, where he gave his first Lieder recital. He made his operatic debut in 1952 at the Wiesbaden Opera and was engaged by the Hamburg State Opera the following year. International recognition began in 1955 with performances of The Marriage of Figaro at the Vienna State Opera. Five years later he made his Metropolitan Opera debut as Wolfram in Tannhauser, a role he repeated at his first Bayreuth Festival appearance. He sang the role of Papageno in the premiere performances of the Marc Chagall production of The Magic Flute dur?ing the Metropolitan Opera's opening sea?son at Lincoln Center. In Bayreuth, he sang his first Beckmesser where his interpretation
of the role stirred worldwide interest. This prompted repeat performances there, as well as renderings at La Scala and Covent Garden.
Hermann Prey made his UMS debut in February 1966. These performances mark Hermann Prey's third and fourth appearances under UMS auspices.
ichael Endres first studied in Munich at the Hochschule for Music and then at The Juilliard School in New York with Jacob Lateiner. As a student he won prizes at the "Concours Geze Anda" in Zurich and at the "Artists International Competition" in New York. After completing his studies in New York, he went to London where he was a pupil of Peter Feuchtwanger and conse?quently won both the Special Prize and First prize at the International Schubert Competition in Germany.
Michael Endres has distinguished him?self as a Schubert interpreter particularly by presenting the Schubert Piano Sonatas as a cycle which he has performed several times. He has given many concerts throughout Europe and America including perfor?mances in the Berlin Philharmonic Hall and in Carnegie Hall.
As the accompanist of Hermann Prey, he has toured Europe, America and Japan. Apart from his extensive concert touring, Mr. Endres is a Professor of Piano at the Cologne Hochschule for Music.
These performances mark Michael Endres' debut and second performances under UMS auspices.
In 1981 four members of the European Community Youth Orchestra (ECYO) formed the Auryn Quartet. Since that time, the group has enjoyed the active support and encouragement of Claudio Abbado, the ECYO's musical director, and has worked extensively with the Amadeus and Guarneri Quartets. Today, the Auryn Quartet has earned a secure place amongst the leading ensembles of its generation. The Quartet is based in Cologne, Germany where it has its own chamber music series.
In 1982 the Auryn Quartet won first prize at the 2nd International String Quartet Competition at Portsmouth, England and at the International Music Competition of the A.R.D. (Association of Public Broadcasting Corporations in Germany) in Munich. Other awards include first prize at the European Broadcasting Competition in Bratislava, Czechoslovakia where the quartet was the chosen represen?tative of the West German radio network in 1987. Among the festivals in which the ensemble has appeared are Lockenhaus, Montepulciano, Les Arcs, Donaueschingen, Berliner Festwochen, Frankfurt, Besancon, and the Schleswig-Holstein Music Festival.
Concert tours have taken the Auryn Quartet to the major concert halls of Europe, Israel, North Africa, North and South America, and Australia. The quartet regularly performs in London at Wigmore Hall and the City of London Festival, the Concertgebouw, and the Wiener Konzerthaus. In the United States, the ensemble has appeared at Weill Recital Hall, Carnegie Hall, and the Frick Collection. It is also an annual participant in the Washington Schubert Festival hosted by Georgetown University.
The Auryn Quartet has recorded four compact discs on the German TACET label; the first CD with Schubert's G-Major quar?tet, the second with quartets of Benjamin Britten, the third with works of Haydn, and the fourth with Beethoven's Quartet Op. 130 and the Grosse Fuge Op. 133. The Quartet's recording of the complete Bartok quartets has been released on Accord, and for 1997 the ensemble will be recording the Schubert quartets for the cpo label.
The name of the group is taken from Michael Ende's book, The Neverending Story; Auryn is an amulet--a talisman which bestows on its owner great powers of imagination and inspiration.
Violinist Matthias Iingenfelder is a native of Kuenzlau, Germany. He has studied with Max Rostal in Cologne and Gerad Poulet in Paris. He was a member of the Cologne Radio Orchestra, and he served as concertmaster of the Chamber Orchestra of Europe.
Jens Opperman, violinist, is from Hamburg. Mr. Operman is a prize winner at the Colmar International Chamber Music Competition. He has studied in Hamburg, Cologne, and Duesseldorf, and he has also worked with the Hamburg State Opera.
Violist Steuart Eaton is the sole English?man in the ensemble from Aylesbury, Buckinghamshire. He has studied in England, Germany, and Italy. Mr. Eaton was principal violist with the Orchestra of La Scala in Milan
Cellist Andreas Arndt is a native of Heidelberg. He has worked with the Berlin Philharmonic and was a member of the Guerzenich Orchestra of Cologne. Mr. Arndt has studied with Wolfgang Boettcher in Berlin and Johannes Gortizki in Duesseldorf.
These performances mark the Auryn Quartet's debut and second appearances under UMS aus?pices.
Martin Lovett was born in London and began studying the cello at the age of eleven with his father, a cellist with the London Philhar-
monic and Halle Orchestras. At fif?teen, he was awarded the Leverhume Scholarship to study at the Royal College of Music, where he also met his future wife, the violinist Suzanne Rozsa. Four years later
Martin lovett
he, together with his colleagues, founded the Amadeus Quartet. Until the 1987 death
Glimpses into the Worlds of Schubert, Mendelssohn and Brahms
A Celebratory Exhibition of Autographs, First and Early Printed Editions, Elegant Title Pages, and Graphics
Devised by Professor Ellwood Derr of the University of Michigan School of Music, Mr. Mark Katz, Assistant
Free and open to the public April 15 to June 14, 1997
Special Collections Exhibition Area
Seventh Floor
Harlan Hatcher Graduate Library

of violinist Peter Schidlof, the members of the Quartet played together without change of personnel for more than forty years -a unique record.
The Amadeus Quartet was perhaps the most successful in the history of quartet playing, having in its time given more than 4,000 public concerts, and sold more than 3,000,000 gramophone records, many of which received international awards for excellence. The Quartet also received the coveted award of the "Golden Gramophone" from its principal record company, Deutsche Grammophon Gesellschaft.
Among the many honors the Quartet members received are the O.B.E. from H.M. the Queen, Honorary Doctorates from the
Universities of London and York, the Grand Cross of Merit from the Government of Germany, and the Cross of Honor for Arts and Sciences from the Austrian Government. In addition, they were appointed Honorary Members of the Royal Academy of Music (where the surviving members are visiting Professors). Martin Lovett is also a Fellow of the Royal Society of Arts in London.
Since the end of the Amadeus Quartet, Martin Lovett has been extremely busy trav?eling, performing in various ensembles, teaching, coaching, and acting as judge in international chamber music competitions.
Martin Lovett made his UMS debut as a part of the Amadeus Quartet in 1978. This performance marks his third appearance under UMS auspices.
Schubertiade IV i--? Leon & Heidi Cohan, Honorary Chairs
Michael Endres, piano with the
Auryn String Quartet
Matthias Lingenfeder, violin Jens Oppermann, violin
Martin Katz, piano
Anton Nel, piano
Andreas Arndt, cello Steuart Eaton, viola
Friday Evening, March 21, 1997 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Four Songs of Death
Totengrabers Heimweh, D. 842 Schwanengesang, D. 744 Nachtstuck, D. 672 Der Tod und das Madchen, D. 531
Mr. Prey and Mr. Endres
String Quartet in d minor, D. 810 ("Death and the Maiden")
Andante con moto
Scherzo: Allegro molto
Auryn String Quartet
Fantasy in f minor for piano four hands, d. 94o
Allegro molto moderato -Largo -Allegro vivace -Tempo I
Mr. Nel and Mr. Katz
SCHWANENGESANG, D. 957 (Texts by Heinrich Heine ) Der Atlas Ihr Bild
Das Fischermadchen Die Stadt Am Meer Der Doppelganger
Mr. Prey and Mr. Endres
Sixty-second Concert of the 118th Season
Schubert Cycle Series
Special thanks to Steven Moore Whiting, Assistant Professor of Musicology, U-M School of Music, for serving as speaker for tonight's Performance Related Educational Presentation (PREP).
Special thanks to Trudy Miller, Program Director, The Schubertiade, New York, for program book consultation.
Large print programs are available upon request.
Franz Schubert
Born on January 31, 1797 in Vienna Died on November 19, 1828 in Vienna
Four Songs of Death
Schubert's more than sixty songs of death comprise a veritable catalog on the subject: his Tolenlieder treat suicide, parri?cide, and regicide; spirits, ghosts, gravedig-gers, and a corpse; the death of a mother, a nun, a father, a son, even a nightingale; and so many express Todessehnsucht -longing for death -that perhaps they should belong to a distinct genre.
The songs chosen for tonight's program share some remarkable similarities. In each text death is treated in a positive light; in
every one the protagonist sub?mits to death. The musical links are equally striking. Each song begins in minor but ends in a major key, reinforcing the poems' message that death is neither to be feared nor loathed, but accepted as a part of life. Or to appropriate Schubert's own words (from a letter to his father), these set?tings tell us that "Death [is not] the worst thing that can happen to us mortals." Furthermore, three of the songs (all but Nachtstiick )
include a rhythmic-melodic motive found in many of Schubert's "death songs": the slow, long-short-short rhythm (or dactyl) on a sin?gle pitch. Despite these connections, there is no sense of redundancy: each setting is a unique musical response to its text.
In Totengrdbers Heimweh (Gravedigger's Homesickness), a gravedigger stares into a freshly dug pit, remarking bitterly about the inevitability of death. Thoughts on the futili-
ty of life and his own solitude lead him to contemplate his own death and then to yearn it. His wish granted, he sinks into the grave, uttering his last words: "Loved ones, I come!" Schubert's setting is not at all mor?bid or gruesome: the gentle F-Major setting of the final stanza with its tolling dactyl tell us that the gravedigger has found peace and will no longer be alone.
