UMS Concert Program, Sunday Mar. 23 To Apr. 05: University Musical Society: 1996-1997 Winter - Sunday Mar. 23 To Apr. 05 --
Season: 1996-1997 Winter
University Of Michigan, Ann Arbor
OF THE UNIVERSITY OF MICHIGAN, ANN ARBOR
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last season, more than 120,000 people attended UMS performances and relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport withjessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between these artists, UMS and the Ann Arbor community.
Our outstanding Board of Directors offers unique knowledge, experience and perspective as well as a shared commitment to assuring the present and future success of UMS. What a privilege it is to work with a group of people whose vision of UMS is to make it the very best of its kind in the world. I especially want to thank Herbert Amster, who completed three years as Board President in December.
That same vision is shared by members of the UMS staff, who this year invite all of the UMS family to celebrate the 25 years box office manager Michael Gowing has served UMS and this community. Michael has established a stan?dard of patron service that we're told is unmatched anywhere else in this business. Look for the acknowledgment in this program book to find out more about Michael and how you can participate in this season-long celebra?tion.
Last year, UMS volunteers contributed more than 38,000 hours to UMS. In addition
to Board members, volunteers include our Advisory Committee, usher corps, UMS Choral Union members and countless others who give of their time and talent to all facets of the UMS program. Thank you, volunteers!
Relationships with professional colleagues around the world are very special. There is a generosity of spirit in performing arts present?ing that I have rarely seen in other fields. We share our best ideas with one another at con?ferences, in publications, by phone and, increasingly, over the internet. Presenters are joining together more and more to commis?sion new works and to assure their presenta?tion, as we've done this season with William Bolcom's Briefly It Enters and Donald Byrd's The Harlem Nutcracker. I'm pleased to report that The Dreams and Prayers of Isaac the Blind, the stir?ring piece we co-commissioned and presented in April 1995 won the prestigious Kennedy Center Friedham Award for composer Osvaldo Golijov last year.
The most important relationship is that with the community, and that means you. I care deeply about building and strengthening these relationships, whether it be with an indi?vidual patron who comes by the office with a program idea, with the leader of a social ser?vice organization who wishes to use one of our events as a fundraiser, with the nearly 40 school districts whose children will participate in our youth program, or with the audience member who buttonholes me in the lobby with a com?plaint.
Thanks again for coming to this event -and please let me hear from you with ideas or suggestions. Look for me in the lobby, or call me at my office at 313.647.1174.
Kenneth C. Fischer President
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,110
Number of volunteer person-hours spent rehearsing and performing with the Choral Union: 21,700
Number of bottles of Evian that UMS artists drank last season: 1,080
Estimated number of cups of coffee consumed backstage during 199596 performances: 4,000
Number of cough drops consumed in Hill Auditorium each year during UMS concerts: 91,255
Number of costumes in this season's co-commission of The Harlem Nutcracker. 268
Number of individuals who were part of last season's events (artists, managers): 1,775
Number of concerts the Philadelphia Orchestra has performed in Hill Auditorium: 267
Number of concerts the Budapest String Quartet has performed in Rackham Auditorium: 43
Number of times the Philadelphia Orchestra has performed "Hail to the Victors": 24
Number of times the Budapest String Quartet has performed "Hail to the Victors": 0
Number of works commissioned by UMS in its first 100 years of presenting concerts (1879-1979): 8
Number of works commissioned by UMS in the past 6 years: 8
Number of years Charlotte McGeoch has subscribed to the Choral Union series: 58
Number of tickets sold at last autumn's Ford Credit 50 Off Student Ticket Sale: 5,245
Value of the money saved by students at that sale: $67,371
Value of discounts received by groups attending UMS events last season: $36,500
Number of ushers serving UMS: 275
Last year Choral Union Season Ticket Prices were raised: 1994
Number of performances of Beethoven's 7th Symphony under UMS auspices: 27
Number of performances of Tchaikovsky's 5th Symphony: 27
Number of sopranos in the UMS Choral Union: 45
Number of tenors: 32
Number of years Paul Lowry has sung with the Choral Union, including this season: 49
Number of Messiah performances from UMS' inception through 199697: 156
Average number of photographs UMS President Ken Fischer takes each year: 4,500
Number of years Charles Sink served UMS: 64
Cost of a 10-concert Choral Union subscription in 1903: $3.50
Cost of a 10-concert Choral Union subscription in 1945: $15.60
Number of regular season concerts presented by UMS in 199091: 38
Number of regular season concerts presented by UMS in 199697: 71
Number of room nights in Ann Arbor area last season generated by UMS artists: 2,806
Number of airport runs made for UMS artists in 199596: 85
Number of UMS subscribers in 199495: 1,973
Number in 199596: 3,334
of 199596 UMS subscribers who planned to renew their subscriptions this year: 92
With thanks to Harper's Iruttx?
Data taken from UMS archives and audience surveys. Some numbers have been estimated.
Thank You, Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of localized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cor?nerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University Musical Society.
F. Bruce Kulp
Chair, UMS Board of Directors
CARL A. BRAUER, JR. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the
University Musical Society in bringing great music to our community."
L THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cul-
lural and educational projects of the University Musical Society."
DAVID G. LOESEL President, T.M.I.. 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 &f Alf "Curtin & AlFs support of the University Musical Society is both a privilege and an
honor, logether we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
HOWARD S. HOLMES President, Chebea Milling Company "The Ann Arbor area is very fortu?nate to have the most enjoyable and outstanding musi-
cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
JOHN E. LOBBIA
Chairman and Chief Executive Officer, Detroit Edison The University Musical Society is one of the organi?zations that make
the Ann Arbor community a world-renowned center for the arts. The entire community shares in the count?less benefits of the excellence of these programs."
DOUGLAS D. FREETH President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community
which perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
ROBERT J.DELOMS Chairman, Great Lakes Bancorp "As a long-standing member of the Ann Arbor commu?nity. Great Lakes Bancorp and the
University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural con?tribution it makes to the community."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ?ation with the
University Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
john psarouthakis, Ph.D.
Chairman and Chief
"Our community is
enriched by the
Society. We warmly support the cultural events it brings to our area."
THOMAS B. MCMULLEN President, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket
in Ann Arbor. Not anymore. UMS provides the best in educational enter?tainment."
William E. Odom
Chairman, Ford Motor Credit Company The people of Ford Credit are very proud of our con?tinuing association with the University
Musical Society. The Society's long-established commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
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 Presidetit mid Manager, NBDBank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 82 years, and UMS has been here for 118, we can still appreciate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managing Partner, Pef)pert Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
The Edward Surovell
"It is an honor for
Company to be
able to support an
institution as distinguished as die 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, Wolverijie Temporaries, Inc. "Wolverine Temporaries began
its support of the University Musical Society in 1984, believing that a com?mitment 10 such high quality is good for all concerned. We extend our best wishes to UMS as it continues to cul?turally enrich the people of our com?munity."
Ronald M. Cresswell, Ph.D.
Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associ?ated with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Aim 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 Clibum as well as for the gala dinner and dance that followed. --' Save the date for this season's Ford Honors Program -Saturday, April 26,1997 -when the 1997 UMS Distinguished Artist Award will be bestowed upon
another internationally acclaimed artist, announced in late January. Following a performance by and tribute to this year's honoree, a gala dinner in the artist's honor will be followed by entertainment and dancing at the Michigan League.
All proceeds from the Ford Honors Program benefit the UMS Education Program.
or more information, call tne
Q13KS C6ox Office
Table set for the Gala Dinner
AT LAST YEAR'S EVENT
The University Musical Society of the university of Michigan
BOARD OF DIRECTORS
F. Bruce Kulp, Chair Marina v.N. Whitman
Vice Chair Carol Shalita Smokier
Secretary Elizabeth O. Yhouse
Herbert S. Amster Gail Davis Barnes
Maurice S. Binkow Paul C. Boylan Barbara Evcrill Bryant LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Beverley B. Geltner Randy J. Harris
Walter L. Harrison Norman G. Herbert Kay Hunt Stuart A. Isaac Thomas E. Kauper Rebecca McGowan Lester P. Monts Homer A. Neal Joe E. O'Neal
John Psarouthakis George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell Susan B. Ullrich Iva M. Wilson
Gail W. Rector President Emeritus
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A. Brauer, Jr. Allen P. Britton Douglas D. Crary John D'Arms James J. Duderstadt
Robben W. Fleming 11.n 1.hi H. Hatcher Norman G. Herbert Peter N. Heydon Howard Holmes Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick Long Judyth Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed Ann Sneed Schriber
Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Wcisbach Eileen Lappin Weiser Gilbert Whitaker
AdministrationFinance Kenneth C. Fischer, President John B. Kennard.Jr,
Administrative Manager Elizabeth Jahn, Asst. to
President Kate Remen, Admin. Asst.,
Marketing & Programming R. Scott Russell, Systems
Michael L. Gowing, Manager Sally A. dishing. Staff Philip Guire, Staff John Peckham, Staff
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,
Ben Johnson, Director Emily Avers, Assistant
MarketingPromotion Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
Programming Production Michael J. Kondziolka,
Yoshi Campbell, Production Erika Fischer, Artist Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Work-Study Laura Birnbryer Rebekah Camm
Meighan Denomme Amy Hayne Sara Jensen Kirsten Jennings Najean Lee Tansy Rodd Lisa Vogen
Interns Jessica Flint Paula Giardini Michelle Guadagnino Michael Lawrence Bo Lee Lisa Moudy Susanna Orcutt-Grady Caen Thomason-Redus
1996-97 ADVISORY COMMITTEE
Maya Savarino, Chair Len Niehoff, Vice-Chair Dody Viola, SecretaryTreasurer Susan B. Ullrich, Chair
Emeritus Bctly Byrne, Staff Liaison
Janice Stevens Botsford
Chen Oi Chin-Hsieh
Mary Ann Daane Rosanne Duncan H. Michael Endres Don Faber Kathcrine Farrell Penny Fischer Barbara Gclehrter 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 Lcvitan Doni Lystra Margaret McKinley Scott Merz Clyde Metzger Ronald G. Miller Nancy Niehoff Karen Koykka O'Neal
Marysia Ostafin Mary Pittman leva Rasmussen Janet Shatusky Margaret Kennedy Shaw Aliza Shevrin Sheila Silver Rita Simpson Cynny Spencer Ellen Stross Nina Swanson Kathleen Treciak David White Jane Wilkinson Shirlcv Williams
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
University Musical Society Audiloria Directory & Information
Hill Auditorium: Com rooms are located on the east and
west sides of the main lobby and are open only during the
Raekham Auditorium: Coat rooms arc located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
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.
Raekham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
Mendelssohn: A drinking fountain is located at the north
end of the hallway outside the main floor seating area.
St. Francis: A drinking fountain is located in the basement at
the bottom of the front lobby stairs.
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
LOST AND FOUND
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on die
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones arc located in the lobby.
Mendelssohn: Pay phones arc 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 die Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of die main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible resiroom is located on the north side of the main lobby and off the Green Room. A men's room is located on die south side of the balcony level. A women's room is located on die north side of the balcony level.
Michigan Theater: Men's and women's rcstrooms arc located in the lobby on the mezzanine. Mobility-impaired accessible rcstrooms 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.
UMSMEMBER INFORMATION TABLE
A wealth of information about events, UMS, restaurants, and (lie 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 contribution are t.t dedui iillc to the amount allowed by law.
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name 'The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was estab?lished in December 1880. The Musical Society includ?ed the Choral Union and University Orchestra, and throughout the year pre?sented a series of concerts
featuring local and visiting artists and ensem?bles. Professor Frieze became the first presi?dent of the Society.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through the Choral Union, Chamber Arts, Jazz Directions, Moving Truths, Divine Expressions, Stage Presence, Six Strings and many other series, the Musical Society now hosts over 75 concerts and more than 150 edu?cational events each season. UMS has flourished
with the support of a generous musicand arts-loving community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, and the Lydia Mendelssohn Theatre experiencing the talents of such artists as the Berlin and Vienna Philharmonic Orchestras, the Martha Graham Dance Company, Jessye Norman, The Stratford Festival, Cecilia Bartoli, Wynton Marsalis, thejuilliard and Guarneri String Quartets, Nusrat Fateh Ali Khan and Ensemble Modern of Frankfurt.
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 with a performance of Britten's War Requiem,
and continuing with performances of the Berlioz Requiem and Bach's Mass in B minor.
In the current season, the UMS Choral Union again expands its scope to include per?formances with a third major regional ensem?ble. In March the chorus makes its debut with the Grand Rapids Symphony, joining with them in a rare presentation of the Symphony No. 8 ("Symphony of a Thousand") by Gustav Mahler. Continuing its association with the Detroit Symphony Orchestra, the Choral Union collaborates in January 1997 with Maestro Jarvi and the DSO in performances at Orchestra Hall and in Ann Arbor. This extraordinary season will culminate in a May performance of the Verdi Requiem with the Toledo Symphony.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one com?mon passion--a love of the choral art.
For information about the UMS Choral Union, please call 313.763.8997.
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is often associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of important debuts and long relationships throughout the past 83 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Hill Auditorium is named for former U-M regent Arthur Hill, who bequested $200,000 to the University for the construction of an audito?rium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing the ever-popular Fifth Symphony of Beethoven. The following evening featured Verdi's "Manzoni" Requiem, a work that has been performed frequently throughout the Musical Society's illustrious history. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in one of his only solo recitals outside of New fork), Ernestine Schumann-Heink, Fritz
Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignacejan Paderewski (who often called Hill Auditorium "the finest music hall in the world"), Paul Robeson, Lily Pons,
Leontyne Price, Marion Anderson and, more recently, Yo-Yo Ma, Cecilia Bartoli, Jessye Norman, Van Cliburn, the Metropolitan Opera Orchestra (in the debut concert of its inaugural tour) and the late Sergiu Celibidache conduct?ing the Munich Philharmonic.
Hill Auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and expanded wheelchair seating (1995), decreased the seating capacity to its current 4,163.
The organ pipes above the stage come from the 1894 Chicago Colombian Exposition. Named after die founder of the Musical Society, Henry Simmons Frieze, the organ is used for numerous concerts in Hill throughout the sea?son. Despite many changes in appearance over
Every Angle Tells A Story
The New Acura 2.2CL
the past century, the organ pipes were restored to their original stenciling, color and layout in 1986.
Hill Auditorium is slated for renovation, with funds currently being raised through the Campaign for Michigan. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conveniences.
Until the last fifty years, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of studying human history and human thought, died in 1933, his will estab?lished the Horace H. Rackham and Mary A. Rackham Fund. It was this fund which subse?quently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
POWER CENTER FOR THE PERFORMING ARTS
Celebrating twenty-five years of wonderful arts presentation, the Power Center for the Performing Arts was originally bred from a realization that the University of Michigan had no adequate theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in the midst of a list of University priorities was mentioned "a new theatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include the two large spiral staircases leading
from the orchestra level to the balcony and the well-known mirrored glass pan?els on the exterior. No seat in the Power Center is more than 72 feet from the stage. In 1981, a 28,000 square-foot addition was com?pleted, providing rehearsal rooms, shops for building sets and costumes, a green room and
office space. At the same time, the eminent British sculptor John W. Mills was commis?sioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addition to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso. The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
THE MICHIGAN THEATER
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Over the years, the Theater has undergone many changes. 'Talkies" replaced silent films just one year after the Theater opened, and
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 die Michigan Theater dur?ing the 199495 season, along with occasional film partnerships to accompany presentations in other venues. The Theater's acoustics, rich interiors and technical capabilities make it a natural setting for period pieces and mixed media projects alike. In addition to sponsoring a Twyla Tharp Film Series last fall (September 29-October 20, 1996), UMS presents four events at the Michigan Theater in 199697: Guitar Summit III (November 16); The Real Group (February 8); Voices of Light: 'The Passion of Joan of Arc," a silent film with live music featur?ing Anonymous 4 (February 16); and The Russian Village (April 11).
ST. FRANCIS OF ASSISI CATHOLIC CHURCH
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has
grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a fabulous venue for presenting a cappella choral music and early music ensembles. During the 199697 season, UMS presents four concerts at St. Francis of Assisi Catholic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademia (March 15) and the Huelgas Ensemble (April 10).
LYDIA MENDELSSOHN THEATRE
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recently began presenting
artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and intimate venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society's roster.
Allen Pond & Pond, Martin & Lloyd, a Chicago architectural firm, designed the Mendelssohn Theatre, which is housed in the Michigan League. It opened on May 4, 1929 with an original equipment cost of $36,419, and received a majoi facelift in 1979. In 1995, the proscenium curtain was replaced, new carpeting installed, and the seats refurbished.
During the 1930s through the 1950s, Mendelssohn Theatre was home to a five-week Spring Drama Festival, which featured the likes of Hume Cronin, Jessica Tandy, Katharine Cornell, Burgess Meredith and Barbara Bel Geddes. Arthur Miller staged early plays at Mendelssohn Theatre while attending U-M in the early 1930s, and from 1962 through 1971, the University's Professional Theatre Program staged many plays, both originals and revivals. Several went on to Broadway runs, including Yoi Can't Take It With You and Harvey, which starred Helen Hayes and Jimmy Stewart.
The University Musical Society's presentation of four song recitals celebrating the bicentenni?al of Schubert's birth marks the first time in 58 years that UMS has used the Mendelssohn Theatre for regular season programming. The recitals feature baritone Sanford Sylvan (Januar; 24), mezzo-soprano Sarah Walker (January 25), baritone Wolfgang Holzmair (February 17) and soprano Barbara Bonney (February 18).
BURTON MEMORIAL TOWER
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the mailing address and box office location for the University Musical Society.
During a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles around, be built in the center of campus representing the idealism and loyalty of
U-M alumni. In 1929 the UMS Board of Directors authorized construction of the Marion LeRoy Burton Memorial Tower. The University of Michigan Club of Ann Arbor accepted the project of raising money for the tower and, along with the Regents of the University, the City of Ann Arbor, and the Alumni Association, the Tower Fund was estab?lished. UMS donated $60,000 to this fund.
In June 1935 Charles Baird, who graduated from U-M in 1895 and was the equivalent of today's Athletic Director from 1898-1908, pre?sented the University of Michigan with $70,000 for the purchase of a carillon and clock. These were to be installed in the tower in memory of Burton, former president of the University and a member of the UMS Board of Directors. Baird's intention was to donate a symbol of the University's academic, artistic, and community life a symbol in sight and sound which alumni would cherish in their Michigan memories.
Designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. The tower is 41 feet, 7 inch?es square at the base. Completed in 1936, the Tower's basement and first floor rooms were designated for use by the University Musical Society in 1940. In later years, UMS was also granted permission to occupy the second and third floors of the tower.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from
noon to 12:30pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45am. A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donat?ed labor, materials and funds to this project
The 19 9 6-g 7 Season
SCHUBERTIADE I ANDRE WATTS, PIANO CHAMBER MUSIC
SOCIETY OF LINCOLN
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Weds, Jan 8, 7pm, MI League.
Made possible by a gift from the estate of William R. Kinney.
Nexus percussion ensemble with richard stoltzman, clarinet Thursday, January 16, 8:00pm Hill Auditorium
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
SOUNDS OF BLACKNESS with Special Guests, THE UNIVERSITY OF MICHIGAN GOSPEL CHORALE
Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of America.
This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1997Rev. Dr. Martin Luther King, Jr. Day Symposium.
Garrick Ohlsson, piano Late Schubert Piano
Thursday, January 23, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored by McKinley Associates, Inc.
Schubert song Recital i Sanforo Sylvan, baritone David breitman,
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Fri, Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:00-4:00 pm, Mclntosh Theater, U-M School of Music. Open to the public.
SCHUBERT SONG RECITAL II SARAH WALKER, MEZZO-SOPRANO
gareth Hancock, piano
Saturday, January 25, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Sat, Jan 25, 6:30pm, Ml League.
Presented vrith support from the World Heritage Foundation and media partner WDFT, 101.9FM, Public Radio from Wayne State University.
