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UMS Concert Program, Thursday Apr. 10 To 19: University Musical Society: 1996-1997 Winter - Thursday Apr. 10 To 19 --

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

University Musical
Dear Friends,
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last season, more than 120,000 people attended UMS performances and relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport with Jessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between these artists, UMS and the Ann Arbor community.
Our outstanding Board of Directors offers unique knowledge, experience and perspective as well as a shared commitment to assuring the present and future success of UMS. What a privilege it is to work with a group of people whose vision of UMS is to make it the very best of its kind in the world. I especially want to thank Herbert Amster, who completed three years as Board President in December.
That same vision is shared by members of the UMS staff, who this year invite all of the UMS family to celebrate the 25 years box office manager Michael Gowing has served UMS and this community. Michael has established a stan?dard of patron service that we're told is unmatched anywhere else in this business. Look for the acknowledgment in this program book to find out more about Michael and how you can participate in this season-long celebra?tion.
Last year, UMS volunteers contributed more than 38,000 hours to UMS. In addition
to Board members, volunteers include our Advisory Committee, usher corps, UMS Choral Union members and countless others who give of their time and talent to all facets of the UMS program. Thank you, volunteers!
Relationships with professional colleagues around the world are very special. There is a generosity of spirit in performing arts present?ing that I have rarely seen in other fields. We share our best ideas with one another at con?ferences, in publications, by phone and, increasingly, over the internet. Presenters are joining together more and more to commis?sion new works and to assure their presenta?tion, as we've done this season with William Bolcom's Briefly It Enters and Donald Byrd's The Harlem Nutcracker. I'm pleased to report that The Dreams and Prayers of Isaac the Blind, the stir?ring piece we co-commissioned and presented in April 1995 won the prestigious Kennedy Center Friedham Award for composer Osvaldo Golijov last year.
The most important relationship is that with the community, and that means you. I care deeply about building and strengthening these relationships, whether it be with an indi?vidual patron who comes by the office with a program idea, with the leader of a social ser?vice organization who wishes to use one of our events as a fundraiser, with the nearly 40 school districts whose children will participate in our youth program, or with the audience member who buttonholes me in the lobby with a com?plaint.
Thanks again for coming to this event -and please let me hear from you with ideas or suggestions. Look for me in the lobby, or call me at my office at 313.647.1174.
Kenneth C. Fischer President
UMS Index
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,1 10
Number of volunteer person-hours spent rehearsing and performing with the Choral Union: 21,700
Number of bottles of Evian that UMS artists drank last season: 1,080
Estimated number of cups of coffee consumed backstage during 199596 performances: 4,000
Number of cough drops consumed in Hill Auditorium each year during UMS concerts: 91,255
Number of costumes in this season's co-commission of The Harlem Nutcracker. 268
Number of individuals who were part of last season's events (artists, managers): 1,775
Number of concerts the Philadelphia Orchestra has performed in Hill Auditorium: 267
Number of concerts the Budapest String Quartet has performed in Rackham Auditorium: 43
Number of times the Philadelphia Orchestra has performed "Hail to the Victors": 24
Number of times the Budapest String Quartet has performed "Hail to the Victors": 0
Number of works commissioned by UMS in its first 100 years of presenting concerts (1879-1979): 8
Number of works commissioned by UMS in the past 6 years: 8
Number of years Charlotte McGeoch has subscribed to the Choral Union series: 58
Number of tickets sold at last autumn's Ford Credit 50 Off Student Ticket Sale: 5,245
Value of the money saved by students at that sale: $67,371
Value of discounts received by groups attending UMS events last season: $36,500
Number of ushers serving UMS: 275
Last year Choral Union Season Ticket Prices were raised: 1994
Number of performances of Beethoven's 7th Symphony under UMS auspices: 27
Number of performances of Tchaikovsky's 5th Symphony: 27
Number of sopranos in the UMS Choral Union: 45
Number of tenors: 32
Number of years Paul Lowry has sung with the Choral Union, including this season: 49
Number of Messiah performances from UMS' inception through 199697: 156
Average number of photographs UMS President Ken Fischer takes each year: 4,500
Number of years Charles Sink served UMS: 64
Cost of a 10-concert Choral Union subscription in 1903: $3.50
Cost of a 10-concert Choral Union subscription in 1945: $15.60
Number of regular season concerts presented by UMS in 199091: 38
Number of regular season concerts presented by UMS in 199697: 71
Number of room nights in Ann Arbor area last season generated by UMS artists: 2,806
Number of airport runs made for UMS artists in 199596: 85
Number of UMS subscribers in 199495: 1,973
Number in 199596: 3,334
of 199596 UMS subscribers who planned to renew their subscriptions this year: 92
With thanks to Harper's Index?
Data taken from UMS archives and audience surveys. Some numbers have been estimated.
Thank You, Corporate 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
Owner, Brauer Inveslmenl Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the
University' Musical Society in bringing great music to our community."
L. THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cul-
tural and educational projects of the University Musical Society."
DAVID G. LOESEL President, T.M.L Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Programs is an
honor and a privilege. Together we will enrich and empower our commu?nity's youth to carry forward into future generations this fine tradition of artistic talents."
Oilmen, Curtin & Alf "Curtin & AlPs support of the University Musical Society is both a privilege and an
honor. Together we share in the jm of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
HOWARD S. HOLMES President, Chelsea Milling Company The Ann Arbor area is very fortu?nate to have the most enjoyable and outstanding musi-
cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
JOHN E. LOBBIA Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organi?zations that make
the Ann Arbor community a world-renowned center for the arts. The entire community shares in the count?less benefits of the excellence of these programs."
DOUGLAS D. FREETH President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community
which perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
ROBERT J. DELONIS Chairman, Great Lakes Bancorp "As a long-standing member of the Ann Arbor commu?nity, Great Lakes Bancorp and the
University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural con?tribution it makes to the community."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford lakes particu?lar pride in our longstanding associ?ation with the
University Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
John Psarouthakis,
Chairman and Chief Executive Officer, JPE Inc.
"Our community is enriched by the University Musical
Society. We warmly support the cultural events it brings to our area."
THOMAS B. MCMULLEN President, Thomas B. McMulkn Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket
in Ann Arbor. Not anymore. UMS provides the best in educational enter?tainment."
WILLIAM E. ODOM Chairman, Font Motor Credit Company The people of Ford Credit are very proud of our con?tinuing association with the University
Musical Society. The Society's long-established commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
Dennis Serras
President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many
opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
Jorge a. Sous
First Vice President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 82 years, and UMS has been here for 118, we can still appreciate the history they have with the city -and we are glad to be part of that history."
Michael Staebler
Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community lhat makes up Southeastern Michigan. It is our pleasure lo be among your supporters."
Edward Surovell
The Edward Surovell
"It is an honor for
Edward Surovell
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
Joe E. O'Neal
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
GUI PONCE DE LEON, PH.D., P.E. Managing Principal, Project Management Associates, Inc. "We are pleased to support the University Musical
Society, particularly their educational programs. We at PMA are very com?mitted to the youth of southeastern Michigan and consider our contribu?tion to UMS an investment in the future."
Dr. James R. Irwin
Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Temporaries began
its support of the University Musical Society in 1984, believing that a com?mitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to cul?turally enrich the people of our com?munity."
RONALD M. Cresswell, Ph.D. Chairman, Parke-Davis Pharmaceutical Tarke-Davis is very proud to be associ?ated with the Universitv Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
sue s. Lee
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organization as the
Musical Society at the University of Michigan."
ast season's Ford Honors Program, which featured Van Cliburn receiving the First UMS Distinguished Artist Award, was a memo?rable event for the concert and moving tribute
to Van Cliburn as well as for the gala dinner and dance that followed. '--' Save the date for this season's Ford Honors Program -Saturday, April 26, 1997 -when the 1997 UMS Distinguished Artist Award will be bestowed upon
another internationally acclaimed artist, announced in late January. Following a performance by and tribute to this year's honoree, a gala dinner in the artist's honor will be followed by entertainment and dancing at the Michigan League.
All proceeds from the Ford Honors Program benefit the UMS Education Program.
more information, caff the
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Van Cliburn
The University Musical Society of the university or Michigan
F. Bruce Kulp, Cltair Marina v.N. Whitman
Vice Chair Carol si,.,1,1., Smokier
Secretary Elizabeth O. Yhouse
Herbert S. Amster Gail Davis Barnes
Maurice S. Binkow Paul C. Boylan Barbara Everitt Bryant LctitiaJ. Byrd Ixon S. Cohan Jon Cosovich Ronald M. Cresswell Beverley B. Geltner RandyJ. 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. Amsu-r Richard S. Berger Maurice S. Binkow Carl A. Brauer, Jr. Allen P. Britton Douglas D. Crary John D'Arms James J. Dudersiadt
Robben W. Fleming ! I.M I.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 Judylh Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed Ann Snecd Schribcr
Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen I .ijin Weiser Gilbert Whitaker
Administration Finance Kenneth C. Fischer, President John B. Kennard, Jr.,
Administrative Manager Elizabeth Jahn, Asst. to
President Kate Remen, Admin. Asst.,
Marketing Of Programming R. Scolt Russell, Systems
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Philip Guire, Staff John Peckham, Staff
Choral Union
Thomas Sheets, Conductor Timothy Haggerty, Manager
Catherine S. Arcure, Director Betty Byrne, Volunteers Elaine Economou, Corporate Susan Filzpatrick, Admin. Asst. J. Thad Schork,
Gift Processing Anne Griffin Sloan,
Individual Giving
Ren Johnson, Director
Emily Avers, Assistant
Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
ProgrammingProduction Michael J. Kondziolka,
Yoshi Campbell, Prmluclion Erika Fischer, Artist Services Henry ReynoldsJonathan Belcher, Technical Dim lion
Donald Bryant, Conductor Emeritus
Work-Study Laura Birnbryer Rebekah Camm
Meighan Denomme Amy Hayne Sara Jensen Kirsicn Jennings Najcan Lee Tansy Rodd Lisa Vogen
Jessica Flint Paula Ciardini Michelle Cuadagnino Michael Lawrence Bo Lee Lisa Moudy Susanna Orcutt-Grady Caen Thomason-Redus
Maya Savarino, Chair Len NiehofT, Vice-Gum Dody Viola, SecretaryTnasurrr Susan B. Ullrich, Chair
Emeritus Betty Byrne, Staff Liaison
Gregg Alf
Paulclt Banks
Kathleen Beck
Janice Stevens Botsford
]canninc Buchanan
Letitia Byrd
Chen Oi Chin-Hsieh
Phil Cole
Mary Ann Daanc Rosanne Duncan H. Michael Endrcs Don Faber Kathcrine Farrell Penny Fischer Barbara Gelehrter Beverly Geltner Joyce Ginsberg Linda Greene Esther Hcitler 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 Niehofif 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 Shirley Williams
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
General Information
University Musical Society Auditoria Directory & Information
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coat rooms are located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coal check is available in the lobby.
Hill Auditorium: Drinking fountains are located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the
sides of the inner lobby.
Power Center. Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
Mendelssohn: A drinking fountain is located at the north
end of the hallway outside the main floor seating area.
St. Francis: A drinking fountain is located in the basement at
the bottom of the front lobby stairs.
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster. Virtuosi and Maestro levels.
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of
the Michigan League.
St. Francis: There are no public telephones in the church.
Pay phones are available in the Parish Activities Center next
door to the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's restrooms arc located down the long hallway from the main floor seating area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the front lobby stairs.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
A wealth of information about events, UMS, restaurants, and the like is available at the information table in die 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 widi con?gratulatory letters from patrons,
remembrances and mementos. We hope that you will help us honor Michael by sending anything you think appropriate, to contribute, please make your check payable to the University Musical Society -Michael Gowing Seat. You may mail your contribution or letters anytime through June 1997 to University Musical Society, Burton Memorial Tower, Ann Arbor, MI 48109-1270.
All contributions arc tax deductible to the amount allowed by law.
Going Strong
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name 'The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was estab?lished in December 1880. The Musical Society includ?ed the Choral Union and University Orchestra, and throughout the year pre?sented a series of concerts
featuring local and visiting artists and ensem?bles. Professor Frieze became the first presi?dent of the Society.
Since that first season in 1880, UMS has expanded 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 die 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 Requiemvith the Toledo Symphony.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one com?mon passion--a love of the choral art.
For information about the UMS Choral Union, please call 313.763.8997.
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is often associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of important debuts and long relationships throughout the past 83 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Hill Auditorium is named for former U-M regent Arthur Hill, who bequested $200,000 to the University for the construction of an audito?rium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing the ever-popular Fifth Symphony of Beethoven. The following evening featured Verdi's "Manzoni" Requiem, a work that has been performed frequendy throughout the Musical Society's illustrious history. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in one of his only solo recitals outside of New 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,
Hill auditorium
Leontyne Price, Marion Anderson and, more recently, Yo-Yo Ma, Cecilia Bartoli.Jessye Norman, Van Cliburn, the Metropolitan Opera Orchestra (in the debut concert of its inaugural tour) and the late Sergiu Celibidache conduct?ing the Munich Philharmonic.
Hill Auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and expanded wheelchair seating (1995), decreased the seating capacity to its current 4,163.
The organ pipes above the stage come from the 1894 Chicago Colombian Exposition. Named after the founder of the Musical Society, Henry Simmons Frieze, the organ is used for numerous concerts in Hill throughout the sea?son. Despite many changes in appearance over
Every Angle Tells A Story
The New Acura 2.2CL
the past century, the organ pipes were restored to their original stenciling, color and layout in 1986.
Hill Auditorium is slated for renovation, with funds currently being raised through the Campaign for Michigan. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conveniences.
Until 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.
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 die performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in die midst of a list of University priorities was mentioned "a new 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 die 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
Rackham Auditorium
Auditoria, continued
from the orchestra level to the balcony and the well-known mirrored glass pan?els on the exterior. No seat in the Power Center is more than 72 feet from the stage. In 1981, a 28,000 square-foot addition was com?pleted, providing rehearsal rooms, shops for building sets and costumes, a green room and
power center
office space. At the same time, the eminent British sculptor John W. Mills was commis?sioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addition to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso. The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Over the years, the Theater has undergone many changes. "Talkies" replaced silent films just one year after the Theater opened, and 8
vaudeville soon disappeared from the stage. As Theater attendance dwindled in the 1950s, the interior and exterior of the building were both modernized, with much of the intricate plaster work covered with aluminum, polished marble and a false ceiling.
Throughout the 1960s and 1970s, the 1,710-seat theater struggled against changes in the film industry, and the owners put the Theater up for sale, threatening its very existence. The non-profit Michigan Theater Foundation, a newly-founded group dedicated to preserving the facility, stepped in to operate the failing movie house in 1979.
After a partial renovation in 1986 which restored the Theater's auditorium and Grand Foyer to its 1920s-era movie palace grandeur, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. Further restoration of the balcony, outer lobby and facade are planned in coming years.
The University Musical Society first began presenting artists at the Michigan Theater dur?ing the 199495 season, along with occasional film partnerships to accompany presentations in other venues. The Theater's acoustics, rich interiors and technical capabilities make it a natural setting for period pieces and mixed media projects alike. In addition to sponsoring a Twyla Tharp Film Series last fall (September 29-October 20, 1996), UMS presents four events at the Michigan Theater in 199697: Guitar Summit III (November 16); The Real Group (February 8); Voices of Light: "The Passion of Joan of Arc," a silent film with live music featur?ing Anonymous 4 (February 16); and The Russian Village (April 11).
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has
grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a fabulous venue for presenting a cappella choral music and early music ensembles. During the 199697 season, UMS presents four concerts at St. Francis of Assisi Cadiolic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademia (March 15) and the Huelgas Ensemble (April 10).
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recendy began presenting
Auditoria, continued
artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and intimate venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society'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 presentatioi of four song recitals celebrating the bicentenni?al of Schubert's birth marks the first time in 58 years that UMS has used the Mendelssohn Theatre for regular season programming. The recitals feature baritone Sanford Sylvan (Januar 24), mezzo-soprano Sarah Walker (January 25), baritone Wolfgang Holzmair (February 17) and soprano Barbara Bonney (February 18).
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is 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 1996-97 Season
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm K.ii Mi.mi 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.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
with Special Guests, THE UNIVERSITY OF MICHIGAN GOSPEL CHORALE Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of America.
This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1997 Rev. Dr. Martin Luther King, Jr. Day Symposium.
Thursday.January 23, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored by McKinley Associates, Inc.
Schubert song Recital i Sanford Sylvan, baritone David Breitman, fortepiano
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Fri.Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:00-4:00 pm, Mclntosh Theater, U-M School of Music. Open to the public.
Schubert Song Recital II Sarah walker, mezzo-soprano Gareth Hancock, piano
Saturday, January 25, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. A discussion of the evening's repertoire. Sat, Jan 25, 6:30pm, MI League.
Presented with support from the World Heritage Foundation and media partner WDET, 101.9FM, Public Radio from Wayne State University.
NEEME JARVI, CONDUCTOR Lcif Ove Andsnes, piano Vladimir Popov, tenor UMS Choral Union Sunday, January 26, 4:00pm Hill Auditorium
Master of Arts Neeme Jarvi, interviewed by Thomas Sheets, Conductor, UMS Choral Union. Sun, Jan 12, 3:00pm, Rackham.
Sponsored byJPE Inc. and the Paideia Foundation
Friday, January 31, 8:00pm Lydia Mendelssohn Theatre
Part of the Blues, Roots, Honks, and Moans Jazz Residency.
blues, roots, honks, and moans
a festival of jazz and African-American Musical traditions
The Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
His Sanctified Shells Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
(Family Show)
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation with support from media partner WEMU, S9.1FM, Public Radio from Eastern Michigan University.
budapest festival
orchestra IvAn Fischer, conductor
Thursday, February 6, 8:00pm Hill Auditorium
Saturday, February 8, 8:00pm Michigan Theater
Presented with support from media partner YEMU, 89.1FM, Public Radio from Eastern Michigan University.
ars Poetica Chamber
Orchestra Anatoli Cheiniouk,
music director Cho-Liang Lin, violin Monday, February 10, 8:00pm Rackham Auditorium
Presented with support from Miller, Canfield, Paddock and Stone, P.L.C.
blood on the fields wynton marsalis and the lincoln center jazz Orchestra with Jon hendricks
Cassandra Wilson
Music and libretto by
Wynton Marsalis Wednesday, February 12, 8:00pm Hill Auditorium
Master of Arts Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7pm, MI League.
Sponsored by Great 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 Ix)s Angeles Mozart Orchestra I Canton
.....nil Carver, conductor
Sunday, February 16, 7:00pm Michigan Theater
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Monday, February 17, 8:00pm l.ydia Mendelssohn Theatre
CAREN LEVINE, PIANO Tuesday, February 18, 8:00pm l.ydia Mendelssohn Theatre
puccini's la boheme new York city opera national Company
Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21, 8:00pm Saturday, February 22, 2:00pm
(Family Show)
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does La lloheme'mean" Sat, Feb 22, lpm, MI League.