Schwanengesang (Swan Song) traverses the coming of death, the experience of death itself, and the hereafter in a mere nine lines, sung in approximately two min?utes. Schubert's shifting harmonies, anchored only by the repeated dactyl, respond deftly to the text. Minor or disso?nant chords are set to "lament," "dissolu?tion," and "extinction," while "redeem" and "transfiguration" find consonant, major chords. Schubert's traversal from minor to
major amplifies the poet's message that from death comes new life.
In Nachtstiick (Nocturne) an old man walks into the woods to die. He sings, to the accompaniment of his harp (represented in the piano by sextuplets reminiscent of Gretchen am Spinnrade), of the "long sleep" that will free him from misery. The trees, the grasses, and the birds answer him, promising a peaceful end.
Death is not sought in Der Tod und das Mddchen (Death
and the Maiden); Death is the seeker. Before even a word is sung we know of his approach from the slow tread of the d-minor dactyls in the piano introduction. The Maiden's clipped, nearly hysterical lines show her longing for life, and make clear that Death is not a welcome guest. Death answers the Maiden's terrified words gently, comfortingly. He has not come to punish, he tells her, but comes as a friend. When .
minor turns to major in Death's line, "You shall sleep softly in my arms," we know the moment has arrived, and understand that while the Maiden's fate is untimely, it is not cruel.
Program note by Mark Katz
Four Songs of Death
(Jakob Nikolaus dejachelutta Craigher)
O Menschheit, O Leben! Was soil's
O was soil's Grabe aus, scharre zu!
Tag und Nacht keine Ruh! Das Treiben, das Drangen, wohin
O wohin
"Ins Grab, ins Grab, tief hinab!"
O Schicksal, o traurige Pflicht
Ich trag's linger nicht!
Wann wirst du mir schlagen, o Stunde der Ruh
O Tod! komm und drucke die Augen mir zu!
Im Leben, da ist's, ach!, so schwul, ach!,
so schwul!
Im Grabe so friedlich, so kuhl! Doch ach!, wer legt mich hinein Ich stehe allein, so ganz allein!
Von alien verlassen, dem Tod nur verwandt, Verweil' ich am Rande, das Kreuz in der Hand, Und starre mit sehnendem Blick hinab Ins tiefe, ins tiefe Grab!
O Heimat des Friedens, der Seligen Land, An dich knupft die Seele ein magisches Band. Du winkst mir von feme, du ewiges Licht, Es schwinden die Sterne,
das Auge schon bricht, Ich sinke, ich sinke! Ihr Lieben, ich komm!
Gravedigger's Homesickness
O humanity, O life! To what purpose,
to what purpose Dig out, fill in!
No rest, day and night! This urgency, this haste, where does it lead
"Into the grave, into the grave, deep down!"
0 fate, O sad duty,
1 can bear it no longer!
When will you strike, hour of peace
0 death, come and close my eyes! Life, alas, is so sultry,
so oppressive!
The grave is so peaceful, so cool! But ah, who will lay me there
1 stand alone, quite alone.
By all forsaken, kin to death alone, I tarry on the brink, cross in hand, Staring longingly down Into the deep, deep grave.
0 homeland of peace, land of the blessed! A magic bond binds my soul to you.
You beckon to me from afar, eternal light; The stars vanish,
my eyes already grow dim.
1 am sinking, I am sinking! Loved ones, I come!
(Johann Christostemus Senn)
"Wie klag' ich's aus, das Sterbegefuhl, Das auflosend durch die Glieder rinnt, Wie sing' ich's aus, das Werdegefuhl, Das erlosend dich, o Geist, anweht."
Er klagt', er sang,
Bis das Leben floh.
Das bedeutet des Schwanen Gesang!
{Johann Mayrhofer)
Wenn uber Berge sich der Nebel breitet, Und Luna mit Gewolken kampft, So nimmt der Alte seine Harfe, und schreitet, Und singt waldeinwarts und gedampft:
"Du heil'ge Nacht:
Bald ist's vollbracht,
Bald schlaT ich ihn, den langen Schlummer,
Der mich erlost von allem Rummer."
Die grunen Baume rauschen dann: "Schlaf suB, du guter, alter Mann;" Die Graser lispeln wankend fort: "Wir decken seinen Ruheort;"
Und mancher liebe Vogel ruft: "O laBt ihn ruh'n in Rasengruft!" Der Alte horcht, der Alte schweigt, Der Tod hat sich zu ihm geneigt.
Der Tod und das Madchen {Matthias Claudius)
Das Madchen: Voruber, ach, voriiber! Geh', wilder Knochenmann! Ich bin noch jung, geh', Lieber! Und ruhre mich nicht an.
Der Tod:
Gib deine Hand, du schon und zart Gebild!
Bin Freund, und komme nicht zu strafen.
Sei gutes Muts! Ich bin nicht wild,
Sollst sanft in meinen Armen schlafen!
Swan Song
"How shall I lament the presentiment of death, The dissolution that flows through my limbs How shall I sing of the feeling of new life That redeems you with its breath, o spirit"
It lamented, it sang,
Fearful of extinction,
Joyously awaiting transfiguration,
Until life fled.
That is the meaning of the swan's song!
When the mists spread over the mountains, And the moon battles with the clouds, The old man takes his harp, and walks Towards the wood, quietly singing:
"Holy night,
Soon it will be done.
Soon I shall sleep the long sleep
Which will free me from all grief."
Then the green trees rustle: "Sleep sweetly, good, old man;" And the swaying grasses whisper; We shall cover his resting place."
And many a sweet bird calls:
"Let him rest in his grassy grave!
The old man listens, the old man is silent.
Death has leant over him.
Death and the Maiden
The Maiden:
Pass by, ah, pass by!
Away, cruel Death!
I am still young, leave me, dear one,
And do not touch me.
Give me your hand, you lovely, tender creature.
I am your friend, and come not to chastise.
Be of good courage. I am not cruel;
You shall sleep softly in my arms!
String Quartet in d minor,
d. 810, "Death and the Maiden"
Schubert completed this, his best-known string quartet, in 1824. It is called Der Tod und das Mddchen (Death and the Maiden) because the slow movement is a series of variations on the tune derived from the song. Other Schubert variation sets, some?times also using songs of his own as themes, are florid display pieces reinterpreting the tune. His procedure here is strikingly differ?ent. Instead of transforming his source, he amplifies, deepens, intensifies its message. Not only does he shun display, he shuns modulation: all five variations cling to g minor and G Major. The theme, moreover, is never disguised: it sounds at every point. In all these respects, Schubert retains the simplicity and directness of the song. And yet the result is vaster in scope. The reasons have to do with structure.
Schubert's quartet movement theme is even barer dian his song. He omits the recitative-like music of the Maiden's plea, arriving at a purely chordal texture. The first part of the theme is all g minor. Part two moves from B-flat Major to G Major. This minor-to-major trajectory maps the move?ment in microcosm. By ending his stormiest variation -No. 3 -in the minor, and setting his quietest -No. 4 -wholly in the major, Schubert doubles the magnitude of his dark?ness-to-light scenario. In variation No.5, he gradually thins the texture, and diminishes the dynamic to ppp. The movement's G-Major coda, thus prepared, is ethereal -compared to the song, a more rarefied, more complete rendering of death's "gentle sleep."
Schubert joins this movement to three others conceived to heighten its impact. The entire work is swathed in darkness and tragedy. The pounding fortissimo triplets of the opening are answered by the silence,
then echoed in stealthy pianissimo. A huge crescendo yields a reprise of the beginning in which the earlier silences pulsate with sound: a seething mass of triplets now per?vades the entire texture. A triplet accompa?niment disturbs the soothing second sub?ject, in F Major. When this theme, too, undergoes agitated development, the triplet undercurrent accelerates to fortissimo six?teenth notes. The development section strenuously combines both principal themes. The movement's crowning inspira?tion is its coda, for which Schubert cunning?ly withholds the reprise of the opening page's great crescendo. This yields a tremen?dous tonic cadence, whose aftershock proves transitional. The harmonic scheme of this final passage is hauntingly unstable. Eschewing finality, it introduces the healing "Death and the Maiden" movement which follows.
Movement three of the quartet is a d-minor "Scherzo." Compared to other Schubert scherzos, this one is notably rapid. Even more notable is that its D-Major 'Trio" uncharacteristically opens no window to serenity: the perturbed dotted rhythms of die movement's outer episodes punctuate its course.
Schubert closes the Quartet with a per?petual motion finale in tarantella rhythm. Schubert uses a contrasting second subject, an interrupting chorale dieme, as a foil: it is fractured by the irresistible tarantella impe?tus, which also strips its chordal texture to skeletal unison. The coda accelerates the movement to a frenzied prestissimo. A series of harmonic shocks preparing the final crescendo create an illusion of further, even more frenetic acceleration. A split-second modulation to the tonic major is a possibility foreclosed by the mighty d-minor cadence which ends the work.
Program note by Joseph Horowitz
Fantasy in f minor for piano four hands, d. 940
Rather like a cyclic symphony, the f-minor Fantasy divides into four sections of which the second is slow, the third is a scherzo, and the fourth recycles earlier material. While the scherzo (Allegro vivace, D Major) is thematically self-sufficient, the other three sections are seduced by the opening tune, which even if it occurred once, would remain the score's most indelible feature. As with so many haunting Schubert melodies, its poignancy seems subject to limitless enhance?ment as Schubert dreamily traverses one new key after another. In the Fantasy's first section (Allegro molto moderato, f minor), it dominates an ABA structure. In the second (Largo, f-sharp minor), it spawns a new theme with which it shares a rising fourth in dotted rhythm. In the fourth (Tempo I, f minor), it reappears intact, then launches an ambitious fugue based on another of its thematic offshoots: the first section's second subject. Schubert's culminating masterstroke, in the coda, is to return to the tune in its initial quiet guise -but with new meaning. Through ceaseless cross-reference and repe?tition, it has become a mournful refrain as obsessive as the tarantella that drives the late c-minor Piano Sonata to its grim close, or the morbidly droning Leiermann who puts an end to Winterreise.
