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UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --

UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - 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Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - Sunday Sep. 21 To Oct. 08 --  image UMS Concert Program, Sunday Sep. 21 To Oct. 08: University Musical Society: 1997-1998 Fall - 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Day
21
Month
September
Year
1997
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Rights Held By
University Musical Society
OCR Text

Season: 1997-1998 Fall
University Of Michigan, Ann Arbor

University Musical
THE 1997 FALL SEASON
University
Musical Society
The 1997 Fall Season
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1996-97 season. Pianist Leif Ove Andsnes responds to a standing ovation after perform?ing with the Detroit Symphony Orchestra in Hill Auditorium, saxo?phonist James Carter performs with drummer Richard "Pistol" Allen as a part of the Convershi' with the Elders concert in the Lydia Mendelssohn Theatre, and choreographer Twyda Tharp performs as part of her recon?struction of The One Hundreds in the Power Center.
Letter from the President Corporate UnderwritersFoundations UMS Board of DirectorsSenate StaffAdvisory Committees 10 General Information
13 Ticket Services
14 UMS History
15 UMS Choral Union
16 Auditoria Burton Memorial Tower 20 Education and Audience Development 22 Season Listing
28 Volunteer Information
29 Acknowledgments
30 Hungry
31 Restaurant & Lodging Packages
32 The UMS Card 32 Gift Certificates
34 Sponsorship and Advertising 37 Group Tickets
37 Advisory Committee
38 Ford Honors Program 40 UMS Contributors
49 UMS Membership
50 Advertiser Index
Dear Friend,
Thanks very much for attending this perfor?mance and for supporting the University Musical Society (UMS) by being a member of the audience. I'd like to invite you to become even more involved with UMS. There are many ways you can do this, and the rewards are great.
Educational Activities. This season UMS is hosting more than 150 performance-related educational events, nearly all of them free and open to the public. Want to learn from a member of the New York City Opera National Company what it's like to be on the road for four months, or find out from Beethoven scholar Steven Whiting why the composer's music, beloved by today's audi?ences, was reviled by many in Beethoven's own time Through our "Master of Arts" interview series, Performance-Related Educational Presentations (PREPs), post-per?formance chats with the artists, and a variety of other activities, I invite you to discover the answers to these and other questions and to deepen your understanding and appreciation of the performing arts.
UMS Choral Union. Does singing with an outstanding chorus appeal to you UMS' own 180-voice chorus, which performs annu?ally on the UMS series and as guest chorus with leading orchestras throughout the region, invites you to audition and to experi?ence the joys of musicmaking with the won?derful people who make up the chorus.
Volunteering. We couldn't exist with?out the marvelous work of our volunteers. I invite you to consider volunteering -usher?ing at concerts, staffing the hospitality booth in the lobby, serving on the UMS Advisory Committee, helping prepare our artists' wel?come packets, offering your special talent to UMS, etc. -and joining the more than 500
people who make up this absolutely critical part of the UMS family.
Group Activities. If you are a member of a service club, youth group, religious orga?nization, or any group that enjoys doing things together, I invite you to bring your group to a UMS event. There are terrific dis?counts and other benefits, not to mention the fun your group can have before, during, and after a UMS event.
UMS Membership. If you're not already a UMS member, I hope you'll consider becoming one. Not only do you receive the satisfaction of knowing that your financial support is helping us bring the world's best artists to our community, but there are numerous benefits to enjoy, including advance ticket purchase, invitations to special events, opportunities to meet artists, and more.
You can obtain further information about all of these opportunities throughout this pro?gram book and on our website (www.ums.org). You can also stop by the hospitality booth in the lobby or come and talk to me directly. I'd love to meet you, answer any questions you might have, and, most importantly, learn of anything we can do at UMS to make your concertgoing experience the best possible. Your feedback and ideas for ways we can improve are always welcome. If you don't happen to catch me in the lobby, please call me at my office in Burton Tower at 313.647.1174.
Sincerely,
Kenneth C. Fischer President
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 local?ized 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 cornerstone 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
Sam Edwards
President, Beacon
Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adven?turous, more enjoyable city."
L. Thomas Conlin
Chairman of the Board and Chief Executive Officer, Ctmlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Conlin Travel
CARL A. BRAUER, JR. (himer, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
JOSEPH CURTIN AND GREGG ALF
Gutters, Curtin & Alf "Curtin & Alf's support of the University Musical Society is both a priv?ilege and an honor.
Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excel?lence across the land."
DAVID G. LOESEL President, T.M.L. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
JOHN E. LOBBIA
Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organiza?tions that make the
Ann Arbor community a world-renowned center for the arts. The entire community shares in the countless benefits of the excellence of these programs."
EDWARD SUROVELL
President,
The Edward Surovell
Co.Realtors
"It is an honor for
Edward Surovell
Company to be able
to support an insti-
tution 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."
WILLIAM E. ODOM
Chairman, Ford Motor Credit Company "The people of Ford Credit are very proud of our continuing association with the University Musical
Society. The Society's long-established commitment to artistic excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accom-
plishments."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural contribu?tion it makes to the community."
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."
John psarouthakis.
PH.D.
Chairman and Chief
Executive Officer,
JPEinc.
"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. McMullen Co., Inc. "1 used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
Dennis Serras
President, Mainstreet Ventures, Inc. "As restaurant and catering service own?ers, we consider our?selves fortunate that our business pro?vides so many
opportunities for supporting the University Musical Society and its contin?uing success in bringing high level talent to the Ann Arbor community."
ERIK H. SERR
Principal
Miller, Canfield,
Paddock and Stone,
P.L.C.
Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our 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."
RONALD M. CRESSWELL, PH.D. Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associat?ed with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
DR. JAMES R. IRWIN Chairman and CEO, The irwin Croup of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society, While we've only been in the Ann Arbor area for the past 83 years, and UMS has been here for 119, we can still appreci?ate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters "
Joe E. O'Neal
President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
SUE S. LEE
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organi?zation as the Musical
Society at the University of Michigan."
The University Musical Society of the university of Michigan
BOARD OF DIRECTORS
F. Bruce Kulp, chair
Marina v.N. Whitman, vice chair
Carol Shalita Smokier, secretary
Elizabeth Yhouse, treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Paul C. Boylan
Lee C. Bollinger Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Beverley B. Geltner Walter L. Harrison
Norman G. Herbert Stuart A. Isaac Thomas E. Kauper Rebecca McGowan Lester P. Monts Joe E. O'Neal John Psarouthakis Richard H. Rogel
George I. Shirley lohn O. Simpson Herbert Sloan Edward D. Surovell Susan B. Ullrich Iva M. Wilson
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Richard S. Berger Carl A. Brauer Allen P. Britton Douglas Crary John D'Arms lames J. Dudcrstadt Robben W. Fleming
Randy J. Harris Harlan H. Hatcher Peter N. Heydon Howard Holmes Kay Hunt David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long Judythe H. Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed
Harold T. Shapiro Ann Schriber Daniel H. Schurz Lois U. Stegeman E. Thurston Thieme lerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
STAFF
AdministrationFinance Kenneth C. Fischer, President Elizabeth Jahn, Assistant to
the President John B. Kennard, Jr.,
Administrative Manager R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald I. Reid, Assistant Manager and Group Sales
Choral Union Thomas Sheets, Conductor Edith Leavis Bookstein, Manager Donald Bryant, Conductor Emeritus
Development
Catherine S. Arcure, Director
Betty Byrne, Advisory
Elaine A. Economou, Assistant
Director -Corporate
Support Susan Fitzpatrick,
Administrative Assistant J. Thad Schork, Gift Processing Anne Griffin Sloan, Assistant
Director -Individual Giving
EducationAudience
Development
Ben Johnson, Director
Yoshi Campbell, Manager
MarketingPromotion Sara Billmann, Director Sara A. Miller, Advertising and
Promotion Coordinator John Peckham, Marketing
Coordinator
ProgrammingProduction Michael . Kondziolka, Director Emily Avers, Artist-Services
Coordinator Paul Jomantas, Assistant
Head Usher
Kathi Reister, Head Usher Kate Remen, Programming
Manager
Work-Study Laura Birnbryer Rebekah Camm Amy Hayne Sara Jensen
Interns
Heather L. Adelman Jessica Flint Michael Lawrence Susanna Orcutt-Grady Caen Thomason-Redus
President Emeritus Gail W. Rector
1997-98 ADVISORY COMMITTEE
Gregg Alf
Paulett Banks
Kathleen Beck
Janice Stevens Botsford
feannine Buchanan
Letitia I. Byrd
Chen Oi Chin-Hsieh
Phil Cole
Mary Ann Daane
Rosanne Duncan
H. Michael Endres
Don Faber
[Catherine Hilboldt Farrell
Penny Fischer
Barbara Gelehrter
Beverley B. Geltner
Joyce Ginsberg
Linda Greene
Esther Heitler Debbie Herbert Matthew Hoffmann Maureen Isaac Marcy lennings Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Barbara Levitan Doni Lystra Margie McKinley Scott Merz Clyde Metzger Ronald G. Miller Len Niehoff Nancy Niehoff
Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmussen Nina Swanson Robinson Maya Savarino Janet Shatusky Meg Kennedy Shaw Aliza Shevrin Cynny Spencer Ellen Stross Kathleen Treciak Susan B. Ullrich Dody Viola David White Jane Wilkinson
UMS TEACHER ADVISORY
COMMITTEE
Fran Ampey
Kitty Angus
Gail Davis Barnes
Alana Barter
Elaine Bennett
Letitia J. Byrd
Diane Davis
DebKatz
John Littlejohn
Dan Long
Laura Machida
Ken Monash
Gayle Richardson
Karen Schulte
Helen Siedel
Sue Sinta
Sandy Trosien
Linda Warrington
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, sex or handicap. The University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Museum of Art: A coat closet is located to the right of the lobby gallery, near the south stair?case.