Sunday, February 23, 4:00pm Rackham Auditorium
PREP Lorna McDaniel, U-M Professor of Musicology. A discussion of die afternoon's repertoire. Sun, Feb 23, 3:00pm, MI League.
Sponsored by Conlin Travel and Cunard.
Monday, February 24,8:00pm Tuesday, February 25, 8:00pm Power Center
Sponsored by Thomas B. McMullen Co., Inc.
NATIONAL TRADITIONAL ORCHESTRA OF CHINA Hu Bingxo, conductor Hai-Ye Ni, cellist Wednesday, February 26,8:00pm Hill Auditorium
Presented uiith the generous support of Dr. Herbert Sloan.
Friday, March 14, 8:00pm 1 lill Auditorium
Sponsored by Pepper, Hamilton & Scheetz, Attorneys at Law.
Chorovaya Akademia Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin Travel and Cunard.
Michael Endres, piano Auryn String Quartet
with Martin Lovett, cello Thursday, March 20, 8:00pm Rackham Auditorium
SCHUBERTIADE IV HERMANN PREY, BARITONE Michael Endres, piano Auryn String Quartet Martin Katz, piano Anton Nel, piano Friday, March 21, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Mar 21, 7pm, Rackham.
Vocal Master Class Hermann Prey, baritone. Sat, Mar 22, 10:00am-12:00noon. Recital Hall, U-M School of Music. Open to the public.
Mahler's Symphony No. 8 grand rapids symphony
and chorus ums choral union Grand Rapids Choir of Men
and Boys
Boychoir of Ann Arbor Cadierine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
Saturday, March 29, 8:00pm
Hill Auditorium
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbett, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, President, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
nederlands dans
Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
BANG ON A CAN ALL-STARS STRING TRIO OF NEW YORK Saturday, April 5, 8:00pm Power Center
Presented with support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
huelgas ensemble paul van nevel, director The high Art of sacred flemish Polyphony
Thursday, April 10, 8:00pm St. Francis of Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. "Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, St. Francis Church.
Sponsored by Conlin Travel and Cunard.
Friday, April 11, 8:00pm Michigan Theater
Sponsored by NBD Bank.
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
The Assad Brothers, guitar duo
Friday, April 18, 8:00pm Rackham Auditorium Sponsored fry Regency Travel.
maher ali khan and SherAli Khan,
Faridi Qawwals Ensemble
Saturday, April 19, 8:00pm Rackham Auditorium
Saturday, April 26, 6:00pm Hill Auditorium
Featuring a recital by and tribute to the recipient of the 1997 UMS Distinguished Artist Award.
Sponsored by Ford Motor Company.
Educational Programming
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of pre-performance presentations, featuring talks, demonstrations and workshops.
Master of Arts A new, free of charge UMS series in col laboration with the Institui 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 Gleichnis (Are but a Parable): Goethe's Faust in the Fin de Siecle." Frederick Amrine, Chair, U-M German Dept. Tues, Mar 18, 7:00pm
"Tieht uns hinan (Draws us upward): Mahler's Hymn to Eros."Jim Leonard, Manager, SKR Classical. Wed, Mar 19, 7:00pm
Family Programming
UMS presents two family shows during the Winter Season 1997. These programs feature an abbreviated version of the full-length presentations by the same artists.
Blues, Roots, Honks and Moans
Saturday, February 1, lpm, Hill Auditorium 75-minute family show with no intermission
Featuring Cyrus Chestnut on piano, Twinkie Clark on organ and gospel, and Steve Turre on trombone and "sanctified" shells. Each artist will showcase different influences of jazz and gospel, with parents and chil?dren actively involved in learning and performing some special songs.
Puccini's La Boheme
New York City Opera National Company Saturday, February 22, 2pm, Power Center 75-minute family show with no intermission
The love story of Mimi and Rodolfo is a great intro?duction to the world of opera. This abbreviated per?formance of Act II (the cafe scene) and Act IV includes an open curtain scene change as well as an introduction to singers and backstage crew. In Italian with English supertides and live narration.
All excellence is equally difficult'.
Thornton Wilder
readership in any arena is not only difficult to achieve but deserving of recognition. The Edward Surovell Company salutes the University Musical Society for its 118-year tradition of excellence in the presentation of the performing arts.
Washtenaw County's leader in real estate sales
A cknowledgments
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith are images taken from past University Musical Society seasons. The Alvin Ailey American Dance Theater's March 1996 perfor?mances in the Power Center; a capacity audience for a chamber music concert in Rackham Auditorium; and pianist Emanuel Ax performing as part of the Society Bank Cleveland Orchestra Residency Weekend in 1995.
of the University of Michigan 1996 1997 Winter Season
Event Program Book
Thursday, April 10, 1997
Saturday, April 19, 1997
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Huelgas Ensemble 3
Thursday, April 10, 8:00pm
St. Francis of Assisi Catholic Church
The Russian Village 17
Friday, April 11, 8:00pm Michigan Theater
Faculty Artists Concert 25
Michigan Chamber Players
of the University of Michigan School of Music
Sunday, April 13, 4:00pm
Rackham Auditorium
The Assad Brothers, guitar duo 31
Friday, April 18, 8:00pm Rackham Auditorium
Maher Ali Khan and Sher Ali Khan 37
Faridi Qawwals Ensemble Saturday, April 19, 8:00pm Rackham Auditorium
Children of all ages are welcome to UMS Family and Youth performances. Parents arc encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
the huelgas Ensemble
Paul Van Nevel, Director
Els van Laethem, Ellen van Ham, Katelijne van Laethem, cantus Eric Mentzel, Harry van Berne, Marius van Altena, Matthew Vine, Stephane van Dijck, Eitan Sorek, tenor Willem Ceuleers, Lieven Deroo, Harry van Der Kamp, bass
Thursday Evening, April 10, 1997 at 8:00
St. Francis of Assisi Catholic Church Ann Arbor, Michigan
The High Art of Vocal Polyphony:
Late Medieval and Renaissance Sacred Music
Codex Las Huelgas (Thirteenth century)
Belial vocatur (a 4)
Anonymous c.1390
Manuscript from the Court of Nicosia Credo in unum Deum (a 4)
ii. franco-flemish renaissance music
Nicolas Gombert
Media vita (a 6)
Pierre De Manchicourt
Reges terrae (a 6)
Agnus Dei (from Missa Veni Sancte Spiritus, a 6)
Antoine Brumel
missa et ecce terrae motus (a 12), "The Earthquake Mass"
Sanctus and Benedictus
Agnus Dei
Sixty-eighth Concert of the 118th Season
Divine Expressions Series
Special thanks to Mr. Tom Conlin for his continued support through Conlin Travel.
Special thanks to James M. Borders, Associate Dean, U-M School of Music, for serving as speaker for tonight's Performance-Related Educational Presentation (PREP).
Principal funding for the Huelgas Ensemble's North American debut tour has been provided by Sony Classical.
The Huelgas Ensemble appears by arrangement with Aaron Concert Artists, a division of Trawick Artist Management, Inc., New York, NY
Large print programs are available upon request.
Codex Las Huelgas (Thirteenth century)
Belial vocatur
King Alfonso VIII of Castile built the Real Monasterio de Las Huelgas in 1187 as a kind of Pantheon for die Castilian royal house. Kings were crowned and buried here and peace treaties signed. Above all, an abbey community lived here, consisting of sisters, girls of noble birth, who were directed by the nuns, a Schola cantorum and a Scriptorium.
Under King Alfonso el Sabio (1226-1284), Las Huelgas developed into a cultural center in which Jewish scholars and Mudejars (Muslims under Christian jurisdiction) lived with the Catholic population of the abbey under one roof. This cultural diversity also left its mark on the architectural style of the convent: the eight-sided dome of the presbytery is identical with the dome of a minaret or the Kutubija mosque in Marrakech, and the Chapel of San Salvador in the convent is decorated with Mudejar inscriptions. Under King Alfonso el Sabio music flourished here too. In this convent one of the last music manuscripts from the Ars anliqua of the thirteenth-century was written: the so-called Codex Las Huelgas.
This manuscript is unique for various reasons. Firstly, the Codex Las Huelgas is the one music manuscript of its time which is still at its place of origin: it was written in Las Huelgas and is kept there today. Further, this collection allows a kaleidoscopic insight into the music of the Ars anliqua: it contains not only the "evergreens" of the Paris Notre Dame school, but also Spanish compositions of local significance and works which were specially written for Las Huelgas. The Codex Las Huelgas contains many pieces of music which are not to be found in any other manuscript in the world. The repertoire extends from the end of the twelfth to the beginning of the fourteenth century, with the emphasis placed on die music of the second half of the thirteenth century -it is no coincidence that this was the period in which King Alfonso el Sabio reigned.
The conductus motet Belial vocatur is known only from the Las Huelgas manuscript. It is a Marian motet, in the original version of which only one part is provided with a text. It tells of Candlemas (February 2) and of Jesus' appearance in the temple. With its lively style and its four-part setting this composition is one of the later ones in this manuscript. The composer makes use of various ornamented modes in alternation within the so-called "Aequipollentia" style (equality of the various strands of musical texture). The music is almost secular in feel?ing and is reminiscent of the words of Pope John XXII in his papal bull Docta Sanctorum palrum (1324), in which he distances himself from "modern" influences: 'The church melodies are set in short note values and inundated widi little notes. In addition the singers furnish the melodies with hockets; they brighten up the melodies with descants; they add duplum and triplum to the vocal line. They despise the basic model of the Antiphonarium and are no longer acquainted with it at all..."
Belial vocatur
Belial vocatur diffusa caliditas Muse dominatur militantis novitas Benedictus exitus nesciens errorem Decorus introitus conferens amorem Mensus ulnis Simeonis dominator omnium Miratur infusionis natura officium O benedicamus Domino.
Widespread cunning is called Belial.
The newness of the warring Muse is conquered.
A blessed exit innocent of error.
A comely entrance bringing love.
The Lord of all, measuring by Simeon's cubits.
The nature of diffusion admires duty.
O let us bless the Lord.
Credo in unum Deum
(Manuscript from the Court of Nicosia) Anonymous c.1390
The courtly culture and music that blossomed on the island of Cyprus reached its cli?max in the years between 1359 and 1432. Pierre I de Lusignan (died 1369) entered history as Cyprus' "Sun King," his fame in Europe mainly due to an extended three-year tour he made there, during which he became acquainted with the most important centers of European musical activity. The band of musicians in his retinue caused great excitement during this tour, and so pleased Charles V in Reims that he donated eighty francs in gold "for the musi?cians of the King of Cyprus." This journey was not without its effect on the music of Cyprus, for after his return Pierre I exerted what was to become a lasting influence. Until far into the fifteenth century, musical life at the court of Nicosia could not be imagined without the French Ars nova, and later the Ars subtilior. Many French musicians and composers were active at the Cypriot court, and Nicosia became one of the most important centers of the Ars subtilior style.
The central compositional concern of those working in the Cypriot Ars subtilior style was the logical, consistent attainment of the polyphonic ideal. Each voice is completely indepen?dent of the others, and moves through the polyphonic fabric to form a contour of its own. As to rhythm, Cypriot compositional technique is extremely complex. Ample use was made of rhythmic novelties such as syncopatio, color and proportio, and new note symbols permitted the representation of note values that had previously defied graphical rendering. Thus metric accents in the different voices almost never coincide, and the "laws" of rhythm are at times out of joint. Indeed, a rhythm that was regular and without syncopation would stand out immediately as a particularly conspicuous detail.
The listener can best appreciate just how "nervous" this music may sound at times in the mass excerpt performed at this evening's concert. The Cypriot pointillistic style reaches its cli?max in this Credo, with its isorhythmic structure in which the same section is repeated rhyth?mically. Polyphonic independence is driven to extremes. The melisma in the closing "Amen" is a climax in the flamboyant Gothic manner.
Credo in unum Deum
(Manuscript from the Court of Nicosia)
Credo in unum Deum, Patrem omnipoten-tem, factorem caeli et terrae, visibilium omnium et invisibilium.
Et in unum Dominumjesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; geni-tum, non factum; consubstantialem Patri; per quern omnia facta sunt.
I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible.
And in one Lord, Jesus Christ, the only-begot?ten Son of God, begotten of his Father before all worlds. God of God; Light of Light; very God of very God; begotten, not made; being of one substance with the Father; by whom all things were made.
Qui propter nos homines, et propter nos-tram salutem descendit de caelis, et incarna-tus est de Spiritu Sancto, ex Maria Virgine, et homo factus est.
Crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est. Et resurrexit tertia die secundum Scripturas; et ascendit in caelum, sedet ad dexteram Patris; et iterum venturus est cum gloria judicare vivos et mortuos; cuius regni non erit finis.
Et in Spiritum Sanctum, Dominum et vivifi-cantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglo-rificatur; qui locutus est per prophetas.
Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.
Who for us men, and for our salvation, came down from heaven, and was incarnate by the Holy Ghost of the Virgin Mary, and was made man.
And was crucified also for us under Pontius Pilate; he suffered death and was buried. And the third day he rose again according to the Scriptures; and ascended into heaven, and is seated at the right hand of the Father; and he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end.
And I believe in the Holy Ghost, the Lord and giver of life, who proceeds from the Father and the Son, who with the Father and the Son is worshipped and glorified, who spoke by the prophets.
And I believe one holy, catholic and apos?tolic Church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead, and the life of the world to come. Amen.
Media vita
Nicolas Gombert
Born c. 1500 in southern Flanders
Died c. 1560
The life of Nicolas Gombert is only very sketchily documented. Apart from a period spent in the service of the Emperor Charles V, we have very few facts, though the approximate date and location of his birth are known: French Flanders, in a village west of Lille around 1500. However, until he appeared at the imperial court in 1526, we have no further information, and after the late 1530s, when he was to disappear from the court registers, we have only a few sparse but intriguing details to go on. He held an ecclesiastical sinecure in Tournal (Flanders) from 1534 onwards, and it appears that he spent at least some of his later years there: a letter written in 1547 in Tournal by Gombert and addressed to Ferrante Gonsaga, Gran Capitano of Charles V, is the sole extant biographic document of his later life. Concerning his death, we have no information beyond the statement of an Italian diplomat in a treatise published in Antwerp in 1567 that Gombert had died.
In 1539 a miscellany of Gombert's motets for six voices was published. The collection con?tained the motet Media vita, a high point in Gombert's oeuvre. Like many of his other works, it is a six-part piece with a tendency towards dark colors: five male voices (two high tenors, two low tenors and one bass), but only one superius part. The masterful use of imitation
technique is apparent from the beginning. Inspired by the text "in the middle of life," it is, symbolically, the middle voice (tenor) that begins the imitation. This grows slowly into six parts as sextus, bassus, quintus, cantus and altus successively join in. In the course of the com?position, imitations are continually overlapping each other, and again and again they are var?ied in inventive ways. In this motet we hear Gombert at his best: with simplicity and density, he creates an atmosphere of intimate warmth in which the flowing counterpoint is interior-ized. No unnecessary ornamentation, no melodic word-painting, no details to disturb its meditative character. Abandoning the clear formal construction of Josquin's generation, Gombert chose a more closed structure; he avoided everything that could impede the dynamic movement. The reserve he exercised in his use of expressive means is convincing evidence of his great creative talent. Contemporaries describe him with the adjective "proun?do." Gombert's aestheticism is exemplified by Media vita: the motet's themes, with their devel?opment in small intervals and uncomplicated style, are closely related to Gregorian chant. Also, the treatment of the text is mainly syllabic. Gombert must have liked this motet very much: he was later to parody it in Missa Media vita, printed in 1542.
Media vita
Media vita in morte sumus; quem quaerimus adiutorem, nisi te Domine Qui pro peccatis nostris iuste irasceris. Sancte Deus, Sancte fortis, Sancte et misericors Salvator noster, amarae morti ne tradas nos.
In the midst of life we are in death. Upon whom do we call as helper but you, Lord Justly were you angered by our sins. Holy God, Holy Might, our Holy and Compassionate Saviour, do not hand us over to bitter death.
Reges terrae Agnus Dei
Pierre de Manchicourl (c.1510 1564) Born c. 1510 in Bethune, France Died on October 5, 1564 in Madrid
Pierre de Manchicourt's call to the court of Philip II of Spain as chapel master in 1559 was a sign of the esteem accorded the composer at that time. The greater portion of his oeu-vre -nineteen masses, seventy-two motets, fifty-three chansons, a magnificat, and nine psalms in polychoral style -had already been printed by Europe's most important publish?ers. In addition, there were several collections dedicated to his works alone. European manu?scripts reveal that Manchicourt's works were performed from Torgau to Saragossa, from Stockholm to well down into Italy.
Yet Manchicourt was not a household name. His work was too eccentric, at times even obscure. There is no question that he had a penchant for harmonically daring counterpoint. Dissonant, changing and passing tones pervade his music. He made liberal use of cross-rela?tions (simultaneously sounding the same note in two voices, but with different accidentals.) His dissonant resolutions recreate conflicts with other voices. Again and again Manchicourt leads the listener down the wrong track: leading tones prepare cadences which never arrive. Manchicourt's art also involves challenges for the singers. Seeming candidates for musica ficta lead to dissonances with other voices. Thus Manchicourt continually delays the establishment
of mode by means of leading tones. But this contrapuntal adventure is skillfully wrapped in a web of polyphony. Manchicourt's preference for six-part writing is no coincidence -it leaves the composer more room for cross-relations and changing notes.
Manchicourt was a master of detail. His works are not easily conquered because his polyphony is one of magnificently detailed ornamentation. The "flamboyant" Gothic style expressed by the play of his lines is rooted in a melodic motor seldom found in the work of his contemporaries. Homophony (identical rhythm and text underlay in all voices) occurs only sporadically. While some of the voices participate in a cadence, others often begin new points of imitation, masking the cadence. This drawing-out of the cadential process makes for an endlessly flowing polyphony. Manchicourt's works do not rest until the final chords.
The monumental six part motet Reges terrae dates from Manchicourt's later period. The composition is based entirely on imitative counterpoint, the themes of which Manchicourt chose very carefully. A striking fifth-motive (sometimes modified to a fourth) establishes the "majestic" main theme. Manchicourt sets the text "Eamus in Judeam" (Let us go to Judea) to a suggestively rising motive of six scale-steps. He depicts the image of kneeling and greeting ("procedentes") with a falling fourth. This Three Kings motet is a stunning synthesis of Manchicourt's characteristic style: a pervasively imitative texture, thickened by overlapping imitations, combined with daring employment of dissonances.
The "Agnus Dei" from Manchicourt's Missa Veni Sancte Spiritus is a calm composition. In contrast to the majority of his colleagues, who often set the "Agnus Dei" as a concluding con?trapuntal tour-de-force complete with canons and an increased number of voices, Manchicourt decided on a meditative ending, in keeping with the text. In this movement, Manchicourt lays bare most of the themes he took from the Gregorian sequence on which the Mass is based (the Pentecost sequence Veni Sancte Spiritus). He composed this section as a sort of "tes?tament" to the other movements of the Mass, going so far as to quote six-part passages from earlier sections literally.