NEEME JARVI, CONDUCTOR Leif Ove Andsnes, piano Vladimir Popov, tenor UMS Choral Union Sunday, January 26, 4:00pm Hill Auditorium
Master of Arts 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, fanuary 31, 8:00pm Lydia Mendelssohn Theatre
Part of the Blues, Roots, Honks, and Moans Jazz Residency.
Blues, roots, Honks, and moans
A Festival of jazz and African-American Musical traditions
The Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
His Sanctified Shells Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
ORCHESTRA IVAN FISCHER, CONDUCTOR
Thursday, February 6, 8:00pm Hill Auditorium
The Real Group
Saturday, February 8, 8:00pm Michigan Theater
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Ars Poetica Chamber
Orchestra Anatoli cheiniouk,
music director Cho-Liang Lin, violin Monday, February 10,8:00pm Rackham Auditorium
Presented with support from Miller, Canfield, Paddock and Stone, P.L.C.
blood on the Fields Wynton marsalisano the lincoln center jazz orchestra with jon hendricks
CASSANDRA WILSON Music and libretto by
Wynton Marsalis Wednesday, February 12, 8:00pm Hill Auditorium
Master of Arts Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
BRANDENBURG ENSEMBLE JAIME LAREDO,
CONDUCTORVIOLIN LEILA JOSEFOWICZ, VIOLIN ANDREAS HAEFLIGER,
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7pm, MI League.
Sponsored by Great Lakes 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 Is Angeles Mozart Orchestra I Can tori
Lucinda Carver, conductor Sunday, February 16, 7:00pm Michigan Theater
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
SCHUBERT SONG RECITAL III WOLFGANG HOLZMAIR,
BARITONE JULIUS DRAKE, PIANO
Monday, February 17, 8:00pm I.ydia Mendelssohn Theatre
SCHUBERT SONG RECITAL IV BARBARA BONNEY,
CAREN LEVINE, PIANO Tuesday, February 18, 8:00pm Lydia Mendelssohn Theatre
PUCCINI'S LA BOHEME NEW YORK CITY OPERA NATIONAL COMPANY Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21, 8:00pm Saturday, February 22, 2:00pm
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La lloheme' mean" Sat, Feb 22, 1pm, MI League.
Academy of St. Martin-
in-the-fields i0na 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 Contin Travel and Cunard.
Monday, February 24, 8:00pm Tuesday, February 25, 8:00pm Power Center
Sponsored by Thomas B. McMullen Co., Inc.
NATIONAL TRADITIONAL ORCHESTRA OF CHINA
Hu Bingxo, conductor Hai-Ye Ni, cellist Wednesday, February 26,8:00pm Hill Auditorium
Presented with the generous support of Dr. Herbert Shan.
RICHARD GOODE, PIANO
Friday, March 14, 8:00pm Hill Auditorium
Sponsored by Pepper, Hamilton & Scheetz, Attorneys at Imw.
Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin Travel and Canard.
SCHUBERTIADE III HERMANN PREY, BARITONE Michael Endres, piano Auryn String Quartet
with Martin Lovett, cello Thursday, March 20, 8:00pm Rackham Auditorium
SCHUBERTIADE IV HERMANN PREY, BARITONE
Michael Endres, piano Auryn String Quartet Martin Katz, piano Anton Nel, piano Friday, March 21, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Mar 21, 7pm, Rackham.
Vocal Master Class Hermann Prey, baritone. Sat, Mar 22, 10:00am-12:00noon. Recital Hall, U-M School of Music. Open to the public.
mahler's symphony no. 8 Grand Rapids Symphony
and Chorus ums choral union
Grand Rapids Choir of Men
Boychoir of Ann Arbor Catherine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
CECILIA BARTOLI, MEZZO-SOPRANO
i delfici, strings and continuo Gyorgy Fischer, piano
Saturday, March 29, 8:00pm Hill Auditorium
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbett, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, President, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
nederlands dans theater ii & iii
Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
Bang on a Can all-Stars String Trio of New York
Saturday, April 5, 8:00pm Power Center
Presented with support from media partners WEMU, S9.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
huelgas ensemble Paul van nevel, director The High art or Sacred flemish polyphony
Thursday, April 10, 8:00pm St. Francis of Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. "Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, St. Francis Church.
Sponsored by Conlin Travel and Cunard.
THE RUSSIAN VILLAGE
Friday, April 11, 8:00pm Michigan Theater
Sponsored by NBD Bank.
FACULTY ARTISTS CONCERT
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
THE ASSAD BROTHERS, GUITAR DUO
Friday, April 18, 8:00pm Rackham Auditorium Sponsored by Regency Travel.
maher ali khan and
sher Ali khan, faridi Qawwals
Saturday, April 19, 8:00pm Rackham Auditorium
FORD HONORS PROGRAM
Saturday, April 26, 6:00pm Hill Auditorium
Featuring a recital by and tribute to the recipient of the 1997 UMS Distinguished Artist Award.
Sponsored by Ford Motor Company.
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of pre-pcrformance presentations, featuring talks, demonstrations and workshops.
Master of Arts A new, free of charge UMS series in col?laboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free 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.
"AUes Vergangliche (All That is Transitory):
AustroGermanic Culture in the Fin de Siecle." Valerie Greenberg, Visiting Professor, U-M German Dept. Mon, Mar 17, 7:00pm
"1st nurein Gleichnu (Are but a Parable): Goethe's Faust in the Fin de Siecle. " Frederick Amrine, Chair, U-M German Dept. Tues, Mar 18, 7:00pm
"Zieht uns hinan (Draws us upward): Mahler's Hymn to Eros." Jim Leonard, Manager, SKR Classical. Wed, Mar 19, 7:00pm
UMS presents two family shows during the Winter Season 1997. These programs feature an abbreviated version of the full-length presentations by the same artists.
Blues, Roots, Honks and Moans
Saturday, February 1, lpm, Hill Auditorium 75-minute family show with no intermission
Featuring Cyrus Chestnut on piano, Twinkie Clark on organ and gospel, and Steve Turre on trombone and "sanctified" shells. Each artist will showcase different influences of jazz and gospel, with parents and chil?dren actively involved in learning and performing some special songs.
Puccini's La Boheme
New York City Opera National Company Saturday, February 22, 2pm, Power Center 75-minute family show with no intermission
The love story of Mimi and Rodolfo is a great intro?duction to the world of opera. This abbreviated per?formance of Act II (the cafe scene) and Act IV includes an open curtain scene change as well as an introduction to singers and backstage crew. In Italian with English supertitles and live narration.
'All excellence is equally difficult'.
7eadership 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.
DWARD tJROVELL -
Washtenaw County's leader in real estate sales
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from past University Musical Society seasons. The Alvin Ailey American Dance Theater's March 1996 perfor?mances in the Power Center; a capacity audience for a chamber music concert in Rackham Auditorium; and pianist Emanuel Ax performing as part of the Society Bank Cleveland Orchestra Residency Weekend in 1995.
of the University of Michigan 1996 1997 Winter Season
Event Program Book
Sunday, March 23, 1997
Saturday, April 5, 1997
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Mahler's Symphony No. 8 3
Grand Rapids Symphony and ChorusUMS Choral Union Catherine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Cecilia Bartoli, mezzo-soprano 19
Saturday, March 29, 8:00pm Hill Auditorium
Nederlands Dans Theater 2 & 3 37
Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
Bang on a Can All-Stars 49
String Trio of New York
Saturday, April 5, 8:00pm Power Center
Children of all ages arc welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
WHILE IN THE AUDITORIUM
Starting Time Every attempt is made to begin concerts on time, latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
THE UNIVERSITY OF MICHIGAN
Gerald R. Ford
Mahler's Symphony No. 8
Grand Rapids Symphony Catherine Comet, conductor
UMS Choral Union Grand Rapids Symphony Chorus Grand Rapids Choir of Men and Boys Boychoir of Ann Arbor
Nicole Philibosian, soprano Roberta Alexander, soprano Beth Veltman, soprano Jayne Sleder, mezzo-soprano
Gwenneth Bean, contralto Richard Fracker, tenor Russell Christopher, baritone Ara Berberian, bass
Sunday Afternoon, March 23, 1997 at 4:00
Hill Auditorium Ann Arbor, Michigan
Part 1 Hymn: Veni creator spiritus
Part 2 Finale scene from Goethe's Faust
Magna Peccatrix..........Nicole Philibosian
Una Poenitentium (Gretchen) . . . Roberta Alexander
Mater Gloriosa...........Beth Veltman
Mulier Samaritana.........Jayne Sleder
Maria Aegyptiaca..........Gwenneth Bean
Doctor Marianus..........Richard Fracker
Pater Ecstaticus...........Russell Christopher
Pater Profundus..........Ara Berberian
Sixty-Third Concert of the 118th Season
Divine Expressions Series
This performance is sponsored by die University of Michigan with additional support provided by Consumers Energy.
Special thanks to media partners the Ann Arbor News and WUOM, Michigan Radio.
Special thanks to Jim Leonard of SKR Classical for serving as speaker for the Performance-Related Educational Events (PREPS).
Large print programs are available upon request.
Gerald R. Ford
It is my great pleasure to recognize two special Michigan cities--Grand Rapids and Ann Arbor--and two distinguished musical organizations, the Grand Rapids Symphony and the University Musical Society--in this magnificent artistic enterprise. That they are joining forces to present Gustav Mahler's monumental Symphony of a Thousand offers concertgoers in two areas of our state an opportunity to hear this extraordinary and rarely performed work. Much preparation has gone into the performances in Grand Rapids and Ann Arbor, and I salute the more than five hundred participants--the orchestra, choruses, soloists and musical and administrative staffs.
The arts represent the very best in each of us. In music we express our creativity and our humanity. I am honored to serve as Honorary Chairman of this unique collaboration. Betty joins me in congratulations to all those whose vision and efforts have made these performances a reality.
Symphony No. 8 in E-flat Major
Born on July 7, 1860 in Kalischt, Bohemia
Died on May 18, 1911 in Vienna
Gustav Mahler's symphonies are with?out a doubt some of the most profoundly spiritual works in the repertoire. A convert to Catholicism, Mahler avoided the outward display of his faith -he did not go to con?fession nor attend Mass -yet in his music
there was an unde?niable spirituality that seemed to include not only Christian creeds, but all the com?mon metaphysical yearnings of human existence. The Second Symphony declares the com?poser's hope in a joyous after-life;
the Fourth depicts a child-like vision of Heaven, but it is in the Eighth that Mahler imparts to the audience his deepest belief in humanity's eternal goodness and love's power to redeem -a belief that transcends all boundaries of sect and religion. Mahler's wife, Alma, once remarked, "Gustav is always on the telephone to God," to which his biographer, Michael Kennedy, added, "In No.8 he was on the hot line."
During rehearsals for the premiere of the Eighth Symphony, Mahler had been talking with his friend Alfred Roller, painter and stage-designer for the Vienna Opera, when Roller asked the composer if there was any reason why he didn't write a Mass. Mahler considered the question for a short while, then replied, "Well, why not But no, there's a Credo in it. No, I couldn't do it." Not long after the conversation concluded,
Mahler finished the rehearsal session and called cheerfully across the room to Roller, 'There you are, that's my Mass!"
Mahler composed the Eighth Symphony between June and August, 1906, during an extraordinary eight-week burst of creativity at his summer home in Maiernigg, in die Tyrolean Alps. Some musical themes and ideas were already formed beforehand -a few passages of the symphony were sketched in March of that year -but Mahler related later that as he sat down to compose, "it was like a lightning vision -I saw the whole piece immediately before my eyes and only needed to write it down, as though it were being dic?tated to me." Mahler dedicated the Eighth Symphony to his wife, and remarked, "All my other symphonies are but preludes to diis one. My odier works are all tragic and subjec?tive. This one is a great dispenser of joy."
This massive and ambitions symphony falls into two parts: the first, a setting of the ninth-century medieval hymn Veni, Creator Spiritus (Come, Creator Spirit), and the sec?ond, an almost hour-long scena based on the conclusion of Goethe's Faust, Part II. The disparate sources of Christian hymn and German legend seem incongruous at first. But Mahler had already employed a similar connection in the Third Symphony, where he coupled the song of the pagan Zarathustra with a song about the Last Supper. He saw no distinction between humanism and reli?gion; in the Symphony No. 8 he sought to emphasize the link between the early Christian belief in the Holy Spirit which descended on the disciples like tongues of fire. Goethe's Faust, on the other hand, tells of man's ascent into a god-like state, trans?formed from mortality and led heavenward by the "Eternal-Feminine." Goethe altered the original version of the legend so that Faust is not damned for his sins, but is redeemed through the power of Gretchen's love. (Mahler's setting thus differs signifi?cantly from the other musical versions of the Faust story by Berlioz, Gounod, and Busoni,
who followed the traditional story-line.) Mahler explained, "the essence of it really is Goethe's idea that all love is generative, cre?ative, and that there is a physical and spiritu?al generation which is the emanation of this 'Eros'." The kinship between Platonic love and the early Christian concept of God's love -both of them able to create, edify, and redeem -unifies these two diverse texts into a single philosophical expression, the core of the symphony's message.
Mahler composed this work, the first completely choral symphony ever written, for a greatly expanded orchestra, organ, double chorus, separate boy's chorus, and eight soloists. At the 1910 premiere in Munich there were over one thousand per?formers on stage, prompting the organizing agency to bill the concert as the "Symphony of a Thousand." Mahler objected strongly, claiming it made the symphony sound like a Barnum and Bailey show, but the nickname still remains. Despite the huge performing forces, Mahler uses the full orchestra and vocal tutli sparingly. For much of the time the impression is not of an overwhelming aggregate of sound, but of subtle colorings and precise effects achievable through this expanded instrumental palette.
The majestic organ chords which begin the symphony herald a choral outburst of elemental energy. This opening passage introduces many of the themes and motifs that intricately unify this first section as well as the whole of the symphony. The opening section then proceeds to follow a fairly tradi?tional sonata-form structure, but one with extended polyphonic passages that demon?strate the composer's fascination with Bach's counterpoint. Gradually the polyphony builds to an almost unbearable intensity, relieved only by the triumphant restatement of the Veni, Creator Spirilus theme. An ecstatic Gloria coda closes the movement, with soloists and choruses urging the extremes of register and dynamic, and matching in powerful vital-
ity the movement's opening chords.
Part II begins with a lengthy orchestral prelude that sets the Faustian scene: a mountain gorge where forest, cliff, desert, and ocean meet. As chorus and soloists gradually enter they are, according to Mahler scholar Michael Kennedy, "not so much characters as symbolic ideas in Goethe's private and often enigmatic mythology." The music and text grow increasingly rapturous as all implore the Mater Gloriosa -the Virgin Mother -to unveil herself to the world. Three peniten?tial women, later joined by The Penitential One (formerly Gretchen, but now trans?formed into a radiant, angelic being) plead to the Virgin on behalf of Faust's soul. At the movement's climax, the Mater Gloriosa herself sings from high above the chorus and orchestra, beckoning all to "raise your?selves to higher spheres," accompanied by ethereally delicate orchestral colors. In hushed and reverent awe, all turn their transported gaze toward the redeeming Virgin. The Mystic Chorus sings of the Eternal-Feminine lead?ing mankind heavenward, and gradually builds into a climactic tidal wave of choral-orchestral affirmation. The Veni, Creator Spiritus theme returns in the instrumental coda, but with the intervals expanded, sug?gesting a further striving for heavenly heights.
Leopold Stokowkski, who conducted the Eighth Symphony's US premiere in 1916, compared the experience of hearing it for the first time with the impression Niagara Falls must have had on the first early explor?ers. Mahler himself remarked to a fellow-conductor on the symphony's extraordinary aspirations: Try to describe the whole uni?verse beginning to ring and resound. These are no longer human voices, but planets and suns revolving."
At the Munich premiere in 1910, the Eighth Symphony scored a phenomenal suc?cess, but it was the last time Mahler would conduct in Europe; he knew he was dying of
a heart disorder. As the audience of three thousand crowded toward the stage and gave a cheering ovation that lasted a full half-hour, Mahler climbed up to the plat?form where the young boys' choir was seat?ed and there, brimming with emotion, shook the hand of every choir-boy. As he faced his own imminent death (only eight months after this performance), Mahler's faith in humanity, expressed musically in the Symphony No. 8, was embodied in these youths who would forge the future he would not live to see. That faith in the future, more than the accolades of an adoring crowd, was what made Mahler's Eighth Symphony a tri?umphant success. It remains so today.
Program note by Luke Howard
Catherine Comet is recog?nized as one of the lead?ing conductors of her generation and has been called "one of the most prominent conductors on the American orches?tral scene" by the New York Times.
This season is Miss Comet's eleventh with the Grand Rapids Symphony. Her tenure has brought both local and national recog?nition to the orchestra. In 1987 the Grand Rapids Symphony received the Michigan Governor's Arts Award, and in 1987 and 1988 the orchestra was awarded ASCAP honors for adventuresome programming. In 1988 Ms. Comet received the SeaverNEA Conductors Award, which recognizes excep?tionally gifted American conductors, and in 1990 she was honored with a YWCA Tribute Award for her contributions to music and her commitment to Grand Rapids.
In addition to her position with the Grand Rapids Symphony and guest appear?ances with orchestras worldwide, Ms. Comet
served as resident US conductor for the AmericanSoviet Union Youth Orchestra in 1990, and was director of the American Symphony Orchestra in New York from 1991 to 1993. Ms. Comet is an inter?nationally respected
guest conductor who has performed with a wide variety of musical ensembles, including the orchestras of Boston, Buffalo, Chicago, Cincinnati, Charlotte, Columbus, Detroit, Honolulu, Minnesota, New Haven, New Orleans, Oakland, Omaha, Pasadena, Philadelphia, Phoenix, Portland (ME), Raleigh, Richmond, Rochester, St. Paul, San Antonio, San Diego, San Francisco, Springfield (MA), Toronto, Vancouver and Winnipeg, the Alabama, Chatauqua, Florida, National, Pacific, Quebec, Virginia, and West Australian Symphonies and the American Composers Orchestra. She has conducted the Aspen Music Festival Orchestra and has appeared at Wisconsin's Peninsula Festival, the Cabrillo Music Festival, the Interlochen Arts Festival, the Waterloo Music Festival, the Minnesota Orchestra's Sommerfesl, and with Chicago's Grant Park Orchestra.
Before coming to the Grand Rapids Symphony, Ms. Comet was Associate Conductor of the Baltimore Symphony from 1984-1986. She was named ExxonArts Endowment Conductor of the Saint Louis Symphony in 1981, serving for three years as conductor in the subscription, chamber orchestra, pops and summer classical series, and in the orchestra's yearly Missouri tour. Under her direction, the Saint Louis Symphony Youth Orchestra won first prize at the twelfth International Youth and Music Festival in Vienna in July, 1983.
Prior to her appointment in Saint Louis, Ms. Comet was conductor and music direc?tor of the University of Wisconsin-Madison Symphony and Chamber Orchestra. Her first professional appointment was as Conductor of the Ballet Company of the Theatre National de L'Opera de Paris, where she was offered a lifelong contract. A native of Fontainebleau, France, Ms. Comet was accepted at the age of twelve to study with the renowned Nadia Boulanger in Paris. At fifteen she entered The Juilliard School, where she earned bachelor's and master's degrees in orchestral conducting in three years. She continued her studies with another French master, Pierre Boulez. Odier principal teachers have included Igor Markevitch and Jean Fournet.
Catherine Comet is married to Michael Aiken, Chancellor of the University of Illinois, and they have a daughter, Caroline.
This afternoon's performance marks Catherine Comet's debut under UMS auspices.
Soprano Nicole Philibosian, has sung with distinction in opera houses throughout the US and in Europe, such as New York City Opera, Seattle, Portland, Hawaii, Dallas and Ft. Worth, Wolf Trap Opera and die Chamber Opera Theater of New York. A graduate of the Eastman School of Music and a native of Colorado, Ms. Philibosian first came to national prominence when she won the International Khachaturian Competition and the "Joy of Singing" award, the latter of which led to her New York recital debut in Lincoln Center's Alice Tully Hall.