Drinking Fountains
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 restrooms. 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.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 313.763.5213.
For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 313.764.2538.
Parking
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 perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic 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 lobby.
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. 1
Museum of Art: No public phones are avail?able at the Museum of Art. The closest public phones are located across the street in the basement level of the Michigan Union.
Refreshments
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.
Restrooms
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 bal?cony 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 of 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 bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main
floor seating area.
St. Francis: Men's and women's rooms are
located in the basement at the bottom of the
front lobby stairs.
Museum of Art: Women's rooms are located
on the first floor near the south staircase.
Men's rooms are located on the basement level
near the south staircase.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Tours
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMember Information Booth
A wealth of information about UMS events, restaurants and the like is available at the information booth in the lobby of each audi?torium. UMS volunteers can assist you with questions and requests. The information booth is open thirty minutes before each con?cert and during intermission.
Ticket Services
Phone orders and information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
313.764.2538
From outside the 313 area code and within Michigan, call toll-free 1.800.221.1229
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices open 90 minutes before the performance time.
Gift Certificates
Tickets make great gifts for any occasion. The University Musical Society offers gift certifi?cates available in any amount.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
University Musical Society
of the University of Michigan
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spec?trum of today's vigorous and exciting live per?forming arts world. Over its 119 years, strong leadership coupled with a devoted community have placed UMS in a league of internationally-recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied his?tory, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the next millenium. Every day UMS seeks to cultivate, nurture and stim?ulate public interest and participation in every facet of the live arts.
The Musical Society grew from a group of local university and townspeople who gath?ered 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 performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by
the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. The Musical Society included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensem?bles. Professor Frieze
became the first president 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 ensem?bles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artists residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. The Musical Society now hosts over 70 concerts and more than 150 educa?tional events each season. UMS has flour?ished with the support of a generous commu?nity which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, the Museum of Art and the Lydia Mendelssohn Theatre.
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 individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 119-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual performances of Handel's Messiah each December. Four years ago, the Choral Union further enriched that tradition and reg?ularly collaborates as large chorus with the Detroit Symphony Orchestra. In that capacity, the ensemble has joined the orchestra for sub?scription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, and Prokofiev's Aleksandr Nevsky. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem, and
continuing with performances of the Berlioz Requiem, Bach's Mass in b minor and the Verdi Requiem.
Last season, the UMS Choral Union fur?ther expanded its scope to include perfor?mances with the Grand Rapids Symphony, joining with them in a presentation of the rarely-performed Mahler's Symphony No. 8 ("Symphony of a Thousand"). This season the Choral Union collaborates with the Ann Arbor Symphony Orchestra to present Mendelssohn's Elijah in February of 1998.
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 common passion -a love of the choral art.
For more information about the UMS Choral Union, please call 313.763.8997.
Auditoria
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is 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 impor-
tant debuts and long relationships throughout the past 84 years. With acoustics that high?light 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.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an addi?tional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's ever-popular Symphony No. 5. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in one of his only solo recitals outside of New York), Ernestine Schumann-Heink, Fritz Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignace Jan Paderewski (who often called Hill Auditorium "the finest music hall in the world"), Paul Robeson, Lily Pons, Leontyne Price, Marian Anderson and, more recently, Yo-Yo Ma, Cecilia Bartoli, lessye Norman, Van Cliburn, the MET Orchestra in the debut concert of its inaugural tour, the Vienna Philharmonic and
the late Sergiu Celibidache conducting the Munich Philharmonic.
The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommo?date both an orchestra and a large chorus (1948) and improved 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 through?out the season. Despite many changes in appearance over the past century, the organ pipes were restored to their original stenciling, color and layout in 1986.
Hill Auditorium is slated for renovation. 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 conve?niences.
Rackham Auditorium
Fifty years ago, 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, Newberry Hall and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to establish a $4 million endowment
to further the development of graduate stud?ies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level educa?tion, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, 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 inti?macy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Power Center for the Performing Arts
The Power Center for the Performing Arts was bred from a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, togeth?er with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new
Auditoria, continued
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie 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 sec?ond 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 stage 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.
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 exis?tence. In 1979, 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 is planned for 2003.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church build?ing, and on March 19, 1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
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 900 people and has ample free parking.
In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and fourty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, 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 gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series. This year's series celebrates the alto voice with recitals by Marilyn Home, David Daniels, and Susanne Mentzer.
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 major facelift in 1979. In 1995, the proscenium curtain was replaced, and new carpeting and seats were installed.
U-M Museum of Art
The University of Michigan Museum of Art houses one of the finest university art col?lections in the country and the second largest art collection in the state of Michigan. A community museum in a university setting, the Museum of Art offers visitors a rich and
diverse permanent collection, supplemented by a lively, provocative series of special exhibi?tions and a full complement of interpretive programs. UMS presents two special concerts in the Museum in the 1997-98 season. On October 8, the Moscow Conservatory Chamber Ensemble performs a program of mixed cham?ber music. On March 10, Jean-Yves Thibaudet performs a program of French piano works, complementing the museum's exhibit, "Turning Point: Monet's Debacles at VetheuiW
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the box office and administra?tive 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 from miles around, be built in the center of campus to represent the idealism and loyal?ty 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 Uni?versity, the City of Ann Arbor, and the Alumni Association, the Tower Fund was established. UMS donated $60,000 to this fund.
Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30 pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am.
A renovation project headed by local builder Joe O'Neal was completed in the sum?mer of 1991. As a result, UMS now has refur?bished offices complete with updated heating, air conditioning, storage, lighting and wiring. Over 230 individuals and businesses donated labor, materials and funds to this project.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown signifi?cantly. With a goal of deepening the under?standing of the importance of live performing arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collaborations and part?nerships to reach into the many diverse com?munities 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) performances. This year, more than 6,000 stu?dents will attend the Youth Performance Series, which includes The Harlem Nutcracker, Chick Corea and Gary Burton, the New York City Opera National Company, Los Munequitos de Matanzas, and STREB.
The University Musical Society and the Ann Arbor Public Schools are members of the Kennedy Center Performing Arts Centers and Schools: Partners in Education Program.
Some highlighted activities that further the understanding of the artistic process and appreciation for the performing arts include:
Master of Arts Interview Series
In collaboration with Michigan Radio WUOM WFUMWVGR, the Institute for the Humanities, and the Institute for Research on Women and Gender, UMS presents a series of informal and engaging dialogues with UMS Artists.
Alberto Nacif, host of WEMU's "Cuban Fantasy" interviews the reigning "Queen of Salsa" Celia Cruz.
Ursula Oppens and the American String Quartet will be interviewed in conjunction with the Beethoven the Contemporary Series and will discuss their commitment to contem?porary classical music and its future.
MacArthur "Genius" grant winner Elizabeth Streb discusses her unique choreographic vision with UMS' Director of Education and Audience Development, Ben Johnson.
Contemporary choreographer Donald Byrd will discuss his canon of work with Kimberly Camp, President of the Museum of African American History in Detroit.
Terri Sarris and Gaylyn Studlar, U-M Film and Video Studies, will interview filmmaker Ngozi Onwurah, Artist in Residence for the Institute for the Humanities and the Paula and Edwin Sidman Fellow in the Arts.