Reges terrae
Reges terrae congregati sunt. Convenerunt in unum dicentes: Eamus injudeam et inquiramus ubi est qui natus est Rex Magnus, cuius stellam vidimus. Alleluia.
Et venientes invenerunt puerum cum Maria matre eius. Et procedentes adoraverunt eum oferentes aurum, thus et myrrham. Alleluia.
Agnus Dei
from Missa Veni Sancte Spiritus
Agnus Dei, qui tollis
peccata mundi, miserere nobis.
Agnus Dei, qui tollis
peccata mundi, miserere nobis.
Agnus Dei, qui tollis
peccata mundi, dona nobis pacem.
The kings of the world gathered together and said: let us go to Judea and inquire where the King was born, whose star we have seen. Alleluia.
And they came across the child and Mary, his mother; and they came forward and worshipped him, offering him gold, frankincense and myrrh.
Lamb of God, that takest away the sins of the world, have mercy upon us. Lamb of God, that takest away the sins of the world, have mercy upon us. Lamb of God, that takest away the sins of the world, grant us thy peace.
Anloine Brumel
Born c. 1460 near Chartres, France
Died c. 1520
Antoine Brumel was a difficult person in every respect and a self-willed and eccentric composer. A difficult personality is not unusual for a musician, yet his idiosyncrasy was recog?nized even in his own lifetime. Brumel was born near Chartres c. 1460; like many of his col?leagues he led an adventurous and restless life. Our first trace of him dates back to 1483 when he was mentioned as a singer at Chartres cathedral. Was it there, perhaps, that he adopted the Gothic sense of line and flamboyant late Gothic sense of space, in order to retain and express them in his compositions In Chartres, Brumel quickly gained recognition and soon received a salary increase "a cause de son savoir" (on account of his knowledge.) He remained there for several years, settling in Geneva in 1492. Brumel had previously taken a year's leave of absence to visit the Duke of Savoy, who had offered him a post in Chambery. In 1498, Brumel was appointed Cantor Princeps for the choirboys at Notre Dame Cathedral in Paris. Following a dispute with his employer in the same year, he was forced to flee the city. He was later engaged as a singer in Chambery, where he remained for two years (1501-1502).
In the meantime Brumel's compositions had become known far beyond the French national borders and he was thus summoned to Italy. From 1505 to 1510, he held the posi?tion of maestro di cappella at the court of Alfonso d'Este I in Ferrara, one of the greatest cen?ters of musical activity during the Italian Renaissance. What Brumel found in Ferrara was unsurpassable: the court continually exchanged compositions and musicians with the other "mecca" of music nearby, the Gonzaga court in Mantua, and Brumel's predecessor was none other than Josquin, who left him a court chapel with twenty-three singers. After five years of service in Ferrara, Brumel remained in Italy. He settled in Rome for some time, where news of his reputation had preceded him. One of the most magnificent choral collections of the Vatican, the Chigi Codex, contains works by Brumel. The fact that neither the date nor the place of Brumel's death is known fits the picture of his independent personality: through his music, he has attained immortal status in the eyes of his biographers.
According to the standards of his time, Brumel's music knows no boundaries, is daring and never strictly academic. The most fascinating of Brumel's works is without a doubt his twelve-part Mass Er ecce terrae motus. The sole surviving copy of this masterpiece is a manu?script prepared in Bavarian court circles under the supervision of Orlandus Lassus. Lassus probably found this music on Alfonso I's estate. He was fascinate by the visionary tonal splen?dor of the piece, and he had the Mass copied in a large choirbook format suitable to the court chapel in Munich. The original was probably lost. As the last three pages of the manu?script are badly damaged, several parts of the "Agnus Dei I" are missing; they have been reconstructed by signatories. This task was facilitated by numerous indications of canons in the work and the fact that twelve-part harmony based on triadic progressions only offers a limited choice of notes to be used in any case. The "Agnus Dei II," missing from the Bavarian manuscript was miraculously discovered in a manuscript kept in Denmark during the six?teenth century which cannot be connected in any way with Lassus' or Brumel's circles.
Brumel's twelve-part harmony is not structured in a traditional manner, but rather is made up of twelve equal voices that are divided according to vocal function into four groups of three voices each. Each part has a characteristic vocal register. Group I contains three
superius parts. Group II is made up of three high tenor voices (i.e., no countertenors), while Group III consists of "normal" tenors and Group IV is composed of three bass parts. Each of the three voices within each group comprises the same vocal register; their lines constantly cross one another, however. In addition, Brumel, who is especially interested in a daring, vir-tuosic interplay of contrapuntal lines, employs the crossing of voices between groups. In cer?tain passages (e.g., in the "Credo" at the words "invisilrilium" and "sedet ad dexteram") a bass voice not only rises above the entire tenor group, but even above all the high tenors as well.
The six tenor parts make up the tightly-structured core of the polyphony. Odd melodic progressions and the crossing of voices are not unusual in these parts. The high second tenor has the same register, for the most part, as the third tenor and goes down to a low A. The high tenor parts are called countertenors in the manuscript, but should not be confused with what today is considered the characteristic countertenor voice. The Tenor III part, in contrast, extends down to a low F and lies lower at that point than all the bass lines. It is hard to imagine the vocal virtuosity Brumel was envisioning while composing this Mass. Melodic leaps of an octave regularly occur. The vocal ranges are pushed to extremes and some passages are only per-formable by using Renaissance vocal techniques such as falsetto and changes in vocal color.
The twelve-part mass is built on a cantusfirmus derived from the beginning of the Easter antiphon Et ecce terrae motus (and the earth moved). Brumel actually restricts his cantusfirmus material to the first seven tones of the antiphon (d-d-b-d-e-d-d). Further tones are added only in the cantus firmus of the "Agnus Dei II." Brumel adopted the G mode from Gregorian chant. All parts of the Mass were composed in the seventh mixolydian mode with the excep?tion of the "Christe" and the "Agnus Dei II," both of which constitute middle sections and end on C chords. Although the seven-tone cantusfirmus appears in various kinds of small con?figurations, its basis is a three-voiced canon in long note values for the Tenor I and II and the Bass III parts. At the point where the three-voiced cantusfirmus appears, Brumel's composi?tion is written in twelve parts. An even more varied form of twelve-part writing, alternating between groups of voices, is employed by Brumel in some sections containing no cantusfir?mus. Three sections are not conceived for twelve voices: the "Pleni sunt caeli" and "Benedictus" in the "Sanctus" are for eight voices, where as the "Agnus Dei II" is for six voic?es. Brumel often employs changes in tempo indicated by mensuration signs, which give the composition a relief-like structure. Thus, the three sections move in increasingly faster tempi. The first "Kyrie" section is written in a majestic lempus perfeclum, the Christe section in a more "down-to-earth" alia breve, while the final "Kyrie" section is notated in a fast tetnpus diminutum. The "Agnus Dei I" (and consequently, also the "Agnus Dei III") is composed in this virtuosic, turbulent mensuration as well.
Apart from the fact that Brumel's composition contains the most prominent architectonic structures in flamboyant late Gothic art, it represents, in another sense, a true stroke of luck. Brumel's music for this Mass avoids the sonoric qualities common to the fifteenth century, such as fauxbourdon and Burgundian cadential formulas. Instead, he composes counter?point of a very tonal character, in which, for example, the third is treated as a stable conso?nance. The fact that Brumel writes the final chord of the "Christe," on C, with no less than six E's is characteristic of the manner in which he employs thirds in the context of cadential harmonies. In this way, Brumel's Missa Et ecce terrae motus, written in flamboyant, late Gothic style, goes beyond the boundaries of the imitational counterpoint of his day. The composer could not have chosen a better cantusfirmus: this counterpoint is also very pleasing to the ear.
Program notes by Paul Van Nevel
Missa Et ecce terrae motus
Kyrie eleison. Christe eleison. Kyrie eleison.
Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam glo-riam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili uni-genite, Jesu Christe; Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram; qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus; tu solus Dominus; tu solus altissimus, Jesu Christe, cum Sancto Spiritu in gloria Dei Patris. Amen.
Credo in unum Deum, Patrem omnipoten-tem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominumjesum Christum, Filium Dei uni-genitum, et ex Patre natum ante omnia saecula. Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; genitum, non factum; consubstantialem Patri; per quern omnia facta sunt.
Qui propter nos homines, et propter nostram salutem descendit de caelis, et incarnatus est de Spiritu Sancto, ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est. Et res-urrexit tertia die secundum Scripturas; et ascendit in caelum, sedet ad dexteram Patris; et iterum venturus est cum gloria judicare vivos et mortuos; cuius regni non erit finis.
Lord, have mercy. Christ, have mercy. Lord, have mercy.
Glory be to God on high, and on earth peace, goodwill towards men. We praise thee; we bless thee; we worship thee; we glo?rify thee. We give thanks to thee for thy great glory, O Lord God, heavenly King, God the Father almighty. O Lord the only-begotten Son, Jesus Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us; that takest away the sins of the world, receive our prayer; thou that sittest at the right hand of the Father, have mercy upon us. For thou only art holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, art Most High in the glory of God the Father. Amen.
I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, the only-begotten Son of God, begot?ten of his Father before all worlds. God of God; Light of Light; very God of very God; begotten, not made; being of one substance with the Father; by whom all things were made.
Who for us men, and for our salvation, came down from heaven, and was incarnate by the Holy Ghost of the Virgin Mary, and was made man. And was crucified also for us under Pontius Pilate; he suffered death and was buried. And the third day he rose again according to the Scriptures; and ascended into heaven, and is seated at the right hand of the Father; and he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end.
Et in Spiritum Sanctum, Dominum et vivifi-cantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglo-rificatur; qui locutus est per prophetas.
Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.
Benedictus qui venit in nomine Domini. Hosanna in excelsis.
Agnus Dei, qui tollis
peccata mundi, miserere nobis.
Agnus Dei, qui tollis
peccata mundi, miserere nobis.
Agnus Dei, qui tollis
peccata mundi, dona nobis pacem.
And I believe in the Holy Ghost, the Lord and giver of life, who proceeds from the Father and the Son, who with the Father and the Son is worshipped and glorified, who spoke by the prophets.
And I believe one holy, catholic and apos?tolic Church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead, and the life of the world to come. Amen.
Holy, Holy, Holy, Lord God of Sabaoth. Heaven and earth are full of thy glory. Hosanna in the highest. Blessed is he that cometh in the name of the Lord. Hosanna in the highest.
Lamb of God, that takest away the sins of
the world, have mercy upon us.
Lamb of God, that takest away the sins of
the world, have mercy upon us.
Lamb of God, that takest away the sins of
the world, grant us thy peace.
Paul van nevel
Paul Van Nevel is a specialist in polyphonic music of the Middle Ages and the Renaissance, taking particu?lar interest in unknown codices and music prints and their notation. His studies have been supported by a number of research grants in Spain, Italy and France.
In the course of his activities at the Schola Cantorum Basiliensis (1969-1971), Paul Van Nevel founded the Huelgas Ensemble in 1970. At present, Paul Van Nevel holds the posi?tion of lecturer in early music at the Sweelinck Conservatoire in Amsterdam and is a notation specialist at the "Centre de Musique Ancienne," Geneva. In addition to his work with the Huelgas Ensemble, Paul Van Nevel is a guest conductor of the famous Netherlands Chamber Choir that is known for excellent concerts and recordings of Renaissance polyphony of the fifteenth and sixteenth centuries.
As an author, Van Nevel regularly writes articles in the field of notation and interpre?tation of early music sources. He has written
several books, including a study of the life and works of Johannes Ciconia. Working for the German publishing house Barenreiter, Paul Van Nevel is responsible for the field of early polyphony and is presently preparing a publication on the interpretation of poly?phonic notation.
The Huelgas Ensemble is one of the most highly-acclaimed groups in the field of Medieval and Renaissance performance practice working in Europe. The Ensemble never fails to engage and surprise audiences with original programs of mostly unknown works, which have been discovered in manu?script form in European libraries by the Ensemble's Music Director, Paul Van Nevel.
The Huelgas Ensemble's interpretations are based on a thorough knowledge of how music was approached in the Medieval and Renaissance periods. An important charac?teristic of their preparation is the way they return to the original notation of both text and music in order to come nearer to what they see as the essence of the composition.
The Huelgas Ensemble consistently places early music in its historical context, convinced that a musical composition can?not be divorced from the environment and social conditions that surrounded its cre?ation. The Ensemble's performances are influenced by a study of the European literature of the time, while the interpreta?tions are informed by the reading of impor?tant scholarly works on temperament by Albertus Magnus, Ciulio Camillo (Theatre of Memory), and writings on rhetoric such as Jacobus Publicius' Oratoiae artis epitome.
The Huelgas Ensemble is widely praised for its exciting approach to repertoire and for the way it frequently sets new standards in performance. This is reflected in the prizes that it has won. Two years after its founding in 1970, the Ensemble was award?ed first prize in the Early Music Competition at the Festival of Flanders. In 1981, the
Ensemble was awarded a Laureate at the European Broadcasting Union competition for its program of music by Johannes Ciconia.
In 1988 the Ensemble presented a pro?gram, "Composers of the Polyphonic Age," winning a "Golden Prague" award at the International Film Festival in Prague. In 1994 they won the Prix In Honorem of the 47th Grand Prix du Disque of the Academie Charles Cros for the recordings Codex las Huelgas, Febus avant! and Orlando di Lasso: Lagrime di San Pietro and received the Cannes Classical Award in the category Ancient Music for the recording Codex las Huelgas.
This evening's performance marks the Huelgas Ensembles debut under UMS auspices.
The Russian Village
Friday Evening, April 11, 1997 at 8:00
Michigan Theater Ann Arbor, Michigan
The Northern Pearls from Archangelsk region
The Folk Ensemble from podserednie village
Dorosovsky Folk Ensemble
Vladimirskie Rozhky
Natalya Terentyeva
Elvira Kunina, Director
Igor Shapocalov, Stage Director
Tatiana Avramenko, Chief of International Relations
Stan Pressner, Production Consultant
Program curated by The Folk Arts Center of the Ministry of Culture of the Russian Federation with David Eden, Producer
Sixty-ninth Performance of the 118th Season
Moving Truths Series
Special thanks to Marge Malicke, Ken Marblestone, Pauline Skinner and Jorge Solis of NBD Bank for their continued support.
Major support for the Russian Village tour provided by The Ministry of Culture of the Russian Federation and Aeroflot Russian Airlines.
Large print programs are available upon request.
As a result of an enormous geographical scope encompassing impassable terrain and remote isolated regions, Russia's folk tradi?tions, rituals, and village life have escaped the vicissitudes of history. The Russian peo?ple maintain a diversity of popular cultures, which, while sharing similarities in style and repertoire, possess unique regional particu?larities.
Like characters from a fairy tale, village rituals and festivals remain the lifeblood of many rural communities. Village performers learn these arts from their parents, who, in turn, learned from generation after genera?tion of ancestors. Songs handed down date back as far as the Thirteenth century. Groups perform in authentic costumes, some made by their great-grandmothers over 200 years ago. The performances are technically brilliant and full of great emo?tion, vitality, color and excitement.
Following the October Revolution in 1917, everything in Russia had to serve ideo?logical and political purposes. The leaders of the new proletarian society determined that the broad masses should embrace
Russia's folk heritage. Directions for new "folk" dances like Hurrah for Labor and The Girl from the Collective Farm were published and widely distributed. Folk ensembles com?prised of professionally trained dancers were hailed at festivals throughout the Soviet Union and were presented with awards testi?fying to the achievements of their native regions. This fostered the development of a pompous, monumental style of presentation that dominated the Soviet era, where pseu?do-ethnography was commingled with showy spectacle.
Today, many ensembles still practice this theatricalized style. In fact, the majority of Russians would probably not recognize the authentic folk arts of their native land. But the most interesting folk ensembles are those collectives that have preserved ancient folk traditions, retaining and celebrating their specific regional variations.
The Archangelsk region is located in the northern part of Russia. The limits of the region extend beyond the Arctic Circle along the White Sea.
People came to this region and settled on the banks of three major local rivers -the Northern Dvina, the Pinega and the Mezen'. Most were descendants of the inhabitants of the ancient city of Novgorod who had moved to the North at the end of the Thirteenth century. Their main occupa?tions were fishing and hunting.
The population that remained in this beautiful and isolated land has managed to preserve its ancient rituals, customs, leg?ends, epics and songs. The songs and dances of the Northerners are deeply root?ed in the ancient culture. They fill workdays and holidays with original, vivid melodies and help the people live through times of joy and sorrow.
The Northern Pearls ensemble exists to preserve and celebrate the folk traditions of
Archangelsk. Their repertoire is based on the folk art of both the northern and south?ern parts of the Archangelsk region. Folk songs, round dances, ceremonial dances, traditional games, narratives {"skazkF), dit?ties ("chaslushkf), outdoor fetes and folk stories of the Russian North are combined into spectacular theatrical events. The music is performed on ancient folk instruments such as the sonorous "gusli," "jaleikas," "bal?alaika," Russian accordion and concertina, wooden spoons, horns, and various house?hold utensils and objects of everyday use (bast shoes, birch bark jars, baskets, bells, rattles, etc.).
Most Northern folk songs are sung by women, but men participate in some dances and take part in "chastushkf -lighthearted, playful limericks sung with the accompani?ment of accordion. Traditional Northern folk singing is in three voices, but an abun?dance of high and low overtones magnifi?cently enriches the choral fabric.
The audience will hear the mournful songs of the Pinega region of the extreme north, which have improvisational choir motifs and deeply dramatic meanings. The richness of folk singing is particularly evi?dent in these slow, so-called "long" songs. As a rule, the subject of a "long" song is dra?matic, telling of the strict laws of the past, of the lonely life of the widow, of unhappy love and marriage, and of hard life in the North. The verse of a "long" song is simple but sophisticated. Its complex melody is further enriched by performers who sing variations and improvise. The "long" songs are perfect?ly suited to demonstrating the performers' abilities and range. When several choirs get together, they start with "long" songs to show their strength and beauty of sound.
At the same time, there are festive short songs from the southern part of the region, each demanding a very distinctive manner of singing unique to that area where the song was created.
These songs of a less dramatic character, such as wedding songs and songs about nature, are performed together with a dance, ("khorovod," literally meaning "walk?ing with a song"). Movements of a "khorovod" are greatly varied. They can be in a circle, with performers holding each other's hands, diagonally in pairs and fours, and solo in a straight line. Especially popular are "khorovod" dances where the subject of the song is played out in the center, and where the dance pattern resembles movements of a snake. Very often several types of "khorovod" are used during the course of a single song. In rural life, participation in a "khorovod' has much significance. It is there that women of the North, particularly the young ones, demonstrate their beauty and poise as moth?ers select brides for their sons.