Her operatic repertoire includes a variety of roles, such as Donna Anna, the Countess and Fiordiligi; Mimi, Antonia, Rosalinda, Juliette, the tide roles of La Calisto, Madama Butterfly, Suor Angelica, and Aida; Salome, the Marschallin in Der Rosenkavalier, and most recently Renata in Prokofiev's Fiery Angel.
Her debut at the New York City Opera was as the Countess in La Nozze di Figaro.
Her European debut was as Musetta at the Opera de Nice, and in June of 1995, she sang her first performances in the title role
of Richard Strauss' Sabme in concert with the Bournemouth Symphony Orchestra in England, led by Andrew Litton.
Ms. Philibosian is equally at home on the recital and con?cert stages where she spans the repertoire
from Lieder and chansons, to Verdi and Brahms Requiems, Handel's Messiah, Mozart's c-minor Mass and the Poulenc Gloria. Recent triumphs include Strauss' Four Last Songs with the Columbus Symphony of Georgia. Ms. Philibosian also stunned audi?ences when, with just twelve hours notice, she sang Verdi's Requiem with conductor Yoel Levi and the Atlanta Symphony.
This season's future engagements include a world tour with the Ambassadors of Opera Worldwide, featuring primarily artists form the Metropolitan Opera.
Ms. Philibosian has been a resident of Michigan for almost ten years and shares a position teaching voice at the Interlochen Arts Academy with her husband, tenor Ron Gentry. She is very active in the Traverse City artistic community.
This afternoon's performance marks Nicole Philibosian's debut under UMS auspices.
Among the most compelling singing actress?es of our time, American soprano Roberta Alexander enjoys international renown for her riveting, incisive characterizations, and her miraculous vocal and dramatic range. Among the operatic heroines she has unfor?gettably portrayed are the title role of Janacek'syunua, Mimi in Puccini's Im Boheme, and especially the great Mozart heroines: Fiordiligi in Cosifan tutte, Donna Elvira in
Don Giovanni and Vitellia in Mozart's La Ckmenza di Tito, the latter a major success with both the public and the press at die 1995 Glyndebourne Festival. In addition she has performed principal roles at New York's Metropolitan Opera, the Royal Opera House Covent Garden, and the major houses of Berlin, Hamburg, Vienna, Zurich and Venice. Equally esteemed as an orchestra soloist, she has performed with the Vienna, London and Royal Philharmonics; Royal Concertgebouw, Philadelphia, Celeveland and Bavarian Radio Orchestras; Cincinnati, Atlanta and Dallas Symphonies; and collabo?rated with such distinguished conductors as Vladimir Ashkenazy, Andrew Litton, Bernard Haitink, Sir Colin Davis, Nikolaus Harnoncourt, James Levine, Zubin Mehta, Carlo Maria Giulini, Leonard Slatkin, Jesus Lopez-Cobos, Edo De Waart and David Zinman. She reunites with Seiji Ozawa and the Boston Symphony Orchestra at
Tanglewood this com?ing summer and again in November for the world pre?miere of a composi?tion by Leon Kirchner.
An uncommonly communicative recitalist, Ms. Alexander has
offered acclaimed programs at New York's Carnegie Recital Hall, the Philadelphia Chamber Music Society, the Vienna Musikverein, London's Wigmore Hall and the Amsterdam Concertgebouw. She is an especially ardent and persuasive interpreter of American masterworks, many of which she has recorded.
Ms. Alexander received her master's degree in voice performance from the University of Michigan.
This afternoon's performance marks Roberta Alexander's debut under UMS auspices.
Soprano Beth Veltman is a native of Grand Rapids. Now living in New York, Ms. Veltman has toured with the Greater Miami Opera with whom she appeared as Monica in The Medium and Trio Girl in Leonard Bernstein's Trouble in Tahiti. She has per?formed a wide variety of roles, including Clorinda in La Cenerentola with Chatauqua
Opera, the dual roles of Sandman and the Dew Fairy in Hansel and Gretel and Michaela in Carmen, both with Opera Grand Rapids, Musetta in La Boheme with the New Jersey Association of Verissmo Opera,
Fiordiligi in Cosifan tutte with Teatre Lyrique d'Europe, Hanna in The Merry Widow with New England Lyric Operetta, and Gilda in Rigoletto with Opera Theatre of Rochester.
On the concert stage, as soprano soloist, Ms. Veltman has performed Handel's Messiah with Calvin Oratorio Society, Mozart's Requiem, Handel'sudas Maccabeas, and Bach's Christmas Oratorio With the Brooklyn Philharmonia Chorus, Mozart's Mass in F Major and Haydn's Creation as Eve with the St. Andrews Choral Society, and a tour of the UK singing operatic and broad-way selections for Opera Gala International. Her concert repretoire also includes several other works such as Orff s Carmina Burana, and the Bachlanas Brasillieras 5 by Villa Lobos.
Ms. Veltman attended Calvin Collge where she received a BA in Music and German and the University of Michigan where she received an MA in vocal perfor?mance.
This afternoon's performance marks Beth Veltman's debut under UMS auspices.
Celebrated both at home and in Europe, mezzo-soprano Jayne Sleder has established herself as a commanding presence on the orchestral stage and is recognized for the diversity of her oratorio and symphonic repertoire. A Michigan native, Ms. Sleder has returned to the United States after spending several seasons in Europe per?forming on operatic and symphonic stages in such cities as Berlin, Weimar, Mannheim and Avignon. Her operatic repertoire includes a variety of roles such as Fricka, Dalila, Charlotte, and Puline from Tschaikowsky's Pique Dame. Praised by the critics for her "exquisite oratorio singing," Ms. Sleder has frequently graced the stages of Dallas, Austin, Santa Barbara, Chicago, and Cincinnati with her oratorio perfor?mances.
A frequent performer with the Grand Rapids Symphony, recent appearances have included the Durufle Requiem and Mahler's Symphony No. 2 under the baton of Catherine Comet. Other season highlights include Verdi's Requiem with the Mannheim Akademische Orchestra and Stralsund Staatstheater Orchestra, a performance of Chausson's Chanson Perpetually with the Leontovych String Quartet, and the Mozart Requiem conducted by Ransom Wilson with
the Tuscaloosa Symphony. Upcoming appearances include Mendelssohn's Elijah with Traverse Symphony and in recital, the world pre?miere of a song cycle written for Ms. Sleder by Natsuki Yoshioka in collaboration with
renown British poet Susan Lenier.
Ms. Sleder's musical studies began at Michigan State University and continued at University of Texas and the Cincinnati Conservatory of Music. She has also studied
extensively throughout Europe and was a student of renowned baritone Tito Gobbi. Ms. Sleder currently resides in Traverse City where she has recently joined the voice fac?ulty at Northwestern Michigan College.
This afternoons performance marks Jayne Sleder's debut under UMS auspices.
Contralto Gwenneth Bean made her Metropolitan Opera debut in the 1987-88 season singing Dryad in Strauss' Ariadne and Naxos with Jessye Norman and Kathleen Battle, which included a Live from tlie Met telecast in the United States and Europe.
Additional roles at the Met for Ms. Bean have included Erda in Wagner's Das Rheingold and Siegfried under the direction of James Levine, Mama Lucia in Cavalleria Rusticana, Mary in Der Fliegende Hollander, the Alto Voice in Die Fran ohne
Schatten and Parsifal, Voix de la Mere in Les Conies d'Hoffmann with Placido Domingo, Marthe in Faust and the first Norn in Wagner's Die Gotterdammerung which was also telecast throughout the United States and Europe. In her six years with the Met, Ms. Bean appeared in no less than eleven Texaco Live from the Met radio broadcasts. She also took part in the Met's 1988 tour to Japan. Highly regarded as a concert artist and recitalist, Ms. Bean has performed both Mendelssohn's Elijah in 1992 and Handel's Messiah in 1994 at Carnegie Hall under the auspices of the New York Oratorio Society. Among Miss Bean's first engagements was a tour of Europe and the United States as soloist with Leonard Bernstein conducting his own Songfest cycle during the summer of 1985. The performance was televised live from the White House for a special on PBS
on the Fourth of July.
A native of Michigan, Gwenneth Bean is an alumna of the Chicago Lyric Opera Center for American Artists, a recipient of a grant from the William Matheus Sullivan Foundation, and was the winner of the 1985 Richard Tucker Music Study Grant. She lives near her family in Grand Rapids.
This afternoon's performance marks Gwenneth Bean's debut under UMS auspices.
Tenor Richard Fracker spent much of 1995-1996 at the Met singing in Un hallo in Maschera and Philip Glass' The Voyage and covering Die Meistersinger von Niirenberg while also making a Carnegie Hall debut singing the lead role in Glass' The Civil Wars under the baton of Dennis Russell Davies, a debut in Les Pecheurs de Perles with Spain's Bilbao Festival, La Marnelles de Tiresias with Seiji Ozawa in Japan, Faust in Michigan and a return to the Met in the Parks for Turawlol and new productions of Fedora and Wozzeck.
A tenor of great versatility, Richard Fracker has made a specialty of contempo?rary roles, singing the title role in Albert Herring and The Rake's Progress in opera houses throughout America, Peter Maxwell
Davies' The Lighthouse for the Chicago Opera Theater, Street Scene for the Chautauqua Festival and Henrik in A Little Night Music for Opera Carolina. In a more traditional vein, the artist made his professional debut in Die Fledermaus for
the Toledo Opera. Richard Fracker made his Metropolitan Opera debut in September 1989 in Tritlico followed by performances of Rigoletto and La Traviata.
A concert artist of note, Mr. Fracker has performed the major concert works
throughout the US, specializing in the ora?torios of Bach, Britten, Handel and Mozart and was an international finalist in the 1985 Pavarotti Competition. The tenor holds four degrees from the University of Michigan including a bachelor's degree in political science, an MSW from the School of Social Work, and both bachelor's and master's degrees from the School of Music. He now lives in Lansing with his wife and son.
Richard Fracker performed as a soloist in the 1988 UMS presentation oMessiah. This after?noon 's performance marks his fourth appearance under UMS auspices.
Baritone Russell Christopher was born and raised in Grand Rapids and received both bachelor's and master's degrees in voice and
opera from the University of Michigan. He came to the Metropolitan Opera as a winner of their auditions in 1963 and debuted that year in La Traviata with Dame Joan Sutherland. Mr. Christopher recently retired after twenty-
Mr. Christopher's operatic career began at the New York City Opera in Turandot and he appeared regularly at City Center for two seasons. In the years that followed, Mr. Christopher was the winner of numerous competitions, the most important of which was the American Opera Auditions in 1962. With this award he won his Italian debut in Milan. He debuted with the San Francisco opera that same year in its opening night presentation of La Boheme.
While at the Met, Mr. Christopher appeared in 1,387 performances of seventy-seven different roles in five languages and participated in two international tours to
Japan. Other credits during his active thirty-five-year career include performances with the Philadelphia Opera, Canadian Opera Company, Chautauqua Opera, Central City Opera, British Columbia Opera Players and the Baltimore Civic Opera.
Russell Christopher's musical activities are not limited to opera. He is a frequent soloist at UGC concerts and has appeared before audiences of the Los Angeles Philharmonic, the Montreal Symphony, the Hollywood Bowl Symphony, the Chicago Symphony, the orchestras of the Spoleto Festival in Italy, Syracuse, Richmond, Columbus, and twice in Grand Rapids.
His recordings include Carmen under the direction of Leonard Bernstein, and La Traviata under James Levine. PBS television audiences have seen him in numerous Live from the Met presentations. A 1986 telecast earned Mr. Christopher an Emmy for his performance in Tosca, the Best Classical Telecast of the Year.
Concurrent with his operatic career, Mr. Christopher taught voice in his New York studio for over ten years and was invited by Penn State University to teach as Visiting Artist in Voice. He received the Citation of Merit Award from his alma mater, the University of Michigan. He is on the Board of Governors of the American Guild of Musical Artists.
This afternoon's performance marks Russell Christopher's debut under UMS auspices.
Bass Ara Berberian has just completed his nineteenth season with the Metropolitan Opera, where he has appeared in over thir?ty-five operas ranging from The Barber of Seville, Rigoletlo, The Abduction from the Seraglio, The Italian Girl in Algiers, and Manon Iescaut to The Bartered Bride, Tannhduser, Fidelia, The Magic Flute, and Boris Godunov. He has appeared on television in several Live from the Met presentations and on the
Metropolitan's 100th Anniversary Gala Concert.
For many years Mr. Berberian was a lead?ing member of the New York City Opera where he sang such diverse roles as Hans Sachs in Die Meistersinger von Nurnberg, Mephistopheles in Faust, Sarastro in The Magic Flute, Arkel in Pelleas and Melisande, and Henderson the Rain King in the pre?miere of Kirchner's Lili.
He was also a longtime member of the San Francisco Opera where he was the lead?ing resident bass, and has appeared often with many other American companies, including New Orleans Opera, San Antonio Opera, Baltimore Lyric, Pittsburgh Opera, and Michigan Opera.
In the concert field, Mr. Berberian has performed with over seventy-five orchestras worldwide, including the New York Philhar?monic, the Bavarian Radio Symphony, the
Israel Philharmonic, and the orchestras of Boston, Cleveland, Philadelphia, Detroit, Chicago, Atlanta, Los Angeles, San Francisco, Montreal, Toronto, and Ottawa. In recent years he has sung in operatic productions with Maestro Seiji
Ozawa in Tokyo and throughout Japan.
Mr. Berberian is a life-long Michigan resi?dent and currently resides in Southfield. While working on degrees in economics and law at the University of Michigan, he belonged to seven musical organizations including the UMS Choral Union.
Ara Berberian started his association with UMS as a member of the Choral Union. He made his soloist debut with the Philadelphia Orchestra as a part of the 1953 May Festival and his most recent appearance zvas in 1977 as a soloist in Beethoven's Missa Solemnis. This afternoon's performance tmirks his eleventh appearance under UMS auspices..
I he Grand Rapids
I Symphony was organized in 1929 and is recognized as one of America's lead?ing regional orchestras. The Symphony employs forty-one salaried and sixty part-time musicians, and has earned national praise for musical excellence. In the 1996-97 season, more than 85,000 peo?ple will hear the Grand Rapids Symphony in its home venue, De Vos Hall, and more than 70,000 students, senior citizens and people with disabilities will benefit from the Symphony's extensive education and com?munity service programs. The Symphony sponsors the 120-member Grand Rapids Youth Symphony and the 125 voice Symphony Chorus, and provides the orches?tra for performances by Opera Grand Rapids, Grand Rapids Ballet and a variety of other local performing and presenting orga?nizations. Innovative programming and artistic excellence have brought the orches?tra and the community widespread recogni?tion. The Symphony has received several prestigious musical awards, and has complet?ed several compact disc recordings.
This afternoon's performance marks the Grand Rapids Symphony's debut under UMS auspices.
The Grand Rapids Symphony Chorus was
founded in 1962 and is a volunteer organi?zation comprising 125 members ranging in ages from twenty to eighty-one. Members from throughout West Michigan come from as far away as Holland, Allegan and Hastings. Each season, the choir performs major choral works with the Orchestra in Classical Pops, Casual Classics, Family, and Festival concerts.
Throughout its 118-year history, the University Musical Society Choral Union has
performed with many of the world's distin?guished orchestras and conductors.
In recent years, the chorus has sung under the direction of 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 performances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capaci?ty, the ensemble has joined the orchestra for subscription performances of Beethoven's Symphony No. 9, OrfFs Carmina Burana, Ravel's Daphnis et Chloe and Prokofiev's Aleksandr Nevsky. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem, and continuing this past season with perfor?mances of the Berlioz Requiem and Bach's Mass in b minor.
This season, the UMS Choral Union con?tinued its association with the Detroit Symphony Orchestra and Maestro Jarvi in performances of Tchaikovsky's Cantata in Commemoration of Peter the Great in both Detroit and Ann Arbor. The UMS Choral Union makes its debut with the Grand Rapids Symphony with these performances of Mahler's Symphony No. 8 in both Grand Rapids and 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 towns?people, students and faculty, members of the Choral Union share one common pas?sion -a love of the choral art.
The UMS Choral Union began performing in 1879 and has presented Messiah in annual per?formances. This performance marks their 370th appearance under UMS auspices.
This afternoon's performance marks the Grand Rapids Choir of Men and Boys' debut under UMS auspices.
The Boychoir of Ann Arbor was founded in 1986 in order to provide a treble choir for a production of Bernstein's Mass. Since then, the choir has grown in musical maturity and stature, enriching the cultural life of south?east Michigan. The purposes of the choir are twofold: to offer the finest in choral edu?cation and performance experience to musi?cally gifted boys; and to provide a choral resource to concert presenters and to major orchestras requiring treble voices for choral masterworks. In addition to their highly popular Christmas and spring concerts, the choir has performed in Windsor, Ontario, and has toured in Michigan, Virginia and Washington DC.
The Boychoir of Ann Arbor made their UMS debut with the Pittsburgh Symphony Orchestra in April 1988. This afternoon's performance marks their fourth appearance under UMS auspices.
Grand Rapids Choir of Men and Boys
Peter Hopkins, Artistic Director and Choirmaster
Donald Chaflee Douglas ChafTee Miles Doornbos Brian GlctUer Michael Greene Joseph Karpowicz Zachary Kruyi John McCall Matlhew McMurry Paul Melcher David Meyer Drew Russell Chris Scoville Jeffrey Teliczan Scott Young William Zigler
Boychoir of Ann Arbor
Dr. Thomas Strode, FounderDirector Carol Wargelin, Rehearsal Accompanist Meg Kennedy Shaw, Administrator
Gabriel Anderson Andrew Ball Kai Chapman John Clark Michael Davis Hugh Dowel) Adam Falkncr Andrew Fink Andrew Goldbaum Thomas Harding Gregory Hart Jonathan Hascy Peter Henderson James Iannuzzi Noah Jen ten Eliot Kairys
Jeremy Kittel Paco Leon Alex Levin-Koopman Brian Long Nathan Longhofer Tobias McDongal Christopher O'Keefe William Rushmore William Slierburne Pierce Siebers Daniel Simescu Luke Swanson Colin Tucker Alexander Vassos Marshall Weir John Wright
Grand Rapids Symphony
Catherine Comet, Conductor
James Crawford, (Concertmaster
Chrisiina Fong, Associate Concertvutster
David Prndon, Assistant Concertmaster
Caroline Haincs Freihofer
Susan Hansen Kanoza
Kristin Van Ausdal
Steven Brook, Acting Principal Eric Tanner, Assistant Irincipal Sunny Cirlin Lcnore D'Haem Jason Economidrs Christine Golden David Haaland Dolores Klukoski Ruth lumper Linda Nelson Millie Tcgncr Barbara VendcrHeide Susannc VandcrStarre Leslie Wilkinson
Leslie Van Becker, Principal
Barbara Corbalo, Assistant Principal
Mary Jane Slawinski
Strings are listed in alphabetical order after titled chairs.