PREPs (Performance-Related Educational Presentations)
Attend lectures and demonstrations that sur?round UMS events. PREPs are given by local and national experts in their field, and some highlights include:
Richard LeSueur, Vocal Arts Information Services, will conduct PREPs on vocal music before David Daniels, Susanne Mentzer, Marilyn Home, and the New York City Opera National Company.
Alberto Nacif, Cuban music expert, will share his knowledge of Afro-Cuban Music and his personal experiences with the members of Los Munequitos de Matanzas.
Professor Mark Slobin of Wesleyan University lectures on "The Spirit of Yiddish Folklore: Then and Now" before Itzhak Perlman, "In the Fiddler's House": A Klezmer Summit.
Glenn Watkins and Travis Jackson of the U-M School of Music will talk about Wynton Marsalis' world premiere being paired with Stravinsky's L'histoire du Soldat in "Marsalis Stravinsky," a joint project with the Chamber Music Society of Lincoln Center and Jazz at Lincoln Center.
A special concert goer's tour of the new U-M Museum of Art Monet exhibit "Turning
Point: Monet's Debdcles at VetheuiF' prior to Jean-Yves Thibaudet's recital.
And many other highlighted PREPs featur?ing Ellwood Derr, Juan Llobell, Frances Aparicio, Louise Stein, Helen Siedel and Jim Leonard.
Chicago Symphony Orchestra Residency Weekend
As part of the UMS opening symphony orchestra weekend (Sept. 25-27), and in col?laboration with the U-M School of Music, the Chicago Symphony Orchestra Residency will feature fifteen CSO musicians in a wide vari?ety of instrumental master classes and panel discussions. A rare opportunity to experience many of the world's greatest musicians teach?ing master classes all under one roof.
Beethoven the Contemporary
The first of three years in this historic residency comparing the formidable legacy of Beethoven with the visions of many contemporary com?posers. Some residency highlights include:
Cyberchats with Ursula Oppens and the American String Quartet, in conjunction with the U-M Information Technology Division and YoHA -Year of Humanities and Arts.
Brown Bag lunches and lectures by three of the featured composers whose contempo?rary works are featured as part of this dynamic series: Kenneth Fuchs, Amnon Wolman, and George Tsontakis.
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students which precede all six concerts by Ursula Oppens and the American
String Quartet.
A variety of interactive lecturedemon?strations by Ursula Oppens and the American String Quartet on these and other important contemporary composers and Beethoven's canon of works.
Other Educational Highlights
World renowned choral conductors Tonu Kaljuste (Estonian Philharmonic Chamber Choir) and Dale Warland (Dale Warland Singers) will lead conducting semi?nars and chamber choir master classes.
The Harlem Nutcracker residency fea?tures a special collaboration with the Ann Arbor Chapter of the Links in a reading and discussion about important literary contribu?tions during the Harlem Renaissance.
Many post-performance Meet the Artists have been planned for concerts including the Petersen Quartet, Hagen Quartet, Susanne Mentzer, STREB, the Australian Chamber Orchestra, Ursula Oppens and the American String Quartet.
STREB will be in residency for one week for many interactive activities, discussions, and master classes.
And many other residency activities.
The 1997 98 Season
SEPTEMBER
CECILIA BARTOLI,MEZZO-SOPRANO
STEVEN BLIER. PIANO
I DELFICI. STRING ENSEMBLE
Sunday, September 21, 4pm
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research.
THE CHICAGO SYMPHONY ORCHESTRA WEEKEND CHRISTOPH ESCHENBACH. CONDUCTOR
September 25,26 & 27,1997
CHICAGO SYMPHONY ORCHESTRA CHRISTOPH ESCHENBACH,
CONDUCTOR AND PIANO Thursday, September 25,8pm Hill Auditorium
CHICAGO SYMPHONY ORCHESTRA CHRISTOPH ESCHENBACH.
CONDUCTOR NADJA SALERNO-SONNENBERG,
VIOLIN
Friday, September 26,8pm Hill Auditorium
CHAMBER MUSIC WITH MEMBERS OF THE CHICAGO SYMPHONY ORCHESTRA
Saturday, September 27, 8pm Rackham Auditorium The Chicago Symphony Orchestra Weekend is sponsored by Forest Heath Services. Additional support is provided by Arts Midwest, in part?nership with the National Endowment for the Arts.
OCTOBER
MOSCOW CONSERVATORY CHAMBER ENSEMBLE Wednesday, October 8, 8pm U-M Museum of Art Presented with the generous support of Dr. Herbert Sloan.
ESTONIAN PHILHARMONIC CHAMBER CHOIR AND TALLINN CHAMBER ORCHESTRA TONU KALJUSTE, CONDUCTOR Thursday, October 9, 8pm Hill Auditorium
ESTONIAN PHILHARMONIC
CHAMBER CHOIR
TONU TALJUSTE, CONDUCTOR
Saturday, October 11, 8pm
St. Francis of Assisi Catholic Church
Conducting Seminar Maestro Tonu Kaljuste
and U-M conductors, Ocl 10, Ham, U-M School of Music Recital Hall. Choral Master Class Maestro Tdnu Kaljuste and members of the U-M Chamber Choir, Oct 10,1:30pm, U-M School of Music Recital Hall.
ORCHESTRA OF ST. LUKE'S
CHAMBER ENSEMBLE
PHILIPPE HERREWEGHE. CONDUCTOR
Annette Markert, contralto
Thomas Young, tenor
William Sharp, baritone
Sunday, October 12,4pm
Rackham Auditorium
PREPIim Leonard, Manager, SKR Classical,
Oct 12, 3pm, Rackham Assembly Hall, 4th Poor.
GUITAR SUMMIT IV
Featuring Herb Ellis, Michael Hedges,
Sharon Isbin, and Rory Block
Thursday, October 16, 8pm
Rackham Auditorium
Presented with support from AAA Michigan
and media partner WDET.
MICHIGAN CHAMBER PLAYERS Sunday, October 19, 4pm Rackham Auditorium Complimentary Admission
MARILYN HORNE, MEZZO-SOPRANO MARTIN KATZ, PIANO Saturday October 25, 8pm Mendelssohn Theatre PREP "Marilyn Home as a Recital Singer" Richard LeSueur, Vocal Arts Information Services, Oct 19,2pm, Ann Arbor District Library. In collaboration with the Ann Arbor District Library.
GABRIELI CONSORT & PLAYERS PAUL MCCREESH. MUSIC DIRECTOR Sunday, October 26, 8pm St. Francis-of-Assisi Catholic Church PREP Louise Stein, U-M Associate Professor of Musicology, Oct 26, 7pm, St. Francis Parish Activity Center.
NOVEMBER
CELIA CRUZ
WITH JOSE ALBERTO "EL CANARIO"
AND HIS ORCHESTRA
Friday, November 7, 8pm
Hill Auditorium
PREP "Celia Cruz: Queen of Salsa" Frances
Aparicio, Arthur S. Thurnau Professor of
Spanish & American Culture, U-M. Nov 7, 7pm
Ml League Henderson Rm., 2nd fir.
Master of Arts Celia Cruz interviewed by
Alberto Nacif, Musicologist and Host of
WEMU's "Cuban Fantasy" Nov 8, 1 lam,
Natural Sciences Aud.
Presented with support from media
partner WEMU.
hAkan hagegArd, baritone warren jones, piano
Saturday, November 8, 8pm
Hill Auditorium
Vocal Master Class HAkan Hagegdrd and U-M
School of Music vocalists. Nov 7, 3pm, U-M
School of Music Recital Hall.
PAT METHENY GROUP Wednesday, November 12, 8pm Michigan Theater
Presented with support from media partners WEMU and WDET.
BEETHOVEN THE CONTEMPORARY
URSULA OPPENS, PIANO
Friday, November 14, 8pm
Rackham Auditorium
Lecture "Beethoven Fundamentals" by Steven
Wltiting, U-M Assistant Professor of
Musicohgy, Nov 9, 2pm, Basement Level, Ann
Arbor District Library.
Cyberchat with Ursula Oppens, Nov 12,
12 noon. More information available at
http:www.yoha.umich.edu
LectureDemonstration "The Genius of
Composer Elliott Carter" Ursula Oppens, Nov
13, 3pm School of Music Recital Hall.
Master of Arts Ursula Oppens interviewed by
Susan Isaacs Nisbett, Ann Arbor News Music
and Dance Reviewer. Nov 13, 7pm, 140 Lorch
Hall.