The Northern Pearls program also includes songs associated with the most important and dramatic events in the rural life of Northern Russia -the departure of young men for twenty-five years of conscript?ed military service and the wedding ritual. From the end of the Eighteenth century, young Russian men were subject to conscrip?tion into the army. Usually young men from poor peasant families were drafted against their will; the soldiers' brides would mourn for their loved ones and their own broken lives, saying good-bye while expressing sor?row and grief. The bride's lament had also become an obligatory element of the wed?ding ritual. Even if the girl was in love with her husband-to-be, she was expected to cry when leaving her family's house.
Just like the repertoire of the ensemble, the performers' costumes reflect the diversi?ty of the Archangelsk region. Since ancient times, people of the North have had rules for dressing. Any occasion, whether a street gathering, a funeral, hay stacking, or a wed?ding, requires specific dress. The Northern Pearls has four sets of picturesque costumes created from traditional Northern patterns.
The costumes of the performers are authen?tic, and many of their details are hand?made.
The everyday costume features "peslryadinnik" -a colorful red and white chess pattern woven of dyed linen thread -sewn into the outer garment or dress ("sarafan"). A white blouse ("mashniza"), decorated with lace and red embroidery on the shoulders, is complimented by a hand?made belt of woolen thread. In the North, uncovered hair for women is considered a sign of loose morals. The obligatory head piece, called "dvourochy kokoshnik," consists of a "povoynik" a small red silk hat that must cover all hair, which is worn under a cotton print scarf.
Stylized town-fashioned costumes include diagonally gusseted dresses ("sarafans") made of flower-patterned fabric. In addi?tion, the costumes have a short, sleeveless jacket ("korotena") with big folds on the back, which repeats the trapeze-like silhou?ettes of the "sarafans."
Holiday costumes are very different from village attire. These dresses are also hand?made, but are crafted from expensive imported silks and are decorated with lace, silver chains and long strings of amber beads. Shoulders are covered with a woven silk shawl, while the head dress is made from golden silk brocade embroidered with fresh water pearls and adorned with a bun?dle of bright ribbons. The festive "Pinef cos?tume consists of a big straight-pleated satin skirt decorated with lace, a sleeveless jacket, white shirt and head decoration.
The Northern Pearls ensemble was formed more than thirty years ago. Today it consists of sixteen performers who are joined by two special guest artists for this American tour: Vladimir Golovanov, a virtu?oso accordionist, and Liubov Smolenskaya, a native of the Keivraga village of the Pinega Region who performs an obscure lament of exceptional beauty. The artistic director of The Northern Pearls is Nikolai Kalikin.
The city of Belgorod was founded in the Sixteenth century as a fortress on the south?ern border of the principality of Moscow. In that same century, it became die keystone in a line of defense, called the Belgorod Line, which consisted of some twenty-seven forti?fied townships. This belt offered protection from the frequent raids of Tartars from the Crimean peninsula and the Nagay area, and was crucial to the formation of an indepen?dent Russian state.
The governmental department now known as the Belgorod Region was created in 1951. It occupies the southwestern part of the Central Black Earth Belt of Russia. The region is one of the most dynamic in Russia in terms of agricultural and industrial devel?opment.
Villages populating the banks of the Tikhaya Sosna River still preserve the rich and intricate singing styles of the Belgorod region. One such setdement is the Podserednie village, which was founded in the middle of the Seventeenth century and is considered a veritable treasure trove of folk traditions. The folk culture that origi?nated in the old fortified township of Userd and its outskirts is kept alive today by the modern-day villagers of Podserednie.
The folk ensemble from Podserednie vil?lage was formally established in 1950. The ensemble is very creative and passionate, with extensive knowledge and true love of the rituals, songs and music of rural Russia. Their repertoire is extremely diverse. The music embodies and extends die different layers of the Russian folk heritage: calendar-ian, wedding, epic (traditional spiritual vers?es, ballads), soldiery, romances, laments, and lyrical wailing ceremonial dance songs, narratives ("skazkf), ditties ("chastushki"), sayings ("poslovitzi"), and jingles ("pribaut-ki"). Their performances provide a living cultural history of peasant life in Russia.
Bright, multicolored, festive costumes constitute a significant element of the folk
traditions of Belgorod. The women's cos?tumes consist of a skirt ("panyova") of home-spun wool dyed in lush orange and green, worn with a white hemp blouse with intricate embroi?dery on the sleeves, and a long apron dec?orated with long black and gold threads. The head piece is a narrow cap decorated with brocade. White wool socks and black
loafers or high-top shoes complete the women's costumes. Men wear a white shirt with embroidered sleeves and a black vest decorated with floral ornaments. Both men and women wear wide multicolored sashes. The ensemble from Podserednie village that is participating in this American tour consists of ten performers. The artistic direc?tor is Olga Ivanovna Manechkina, an Honorary Arts Worker of the Russian Federation.
Situated 250 miles southwest of Moscow, Bryansk was successively an autonomous principality during the Thirteenth and Fourteenth centuries, a satellite of the Lithuanian crown in the Fifteenth century, and then finally absorbed into the Russian Empire at the turn of the Sixteenth century.
Possessing one of Russia's oldest folk cul?tures, Bryansk has historically been a rural society and the traditions of the region are steeped in agrarian celebrations. The Carnival and the Feast of Saint John (June 21) are celebrated as well as certain Spring rites in which young girls walk out in proces?sion to "dress the birch," that is to say, deco?rate the sacred tree with multicolored ribbons.
The music is characterized by its respon-
sorial form, with two-voiced harmonies sung in lively tempo with extraordinary dynamism. Ceremonial dances ("kkorovods"), songs, games, minstrel plays ("skonorokhr) and games on the "Kuviklah" are some ele?ments of the region's traditions.
Dorozovsky Folk Ensemble
Situated in the northern part of the Bryansk region, Dorozovo is a big village surrounded by fields and pine forests. To the east of the village is the picturesque Sennaya River and to the south flows the Desna River.
The Dorozovsky Folk Ensemble was formed in 1936, and gave its first formal performance in 1939 at the Regional Cultural Olympics at the village of Bellie Berega. At this festival, the ensemble received the first of many awards, in this case for "Folklore Truthfulness and Sincerity of the Performance." During World War II, Dorozovo was devastated as the entire village was burned to the ground by the Nazi army and many of villagers were executed because of connections to anti-fascist guerrillas.
But the Nazi's did not succeed in destroying the cultural traditions and spirit of the village. As the village was rebuilt, folk traditions and songs were revived as well.
Fortunately, during the war, the women of the village went into the woods and buried all of their elaborate costumes, sewn with glass beads and decorated with hand-made lace. After the war, the costumes were retrieved and were subsequently worn dur?ing performances when the ensemble resumed participating in folklore festivals.
Located near Chernobyl, the Bryansk region was shattered economically and socially by the nuclear catastrophe in 1986. Yet the Dorozovsky Folk Ensemble continues to perform. In 1990, as a part of the UNESCO Cultural Exchange Program, the ensemble was invited to France, Belgium and Holland. In 1991, the ensemble won the first prize of The Federation of the Union of Cultural Workers for "Distinct Artistic Achievements."
At the present time, the Dorozovsky Folk Ensemble tours as a group of eight perform?ers. Their repertoire centers on songs and dances associated with the cycles of the sea?sons and includes wedding laments, celebra?tory songs and songs of farewell, as well as more than one hundred old Russian songs, including drawling, ceremonial dances and fun-and-games songs.
Dorozovo is also noted for an archaic theatrical ritual, "Bryansk Kostroma." This theatrical event, with songs and dialogue, is about the flax weaving process, and provides a rare glimpse of the earliest of ancient Eastern Slavic folk traditions.
The artistic director of the Dorozovsky Folk Ensemble is Tamara Lavrentievna Poliakova, who has worked for the Bryansk Regional Department of Culture for more than forty years.
Also from the Bryansk region, Mokosha con?sists of five young musicologists who are committed to recreating the songs and dances of surrounding villages with the intention of preserving the area's traditional
folk arts. Formed in 1984, Mokosha takes its name from the ancient Russian goddess of fate, love and fertility, who was one of the most revered dieties of the pre-Christian era. Even after conversion, the peoples of the Desna River valley continued to worship Mokosha. The beauty of these folk tradi?tions, which are well over one thousand years old, was the inspiration for the cre?ation of this ensemble.
The repertory of the ensemble includes a range of "chastushkf and dances, and their performances feature virtuoso musician Sergei Maleev playing accordions of various sizes. Originating in Western Europe, the accordion found its second home in Russia and can rightfully be called a Russian folk instrument. This young ensemble is repre?sentative of the next generation of folk per?formers who are ensuring that Russia's won?derful cultural legacy is sustained and cele?brated. They have performed throughout Russia, as well as in Germany and Japan. The artistic director of Mokosha is Larisa Mazarskaia.
Vladimir is located 110 miles northwest of Moscow on the Klazma River. The city was founded in 1108, and although it came under the control of the princes of Moscow by the Fifteenth century, it has remained the center of religious life in Russia. The cathe?drals of Vladimir are prized among the architectural treasures of Russia.
One of the most widely practiced occu?pations in the Vladimir region was pas?turage. It often happened that, while engaged in daily shepherding, one "artel," or shepherd collective, would compete against another. It was in this way that the first cho?ruses of Vladimir hornplayers were formed. The organization of the first horn ensem?bles dates from the 1870's.
In 1883, the shepherds from Vladimir were invited to Saint Petersburg, where they
performed for the public in the Livadia Gardens. This successful debut opened the door for many more engagements. In 1884, they visited Paris, Berlin and Brussels. They even played for the family of Tsar Alexander III and at the coronation ceremony of the last Russian tsar, Tsar Nikolai II, in 1894.
The folk group, Vladimirskie Rozhky, is continuing the tradition of Vladimir's shep?herd-musicians, who crafted and played hand-made wooden horns, and thereby cre?ated their own unique cultural legacy. The collective was formed in 1991 at the Regional Center for Creative Arts and is the direct continuation of the traditions of the artel troubadours.
From generation to generation, the magic of playing and the secret of making the horns has been passed down. The reper?toire of today's Vladimir hornplayers con?sists of traditional Russian folk songs and country melodies, as well as shepherds' tunes, and offers almost the same songs once performed by their ancestors. This unique group presents a real history of die Vladimir horns during its performances, from the original pastoral tunes to the music of the present day.
The touring ensemble from Vladimirskie Rozhky consists of nine younger musicians and singers. In keeping with tradition, die main nucleus of the chorus is feminine. All of the members of the ensemble have a pri?mary musical education. Outside of the ensemble, they serve as factory workers, stu?dents, and college and university teachers.
The artistic director of Vladimirskie Rozhky is Nikolai Golenko, who is the First Prize-winner at the All-Russia festival, "Play, Accordion."
The Samara region is situated along the Southern Rim of Russia on banks of the Volga River. From ancient times, the water?ways of the area have allowed different pop-
illations to intermingle and exchange cul?tural traditions. The folk music style of the Volga region incorporates elements from a diversity of peoples of European Russia, as well as the Finno-Ugric and Turk speaking regions of the Caucasus.
Natalya (Natasha) Terentyeva was born on November 28, 1975 in the city of Saratov and has been singing in various folk groups since she was ten. In 1995, Natasha graduat?ed from the Shatalov Music School in the city of Samara, majoring in Choir Conducting. Presently, she studies at the Samara State Academy of Culture and Arts, where she is enrolled in the Vocals Department. Since 1991, she has been a soloist in the folk group, Dobro, which is affiliated with the region's Center for Folk Arts. She is the First Prize-winner of the Ruslanova National Competition.
Her repertory includes traditional songs, "ckastushki," and "skomorokhi." She performs both a cappella and with musicians from the various ensembles.
Official Russian history states that the Cossack population consists of descendants of serfs who had lived on the domains of the Russian grand dukes, but who, in the second half of the Seventeenth century, ran away and came to hide in the Don region. These runaways led a free life in the south of Russia, along the frontier of Central Asia. This is how the first villages and "stanitsas" (free Cossack towns) appeared.
In 1802, the Don region was divided into several districts, each one of them an inde?pendent department of the Don Cossack Army governed by the "Special Respect Declaration."
The Cossack's lifestyle was very strict: households were modeled on military order. All of the dilemmas of the Cossack's every?day life were discussed in public at annual gatherings called "army circles."
Since the Eighteenth century, folk songs of the Don region have become a distinct element of Russian folk art. Cossacks have always tried to preserve the legacy of their past by creating epics ("bilina"), narratives ("skazkr), and songs. Their art is noted for its melody and the special role of the sopra?no. A distinctive polyphony is created when the soprano takes the second part, while the main voice leads the tune. Today, most of the Don Cossacks live in the Rostov region or in the capital city Rostov-on-Don, a pow?erful industrial and cultural center of Southern Russia.
The members of the young folklore ensemble "Volnitsa" (Freemen) from Rostov-on-Don follow in the old Don Cossack tradi?tions. These descendants of the Don Cossacks are trying to preserve and bring to audi?ences the songs that they have inherited from their grandfathers. These songs are performed by the ensemble in the same way that they have historically been and are presently being performed on Cossack farm?steads.
The ensemble's repertoire includes songs that extol the individuality of the cul?ture of the Don region, preserving its histo?ry and love of freedom. The ensemble also performs family, wedding, recruiting and marching songs.
Ten musicians and singers represent Volnitsa on this American tour. The artistic director of the ensemble is Alexander Venglevsky.
David Eden (Producer) has been a produc?er of dance, theater, music and performing arts events for more than fifteen years; his distinguished history includes much work centered on Russian culture. His most recent projects have included the American tour of the Maly Drama Theater's produc?tion of Gaudeamusr, a project on Ballanchine
which led to the staging of his Concerto Barocco by the Perm Ballet in early 1996; the revival of Bronislava Niginska's Les Noces for the Maly Drama Theater in St. Petersburg, presented as part of a program on modern dance entitled "Hermitage," for which Eden received the Russian Ballet Award for Outstanding Dance Event of the Year. Eden also initiated the Russian-American Ballet Repertory Workshop at Jacob's Pillow Dance Festival and in Moscow. He conceived and directed Silenced Voices: The Poetry of Akmalova and Tsvetaeva, a series of poetry readings with music which toured the United States, and is presently Arts Advisor for the St. Petersburg Festival. In 1993, Eden was the Performing Arts Advisor to the World Financial Center Art & Events: Celebrate Russia series. In 1991, he co-pro?duced the Soviet Theater Festival at River Arts Theater in Woodstock, NY. In 1990, Eden produced his first US presentation of indigenous folk arts groups from remote areas in Russia, which toured the US and participated at the New York International Festival.
Co-produced by Folk Arts Center of the Ministry of Culture of the Russian Federation
Elvira Kunina, Director Tatiana Avramenko, Chief of
International Relations Igor Shapovalov, Stage director
Michigan Chamber players
of the University of Michigan School of Music UMS Faculty Artists Concert
Richard Beene, bassoon Erling Bengtsson, cello Deborah Chodacki, clarinet Katherine Collier, piano Nicole Divall, viola Freda Herseth, mezzo-soprano Carolyn Huebl, violin
Andrew Jennings, violin Bryan Kennedy, horn Wendolyn Olson, violin Harry Sargous, oboe Yizhak Schotten, viola Stephen Shipps, violin Felix Wang, cello
Sunday Afternoon, April 13, 1997 at 4:00
Rackham Auditorium Ann Arbor, Michigan
Stuart Sankey
Where the World is Quiet
for Mezzo-Soprano, Horn and Piano
Here Where the World is Quiet 1 am Tired of Tears and Laughter No Growth of Moor or Coppice We are not Sure of Sorrow From too Much Love of Living
Herseth, Kennedy, Collier Francis Poulenc
Sextet for Piano and Winds
Allegro Vivace Divertissement: Andantino Finale: Prestissimo
Collier, Sargous, Chodacki, Beene, Kennedy
Georges Enesco
Octet for Strings, Op. 7
Tres modere
Tres fougueux
Mouvement de Valse bien rythmee
Jennings, Shipps, Olson, Huebl, Schotten, Divall, Blondahl-Bengtsson, Wang
Seventieth Performance of the 118th Season
Large print programs are available upon request.
Where the World is Quiet
Stuart Sankey
Toward the end of his career, the nine?teenth-century British writer Algernon Swinburne published a defense of his poetic style in which he described three of his poems -Dolores, The Garden of Proserpine, and Hesperia -as "acts in a lyric monodrama," something like movements in a symphonic suite. The central poem or "slow movement" in this grouping, The Garden of Proserpine, is in Swinburne's own words, "expressive of that brief total pause of passion and of thought, when the spirit, without fear or hope of good things or evil, hungers only after the perfect sleep." It is a death-wish pause; an overwhelming Wellschmerz which, in the subsequent poem Hesperia, is trans?formed into a yearning for immortal love.
In the mid-1970s, teacher and composer Stuart Sankey set five of the twelve stanzas from The Garden of Proserpine as a choral work. Ten years later he arranged them for mezzo-soprano, piano, and French horn obbligato, drawing the set's title from the first line of the first stanza, "Here, where the world is quiet." His use of the French horn timbre to accompany texts on the topic of death and loneliness may recall passages from the first of Mahler's Kindertotenlieder, uNun mil die Sonn' so hell aufgehn," or another of his Ruckert settings, "Ich bin der Welt abhanden gekommen," where voice and solo horn often intertwine to suggest a similar world-weary state. Sankey has set Swinburne's forlorn texts in a predominantly triadic style where consonance is appropriate for the themes of death and sleep. The cycle is something of a departure for the composer; as well as composing new works for his instrument, the double bass, Sankey has also made many arrangements of Baroque and Classical pieces for that instrument. In Where the World is Quiet, however, there is little styl?istic influence from these earlier periods,
and Sankey appears to have selected his techniques for the song cycle spontaneously, using the musical gestures that seemed appropriate at the time.
The composer's choice of stanzas from Swinburne's poem creates a palindromic structure in the cycle. The first song's "sleepy streams," representing the inexorable flow toward eventual death, point to the cycle's conclusion where "even the weariest river Winds somewhere safe to sea." The second song focuses on the weariness "of days and hours" and the folly of looking ahead to the future. The third introduces the central image of Proserpine's garden, where there are no flowers or leafy greenery; only "bloomless poppy buds" (suggesting an opi?ate-induced sleep) and Proserpine's green grapes which she treads into "deadly wine" for the already-dead. In the next song, as in the second, the futility of future hopes is reiterated with increased certainty: 'To-day will die tomorrow Time stoops for no man's lure." The final song's fatalistic tone consumates the longing for death hinted at in the opening; the vicissitudes of hope and fear are put to rest forever.
Where the World is Quiet
Texts from The Garden of Proserpine by Algernon Swinburne.
Here, where the world is quiet,
Here, where all trouble seems Dead winds' and spent waves' riot In doubtful dreams of dreams; I watch the green field growing For reaping folk and sowing, For harvest time and mowing, A sleepy world of streams.
I am tired of tears and laughter,
And men that laugh and weep, Of what may come hereafter For men that sow to reap: I am weary of days and hours, Blown buds of barren flowers, Desires and dreams and powers, And everything but sleep.
No growth of moor or coppice,
No heather-flower or vine, But bloomless buds of poppies, Green grapes of Proserpine, Pale beds of blowing rushes Where no leaf blooms or blushes Save this whereout she crushes For dead men deadly wine.