Nancy Steltmann, Principal
Alicia Stegink, Assistant Principal
Dawn Van Ark
Steven Ven Ravenswaay
Peter Spring, Principal
Thomas Erickson, Assistant Principal
Daniel De Vries
Rachel Jcnkyns, Acting Principal
Alexander Miller, Acting Principal Erin Guslafson Kathleen Gomez Sarah Pool Roger Rehm
Samuel Caviezel, Principal Michael Kornacki William Curlelte Kennen White Rusty Floyd
Martha Bowman, Principal Charles King Gregory Pritchard Wendy Rose Peggy Patrick
Richard Briisch, Principal
Jeffrey Swanson, Assistant I'rincipai
Michael Bowman, Principal Charley Lea Dennis Horton Pamela Smilter Baker
Offstage Trumpet Philip Bajema Kale Cumings Bruce Formsma Scott Hall
Ava Ordman, IMncipal
Offstage Trombone Daniel Mattson Greg Spiridopoulis Thomas Riccobono
Monty Burch, Principal
David Gross, Principal David Hall
William Vits, Principal Glenn Freeman Gregory Secor
Maria Royce Hesse, Principal Sylvia Norris
Harmonium Nancy Peltrock
Grand Rapids Symphony Chorus
Betsy Archer Jackie Barth Kathy Butryn Glenda Buteyn Jcncveine Candler Mary Dean Carol Dcjong Jean DeVries Susan Hartwcll Marian Heercma Linda McMurry Ruth Stubbs Valorie Swets Paula Tibbe Ruth van dcr Maas Ruth Vender Meyden Susan VanSlooten
Soprano II Betty Bartlett-Clarke Kate Baxter Maria De Rose Corrie Durkee Mary G. Evans Donna Hattem Barbara Hcisler Janine Holloman Naomi Madsen Thelma Matthews Candy Pierce Lori Such Kathy Verstraete Jeanne-marie Waterfield
Marilyn Arcc Cindy Bender Julie Bennett Judith Breck Coby Ruth Cole Emily Cooper Treva Droski Kathleen Ferres Kim Garcia Jane Huisscn Barbara Kindschi Deborah Morcland SerinaJ. Norvold Jean Parks Gerry Slagter Peggy Snell Jan E. Strand Judy Titta Mary VandenBerg Debi Visser Carol Watson Mary Wierenga Nancy J. Wood Kristen Zoetewey
Phyllis Haverkamp Ann Holmes Molly Kehoe Mary Lewandoski Cynthia McAuyliffe Pam Meier Sylvia Murphy Janice Ries Marlene Seida Mary Lou Smith Vicki Uren Ardclle C. Van Bragt Annette M. Yarcd
Tenor Kathy Beuie Greg Blovita Lee DeVries Ted Dunn Gerard C. Hnissen Robert E. KJeinhans Rick Krcugcr Jackie L. Lock Brian Nedcrvcld Mike Pierce Larry VandePol Doug Weaver Ronald Wood
Richard Alexander Robert Bcrkstresser George Cheescman Gordon Gregory Doug Kindschl Jim Kronour Philip Larink Jack Luidcns Fred Overeem Roland Prevost Kent Price Jeff Rush Morris Vedder John VcrBcck Peter Visser Tom Waterfield John Weaver
Jim Anderson Gordy Carlson Thomas R. Coby Roger Griffioen Wain Harrison Jack Kochlcr Coby Martin Doug Morgan Will Nieboer Richard Pierce Philip VandenBerge Gordon Zylstra
UMS Choral Union
Thomas Sheets, conductor Donald Bryant, conductor emeritus Jean Schneider-Claytor, accompanist Timothy Haggerty, manager
Marie Ankenbruck-Davis Marisa Bond Edith Leavis Bookstcin Susan F. Campbell Cheryl D. Clarkson Kathy Neufeld Dunn Kathryn Foster Elliott Laurie Erickson Patricia Forsberg-Sinith Mary L. Golden Deirdrc Hamilton Elizabeth E.Jahn Dorcen J. Jesscn Mercdyth M.Jones Mary Kay Lawless Carolyn Leyh Lorelta Lovalvo Melissa Hope Matin Linda Marshall Marilyn Meeker Shin-Jung Park Carole Lynch Pcnnington Margaret Dearden Petersen Sara Peth Judith A. Premin Virginia Reese Jennifer Richardson Mary A. Schieve Denise Rae Scramstad Lindsay Shipps Ieslie Hclenc Smith Sue Ellen Slraub Barbara Hertz Wallgren Rachcllc Barcus Warren Margaret Warrick Mary Wigton Lia Wirtz
Linda Kaye Woodman Kathleen A. Young
Mary Jo Baynes Carol Beard more Myrna Berlin Paula Brostrom Alice Ccrniglia I .1111 .i Clausen Dolores Davidson Anne C. Davis Deborah Dowson Anna Egert Marilyn Finkbeincr LeAnn Eriksson Guylon Hilary Haftel Carol Hohnke Nancy Houk Sally A. Kope Jean Leverich Suzanne Siepich Lewand Cynthia Lunan Jeanetie Luton Iura McDonald Carol Milsu-in Joan L. Morrison Holly Ann Muenchow Lisa Michiko Murray Lotta Olvegard Kathleen Operhall Karen Osborn Lynn Powell Carren Sandall Beverly N. Slater Amy Smith Jari Smith Cynthia Sorensen Patricia Stciss Cheryl Utiger Jane Van Bolt
Fred L. Bookslcin
Fr. Timothy J. Dombrowski
John W. Etsweiler
Albert P. Girod
Martin G. Kope
James Van Bochovc
William Guy Barasl Howard Bond Harry Bowcn Glenn Bugala Kee Man Chang Don Faber Philip J. Gorman Gene W. Hsu Charles T. Hudson Andrew Jordan Mark K. lindley George Lindquist Thomas Litow Lawrence Lohr Charles Lovelace Robert A. Markley Jeremy Mathis Joseph D. McCadden Gerald Miller Michael Pratt William Premin Bradley Pritts Sheldon Sandweiss Marshall S. Schuster John T. Scpp William Simpson JcfTSpindler Robert Stawski Jayme Stayer Robert D. Strozier Terril O. Tompkins John Van Bolt Jack Waas Benjamin Williams
Gyorgy Fischer, harpsichord Of piano
I Delfici, string ensemble Antonella Franceschini, Luca Rocco, Gabriele Bartoli, Fabrizio Fabiano
Saturday Evening, March 29, 1997 at 8:00
Hill Auditorium Ann Arbor, Michigan
In furore Iustissimae Irae
mottetto per soprano, due violini, viola e basso, RV 626
Cessate, omai cessate
cantata per contralto, due violini, viola e basso, RV 684
Agitata da due vend
aria from La GriseldaAct II, Scene ii, RV 718
The audience is politely requested to withhold applause until the end of each group of songs. Please do not applaud after the individual songs xoithin each group.
Da quel sembiante appresi, D688, no. 3 Mio ben ricordati, D688, no. 4 Se dall" Etra, D738 Non t'accostar all'urna, D688, no. 1 La pastorella, D528
Pauline Viardot Garcia Havanaise Hai Iuli
Leo Delibes Les filles des Cadix
Gioacchino Rossini Riedi al soglio from Zelmira
Sixty-fourth Concert of the 118th Season
118th Annual Choral Union Series
Special thanks to Dr. Ronald Cresswell for his support of the University Musical Society through Parke-Davis Pharmaceutical Research.
Special thanks to Susan Nesbit, MusicDance Reviewer for the Ann Arbor News, and Ken Fischer, President of the Unversity Musical Society, for serving as Master of Aits Interviewers. The Master of Arts Series is a collaborative effort of UMS, the University of Michigan Institute for the Humanities and WUOM. This Master of Arts interview will be aired on WUOM on Monday, April 7, 1997 at 8PM.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Large print programs are available upon request.
Born on March 4, 1678 in Venice Died on July 28, 1741 in Vienna
Cantatas and Arias
Antonio Vivaldi owes his reputation nowadays almost entirely to his instrumental music. But this was not the case in the Venetian composer's own lifetime, when his fame and prestige were also linked to his prolific output of vocal music.
As far as we know, Vivaldi wrote fourty-seven operas, three oratorios, sacred works (both liturgical and non-liturgical) for a variety of instrumental and vocal combina?tions, secular cantatas and occasional works for the stage. A large number of the sacred pieces were written for the chorus of the Pio Ospedale della Pieta, where Vivaldi served as violin teacher and Director of Music at various periods in his life.
In the early eighteenth century Venice boasted four such "hospitals" -charitable institutions whose mission was the upbring?ing of foundlings and orphan girls from deprived families. Some of these girls were specifically educated in the art of musical performance and formed choirs and orches?tras famous for their quality and skill; those of the Ospedale della Pieta were considered particularly prestigious on account of the exceptionally high standards achieved by the girls.
There are around twenty compositions by Vivaldi which could be called motets, although at times they are entitled "Introduzioni." All are scored for a solo voice and strings. Motets in early eighteenth century Venetian practice consisted of sacred non-liturgical pieces, to be per?formed in the course of the Mass or Vespers at such moments as the Offertory, the Elevation or the Benediction. They were
normally of a virtuoso nature and the text was always in Latin.
The structure of the motet In furore iustis-simae irae is: aria -recitative -aria -con?cluding Alleluia (the identical sequence used by Mozart over fifty years later in his Exsultate, jubilate). The first aria is in three-part form, with the opening section repeat?ed at the end -a scheme which Vivaldi favoured in much of his work, both vocal and instrumental. This first aria describes how the indignation and wrath of God towards a sinner change to mercy at the hour of judgement. The short recitative that follows is a plea for divine mercy, which, in the second aria, becomes an invocation to Christ for his tears to fill the hearts of sin?ners with joy. A soaring, virtuoso Alleluia, representing the glorification of the Lord, brings the motet to a close.
The cantata was, alongside opera, the most widespread form of secular vocal com?position, fertile ground for opera singers when they were not actually performing on the stage. Settings of Italian texts, cantatas followed the Arcadian tradition in describ?ing the anguish and joys of love. Thirty-nine such works by Vivaldi have survived, of which nine require an instrumental accom?paniment in addition to the basso continue
Cessate, omai cessate is scored for two vio?lins, viola and continuo. It opens with an accompanied recitative in which the forsak?en lover vents his woes and begs for an end to his suffering; but the haunting memory of his beloved gives him no peace. The first aria is in two parts -a Larghetto in which the lover's tears are illustrated by pizzicato strings, and a more reflective Andante molto, in which he concludes that death alone can bring an end to the torment of love. This is followed by another accompa?nied recitative, in which he descends into the Underworld (almost following the path of Orpheus). His purpose, however, is not to find his lost beloved, but rather to look for a
soul who, unlike the pitiless Dorilla, will comfort him. The tenebrous mood which depicts the descent into Hades shows Vivaldi's extraordinary skill in tone painting with relatively modest means.
The concluding aria is a further diatribe against Dorilla, expressing yet again the lover's grief-or indeed rage, when we consider the music itself, with its urgent rhythms and persistent repetitions.
The opera La Griselda was premiered in 1735 at the Teatro Grimani, at Sam Samuele in Venice, and the occasion marked the first meeting betwen Vivaldi and Carol Goldoni. The young playwright had been commis?sioned to rewrite the verse for the arias in Apostolo Zeno's ageing libretto, leaving the recitatives untouched (a common practice at the time). Some years later Goldoni described this encounter in his Memoirs, concluding: "he is still pleased with me and the opera is extremely successful."
The story also appears in Boccaccio's Decameron. Gualtiero, King of Thessaly, has married Griselda, a girl of humble origins. The marriage has been the cause of great unrest among his people, and in order to placate them, Gualtiero announces that he will repudiate her in favor of a foreign woman of higher rank, Constanza. The lat?ter is in fact the royal couple's own daugh?ter, whom Gualtiero -on account of the mother's lowly status -has pretended to have killed, but who has been raised abroad by a friend of the king's. In her exile, Costanza has in the meantime fallen in love with Roberto, Prince of Athens, and when she is ordered to return to Thessaly, he resolves to accompany her. Costanza sings the aria "Agitata da due venti" as she is about to leave Roberto and become Gualtiero's new bride.
Griselda proves her magnanimity and loyalty in the face of her humiliations, and Gualtiero, revealing the true reasons behind his actions, eventially reinstates her to her
rightful position. Finally, he discoloses the real identitiy of Costanza, and gives her in marriage to her beloved Roberto.
"Agitata da due venti" is an outstanding example of the expressive virtuosity found in Vivaldi's vocal writing. It rests on the simi?le of a sailor at the mercy of opposing winds and in danger of shipwreck, and the heart of Costanza, torn between two conflicting and contrasting forces which are driving her to despair. The use of such similes was a common rhetorical device in the poetry of the time, and Vivaldi depicts these natural images with figurations and dynamic effects deriving from the madrigal tradition: wide melodic leaps, repeated notes, an undulat?ing violin line, vocal coloratura on the key word "naufragar" (shipwreck). This is in contrast to the middle section of the aria, where the heroine's character emerges in phrases that are sometimes smoother, sometimes more dramatic (as at the word "disperar").
Nature and Man often appear side by side in Vivaldi's scores. Images drawn from nature are transformed into sounds which, in order to make the most of their expres?sive potential, aspire to the quality noted by the humanist De Brosses in his Lettres famil-ieres on Italy. Writing of Venetian perfor?mances in 1739, he observed: "...a manner of accompaniment...which greatly enhances their music...the art of light and shade applied now in gradual measures, now abruptly."
It is an almost pictorial style, appealing directly to the sensitivity and emotions of the listener.
Program note by Claudio Osele and Cecilia Bartoli Translation DECCA 1997
IN FURORE IUSTISSIMAE IRAE
mottetto per soprano, due violini, viola e basso, RV626
In furore iustissimae irae Tu divinitus facis potentem.
Quando potes me reum punire ipsum crimen te gerit clementem.
Miserationum Pater piissime, parce mihi dolenti peccatori languenti, ojesu dulcissime.
Tune meus fletus evadet laetus dinn pro te meum languescit cor.
Fac me plorare, mi Jesu care, et fletus laetum fovebit cor.
In wrath and most just anger you divinely excercise power.
When you punish me in my guilt
the crime itself bears you in your mercy.
Most loyal father of mercies spare me, a sorrowful, weak sinner, most sweet Jesus.
Then shall my weeping turn to joy
as my heart is softened towards you.
Make me cry, my dear Jesus, and joyful weeping will warm my heart.
Cessate, omai cessate
cantata per contralto, due violini, viola e basso, RV 684
I. Recitativo accompagnato
Cessate, omai cessate,
d'un affetto tiranno;
Gia barbare e spietate
mi cangiaste i contend
in un immenso affanno.
Cessate, omai cessate,
di lacerarmi il petto,
di trafiggermi l'alma,
di toglier al mio cor riposo e calma.
Povero core afflitto, e abbandonato,
se ti toglie la pace
un affetto tiranno,
perche un volto spietato, un'alma infida,
la sola crudelta pasce ed annida.
Ah, ch'infelice sempre Me vuol Dorilla ingrata, Ah sempre piu spietata, M'astringe a lagrimar.
Per me non v'e no, non v'e ristoro, Per me non v'e no, non v'e piu speme. E il fier martoro e le mie pene, Solo la morte puo consolar.
III. Recitativo accompagnato
A voi dunque ricorro orridi specchi
ed ombre amiche, tra voi porto il mio duolo,
perche spero da voi quella pietade,
che Dorilla inhumana
non annida. Vengo spelonche amate,
Leave me, leave me,
You cruel memories
of tyrannical emotion;
You strike me with real barbarity
And are content only
with my deep sorrow.
Leave off, leave off,
From torturing my breast,
Slaying my soul,
And do not rob my heart of its calm and peace.
See, my poor, abandoned heart,
A tyrannical emotion
has robbed you of peace,
Because her face is cruel and her soul unfaithful,
Anguish alone sustains and harms me.
Ah, how sad
the faithless Dorilla will make me.
Ah, she tortures me
more and more cruelly, to tears.
I have no more rest, there is no more hope, I have no more rest, And death alone can end
My cruel suffering and pain.
So I run to you, frightening, reticent caves,
Who hide lonely horrors
My lady loves, I have brought my grief here
Because I hope for grace from you,
And that the inhuman Dorilla will find
no shelter here. I come, beloved caves, I come,
vengo specchi graditi,
alfine meco in volto
il mio tormento in voi resti sepolto.
Nell'orrido albergo ricetto di pene Potro il mio tormento sfogare contento Potro ad alta voce chiamare spietata Dorilla l'ingrata, morire potro.
Andro d'Acheronte su la nera sponda, Tingendo quest'onda di sangue innocente Gridando vendetta, Ed ombra baccante, vendetta faro.
Agitata da due venti
from La Griselda
Opera in three acts, RV 718
Aria di Constanza, act II, scene ii
Agitata da due venti Freme l'onda in mar turbato E'l nocchiero spaventato Gia s'aspetta a naufragar.
Dal dovere, e dall'amore Combattuto questo core Non resiste; e par che ceda E cominci a disperar.
dear cavities in the rock,
To stay here with my harassed face, to be
buried at last.
At the dreaded dwelling-place
that receives torture
I can reveal
I can call
the unfaithful Dorilla
I shall go
to the black shores of Acheron,
And see the flood
of innocent blood
Cry for vengeance,
And I, a frenzied ghost,
Shall avenge myself.
Whipped up by two winds The waves rage in the rough sea And the terrified steersman Already expects to be shipwrecked.
By duty and by love Assailed, this heart Cannot hold out; I feel it waver And begin to despair.
Born on January 31, 1797 in Vienna Died on November 19, 1828 in Vienna
Da quel sembiante appresi
(From that face I learned) D688, no.3 (text: Metastasio)
Da quel sembiante appresi, a sospirar d'amore, sempre per quel sembiante sospirero d'amore.
La face a cui m'accesi solo m'alletta e piace, e fredda ogn'altra face per riscaldarmi il cuore.
MlO BEN RICORDATI
(Remember, my beloved) (text: Metastasio)
Mio ben ricordati, s'awien ch'io mora: quanto quest'anima fedel t'amo.
E se pur amano le fredde ceneri: nell'urna ancora t'adorero.
From that face I learned to sigh with love, I shall always sigh with love for that face.
The fire which inflamed me is my only joy and pleasure, all other flames are too cold to warm my heart.
Remember, my beloved, if I should die, how much my faithful heart loved you.
And if cold ashes are capable of love, then in the grave I shall still adore you.
(In the wood), D738
(text: Jakob Nikolaus Craigher dejachelutta)
Se dall'Etra, Febo i raggi ei penetra in mezzo a' faggi, quel dolore ch'e nel core si convene in volutta!
E del no il mormorio! quest'aurette amorosette! i vapori, l'erbe, i fiori! dan al bosco maesta!
Ah se ognora dense fronde, rai d'aurora, verdi sponde ad ogn'alma desser calma nelle sue awersita!
Non t'accostar all'urna
(Do not approach the urn), D688, no.l (text: Jacopo Andrea Vittorelli)
Non t'accostar all'urna che l'ossa mie rinserra. Questa pietosa terra e sacra al mio dolor.
Ricuso i tuoi giacinti non voglio i pianti tuoi che giovan agli estini due lagrime, due fior
Empia! dovevi allor porgermi un fil d'aita, quando traea la vita in grenbo dei sospir.
Ah che d'inutil pianto assordi la foresta Rispetta un' ombra mesta e lasciala dormir.
If Phoebus sends rays down from the sky in among the beech trees, the grief in one's heart will turn to pleasure!
The murmuring stream! These loving breezes! The mist, the grass, the flowers, all bring dignity to the wood!
Ah, if only leafy branches, the ray of dawn and grassy banks could bring peace to every heart in adversity!
Do not approach the urn which contains my bones. This pitiful earth is sacred to my grief.
I spurn the hyacinths you bring, I do not want your tears. What use to the dead are two tears, two flowers
Faithless one! You should have offered me a ray of hope while I still dragged out my life in the vale sighs.
Ah, why deafen the forest with futile weeping Respect an unhappy shadow and allow it to sleep.
La pastorella al prato
(The Shepherdess) (text: Carlo Goldini)
La pastorella al prato contenta se ne va coiragnellino al lato cantando in liberta.
Se l'innocente amore gradisce il suo pastore la bella pastorella contenta ognor sara.
Born on July 18, 1821 in Paris Died on May 18,1910 in Paris
(Text: Louis Pomey)
Vente nina conmigo al mar
que en la playa tengo un bajel,
Bogaremos a dos en el
que alii solo se sabe amar.
Ay rubita si tu supieras,
Ay rubita si supieras...Ah! Ah!
Vente nina, etc.
Ay ay ay rubita, dame tu amar.
Sur la rive le flot d'argent
En chantant brise mollement,
Et des eaux avec le ciel pur
Se confond l'azur!
Sois moins rebelle,
6 ma belle, la mer t'appelle!
Ah! viens, viens, viens!
A ses chants laisse-toi charmer!
Ah, viens, c'est la qu'on sait aimer, etc.
Sois ma belle, moins rebelle,
Oui, laisse-toi charmer,
C'est en mer que Ton sait aimer, etc.
The shepherdess happily goes off to the meadow with the little lamb at her side, singing blithely.
If her shephard likes innocent love, then the lovely shepherdess will always be happy.