Program note by Joseph Horowitz
(Texts by Heinrich Heine)
In the six Heine songs of Schwanengesang Schubert adopts a poet whose voice would have earlier eluded him. Taking up where Winterreise left off, he composes epigrammat-ically, not sorrowfully, but bitterly. The piano
is here an orchestra, and it renders a cosmos of terror and pain.
Superficially, Ihr Bild (Her Picture) is a cliche: a portrait of the departed beloved. Schubert, however, finds something halluci?natory in the way her picture springs to life. The bare octaves in the piano, doubling the vocal line; the vacant pauses; the rumbling in the bass; and the piano's b-flat minor final cadence underscore the essential bit?terness of the song.
The accompaniment to Die Stadt (The Town) seventeen times repeats a dissonant chord over a throbbing pedal point -the lapping waves and shivering, dank breeze accompanying the wanderer's boat. So vague and futile is this journey that its end is no end at all: a lonely C in the bass, clouded by the chromatic harmonic residue. Am Meer (By the Sea) is another turbid, painfully irresolute waterscape that vaguely evaporates.
The disillusionment of the Heine songs, whose metaphoric equivalent is the image that dissolves or falsely materializes, peaks in DerDoppelgdnger (The Wraith). Here, the stripped vocal line is a kind of heightened speech, so tightly is it bound to the rhythm, accentuation, and pitch of the spoken word. The same is true for Die StadL This close inte?gration of speech and song is an achievement we more commonly associate with Wagner.
In diis impressive evolution of musical speech, die interiority and economy of Die Stadt and Der Doppelgdnger are new, and so is the use of music to evoke half-real, half-imagined external metaphor: the shrouded spires, the dreary sea, die moonlit double. This, too, is a Wagnerian achievement. It is Schubert forecasting the subjectivity of Tristan und Isolde.
No perspective on Schubert could more dioroughly refute die imagery of innocent tunesmidi diat once shaped Schubert's rep?utation. At journey's end, die Heine songs represent Schubert at die very height of his powers -but not of his potential.
Program note by Joseph Horowitz
SCHWANENGESANG Poems by Heinrich Heine
Der Atlas
Ich unglucksel'ger Atlas! eine Welt, Die ganze Welt der Schmerzen muB ich tragen. Ich trage Unertragliches, und brechen Will mir das Herz im Leibe.
Du stolzes Herz, du hast es ja gewollt! Du wolltest glucklich sein, unendlich glucklich, Oder unendlich elend, stolzes Herz, Und jetzo bist du elend.
Ich stand in dunklen Traumen, Und starrte ihr Bildnis an, Und das geliebte Antlitz Heimlich zu leben begann.
Um ihr Lippen zog sich Ein Lacheln wunderbar, Und wie von Wehmutstranen Erglanzte ihr Augenpaar.
Auch meine Tranen flossen Mir von den Wangen herab -Und ach, ich kann es nicht glauben, DaB ich dich verloren hab'!
I, unhappy Atlas, must bear a world, The whole world of sorrows. I bear the unbearable, and my heart Would break within my body.
Proud heart, you wished it so! You wished to be happy, endlessly happy, Or endlessly wretched, proud heart! And now you are wretched!
Her Picture
I stood in dark dreams,
Gazing at her picture;
And that beloved face
Began mysteriously to come alive.
Around her lips there played
A wondrous smile;
And her eyes glistened,
As though with melancholy tears.
My tears, too, flowed Down my cheeks. And ah, I cannot believe That I have lost you!
Das l isc in km a dcii in
Du schones Fischermadchen, Treibe den Kahn ans Land; Komm zu mir und setze dich nieder, Wir kosen Hand in Hand.
Leg an mein Herz dein Kopfchen, Und furchte dich nicht zu sehr; Vertraust du dich doch sorglos Taglich dem wilden Meer.
Mein Herz gleicht ganz dem Meere, Hat Sturm und Ebb' und Flut, Und manche schone Perle In seiner Tiefe ruht.
Die Stadt
Am fernen Horizonte Erscheint, wie ein Nebelbild, Die Stadt mit ihren Turmen In Abenddamm'rung gehullt.
Ein feuchter Windzug krauselt Die graue Wasserbahn; Mit traurigem Takte rudert Der Schiffer in meinem Kahn.
Die Sonne hebt sich noch einmal Leuchtend vom Boden empor, Und zeigt mir jene Stelle, Wo ich das Liebste verlor.
The Fisher Maiden
Lovely fisher maiden,
Guide your boat to the shore;
Come and sit beside me,
And hand in hand we shall talk of love.
Lay your little head on my heart And do not be too afraid; For each day you trust yourself Without fear to the turbulent sea.
My heart is just like the sea,
It has its storms, its ebbs and its flows;
And many a lovely pearl
Rests in its depths.
The Town
On the distant horizon Appears, like a misty vision, The town with its turrets, Shrouded in dusk.
A damp wind ruffles The grey stretch of water; With mournful strokes The boatman rows my boat.
Radiant, the sun rises once more From the earth, And shows me diat place Where I lost my beloved.
Am Meer
Das Meer erglanzte weit hinaus Im letzten Abendscheine; Wir saBen am einsamen Fischerhaus, Wir saBen stumm und alleine.
Der Nebel stieg, das Wasser schwoll, Die Mowe flog hin und wieder; Aus deinen Augen liebevoll Fielen die Tranen nieder.
Ich sah sie fallen auf deine Hand, Und bin aufs Knie gesunken; Ich hab' von deiner weiBen Hand Die Tranen fortgetrunken.
Seit jener Stunde verzehrt sich mein Leib, Die Seele stirbt vor Sehnen; -Mich hat das unglucksel'ge Weib Vergiftet mit ihren Tranen.
Der Doppelganger
Still ist die Nacht, es ruhen die Gassen, In diesem Hause wohnte mein Schatz; Sie hat schon langst die Stadt verlassen, Doch steht noch das Haus auf demselben Platz.
Da steht auch ein Mensch und
starrt in die Hohe,
Und ringt die Hande vor Schmerzensgewalt; Mir graust es, wenn ich sein Antlitz sehe -Der Mond zeigt mir meine eig'ne Gestalt.
Du Doppelganger, du bleicher Geselle! Was affst du nach mein Liebesleid, Das mich gequalt auf dieser Stelle So manche Nacht, in alter Zeit
By the Sea
The sea glittered far and wide
In the sun's dying rays;
We sat by the fisherman's lonely house,
We sat silent and alone.
The mist rose, the waters swelled, A seagull flew to and fro; From your loving eyes The tears fell.
I saw them fall on your hand, I sank upon my knee; From your white hand I drank away the tears.
Since that hour my body is consumed And my soul dies of longing. That unhappy woman Has poisoned me with her tears.
The Wraith
The night is still, the streets are at rest; In this house lived my sweetheart. She has long since left the town, But the house still stands on the self-same spot.
A man stands there too,
staring up,
And wringing his hands in anguish; I shudder when I see his face -The moon shows me my own form.
You wraith, pallid companion, Why do you ape the pain of my love Which tormented me on this very spot, So many a night, in days long past
For biographies of tonight's other artists, please
consult last evening's program contained in this
book, beginning on page 29.
nton Nel's remarkable and versatile career has taken him to many parts of the world since making his auspicious debut at the age of i twelve in Beethoven's C Major Concerto after only two years of study. Now considered to be one of the out?standing pianists of his generation, he has appeared with orchestras and as recitalist throughout North America, as well as in parts of Europe and Africa. Summer festival highlights include performances at Lincoln Center's Mostly Mozart Festival, performances with the Chicago Symphony at the Ravinia Festival, the San Francisco Symphony at Stern Grove, as well as numerous engage?ments at the Aspen Music Festival. In the 1995-96 season he made his debut with the Cleveland Orchestra to high acclaim, and he debuted with the Detroit Symphony.
Equally gifted as a collaborative pianist, he appears regularly with distinguished artists like members of the Cleveland Quartet, the Cavani Quartet, cellist Zara Nelsdva, baritone William Sharp, and many others.
Mr. Nel is a graduate of the University of the Witwatersrand in South Africa (his native country), and the University of Cincinnati. Among his many prizes and awards are first prizes in the 1987 Naumburg and 1986 Joanna Hodges International Piano Compe?titions, as well as prizes in the 1982 Pretoria and 1984 Leeds International Piano Compe?titions. Most recently he was the recipient of a Distinguished Alumnus Award from the University of Cincinnati.
Also a gifted and dedicated teacher, Anton Nel is currently a Professor at the University of Michigan in Ann Arbor after having served on the piano faculties of the
University of Texas at Austin (two years), and the Eastman School of Music (four years). His teachers include Adolph Hallis, Bela Siki, and Frank Weinstock.
Anton Nel made his UMS debut in February 1995. This performance marks his fourth appear?ance under UMS auspices.
"k Mt" artin Katz is one of
IL I the world's mosi
I I I eminenl accompa-
I nists, collaborating
I regularl) in recitals
Rf .mil on records
Jm T ltaai with such artists as Marilyn Home, Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli and Jose Carreras. Highlights of Mr. Katz's thirty years of concertizing with the world's most celebrated vocal soloists include innumerable recitals at Carnegie Hall, appearances at the Salzburg Festival, tours in Australia and Japan and performances at La Scala and the Paris Opera. His concerts are frequently broad?cast nationally and internationally. The Metropolitan, Houston and Ottawa operas have performed his editions of Baroque and bel canto operas of Handel, Vivaldi and Rossini. At the University of Michigan, in addition to overseeing the various degrees in ensemble for pianists, Mr. Katz coaches singers and teaches courses in vocal repertoire. He has also been a frequent guest conductor of the School's opera productions.