We are not sure of sorrow, And joy was never sure; To-day will die tomorrow;
Time stoops to no man's lure; And love, grown faint and fretful, With lips but half regretful Sighs, and with eyes forgetful Weeps that no loves endure.
From too much love of living, From hope and fear set free,
We thank with brief thanksgiving Whatever gods may be
That no life lives forever;
That dead men rise up never;
That even the weariest river Winds somewhere safe to sea.
Sextet for Piano and Winds
Francis Poulenc
Born on January 7, 1899 in Paris
Died on January 30, 1963 in Paris
Francis Poulenc, the French composer renowned for his affecting and witty songs as much as for his delightful instrumental works, was once described as a "hedonist in music;" his main goal was to charm and please his audience. This was not meant to imply that he was overly frivolous or facile, but simply that his works were meant to be enjoyed rather than endured. In the Sextet (for flute, oboe, clarinet, bassoon, horn, and piano), Poulenc is certainly at his most charming and enjoyable.
The Sextet was written between 1932 and 1939, coming at the end of Poulenc's first period of chamber music composition. In the last six years of his life he would again return to the chamber genres, but in 1939 he considered the Sextet a kind of intermedi?ary summing up: "This is chamber music of the most straightforward kind: an homage to the wind instruments which I have loved from the moment I began composing." Pianist and author Maurice Hinson called the Sextet a "romp that blends the best of Chopin and the music hall." Indeed, one of the hallmarks of Poulenc's style, especially clear in the Sextet, is the ease with which he alternates art music and vaudeville, langorous elan and rhytlimic vitality, melancholy and joy.
Poulenc kick-starts the Sextet's first move?ment, "Allegro vivace," with a rising-scale flourish. Then a moto perpetuo accompani?ment in the piano propels the winds through energetic rhythmic figures that music critic Wilfred Mellers calls the "hurly-burly of everyday living." A brief melody almost steals in among the activity, but it is not until a bassoon solo slows the pace that the music turns gently lyrical. Poulenc was a melodists at heart, and the occasional passion?ate outbursts in this central passage show his
indebtedness to the nineteenth-century French Romantic song-writers. Gradually the music becomes eerily detached, recalling passages from the composer's own Sonata for Two Pianos. The opening themes return, a coda pushes up the intensity a notch, and the movement closes with another piano flourish similar to the one that had opened it.
The second movement "Divertissement" begins with a subtle allusion to Mozart's famous C-Major piano sonata (K.545), complete with aaux-Alberti bass accompa?niment. In the first movement, the contrast?ing central section was a lyrical melody, twice as slow as the outer sections. Here the tempi are reversed: it is the opening and closing passages that are slow, while the middle sec?tion moves directly into a sprightly music-hall ditty.
The "Finale" is a lively rondo-like move?ment with a main theme one critic descibed as an "Offenbachian gallop." Again the emphasis is on rhythmic energy, though often a lyrical fragment arches over the rip pling piano accompaniment. Time signature changes, cross-rhythms, and irregular accents all add to the unpredictability, as the various themes alternate freely and seemingly at random. Somewhat surprisingly, the move?ment doesn't end with the jolly bang one might expect from the fun-loving Poulenc. Instead, another bassoon solo announces a change in the emotional temperature; an expressively melancholic coda then crescendos into a strong yet solemn conclusion.
Octet for Strings, Op. 7
Georges Enesco Born on August 19, 1881 in Liveni-Virnav, Romania Died on May 4, 1955 in Paris
Toward the TURN-of-the-century, com?posers at the fringes of the Franco-Germanic tradition began to rediscover the latent
beauty of their own folk musics, and merge it with the musical style they had inherited from the Romantic era. In Czechoslovakia it was Dvorak and Janacek that championed their native folk culture, Bartok in Hungary, and Szymanowski in Poland, while in Romania the most famous representative of nationalism in music was undoubtedly Georges Enesco. Enesco believed that the musical language of German Romanticism was innate to him -he once said, "Some Wagnerian chromaticisms my nervous and vascular systems" -but the folk tunes and rhythms that suffuse his music have made him something of a cultural hero in Romania; his home town was even re-named "Georges Enesco" in his honor.
Enesco was active as a conductor, violinist, pianist, and teacher, in addition to his com?posing. His output was, as a result, limited. He assigned opus numbers to only thirty-seven works, but explained, "If the number of my works is rather small, this is because I wanted to give ...everything that was best in me." Though not prolific, Enesco had enthusiastic champions among performing musicians, including Yehudi Menuhin, who ensured that his music was heard by as wide an audience as possible.
Throughout all Enesco's music there is an incredible polyphonic intricacy, and this is nowhere more clear than in his Octet in C Major, Op. 7, composed while he was a nine?teen-year-old student at the Paris Conservatoire. The composer remarked, "Polyphony is the essential principle of my musical language; I'm not a person for a pretty succession of chords," and the Octet may be the most ambitiously contrapuntal of all Enesco's works. Yet within the interweaving lines of the Octet, Enesco demonstrates a remarkable sensitivity for the rich Romantic harmonies that he feigned to disregard.
The Octet, written for a doubled string quartet (four violins, two violas, two cellos), consists of four movements, played without
a pause. The work's epic scope is announced at the outset of the first movement ("Tres modere") with the upper strings playing a grand unison theme while the cellos pulse on a C pedal point that lasts a full minute. Though nominally in the major mode, this opening theme shifts rapidly and fluidly between major and minor. This alternation, and the frequent use of melodic augmented seconds, recalls not only the native folk music of Romania itself, but also the melodies of the Romanian Gypsies and the music of Turkey (which had for centuries occupied Romanian territory). After the initial state?ment, this theme is developed in a two-part canon, invoking the polyphonic devices of which Enesco was so fond. A rhapsodic lyrical theme leads into a developmental section, but there is no recapitulation as such. Enesco seems to hint at, but ultimately avoid, the sonata form that would be expected in a first movement such as this.
The second movement, marked "Tres fougueux" (Very spirited) begins again with an unison statement in the upper strings, although this time the theme is jagged and disjunct. As in the first movement, the cellos provide a rhythmic underpinning for the fugato between the violins and violas. Periodically the diverse melodic strands come together dramatically on a unison, providing brief points of relaxation in an otherwise relentlessly contrapuntal texture. This movement, like the first, ends peacefully.
It is in the third movement "Lentemenf that the richness of Enesco's Romantic her?itage emerges. The opulent chordal backdrop and gentle progressions in this movement are typical of late-Romanticism, and are par?ticularly reminiscent of Dvorak. In this noc?turne the middle textures dominate, framed by a mellow and sonorous bass-line and delicate countermelodies in the violins. Reminiscences from both of the earlier movements signal a transition to the finale "Mouvement de Valse bien rhythmee," a rhythmic
and lively waltz that synthesizes themes and motifs from all the previous movements in a vigorously energetic conclusion. The Octet ends on a final arpeggiated flourish, with a flatted second scale degree that serves to remind the listener of both the work's and the composer's Romanian origins.
Program notes by Luke Howard
Richard Beene, bassoonist, enjoys an active career as an orchestral player, soloist, cham?ber musician and educator, and is a member of several faculty ensembles. He is also prin?cipal bassoonist with the Toledo Symphony Orchestra, where he has appeared numerous times as a soloist.
The internationally acclaimed cellist, Erling Blondal Bengtsson joined the University of Michigan School of Music Faculty in 1990. Long known to European audiences, he has enjoyed a distinguished and prolific career as a teacher, performer and recording artist not only in the Scandinavian countries, but throughout the Continent, Great Britain and the Soviet Union.
Deborah Choacki, Assistant Professor of Clarinet, joined the School of Music faculty in the fall of 1993. She holds a bachelor of music with distinction from the Eastman School of Music and a master of music from Northwestern University. Her clarinet studies were with the renowned artist-teachers Stanley Hasty and Robert Marcellus.
Katherine Collier was the top prize winner of the National Young Artists' Competition and the Cliburn Scholarship Competition and was the recipient of a Rockefeller Award and a Kemper Educational Grant. She has bachelor's and master's degrees from the Eastman School of Music, where she received the performer's certificate, and a postgradu?ate diploma from the Royal College of Music in England.
Nicole Divall, violist, is a graduate of the Canberra School of Music in Australia. Since coming to the United States in 1992, she has participated in a two-year training program for young quartets, directed by the Emerson Quartet. She has appeared at the summer festivals of Aspen, BRAVO! Colorado, Park City, Steamboat Springs, North Arkansas, San Juan Islands, New Hampshire, and Taos, and on the concert series of Troy and Berkshire.
Freda Herseth, mezzo-soprano, has sung leading roles in opera houses in Germany and the United States, and has received critical acclaim for her performances in La Cenerentola, The Marriage of Figaro, Hansel and Gretel, Cost fan tutte, Der Rosenkavalier and The Barber ofSevile. She was guest soloist with the Stuttgart Opera from 1983-95.
Andrew Jennings, Associate Professor of Violin, was graduated from Thejuilliard School. His principal teachers included Ivan Galamian, Alexander Schneider and Raphael Druian. In 1971, he was a founding member of the remarkable Concord String Quartet, which association he maintained until the Quartet disbanded in 1987.
Bryan Kennedy, Associate Professor of Horn, a two-time prize winner in the Heldenleben International Horn Competition, came to the School of Music in 1995 after a distinguished orchestral career. He was a member of the Detroit Symphony Orchestra from 1982-1995, playing under many renowned conductors, including Neemijarvi.
Christopher Neal, violin, is a graduate student at the Unversity of Michigan.
Wendolyn Olson is a doctoral student in Violin Performance at the University of Michigan where she studies with Paul Kantor. She received her Bachlor's of Music from Indiana University and earned Master's degrees insolo violin performance and chamber music at the University of Michigan. She currently plays with the University of Michigan Graduate String Quartet and the University of Michigan Contemporary Directions Ensemble.
Harry Sargous, Professor of Oboe, came to Michigan in 1982 from Toronto where he had been principal oboist since 1971 of the Toronto Symphony and the Toronto Chamber Winds. He held that position as well with the Kansas City Philharmonic and the Toledo Symphony, and performed for several summers at the Marlboro Music Festival.
Yizhak Schotten, violist, was born in Israel and brought to the U.S. by the renowned violist William Primrose, with whom he studied at Indiana University and the University of Southern California. Other studies were with Lillian Fuchs at the Manhattan School of Music.
Stephen Shipps, Associate Professor of Violin, studied with Josef Gingold at Indiana University, where he received a B.M., an M.M. with honors and a performer's certifi?cate. He also studied with Ivan Galamian and Sally Thomas at the Meadowmount School and with Franco Gulli at the Accademia Chigiana in Siena, Italy.
Felix Wang, cello, from Okemos, Michigan, is currently working on his Doctorate of Musical Arts at the University of Michigan. He received his Bachelor of Music from the Peabody Institute, and his Master of Music from the New England Conservatory. In 1993, Mr. Wang was a recipient of a prestigious Beebe grant for study abroad and spent a year in London.
The Michigan Chamber Players present four to six concerts a year, two ofxuhich are sponsored by the University Musical Society.
presen t
the assad Brothers
guitar duo
Friday Evening, April 18, 1997 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Isaac Albeniz
Cordoba, Op. 232, No. 4
(from Cantos de Espana)
Jean-Philippe Rameau
From Nouvelles suites de pieces de clavecin
L'egyptienne La Poule
Andre Jolivet
Serenade pour deux guitares
Preludio e canzona Allegro trepidante Andante maliconico Con allegria
Darius Milhaud SCARAMOUCHE
Joaquin Rodrigo TONADILLA
Allegro ma non troppo Minueto pomposo Allegro vivace
Astor Piazzolla
Tango Suite
Trem para Cordisburgo Chora corafao Jardim abandonado Milagre e Palhacos
Sergio Assad
Eterna Samba
arranged by Sergio Assad dedicated to the Assads
Seventy-first Concert of the 118th Season
Six Strings Series
Special thanks to Mrs. Sue Lee for her continued support of UMS through Regency Travel.
Large print programs are available upon request.
Cordoba, Op. 232, No.4
(from Cantos de Espana) Isaac Albeniz
Born on May 29, 1860 in Camproddn, Spain Died on May 18, 1909 in Cambo-les-Bains, French Pyrenees
Many of the compositions composed by Albeniz for keyboard are tinted with the color and sound of the guitar. He exchanged ideas with many French com?posers, including Claude Debussy, which helped him to create his own impressionist style. So influential are his piano works that a school of indigenous piano music was founded in Spain. As a youth, he played the guitar and after establishing himself as one of Spain's leading composers he openly gave approval to those guitarists who made tran?scriptions of some of his major keyboard works. His Suite Iberia reveals many guitar-like orchestral effects. Tarrega, Llobet, Segovia, and others found a wealth of new works to arrange for the guitar in the music of Albeniz.
Cordoba is number four in a group of pieces entided Cantos de Espana. The begin?ning of the piece opens with an impression of dawn overlooking the village of Cordoba, As the work progresses, the music becomes more active, reflecting the increased activity of the people. The story of village life unfolds and one's imagination does likewise.
L'egyptienne and La Poule
Jean-Philippe Rameau
Born September 25, 1683 in Dijon
Died September 12, 1764 in Paris
Jean-Philippe Rameau was born in Dijon on September 25, 1683. Througout his long career, he became the most celebrated eigh?teenth-century French composer and one of the most influential music theorists.
Published in 1722, his Traite de I'harmonie reduite a sesprintipes naturelwas the first attempt in music history to give a scientific basis to harmonic theory. In 1726 he pub?lished his systeme de la theorie musi-cale, making a significant contribution to the development of musical theory.
Although he only started writing opera at the age of fifty, Rameau left one of the most impressive contributions to the genre by producing twenty-two grand operas in twen?ty-seven years. Most of them were immediate successes, including his materpiece Castor et Pollux.
Rameau also made important contribu?tions to harpsichord music. He wrote his first collection of harpsichord pieces in 1706 in what could be considered a sketch of a suite. In 1724 he published two suites in one book under the title Pieces de Clavecin, and in 1731 wrote a second book divided also in two suites that he called Nouvelles Suites. The pieces L'egyptienne (the Egyptian girl) and La Poule (the hen) are from Suite No. 2 of the 1731 book.
Serenade pour deux guitares
Andre Jolivet
Born on August 8, 1905 in Paris
Died on December 20, 1975 in Paris
Andre Jolivet was born in Paris in 1905. He studied harmony, counterpoint, and fuge with deFlem and composition and orchestration with Varese. In 1935 he joined the chamber music society Spirale and in the following year, founded, with Messiaen, Lesur, and Baudrier, the group Jeune France, with the purpose of spreading modern French music. While working intensively as a conductor, he was music editor of La nou-velle Saison, an arts and literary criticism publication, and music director of La Comedie Francaise. He won many awards dur?ing his career, most notably the Grand prix
musical de la ville de Paris in 1951, and the Grand prix international de compositeurs in 1954. Jolivet wrote music of many genres and left among his many works, a piece for two guitars written in 1956 for the famous French duo Presti-Lagoya. The four move?ments of the piece Serenade pour deux guitares evoke the countries of Italy, Spain, France, and the United States.
Darius Milhaud
Born on Septeber 4, 1892 in Aix-en-Provence
Died on June 22, 1974 in Geneva
In 1937 Milhaud scored a French theatre play named Scaramouche. In its version for two pianos, the piece became widely known and a favorite among piano duets. The first movement {vij) is based upon a very popu?lar theme from the time (Trois esquimaux aulourd'un brasero); the second movement (modere) is the most developed of the three, recalling slightly Satie's harmonies. The final movement (Danza brazileira) is an echo from Rio de Janeiro during the 1930s where Milhaud lived and worked as "attache cultur?al" at the French Embassy.
Joaquin Rodrigo
Born on November 22, 1901 in Sagunto, Valencia
The tonadilla was originally a plain-song with guitar accompaniment used to mark an interlude in Spanish theatrical per?formances. It subsequently evolved into a short show piece. The Tonadilla para dos gui-tarras (1964) written by Rodrigo holds to the general form of a typical Spanish genre piece making use of the guitar. The opening "allegro," concise and brilliant, establishes between the two guitars, brisk dialogue
punctuated by powerful rasgueados. The second movement, "Minueto pomposo," respects the traditional symmetry of the genre (minuettripletminuet). The lyrical, occasionally mischievous accents of the min?uet, contrast with the central triplet, showing off to excellent advantage, the expressive qualities of the guitar in a song of exaltation underscored by bold rasgueados.
An "allegro vivace" of extraordinary flight ends the tonadilla, the dazzling dynamics of the first section are followed by a slow part blending the warm sonorities of the guitars before concluding in a frenzied return to the principal motif.
Tango Suite
Astor Piazzolla
Born in 1921 in Argentina
Died in 1992
Although he studied composition in Paris with Nadia Boulanger, Argentinian-born Astor Piazzolla made his career in his homeland as a composer of popular songs and dance pieces, and as a performer. His instruments were the piano and the bando-neon -a form of accordion that evolved in Argentina, and which is used by tango ensembles. In fact, tangos were Piazzolla's specialty, and he had a reputation in Argentina as the "king of the tango."
Piazzolla was a relative newcomer to gui?tar composition when he wrote this work for the Assads, however the movements of the lango Suite show a thorough understanding of the instrument's character and capabili?ties. Formally, the opening tango (Deciso) is a three-part structure, with fast sections bracketing a more gentle, lilting central part. The second tango, an Andante, begins sweetly, with widely ranging melodic shapes punctuated by brusque chordal figures. These, in turn, lead back to the dreamy
mood of the opening bars. The finale, an "Allegro," is the most agitated of the three tangos, full of bright, rapid chording, speedy single lines, and even a touch of chromaticism. This time, even the gentler middle seciton retains a feeling of energy and zest.
Cronica da casa assassinada
Antonio Carlos Jobim
Born in 1927 in Rio deJaneiro
Antonio Carlos Jobim was born in 1927 in Rio de Janeiro, Brazil. Jobim was one of the founders of the new style of playing samba known as bossa nova. Already famous in his native Brazil, Jobim became an inter?national celebrity in the 1960s with the great success of his music recorded by Stan Getz and Charlie Byrd. His great collection of melodies became standards of cool jazz. Jobim is considered by many as the Brazilian Gershwin due to his attempts to close the gap between popular and serious music. One of the best examples of that is the soundtrack, Cronica da casa assassinada writ?ten for the movie of the same title by Paulo Sarraceni. Four pieces of the soundtrack, Trent para Cordisburgo (Train to Cordisburgo), Chora Coracdo (Cry Heart) ,Jardim abandonado (Abandoned Garden), and Milagre e Palhacos (Miracle and Clowns) were recorded in 1973 in the album Matita Pere. In these pieces one can hear Jobim's fondness for the music of Villa Lobos, Rachmaninoff, and the French Impressionists. The present arrangement for two guitars by Sergio Assad is based on the original orchestration by Claus Ogerman.