PREP "The Beethoven Performances' Lectures"
by Steven Whiting, U-M Assistant Professor of
Musicohgy with U-M School of Music students.
Nov 14, 6:30pm, MLB Lecture Rm 1.
Meet the Artist Post-performance dialogue
from the stage.
Sponsored by the Edward Surrovell Co.
Realtors. Additional funding provided by the
LUa Wallace-Readers Digest Arts Partners
Program, the National Endowment for the
Arts and media partner Michigan Radio,
WUOMWFUMWVGR.
TNUATRON DANCE THEATER (FAMILY PERFORMANCE)
Saturday, November 15, 7pm Michigan Theater
This program is part of the Mid EastWest Fest International Community of Cultural Exchange sponsored by Amstore Corporation, W.K. Kellogg Foundation, Lufthansa, the Ministry for Foreign Affairs of Israel-Cultumi Department and Ben Teitel Charitable Trust, Gerald Cook Trustee.
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET
Sunday, November 16,4pm Rackham Auditorium PREP "Tfie Beethoven Performances' Lectures" Steven Wluting, U-M Asst. Professor of Musicohgy, with U-M School of Music students Nov 16, 2:30pm, Rackham Assembly Hall. Meet the Artists Post-performance dialogue from the stage.
String Quartet Master Class led by the American String Quartet, with School of Music musicians, Nov 17,2:30pm Room 2026, School of Music.
Strings Master Class with the Ann Arbor School for the Performing Arts, Nov 17, 6pm, Black Box Theatre, Concordta College. LectureDemonstration "Entrances" with the .American String Quartet and V-M School of Music students, Nov 18, 3:30pm, School of Music Recital Hall.
Cyberchat with members of the American String Quartet, Nov 18, 7pm. More information available at http:www.yoha.umich.edu Sponsored by the Edward Surovetl Co. Realtors. Additional funding provided by the LUa Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR. The University Musical Society is a grant recipient of Chamber Music America's Presenter-Community Residency Program funded by the Lila Wallace-Reader's Digest Fund.
ORPHEUS CHAMBER ORCHESTRA RICHARD GOODE, PIANO Wednesday, November 19, 8pm Hill Auditorium
PREP "Creams of the Mozart Crops: His Piano Concertos," Eltwood Derr, U-M Professor of Music, Nov 19. 7pm, MI League Hussey Rm. Sponsored by Pepper, Hamilton &Scheetzt Attorneys at Law.
DECEMBER
ITZHAK PERLMAN
IN THE FIDDLER'S HOUSE
A Klezmer Summit featuring
The Kkvm.iiks
Brave Old World
The Klezmer Conservatory Band and
The Andy Statman Klezmer Orchestra
Tuesday, December 2,8pm
Hill Auditorium
Lecture "The Spirit of Yiddish Folklore: Tfien
and Now" Mark Slobin, Professor of Music,
Wesleyan University, Dec 2, 4pm. Kuenzel
Room, Michigan Union.
This performance is presented through the
generous support of the KMD Foundation and
McKinley Associates.
HANDEL'S MESSIAH
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Nicole Heaston, soprano
David Daniels, countertenor
John Aler, tenor
Nathan Berg, baritone
Saturday, December 6,8pm
Sunday, December 7, 2pm
Hill Auditorium
Presented with the generous support of
Dr. James and Millie Invin.
THE HARLEM NUTCRACKER
Donald ByrdThe Group Thursday, December 11, 8pm Friday, December 12,8pm Saturday, December 13, 2pm Saturday, December 13, 8pm Sunday, December 14, 2pm Sunday, December 14, 8pm Power Center
Master of Arts Choreographer Donald Byrd is interviewed by Kimberly Camp, President of the Museum of African American History in Detroit. Dec 8, 7pm, Rackham Amphitheatre. Links to Literature Members of the Ann Arbor Chapter of the Links, Inc. read and tell stories from the Harlem Renaissance. Thu. Dec 4, 7:30pm, Borders Books and Music Presented with support from the Lita Wallace-Reader's Digest Audiences for the Performing Arts NetworL Additional support is provided by Arts Midwest in partnership with the National Endowment for the Arts, and media partners WEMU and WDET.
JANUARY
DAVID DANIELS, COUNTERTENOR
MARTIN KATZ. PIANO
Friday, January 9, 8pm
Mendelssohn Theatre
PREP "David Daniels and his Program"
Richard LeSueur, Vocal Arts Information
Services. Fri. Jan 9, 7pm, Rackham Assembly
Hail, 4th floor.
This performance is presented through the
generous support of Maurice and Linda Binkow.
ISRAEL PHILHARMONIC ZUBIN MEHTA, CONDUCTOR Saturday, January 10,8pm Hill Auditorium
CHRISTOPHER PARKENING, GUITAR
A TRIBUTE TO ANDRES SEGOVIA
Sunday, January 11, 4pm
Rackham Auditorium
Sponsored by Thomas B. McMutten Co.
BOYS CHOIR OF HARLEM Sunday, January 18, 7pm Hill Auditorium
Sponsored by the Detroit Edison Foundation. Additional support provided by Beacon Investment Company and media partner WDET. 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 1998 Rev. Dr. Martin Luther King, Jr. Day Symposium. Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network.
TOKYO STRING QUARTET Thursday, January 22,8pm Rackham Auditorium
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET Friday, January 30, 8pm Rackham Auditorium Master of Arts Members of the American String Quartet, interviewed by Mark Stryker, Arts & Entertainment Reporter, Detroit Free Press. Jan 28, 7pm, Rackham Amphitheatre. University Hospital's Gifts of Art free concert by the American String Quartet in the University Hospital Lobby, Jan 29, 12 noon. Open Rehearsal with the American String Quartet and composer George Tsontakis, Jan 29, 7pm, U-M School of Music Recital Hall Brown Bag Lunch with composer George Tsontakis, Jan 30, 12 noon, Ml League Vandenberg Rm.
PREP "The Beethoven Performances' Lectures" Steven Whiting, U-M Professor of Musicology, with U-M School of Music students. Jan 30, 6:30pm, Rackham Assembly Hall. Meet the Artists Post-performance dialogue from the stage.
Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR. Vie University Musical Society is a grant recipient of Chamber Music Americas Presenter-Community Residency Program funded by the Lila Wallace-Readers Digest Fund.
BEETHOVEN THE CONTEMPORARY URSULA OPPENS, PIANO
Saturday, January 31, 8pm Rackham Auditorium PREP "The Beethoven Performances' Lectures" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music stu?dents. Ian 31, 6:30pm, MI League Hussey Rm. Meet the Artist Post-performance dialogue from the stage.
LectureDemonstration "The Adventure of Contemporary Piano Music" Ursula Oppens, Feb 1,3pm, Kerrytown Concert House. In col?laboration with the Ann Arbor Piano Teacher's Guild.
LectureDemonstration with Ursula Oppens and composer Amnon Wolman, Feb 2, 12:30pm Room 2043, U-M School of Music. Piano Master Class with Ursula Oppens and School of Music students, Feb 2, 4:30pm, U-M School of Music Recital Hall Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the liia Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR.
FEBRUARY
DALE WARLAND SINGERS
Thursday, February 5, 8pm
St. Francis of Assist Catholic Church
Conducting Seminar Conductor Dale
Warland and U-M conductors, Feb 6, 1 lam,
U-M School of Music Recital Hall.
Chamber Choir Master Class Conductor Dale
Warland works with the U-M Chamber Choir,
Feb 6,1:30pm, U-M School of Music Recital
Hall
SAINT PAUL CHAMBER ORCHESTRA HUGH WOLFF, CONDUCTOR EMANUEL AX, PIANO DALE WARLAND SINGERS
Friday, February 6,8pm Hill Auditorium Sponsored by NBD.
CANADIAN BRASS
Sunday, February 8,4pm
Hill Auditorium
Co-sponsored by First of America and Miller,
Canfield, Paddock, and Stone, PIC.
ROYAL CONCERTGEBOUW ORCHESTRA OF AMSTERDAM RICCARDO CHAILLY, CONDUCTOR
Wednesday, February 11,8pm Hill Auditorium
JUAN-JOSE MOSALINI AND HIS
GRAND TANGO ORCHESTRA
Friday, February 13, 8pm
Rackham Auditorium
Presented with support from media partner
WEMU.
CHEN ZIMBALISTA, PERCUSSION Saturday, February 14,8pm Rackham Auditorium This program is part of the Mid EastWest Fest International Community of Cultural Exchange sponsored by Amstore Corporation, W.K. Kellogg Foundation, Lufthansa, the Ministry for Foreign Affairs of Israel Cultural Department and Ben Teitel Charitable Trust, Gerald Cook Trustee.