Martin Katz first performed under UMS auspices in November 1976. Since then he has accompa?nied such notable singers as Kiri Te Kanawa, Kathleen Battle, and Cecilia Bartoli. This perfor?mance marks his sixteenth appearance under UMS auspices.
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Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of live per?forming arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collaborations and partner?ships to reach into the many diverse communities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) perfor?mances. This year, more than 7,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Sounds of Blackness, New York City Opera National Company's La Boheme and the National Traditional Orchestra of China.
Other activities that further the understand?ing of the artistic process and appreciation for the performing arts include:
MASTERS OF ARTS A new, free-of-charge UMS series in collaboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person) available from the UMS Box Office.
PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS (PREPS) A series of free pre-performance presentations, featuring talks, demonstrations and workshops. Usually held 60-90 minutes before performances.
In addition to these events, which are listed on pages 22-23 of this program book, UMS presents a host of other activities, including master class?es, workshops, films, exhibits, panel discussions, in-depth public school partnerships and other residency activities related to winter season pre?sentations of "Blues, Roots, Honks and Moans," the series of Schubert concerts and the Lincoln Center Jazz Orchestra with Wynton Marsalis.
ike to help out"
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings; ushering for the Performance Related Educational Presentations (PREPs); staffing the Information Table in the lobbies of concert halls; distributing publicity materials; assisting with the Youth Program by compiling educa?tional materials for teachers, greeting and fcscorting students to seats at performances; and serving as good-will representatives for KJMS as a whole.
If you would like to become part of the llniversity Musical Society volunteer corps, llease call 313.936.6837 or pick up a volunteer application form from the Information Table in the lobby.
Internships widi the University Musical ?Society provide experience in performing arts management, marketing, journalism, publicity, Promotion, production and arts education. Bemesterand year-long internships are avail?able in many aspects of the University Musical Bociety's operations. For more information, tlease call 313.647.4020 (Marketing internships) or 313.647.1173 (Production flnternships).
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 313.764.2538 or 313.647.4020.
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer.
For more information about joining the UMS usher corps, call 313.913.9696
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds going to benefit UMS programs.
Following two years of resounding success, wonderful friends and supporters of die 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 die 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 & Litde 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 die most delicious experience of your life, call 313.936.6837!
The University Musical Society Board of Directors and Advisory Committee are pleased to host pre-performance din?ners before a number of the year's great events. Arrive early, park with ease, and begin your evening with other Musical Society friends over a relaxed buffet-style dinner in the University of Michigan Alumni Center. The buf fet will be open from 6:00 to 7:30 p.m. and is $25 per person. For reservations and informa?tion on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
National Company
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and Subscribers receive discounts at a vari?ety of local businesses by using UMS Card. Participating businesses support the UMS through advertising or sponsorship, and by patronizing the following establishments, you can support the businesses that support UMS.
Amadeus Cafe Ann Arbor Acura Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc. Fine Flowers Candy Dancer Great Harvest John Leidy Shops
Kerrytown Bistro
Marty's Menswear
Schoolkids Records
Shaman Drum Bookshop
SKR Classical
Sweetwaters Cafe
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
sponsorships and Advertising
Corporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-mance mentions, tickets, backstage passes and the opportunity to host receptions. Whether increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current goals, sponsorship of UMS provides visibility to our loyal patrons and beyond. Call 313.647.1176 I for more information about the UMS Corporate I Sponsor Program.
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro?vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a restaurant that meets your group's culi?nary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
Advisory Committee
of the University Musical Society ..............................................................................................
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and the behind-the-scenes tasks asso?ciated with every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
Ford Honors Program
The Ford Honors Program is a relatively new University Musical Society pro?gram, made possible by a generous grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform individuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the 1997 UMS Distinguished Artist Award is announced in late January.
Thank You!
Great performances--the best in music, theater and dance--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of November 15, 1996. If there has been an error or omission, we apologize and would appreciate a call at (313) 647-1178 to correct it.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support enabling us to continue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Elizabeth S. Bishop
Mr. and Mrs. Pal E. Borondy
Mr. Hilberl Beyer
Mr. and Mrs. John Alden Clark
Ralph Conger
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin Elizabeth E. Kennedy Randall and Mary Pittman John Psaroulhakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ronald and Eileen Weiser Paul and Elizabeth Yhouse
Conlin Travel
Detroit Edison
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPE IncThe Paidcia Foundation
McKinley Associates, Inc.
NBD Bank
NSK Corporation
Regency Travel
The Edward Surovell Co.Realtors
TriMas Corporation
Parke Davis Pharmaceutical Research
University of Michigan
Wolverine Temporaries, Inc.
Foundations Agencies
Arts Midwest
Grayling Fund
Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Robert and Ann Meredith Mrs. John F.Ullrich
Continental Cablevision Great Lakes Bancorp Harman Motive Audio Systems Pepper, Hamilton and Schcetz WQRS
Herb and Carol Amster
Carl and Isabcllc Brauer
Dr. James Byrne
Mr. Ralph Conger
Margaret and Douglas Crary
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
Sun-Chien and Betty Hsiao
Mr. and Mrs. Howard S. Holmes
F. Bruce Kulp
Mr. David G. Loesel
Charlotte McGeoch
Mr. and Mrs. George R. Mrkonic
Joe and Karen Koykka O'Neal
Monti and Gui Ponce de Leon
Mrs. M. Titiev
Marina and Robert Whitman
The Anderson Associates Chelsea Milling Company Curtin & AlfViolinmakers First of America Bank Thomas B. McMullen Company Masco Corporation O'Neal Construction Project Management Associates
KMD Foundation
World Heritage Foundation
Individuals Maurice and Linda Binkow Kathleen G. Charla Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans John and Esther Floyd Rebecca McGowan and Michael Staebler
Thomas and Shirley Kauper Dr. and Mrs. Joe D. Morris lohn W. and Dorothy F. Reed Maya Savarino and Raymond Tanter Mrs. Francis V. Viola III John Wagner
AAA Michigan F.nvironmenlal Research
Institute of Michigan Ford Audio Maude's Miller, Canfield, Paddock
and Stone Mission Health Waldenbooks
Benard L. Maas Foundation
Dr. and Mrs. Gerald Abrams Professor and
Mrs. Gardner Ackley Dr. and Mrs. Robert G. Aldrich Robert and Martha Ause James R. Baker, Jr., M.D. and
Lisa Baker A.J. and Anne Bartoletto Bradford and Lydia Bales Raymond and Janet Bernrcuter Joan A. Binkow Howard and Margaret Bond Tom and Carmel Borders Barbara Everitt Bryant and
John H. Bryant Mr. and Mrs. Richard J. Burslcin Betty Byrne ! i nli.i ). Byrd Edwin F. Carlson Jean and Kenneth Casey David and Pal Clyde Leon and Heidi Cohan Maurice Cohen Roland J. Cole and
Eta Kirchcr Cole Dennis Dahlmann Jack and Alice Dobson Jim and Palsy Donahe] Jan and Gil Dorer Cheri and Dr. Stewart Epstein Dr. and Mrs. S.M. Farhat "arid and Jo-Anna Feathcrman
Adrienne and Robert Feldstcin
Richard and Marie Flanagan
Robben and Sally Fleming
Michael and Sara Frank
Margaret Fisher
Mr. Edward P. Frohlich
Marilyn G. Gallatin
Bcverley and Gerson Geltner
William and Ruth Gilkey
Drs. Sid Gilman and Carol Barbour
Sue and Carl Gingles
Paul and Anne Glendon
Norm Gottlieb and Vivian Sosna Gottlieb
Dr. and Mrs. William A. Grade Km 11 B. and
Edward M. Gramlich Linda and Richard Greene
Seymour D. Greenstone
Walter and Diannc 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 Kcki and Alice Irani Mercy and Stephen Kasle Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kin near Bethany and A. William Klinke II Michael and Phyllis Korybalski Barbara and Michael Kusisto Mr. Henry M. Lee Evie and Allen Lichler Carolyn and Paul Lichler Patrick B. and Kathy Long Dean S. Louis Brigitte and Paul Maassen Ms. Francinc Manilow Marilyn Mason and
William Steinhoff Judylhe and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Reiko McKendry Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Dr. and Mrs. Andrew and
Candice Mitchell Virginia Patlon and
Cruse W. Moss William A. Newman Lcn 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 Maxinc and Wilbur K. Picrpont Professor and
Mrs. Raymond Rcilly Glenda Renwick Jack and Margarel Ricketts Prudence and Amnon Roscntlial Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumelhart Richard and Norma Sarns Rosalie and David Schottenfcld Janet and Mike Shatusky Cynthia J. Sorensen Gerard H. and Colleen Spencer Dr. Hildreih H. Spencer Mr. and Mrs. John C. Stegeman Victor and Marlene Stocffler Dr. and Mrs. Jeoffrey K. Stross Dr. and Mrs.