Eterna Samba
Sergio Assad
As a member of the Assad Duo, Sergio Assad has composed many pieces for their concert performances. Although his music is strongly influenced by a traditional Brazilian idiom and remains harmonically mostly tonal, it is also informed by contem?porary practices. Eterna is a lyrical piece with some Impressionist color, while Samba blends harmonic complexities with the rhythmic excitement of this well-known Brazilian dance.
" believe we were always meant to be a team right from the first time we picked up our guitars. We began playing guitar at exactly the same time, we always studied with the same teachers and learned the same music and techniques. Such interaction can only really happen with brotliers, because we shared every aspect of our musical education together."
The Assads'
St. Louis Post-Dispatch Interview
The twentieth century has produced a number of guitar duos formed by happenstance or record?ing-company intervention. But for Brazilian-born siblings Sergio and Odair Assad, the roots obviously go much deeper. Today's foremost guitar duo, the Assads have been credited with doublehandedly reviving Brazilian music for the instrument. Their virtuosity has inspired a number of composers to dedicate oeuvres to the Assad Duo such as Astor Piazzolla, Terry Riley, Radames Gnatalli, Marios Nobre, Nikita Koshkin, Roland Dyens, Dusan Bogdanovic,
Jorge Morel, Edino Krieger and Francisco Mignone.
As children, the Assads' mandolinist father guided their discovery of Brazilian music. Their uncanny ability to play guitar together was evident at an early age and led them to seven years of study with the classi?cal guitarist and lutenist Monina Tavora, a disciple and former pupil of Andres Segovia.
The Assads' international career began with a major prize at the "Rostrum of Young Interpreters" in Bratislava, former Czechoslovakia, in 1979. Presently based in Europe, the Assads perform often in recital and with orchestras in France, Great Britain, Belgium, the Netherlands, Germany, Poland, the Szech Republic, Slovakia, Slovenia, Austria, Switzerland, Italy, Spain, Portugal and Greece, as well as Australia, Israel, the Far East, North and Latin America. This season, the Assads' North American tour includes this concert in Ann Arbor, as well as engagements in New York, Boston, Cleveland, St. Louis, Dallas, Los Angeles, Miami and San Juan.
Sergio and Odair have recorded over ten CDs. Their Baroque CD has received wide acclaim and their 1996 release Saga dos Migrantes was a New York Times Critics'
Choice selection. Aside from their duo recitals and their appearances with orches?tras, they have been collaborating with artists such as Dawn Upshaw, Gidon Kremer, Nadja Salerno-Sonnenberg and Yo Yo Ma.
The Assad brotliers made their UMS debut in November 1992. This performance marks their second appearance under UMS auspices.
presen is
maher Ali Khan and Sher Ali Khan
Faridi Qawwals Ensemble
Maher Ali, lead vocalist
Sher Ali, vocalist and harmonium
Mashuq Ali, vocalist and harmonium
Sardar Ali, vocalist
Amjad Ali Khan, tabla
Badar Munir, Shaukat Ali, Maqsud Hasan, Sadat Ali Saqib,
Arif Ali, Dilbar Hussain, Abdul Rashid, Rafaqat Ali, chorus
PROGRAM This evening's concert will be announced
Saturday Evening, from the staSe-
April 19, 1997 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Seventy-second Concert of the 118th Season World Tour Series
Large print programs are available upon request.
Strong voices and explosive handclapping characterize the devotional music known as Qawwali. An ensemble of usually thirteen male performers convey a religious message through music and song based on mystic poetry by Sufi masters. The texts usually deal with divine love ('ishq), the sorrow of separation (hifr, firaq) and the union (visat), these concepts being symbolically reinforced and illustrated by the music. Qaitnuali blends Iranian and Central Asian poetic, philosoph?ical, and musical elements into a North Indian base, combining popular music with classical traditions. Following the same pattern of combination and blending, the texts cover Arabic and Persian, but the main text body is usually in a simple idiom of Indian languages: Urdu, Hindi, Purbi, and Panjabi. The literal meaning of Qawwali is "belief" or "credo." Qawwali is spiritual essence; it is the devotional music the Sufis use to attain trance and mystical experience--originating with the founding of Chishti order in the tenth century and blossoming into its present form from the thirteenth century.
Qawwali is inseparable from the name of a court musician, composer, poet, and mystic of that period: Amir Khusrau (1254-1325). Amir Khusrau experimented with musical forms, combining the Indian and the Iranian, the Hindu and the Muslim, rendering Islamic audition combined with Hindu religious music to produce the present form of Qawwali.
Qawwali thus became a popular expres?sion of Muslim devotion open to all faiths throughout Northern India. This form of music rapidly became a vehicle for the Islamic missionary movement in India, while at the same time reinforcing the faith of the Muslims. In many cases, the original Persian mystical text is followed by a translation in the local idiom sung in the same manner as the original. While the orthodoxy continues to reject what they perceive as a blasphe-
mous mixture of music and religion, Qaimvali developed around the sixteenth century in the middle Indus at the crossroads between Iran, Central Asia, and India. This form called the Punjabi ang, presents the crystal-clear and profound texts of Panjabi Sufi poetry and folk songs woven into attractive melodies and powerful rhythms. Both Maher Ali, Sher AH and Nusrat Fateh Ali Khan belong to this branch of Qawwali.
The Setting
Although Qawwali has today become a part of mainstream music, it is traditionally a part of Sufi ritual at the shrine of a saint on a Thursday evening. Qawwali performances are stopped for the call to prayers and resume thereafter. Large gatherings of Qawwals are held at the death anniversaries of Sufi saints, in which their death is cele?brated as marriage with God ('urs). Groups of Qawwals perform day and night, with the best coming at the end.
The audience ranges from "the friends" (a term denoting members of mystical Islamic orders) to the common people attracted by the occasion. Both the audience and the musicians are all male (with the exception of women hidden from the view of on the roof). The musicians face the holy man (pir) and the more learned and older members sit adjacent to him. A narrow path is left between the holy man and the per?formers for members of the audience to offer presents of money to the performers. The performers are surrounded by an audi?ence circle of varying density, being thickest, and densest in the front and thinnest behind the performers. The audience is seated on the floor, with the outermost circle standing. The musicians are seated in two rows on the floor at the same level as the audience on a circular sheet of white cotton. The back row consists of the chorus, who also rhythmically
clap their hands, with one tabla-player in the middle. The front row starts with the lead singer to the right, and two accompany?ing singers to his left. The lead singer and his accompanist sitting next to him each have a harmonium.
The dialogue between the audience and the musicians is central to the performance of a Qawwali, and the performers often repeat and dwell on portions which strike a resonant chord in the audience. The impact of vigorous hand-clapping both repetitive and forceful tends to produce in the audience a trance-like state. Persons experiencing the trance brought on by Qawwali often speak of an experience of flying. Flight is also the imagery used in several Sufi texts in their endeavor to achieve divine union.
Drawing and holding the attention of a heterogeneous audience is the skill that the performers of Qawwali attain. They claim that Qawwali breaks the barriers of language and draws people closer to divinity. They do this by attempting to alter the state of con?sciousness of the audience in order to make them more receptive to the content, which is of a syncretistic and mystical nature. The form has been perfected over the centuries and is claimed to lift the audience to exalta?tion even if they do not understand the words. Form and content are interlinked in Qawwali and a complete appreciation is pos?sible only with a knowledge of both. For example, when expressing the pain of sepa?ration from a distant beloved in content, the lead singer changes the music to long stretched pieces to emphasize the distance, while words expressing union are compressed in a rapid rendition.
The Instruments
In the past, the instrumentation of the Qawrvaliwas a double-headed drum (dhohik) and a bowed lute (sarangi, dilruba) and an
earthenware pot. The instrumentation today consists of a pair of hand-pumped harmoni?ums in the front row, supported by either a dholak or a pair of drums (labla) in the mid?dle of the second row. The larger left drum of the labla is given a coating of freshly-kneaded dough in the center to give it more resonance. In the case of the dholak, the inside of the membrane on the left side is coated on the inside with a special glue mixed with oil for the same effect. A large earthenware pop (ghara) is sometimes also used for the rhythm with anklets tied on the wrist of this pot player (ghungru), as well as the iron rings on the fingers to strike the side of the pot. A booming sound is created by striking the mouth of the pot with the open hand, sharp percussive sounds by hit?ting the rings against the sides, and the tin?kling of bells by shaking the wrist in mid-air. Clapping by the performers of the second row completes the instrumentation.
The Music
The Qawwali opens with an introduction to the main tune of the item to be performed, the naghma. The naghma also is an aid for the musicians to tune their instruments and to develop a musical consensus, in which the base reference note is also defined. The naghma also introduces the main elements of melody to follow, except sometimes for an enclosed cycle of melody within the main cycle. In the course of the naghma, the har?moniums, accompanied by the drums and claps, have an opportunity to show their art and skill in the absence of voice. The beat also follows the main rhythm cycle used in the main body of the item and is fast. The naghma ends with an abrupt silence. In the silence, the lead singer may tell the audi?ence about the item he is going to present. The silence can be gently broken by a very short singing without any words or rhythm (alap).
When words appear for the first time in this singing, it is then called a ruba'ior, in the case of the Punjabi ang, the dohra. Technically, the ruba 'i is the Farsi term for a quatrain with a specific meter and rhyme pattern. In the Qaimuali, however, it may be any number of lines in any of the Qaimuali languages. The ruba'i or dohra opens with a couplet sung by the lead singer with the har?monium, the claps and drums silenced. The couplet is repeated by the main accompa?nist. The content of the ruba'i is linked to that of the main Qaimuali, but is usually the work of another poet. The ruba'i also estab?lishes the general mood of the Qaimuali, which picks up from ruba'i with a startling entry by the drum, followed a few beats later with the entire clapping ensemble.
The main Qaimuali starts in a moderate or slow beat (vilampat) and finally develops to a faster tempo (drul). There is one major refrain (takrar) throughout the Qaimuali and it is this refrain that gives any particular Qawwali its name. The Qaimuali generally chooses one text by a single poet (in Farsi a ghaztd by Amir Khusrau, in Punjabi a kafi by Bullhe Shah, or any contemporary poet). However, couplets from other poems by the same poet are permitted in the main text. If a couplet or line is taken from any other poet and chosen to highlight the concept or feeling being conveyed in one part of the main text, this auxiliary verse is known as girah (literally, a knot) in the Qawwali. The girah is usually delivered as an intensive emotional interjection. Girahs are often more of a chanted recitation than a tune, although the same beat is retained; however, an accomplished accompanying singer can present a girah in a specific raga, usually the pentatonic pahari, though other ragas can also be used. The lead Qaimual launches a refrain and hands it over to the chous while resting and preparing for his next solo entry, which is either a girah or the next couplet of the main text. The girah repertoire ranges
from couplets from Amir Khusrau, Usman Marwandi, Bu Ali Qalandar, Bullhe Shah, Shah Ussain to those composed by the main singer himself or even a "divine" inspiration (amad) during the Qawwali.
The development of the Qawwali follows the normal pattern of the song in North Indian music: the composed piece in both instrumental and vocal music generally has two sections, astai and antara. The former is the main part of the composition and is said to be usually limited to the lower and middle register, while the antara extends from the middle to the upper registers.
Qawwali contents strong elements of dance (raqs), which find expression in closed Qaunvali sessions of Sufi orders. This is per?formed after the rang of Amir Khusrau, a mystic composition with the text in Hindi.
The Performers
True to tradition, the ensemble is headed by a pair of brothers: Maher Ali is the leader of the group. As in most Qaunvali ensembles, Maher Ali is the lead singer (mohri) with a strong -though not necessarily very melodic -voice. He is supported by a sweeter, almost feminine, voice of the younger Sher Ali. The brothers are balanced by an analo?gous pair of vocalists (avazia), Mashuq Ali and Sardar Ali.
The brothers learned the art of Qawxvali from their father, Badruddin Khan, who comes from a long line of Qaitnvals, tracing their origin to the legendary thirteenth century musician Tanras Khan. After Nusrat Fateh Ali Khan, they are the most popular Qawwals inside Pakistan. They belong to the Chishti-Fardi Sufi order.
This performance marks the Ali Klian Ensemble's debut under UMS auspices.
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Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of live per?forming arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collaborations and partner?ships to reach into the many diverse communities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) perfor?mances. This year, more than 7,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Sounds of Blackness, New York City Opera National Company's La Boheme and the National Traditional Orchestra of China.
Other activities that further the understand?ing of the artistic process and appreciation for the performing arts include:
MASTERS OF ARTS A new, free-of-charge UMS series in collaboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person), available from the UMS Box Office.
PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS (PREPS) A series of free pre-performance presentations, featuring talks, demonstrations and workshops. Usually held 60-90 minutes before performances.
In addition to these events, which are listed on pages 22-23 of this program book, UMS presents a host of other activities, including master class?es, workshops, films, exhibits, panel discussions, in-depth public school partnerships and other residency activities related to winter season pre?sentations of "Blues, Roots, Honks and Moans," the series of Schubert concerts and the Lincoln Center Jazz Orchestra with Wynton Marsalis.
Like to help out I.........................................................................
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings; ushering for the Performance Related Educational Presentations (PREPs); staffing the Information Table in the lobbies of concert halls; distributing publicity materials; assisting with the Youth Program by compiling educa?tional materials for teachers, greeting and escorting students to seats at performances; and serving as good-will representatives for jUMS 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 lapplication form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, promotion, production and arts education. Semesterand year-long internships are avail?able in many aspects of the University Musical Society's operations. For more information, please call 313.647.4020 (Marketing Internships) or 313.647.1173 (Production Internships).
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 313.764.2538 or 313.647.4020.
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer.
For more information about joining the UMS usher corps, call 313.913.9696
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 direcdy to UMS.
Treat yourself, give a gift of tickets, purchase an entire event or come alone meet new people and join in the fun while supporting UMS! Among your choices are A Celebration of Schubert (January 18); A Luncheon Inspired by the Czars (January 26); A Valentine's Brunch (February 9); La Boheme Dinner Party (March 1); Easter Luncheon widi Cecilia Bartoli (March 30); Dinner with a Victorian Influence (April 12); Grandmothers, Mothers & Little Girls Tea and Fashion Show (April 19); An Afternoon Tea (May 15); A Taste of Spring Garden Dinner (May 31); and Nat & Ed's Porch Party (June 7).
For the most delicious experience of your life, call 313.936.6837!
The University Musical Society Board of Directors and Advisory Committee are pleased to host pre-performance din?ners before a number of the year's great events. Arrive early, park with ease, and begin your evening with other Musical Society friends over a relaxed buffet-style dinner in the University of Michigan Alumni Center. The buf fet will be open from 6:00 to 7:30 p.m. and is $25 per person. For reservations and informa?tion on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
National Company
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and Subscribers receive discounts at a vari?ety of local businesses by using UMS Card. Participating businesses support the UMS through advertising or sponsorship, and by patronizing the following establishments, you can support the businesses that support UMS.
Amadeus Cafe Ann Arbor Acura Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc. Fine Flowers Gandy Dancer Great Harvest John Leidy Shops
Kerrytown Bistro
Le Dog
Marty's Menswear
Schoolkids Records
Shaman Drum Bookshop
SKR Classical
Sweetwaters Cafe
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
Sponsorships and Advertising
Corporations who sponsor UMS enjoy benefits such as signage, customized promotions, advertising, pre-perfor-mance mentions, tickets, backstage passes and the opportunity to host receptions. Whether increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current I goals, sponsorship of UMS provides visibility to our loyal patrons and beyond. Call 313.647.1176 for more information about the UMS Corporate I Sponsor Program.
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a restaurant that meets your group's culi?nary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
Advisory Committee
of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and die behind-the-scenes tasks asso?ciated with every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
Ford Honors Program
The Ford Honors Program is a relatively new University Musical Society pro?gram, made possible by a generous grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform individuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the 1997 UMS Distinguished Artist Award is announced in late January.
Thank You!
Great performances--the best in music, theater and dance--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of November 15, 1996. If there has been an error or omission, we apologize and would appreciate a call at (313) 647-1178 to correct it.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support enabling us to continue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Elizabeth S. Bishop
Mr. and Mrs. Pal E. Borondy
Mr. Hilbert Beyer
Mr. and Mrs. John Aldcn Clark
Ralph Conger
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Dr. and Mrs. James Irwin Elizabeth E. Kennedy Randall and Mary Pittman John Psarouthakis Richard and Susan Rogcl Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ronald and Eileen Wciscr Paul and Elizabeth Yhouse
Conlin Travel
Detroit Edison
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPE IncThc Paideia Foundation
McKinley Associates, Inc.
NBD Bank
NSK Corporation
Regency Travel
The Edward Surovell Co.Realtors
TriMas Corporation
Parke Davis Pharmaceutical Research
University of Michigan
Wolverine Temporaries, Inc.
Arts Midwest
Grayling Fund
Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Robert and Ann Meredith
Mrs. John F.Ullrich
Corporations Continental Cablevision Great Lakes Bancorp Harman Motive Audio Systems Pepper, Hamilton and Scheelz WQRS
Individuals Herb and Carol Ainster Carl and Isabelle Braucr Dr. James Byrne Mr. Ralph Conger Margaret and Douglas Crary Ronnie and Sheila Cresswcll Robert and Janice DiRomualdo Snn-Chien and Betty Hsiao Mr. and Mrs. Howard S. Holmes F. Bruce Kulp Mr. David G. Loesel Charlotte McGcoch Mr. and Mrs. George R. Mrkonic Joe and Karen Koykka O'Neal Monti and Gui Ponce de Leon Mrs. M. Titiev Marina and Robert Whitman
The Anderson Associates Chelsea Milling Company Curtin & All'Violinmakers First of America Bank Thomas B. McMullen Company Masco Corporation O'Neal Construction Project Management Associates
KMD Foundation
World Heritage Foundation
Maurice and Linda Binkow Kathleen G. Charla Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans John and Esther Floyd Rebecca McGowan and Michael Staebler
Thomas and Shirley Kaupcr Dr. and Mrs. Joe D. Morris John W. and Dorothy F. Reed Maya Savarino and Raymond Tanter 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 ames R. Baker, Jr., M.D. and
lisa Baker
V [. and Anne Bartoletto Bradford and Lydia Bales R.twnond and Janet Bcrnrentcr Joan A. Binkow Howard and Margaret Bond Tom and Carmel Borders Barbara Everitl Bryant and
John H. Bryant Mr. and Mrs. Richard J. BurSein Betty Byrne LetitiaJ. Byrd Edwin F. Carlson Jean and Kenneth Casey David and Pal Clyde Leon and Heidi Cohan Maurice Cohen Roland J. Cole and
Klsa Kirchcr Cole Dennis Dahlmann Jack and Alice Dobson Jim and Patsy Donahey Jan and Gil Dorer Cheri and Dr. Stewart Epstein Dr. and Mrs. S.M. Farhal David and Jo-Anna Feathcrman
Adricnnc and Robert Feldstein Richard and Marie Flanagan Robben and Sally Fleming Michael and Sara Frank Margaret Fisher Mr. Edward P. Frohlich Marilyn G. Gallatin Beverley and Gerson Gcltncr William and Ruth Gilkey Drs. Sid GUman and
Carol Bar hour Sue and Carl Gingtes 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 Diannc Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Julian and Diane Hoff Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntiugton 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 Evic and Allen Lichter Carolyn and Paul Lichter Patrick B. and Katliy Long Dean S. Louis Brigitte and Paul Maassen Ms. Francine Manilow Marilyn Mason and
William Steinhoff Judythe and Roger Maugh Paul and Ruth McCrackcn Joseph McCunc and
Georgiana Sanders Reiko McKendry Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Millard Dr. and Mrs. Andrew and
Candice Mitchell Virginia Patton and
Cruse W. Moss William A. Newman Lcn and Nancy Niehoff Bill and Marguerite Oliver
Mark and Susan Orringcr Mr. and Mrs. David W. Osier Mr. and Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxinc and Wilbur K. Picrpont Professor and
Mrs. Raymond Reilly Glenda Renwick Jack and Margaret Rickctts Prudence and Amnon Rosenthal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumelhart Richard and Norma Sarns Rosalie and David Schottcnfeld Janet and Mike Shatusky CynthiaJ. Sorensen Gerard H. and Colleen Spencer Dr. Hildreth H. Spencer Mr. and Mrs. John C. Stegeman Victor and Marlene Stocffler Dr. and Mrs. Jeoffrey K. Stross Dr. and Mrs.