PETERSEN QUARTET
Thursday, February 19, 8pm Rackham Auditorium Meet the Artists Post-performance dialogue from the stage.
CHICK COREA, PIANO AND
GARY BURTON, VIBES
Friday, February 20, 8:00pm
Michigan Theater
Presented with support from media partners
WEMUandWDET.
MENDELSSOHN'S ELIJAH UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Katherine Larson, soprano
Jayne Sleder, mezzo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22, 4pm
Hill Auditorium
PREP "Felix Mendelssohn-Bartholdy:
Felicitous Choral Conductor and Choral
Composer," Ellwood Den, U-M Professor of
Music, Feb 22, 3pm, MI League Koessler
Library.
Sponsored by Brauer Investments.
MARCH
Master of Arts Ngozi Onwurah, filmmaker and Institute for the Humanities artist-in-residence and the Paula and Edwin Sidman Fellow for the Arts interviewed by Lecturer Terri Sarris and Director Gaylyn Studlar of the U-M Program in Film & Video Studies. Mar 9, 7pm, Rackham Amphitheatre
JEAN-YVES THIBAUDET, PIANO
Tuesday, March 10,8pm
U-M Museum of Art
PREP A concert goer's tour of "Monet at
VitheuiU The Turning Point" Mar 10, 6:30pm,
West Gallery, 2nd Floor, U-M Museum of Art.
Ticket to concert required.
Presented with the generous support of Dr.
Herbert Sloan.
NEW YORK CITY OPERA
NATIONAL COMPANY
DONIZETTI'S DAUGHTER OF
THE REGIMENT
Thursday, March 12, 8pm
Friday, March 13,8pm
Saturday, March 14, 2pm (75-minute
Family Performance) Saturday, March 14, 8pm Power Center
PREP "The Comic Donizetti" Richard LeSueur, Vocal Arts Information Services, Mar 12, 7pm, Ml League, Koessler Library. PREP Member of the New York City Opera National Company, Mar 13, 7pm, Ml League Vandenberg Rm.
PREP for KIDS "Know Before You Go: An Introduction to Daughter of the Regiment" Helen Siedel, UMS Education Specialist, Mar 14, 1:15 pm, Michigan League, Hussey Room. These performances are supported by the National Endowment for the Arts.
MICHIGAN CHAMBER PLAYERS Sunday, March 15,4pm Rackham Auditorium Complimentary Admission
LOS MUNEQUITOS DE MATANZAS
Wednesday, March 18,8pm
Power Center
PREP "Los Muftequitos: Cuban Ambassadors
of the Rumba," Alberto Nacif, Musicologist and
Host ofWEMU's "Cuban fantasy," Mar 18,
7pm, Ml League Hussey Rm.
Presented with support from media partner
WEMU.
BATSHEVA DANCE COMPANY OF ISRAEL
Ohad Naharin, artistic director Saturday, March 21, 8pm Sunday, March 22,4pm Power Center
RUSSIAN NATIONAL ORCHESTRA MIKHAIL PLETNEV, CONDUCTOR GIL SHAHAM, VIOLIN Tuesday, March 24, 8pm Hill Auditorium
AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI, CONDUCTOR STEVEN ISSERLIS, CELLO Wednesday, March 25,8pm Rackham Auditorium Meet the Artists Post-performance dialogue from the stage.
URSULA OPPENS, PIANO
Friday, March 27,8pm
Rackham Auditorium
University Hospital's Gifts of Art free concert
performed by Ursula Oppens in the University
Hospital Lobby, Mar 26, 12 noon.
LectureDemonstration "Piano Music: 1945
to the Present" Ursula Oppens, Mar 26, 3pm,
V-M School of Music Recital Hall.
PREP "The Beethoven Performances' Lectures"
Steven Whiting, U-M Asst. Professor of
Musicology, with U-M School of Music students,
Mar 27, 6:30pm, MI League Vandenberg Rm.
Meet the Artist Post-performance dialogue
from the stage
Sponsored by the Edward Surovelt Co.
Realtors. Additional funding provided by the
Lila Wallace-Reader's Digest Arts Partners
Program, the National Endowment for the Arts
and media partner Michigan Radio, WUOM
WFUMWVGR.
PACO DE LUCIA AND HIS
FLAMENCO ORCHESTRA
Saturday, March 28, 8pm
Hill Auditorium
PREP "Flamenco: Yesterday, Today, and
Tomorrow" Juan Llobetl, Flamenco Musician
and Owner ofCasa de Espaha of Detroit, Mar
28, 6:30pm, MI League Hussey Rm.
Presented with support from media partner
WEMU.
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET
Sunday, March 29, 4pm
Rackham Auditorium
PREP "The Beethoven Performances' Lectures"
Steven Whiting, U-M Asst. Professor of
Musicology, with U-M School of Music stu-
ilents, Mar 29, 2:30pm, MI League Hussey Rm.
Meet the Artists Post-performance dialogue
from the stage.
Brown Bag Lunch with composer Kenneth
Fuchs, Mar 30, 12:30pm, Room 2026, U-M
School of Music.
LectureDemonstration with the American
String Quartet and composer Kenneth Fuchs,
Mar 30, 2:30pm Room 2026, U-M School of
Music
Youth Quartets Master Class with the Ann
Arbor School for the Performing Arts, Mar 30,
6pm, Concordia College.
Sponsored by the Edward Surovell Co.
Realtors. Additional funding provided by the
Lila Wallace-Reader's Digest Arts Partners
Program, the National Endowment for the Arts
and media partner Michigan Radio, WUOM
WFUMWVGR. Vie University Musical
Society is a grant recipient of Chamber Music
America's Presenter-Community Residency
Program funded by the Lila Wallace-Reader's
Digest Fund.
APRIL
STREB
Friday, April 3,8pm
Saturday, April 4, 8pm
Power Center
Master of Arts Choreographer and 1997
MacArthur "Genius" Grant recipient Elizabeth
Streb, interviewed by Ben Johnson, UMS
Director of Education and Audience
Development, Apr 2, 7pm, Rackham
Amphitheatre.
Meet the Artists Post-performance dialogue
from the stage, both evenings.
Presented with support from media partner
WDET, Arts Midwest, New England
Foundation for the Arts and the National
Endowment for the Arts.
SUSANNE MENTZER, MEZZO-SOPRANO CRAIG RUTENBERG, PIANO
Tuesday, April 7, 8:00pm
Mendelssohn Theatre
PREP "Susanne Mentzer: The Recital" Richard
LeSueur, Vocal Arts Information Services, Apr
5, 2pm, Ann Arbor District Library.
Meet the Artist Post-performance dialogue
from the stage.
EVGENY KISSIN, PIANO
Monday, April 13,8pm
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research.
LUZ Y NORTC
THE HARP CONSORT
Thursday, April 23,8pm
Mendelssohn Theatre
Presented with support from media partner
WEMU.
World Premiere! MARSALIS STRAVINSKY A joint project of the Chamber Music Society of Lincoln Center, David Shifrin, Artistic Director and Jazz at Lincoln Center, Wynton Marsalis, artistic director Friday, April 24, 8pm Rackham Auditorium PREP "Wynton Marsalis and Extended Composition in Jazz" Travis Jackson, V-M Professor of Musicology and Music History, and Glenn Watkins, Earl V. Moore Professor of Musicology, Apr 24, 7pm, Ml League Henderson Rm.
Presented with support from the Lila Wallace-Header's Digest Audiences for the Performing Arts Network and media partner WDET.
HAGEN QUARTET
Wednesday, April 29, 8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
MAY
THE MET ORCHESTRA
SIR GEORG SOLTI, CONDUCTOR
Friday, May 1,8:30pm
Hill Auditorium
FORD HONORS PROGRAM
featured artist will be announced in
January, 1998
Saturday, May 9,6pm
Hill Auditorium
Sponsored by Ford Motor Company.
University Musical Society
of the University of Michigan 1997-1998 Fall Season
Event Program Book
Sunday, September 21, 1997 through Wednesday, October 8, 1997
General Information
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. 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 accompa?nying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined 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 digi?tal watches, beeping pagers, ring?ing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat loca?tion 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 perfor?mances included in this editon. Thank you for your help.