Come with me, my child, to the sea
for on the shore I have a boat;
we shall row it together,
for only there do people know how to love.
Ah, my fair one, if only you knew,
if only you knew...Ah, ah!
Come with me, my child, etc.
Ay ay, my fair one, give me your love.
Upon the bank the silver wave
gently breaks itself up while singing,
and the waters and the pure sky
merge in the azure distance!
Be less stubborn.
O my fair one, the sea calls you!
Ah! come, come, come!
Let yourself be charmed by its song, come,
It is there that people know how to love.
O my fair one, be less stubborn,
let yourself be charmed,
yes, let yourself be charmed,
o my fair one!
It is at sea that people know how to love...
Rubita, ay vente conmigo al mar, Bogaremos a dos en el. Que alii solo se sabe amar! Vente rubita, vente rubita, Vente al mar, al mar!
(Text: Xavier de Maislre)
Je suis triste, je m'inquiete, Je ne sais plus que devenir, Mon bon ami devait venir, Et je l'attends ici seulette. Hai luli! Hai luli! Ou done peut etre mon ami etc.
Je m'assieds pour filer ma laine, Le fil se casse dans ma main... Allons, je filerai demain, Aujourd'hui je suis trop en peine! Hai luli! Hai luli! Qu'il fait triste sans mon ami! etc.
Sijamais il devient volage,
S'il doit un jour m'abbandonner,
Le village n'a qu'a bruler,
Et moi-meme avec le village!
Hai luli! Hai luli!
A quoi bon vivre sans ami etc.
Fair one, come with me to the sea,
we shall row together,
for only there do people know how to love.
Come, my fair one, come,
come to the sea!
I am sad, I am anxious. I don't know what's to become of me, my true friend was to have come, and here I wait all lonesome. Willow-Waley! Willow-Waley! Where can he be my lover
I sit down to spin my wool, the thread breaks in my hand. . . come, I will spin tomorrow; today I'm too full of sorrow! Willow-Waley! Willow-Waley! How sad it is without my lover!
If ever he turns fickle,
if one day he is to desert me,
I will burn down the village,
and myself with it!
What's the use of living without a lover
Born February 21, 1836 in St.-Germain-du-Val, Sarthe
Died January 16, 1891 in Paris
Les Filles de Cadix
(The Daughters of Cadiz) (Text: Alfred de Musset)
Nous venions de voir le taureau,
Trois garcons, trois fillettes;
Sur la pelouse il faisait beau
Et nous dansions un bolero
Au son des castagnettes.
Si j'ai bonne mine,
Et si ma basquine
Va bien, ce matin.
Vous me trouvez la taille fine"
Ah! ah! ah! ah!
Les filles de Cadix aiment assez cela! etc.
Et nous dansions un bolero
Au pied de la colline.
Sur le chemin passait Diego
Qui pour tout bien n'a qu'un manteau
Et qu'une mandoline.
"La belle aux doux yeux
Veux-tu qu'a 1'eglise
Demain te conduise
Un amant jaloux"
'Jaloux! jaloux! quelle sottise!"
Ah! ah! ah! ah!
Les filles de Cadix craignent ce defaut-la! etc.
We had just seen the bullfight,
three lads, three girls.
On the lawn it was fine
and we danced a bolero
to the sound of castanets.
'Tell me, neighbor,
Do I have a pretty face
And does my skirt
become me this morning
Do you find my waist slim"
Ah! ah! ah! ah!
The daughters of Cadiz are very fond of that..
And we danced a bolero,
at the foot of the hill.
On the road passed Diego
whose only possessions were a cloak
and a mandolin.
"Fair one with the sweet eyes
would you care to be taken
tomorrow to the church
by a jealous lover"
"Jealous! Jealous! What stupidity!"
Ah! ah! ah! Ah!
The daughters of Cadiz fear that fault!
Born February 29, 1792 in Pesaro Died November 13, 1868 in Paris
RlEDI AL SOGLIO
Riedi al soglio: irata Stella se ne chiuse a te il sentiero; pura fede, amor sincero ti richiama al tuo splendor. No, piu affanni in me non sento, ah, felice appien io sono, se serbai la vita, il trono all'amato genitor.
Deh, circondatemi, miei cari oggetti!
Voi, che neH'anima soavi affetti,
care delizie destate ognor.
Ah, si, compensino si dolci istanti
le pene, i palpiti ch'ebbi finor.
E dopo il nembo di pace in grembo
respiri in seno sereno il cor.
Return to your throne: an adverse star
barred your way to it;
pure faith and candid love
now recall you to your glory.
I no longer feel distress within me.
I feel perfect happiness,
for I have saved both the life and the throne
of my beloved father.
Gather round, my beloved ones! You, who ever arouse in my heart dear affection and sweet delight. May such beautiful moments make up for the pains I have suffered until now. After the storm my breast is tranquil and my heart shall breathe in peace.
"? orn in Rome, Cecilia A Bartoli attended the D (lonsei vatorio di Santa
? Cecilia whilecontemporaneously studying with her K parents, both professional Km singers. With her mother, Silvana Bazzoni, Ms. Bartoli perfected her vocal technique while with her father, Angelo Bartoli, she worked to deepen her musical interpretations.
Ms. Bartoli's earliest opportunities to perform before wide audiences came first in an Italian national telecast devoted to pre?senting young artists and then in a French national telecast dedicated to the memory of the late Maria Callas. Immediately there?after, Ms. Bartoli was contacted by the late Maestro Herbert von Karajan who engaged her for the Bach b minor Mass at the 1990 Salzburg Easter Festival. At the same time, there began a prolific collaboration with Maestro Daniel Barenboim focusing on the Mozart repertory -specifically the da Ponte trilogy.
Thereafter, Ms. Bartoli's career devel?oped internationally, bringing her into con?tact with many of the most prestigious inter?national conductors, stage directors, orches?tras, opera houses and recital partners. For her Berlin Philharmonic debut Claudio Abbado conducted Ms. Bartoli in a program of Monteverdi, Perfolesi and Haydn, while on recital tours in Eurpoe and North America. Ms. Bartoli has worked with soloists Myung-Whun Chung, Andras Schiff and Jean-Yves Thibaudet. For her 1996 Metropolitan Opera debut as Despina in Cosifan tutte Ms. Bartoli appeared in a new production led by James Levine as she also took part in a new Roberto de Simone pro?duction at the Theater an der Wien with Riccardo Muti conducting (1994). At this famed Viennese theater she has also appeared as Euridice in a newjurgen Flimm produc?tion of Haydn's Oreo under the musical
direction of Nickolas Harnoncourt for the 1995 Wiener Festswochen. As Mozart's Dorabella, Ms. Bartoli has previously appeared with Zubin Mehta at the 1991 Florence Maggio Musicale and with Daniel Barenboim at the Chicago Symphony (1992). She also collaborated with Maestro Barenboim and Patrice Chercau in a new production of Don Giovanni at the Salzburg Festival (1994) and also at La Scala (1993) with Riccardo MudGiorgio Strehler.
Ms. Bartoli began this season with an European recital tour of engagements in Scandinavia, Germany and France. In November she made her South American debut with a series of recitals in Argentina and Brazil.
Early in 1997 Ms. Bartoli embarks on a tour with I Delfici, including this Ann Arbor concert. Thereafter, she returns to New York for more performances with Maestro Levine in opera at the MET (Cost) and in recital at Alice Tully Hall at Lincoln Center. After a series of North American recitals, Ms. Bartoli travels to Rome where she will per?form a benefit concert for the World's Monuments Foundation, a project to which Ms. Bartoli is personally committed. Accompanied by Jean-Yves Thibaudet, the program will include works by French com?posers Bizet, Delibes, Ravel and Viardot as well as those by Rossini. The concert will be taped for video and audio release with a portion of the sales dedicated to restoring and preserving the world's 100 most endan?gered architectural treasures for the future.
Additional recital appearances in May 1997 bring Ms. Bartoli to Switzerland and Austria before she joins the MET for perfor?mances in Japan. Thereafter, Ms. Bartoli tours the Far East in recital before making a studio recording of Rossini's Turco in Italia at La Scala under the direction of Mestro Chailly.
Come Autumn 1997, the Metropolitan Opera stages La Cenerentola for the first time
ever in a new production for Ms. Bartoli staged by Italian theater director Casare Lievi. In this period, Ms. Bartoli will also be heard at Carnegie Hall, first in concert with Maestro Levine and the MET orchestra and again in recital. In December she joins Giuseppe Sinopoli for a series of concerts with the Accademia di Santa Cecilia in Rome, Naples and Turin.
Upcoming operatic plans for 1998 include Ms. Bartoli's debut in the role of Susanna (Figaro) with Maestro Harnoncourt in Zurich and her assumption of the title role of Paisiello's Nida, pazza per I'amore in a new Zurich Opera production by Mr. Lievi. In summer 1998, she will undertake the tide role of Haydn's Armida at Austria's Styriate Festival with Maestro Harnoncourt conduct?ing.
Noted for her Rossini interpretations, Ms. Bartoli has been seen as Rosina in Rossini's II barbiere di Siviglia in Rome, Zurich, Barcelona, Lyon, Hamburg as well as in Houston and Dallas and as Angelina in Im Cenerentola in Bologna, Munich, Zurich and Houston. In addition to the works of Mozart and Rossini, Ms. Bartoli's repertory spans from Monteverdi to Ravel with partic-
ular attention centered on Vivaldi, Haydn, Bellini, and the Italian "Settecento" com?posers.
In addition to her appearances with the Berlin Philharmonic and Maestro Abbado, Ms. Bartoli has appearaed with the Vienna Philharmonic with Sir Georg Sold, the Orchestre de Paris with Daniel Barenboim, London's Philharmonia with Maestro Giuseppe Sinopoli, the Metropolitan Opera Orchestra with James Levine, the English Chamber Orchestra with Maestro Jeffrey Tate, the Montreal Symphony with Maestro Charles Dutoit and the Academy of St. Martin in the Fields with Sir Neville Marriner.
Cecilia Bartoli was awarded the 1995 Grammy Award "Best Classical Vocal Album" for her Italian Lieder album with Mr. Schiff.
In spring 1995 Ms. Bartoli was honored by France which conferred upon her the tide of "Chevalier of Arts and Letters."
Cecilia Bartoli made her UMS debut in April 1993. She appeared in recital again in September 1995. This performance marks her third appear?ance under UMS auspices.
Ms. Bartoli records exclusively for DeccaLondon Records Represented by J.F. Mastroianni Associates, New York City
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pursued post-graduate work at the Accademia Chigana in Siena and the Mozarteum in Salzburg. Independently, Antonella Franceschini, Luca Rocco, Gabriele Bartoli and Fabrizio Fabiano have performed professionally as soloists as well as principals in noted Italian chamber ensembles and symphony orches-
tras including the Orchestras of the RAI, il Teatro dell'Opera di Roma, l'Accademia Filarmonica Romana and the Accademia Barsocca.
With its concentration on the Italian sev?enteenth and eighteenth century repertory -and especially music for voice and strings, -the group came to the attention of Cecilia Bartoli with whom Delfici have since established an on-going collaboration. Together with Ms. Bartoli, I Delfici seeks to focus attention on a rarely-performed reper?tory derived from one of the most signifi?cant periods of music history.
This performance marks I Delfici's debut under UMS auspices.
yorgy Fischer was born in Budapest in 1935 and studied piano, composition and con?ducting at the Franz Liszt Academy of Music. In 1957 he went to Salzburg where he completed his studies at the Mozarteum Akademie. Whilst at the Akademie he took part in an advanced con?ductor's course and met Herbert von Karajan, who invited him to the Vienna State Opera as his Assistant. There he also worked with such conductors as Kertesz, Solti and Maazel, and conducted perfor?mances of Die Sauberjloete and Die Entfuehrung aus dem Seraii He collaborated closely with Kertesz at the Salzburg Festival and subsequently at the Cologne Opera.
He was, for many years, Principal Conductor at the Cologne Opera, where he returns to conduct an enormously broad-based repertoire. In addition to new produc?tions of Orfeo et Euridice, Rigeletto, La Venerentola, L'Elizir d'Amare and La Perichole he is closely associated with the Cologne
Mozart cycle produced by Jean-Pierre Ponnelle. Most recently he has conducted Cosifan lutte, Die Fledermaus and a new pro?duction of Le Nozze di Figaro for the Australian Opera.
Gyorgy Fischer has conducted concerts with leading orchestras in Germany, Austria, Spain, Australia, South Africa and Israel and is also a renowned harpsichordist (working for many years with, amongst others, Nikolaus Harnoncourt and Concentus Musicus, Wein). In recital he has accompa?nied such artists as Elisabeth Schwarzkopf, Nicolai Gedda, Rita Streich, Senajurinac and Lucia Popp.
Gyorgy Fischer first appeared with the English Chamber Orchestra at the Windsor Festival and has subsequendy conducted them in London at the Barbican Centre. He has also conducted the Royal Liverpool Philharmonic Orchestra. He has recorded all the Mozart concert arias for soprano voice in a major series of five records with singers including Teresa Berganza and Kiri te Kanawa, and is currently engaged on a series of recordings with Cecilia Bartoli.
In addition to his regular opera and con?cert performances, his recent engagements have included numerous recitals and orches?tral concerts with Cecilia Bartoli throughout Europe, North America and Japan.
This evening's concert marks Gyorgy Fischer's debut under UMS auspices.
THEATER 2 & 3
Jifci Kylian, artistic director
Jaap Hulsmann, managing director
NDT2 Dancers Lucila Alves Jayne Cooper Natasha Crook Shirley Esseboom Chisato Ohno
NDT3 Dancers Martine van Hamel Sabine Kupferberg Gary Chryst Gerard Lemaitre
Anne Plamondon Rei Watanabe Brynjar Bandlien Joe Kanamori Vaclav Kunes
Patrick Marin Salvador Masclans Fabrice Mazliah Ramon Reis
PROGRAM Un Ballo
Thursday Evening, April 3, 1997 at 8:00 NDT2 Off White
Power Center Ann Arbor, Michigan NDT3 Inter miss
Deja Vu NDT2
The Old Man and Me
Sixty-fifth Performance of the 118th Season Moving Truths Series
Large print programs are available upon request.
Choreography Jin Kylian
Music Maurice Ravel, menuet from Le lombeau de couperin
Pavane pour une infante defunte
Scenery Jin Kylian
Costumes Joke Visser
Light JOOP Caboort
Premiere 17 January 1991, AT&T Danstheater, Den Haag
menuet: Rei Watanabe, Shirley Esseboom, Lucila Alves,
Patrick Marin, Vaclav Kunes, Fabrics Mazliah
pavane: Rei Watanabe, Shirley Esseboom, Lucila Alves,
Chisato Ohno.Jayne Cooper, Anne Plamondon, Natasha Crook, Patrick Marin, Vaclav Kunes, Fabrice Mazliah, Brynjar Bandlien, Salvador Masclans, Ramon Reis.Joe Kanamori
Choreography Hans van Manen
Music Johann Strauss (Sohn), arrangement Arnold Schonberg
Rosen aus dem Siiden, Opus 388
Scenery Arik Levy
Costumes Joke Visser (concept Ohad Naharin)
Light Ohad Naharin
Premiere 26 November 1992, AT&T Danstheater, Den Haag
Sabine Kupferberg, Gary Chryst
Choreography Hans van Manen
Music Arvo Part, Fralres for violin and piano (1980)
Decorcostumes Keso Dekker Light JOOP Caboort
Premiere June 1, 1995, AT&T Danstheater, Den Haag
Shirley Esseboom, Fabrics Mazliah
Choreography Jifi Kylian
Music Karlheinz Stockhausen: Musik im Bauch (1975)
Scenery Jin Kylian
Costumes Joke Visser (concept Jin Kylian)
Light Tom Bevoort (conceptJin Kylian)
Premiere 10 October 1996, Lucent Danstheater, Den Haag
Martine van Hamel, Sabine Kupferberg, Gary Chryst, Gerard Lemaitre
The Old Man and Me
Choreography Hans van Manen
Music JJ. Cale: The Old Man and Me (1973)
Igor Stravinsky: Circus Polka (1942)
Wolfgang Amadeus Mozart: Piano concerto no. 23 in
A Major, KV 488, Adagio (1786) DecorCostumes Keso Dekker Light J??P Caboort
Premiere 29 February 1996, AT&T Danstheater, Den Haag
Sabine Kupferberg, Gerard Lemaitre
Choreography Paul Lightfoot
Music Gioacchino Rossini: Overture La Grazza Ladra:
The Thieving Magpie (1817) Decor Paul Lightfoot
Costumes Sol Leon
Light Tom Bevoort
Premiere 22 February 1996, AT&T Danstheater, Den Haag
Shirley Esseboom.Joe Kanamori, Patrick Marin, Brynjar Bandlien
presen t s
Nederlands dans Theater 2 & 3
Jiri Kylian, artistic director
Jaap HOlsmann, managing director
NDT2 Dancers Lucila Alves Jayne Cooper Natasha Crook Shirley Esseboom Chisato Ohno
NDT3 Dancers Martine van Hamel Sabine Kupferberg Gary Chryst Gerard Lemaitre
Anne Plamondon Rei Watanabe Brynjar Bandlien Joe Kanamori Vaclav Kunes
Patrick Marin Salvador Masclans Fabrice Mazliah Ramon Reis
Friday Evening, April 4, 1997 at 8:00
Ann Arbor, Michigan
LlEDER EINES FAHRENDEN GESELLEN NDT2
No sleep Till Dawn of Day
Sixty-sixth Performance of the 118th Season Moving Truths Series
Large print programs are available upon request.
LlEDER EINES FAHRENDEN GESELLEN
Choreography Jiri Kylian
Music Gustav Mahler, Lieder tines fahrenden Gesellen
& Costumes John Macfarlane
Light Jennifer Tipton
Premiere 11 January 1983, Circustheater, Scheveningen
Natasha Crook, Rei Watanabe, Shirley Esseboom, Jayne Cooper, Chisato Ohno, Salvador Masclans, Patrick Marin, Joe Kanamori, Vaclav KuneS, Fabrice Mazliah
Choreography Hans van Manen
Music Johann Sebastian Bach: Violin Suite No. 1 in d-minor,
"Correnta" and "Double," BWV 1002 (1720) DecorCostumes Keso Dekker Light JOOP Caboort
Premiere 16January 1997, Lucent Danstheater, Den Haag
Vaclav Kunes.Joe Kanamori, Patrick Marin
Choreography Jin Kylian
Music Karlheinz Stockhausen: Musik im Bauch (1975)
Scenery Jin Kylian
Costumes Joke Visser (concept Jin Kylian)
Light Tom Bevoort (conceptJin Kylian)
Premiere 10 October 1996, Lucent Danstheater, Den Haag
Martine van Hamel, Sabine Kupferberg, Gary Chryst, Gerard Lemaitre
No Sleep Till Dawn of Day
Choreography Jifi Kylian
Music Lullaby from the Solomon Islands
Decor Jiff Kylian
Costumes Joke Visser (concept Jin Kylian)
Light JOOP Caboort (conceptJifi Kylian)
Premiere 26 November 1992, AT&T Danstheater, Den Haag
Martine von Hamel, Sabine Kupkerberg
Choreography Paul Lightfoot
Music Gioacchino Rossini: Overture La Graxza Ladra: The
Thieving Magpie (1817)
Decor Paul Lightfoot
Costumes Sol Leon
Light Tom Bevoort
Premiere 22 February 1996. AT&T Danstheater, Den Haae
Chisato Ohno, Fabrice Mazliah, Vaclav KuneS, Brynjar Bandlien
Jifi Kylian (Prague, 1947) started his dance training when he was nine years old at the ballet school of the Prague National Theatre. From the age of fifteen he studied at the Prague Conservatory. In 1967 Kylian went to the Royal Ballet School in London with a scholarship from the British Council. Here he came into contact with the most important developments in choreography -ballet as well as contemporary dance. Consequently, John Cranko, a major choreo?grapher of this period and director of the Stuttgart Ballet, offered him a dancer's con?tract and encouraged Kylian's ambition to create his own dance works.