E. Thurston Thieme Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Bolt Richard E. and
Laura A. Van House Ellen C. Wagner Elisc and Jerry Wcisbach Roy and JoAn Wetzel Lcn and Maggie Wolin Nancy and Martin Zimmerman
and sevrral anonymous donors
3M Health Care Jacobson Stores Inc. Michigan National Bank Shar Products Company
The Mosaic Foundation
(of Rita and Peter Hcydon) Washtenaw Council for the Arts
Jim and Barbara Adams Bernard and Raquel AgranolT M. Bernard AidinofT Carlene and Peter Aliferis Catherine S. Arcurc
I sm-1 .mil Mrn.lkLl h.lilr
Robert I.. Baird
Emily Bandcra
Dr. uul Mrs. Robert Bartlctt
Ralph P. Bcebe
Mrs. Kathleen G. Bcnua
Robert Hunt Berry
Suzanne A. and
Frederick j. Beutlcr Ron and Mimi Bogdasarian Edith and Fred Bookstein Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Britton David and Sharon Brooks Jcanninc and Robert Buchanan Phoebe R. Bun Freddie Caldwcll Jean W. Campbell Bruce and Jean Carlson Mrs. Raymond S. Chase Susan and Arnold Coran Mrs. David Cox H. Richard Crane Alice B. Crawford Peter and Susan Darrow Katy and Anthony Dcrezinski Judith and Kenneth DcVVoskin Elizabeth A. Doman Bita Esmaeli, M.D. and Howard Gutstein, M. D. Claudine Farrand and
Daniel Moerman Mrs. Beth B. Fischer Ken, Penny and Matt Fischer Susan R. Fisher and
John W. VVaidley Phyllis W. Foster Dr. William and Beatrice Fox David J. Fugcnschuh and
Karey Leach Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert James and Janet Gilsdorf John R. and Helen K. Griffith Susan R. Harris Jay and Maureen Hartford I [arian and Anne Hatcher Mrs. Wj. Hiltncr Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler 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 Sayrc-King Richard and Pat King Hermine Roby Klingler Jim and Carolyn Knake John and Jan Kosta Mr. and Mrs. Samuel Krimm
Benefactors, continued
Bud and Justine Kulka Suzanne and Lee E. Landes Elaine and David Lcbenbom Leo A. Lx'gaLski
Mr. and Mrs. Fernando S. Leon Mr. and Mrs. CarlJ. Lutkchaus Donald and Doni Lystra Robert and Pearson Macck John and Cheryl MacKrell Mark Mahlberg Man and Carla Mandel Ken Marblestone and
Janissc Nagel
Mr. and Mrs. Damon L. Mark David G. McConnell John F. McCuen Kevin McDonagh and
Leslie Crofford
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 Blanklcy and
Maureen Foley M. Haskcll and
Jan Barney Newman Virginia and Gordon Nordby Marysia Ostafin and
George Smillic
Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and Lorna Prescott Tom and Mary Princing Jerry and 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 Katherine and William Ribbcns James and June Root Mrs. Doris E. Rowan Peter Savarino Peter Schabcrg and
Norma Amrhcin Mrs. Richard C. Schneider Professor Thomas J. and
Ann Sneed 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 Stefanski Mrs. Ralph L. Sleffek Mrs. John D. Stoner Nicholas Sudia and
Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfcr Herbert and Anne Upton Don and Carol Van Curler Bruce and Raven Wallace Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Angela and Lyndon Welch Ruth and Gilbert Whitakcr Brymcr and Ruth Williams Frank E. Wolk MaryGracc and Tom York
Coffee Express Co. Emergency Physicians
Medical Group, PC Guardian Industries Corporation Masco
Red Hawk Bar and Grill St. Joseph Mercy Hospital
Medical Staff University Microfilms
The Power Foundation Shiffman Foundation Trust
Mr. Gregg T. Alf
Dr. and Mrs. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlcnc and Hem y Appclman
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 Freed man
Neal Bedford and
Gerlinda Melchiori Harry and Belly Bcnford Ruth Ann and StuariJ. Bcrgslcin Jim Botsford and
Janice Stevens Botsford Betsy and Ernest Brater Mr. and Mrs. Gerald Bright Morion B. and Raya Brown Mrs. Theodore Cage Jim and Priscilla Carlson Professor Brice Carnahan Jcannclle and Robert Carr Mr. and Mrs. Dennis Carroll Janet and Bill Cassebaum Andrew and Shelly Caughcy Yaser Cereb
Tsun and Sin Ying Chang Pat and George Chatas Ed and Cindy Clark Janice A. Clark Jim and Connie Cook Mary K. Cordes Alan and Bette Cotzin Merle and Mary Ann Crawford William H. Damon III Laning R. Davidson, M.D. Jean and John Debbink Elizabeth Dexter Delia DiPietro and
Jack Wagoner, M.D. Thomas and Esther Donahue Cecilia and Allan Drcyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser David and Lynn Engelbert Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Filgas Sidney and Jean Fine Herschel and Annette Fink Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnctte Forde Deborah and Ronald Frcedman Harriet and Daniel Fusfeld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Wood and Rosemary Geist Henry and Beverly Gcrshowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon Dr. Alexander Gotz Mrs. William Grabb Elizabeth Needham Graham Jerry and Mary K. Gray Dr. John and Renec M. Greden Mr. and Mrs. Robert Grijalva I-eslic and Mary Ellen Guinn Margaret and Kenneth Guire Philip F.. Guire Don P. Hacfncr and
CynthiaJ. Stewart Veronica Haines Marcia and Jack Hall
Mrs. William Halslead Margo Halsted Dagny and Donald Harris Bruce and Joyce Herbert Mr. and Mrs. Ramon Hernandez Fred and Joyce Hcrshcnson Herb and Dee Hildebrandt John H. and
M.tin ii.i Peterson Holland Drs. Linda Samuelson and
Joel Howell Ronald R. and
Gayc H. Humphrey Mrs. Hazel Hunschc George and Katharine Hunt Wallie and Janet Jeffries Ellen C.Johnson Susan and Stevo Julius Mary B. and Douglas Kahn Steven R. Kalt and
Robert D. Hccren Anna M. Kaupcr David and Sally Kennedy Beverly Kleibcr Bert and Catherine La Du Henry and Alice I .iikI.hi Mr. and Mrs. Henry M. Lapcza Ted and Wendy Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann Lcidy Jacqueline H. Ixwis Jody and Leo Lighthammcr Edward and Barbara Lynn Jeffrey and Jane Mackic-Mason Frederick C. and
Pamela J. Mac Kin tosh Steve and Ginger Maggio Virginia Mahle
Thomas and Barbara Mancewiec Edwin and Catherine Marcus Kin if l.i and William Martel Mrs. Lester McCoy Griff and Pat McDonald Walter and Ruth Metzgcr Dcanna Rclyca and
Piolr Michalowski Sally and Charles Moss Marianne and Mutsumi Nakao Barry Nemon and
Barbara Stark-Ncmon Martin Neuliep and
Patricia Pancioli Peter F. Norlin Richard S. Nottingham Marylcn and Harold Oberman Richard and Joyce Odcll Mark Ouimel and
Donna Hrozencik Donna D. Park Randolph Paschke Mrs. Margaret D. Pcicrsen Lorraine B. Phillips Frank and Sharon PignanelH Dr. and Mrs. Michael Pilcpich Richard and Meryl Place Cynthia and Roger Poslmus Charleen Price
Hugo and Sharon Quiroz William and Diane Rado Jim and leva Rasmussen La Vonne and Gary Reed Anthony L. Reffells and
Elaine A. Benncti Mr. and Mrs. Neil Ressler Elizabeth G. Richart Barbara A. Anderson and
John H. Roman! Mrs. Irving Rose Dr. Nathaniel H. Rowe Jerome M. and Lee Ann Salte Georgiana M. Sanders Michael Sarosi and
Kirnin Skalitzky Sarosi Sarah Savarino
Dr. Albert J. and Jane K. Sayed David and Marcia Schmidt David E. and
Monica N. Schteingart Art and Mary Schuman Marvin and Harriet Selin Joseph and Patricia Settimi Roger Sheffrey Constance Sherman Dr. and Ms. Howard and
Aliza Shevrin
Hollis and Martha A. Showalter John Shultz Edward and Marilyn Sichler
Diane Siciliano
John and Anne Griffin Sloan
Alene M. Smith
Carl andjari Smith
Jorge and Nancy Solis
Dr. Elaine R. Solier
Mr. and Mrs. Edward Sopcak
Mr. and Mrs. Neil J. Sosin
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 Trcciak Joyce A. Urba and
David J. Kinsclla Hugo and Karla Vandersypen Mr. and Mrs.
John van der Velde William C. Vassell Sally Wacker Warren Herb Wagner and
Florence S. Wagner Gregory and Annette Walker Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Karl and Karen Weick Dr. Steven W. Werns Marcy and Scott Westerman
Associates, continued
B.Joseph and Mary White Mrs. Clara G. Whiting Marion T. Wirick Farris and Ann Womack Richard and Dixie Woods Don and Charlotte Wyche Mr. and Mrs. David Zuk
Atlas Tool, Inc. Borders Books and Music Edwards Brothers, Inc. Hagopian World of Rugs Scientific Brake and Equipment Company
Shlomo and Rhonda Mandell Philanthropic Fund
Tim and Leah Adams Michael and Hiroko Akiyama Michael and Sn.m Alexander Anastasios Alcxiou James and Catherine Allen Augustine and Kathleen Amaru Mr. and Mrs. David AminofT Dr. and Mrs. Charles T. Anderson Hugh and Margaret Anderson Howard Ando and Jane Wilkinson Jim and Cathy Andonian T.L. Andrcsen James Antosiak and Eda Weddington
[ill and Thomas Archainbcau, M.D. Patricia and Bruce Arden Bert and Pat Armstrong Gaard and Ellen Arncson Mr. and Mrs. Lawrence E. Arnett Jeffrey and Deborah Ash Mr. and Mrs. ArthurJ. Ashe Mr. and Mrs. Dan E. Alkins HI Jim and Patsy Auiler Eric M. and Nancy Auppcrle
Erik W. and Linda Lee Austin
Eugene and Charlene Axelrod
Shirley and Don Axon
Jonathan and Marlcnc Ayers
Virginia andjerald Bachman
Richard and Julia Bailey
Doris I. Bailo
Morris and Beverly Baker
Barbara and Daniel Balbach
Roxanne Balousck
Kate Bamld and Douglas Jewett
Kns.iKii and Mel Barclay
John R. Barcham
Maria Kardas Barna
Mr. and Mrs. Robert M. Barnes
Laurie and Jeffrey Barnett
Karen and Karl Bartscht
Lx'slic and Anita Basselt
Mr. John Batdorf
Dr. and Mrs. Jcrc M. Bauer
Kathleen Beck
Mr. and Mrs. Stcvt-n R. BeckcTI
Dr. and Mrs. Richard Bcil.Jr.
Walter and Antje Benenson
Merete and
Erling Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Dr. Rosemary R. Berardi Helen V. Berg Marie and Gerald Berlin L. S. Berlin
Gene and Kay Berrodin Andrew H. Berry, D.O. Bharat C. Bhushan John and Marge Biancke John and Laurie Birchler William and ltene Birge Elizabeth S. Bishop Art and Betty Blair Ralph B. Blasier Mr. and Mrs. Ray BUszkiewicz Marshall Blondy and Laurie Burry Dr. George and Joyce Blum Beverly J. Bole Robert S. Bolton Mr. and Mrs. Mark D. Bomia Dr. and Mrs. Frank Bongtorno Harold W. and Rebecca S. Bonnell Roger and Polly Bookwalter Edward G. and Luciana Borbcly LolaJ. Borchardt Gil and Mona Borlaza Dr. and Mrs. David Bostian David and Tina Bowen Bob and Jan Bower Sally and Bill Bowers Laurence Boxer, M.D. and
Grace J. Boxer, M.D. Dr. and Mrs. Ralph Bozcll Paul and Anna Bradley William F. and Joyce E. Bracuningcr Mr. William R. Brashcar Representative Li and
Professor Enoch Brater Dr. and Mrs. James Breckcnfcld Bob and Jacki Brce Professor and Mrs. Dale E. Briggs William and Sandra Broucek Ms. Mary Brough June and Donald R. Brown
Linda Brown and Joel Goldberg
Molly and John Brueger
Mrs. Webster Brumbaugh
Dr. Donald and Lcia Bryant
Dr. Frances E. Bull
Robert and Carolyn Burack
Arthur and Alice Burks
Robert and Miriam Butsch
Sherry A. Byrnes
Dr. Patricia M. Cackowski
Edward and Mary Cady
1 iiiis and Janet Callaway
Susan and Oliver Cameron
Nancy Campbell-Jones
:h.ii lea and Martha Cannell
Kathleen and Dennis CantweU
Isabelle Carduner
George R. Carignan
Dr. and Mrs. James E. Carpenter
jan Carpman
M.iu lull F. and Janice L. Carr
Mr. and Mrs. Jeffrey A. Carter
Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Kathran M. Chan Bill and Susan Chandler J. Wehrlcy and Patricia Chapman [unit's S. Chen Joan and Mark Chcslcr George and Sue Chism Dr. Kyung and Young Cho John and Susan Christen sen Edward and Rebecca Chudacoff Dr. and Mrs. David Church Robert J. Cicrznicwski Nancy Cillcy Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson John and Kay Clifford Charles and Lynne Clippert Roger and Mary Cot-Dorothy Burke Cofit-v Alice S. Cohen Hubert and Ellen Cohen Mr. Larry Cohen
Gerald S. Cole and Vivian Smargon Howard and Vivian Cole Ed and Cathy Colonc Wayne and Mclinda Colquiti Edward J. and Anne M. Comcau Gordon and Marjorie Comfort Lolagene C. Coombs Gage R. Cooper Mr. and Mrs. Herbert Couf Bill and Maddic Cox Clifford and Laura Craig Kathleen J. Crispell and
Thomas S. Porter Mr. Lawrence Crochicr April Cronin
Mr. and Mrs.James I. Crump.Jr. Pedro and Carol Cuatrecasas Mary R. and John G. Curtis Jeffrey S. Cutter R.K. and M.A. Daane Mr. and Mrs. John R. Dale Marylec Dalton Lee and Millie Danielson
:inc and Gawainc Dan Dr. and Mrs. Sunil Das DarUnda and Robert Dascola Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Ed and Ellic Davidson Mr. and Mrs. Bruce P. Davis james H. Davis and
Elizabeth Waggoner Mi. and Mrs. Roy C. Davis Mr. and Mrs. Ronald Dawson Mr. and Mrs. Kenneth Dec [oc and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DcGrood Laurence and Penny Deitch Elena and Nicholas Dclbanco Peter H. deLoof and Sara A. Bassett Raymond A. Deiter Elizabeth and Edmond DeVine Martha and Ron DiCccco Nancy DiMcrcurio A. Nelson Dingle Helen M. Dobson Molly and Bill Dobson Dr. and Mrs. Edward R. Doezema Fr. Timothy J. Dombrowski Dr. and Mrs. Edward F. Domino Dick and Jane Dorr Professor and Mrs. William G. Dow Mr. Thomas Downs Paul Drake and Joyce Pcnner Roland and Diane Drayson Harry M. and Norrenc M. Dreffs John Dryden and Diana Raimi Dr. and Mrs. Cameron B. Duncan Knhcrt and Connie Dunlap [can and Russell Dunnaback Edmund H. and Mary B. Durfcc John W. Durstine George C. and Roberta R. Earl Jacquclynnc S. Eccles Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Mr. and Mrs. John R. Edman Sally and Morgan Edwards David A. Eklund and
Jeffrey B. Green Judge and Mrs. S.J. Elden Ethel and Sheldon Ellis Mrs. Genevievc Ely Mackenzie and Marcia Endo Patricia Randtc and James Eng 1 mil and Joan Engel Mark and Patricia Enns Carolync and Jerry Epstein Mr. and Mrs. Frederick A. Erb Dr. Stephen A. Ernst, Dr. Pamela A. Raymond Ernst Dorothy and Donald F. Eschman Barbara Evans Mr. and Mrs. Clifton Evans Adele Ewcll
Mr. and Mrs. Robert B. Fair Jr. Mark and Karen Falahee Elly and Harvey Falit Or. and Mrs. Cyrus Farrchi Kalherincand Damian Farrcll Dr. and Mrs. John A. Faulkner Inka and David Fclbcck
Reno and Nancy Feldkamp Irving and Cynthia Feller Phil and Phyllis Fellin Ruth Fiegel Carol Finerman Clay Finkbciner C. Peter and Bcv A. Fischer Patricia A. Fischer Dr. and Mrs. Richard L. Fisher Winifred Fisher James and Barbara Fitzgerald [ mil.i and Thomas Fitzgerald Jonathan Flicgcl Jennifer and Guillermo Flores David and Ann Flucke Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Susan Goldsmith and
Spencer Ford Paula L. Bockenstcdt and
David A. Fox
Howard and Margaret Fox Ronald Frackcr Lucia and Doug Frecth Richard and Joan n Frccthy Joanna and Richard Friedman Gail Fromcs Ban and Fran Frueh LclaJ. Fucster
Ken and Mary Ann Gacrtncr Walter and Heidi Gage Lourdcs and Otto Gago Jane Galantowicz Thomas H. Galantowicz Arihur Gallagher Bernard and Enid Caller Mrs. Shirley H. Garland Stanley and Priscilla Gam Del and Louise Garrison Janet and Charles Garvin Professor and Mrs. David M. Gates Drs. Steve Gciringer and
Karen Bantel
Thomas and Barbara Gelehrter Michael Gerstenbcrgcr W. Scott Gcrsccnberger and
Elizabeth A. Sweet Beth Game and Allan Gihbard Paul and Suzanne Gikas Fred and Joyce M. Ginsberg Maureen and David Ginsburg Albert and Almcda Girod Peter and Roberta Gluck Sara Goburdhun Robert and Barbara Gockcl Albert L Goldberg Dr. and Mrs. Edward Goldberg Mary L. Golden Ed and Mona Goldman Irwin J. Goldstein and Marty Mayo Mrs. Eszter Gombosi Elizabeth Goodcnough and
James G. Leaf Graham Gooding Mitch and Barb Goodkin Jesse E. and Anitra Gordon Don Gordus
Sclma and Albert Goilin Siri Gottlieb
Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham
Advocates, continued
Whit and Svca Gray
Alan Grccn
1 il.i and Bob Green
Dr. and Mrs. I-izarJ. Greenfield is (.1 in
Bill and Louise Gregory
Daphne and Raymond Grew
Mr. and Mrs. JamesJ. Gribble
Carleton and Mary Lou Griffin
Mark and Susan Griffin
Werner H. Grilk
Robert M. Grover
Ms. Kay Gugala
Arthur W. Gulick, M.D.