Cecilia Bartoli, mezzo-soprano 3
Steven Blier, piano I Delfici, string ensemble Sunday, September 21,4:00pm Hill Auditorium
Chicago Symphony Orchestra 19
Christoph Eschenbach, conductor and piano Thursday, September 25, 8:00pm Hill Auditorium
Chicago Symphony Orchestra 25
Christoph Eschenbach, conductor Nadja Salerno-Sonnenberg, violin Friday, September 26, 8:00pm Hill Auditorium
Chamber Music with Members of the 37
Chicago Symphony Orchestra
Saturday, September 27, 8:00pm Rackham Auditorium
Moscow Conservatory 43
Chamber Ensemble
Wednesday, October 8, 8:00pm U-M Museum of Art
Cecilia Bartoli
Mezzo-soprano
Steven Blier, Harpsichord, Piano, Organ
I Delfici, String Ensemble Antonella Francestini, Luca Rocco, Gabriele Bartoli, Giuseppe Mule
University
Musical
Society
and
Parke-Davis
Pharmaceutical
Research
present
Program
Antonio Vivaldi
Franz Schubert
Pauline Viardot-Garcia
Leo Delibes Gioacchino Rossini
Sunday Afternoon, September 21,1997 at 4:00 Hill Auditorium, Ann Arbor, Michigan
I In furore iustissimae irae
Motet for soprano, two violins, viola and cello, RV 626
II Cessate, omai cessate
Cantata for contralto, two violins, viola and cello, RV 684
III Agitata da due venti
Aria from La Griselda Act II, Scene ii, RV 718 Ms. Bartoli and I Delfici
INTERMISSION
IV Da quel sembiante appresi, D688, No. 3 Mio ben ricordati, D688, No. 4 Se dall'Etra, D738
Non t'accostar all'urna, D688, No. 1 La pastoreiia, D528
V Havanaise Hai lull
Les filles des Cadix
VI Riedi al soglio
from Zelmira
Ms. Bartoli and Steven Blier
The audience is politely requested to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
First Concert of the Special thanks to Dr. Ronald Cresswell for his support of the
119th Season University Musical Society through Parke-Davis Pharmaceutical
Research.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
The David Sutherland harpsichord used in this evening's performance is generously provided by Carolyn Lipp.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Special Concert Large print programs are available upon request.
I. Antonio Vivaldi
Born on March 4, 1678 in Venice Died on July 28, 1741 in Vienna
Motets, Cantatas and Arias
Antonio Vivaldi owes his reputation today almost entirely to his instrumental music. But this was not the case in the Venetian composer's own lifetime, when his fame and prestige were also linked to his prolific output of vocal music.
As far as we know, Vivaldi wrote fourty-seven operas, three oratorios, sacred works (both liturgical and non-liturgical) for a variety of instrumental and vocal combina?tions, secular cantatas and occasional works for the stage. A large number of the sacred pieces were written for the chorus of the Pio Ospedale della Pieta, where Vivaldi served as violin teacher and Director of Music at vari?ous periods in his life.
In the early eighteenth century, Venice boasted four such "hospitals" -charitable institutions whose mission was the upbring?ing of foundlings and orphan girls from deprived families. Some of these girls were specifically educated in the art of musical performance and formed choirs and orches?tras famous for their quality and skill; those of the Ospedale della Pieta were considered particularly prestigious on account of the exceptionally high standards achieved by the girls.
There are around twenty compositions by Vivaldi which could be called motets, although at times they are entitled Introduzioni. All are scored for a solo voice and strings. Motets in early eighteenth-century Venetian practice consisted of sacred non-liturgical pieces, to be performed in the course of the Mass or Vespers at such moments as the Offertory, the Elevation or the Benediction. They were normally of a virtuoso nature and the text was always in Latin.
The structure of the motet In furore iustissimae irae is: aria -recitative -aria -concluding alleluia (the identical sequence used by Mozart over fifty years later in his Exsultate, jubilate). The first aria is in three-part form, with the opening section repeated at the end--a scheme which Vivaldi favoured in much of his work, both vocal and instru?mental. This first aria describes how the indignation and wrath of God towards a sinner change to mercy at the hour of judgement. The short recitative that follows is a plea for divine mercy, which, in the sec?ond aria, becomes an invocation to Christ for his tears to fill the hearts of sinners with joy. A soaring, virtuoso Alleluia, representing the glorification of the Lord, brings the motet to a close.
The cantata was, alongside opera, the most widespread form of secular vocal com?position, fertile ground for opera singers when they were not actually performing on the stage. Settings of Italian texts, cantatas followed the Arcadian tradition in describing the anguish and joys of love. Thirty-nine such works by Vivaldi have survived, of which nine require an instrumental accom?paniment in addition to the basso continue
Cessate, omai cessate is scored for two violins, viola and continuo. It opens with an accompanied recitative in which the forsaken lover vents his woes and begs for an end to his suffering; but the haunting memory of his beloved gives him no peace. The first aria is in two parts -a Larghetto in which the lover's tears are illustrated by pizzicato strings, and a more reflective Andante molto, in which he concludes that death alone can bring an end to the torment of love. This is followed by another acompanied recitative, in which he descends into the underworld (almost following the path of Orpheus). His purpose, however, is not to find his lost beloved, but rather to look for a soul who, unlike the pitiless Dorilla, will comfort him. The tenebrous mood which
depicts the descent into Hades shows Vivaldi's extraordinary skill in tone painting with rel?atively modest means.
The concluding aria is a further diatribe against Dorilla, expressing yet again the lover's grief -or indeed rage, when we consider the music itself, with its urgent rhythms and persistent repetitions.
The opera La Griselda was premiered in 1735 at the Teatro Grimani, at Sam Samuele in Venice, and the occasion marked the first meeting betwen Vivaldi and Carol Goldoni. The young playwright had been commis?sioned to rewrite the verse for the arias in Apostolo Zeno's ageing libretto, leaving the recitatives untouched (a common practice at the time). Some years later Goldoni described this encounter in his memoirs, concluding: "he is still pleased with me and the opera is extremely successful."
The story also appears in Boccaccio's Decameron. Gualtiero, King of Thessaly, has married Griselda, a girl of humble origins. The marriage has been the cause of great unrest among his people, and in order to placate them, Gualtiero announces that he will repudiate her in favor of a foreign woman of higher rank, Constanza. The latter is in fact the royal couple's own daughter, whom Gualtiero -on account of the mother's lowly status -has pretended to have killed, but who has been raised abroad by a friend of the king's. In her exile, Costanza has in the meantime fallen in love with Roberto, Prince of Athers, and when she is ordered to return to Thessaly, he resolves to accompany her. Costanza sings the aria "Agitata da due venti" as she is about to leave Roberto and become Gualtiero's new bride.
Griselda proves her magnanimity and loyalty in the face of her humiliations, and Gualtiero, revealing the true reasons behind his actions, eventually reinstates her to her rightful position. Finally, he discoloses the real identitiy of Costanza, and gives her in
marriage to her beloved Roberto.
"Agitata da due venti" is an outstanding example of the expressive virtuosity found in Vivaldi's vocal writing. It rests on the simile of a sailor at the mercy of opposing winds and in danger of shipwreck, and the heart of Costanza, torn between two con?flicting and contrasting forces which are dri?ving her to despair. The use of such similes was a common rhetorical device in the poetry of the time, and Vivaldi depicts these natural images with figurations and dynam?ic effects deriving from the madrigal tradi?tion: wide melodic leaps, repeated notes, an undulating violin line, vocal coloratura on the key word "naufragar" (shipwreck). This is in contrast to the middle section of the aria, where the heroine's character emerges in phrases that are sometimes smoother, sometimes more dramatic (as at the word "disperar").
Nature and Man often appear side by side in Vivaldi's scores. Images drawn from nature are transformed into sounds which, in order to make the most of their expressive potential, aspire to the quality noted by the humanist De Brosses in his Lettres familieres on Italy. Writing of Venetian performances in 1739, he observed:"... a manner of accompaniment... which greatly enhances their music... the art of light and shade applied now in gradual measures, now abruptly."
It is an almost pictorial style, appealing directly to the sensitivity and emotions of the listener.
Program note by Claudio Osele and Cecilia Bartoli, translation DECCA 1997
In furore iustissimae irae
Motet for soprano, two violins, viola and cello, RV 626
1. Aria
In furore iustissimae irae Tu divinitus facis potentem.
Quando potes me reum punire ipsum crimen te gerit clementem.
2. Recitativo
Miserationum Pater piissime, parce mihi dolenti peccatori languenti, o Jesu dulcissime.
3. Aria
Tune meus fletus evadet laetus dum pro te meum languescit cor.