In 1973 following a first choreography for Nederlands Dans Theater, an artistic relationship between Kylian and the well-known Dutch company began and has brought about the creation of almost fifty dance productions for this group. After 1975 Kylian became responsible for NDT's artistic policy.
Since the late eighties, Kylian's artistic view and style have changed considerably towards abstraction and surrealistic images. Beginning with the so called "Black and White Program" -No More Play, Petite Mori, Sarabande, Falling Angels, and Sweet Dreams -Combined with his earlier Six Dances to com?plete the program, Kylian has been pro?gressing towards Stepping Stones, As if Never Been, Whereabouts Unknoiun and the fragile beauty of Bella Figura. Somewhat isolated are his dance productions Kaguyahime, Tanlz-Schul and hisjubliee "piece d'occasion" Arcimboldo, all full evening works, opposite a number of precious minatures created for NDT3.
Despite the development of an unique and very personal style, Kylian's choreogra?phies defy academic categorization by blending elements of various sources. There are always new inspirations to be explored, new challenges and boundaries to be overcome. Profoundly based on musical
reading, his work unveils hidden traces of our being through his dance.
NDT1, with dancers from age twenty-three to forty, NDT2, with dancers from age seventeen to twenty-two, and NDT3, with dancers past the age of forty, together con?stitute the organization called Nederlands Dans Theater: "Three dimensions of a dancer's life," as Jiri Kylian likes to refer to them.
NDT2 consists of fourteen dancers between the age of seventeen and twenty-one, all of whom have had professional and classical ballet training. NDT2 was founded in 1978. In the seventeen years of its existence, it has developed into a top quality, internationally recognized group, performing in theaters all over the world: Spain, Czechoslovakia, Italy, Turkey, Bulgaria, France, Germany, Switzerland, Sweden, Denmark, Poland, the United States New Zealand, the United Kingdom, Taiwan, South Korea, and the Dutch Antilles.
NDT2 works closely with NDT1 and the young dancers often join NDT1 when they are twenty-three. About 70 of the dancers of the main company started their work with the NDT2 company.
The repertoire of NDT2 consists of bal?lets by Jin Kylian such as Seeks Tdnze, Stamping Ground, Un Ballo, and Lieder eines Fahrenden Gesellen, but also ballets which are specially created for them by young talented choreographers from the main company, like Nacho Duato (Jardi Tancat, Uccelli, Na Floresta), Philip Taylor (Quiet Strength), Paul Lightfoot (Step Lightly, Solitaire), Lionel Hoche (Coming Up Roses, Blancs d'y Voir, A tire d'aile) and Patrick Delcroix (Son Chemin). Also on the repertoire are works by well-known guest choreographers such as Hans van Manen (GrosseFuge, Squares, Two, Concertante, Dejd Vu), and Ohad Naharin (Passomezzo).
These performances mark NDT2's debut under UMS auspices.
NDT3 was created in 1991 by Nederlands Dans Theater for more mature dancers at their artistic pinnacle. The ensemble uses a theatrical choreography tailored to each dancer's talent and uniqueness. It already has been dubbed "one of the leading dance groups" by the British ballet magazine Dance and Dancers and has been applauded throughout Europe.
The new troupe's success is largely attrib?uted to the high caliber of dancers it has employed. It also is due to the quality of choreographers it has employed: Mats Ek, William Forsythe.Jiri Kylian, Hans van Manen, Maurice Bejart, Maguy Marin, Martha Clarke, Jennifer Muller, Carolyn Carlson, Paul Lightfoot, and Ohad Naharin. The interac?tion between choreographer and dancer is essential to the artistic philosophy of NDT3. Performers are on contract per program and consult with the choreographer in the dance creation.
These performances mark NDT3's debut under UMS auspices.
Hans van Manen began his ballet career in 1951 as a member of Sonia Gaskell's Balle Recital. In 1952 he joined the Nederlands Opera Ballet, directed by Francoise Adret, where he created his first ballet, Feeslgeericht,
in 1957. He later joined Roland Petit's company in Paris. He began to work with Nederlands Dans Theater in 1960 as a dancer (until 1963) and choreogra?pher and from 1961 until 1971 also as artistic direc?tor. For the following two years he worked as a free?lance choreographer, until his appointment in 1973 as choreographerregisseur to Het Nationale Ballet in Amsterdam. Abroad he has
staged his ballets for amongst others the Stuttgart Ballet, Bayerisches Staatsballet Munchen, Berlin Opera, Houston Ballet, the National Ballet of Canada, Pennsylvania Ballet, the Royal Ballet, the Royal Danish Ballet, the State Opera in Vienna, Tanzforum in Cologne and for Alvin Ailey.
In September 1988 Hans van Manen rejoined Nederlands Dans Theater as resi?dent choreographer. In the meantime, he has created over fifty pieces for the compa?ny.
Hans van Manen is also a photographer and his work can be seen in exhibitions all over the world.
Born in Israel, Ohad Naharin began his dance training with the Batsheva Dance Company. He developed himself further as a dancer in the dance department of the Juillard School of Music. After having per?formed with major dance companies in Europe and the US, Naharin made his choreographic debut in 1980. In 1990 he was appointed artistic director of the Batsheva Dance Company.
In 1987 the Nederlands Dans Theater invited Ohad Naharin as a guest choreogra?pher. Today the company has many of his works on its repertoire: Chameleon Dances, Tabula Rasa, Queens ofGolub, and Sinking of
the Titanic, Black Milk and excerpts of Kyr, Perjjeluum, Kaamos and Arbos. For NDT2 he re-staged Innoslress and created Passomezzo and for NDT3 he created Off-White. Naharin's works are frequently performed by the Frankfurter Ballett, Cullberg Ballet and the Grand Theatre de Geneve.
Paul Lightfoot was born in Kingsley, England in 1966. He trained at the Royal Ballet School in London, before joining NDT2 in 1985. After two years he joined NDT1. Not only did he evolve there into one of NDT's most prominent dancers, he also demonstrated choreographic talent dur?ing the annual choreographic workshops.
In his ballets, Spilt Milk and Step Lightly, Lightfoot revealed a close affinity with nature. His first work for NDT1 was Seconds set to religious music by Vivaldi. In this bal?let, in which the dancers are tethered to stools, he once again reveals great inventive?ness. He received the Incentive Prize for Choreography from the Amsterdam Arts Council for this work. He won the Licas Hoving Prize 1994, issued by the Dutch Association of Theatre and Concert Hall Directors, for Solitaire.
His last contribution to the annual choreography workshops was Sh-Boom in 1994. Sh-Boom has since been nominated as the Best New Dance Production for the Lawrence Olivier Award.
Gerald Tibbs, Executive Artistic Director Hedda Twiehaus, Assistant Carmen Thomas, Company Manager
Arlette van Boven, Executive Artistic Director Gerard Lemaitre, Assistant Carina de Goederen, Organisation
Henk Palmers (head) Koos Planken
Erik van Houten Berry Lemmen
String trio of new York
The ChamberJazz Ensemble Diane Monroe, violin John Lindberg, bass James Emery, guitar
BANG ON A CAN ALL-STARS
Maya Beiser, cello Robert Black, bass Lisa Moore, piano
Steven Schick, percussion Mark Stewart, electric guitar Evan Ziporyn, clarinetssaxes
Saturday Evening, April 5, 1997 at 8:00
Ann Arbor, Michigan
This evening's program will consist of works from the follow?ing list to be announced from the stage. There will be one fifteen minute intermission
The Pursuit of Happiness
A Short History of the Balkans
Strings And Things
Fortune On A Sphere
The Firewood Duet
Standing on a
Whale Fishing for Minnows Trance
Cheating, Lying, Stealing Horses of Instruction Lick
Mink Stole Arupua
John Lindberg James Emery John Lindberg James Emery Bobby Previte Muhal Richard Abrams John Lindberg James Emery John Lindberg
James Emery Michael Gordon David Lang Steve Martland Julia Wolfe Julia Wolfe Hermeto Pascoal, arr. Evan Ziporyn
Sixty-seventh Performance of the 118th Season
Jazz Directions and
New Interpretations Series
This performance is presented with support from media partner WEMU, 89.1 FM, Public Radio from Eastern Michigan University and WDET, 101.9 FM, Public Radio from Wayne State University.
Large print programs are available upon request.
Since its formation in 1977, the String Trio of New York has been delighting and riveting audiences around the world with its startling acoustic improvisations and composi?tions for violin, guitar and bass. Initially conceived as a composers' col?lective, the STNY has grown in scope and now features a repertoire of over sixty stylis?tically diverse works made up of originals by the members, works commissioned from composers such as Muhal Richard Abrams, Leo Smith, Mark Helias, Bobby Previte, Marty Ehrlich, and Anthony Davis, and arrangements of classics by Mingus, Monk, Ellington, Parker, Hendrix, Powell, Shorter and others.
The STNY is one of the most active tour?ing ensembles of its kind and has per?formed hundreds of concerts throughout North America, Europe, East Asia, India, the Middle East, and North Africa. Their inter?national jazz festival appearances include Paris, Berlin, Vancouver, Toronto, Zurich, and Cracow. In the U.S. the Trio has been heard at the Mellon and Newport Jazz Festivals as well as the Walker Arts Center, the Smithsonian, Lincoln Center, and the Ravinia Festival, among many others. The String Trio of New York's remarkable music has contributed immeasurably to the cham?ber jazz idiom and has won an enthusiastic and increasingly expanding audience.
In 1995, the String Trio of New York gave the World Premiere of Anthony Davis' Sounds Without Nouns with the composer as guest pianist. Sounds Without Nouns was com?missioned for the String Trio by a consor?tium of arts centers including the Center for the Performing Arts at Penn State University, the Cerritos Center in California, and the Wexner Center for the Arts at Ohio State University.
The Trio celebrates their twentieth anniversary season in 1997-98 with an excit-
ing year of special events, including a collab?oration with renowned saxophonistcom?poser Joe Lovano, and a unique paring with the Bang on a Can All-Stars. The String Trio of New YorkBang on a Can program will be heard here at the University Musical Society in Ann Arbor, at the Kennedy Center, and the Hult Center in Oregon.
The String Trio of New York has released over a dozen recordings for the following labels: Arabesque, Black Saint, Stash, and Westwind.
This performance marks the String Trio of New York's debut under UMS auspices.
Composerviolinist, Diane Monroe, has accepted the chair of the acclaimed cham?ber jazz ensemble the String Trio of New York. She is the group's fourth violinist over the past twenty years, replacing Regina Carter who followed Charles Burnham and Billy Bang. Ms. Monroe is equally at home in classical music and jazz. She was the first violinist of the Uptown String Quartet
beginning in 1989. Among Ms. Monroe's current projects is a compo?sition for jazz sex?tet, for which she was awarded a Meet the Composer grant in 1994.
Diane Monroe has performed recitals in the major
concert halls of New York, Los Angeles, Boston, Cleveland, San Francisco and Washington, DC. Her solo appearances include Orchestra 2001, the Orchestra Society of Philadelphia, the Petersburg Symphony, the Network for New Music Ensemble and the Brooklyn Philharmonic Contemporary Ensemble. Her awards include first prize in the Drexel Music Awards Competition, the 1983 Pro Musicis
Award and the Town Hall Young Artists Debut Award.
Diane Monroe co-founded the Amabile Piano Quartet, the Kasimer String Quartet and Contrasts-Chamber Artists of Philadelphia. She has also been a member of the Beaumont String Quartet, Concerto Soloists of Philadelphia, St. Luke's Chamber Ensemble and Relache. Diane Monroe holds degrees from the Curtis Institute of Music and the Philadelphia Music Academy. She has taught violin at the Oberlin Conservatory and Swarthmore College, and is an affiliate faculty member at Temple University. Ms. Monroe has served on die chamber music panel for the National Endowment for the Arts and the Pennsylvania Council for the Arts, and is President of the Board of Directors of the Opus 118 East Harlem Violin Program.
Diane Monroe made her UMS debul in November 1993 with the Uptown String Quartet. This per?formance marks her second appearance under UMS auspices.
Composerguitarist James Emery is recog?nized by audiences and critics worldwide for the uniqueness, clarity and power of his work. His imaginatively provocative composi?tions and innovative guitar playing have been acknowledged with a recent fellowship for music composition from the Guggenheim Foundation. In addition to his work with the Trio, he leads his own ensem-
ble and performs solo concerts of his works. He has per?formed and recorded with Anthony Braxton, Henry Threadgill, Leroy Jenkins, Steve Reich and many others. Emery's compositions have appeared on numerous recordings
and have been performed internationally. Emery was born in Youngstown, Ohio and raised in the Cleveland, Ohio area. He began playing organ at age six and at ten began playing the guitar. He studied guitar with Ann Stanley and David Trader and studied composition at Cleveland State University, City College of New York and with Robert Aldridge. He has also received grants from the NEA, NYFA, ASCAP, various Meet the Composer commissioning pro?grams and the Cary Trust.
Bassistcomposer John Lindberg's visceral and emotionally charged style of playing has been documented on over fifty recordings,
while his unique compositional approach has been featured on thirty recordings ranging from solo bass to large chamber ensembles. He is currently active composing and per?forming with his ensemble projects,
the duo with pianist Eric Watson, and the String Trio of New York.
His work has been performed in twenty-eight countries and recent awards have come from the Gobernacion Cordillera, Chile (Diplome De Honor), Cary Charitable Trust Recording Program and the Aaron Copland Fund for Music Recording; fellow?ships from Arts International, the National Endowment for the Arts, and the New York Foundation for the Arts: commissions from the Meet the ComposerReaders Digest Program, the Pittsburgh New Music Ensemble, the Arts Council of Orange County and West Deutsch Radio, Koln.
Bang on a Can -Origins
Julia Wolfe: When David Lang, Michael Gordon and I found ourselves in New York in 1986, we didn't see an exciting out?let for our music. Things were very polarized -academic music uptown, with audiences filled with new music specialists, a very critical atmosphere and everyone in tuxes, and down?town, another uniform, black t-shirts and another serious pretension. Neither side was really fun, and there was a whole new gener?ation of composers who didn't fit in anywhere.
We wanted to provide a place for new music in society. It wasn't like other art. People knew who the new painters were, the writers, the filmmakers. But music was per?ceived as this elitist thing -academic, clever, scientific, inaccessible. Nobody cared if people came to the concerts. And die music reflected diat. It got so removed from life. It was important to us to find a new audience.
So we decided to make a happening. As a joke, we called it the First Annual Bang on a Can Festival and held it in an art gallery in Soho. We didn't think there'd be another one. We put pieces together that were really strong and belonged to different ideologies or not to any ideology, defying category, falling between the cracks.
Most of the music we do is by unknown people or is music no one else performs. Over the years, we've commissioned forty or more pieces by young composers. But we'd hear the work in concert once, then it would disappear. We want to give people an opportunity to develop in as many ways as possible. And there is a generation of per?formers now who are good enough to be classical music virtuosos and are interested in playing music by living composers. So in
1992, we got together a bunch of the best players we've had since we started the festi?val. Now, we can say to composers, here's this opportunity you can write for -six players totally committed to the music -you can work with them, change the piece from one performance to the next.
In classical music, you'll have this really great violinist, he sits in a chair, he wears a tux. He's not sexy, but he's the most amaz?ing musician. There's no visual element, no show. In rock bands, it's all show. The All-Stars explore the question: What is present?ing music They are revitalizing the whole process of playing music in front of people and we are able to combine our ideas of programming with the concert forum.
David Lang: A couple of years ago, I started thinking about how so often when classical composers write a piece of music, they are trying to tell you something that they are proud of and like about themselves -Here's this big gushing melody, see how emotional I am. Or, here's this abstract hard-to-figure-out piece, see how complicat?ed I am, see my really big brain. I am more noble, more sensitive, I am so happy. The composer really believes he or she is exem?plary in this or that area. It's interesting, but it's not very humble. So I thought, What would it be like if composers based pieces on what they thought was wrong with them Like, here's a piece that shows you how mis?erable I am. Or, here's a piece that shows you what a liar I am, what a cheater I am. It's a hard line to cross. You have to work against all your training. You are not taught to find the dirty seams in music. You are not taught to be low-down, clumsy, sly and underhanded.
This performance marks Bang on a Can All-Stars debut under UMS auspices.
About The Artists
Maya Beiser: I believe in the creative force of the performer. This force is not purely rational or intellectual. To me the total experience of making music means that I can't separate my physical and emotional presence from my playing. The cello is a physical extension of myself-as personal and impersonal as vocal cords are to a singer. Music for me has a unified and absolute truth which is dispersed by the cul?tural prism of the composer. When it reaches me I try to be the common pathway for it to reunite. This harmonious coming together is how I perceive the performance experience.
Robert Black: In 1989,1 played in the Huddersfield Festival in England and, one night, went to an out of town pub with my lover. It was a local place called the Saur Inn, located down a dirt road, and owned by Ron and Jane Crabtree. The pub had been in their family for over 300 years, and they still made ale according to the old fam?ily recipe. When the place closed for die night, they pulled the blinds and we sat by the fire, talking until three or four in the morning. My bass was in the car and they asked me to bring it in and play for them. My bass is a wonderful instrument. It was made in Paris in 1900. Jane asked if it had a name and I told her no. She said, "Well, if it's French, you have to call it Simone." So Simone is the name of my bass. Simone is like another person to me. It is human sized. I love its voice. When we are playing together I slip into an altered state of con?sciousness, another mental state. Performing is a kind of focus and a concen?tration that is special, it takes you some?where outside your daily experience.
Lisa Moore: Playing the piano is about let?ting go, releasing your energy into the soundboard, so that the wood resonates completely. It is a total physical and mental
involvement. It's the one thing I really have patience for. Performing with the All-Stars is very different from other new music groups -it's an event. We're more of a "band." Sometimes our musical bond is so tight, it scares us. The music we play often pushes us beyond where we thought we could be. Our boundaries are still undefined.
Steven Schick: I love the way it feels to play percussion. The inherent theatricality of scraping, striking and rubbing. The generos?ity of movements required by performing on large and unwieldy instruments lead me into uncultivated land, wide open and unex?plored. What is central for me is the moment of playing when body, idea and sound meet in the sweet kink of contact with an instrument.
Mark Stewart: I play the one rock'n'roll instrument in the band. I am a cellist who went through the conservatory thing, but I grew up playing the guitar -in folk, rock?'n'roll, jazz -not in the written idioms. Now I'm getting to play my aural instrument in the written band. The electric guitar shouldn't be avoided for some kind of acad?emic reason -one should take those sounds, too, and make use of them. A "seri?ous" piece of music with rock'n'roll sounds is remarkable coexistence. Music has to be remarkable to the players to be remarkable to the audience. The music we play is so new we have to deal with it on its own terms. The "ears" we bring to bear on this music are also then, new.
Evan Ziporyn: When my breathing is good and my fingers are moving and my mouth isn't aching with pain -when the instru?ment is doing what I want it to -the clar?inet becomes an extension of my body. The breath makes a complete loop, from my lungs into the horn and back into my hands. It feels great. In college, my teachers tried to change the way I played because I didn't have a "classical sound," but I didn't
Bang on a Can all-stars
like the way classical players sounded -I was too interested in jazz, pop and music from other cultures. I felt there was some?thing flawed about the idea that music meant Western music -it seemed like we were being sold a bill of goods. For a long time I made a separation between interest in those musics and my own work, but I finally realized I had to take that interest seriously, and it changed everything.
Bang on a Can All-Stars
Michael Gordon's music is an outgrowth of his experience with underground rock groups in New York City and his formal training in composition at Yale, where he studied with Martin Bresnick. Recent com?missions include grants from the NEA for a new opera CHAOS, a Meet The Composer commission for After She Squawks with
Stephanie Skura & Company, New York State Council on the Arts for Van Gogh Video Opera, and the Mary Flagler Cary Trust for Four Kings Fight Five. Gordon has held residencies at the MacDowell Colony and Studio PASS. With his ensemble, the Michael Gordon Philharmonic, he has toured throughout North America, Europe and the former Soviet Union. His multi?media work Van Gogh Video Opera received its European premiere in June, 1992 at the Academie de Kunst Bilde in Vienna. His ensemble has been awarded performance grants from Arts International and the Trust for Mutual Understanding. His music is recorded on Sony Classical, ArgoDecca, and CRI.