Margaret Gutowski and
Michael Marietta Helen C. Hall
Harry L. and Mary L. Hallock Mr. and Mrs. Elmer F. Hamcl Dora E. Hampel Lourdcs S. Bastos Hansen Herb and Claudia Harjes M.C. Harms Nile andjudidi Harper Stephen G. and Mary Anna Harper Mr. and Mrs. Robert B. Harris Robert and Susan Harris Clifford and Alice Hart Jerome P. Hartweg Elizabcdi C. Hassinen James B. and Roberta Hausc Mr. and Mrs. G. Hawkins Laurccn Haynes J. Theodore Hcfley Kenneth andjeanne Hciningcr Mrs. Miriam Heins Sivana Heller Rose and John Henderson Rose S. Henderson John L. and Jacqueline Hcnkcl Mr. and Mrs. Karl P. Henkcl Dr. and Mrs. Keith S. Henley Rudy and Kathy Hentschel C.C. Herrington M.D. Mr. Roger Hewitt Charles W. Fisher and
Elfrida H. Hiebert Mr. and Mrs. Thomas Hilbish Peter G. Hinman and
Elizabeth A. Young Jacques Hochglaube, M.D., P.C. Louise Hodgson Bob and Fran Hoffman Carol and Dicier Hohnke Dr. Carol E. Holdcn and
Mr. Kurt Zimmer Richard Holmes John F. and Mary Helen Holt Ronald and Ann H0I7. Jack and Davetta Homer Dave and Susan Horvath George M. Houchcns Fred and Betty House Jim and Wendy Fisher House Hclga Hover
Drs. Richard and Diane Howlin Mrs. V. C. Hubba Charles T. Hudson Jude and Ray Hue lie man Harry and Ruth Huff Mr. and Mrs. William Hufford
Joanne W. Hulce
Ralph and Del Hulctt
Ann D. Hungemum
Diane Hunter and Bill Zieglcr
Mr. and Mrs. Russell L. Hurst
Eileen and Saul Hymans
Amy Iannacone
Robert B. and Virginia A. Ingling
Margaret and Eugene Ingram
Ann K Irish
Carol and John Isles
John and Joan Jackson
Edgar F. and M. Janice Jacobi
Manuel and Joan Jacobs
Harold and Jean Jacobson
K. John Jarrett and
Patrick T. Sliwinski Professor and
Mrs. Jerome Jclinck James and Elaine Jensen Keith and Kay Jensen Dr. and Mrs. James Jerome JoAnnJ.Jcromin Mr. and Mrs. Donald L. Johnson Billic and Henry Johnson Paul and Olga Johnson Timothy and Jo Wiesc Johnson Constance L. Jones Marilyn S.Jones John and Linda K.Jonides Stephen G.Josephson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmes and Larry Friedman Dr. and Mrs. Mark S. Kaminski Paul Kantor and
Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Noboru and Atsuko Kashino Alex F. and Phyllis A. Kato David J. Katz Elizabeth Harwood Katz Martin and Helen Katz Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy Richard L. Kennedy Linda Atkins and Thomas Kenney Donald and Mary Kiel Konstantyn Kim William and Betsy Kjncaid Brett and Lynnctic King
EvaJ. r.ll 11 ii :
John and Carolyn Kirkendall Rhea and Leslie Kish Paul Kissner MD and Dana Kissner MD James and Jane Kistcr Shira and Steve Klein Drs. Peter and Judith Kleinman Gerald and Eileen Klos Barbel Knauper Sharon L. Knight Shirley and Glenn Knudsvig Joseph J. and Marilynn Kokoszka Charles and Linda Koopmann Melvyn and Linda Korobkin Dimitri and Suzanne Kosachcff Edward and Marguerite Kowaleski
Jean and Dick Krafi
Marjorie A. Kramer
Barbara and Charles Krausc
Doris and Donald Kniushaar
David and Martha Krchbicl
William J. Bucci and Janet Kreiling
Alexander Krczel
William G. Kring
Alan and Jean Krisch
Danielle and George Kuper
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs. J. Daniel Kutt
Jane Laird
Mr. and Mrs. John Laird
Mr. and Mrs. Seymour Lampert
Connie and Dick LandgrafT
Patricia M. Lang
Marjorie Lansing
Carl and Ann LaRuc
Ms. Jill Latta and Mr. David S. Bach
John K. Lawrence
Laurie and Robert LaZebnik
Robert and Leslie Lazzerin
Mrs. Keni W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Diane and Jeffrey Lehman
Sue Lcong
Margaret E. Leslie
Richard LeSueur
Myron and Bobbie Levine
Tom and Kathy Lewand
Deborah S. Lewis
Thomas andjudy Lewis
Lawrence B. Lindemer
Mark Lindley
Mr. Ronald A Lindroth
Daniel and Susan Lipschutz
Rod and Robin Little
Vi-Cheng and Hsi-Yen Uu
Jackie K. LJvesay
Dr. and Mrs. Peter Y. Lo
Louis Loeb and Tully Lyons
Kay H.Logan
Naomi E. Lohr
Jane Lombard
Dan and Kay Long
Leslie and Susan Loomans
Bruce and Pat Loughry
Joann Love
Donna and Paul Lowry
Janny Lu
Dr. and Mrs. Charles P. Lucas
Lynn Luckcnbach
Fran Lyman
LaMuriel Lyman
Susan E. Macias
Marcy and Kcrri MacMahan
Sally Maggio
Geoffrey and Janet Maher
Suzanne and Jay Mahler
Deborah Malamud and
Ncal Plotkin Dr. Karl D. Malcolm Claire and Richard Malvin Mr. and Mrs. Kazuhiko Manabe Mclvin and Jean Manis Pearl Manning Professor Howard Markcl Lee and Greg Marks
James E. and Barbara Martin
Rebecca Martin and James Grieve
John D. Marx, D.D.S.
Dr. and Mrs.Josip Matovinovic
Tamotsu Matsumoto
Mary and Chandler Matthews
Margaret Maurer
John M. Allen and Edith A. Maynard
Susan C. Guszynski and
Gregory F. Mazurc Margaret E. McCarthy Ernest and Adelc McCarus Margaret and Harris McClamroch Dores M. McCree Mary and Bruce McCuaig Joseph and Susan McGrath Bill and Ginny McKcachic Margaret B. McKinlcy Daniel and Madclyn McMurtric Nancy and Robert Mcadcr Dr. and Mrs. Theodore Meadows Samuel and Alice Mcisels Robert and Doris Mclling Mr. and Mrs. John Mcrrifield Bernice and Herman Mcrtc Henry D. Messcr Carl A. House Robert and Bettic Metcalf John and Fci Fei Metzler Don and Lee Meyer Valerie Meyer Shirley and Bill Meyers Elizabeth B. Michael Helen M. Michaels Leo and Sally Miedler Andy and Nancy Miller Carmen and Jack Miller Mr. and Mrs. Milton J. Miller Dr. Robert R. Miller Thomas and Doris Miree Kathleen and James MUchincr Olga Mini
Mr. and Mrs. William G. Moller, Jr. Rosalie E. Moore Marvin and Karen Moran Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Dr. and Mrs. George W. Morlcy Paul and Terry Morris Mclinda and Bob Morris Dick and Judy Morrissett Brian and Jacqueline Morton Cyril and Rona Moscow Dr. Thomas E. Muller and
Barbara J. Levitan (i.uin K.nlic .mil h.iib.u.i Mmpli) Dr. and Mrs. Gunder A. Myran Hideko and Tatsuyoshi Nakamura President and Mrs. Homer Neal Frederick G. Neidhardt and
Germainc Chipault Nancy Nelson
Mr. and Mrs. Marvin Nichuss Karina H. Nicmcycr Shinobu Niga Susan and Richard Nisbett Virginia and Clare North John and Lcxa O'Brien Patricia O'Connor Dr. and Mrs. Frederick C. O'Dcll
Michael J. O'Donnell and
Jan L. Garfinkle Henry and Patricia O'Kray Nels and Mary Olson Mr.J. L. Oncley Zibby and Bob Oneal Mr. and Mrs. James O'Neill Kathleen I. Operhall Dr. Jon Oscherwitz Mrs. Charles Overberger Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Michael P. Parin Evans and Charlene Parroti Shirley and Ara Paul Robert and Arlcne Paup Elizabeth and Beverly Payne Ruth and Joe Payne Dr. Owen Z. and Barbara Perlman Susan A. Perry Doris I. Pcrsyn Frank and Nelly Petrock 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. PitcofT Donald and Evonne Plantinga
Martin Podolsky
Mr. and Mrs. John R. Pulitzer
Stephen and Tina Pollock
Philip and Kathleen Power
Drs. Edward and Rhoda Powsncr
Bill and Diana Pratt
Larry and Ann Preuss
Jacob M. Price
Richard H. and Mary B. Price
Wallace and Barbara Prince
Bradley and Susan PritU
Ernst Pulgram
David and Stephanie Pyne
Leland and Elizabeth Quackcnbush
Michael and Helen Radock
Homayoon Rahbari, M.D.
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Douglas J. Rasmussen
Mr. and Mrs. Robert H. Rasmussen
Sandra Reagan
Professor Gabriel M. Rebeiz
Kathcrine R. Rcebel
Mr. and Mrs. Stanislav Rchak
Molly Resnik and John Martin
JoAnne C. Rcu&s
H. Robert and Kristin Reynolds
John and Nancy Reynolds
Alice Rhodes
Ms. Donna Rhodes
Paul Rice
Constance Rinehart
Dennis and Rita Ringlc
Lisa Rives and Jason Collens Joe and Carolyn Roberson Peter and Shirley Roberts Robert A. Sloan and
Ellen M. Byerlein Dave and Joan Robinson Janet K. Robinson, Ph.D. Mary Ann and Willard Rodgers Mr. and Mrs. Stephen J. Rogers Yelena and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Bernard and Barbara Rosen Marilynn M. Rosen thai Gay and George Rosenwald Gustave and Jacqueline Rosseels Mr. and Mrs. John P. Rowe Dr. and Mrs. Raymond W. Ruddon Tom and Dolores Ryan Mitchell and Carole Rycus Ellen andjames Saalberg Theodore and Joan Sachs Dr. and Mrs. Jagneswar Saha Arnold SamerofT and
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
Charlcne and Carl Schmult Thomas Schramm Gerald and Sharon Schrciber Albert and Susan Schultz R. Ryan Lavclle, Ph.D
Marshall S. Schuster, D.O. Alan and Marianne Schwartz-
The Shapero Foundation Ed and Sheila Schwaru Jane and Fred Schwarz Jonathan Bromberg and
Barbara Scott Mr. and Mrs. David Scovcll John and Carole Segall Richard A. Scid Suzanne Sclig Ms. Janet Sell Sherry and Louis Senunas 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 Etvera Shappirio Maurice and Lorraine Sheppard Dr. and Mrs. Ivan Sherick William J.Sherzcr Mr. and Mrs. George Shirley Drs. Jean and Thomas Shope Mary Ann Shumaker
Advocates, continued
Dr. Bruce M. Siegan
Dr. and Mrs. Milton Siegcl
Eldy and Enrique Signori
Ken Silk and Peggy Buttcnheim
Drs. Dorit Adler and Terry Silver
Frances and Scott Simonds
Robert and Elaine Sims
Alan and Eleanor Singer
Donald and Susan Sinta
Mrs. Loretta M. Skewes
Martha Skinddl
Beverly N. Slater
John W. SmilHe, M.D.
Dr. and Mrs. Michael W. Smith
Mr. and Mrs. Robert W. Smith
Susan M. Smith
Virginia B. Smith
Richard Soblc and Barbara Kesslcr
Lois and William Solomon
Dr. Yoram Sorokin
Juanita and Joseph Spallina
Anne L. Spendlove
Gretta Spier and Jonathan Rubin
L. Grasselli Sprankle
Edmund Sprunger
Daid and Ann Staiger
Caren Stalburg M.D.
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Stcck
Virginia and Eric Stein
Frank D. Stella
Thorn and Ann Sterling
Barbara and Bruce Stevenson
Harold Stevenson
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
Wolfgang F. Stolper
Anjanettc M. Stoltz, M.D.
Ellen M. Strand and
Dennis C. Regan Ailecn and Clinton Strocbel Joe Stroud and Kathleen Fojtik Mrs. William H. Stubbins Drs. Eugene Su and
Christin Carter-Su Valeric Y. Suslow Earl and Phyllis Swain Mr. and Mrs. Robert S. Swanson Richard and June Swartz Ronna and Kent Talcott Jim and Sally Tamm Keiko Tanaka Eva and Sam Taylor George and Mary Tcwksbury Lois A. Thcis Paul Thiclking Edwin J. Thomas Bette M. Thompson Ted and Marge Thrasher Mrs. Peggy Ticman Mr. and Mrs. W. Paul Tippctt Albert Tochet
Dr. and Mrs. Merlin C. Townley James W. Toy
Dr. and Mrs. John Triebwasscr Angic and Bob Trinka Sarah Trinkaus
Irene Trucsdcll
Marilyn Tsao and Steve Gao
Drs. Claire and Jeremiah Turcotte
Michael and Nancy Udow
Taro Ueki
Alvan and Katharine Uhlc
Mr. Gordon E. Ulrey
Dr. and Mrs. Samuel C. Ursu
Joaquin and Mci Mei Uy
Madeleine VaJlier
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Mr. and Mrs.
Douglas Van Houwcling Fred and Carole S. Van Reescma Michael L. Van Tassel Kate and Chris Vaughan Phyllis Vegter
Mr. and Mrs. Theodore R. Vogt Carolyn S. and Jerry S. Voight John and Maureen Voorhees John and Jane S. Voorhorst Mr. and Mrs. Norman C. Wail 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
George Miller
Leone Buyse and Michael Webster Jack and Jerry Weidcnbach Lawrence A. Wcis and
Sheila Johnson Barbara Weiss Lisa and Steve Weiss Mrs. Slanficld M. Wells, Jr. Carol Campbell Wclsch and
John Wclsch
Rosemary and David Wesenberg Mr. and Mrs. Peter Westen Ken and Cherry Wcsterman M.ii i itWi-stphal Paul E. Duffy and
Marilyn L. Wheaton . Harry C. White Janet F. White
Christina and William Wilcox William and Cristina Wilcox Reverend Francis E. Williams Mr. and Mrs. R. Jamison Williams Jr. Shelly F. Williams Mrs. Elizabeth Wilson Beth and I.W. Winsten Jeffrey and Linda Witzburg Charlotte Wolfe Dr. and Mrs. Ira S. Wollner Muriel and Dick Wong J. D. Woods
Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wright David and April Wright Phyllis B. Wright Fran and Ben Wylic
Mr. and Mrs. RA. Yaglc
Ryuzo Yamamoto
Sandra and Jonathan Yobbagy
Frank O. Youkstcttcr
Professor and Mrs. Edwin H. Young
Shirley Young
Ann and Ralph Youngrcn
Olga Zapotny
Mr. and Mrs. F.L. Zeisler
Bertram and Lynn Zhcutlin
Roy and Helen Ziegler
David S. and Susan H. Zurvalcc
American Metal Products
Brass Craft
Garris, Garris, Garris and Garris
Law Office John Leidy Shop Marvel Office Furniture St. Joseph Mercy Hospital
Medical Staff Stritch School of Medicine
Class of 1996
Robert S. Feldman Zclina Krauss Firth George R. Hunsche Ralph Herbert Katherinc Mabarak Frederick C. Matthaei, Sr. Gwen and Emerson Powric Steffi Rciss Clare Siegel Ralph L. Steffek Charlenc Parker Stern William Swank Charles R. Tieman John F. Ullrich Francis Viola III Peter Holderness Woods
In-Kind Gifts
Catherine Arcure Paulett and Peter Banks Back Alley Gourmet Barnes and Noble Bookstore Maurice and Linda Binkow Jeanninc and Bob Buchanan Muli and Fred Bookstein Pat and George Chatas Paul and Pat Cousins
Cousins Heritage Inn Katy and Anthony Derezinski Espresso Royalc Fine Flowers Ken and Penny Fischer Kcki and Alice Irani Maureen and Stu Isaac Matthew Hoffman Jewelry Mercy and Stephen Kasle Howard King F. Bruce Kulp Barbara Lcvitan Maxinc and Dave Larrouy Maggie Long
Perfectly Seasoned Catering Doni LystraDough Boys Steve MaggioThc Maggio Line James McDonaldBella 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'5 Susan B. Ullrich Elizabeth and Paul Yhouse
Giving Levels
The Charles Sink Society cumulative giving totuls of $15,000 or more.
Maestro $10,000 or more
Virtuoso $7,500 -9,999
Concertmaster $5,000 7,499
Leader $2,500 4,999
Principal $1,000 2,499
Benefactor $500-999
Associate $250 499
Advocate $100 249
Friend $50 99
Youth $25

Advertiser's Index
35 Afterwords
16 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproductive
39 Ann Arbor Symphony
35 Arbor Hospice
30 Bank of Ann Arbor
43 Barclay's Gallery 33 Beacon Investment
40 Benefit Source 25 Bivouac
20 Bodman, Longley and
49 Butzel Long 47 Cafe Marie 39 Chamber Music Society
of Detroit 18 Charles Reinhart
25 Chelsea Community
11 Chisholm and Dames Investment Advisors
36 Chris Triola Gallery
27 David Smith Photography 39 Detroit Edison
11 Dickinson, Wright, Moon, fcn 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
& Stone
42 Mundus and Mundus
12 NBDBank
40 Nichols, Sacks, Slank
and Sweet
35 Packard Community Clinic
19 Pen in Hand
43 Persian House of Imports
20 Red Hawk Bar and Grill
Zanzibar Regrets Only SKR Classical Snyder and Company Sweet Lorraine's Sweetwaters Cafe Toledo Museum of Art Top Drawer Ufer and Company U-M Urology University Productions WDET WEMU
Whole Foods Market WQRS
36 Wright, Griffin, Davis and

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