Fac me plorare, mi Jesu care, et fletus laetum fovebit cor.
4. Alleluia
1. Aria
In wrath and most just anger you divinely excercise power.
When you punish me in my guilt
the crime itself bears you in your mercy.
2. Recitative
Most loyal father of mercies spare me, a sorrowful, weak sinner, most sweet Jesus.
3. Aria
Then shall my wedding turn to joy
as my heart is softened towards you.
Make me cry, my dear Jesus, and joyful weeping will warm my heart.
4. Alleluia
II. Cessate, omai cessate
Cantata for contralto, two violins, viola and cello, RV 684
1. Recitativo accompagnato
Cessate, omai cessate,
rimembranze crudeli
d'un affetto tiranno;
Gia barbare e spietate
mi cangiaste i contenti
in un immenso affanno.
Cessate, omai cessate,
di lacerarmi il petto,
di trafiggermi 1'alma,
di toglier al mio cor riposo e calma.
Povero core afflitto, e abbandonato,
se ti toglie la pace
un affetto tiranno,
perche un volto spietato, un'alma infida,
la sola crudelta pasce ed annida.
2. Aria
Ah, ch'infelice sempre Me vuol Dorilla ingrata, Ah sempre piu spietata, M'astringe a lagrimar.
Per me non v'e no, non v'e ristoro, Per me non v'e no, non v'e piu speme. E il fier martoro e le mie pene, Solo la morte puo consolar.
3. Recitativo accompagnato
A voi dunque ricorro orridi specchi
taciturni orrori,
solitari ritiri,
ed ombre amiche, tra voi porto il mio duolo,
perche spero da voi quella pietade,
che Dorilla inhumana non annida.
Vengo spelonche amate,
vengo specchi graditi,
alfine meco in volto
il mio tormento in voi resti sepolto.
1. Accompanied Recitative
Leave me, leave me,
You cruel memories
of tyrannical emotion;
You strike me with real barbarity
And are content only
with my deep sorrow.
Leave off, leave off,
From torturing my breast,
Slaying my soul,
And do not rob my heart of its calm and peace.
See, my poor, abandoned heart,
A tyrannical emotion
has robbed you of peace,
Because her face is cruel and her soul unfaithful,
Anguish alone sustains and harms me.
2. Aria
Ah, how sad
the faithless Dorilla will make me.
Ah, she tortures me
more and more cruelly, to tears.
I have no more rest, there is no more hope, I have no more rest, And death alone can end
My cruel suffering and pain.
3. Accompanied Recitative
So I run to you, frightening, reticent caves,
Who hide lonely horrors
and shadows.
My lady loves, I have brought my grief here
Because I hope for grace form you,
And that the inhuman Dorilla
will find no shelter here.
I come, beloved caves, I come,
dear cavities in the rock,
To stay here with my harassed face, to be buried at last.
4. Aria
NelForrido albergo ricetto di pene Potro il mio tormento sfogare contento Potro ad alta voce chiamare spietata Dorilla l'ingrata, morire potrd.
Andro d'Acheronte su la nera sponda, Tingendo quest'onda di sangue innocente Gridando vendetta, Ed ombra baccante, vendetta faro.
4. Aria
At the dreaded dwelling-place
that receives torture
I can reveal
my suffering,
I can call
aloud upon
the unfaithful Dorilla
And die.
I shall go
to the black shores of Acheron,
And see the flood
of innocent blood
Cry for vengeance,
And I, a frenzied ghost,
Shall avenge myself.
III. Agitata da due venti
from La Griselda
Opera in three acts, RV 718
Constanza's aria, Act II, Scene ii
Agitata da due venti Freme l'onda in mar turbato E'l nocchiero spaventato Gia s'aspetta a naufragar.
Dal dovere, e dall'amore Combattuto questo core Non resiste; e par che ceda E cominci a disperar.
Whipped up by two winds The waves rage in the rough sea And the terrified steersman Already expects to be shipwrecked.
By duty and by love Assailed, this heart Cannot hold out; I feel it waver And begin to despair.
IV. Franz Schubert
Born on January 31, 1797 in Vienna Died on November 19, 1828 in Vienna
Da quel sembiante appresi, D688 No.3 From that face I learned
(Metastasio)
Da quel sembiante appresi, a sospirar d'amore, sempre per quel sembiante sospirero d'amore.
La face a cui m'accesi solo m'alletta e piace, e fredda ogn'altra face per riscaldarmi il cuore.
Mio ben ricordati, D688, No. 4 (Metastasio)
Mio ben ricordati, s'awien ch'io mora: quanto quest'anima fedel t'amo.
E se pur amano le fredde ceneri: nell'urna ancora t'adorero.
Nel boschetto, D738
(Jakob Nikolaus Craigher de Jachelutta)
Se dall'Etra, Febo i raggi ei penetra in mezzo a' faggi, quel dolore ch'e nel core si converte in volutta!
E del rio il mormorio! quest'aurette amorosette! i vapori, l'erbe, i fiori! dan al bosco maesta!
Ah se ognora dense fronde, rai d'aurora, verdi sponde ad ogn'alma desser calma nelle sue awersita!
From that face I learned to sigh with love, I shall always sigh with love for that face.
The fire which inflamed me is my only joy and pleasure, all other flames are too cold to warm my heart.
Remember, my beloved
Remember, my beloved, if I should die, how much my faithful heart loved you.
And if cold ashes are capapble of love, then in the grave I shall still adore you.
In the wood
If Phoebus sends rays down from the sky in among the beech trees, the grief in one's heart will turn to pleasure!
The murmering stream! These loving breezes! The mist, the grass, the flowers, all bring dignity to the wood!
Ah, if only leafy branches, the ray of dawn and grassy banks could bring peace to every heart in adversity!
Non t'accostar all'urna, D688 No.1 (Jacopo Andrea Vittorelli)
Non t'accostar all'urna che l'ossa mie rinserra. Questa pietosa terra e sacra al mio dolor.
Ricuso i tuoi giacinti non voglio i pianti tuoi che giovan agli estini due lagrime, due fior
Empia! dovevi allor porgermi un fil d'aita, quando traea la vita in grenbo dei sospir.
Ah che d'inutil pianto assordi la foresta Rispetta un' ombra mesta e lasciala dormir.
La pastorella, D528 (Carlo Goldini)
La pastorella al prato contenta se ne va coll'agnellino al lato cantando in liberta.
Se l'innocente amore gradisce il suo pastore la bella pastorella contenta ognor sara.
Do not approach the urn
Do not approach the urn which contains my bones. This pitiful earth is sacred to my grief.
I spurn the hyacinths you bring, I do not want your tears. What use to the dead are two tears, two flowers
Faithless one! You should have offered me a ray of hope while I still dragged out my life in the vale sighs.
Ah, why deafen the forest with futile weeping Respect an unhappy shadow and allow it to sleep.
The Shepherdess
The shepherdess happily goes off to the meadow with the little lamb at her side, singing blithely.
If her shephard likes innocent love, then the lovely shepherdess will always be happy.
V. Pauline Viradot-Garcia Born on July 18,1821 in Paris Died on May 18, 1910 in Paris
Havanaise
(Louis Pomey)
Vente nina conmigo al mar que en la playa tengo un bajel, Bogaremos a dos en el que alii solo se sabe amar. Ay rubita si tu supieras, Ay rubita si supieras...Ah! Ah! Vente nina, etc. Ay ay ay rubita, dame tu amar.
Sur la rive le flot d'argent
En chantant brise mollement,
Et des eaux avec le ciel pur
Se confond l'azur!
Sois moins rebelle,
0 ma belle, la mer t'appelle!
Ah! viens, viens, viens!
A ses chants laisse-toi charmer!
Ah! viens, c'est la qu'on sait aimer, etc.
Sois ma belle, moins rebelle,
Laisse-toi charmer,
Oui, laisse-toi charmer,
0 belle!
C'est en mer que Ton sait aimer, etc.
Rubita, ay vente conmigo al mar, Bogaremos a dos en el. Que alii solo se sabe amar! Vente rubita, vente rubita, Vente al mar, al mar!
Hai Luli
(Xavier de Maistre)
Je suis triste, je m'inquiete, Je ne sais plus que devenir, Mon bon ami devait venir, Et je l'attends ici seulette. Hai luli! Hai luli! Ou done peut etre mon ami etc.
Come with me, my child, to the sea
for on the shore I have a boat;
we shall row it together,
for only there do people know how to love.
Ah, my fair one, if only you knew,
if only you knew...Ah, ah!
Come with me, my child, etc.