E. Thurston Thieme Jerrold G. Utslcr Charlotte Van Curler Ron and Mary Vandcn Bell Richard E. and
Laura A. Van House Ellen C. Wagner Elise and Jerry Wcisbach Roy and JoAn Wetzel 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 Heydon) Wuhtenaw Council for the Arts
Jim and Barbara Adams Bernard and Raqucl Agranoff M. Bernard AidinofT Carlene and Peter Aliferis Catherine S. Arcure Essel and Menakka Bailey Robert L. Baird
Emily Bandcra
Dr. and Mrs. Robert Bartleu
Ralph P. Beebe
Mrs. Kathleen G. Benua
Robert Hunt Berry
Suzanne A. and
Frederick J. Beutler Ron and Mimi Bogdasarian Edith and Fred Bookstein Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Britton David and Sharon Brooks Jeanninc and Robert Buchanan Phoebe R. Burt Freddie Caldwell Jean W. Campbell Bruce and Jean Carlson Mrs. Raymond S. Chase Susan and Arnold Coran Mrs. David Cox H. Richard Crane Alice B. Crawford Peter and Susan Darrow Kaly and Anthony Derczinski Judith and Kenneth DcWoskin Elizabeth A. Doman Bita Imilnil. M.D. and Howard Gutstein, M. D. Claudine Farrand and
Daniel Moerman Mrs. Beth B. Fischer Ken, Penny and Malt Fischer Susan R. Fisher and
John W. Waidlcy Phyllis W. Foster Dr. William and Beau-ice Fox David J. Fugenschuh and
Karcy Leach Elmer G. Gilbert and
Lois M. Verbruggc Margaret G. Gilbert James and Janet Gilsdorf John R. and Helen K. Griffith Susan R. Harris Jay and Maureen Hartford Harlan and Anne Hatcher Mrs. WA Hiltncr Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hooblcr Mary Jean and Graham Hovey Che C. and Teresa Huang Gretchen and John Jackson Robert L. and Beatrice H. Kahn Herb Katz
Richard and Sylvia Kaufman Howard King and
Elizabeth Sayre-King Richard and Pat King Hcrmine Roby Klingler Jim and Carolyn Kn.ik-John and Jan Kosta Mr. and Mrs. Samuel Krimm
Benefactors, continued
Bud and Justine Kulka Suzanne and lxe E. Landes Elaine and David Lebcnbom Leo A. Legaiski
Mr. and Mrs. Fernando S. Leon Mr. and Mrs. Carl J. Lutkchaus Donald and Doni Lystra Robert and Pearson Macck John and Cheryl MacKrell Mark Mahlberg Alan and Carla Mandel Ken Marblcstone and
Janisse Nagel
Mr. and Mrs. Damon L. Mark David G. McConnell John F. McCucn Kevin McDonagh and
Leslie Crofford
Richard and Elizabeth McLeary Thomas B. and
Deborah McMullen ll.uii' and Ted McOmber Mr. and Mrs.
Warren A. Merchant Myrna and Newell Miller Ronald Miller Grant Moore and
Douglas Weaver Mr. Erivan R. Morales and
Mr. Seigo Nakao John and Michelle Morris John Blankleyand
Maureen Foley M. Haskell and
Jan Barney Newman Virginia and Cordon Nordby Marysia Ostafin and
George Smillic
Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and Lorna Prescott Tom and Mary Princing Jerry and Millard Pryor Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Stephen and Agnes Reading Jim and Bonnie Reece Mr. Donald H. Regan and
Ms. Elizabeth Axelson Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Rcstuccia ?Catherine 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 Sneed Schriber Edward and Jane Schulak
Jutianne and Michael Shea Mr. and Mrs.
Fredrick A. Shimp.Jr. Helen and George Siedel Steve and Cynny Spencer Lloyd and Ted St. Antoinc Ron and Kay Stefanski Mrs. Ralph L. Stcffck Mrs. John D. Stoner Nicholas Sudia and
Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Herbert and Anne Upton Don and Carol Van Curler Bruce and Raven Wallace Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Angela and Lyndon Welch Ruth and Gilbert Whitaker Brymer 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 Shiffman Foundation Trust
Mr. Gregg T. Alf
Dr. and Mrs. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlene and Henry Appelman
Sharon and Charles Babcock
Lesli and Christopher Ballard
Dr. and Mrs. Peter Banks
M. A. Baranowski
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barnett
Dr. and Mrs. Mason Barr.Jr.
Astrid B. Beck and
David Noel Frcedman
Neal Bedford and
Gcrlinda Melchiori Harry and Betty Benford Ruth Ann and Stuart J. Bergstein Jim Botsford and
Janice Stevens Botsford Betsy and Ernest Braler Mr. and Mrs. Gerald Bright Morton B. and Raya Brown Mrs. Theodore Cage Jim and Priscilla Carlson Professor Brice Carnahan Jeannette and Robert Carr Mr. and Mrs. Dennis Carroll Janet and Bill Cassebaum Andrew and Shelly Caughey Yaser Cereb
Tsun and Siu Ying Chang Pat and George Chatas Ed and Cindy Clark Janice A. Clark Jim and Connie Cook Mary K. Cordes Alan and Bette Cotzin Merle and Mary Ann Crawford William H.Damon III Laning R. Davidson, M.D. Jean and John Debbink Elizabeth Dexter Delia DiPielro and
Jack Wagoner, M.D. Thomas and Esther Donahue Cecilia and Allan Dreyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser David and Lynn Engclbcrt Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Filgas Sidney and Jean Fine Herschcl and Annette Fink Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnette Forde Deborah and Ronald Freedman Harriet and Daniel Fusfeld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Wood and Rosemary Geist Henry and Beverly Gershowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon Dr. Alexander Gotz Mrs. William Grabb Elizabeth Needham Graham Jerry and Mary K. Gray Dr. John and Renee M. Gredcn Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Margaret and Kenneth Guirc Philip E. Guirc Don P. Haefner and Cynthia J. Stewart Veronica Haines Marcia and Jack Hall
Mrs. William Halstcad Margo Halsted Dagny and Donald Harris Bruce and Joyce Herbert Mr. and Mrs. Ramon Hernandez Fred and Joyce Hcrshenson Herb and Dee Hildebrandt John H. and
Maurita Peterson Holland Drs. Linda Samuelson and
Joel Howell Ronald R. and
Gaye H. Humphrey Mrs. Hazel Hunschc George and Katharine Hunt Wallie and Janet Jeffries Ellen C.Johnson Susan and Stevo Julius Mary B. and Douglas Kahn Steven R. Kali and
Robert D. Heeren Anna M. Kauper David and Sally Kennedy Beverly Kleiber Bert and Catherine La Du Henry and Alice Landau Mr. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann Leidy 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 Virginia Mahle
Thomas and Barbara Manccwiit Edwin and Catherine Marcus Rhoda and William Martcl Mrs. Lester McCoy Griff and Pat McDonald Walter and Ruth Metzger Deanna Relyca and
Piotr Michalowski Sally and Charles Moss Marianne and Mutsumi Nakao Barry Nemon and
Barbara Stark-Nemon Martin Nculiep and
Patricia Pancioli Peter F. Norlin Richard S. Nottingham Marylen and Harold Oberman Richard and Joyce Odcll Mark Ouimet and
Donna Hrozencik Donna D. Park Randolph Paschke Mrs. Margaret D. Petersen Lorraine B. Phillips Frank and Sharon Pignanelli Dr. and Mrs. Michael Pilcpich Richard and Meryl Place Cynthia and Roger Postmus Charlccn Price
Hugo and Sharon Quiroz William and Diane Rado Jim and leva Rasmusscn l.a Vonnc and Gary Reed Anthony L. Reffells and
Elaine A. Bennett Mr. and Mrs. Neil Ressler Elizabeth G. Richart Barbara A. Anderson and
John H. Romani Mrs. Irving Rose Dr. Nathaniel H. Rowe Jerome M. and Lee Ann Salic Georgian a M. Sanders Michael Sarosi and
Kiinni Skalitzky Sarosi Sarah Savarino
Dr. Albert J. and Jane K. Sayed David and Marcia Schmidt David E. and
Monica N. Schteingart Art and Mary Schuman Marvin and Harriet Selin Joseph and Patricia Settimi Roger Sheffrey Constance Sherman Dr. and Ms. Howard and
Aliza Shevrin
Hollis and Martha A. Showalter John Shultz Edward and Marilyn Sichler
Diane Siciliano
John and Anne Griffin Sloan
Alcnc M. Smith
Carl .iiid ].ii i Smith
Jorge and Nancy Solis Dr. Elaine R. Soller Mr. and Mrs. Edward Sopcak Mr. and Mrs. NeilJ. Sosin Gus and Andrea Stager Irving M. Stahl and
Pamela M. Rider Dr. and Mrs. Alan Sleiss Charlotte Sundclson Ronald and Ruth Sutton Brian and Lee Talbot Kathleen Treciak Joyce A. Urba and
David J. Kinsella Hugo and Karla Vandersypen Mr. and Mrs.
John van der Velde William C. Vassell Sally Wacker Warren Herb Wagner and
Florence S. Wagner Gregory and Annette Walker Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Karl and Karen Wcick Dr. Steven W. Werns Marcy and Scott Westerman
Associates, continued
B. Joseph and Mary White Mrs. Clara G. Whiting Marion T. Wirick Karris and Ann Womack Richard and Dixie Woods Don and Charlotte Wychc Mr. and Mrs. David Zuk
Atlas Tool, Inc. Borders Books and Music Edwards Brothers, Inc. Hagopian World of Rugs Scientific Brake and Equipment Company
Shlomo and Rhonda Mandell Philanthropic Fund
Tim and Leah Adams Michael and Hiroko Akiyama Michael and Suzan Alexander Anastasios Alcxiou James and Catherine Allen Augustine and Kathleen Amaru Mr. and Mrs. David Aminoff Dr. and Mrs. Charles T. Anderson Hugh and Margaret Anderson Howard Ando and Jane Wilkinson Jim and Cathy Andonian T.L. Andresen James Antosiak and Eda Wcddington
Jill and Thomas Archambeau, M.D. Patricia and Bruce Arden Bert and Pat Armstrong Guard and Ellen Arncson Mr. and Mrs. Lawrence E. Arnett Jeffrey and Deborah Ash Mr. and Mrs. Arthur J. Ashc Mr. and Mrs. Dan E. Atkins HI Jim and Patsy Auiler Eric M. and Nancy Aupperlc
Erik W. and Linda Lee Austin
Eugene and Charlene Axelrod
Shirley and Don Axon
Jonathan and Marlcnc Ayers
Virginia and Jerald Bachman
Richard and Julia Bailey
Doris I. Bailo
Morris and Beverly Baker
Barbara and Daniel Balbach
Roxanne Balousck
Kate Barald and Douglas Jewell
Rosalyn and Mel Barclay
John R. Bart-ham
Maria Kardas Barn a
Mr. and Mrs. Robert M. Barnes
Laurie and Jeffrey Barnett
Karen and Karl Bartscht
Ixslic and Anita Bassett
Mr. John Batdorf
Dr. and Mrs. Jcre M. Bauer
Kathleen Beck
Mr. and Mrs. Steven R. Beckert
Dr. and Mrs. Richard Bcil.Jr.