David Lang holds degrees from Stanford University, the University of Iowa, and the Yale School of Music, receiving his doctorate from Yale in 1989. He has studied with Jacob Druckman, Hans Werner Henze,
Martin Bresnick, Roger Reynolds, and Henri Lazarof. Among his honors and awards are the 1990 Rome Prize, the BMW Music-Theatre Prize, a Kennedy CenterFriedheim Award, a Revson Fellowship with the New York Philharmonic, grants from the Guggenheim Foundation, the New York Foundation for the Arts and the National Endowment for the Arts, a Fromm Foundation Commission, a Readers Digest Meet the Composer Consortium Commission, and fellowships to the MacDowell Colony, Tanglewood, and Aspen. Recent commis?sions include International Business Machine for the Boston Symphony Orchestra, Bonehead for the American Composers Orchestra, Eating Living Monkeys for the Cleveland Orchestra, Spud for the Saint Paul Chamber Orchestra, By Fire for the BBC Singers, and Judith and Holofernes, a chamber opera with marionettes for the City of Munich. His opera, Modern Painters, was pre?miered by the Santa Fe Opera in July 1995. His music is recorded on Sony Classical, ArgoDecca, and CRI.
Julia Wolfe holds degrees from the Yale School of Music and the Residential College at the University of Michigan. She has received commissions from the Kronos Quartet, the American Composers Orchestra, the Koussevitzky Foundation for the Cassatt Quartet, Meet The ComposerReader's Digest Commissioning Program, Orkest de Volharding, the Huddersfield Festival, the Pan American Chamber Players (Mexico City), and the Rotterdam Arts Council. Her works have been performed by the San Francisco Symphony, the Nederlands Filharmonic Orkest, Piano Circus, and oth?ers. Among her awards are a Charles Ives Scholarship from the American Academy and Institute of Arts and Letters, two ASCAP Foundation grants, a fellowship at Princeton University, residency at the MacDowell
Colony and Djerassi Institute, and election to Phi Beta Kappa. She was recently awarded a Fulbright fellowship to the Netherlands. She is currently recording a disc of her music for Point Records. Julia Wolfe's music is also recorded on Sony Classical, ArgoDecca, and CRI.
Siring Trio of New York concerts are presented in cooperation with Sound Directions, Inc.
The String Trio of New York wishes to thank the fol?lowing organizations for their support:
New York State Council on the Arts, The Aaron Copland Fund for Music, and the Mary Flagler Cary Charitable Trust
String Trio of New York is a member ensemble of Chamber Music America
String Trio of New York exclusive management: Baylin Artists Management, 2210 Mt. Carmel Avenue, 202, Glenside PA 19038
Bang on a Can's 10th Anniversary Festival is spon?sored by Philip Morris Companies, Inc. With grant funding from the Rockefeller Foundation.
Interstate Bang on a Can concerts in ten cities across America is supported by AT&T.
Bang on a Can All-Stars
Michael Gordon, David Lang, Julia Wolfe
Sound Engineer Andy Cotton
Managing Director Karen Sander
Associate Rachel Cohen
Board of Directors Barry Goldberg Michael Gordon Bob Holman Michael Kushner David Lang Michelle Miller-Adams Jane Stewart lnli Wr.lfo
Bang on a Can has just launched our new member?ship program: The People's Commissioning Fund. The People's Commissioning Fund will bring togeth?er hundreds of people to commission new works by young and emerging composers. During a time when foundations and government agencies are fearful of supporting individual artists, Bang on a Can is taking a step forward, creating a community of commission?ers. We are delighted to thank the people who have already joined The People's Commissioning Fund: John Adams & Deborah O'Grady, Richard Adams & Michelle Miller Adams, Christopher Adler, Bill Alberlini, Stan Allen & Polly Api'elbaum, Deborah Artman, Richard Baronio, Jeremy Barth, Paul & Susan Baumgarten, Mr. & Mrs. Hans Bensinger, Martin Bresnick, Adele Chatfield-Taylor, David Claman, Conrad Cummings, Joseph Dalton, Paul Dresher, Joyce Dutka, Brian Dworkin, Marti Epstein, Maggie Estep, Susan Feder, Joshua Fried, Michael Friedmann, Florence Gesundheit, Barry Goldberg, Laurel Gonsalves, Annie Gordon, Sidney & Madeline Gordon, John Grant, Ed Harsh & Peggy Kampmeier, Jane Heirich, Richard Hervig, Martin Hoerstel, Simon & Deniz Hughes, Jon Hurd, Artjarvinen, Greg & Louise Kandel, Alan KifTersiein & Joan Finkelstein, Guy Klucevsek, Barbara Kolb, Michael Kushner, Bun-Ching Lam, Brian Lehrer, Mia Leo & Dick Kuczkowski, Mark & Tina Meyers, Meredith Monk, Elizabeth Murray & Bob Holman, Brian Newhouse, Noah Pollack, Alisa Solomon & Marilyn Neimark, Bernard Rands, Steve Reich, Frances Richard, Wendy Roberts & Nick Didkovsky, John Fit. Rogers, Michelle Ryang, Karen Sander, Use Sander, Beth Schachter, Scouting Party, Peter Serling, Susan & Robert Solomon, Jane & Richard Stewart, Ralph Stewart, Kathy Supove & Randy Woolf, Carl Stone, Susan Tang, Michael Tilson Thomas, Craig & Toni Thorn, Dorothy Watkins, Keith Wiegand, Judith Weinstein and Charlotte Ziporyn.
To find someone who can orchestrate your financial program, come to Key.
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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 Tlw 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 foi the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person), available from the UMS Box Office.
PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS (PREPS) A series of free pre-performance presentations, featuring talks, demonstrations and workshops. Usually held 60-90 minutes before performances.
In addition to these events, which are listed on pages 22-23 of this program book, UMS presents a host of other activities, including master class?es, workshops, films, exhibits, panel discussions, in-depth public school partnerships and other residency activities related to winter season pre?sentations of "Blues, Roots, Honks and Moans," the series of Schubert concerts and the Lincoln Center Jazz Orchestra with Wynton Marsalis.
Like to help out
VOLUNTEERS AND INTERNS
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with nailings; ushering for the Performance Related Educational Presentations (PREPs); staffing the nformation Table in the lobbies of concert lalls; distributing publicity materials; assisting vith the Youth Program by compiling educa-.ional materials for teachers, greeting and escorting students to seats at performances; and serving as good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call 313.936.6837 or pick up a volunteer application form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, sromotion, production and arts education. Semesterand year-long internships are avail?able in many aspects of the University Musical Society's operations. For more information, please call 313.647.4020 (Marketing Internships) or 313.647.1173 (Production Internships).
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 313.764.2538 or 313.647.4020.
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer.
For more information about joining the UMS usher corps, call 313.913.9696
DINING EXPERIENCES TO SAVOR: THE THIRD ANNUAL "DELICIOUS EXPERIENCES"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds going to benefit UMS programs.
Following two years of resounding success, wonderful friends and supporters of the University Musical Society are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS.
Treat yourself, give a gift of tickets, purchase an entire event or come alone meet new people and join in the fun while supporting UMS! Among your choices are A Celebration of Schubert (January 18); A Luncheon Inspired by the Czars (January 26); A Valentine's Brunch (February 9); La Bolieme Dinner Party (March 1); Easter Luncheon with Cecilia Bartoli (March 30); Dinner with a Victorian Influence (April 12); Grandmothers, Mothers & Little Girls Tea and Fashion Show (April 19); An Afternoon Tea (May 15); A Taste of Spring Garden Dinner (May 31); and Nat & Ed's Porch Party (June 7).
For the most delicious experience of your life, call 313.936.6837!
The University Musical Society Board of Directors and Advisory Committee are pleased to host pre-performance din?ners before a number of the year's great events. Arrive early, park with ease, and begin your evening with other Musical Society friends over a relaxed buffet-style dinner in the University of Michigan Alumni Center. The buf?fet will be open from 6:00 to 7:30 p.m. and is $25 per person. For reservations and informa?tion on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and Subscribers receive discounts at a vari?ety of local businesses by using UMS Card. Participating businesses support the UMS through advertising or sponsorship, and by patronizing the following establishments, you can support the businesses that support UMS.
Amadeus Cafe Ann Arbor Acura Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc. Fine Flowers Gandy Dancer Great Harvest John Leidy Shops
Shaman Drum Bookshop
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
Sponsorships and Advertising
UMS CORPORATE SPONSORSHIPS
Corporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-mance mentions, tickets, backstage passes and the opportunity to host receptions. Whether increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current goals, sponsorship of UMS provides visibility to our loyal patrons and beyond. Call 313.647.1176 for more information about the UMS Corporate Sponsor Program.
ADVERTISING WITH UMS
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS.program book so that we can continue to bring you the program notes, artists' biographies, and general infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pr-vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a restaurant that meets your group's culi?nary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and the behind-the-scenes tasks asso?ciated with every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
Ford Honors Program
The Ford Honors Program is a relatively new University Musical Society pro?gram, made possible by a generous grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform individuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the 1997 UMS Distinguished Artist Award is announced in late January.
Great performances--the best in music, theater and dance--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of November 15, 1996. If there has been an error or omission, we apologize and would appreciate a call at (313) 647-1178 to correct it.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support enabling us to continue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Elizabeth S. Bishop
Mr. and Mrs. Pal E. Borondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Dr. Eva Mueller
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin
Elizabeth E. Kennedy
Randall and Mary Piltman
Richard and Susan Rogel
Carol and Irving Smokier
Edward Surovell and Natalie Lacy
Ronald and Eileen Weiscr
Paul and Elizabeth Yhouse
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPE IncThe Paideia Foundation
McKinley Associates, Inc.
The Edward Surovell Co.Realtors
Parkc Davis Pharmaceutical Research
University of Michigan
Wolverine Temporaries, Inc.
Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Robert and Ann Meredidi Mrs. John F. Ullrich
Continental Cablevision Great Lakes Bancorp Harman Motive Audio Systems Pepper, Hamilton and Schectz 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
Mr. and Mrs. George R. Mrkonic
Joe and Karen Koykka O'Neal
Monti and Gui Ponce de I.eon
Mrs. M. Titiev
Marina and Robert Whitman
The Anderson Associates Chelsea Milling Company Curtin & Alf Violinmakers First of America Bank Thomas B. McMullen Company Masco Corporation O'Neal Construction Project Management Associates
World Heritage Foundation
Maurice and Linda Binkow Kathleen G. Charla Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans John and Esther Floyd Rebecca McGowan and Michael Staebler
Thomas and Shirley Kaupcr Dr. and Mrs. Joe D. Morris John W. and Dorothy F. Reed Maya Savarino and Raymond Tamer Mrs. Francis V. Viola III John Wagner
AAA Michigan Environmental Research
Institute of Michigan Ford Audio Maude's Miller, Canfield, Paddock
and Stone Mission Health Waldenbooks
Bcnard L. Maas Foundation
Dr. and Mrs. Gerald Abrams Professor and
Mrs. Gardner Ackley Dr. and Mrs. Robert G. Aldrich Robert and Martha Ause James R. Baker, Jr., M.D. and
A.J. and Anne Bartolelto Bradford and Lydia Bates Raymond and Janet Bcrnreuter Joan A. Binkow I toward and Margaret Bond Tom and Carmel Borders Barbara Everill Bryant and
John H. Bryant Mr. and Mrs. Richard J. Burstein Betty Byrne UliliaJ. Byrd Edwin F. Carlson Jean and Kenneth Casey David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Roland J. Cole and
Elsa Kircher Cole Dennis Dahlmann Jack and Alice Dobson Jim and Patsy Donahcy m and Gil Dorer ( licri and Dr. Stewart Epstein Dr. and Mrs. S.M. Farhat David and Jo-Anna Feadierman
Adricnnc and Robert Fcldstein Richard and Marie Flanagan Robben and Sally Fleming Michael and Sara Frank Margaret Fisher Mr. Edward P. Frohlich Marilyn G. Gallatin Bevcrlcy and Gcrson Gcltner William and Ruth Gilkey His. Sid Gilman and
Carol Barbour Sue and Carl Ginglcs Paul and Anne Glendon Norm Gottlieb and
Vivian Sosna Gottlieb Dr. and Mrs. William A. Grade Ruth B. and
Edward M. Gramlich Linda and Richard Greene Seymour D. Greenstone Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Julian and Diane Hoff Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Keki and Alice Irani Mercy and Stephen Kasle Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kinnear Bethany and A. William Klinke II Michael and Phyllis Korybalski Barbara and Michael Kusisto Mr. Henry M. Lee Evie and Allen Lichter Carolyn and Paul Lichter Patrick B. and Kaihy Long Dean S. Louis Brigittc and Paul Maassen Ms. Francine Manilow M;n ilvn M;ison .Hid
William SteinhofT Jiidylhe and Roger Maugh Paul and Ruth McCrackcn Joseph McCune and
Georgiana Sanders Reiko McKendry Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Millard Dr. and Mrs. Andrew and
Candicc Mitchell Virginia Patton and
Cruse W. Moss William A. Newman Len and Nancy Nichoff Bill and Marguerite Oliver
Mark and Susan Orringcr Mr. and Mrs. David W. Osier Mr. and Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxinc and Wilbur K. Picrponl Professor and
Mrs. Raymond Reilly Glenda Rcnwick Jack and Margaret Ricketts Prudence and Amnon Roscnthal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumclhart Richard and Norma Sarns Rosalie and David Schottcnfcld Janet and Mike Shatusky Cynthia J. Sorcnscn Gerard H. and Cxlleen Spencer Dr. Hildrclh H. Spencer Mr. and Mrs. John C. Stegcman Victor and Marlenc Stoeffier Dr. and Mrs. Jeoffrey K. Stross Dr. and Mrs.
E. Thurston Thieme Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
Laura A. Van House Ellen C. Wagner Elise and Jerry Wcisbach Roy and JoAn Wetzel Len and Maggie Wolin Nancy and Martin Zimmerman
and several anonymous donors
3M HeaJth Care Jacobson Stores Inc. Michigan National Bank Shar Products Company
The Mosaic Foundation
(of Rita and Peter Heydon) Washtenaw Council for the Arts
Jim and Barbara Adams Bernard and Raquel AgranofT M. Bernard Aklinoff Carlene and Peler Aliferis Catherine S. Arcure Esscl and Menakka Bailey Robert L. Baird
Dr. and Mrs. Robert Bardett
Ralph P. Beebc
Mrs. Kathleen G. Benua
Robert Hunt Berry
Suzanne A. and
FrederickJ. 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 Jeannine and Robert Buchanan Phoebe R. Burl Freddie Caldwell Jean W. Campbell Bruce and Jean Carlson Mrs. Raymond S. Chase Susan and Arnold Goran Mrs. David Cox H. Richard Crane Alice B. Crawford Peter and Susan Darrow Katy and Anthony Dere.inski Judith and Kenneth DcWoskin Elizabeth A. Doman Bita Esmaeli, M.D. and Howard Gutstein, M. D. Claudinc Farrand and
Daniel Moerman Mrs. Beth B. Fischer Ken, Penny and Mall Fischer Susan R. Fisher and
John W. Waidley Phyllis W. Foster Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach Elmer G. Gilbert and
Lois M. Vcrbruggc Margaret G. Gilbert James and Janet Gilsdorf John R. and Helen K. Griffith Susan R. Harris Jay and Maureen Hartford Harlan and Anne Hatcher Mrs. WA Hiltner Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hooblcr Mary Jean and Graham Hovey Che C. and Teresa Huang Grclchen 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 Hermine Roby Klinglcr Jim and Carolyn Knake John and Jan Kosla Mr. and Mrs. Samuel Krimm
Bud and Justine Kulka Suzanne and Ijce E. Landes Elaine and David Lebenbom Leo A. Lcgaiski
Mr. and Mrs. Fernando S. Leon Mr. and Mrs. CarlJ. Lutkchaus Donald and Doni Lystra Robert and Pearson Macck John and Cheryl MacKrcll Mark Mahlberg Alan and Carla Mandel Ken Marblestone and
Mr. and Mrs. Damon L. Mark David G. McConncll John F. McCuen Kevin McDonagh and
Richard and Elizabeth McLeary Thomas B. and
Deborah McMullen Hattie and Ted McOmber Mr. and Mrs.
Warren A. Merchant Myrna and Newell Miller Ronald Miller Grant Moore and
Douglas Weaver Mr. Erivan R. Morales and
Mr. Seigo Nakao John and Michelle Morris John Blankley and
Maureen Foley M. Haskell and
Jan Barney Newman Virginia and Gordon Nordby Marysia Ostafin and
Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and Lorna 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. Rcichert Maria and Rusty Restuccia Katherinc and William Ribbens James and June Root Mrs. Doris E. Rowan Peter Savatino Peter Schaberg and
Norma Amrhein Mrs. Richard C. Schneider Professor Thomas J. and
Ann Snced Schriber Edward and Jane Schulak
Julianne and Michael Shea Mr. and Mrs.
Fredrick A. Slump, Jr. Helen and George Siedel Steve and Cynny Spencer Lloyd and Ted St. Antoine Ron and Kay Stcfanski Mrs. Ralph L. Steffek Mrs. John D. Stoner Nicholas Sudia and
Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Tclfer Herbert and Anne Upton Don and Carol Van Curler Bruce and Raven Wallace Raoul Wcisman and
Ann Friedman Robert O. and
Darragh H. Weisman Angela and Lyndon Welch Ruth and Gilbert Whiiaker Brymer and Ruth Williams Frank E. Wolk MaryGrace 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 Shiffinan Foundation Trust
Mr. Gregg T. Alf
Dr. and Mrs. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlcne and Henry Appelman
Sharon and Charles Babcock
Lesli and Christopher Ballard
Dr. and Mrs. Peter Banks
M. A. Baranowski
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barnett
Dr. and Mrs. Mason Barr.Jr.
Astrid B. Beck and
David Noel Frecdman
Ncal Bedford and
Gerlinda Melchiori Harry and Betty Benford Ruth Ann and Stuart J. Bergstein Jim Botsford and
Janice Stevens Botsford Betsy and Ernest Brater Mr. and Mrs. Gerald Bright Morton B. and Raya Brown Mrs. Theodore Cage Jim and Priscilla Carlson Professor Brice Carnahan Jeannettc and Robert Carr Mr. and Mrs. Dennis Carroll Janet and Bill Casscbaum 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 AJan and Bette Cotzin Merle and Mary Ann Crawford William H. Damon III I .linnR. Davidson, M.D. Jean and John Debbink Elizabeth Dexter Delia DiPietro and
Jack Wagoner, M.D. Thomas and Esther Donahue Cecilia and Allan Dreyfuss Martin and Rosalie Edwards Dr. AJan S. Eiser David and Lynn Engelbert Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Filgas Sidney and Jean Fine Herschel and Annette Fink Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnette Forde Deborah and Ronald Freedman Harriet and Daniel Fusfeld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Wood and Rosemary Gcist Henry and Beverly Gershowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon Dr. Alexander Gotz Mrs. William Grabb Elizabeth Necdham 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 Guire Philip E. Guirc Don P. Haefner and
CynthiaJ. Stewart Veronica Haines Marcia and Jack Hall
Mrs. William Halstead Margo Halsted Dagny and Donald Harris Bruce and Joyce Herbert Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershenson Herb and Dee Hildebrandt John H.and
M.tut in Peterson Holland Drs. Linda Samuclson and
Joel Howell Ronald R. and
Gaye H. Humphrey Mrs. Hazel Hunsche George and Katharine Hunt VVallie and Janet Jeffries Ellen C.Johnson Susan and Stevo Julius Mary B. and Douglas Kahn Steven R. Kalt and
Robert D. Heeren Anna M. Kauper David and Sally Kennedy Beverly Kleiber Bert and Catherine I.a Du Henry and Alice Landau Mi. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann Lcidy Jacqueline H. Lewis Jody and I,eo Lighthammer Edward and Barbara Lynn Jeffrey and Jane Mackie-Mason Frederick C. and
PamelaJ. MacKintosh Steve and Ginger Maggio Virginia Mahle
Tliomas and Barbara Mancewiec Edwin and Catherine Marcus Rhoda and William Maricl Mrs. Ix'ster McCoy Griff and Pal McDonald Walter and Ruth Metzgcr Deanna Relyea and
Piotr Michalowski Sally and Charles Moss Marianne and MuLsumi Nakau Barry Nemon and
Barbara Stark-Nemon Martin Neulicp and
Patricia Pancioli Peler F. Norlin Richard S. Nottingham Marylen and Harold Obcrman Richard and Joyce Odell Mark Ouimct and
Donna Hrozencik Donna D. Park Randolph Paschke Mrs. Margaret D. Petersen Lorraine B. Phillips Frank and Sharon Pignanelli Dr. and Mrs. Michael Pilepich Richard and Meryl Place Cynthia and Roger Poslmus Charleen Price
Hugo and Sharon Quiroz William and Diane Rado Jim and leva Rasmussen I .a Vonne and Gary Reed Anthony L. Reffells and
Elaine A. Bennett Mr. and Mrs. Neil Ressler Elizabeth G. Richart Barbara A. Anderson and
ohn H. Romani Mrs. Irving Rose Dr. Nathaniel II. Rowe Jerome M. and Lee Ann Salle Georgiana M. Sanders Michael Sarosi and
Kin mm Skalit7.ky 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 Sclin Joseph and Patricia Scttimi Roger Sheffrey Constance Sherman Dr. and Ms. Howard and
Hollis and Martha A. Showalter John Shultz Edward and Marilyn Sichler
John and Anne Griffin Sloan
Alene M. Smith
Carl andjari Smith
Jorge and Nancy Solis
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Gus and Andrea Stager
Irving M. Stahl and
Pamela M. Rider Dr. and Mrs. Alan Steiss Charlotte Sundclson Ronald and Ruth Sutton Brian and Lee Talbot Kathleen Treciak Joyce A. Urba and
David J. Kinsella Hugo and Karla Vandersypen Mr. and Mrs.
John ran dcr 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
B. Joseph and Mary White Mrs. Clara G. Whiting Marion T. Wirick Farris and Aim Womack Richard and Dixie Woods Don and Charlotte Wyche Mr. and Mrs. David Zuk
Atlas Tool, Inc. Borders Books and Music Edwards Brothers, Inc. Hagopian World of Rugs Scientific Brake and Equipment Company
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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 fim and Cathy Andonian T.L. Andresen James Antosiak and Eda Weddington
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Walter and Antjc Benenson
Erling Blondal Bcngtsson Dr. and Mrs. Ronald M. Benson Dr. Rosemary R. Berardi Helen V. Berg Marie and Gerald Berlin L. S. Berlin
Gene and Kay Bcrrodin Andrew H. Berry, D.O. Kh.ii .11 C. Bhushan John and Marge Biancke John and Laurie Birchler William and Ilene Birge 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 BevcrlyJ. Bole Robert S. Bolton Mr. and Mrs. Mark D. Bomia Dr. and Mrs. Frank Bongiorno Harold W. and Rebecca S. Bonncll Roger and Polly Bookwaltcr Edward G. and Luciana Borbcly LolaJ. Borchardt Gil and Mona Borlaza Dr. and Mrs. David Bostian David and Tina Bowcn Bob and Jan Bower Sally and Bill Bowers Laurence Boxer, M.D. and
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Professor Enoch Bratcr Dr. and Mrs. James Brcckenfeld Bob andjacki Brec Professor and Mrs. Dale E. Briggs William and Sandra Broucck Ms. Mary Jo Brough June and Donald R. Brown
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Patrick Conlin Richard and Myrna Edgar Mr. and Mrs. John R. Edman Sally and Morgan Edwards David A. Eklund and
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David and Ann Flucke
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Mr. and Mrs. George W. Ford
Susan Goldsmith and
Spencer Ford Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Ronald Frackcr Lucia and Doug Freeih Richard andjoann Frecthy Joanna and Richard Friedman Gail Frames Bart and Fran Fruch LclaJ. Fuestcr
Ken and Mary Ann Gaenner Walter and Heidi Gage Lourdcs and Otto Gago Jane Galantowicz Thomas H. Galantowicz Arthur Gallagher Bernard and Enid Caller Mrs. Shirley H. Garland Stanley and Priscilla Garn Del and Louise Garrison Janet and Charles Garvin Professor and Mrs. David M. Gates Drs. Steve Gciringer and
Thomas and Barbara Gelehrter Michael Gcrstcnbcrgcr W. Scott Gerstenberger and
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James G. Leaf Graham Gooding Mitch and Barb Goodkin Jesse E. and Anitra Gordon Don Gordus Sclma and Albert Gorlin Siri Gottlieb
Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham
Whit and Svca Gray
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Bill and I ? humGregory
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Carieton and Mary Lou Griffin
Mark and Susan Griffin
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Arthur W. Gulick, M.D.
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Michael Marietta Helen C. Hall
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Elfrida H. Hiebert Mr. and Mrs. Thomas Hilhish Peter G. Hinman and
Elizabeth A. Young Jacques Hochglaube, M.D., P.C. Louise Hodgson Bob and Fran Hoffman Carol and Dieter Hohnkc Dr. Carol E. Holden and
Mr. Kurt Zimmcr Richard Holmes John F. and Mary Helen Holt Ronald and Ann Holz Jack and Davetta Homer Dave and Susan Horvath George M. Houchens Fred and Betty House Jim and Wendy Fisher House Helga Hover
Drs. Richard and Diane Howlin Mrs. V. C. Hubbs Charles T. Hudson Jude and Ray Huettcman Harry and Ruth Huff Mr. and Mrs. William HufTord
Joanne V. Hulce
Ralph and Del Huletl
Ann D. Hungcrman
Diane Hunter and Bill Zicgler
Mr. and Mrs. Russell I.. Hurst
Eileen and Saul Hymans
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 and Joan Jacobs
Harold and Jean Jacobson
K. John Jarrctl 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 Billie and Henry Johnson Paul and Olga Johnson Timothy and Jo Wiesejohnson Constance L. Jones Marilyn S.Jones John and Linda K. (onides Stephen G. [oscphson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmcs and Larry Friedman Dr. and Mrs. Mark S. Kaminski Paul Kantor and
Virginia Wcckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Noboru and Atsuko Kashino Alex F. and Phyllis A. Kato David J. Katz Elizabeth Harwood Katz Martin and Helen Kaiz Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy Richard L. Kennedy Linda Atkins and Thomas Kcnney Donald and Mary Kiel Konstantyn Kim William and Betsy Kincaid Brett and Lynnettc King EvaJ. Kinney
John and Carolyn Kirkendall Rhea and Leslie KMi I'.iul KisMin Ml) .mil
Dana Kissncr MD James and Jane Kistcr Shira and Steve Klein Drs. Peter and Judith Kleinman Gerald and Eileen Kins Barbel Knaupex Sharon L. Knight Shiiley and Glenn Knudsvig Joseph Iand Marilynn Kokoszka Charles and Linda Rbopmann Mclvyn and Linda Korobkin Dimitri and Suzanne Kosacheff Edward and Marguerite Kowalcski
Jean and Dick Kraft
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Doris and Donald Kraushaar
David and Martha Krrhbu-I
William J. Bucti and Janet Kreiling
William G. Kring
Alan and Jean Krisch
Danielle and George Kupcr
Ko and Sumiko Km .n In
Dr. and Mrs. Richard A. Kuicipal
Dr. and Mrs.J. Daniel Kutt
Mr. and Mrs. John Laird
Mr. and Mrs. Seymour Lampert
t 'iinic and Dick l.andgraff
Patricia M. Lang
Carl and Ann LaRue
Ms. Jill Latta and Mr. David S. Bach
John K. Lawrence
Laurie and Robert LaZcbnik
Robert and Leslie Lazzerin
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Diane and Jeffrey Lehman
Margaret E. Leslie
Myron and Bobbie Lcvinc
Tom and Kathy Lewand
Deborah S. Lewis
Thomas and Judy Lewis
Lawrence B. Lindcmer
Mr, Ronald A, Undroth
Daniel and Susan lipschutz
Rod and Robin Little
Vi-Chcng and Hsi-Yen Liu
Jackie K. Livesay
Dr. and Mrs. Pcier Y. Lo
Louis Loeb and Tully Lyons
Kay H. Logan
Naomi E. Lohr
Dan and Kay Long
Leslie and Susan Loomans
Bruce and Pai Loughry
Donna and Paul Lowry
Dr. and Mrs. Charles P. Lucas
Susan E. Macias
Marcy and Kcrri MacMahan
Geoffrey and Janet Mahcr
Suzanne and Jay Mahler
Deborah Malamud and
Ncal Ploikin Dr. Karl D. Malcolm Claire and Richard Malvin Mr. and Mrs. Kazuhiko Manabc Mi Km and Jean Manis Pearl Manning Professor Howard Markcl Ijhc and Greg Marks
James E. and Barbara Martin Rebecca Martin and James Grieve John D. Marx, D.D.S. Dr. and Mrs.Josip Matovinovic Tamoisu Matsumoto Mary and Chandler Matthews Margaret Maurcr
John M. Mien and Edith A. Maynard Susan C. Guszynski and
Gregory F. Mazure Margaret E. McCarthy Ernest and Adele McCarus Margaret and Harris McCIamroch Dorcs M. McCrce Mary and Bruce McCuaig Joseph and Susan McGrath Bill and Ginny McKeachie Margaret B. McKinley Daniel and Madelyn McMurtric Nancy and Robert Meader Dr. and Mrs. Theodore Meadows Samuel and Alice Meisels Robert and Doris Melling Mr. and Mrs. John Merrifield Bt-rnice and Herman Mcrte Henry D. Messcr Carl A. House Robert and Bcttic Metcalf John and Fei Fci Mctzler Don and I.cc Meyer Valeric Meyer Shirley and Bill Meyers Elizabeth B. Michael Helen M. Michaeb Leo and Sally Micdlcr Andy and Nancy Miller Carmen and Jack Miller Mr. and Mrs. Milton J. Miller Dr, Robert R. Miller Thomas and Doris Miree Kathleen and James Mitchincr 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 Moriany Dr. and Mrs. George W. Morlcy Paul and Terry Morris Mclinda and Bob Morris Dick and )udy Morrissclt Brian and Jacqueline Morton Cyril and Rona Moscow Dr. Thomas E. Mullcr and
Barbara J. Lcvitan Gavin Eadic and Barbara Murphy Dr. and Mrs. Guilder A. Myran Ilideko and Tatsuyoshi Nakamura President and Mrs. Homer Neal Frederick G. Ncidhardt and
Germainc Chipault Nancy Nelson
Mr. and Mrs. Marvin Niehuss Karina H. Nicmeycr Shinobu Niga Susan and Richard Nisbctt Virginia and Clare North John and Lexa O'Brien Patricia O'Connor Dr. and Mrs. Frederick C. O'Dell
Michael J. O'Donncll and
Jan L. Garfinklc Henry and Patricia O'Kray Ncls and Mary Olson Mr.J. L. Oncley Zibby and Bob Oneal Mr. and Mrs. James O'Neill Kathleen 1. Opcrhall Dr. Jon Oscherwitz Mrs. Charles Overberger Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Michael P. Parin E"ans and Charlene Parrott Shirley and Ara Paul Robert and Arlcnc Paup Elizabeth and Beverly Payne Ruth and Joe Payne Dr. Owen Z. and Barbara Perlman Susan A. Perry Doris I. Persyn Frank and Nelly Pctrock James L. and Julie Phelps Joyce H. Phillips
Mr. and Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Mr. and Mrs. Roy Pierce William and Barbara Pierce Dr. and Mrs. James Pikulski Sheila A. Pitcoff Donald and Evonnc Plantinga
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Richard H. and Mary B. Price
Wallace and Barbara Prince
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Michael and Helen Radock
Homayoon Rahbari, M.D.
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Douglas . Rasmussen
Mr. and Mrs. Robert H. Rasmussen
Professor Gabriel M. Rebeiz
Katherine R. Reebel
Mr. and Mrs. Stanislav Rehak
Molly Rcsnik and John Martin
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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 Schmuli Thomas Schramm Gerald and Sharon Schreibcr Albert and Susan Schultz R. Ryan Lavcllc, Ph.D
Marshall S. Schuster, D.O. Alan and Marianne Schwartz-
Thc Shapero Foundation Ed and Sheila Schwartz Jane and Fred Schwarz Jonathan Brombcrg and
Barbara Scot! Mr. and Mrs. David Scovcll John and Carole Scgall Richard A. Seid Suzanne Selig Ms. Janet Sell Sherry and Louis Scnunas Erik and Carol Serr George H. and Mary M. Sexton Nancy Silver Shalit Dr. and Mrs.J. N. Shanbergc Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shappirio Maurice and Lorraine Sheppard Dr. and Mrs. Ivan Sherick William J.Sherzer Mr. and Mrs. George Shirley Drs. Jean and Thomas Shopc Mary Ann Shumakcr
Dr. Bruce M. Sicgan
Dr. and Mrs. Milion Siege!
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Richard Soblc and Barbara Kessler
Lois and William Solomon
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Gretta Spier and Jonathan Rubin
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David and Ann Staiger
Caren Stalburg M.D.
Betty and Harold Stark
Dr. and Mrs. William C. Stcbbins
Bert and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Thorn and Ann Sterling
Barbara and Bruce Stevenson
John and Beryl Stimson
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Robert and Shelly Stoler
Wolfgang F. Stolper
Anjancttc M. Stoltz, M.D.
Ellen M. Strand and
Dennis C. Regan Ailccn and Clinton Strocbcl Joe Stroud and Kathleen Fojtik Mrs. William H. Stubbiiu Drs. Eugene Su and
Chrislin 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 Salty Tamm Keiko Tanaka Eva and Sam Taylor George and Mary Tcwksbury Lois A. Theis Paul Thielking Edwin J.Thomas Bette M. Thompson Ted and Marge Thrasher Mrs. Peggy Ticman Mr. and Mrs. W. Paul Tippcu Albert Toe he t
Dr. and Mrs. Merlin C. Townlcy James W. Toy
Dr. and Mrs. John Tricbwasser Angic and Bob Trinka Sarah Trinka us
Irene Truesdcll Mnrilyii Tsao and Steve Gao Drs. Ctairc and Jeremiah Turcotte Michael and Nancy Udow Taro Ueki
Mv.ui and Katharine Uhle Mr. Gordon E. Ulrey Dr. and Mrs. Samuel C. Ursu Joaquin and Mci Mei Uy Madeleine Vallier Carl and Sue Van Appledorn Tanja and Rob Van der Voo Rebecca Van Dyke Robert P. Van Ess Mr. and Mrs.
Douglas Van Houweling Fred and Carole S. Van Recscma 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 Voorhccs John and Jane S. Voorhorst Mr. and Mrs. Norman C. Wait Richard and Mary Walker Charles and Barbara Wallgren Lorraine Nadclman and
Sidney Warschausky Robin and Harvey Wax Mr. and Mrs. Barrett Wayburn Christine L. Webb Mrs. Joan D.Weber Willes and Kathleen Weber Deborah Webster and
Leone Buyse and Michael Webster Jack and Jerry Weidcnbach Lawrence A. Weis and
Sheila Johnson Barbara Weiss Lisa and Steve Weiss Mrs. Stanfield M. Wells, Jr. Carol Campbell Wclsch and
Rosemary and David Wesenberg Mr. and Mrs. Peter Wcsten Ken and Cherry Weslerman Marjorie Wcstphal Paul E. Duffy and
Marilyn L. Wheaton Harry C. White Janet F. White
Christina and William Wilcox William and Cristina Wilcox Reverend Francis E. Williams Mr. and Mrs. R. Jamison Williams Jr. Shelly F. Williams Mis. Elizabeth Wilson Beth and I.W. Winstcn Jeffrey and Unda Witzburg Charlotte Wolfe Dr. and Mrs. Ira S. Wollncr Muriel and Dick Wong J. D. Woods
Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wright David and April Wright Phyllis B. Wright Fran and Ben Wytic
Mr. and Mrs. R.A. Yaglc
Sandra and Jonathan Yobbagy
Frank O. Youkstetter
Professor and Mrs. Edwin H. Young
Ann and Ralph Youngrcn
Mr. and Mrs. F.L. Zcislcr
Bertram and Lynn Zheutlin
Roy and Helen Ziegler
David S. and Susan H. Zurvalcc
American Metal Products
Garris, Garris, Garris and Garris
Law Office John Lcidy Shop Marvel Office Furniture St. Joseph Mercy Hospital
Medical Staff Stritch School of Medicine
Class of 1996
Robert S. Feldman Zelina Krauss Firth George R. Hunsche Ralph Herbert Katherine Mabarak Frederick C. Matthaei, Sr. Gwcn and Emerson Powrie Steffi Reiss Clare Siege! Ralph L. Steffck Charlcne Parker Stern William Swank Charles R. Tieman John F. Ullrich !? i .mi is Viola HI Peter Holderncss Woods
Catherine Arcure Paulclt and Peter Banks Back AJIcy Gourmet Barnes and Noble Bookstore Maurice and Linda Binkow Jcanninc and Bob Buchanan Edith and Fred Bookstein Pat and George Chatas Paul and Pat Cousins
Cousins Heritage Inn Katy and Anthony Derczinski Espresso Royalc Fine Flowers Ken and Penny Fischer Keki and Alice Irani Maureen and Stu Isaac Matthew Hoffman Jewelry Mercy and Stephen Kasle Howard King F. Bruce Kulp Barbara Lcvitan Maxine and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LystraDough Boys Steve MaggioThe Maggio Line James McDonald Bel la Ciao Karen and Joe O'Neal Richard and Susan Rogcl Janet and Mike Shatusky SKR Classical Herbert Sloan David Smith
David Smith Photography Sweet Lorraine's Susan B. Ullrich Elizabeth and Paul Yhousc
The Charles Sink Society cumulative giving totals of $15,000 or more.
Maestro $10,000 or more
Concertm aster $5,000 7,499
Principal $1,000 2,499
Associate $250 499
Advocate $100 249
Friend $50 ? 99
16 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproductive
39 Ann Arbor Symphony
35 Arbor Hospice
30 Bank of Ann Arbor
43 Barclay's Gallery 33 Beacon Investment
40 Benefit Source 25 Bivouac
20 Bodman, Longley and
49 Butzel Long 47 Cafe Marie 39 Chamber Music Society
of Detroit 18 Charles Reinhart
25 Chelsea Community
11 Chisholm and Dames Investment Advisors
36 Chris Triola Gallery
27 David Smith Photography 39 Detroit Edison
11 Dickinson, Wright, Moon, Van Dusen and Freeman 35 Dobbs Opticians
31 Dobson-McOmber 54 Dough Boys Bakery
26 Edward Surovell Company 25 Emerson School
2 Ford Motor Company 31 Fraleighs Landscape Nursery
21 Garris, Garris, Garris,
and Garris, P.C.
28 General Motors
54 Gifford, Krass, Groh, Sprinkle, Patmore, Anderson & Citkowski
11 Glacier Hills
15 Hagopian World of Rugs 54 Harmony House 37 Hill Auditorium Campaign 35 Interior Development 51 Jacobson's
47 Karen DeKoning and
48 Katherine's Catering and
Special Events 43 Kerrytown Bistro 29 KeyBank
40 King's Keyboard House 21 Lewis Jewelers 27 Marty's Menswear 56 Matthew C. Hoffmann
Jewelry Design 31 Miller, Canfield, Paddock
42 Mundus and Mundus
12 NBD Bank
40 Nichols, Sacks, Slank
35 Packard Community Clink
19 Pen in Hand
43 Persian House of Imports
20 Red Hawk Bar and Grill
Zanzibar 48 Regrets Only
24 SKR Classical
19 Snyder and Company
25 Sweet Lorraine's 10 Sweetwaters Cafe
Toledo Museum of Art
Ufer and Company
Whole Foods Market
36 Wright, Griffin, Davis and