Walter and Antje Benenson
Mcretc and
Erling Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Dr. Rosemary R. Berardi Helen V. Berg Marie and Gerald Berlin L. S. Berlin
Gene and Kay Berrodin Andrew H. Berry, D.O. Bharai C. Bhushan John and Marge Biancke John and Laurie Birchler William and Ilene Birgc Elizabeth S. Bishop Art and Betty Blair Ralph B. Blasier Mr. and Mrs. Ray Blaszkicwicz Marshall Blondy and Laurie Burry Dr. George and Joyce Blum Beverly J. Bole Robert S. Bolton Mr. and Mrs. Mark D. Bomia Dr. and Mrs. Frank Bongiorno Harold W. and Rebecca S. Bonnell Roger and Polly Bookwalter Edward G. and Luciana Borbely LolaJ. Borchardt Gil and Mona Borlaza Dr. and Mrs. David Boslian David and Tina Bowen Bob and Jan Bower Sally and Bill Bowers Laurence Boxer, M.D. and
Grace J. Boxer, M.D. Dr. and Mrs. Ralph Bozell Paul and Anna Bradley William F. and Joyce E. Bracuninger Mr. William K. Brashear Representative Liz and
Professor Enoch Brater Dr. and Mrs. James Brcckcnfcld Bob and Jacki Brec Professor and Mrs. Dale E. Briggs William and Sandra Broucck Ms. Maryjo Brough June and Donald R. Brown
Linda Brown and Joel Goldberg
Molly and ohn Bruegcr
Mrs. Webster Brumbaugh
Dr. Donald and Lela Bryant
Dr. Frances E. Bull
Robert and Carolyn Burack
Arthur and Alice Burks
Robert and Miriam Butsch
Sherry A. Byrnes
Dr. Patricia M. Cackowski
Edward and Mary Cady
Louis and Janet Callaway
Susan and Oliver Cameron
Nancy Campbclljoncs
Charles and Martha Cannell
Kathleen and Dennis Cantwell
Isabellc Carduncr
George R. Carignan
Dr. and Mrs. James E. Carpenter
Jan Carpman
Marchall F. and Janice L. Carr
Mr. and Mrs. Jeffrey A. Carter
Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Kathran M. Chan Bill and Susan Chandler J. Wehrley and Patricia Chapman James S. Chen Joan and Mark Chesler George and Sue Chism Dr. Kyung and Young Cho John and Susan Christcnscn Edward and Rebecca Chudacoff Dr. and Mrs. David Church Robert J. Cicrzniewski Nancy Cilley Pal Clapper John and Nancy Clark Brian and Cheryl Clarkson John and Kay Clifford Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen Hubert and Ellen Cohen Mr. Larry Cohen
Gerald S. Cole and Vivian Smargon Howard and Vivian Cole-Ed and Cathy Colone Wayne and Melinda (iolquitt Edward J. and Anne M. Comcau Gordon and Marjorie Comfort Lolagenc C. Coombs Gage R. Cooper Mr. and Mrs. Herbert Couf Bill and Maddic Cox Clifford and Laura Craig Kathleen J. Crispell and
Thomas S. Porter Mr. Iawrencc Crochicr April Cronin
Mr. and Mrs. James I. Crump, Jr. Pedro and Carol Cuatrecasas Mary R. andjohn G. Curtis Jeffrey S. Cutter R.K. and M.A. Daanc Mr. and Mrs. John K Dale Marylce Dalton Ixc and Millie Daniclson
Jane and Gawaine Dart Dr. and Mrs. Sunil Das DarUnda and Robert Dascola Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Ed and Ellic Davidson Mr. and Mrs. Bruce P. Davis James H. Davis and
Elizabeth Waggoner Mr. and Mrs. Roy C. Davis Mr. and Mrs. Ronald Dawson Mr. and Mrs. Kenneth Dec Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Laurence and Penny Dcitch Elena and Nicholas Delbanco Peter H. dcLoof and Sara A. Bassett Raymond A. Detter Elizabeth and Edmond DcVine Martha and Ron DiCecco Nancy DiMercurio A. Nelson Dingle Helen M. Dobson Molly and Bill Dobson Dr. and Mrs. Edward R. Doezcma Fr. Timothy J. Dombrowski Dr. and Mrs. Edward F. Domino Dick and Jane Dorr Professor and Mrs. William G. Dow Mr. Thomas Downs Paul Drake and Joyce Penncr Roland and Diane Drayson Harry M. and Norrcne M. DrcfTs John Drydcn and Diana R.iimi Dr. and Mrs. Cameron B. Duncan Robert and Connie Dunlap Jean and Russell Dunnaback Edmund H. and Mary B. Durfec John W. Dursiine George C. and Roberta R. Earl Jacquelynne S. Eccles Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Mr. and Mrs. John R. I Sally and Morgan Edwards David A. Eklund and
Jeffrey B. Green Judge and Mrs. SJ. Elden Ethel and Sheldon Ellis Mrs. Genevicve Ely Mackenzie and Marcia Endo Patricia Randle and James Eng Emil and Joan Engel Mark and Patricia Enns Carolync and Jerry Epstein Mr. and Mrs. Frederick A. Erb Dr. Stephen A. Ernst, Dr. Pamela A. Raymond Ernst Dorothy and Donald F. Esc h man Barbara Evans Mr. and Mrs. Clifton Evans Adclc Ewell
Mr. and Mrs. Robert B. Fair Jr. Mark and Karen Falahec Elly and Harvey Falit Dr. and Mrs. Cyrus Farrehi Kathcrine and Damian Farrell Dr. and Mrs. John A. Faulkner Inka and David Felbeck
Reno and Nancy Fcldkamp
Irving and Cynthia Feller
Phil and Phyllis Fellin
Ruth Fiegel
Carol liriii ni.iu
Clay Finkbcincr
C. Peter and Bev A. Fischer
Patricia A. Fischer
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
James and Barbara Fitzgerald
Linda and Thomas Fitzgerald
Jonathan Fliegcl
Jennifer and Guillermo Flores
David and Ann Fluckc
Ernest and Margot Fonthcim
Mr. and Mrs. George W. Ford
Susan Goldsmith and
Spencer Ford Paula L. Bockenstedl and
David A. Fox
Howard and Margaret Fox Ronald Fracker Lucia and Doug Freeth Richard andjoann Frccthy Joanna and Richard Friedman Gail Fromcs Bart and Fran Frueh LclaJ. Fuestcr
Ken and Mary Ann Gaertner Walter and Heidi Gage Lourdcs and Otto Gago Jane Galantowicz Thomas H. Gatantowicz Arthur Gallagher Bernard and Enid Galler Mrs. Shirley H. Garland Stanley and Prisdlla Gam Del and Louise Garrison Janet and Charles Garvin Professor and Mrs. David M. Gates Drs. Steve Geiringcr and
Karen Banlcl
Thomas and Barbara Gclchrter Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Gcnnc and Allan Gibbard Paul and Suzanne Gikas Fred and Joyce M. Ginsberg Maureen and David Ginsburg Albert and Almcda Girod Peter and Roberta Gluck Sara Goburdhun Robert and Barbara Gockel Albert L. Goldberg Dr. and Mrs. Edward Goldberg Mary L. Golden Ed and Mona Goldman Irwin J. Goldstein and Marty Mayo Mrs. Esztcr Gombosi Elizabeth Goodcnough and
James G. Leaf Graham Gooding Mitch and Barb Goodkin Jesse E. and Aniira Gordon Don Gordus Sclma and Albert Gorlin Siri Gottlieb
Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham
Advocates, continued
Whit and Svca Gray
Alan Green
I il.i and Bob Green
Dr. and Mrs. LazarJ. Greenfield
Frances Grccr
Bill and Louise Gregory
Daphne and Raymond Grew
Mr. and Mrs. JamesJ. Cribble
Carleton and Mary Lou Griffin
Mark and Susan Griffin
Werner H. Grilk
Robert M. Grover
Ms. Kay Gugala
Arthur W. Gulick, M.D.
Margaret Gutowski and
Michael Marietta Helen C. Hall
Harry L. and Mary L. Hallock Mr. and Mrs. Elmer F. Hamel Dora E. Hampel Lourdes S. Bastos Hansen Herb and Claudia Harjcs M.C. Harms Nile and Judith Harper Stephen G. and Mary Anna Harper Mr. and Mrs. Robert B. Harris Robert and Susan Harris Clifford and Alice Hart Jerome P. Hartweg Elizabeth C. Hassincn James B. and Roberta Hause Mr. and Mrs. G. Hawkins Laurcen Haynes J. Theodore Hcfley Kenneth and Jeanne Heininger Mrs. Miriam Heins Sivana Heller Rose and John Henderson Rose S. Henderson John L. and Jacqueline Hcnkel Mr. and Mrs. Karl P. Henkel Dr. and Mrs. Keith S. Henley Rudy and Kathy Hcntschcl C.C. Hcrrington M.D. Mr. Roger Hewitt Charles W. Fisher and
Elfrida H. Hiebert Mr. and Mrs. Thomas Hilbish Peter G. Hininan and
Elizabeth A. Young Jacques Hochglaube, M.D., P.C. Louise Hodgson Bob and Fran Hoffman Carol and Dieter Hohnke Dr. Carol E. Holden and
Mr. Kurt Zimmcr Richard Holmes John F. and Mary Helen Holt Ronald and Ann Hoi Jack and Davctta Homer Dave and Susan Horvath George M. Houchens Fred and Betty House Jim and Wendy Fisher House Hclga Hover
Drs. Richard and Diane Howlin Mrs. V. C. Hubbs Charles T. Hudson Judc and Ray HiuMieman Harry and Ruth Huff Mr. and Mrs. William Hufford
Joanne W. Hulce
Ralph and Del Hulctt
Ann D. Hunger man
Diane Hunter and Bill Zieglcr
Mr. and Mrs. Russell L. Hurst
Eileen and Saul Hymans
Amy Iannacone
Robert B. and Virginia A. Ingling
Margaret and Eugene Ingram
Ann K. Irish
Carol and John Isles
John and Joan Jackson
Edgar F. and M. Janice Jacobi
Manuel andjoanjacobs
11.n old .iiwl ran J.u nbson
K. Johnjarrett and
Patrick T. Sliwinski Professor and
Mrs. Jerome Jelinek James and Elaine Jensen Keith and Kay Jensen Dr. and Mrs. James Jerome JoAnnJ.Jeromin Mr. and Mrs. Donald L. Johnson I'.illn and Henry Johnson I'aul and Olgajohuson Timothy and Jo Wiesc Johnson Constance L. Jones Marilyn S.Jones John and Linda K.Jonidcs Stephen G. Josephson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmcs and Larry Friedman Dr. and Mrs. Mark S. Kaminski Paul Kantor and
Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. KapUn Thomas and Rosalie Karunas Noboru and Atsuko Kashino Alex F. and Phyllis A. Kato DavidJ. K.ii Elizabeth Harwood Katz Martin and Helen Katz Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy Richard L. Kennedy Linda Atkins and Thomas Kcnncy Donald and Mary Kiel Konstantyn Kim William and Betsy Kincaid Brett and Lynnctte King EvaJ. Kinncy
John and Carolyn Kirkcndall Rhea and Leslie Kish Paul Kissner MD and
Dana Kissner MD James and Jane Kistcr Shira and Steve Klein Drs. Peter and Judith Kleinman Gerald and Eileen Klos Barbel Knauper Sharon L. Knight Shirley and Glenn Knudsvig Joseph J. and Marilynn Kokoszka Charles and Linda Koopuiann Mclvyn and Linda Knrobkin Dimitri and Suzanne Kosacheff Edward and Marguerite Kowaleski K
Jean and Dick Kraft
Marjoric A. Kramer
Barbara and Charles Krausc
Doris and Donald Kraushaar
David and Martha Krehbicl
William J. Bucci and Janet Kreiling
Alexander Krczel
William G. Kring
Alan and Jean Krisch
Danielle and George Knpcr
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A Kutripal
Dr. and Mrs. J. Daniel Kutt
Jane Laird
Mr. and Mrs. John Laird
Mr. and Mrs. Seymour tamper!
Connie and Dick LandgrafT
Patricia M. Iang
Marjoric Lansing
Carl and Ann LaRuc
Ms. Jill Latla and Mr. David S. Bach
John K. Lawrence
Laurie and Robert LaZcbnik
Robert and Leslie Lazzcrin
Mrs. Kent W. Leach
Chuck and Linda Leahy
Ficd and Ethel Lee
Diane and Jeffrey Lehman
Sue Lcong
Margaret E. Leslie
Richard LcSueur
Myron and Bobbie Lcvine
Tom and Kathy Lewand
Deborah S. Lewis
Thomas and Judy U-wis
Lawrence B. Lindemcr
Mark Lindley
Mr. Ronald A. Lindroth
Daniel and Susan Lipschutz
Rod and Robin Little
Vi-Cheng and Hsi-Ycn Liu
Jackie K. Livcsay
Dr. and Mrs. Peter Y. Lo
Louis Locb and Tully Lyons
Kay H. Logan
Naomi E. Lohr
Jane Lombard
Dan and Kay Long
Leslie and Susan Loomans
Bruce and Pat Loughry
Joann Love
Donna and Paul Lowry
[.mm Lu
Dr. and Mrs. Charles P. Lucas
Lynn Ltickcnbach
Fran Lyman
1 iMhi ii-l Lyman
Susan E. Macias
Marcy and Kcrri MacMahan
Sally Maggio
Geoffrey and Janet Maher
Suzanne and Jay Mahler
Deborah Malamud and
Neal Plotkin Dr. Karl D. Malcolm Claire and Richard Malvin Mr. and Mrs. Kauhiko Manabe Mclvin and Jean Manis Pearl Manning Professor Howard Markcl Ix:e and Greg Marks
James E, and Barbara Martin
Rebecca Martin and James Grieve
John D. Marx, D.D.S.
Dr. and Mrs. Josip Matovinovic
Tamotsu MaLsumoto
Mary and Chandler Matthews
Margaret Maurer
John M. Mien and Edith A. Maynard
Susan C. Guszynski and
Gregory F. Mazurc Margaret E. McCarthy Ernest and Adcle McCarus Margaret and Harris McClamroch Dorcs M. McCrce Mary and Bruce McCuaig Joseph and Susan McGrath Bill and Ginny McKeachie Margaret B. McKinley Daniel and Madclyn McMuririe Nancy and Robert Meadcr Dr. and Mrs. Theodore Meadows Samuel and Alice Meiscls Robert and Doris Melling Mr. and Mrs. John Merrifield Bcrnicc and Herman Merle Henry D. Messer Carl A. House Robert and Beltie Meuall John and Fci Fei Mcttler Don and Lee Meyer Valerie Meyer Shirley and Bill Meyers Elizabeth B. Michael Helen M. Michaels Leo and Sally Micdler Andy and Nancy Miller Carmen and Jack Miller Mr. and Mrs. Milton J. Miller Dr. Robert R. Miller Thomas and Doris Mirec Kathleen and James Mitchiner Olga Moir
Mr. and Mrs. William G. Moller.Jr. Rosalie E. Moore Marvin and Karen Moran Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Dr. and Mrs. George W. Morlcy Paul and Terry Morris Melinda and Bob Morris Dick and Judy Morrissett Brian and Jacqueline Morton Cyril and Rona Moscow Dr. Thomas E. Mullcr and
Barbara J. Levitan Gavin Eadic and Barbara Murphy Dr. and Mrs. Gundcr A. Myran Hideko and Tatsuyoshi Nakamura President and Mrs. Homer Neal Frederick G. Ncidhardt and
Germaine Chipault Nancy Nelson
Mr. and Mrs. Marvin Nichuss Is. 11 in.i H. Nicmcycr Shinobu Niga Susan and Richard Nisbett Virginia and Clare North John and Lcxa O'Brien Patricia O'Connor Dr. and Mrs. Frederick C. O'Dcll
Michael J. O'DonncIl and
Jan L. Garfinkle Henry and Patricia O'Kray Nels and Mary Olson Mr.J. UOnclcy Zibby and Bob Oneal Mr. and Mrs. James O'Neill Kathleen I. Opcrhall Dr. Jon Oscherwitz Mrs. Charles Overbcrger Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Michael P. Parin Evans and Charlene Parrott Shirley and Ara Paul Robert and Arlenc Paup Elizabeth and Beverly Payne Ruth and Joe Payne Dr. Owen Z. and Barbara Perlman Susan A. Perry Doris I. Persyn Frank and Nelly Pctrock James L. and Julie Phclps Joyce H. Phillips
Mr. and Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Mr. and Mrs. Roy Pierce William and Barbara Pierce Dr. and Mrs. James Pikulski Sheila A. Pitcoff Donald and Evonnc Plantinga
Martin Podotsky
Mr. and Mrs. John R. Politzcr
Stephen and Tina Pollock
Philip and Kathleen Power
Drs. Edward and Rlioda Powsncr
Bill and Diana Pratt
Larry and Ann Preuss
Jacob M. Price
Richard H. and Mary B. Price
Wallace and Barbara Prince
Bradley and Susan Prills
Ernst Pulgram
David and Stephanie Pyne
Lcland and Elizabeth Quackcnbush
Michael and Helen Radock
Homayoon Rahbari, M.D.
Dr. and Mrs. Robert Rapp
Mr. and Mrs. DouglasJ. Rasmussen
Mr. and Mrs. Robert H. Rasmussen
Sandra Reagan
Professor Gabriel M. Rcbeiz
Kathcrine R. Recbel
Mr. and Mrs. Stanislav Rehak
Molly Resnik and John Martin
JoAnnc C. Rcuss
H. Robert and Kristin Reynolds
John and Nancy Reynolds
Alice Rhodes
Ms. Donna Rhodes
Paul Rice
Constance Rinchart
Dennis and Rita Ringle
Lin Rives and Jason Collens Joe and Carolyn Robcrson Peter and Shirley Roberta Robert A. Sloan and
Ellen M. Bycrlein Dave and Joan Robinson Janet K. Robinson, Ph.D. Mary Ann and Wiilard Rodgers Mr. and Mrs. Stephen J. Rogers Yclena and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Bernard and Barbara Rosen Marilynn M. Rosenthal Gay and George Roscnwalri Gustave and Jacqueline RosseeU Mr. and Mrs. John P. Rowe Dr. and Mrs. Raymond W. Ruddon Tom and Dolores Ryan Mitchell and Carole Ryctu Ellen andjames Saalbcrg Theodore and Joan Sachs Dr. and Mrs. Jagneswar Saha Arnold Samcroffand
Susan McDonough Ina and Terry Sandalow Howard and Lili Sandier John and Reda Santinga Harry W. and Elaine Sargous Elizabeth M. Savage Court and Inga Schmidt
Charlcnc and Carl Schmuh Thomas Schramm Gerald and Sharon Schrcibcr Albert and Susan Schultz R. Ryan Lavcllc, Ph.D
Marshall S. Schuster, D.O. Alan and Marianne Schwartz-
The Shapero Foundation Ed and Sheila Schwartz Jane and Fred Schwarz Jonathan Brombcrg and
Barbara Scott Mr. and Mrs. David Scovcll John and Carole Scgall Richard A. Seid Suzanne Sclig Ms. Janet Sell Sherry and Louis Scnunas Erik and Carol Sen-George H. and Mary M. Sexton Nancy Silver Shalit Dr. and Mrs.J. N. Shanbcrgc Matthew Shapiro and
Susan Garetz, M.D. David and Etvera Shappirio Maurice and Lorraine Sheppard Dr. and Mrs. Iran Sherick William J.Sherzer Mr. and Mrs. George Shirley Drs. Jean and Thomas Shope Mary Ann Shumaker
Advocates, continued
Dr. Bruce M. Siegan
Dr. and Mrs. Milton Sicgel
!? lik and Enrique Signori
Ken Silk and Peggy Butienheim
Drs. Dorit Adlcr and Terry Silver
Frances and Scott Simonds
Robert and Elaine Sims
Al.ui and Eleanor Singer
Donald and Susan Sinta
Mrs. Lorctta M. Skewes
Martha Skindell
Beverly N. Slater
John W. Smillie, M.D.
Dr. and Mrs. Michael W. Smith
Mr. and Mrs. Robert W. Smith
Susan M. Smith
Virginia B. Smith
Richard Soblc and Barbara Kcsslcr
Lois and William Solomon
Dr. Yoram Sorokin
Juanita and Joseph Spallina
Anne L. Spendlove
Grctta Spier and Jonathan Rubin
Jeff Spindlcr
L. Grassclli Spranklc
Edmund Sprungcr
David and Ann Staigcr
Caren Stalburg M.D.
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Thorn and Ann Sterling
Barbara and Bruce Stevenson
Harold Stevenson
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
Wolfgang F. Stolper
Anjanettc M. Stoltz, M.D.
Ellen M. Strand and
Dennis C. Regan Aileen and Clinton Slroebel Joe Stroud and Kathleen Fojuk Mrs. William H. Stubbins Drs. Eugene Su and
Chrisun Carter-Su Valerie Y. Suslow Earl and Phyllis Swain Mr. and Mrs. Robert S. Swanson Richard and June Swartz Ronna and Kent Talcott Jim and Sally Tamm Keiko Tanaka Eva and Sam Taylor George and Mary Tcwksbury l.uis A. Theis Paul Thielking Edwin J. Thomas Bettc M. Thompson Ted and Marge Thrasher Mrs. Peggy Ticman Mr. and Mrs. W. Paul Tippett Albert Tochct
Dr. and Mrs. Merlin C. Townlcy James W. Toy
Dr. and Mrs. John Triebwasscr Angic and Bob Trinka Sarah Trinkaus
Irene Truesdcll
Marilyn Tsao and Steve Gao
Drs. Clairc and Jeremiah Turcotte
Michael and Nancy Udow
Taro Ueki
AK.iii and Katharine Uhlc
Mr. Gordon E. Ulrey
Dr. and Mrs. Samuel C. Ursu
Joaquin and Mei Mci Uy
Madeleine Vallier
Carl and Sue Van Appledorn
Tanja and Rob Van dcr Voo
Rebecca Van Dyke
Robert P. Van Ess
Mr. and Mrs.
Douglas Van Houwcling Fred and Carole S. Van Rcesema Michael L. Van Tassel Kate and Chris Vaughan Phyllis Vegter
Mr. and Mrs. Theodore R. Vogt Carolyn S. and Jerry S. Voight John and Maureen Voorhees John and Jane S. Voorhorst Mr. and Mrs. Norman C. Wait Richard and Mary Walker Charles and Barbara Wallgren Lorraine Nadelman and
Sidney Warschausky Robin and Harvey Wax Mr. and Mrs. Barrett Wayburn Christine L. Webb Mrs. Joan D. Weber Willes and Kathleen Weber Deborah Webster and
George Miller
Leone Buysc and Michael Webster Jack and Jerry Weidenbach Lawrence A. Weis and
Sheila Johnson Barbara Weiss Lisa and Steve Weiss Mrs. Stanficld M. Wells, Jr. Carol Campbell Welsch and
John Welsch
Rosemary and David Wcsenberg Mr. and Mrs. Peter Wcsien Ken and Cherry Westcrman Marjoric Wcstphal Paul E. Duffy and
Marilyn L. Whealon Harry C. White Janet F. White
Christina and William Wilcox William and Cristina Wilcox Reverend Francis E. Williams Mr. and Mrs. R. Jamison Williams Jr. Shelly F. Williams Mrs. Elizabeth Wilson Beth and l.W. Winstcn Jeffrey and Linda Witzburg Charlotte Wolfe Dr. and Mrs. Ira S. Wollner Muriel and Dick Wong J. D. Woods
Mr. and Mrs. A. C. Wooll Charles R. andjean L. Wright David and April Wright Phyllis B. Wright Fran and Ben Wylic
Mr. and Mrs. ILA. Yaglc
Ryuzo Yamamoto
Sandra and Jonathan Yobbagy
Frank O. Youkstetter
Professor and Mrs. Edwin H. Young
Shirley Young
Ann and Ralph Youngren
Olga Zapotny
Mr. and Mrs. F.L. Zeisler
Bertram and Lynn Zheutlin
Roy and Helen Zieglcr
David S. and Susan H. Zurvalcc
American Metal Products
Brass Craft
Garris, Garris, Garris and Garris
Law OfTice John Leidy Shop Marvel Office Furniture St. Joseph Mercy Hospital
Medical Staff Switch School of Medicine
Class of 1996
Robert S. Feldman rim.i Krauss Firth George R. Hunsche Ralph Herbert Kathcrine Mabarak Frederick C. Matthaei, Sr. Gwen and Emerson Powric Steffi Rciss Clare Siegel Ralph L. Stcffek Charlcnc Parker Stern William Swank Charles R. Tieman John F. Ullrich Francis Viola III Peter Holdcrness Woods
In-Kind Gifts
Catherine Arcure Paulctt and Peter Banks Back Alley Gourmet Barnes and Noble Bookstore Maurice and Linda Binkow Jean nine and Bob Buchanan Edith and Fred Bookstein Pat and George Chatas Paul and Pat Cousins
Cousins Heritage Inn Katy and Anthony Dcrezinski Espresso Royale Fine Flowers Ken and Penny Fischer Kcki and Alice Irani Maureen and Stu Isaac Matthew Hoffman Jewelry Mercy and Stephen Kaslc Howard King F. Bruce Kulp Barbara Lcvitan Maxine and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LystraDough Boys Steve MaggioThe Maggio Line James McDonaldBella Ciao Karen and Joe O'Neal Richard and Susan Rogel Janet and Mike Shatusky SKR Classical Herbert Sloan David Smith
David Smith Photography Sweet Lorraine's Susan B. Ullrich Elizabeth and Paul Yhouse
Giving Levels
The Charles Sink Society cumulative giving
totals of $15,000 or more.
Maestro $10,000 or more
Virtuoso $7,500 9,999
Concertm aster $5,000-7,499
Leader $2,500-4,999
Principal $1,000 2,499
Benefactor $500-999
Associate $250 499
Advocate $100 249
Friend $50 99
Youth $25

Advertiser's Index
35 Afterwords
16 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproductive
39 Ann Arbor Symphony
35 Arbor Hospice
30 Bank of Ann Arbor
43 Barclay's Gallery
33 Beacon Investment
40 Benefit Source
25 Bivouac
20 Bodman, Longley and
49 Butzel Long
47 Cafe Marie
39 Chamber Music Society
of Detroit
18 Charles Reinhart
25 Chelsea Community
11 Chisholm and Dames
Investment Advisors
36 Chris Triola Gallery
27 David Smith Photography
39 Detroit Edison
11 Dickinson, Wright, Moon,
n Dusen and Freeman
35 Dobbs Opticians
31 Dobson-McOmber
54 Dough Boys Bakery
26 Edward Surovell Company
25 Emerson School
l:; ER1M
2 Ford Motor Company
31 Fraleighs Landscape
21 Garris, Garris, Garris,
and Garris, P.C.
28 General Motors
54 Gifford, Krass, Groh,
Sprinkle, Patmorc,
Anderson 8c Citkowski

11 Glacier Hills
15 Hagopian World of Rugs
54 Harmony House
37 Hill Auditorium Campaign
35 Interior Development
51 Jacobson's
47 Karen DeKoning and
48 Katherine's Catering and
Special Events
43 Kerrytown Bistro
29 KeyBank
40 King's Keyboard House
21 Lewis Jewelers
27 Marty's Menswear
56 Matthew C. Hoffmann
Jewelry Design
31 Miller, Canfield, Paddock
& Stone
42 Mundus and Mundus
12 NBD Bank
40 Nichols, Sacks, Slank
and Sweet
35 Packard Community Clinic
19 Pen in Hand
43 Persian House of Imports
20 Red Hawk Bar and Grill
48 Regrets Only
24 SKR Classical
19 Snyder and Company
25 Sweet Lorraine's
10 Sweetwalers Cafe
49 Toledo Museum of Art
21 Top Drawer
36 Ufer and Company
27 U-M Urology
34 University Productions
55 Whole Foods Market
36 Wright, Griffin, Davis and
41 VOM

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