Ay ay, my fair one, give me your love.
Upon the bank the silver wave
gently breaks itself up while singing,
and the waters and the pure sky
merge in the azure distance!
Be less stubborn.
O my fair one, the sea calls you!
Ah! come, come, come!
Let yourself be charmed by its song, come,
It is there that people know how to love, etc.
O my fair one, be less stubborn, let yourself be charmed, yes, let yourself be charmed,
0 my fair one!
It is at sea that people know how to love, etc.
Fair one, come with me to the sea,
we shall row together,
for only there do people know how to love.
Come, my fair one, come,
come to the sea!
Willow-waley
1 am sad, I am anxious.
I don't know what's to become of me, my true friend was to have come, and here I wait all lonesome. Willow-Waley! Willow-Waley! Where can he be my lover etc.
Je m'assieds pour filer ma laine, Le fil se casse dans ma main... Allons, je filerai demain, Aujourd'hui je suis trop en peine! Hai luli! Hai luli! Qu'il fait triste sans mon ami! etc.
Si jamais il devient volage,
S'il doit un jour m'abbandonner,
Le village n'a qu'a bruler,
Et moi-meme avec le village!
Hai luli! Hai luli!
A quoi bon vivre sans ami etc.
I sit down to spin my wool, the thread breaks in my hand... come, I will spin tomorrow; today I'm too full of sorrow! Willow-Waley! Willow-Waley! How sad it is without my lover! etc.
If ever he turns fickle,
if one day he is to desert me,
I will burn down the village,
and myself with it!
Willow-Waley! Willow-Waley!
What's the use of living without a lover etc.
Leo Delibes
Born February 21, 1836 in St.-Germain-du-Val, Sarthe
Died January 16, 1891 in Paris
Les Filles de Cadix
(Alfred de Musset)
Nous venions de voir le taureau,
Trois gallons, trois fillettes;
Sur la pelouse il faisait beau
Et nous dansions un bolero
Au son des castagnettes.
"Dites-moi, voisin
Si j'ai bonne mine,
Et si ma basquine
Va bien, ce matin.
Vous me trouvez la taille fine"
Ah! ah! ah! ah!
Les filles de Cadix aiment assez cela! etc.
Et nous dansions un bolero
Au pied de la colline.
Sur le chemin passait Diego
Qui pour tout bien n'a qu'un manteau
Et qu'une mandoline.
"La belle aux doux yeux
Veux-tu qu'a l'eglise
Demain te conduise
Un amant jaloux"
"Jaloux! jaloux! quelle sottise!"
Ah! ah! ah! ah!
Les filles de Cadix craignent ce defaut-la! etc.
The Daughters of Cadiz
We had just seen the bullfight,
three lads, three girls.
On the lawn it was fine
and we danced a bolero
to the sound of castanets.
"Tell me, neighbor,
Do I have a pretty face
And if my skirt
becomes me this morning
Do you find my waist slim"
Ah! ah! ah! ah!
The daughters of Cadiz are very fond of that, etc.
And we danced a bolero,
at the foot of the hill.
On the road passed Diego
Whose only possessions were a cloak
and a mandolin.
"Fair one with the sweet eyes
would you care to be taken
tomorrow to the church
by a jealous lover"
"Jealous! Jealous! What stupidity!"
Ah! ah! ah! Ah!
The daughters of Cadiz fear that fault! etc.
VI. Gioacchino Rossini
Born February 29, 1792 in Pesaro, Italy
Died November 13, 1868 in Paris
Riedi al soglio
from Zelmira
Riedi al soglio: irata Stella se ne chiuse a te il sentiero; pura fede, amor sincero ti richiama al tuo splendor. No, piii affanni in me non sento, ah, felice appien io sono se serbai la vita, il trono aH'amato genitor.
Deh, circondatemi, miei cari oggetti!
Voi, che nell'anima soavi affetti,
care delizie destate ognor.
Ah, si, compensino si dolci istanti
le pene, i palpiti ch'ebbi finor.
E dopo il nembo di pace in grembo
respiri in seno sereno il cor.
Return to your throne
Return to your throne: an adverse star
barred your way to it;
pure faith and candid love
now recall you to your glory.
I no longer feel distress within me.
Ah, I feel perfect happiness,
for I have saved both the life and the throne
of my beloved father.
Gather round, my beloved ones! You, who ever arouse in my heart dear affection and sweet delight. May such beautiful moments make up for the pains I have suffered until now. After the strom my breast is tranquil and my heart shall breathe in peace.
Born in Rome, Cecilia Bartoli attended the Conservatorio di Santa Cecilia while contemporaneously studying with her parents, both professional singers. With her mother, Silvana Bazzoni, Ms. Bartoli perfected her vocal technique while with her father, Angelo Bartoli, she worked to deepen her musical interpretations.
Ms. Bartoli's earliest opportunities to perform before wide audiences came first in an Italian national telecast devoted to pre?senting young artists and then in a French national telecast dedicated to the memory of the late Maria Callas. Immediately there?after, Ms. Bartoli was contacted by the late Maestro Herbert von Karajan who engaged her for the Bach b-minor Mass at the 1990 Salzburg Easter Festival. At the same time, there began a prolific collaboration with Maestro Daniel Barenboim and Nikolaus
Harnoncourt, focusing on the Mozart reper?tory -specifically the da Ponte trilogy.
Thereafter, Ms. Bartoli's career developed internationally, bringing her into contact with many of the foremost international conductors, stage directors, and opera houses. Highlights include Zerlina in Don Giovanni (MutiStrehler) at La Scala, (Harnoncourt Ponnelle) in Zurich and the Barenboim Chereau production at the Salzburg Festival; Dorabella in Cosifan tutte (MehtaMiller) at the Florence Maggio Musicale; Cherubino in Le Nozze di Figaro (Harnoncourt Ponnelle) at the Zurich Opera; title role of La Cenerentola (Chaillyde Simone) at the Bologna Opera, and in Zurich (FischerLiepi); Despina in a Mutide Simone production of Cosifan tutte at Vienna's Theater An Der Wien, where she also appeared in the HarnoncourtFlimm production of Haydn's Orfeo; La Cenerentola at the Houston Grand
Opera which was televised and is now avail?able on video.
She also made her Met debut as Despina in a new Cosifan tutte production (Levine Koenig) and has been seen as Rosina in Barbiere di Siviglia in Zurich, Barcelona, Hamburg, Rome, Lyon, Houston and Dallas. La Cenerentola which she also has sung in Zurich, serves as her return vehicle to the Metropolitan Opera, which mounts the opera for the first time in its history with a new production, conducted by James Levine and directed by Cesare Lievi in October, 1997.
Ms. Bartoli has worked with most of today's celebrated conductors, among them: Claudio Abbado, Daniel Barenboim, Riccardo Chailly, Myung-Whun Chung, Charles Dutoit, Nikolaus Harnoncourt, Christopher Hogwood, James Levine, Sir Neville Marriner, Zubin Mehta, Riccardo Muti, Giuseppe Sinopoli and Sir Georg Solti.
Ms. Bartoli is one of today's most cele?brated recitalists and she has had the collab?oration at the piano of such renowned musical personalities as Maestro Chung, Gyorgy Fischer, Maestro Levine, Andras Schiff and Jean-Yves Thibaudet. She has performed in almost every European country,
on the North American continent, in South American and Japan.
Cecilia Bartoli has made a considerable number of award winning recordings. As an exclusive artist with DeccaLondon her opera recordings have been Rossini's Barbiere di Siviglia (Patane) and La Cenerentola (Chailly); Mozart's La clemenza di Tito (Hogwood); Haydn's Orfeo (Hogwood); and a cameo appearance in Puccini's Manon Lescaut (Levine). On loan-out her complete operas have been Mozart's Cosifan tutte and Le Nozze di Figaro (Abbado) for DG, for which company she also recorded Idomeneo (Levine). She has recorded Rossini's Stabat Mater twice, with Maestro Chung for DG and Semyon Bychkov for Phillips and Mozart's Lucio Silla (Harnoncourt) for Teldec.
All other recordings, primarily solo discs, have been recorded for DeccaLondon. There are three albums of Rossini: Arias, Portraits and Heroines; two albums of Mozart: Arias and Portraits; an album of Arie antiche released under the title If you love me; an album of Mozart, Beethoven and Schubert songs set to Italian texts, coupled with Haydn's cantata Arianna a Naxos, in collab?oration with Mr. Schiff, released under the title The Impatient Lover, an album of French songs, Chants d'amour in collaboration with Maestro Chung; and an album of Pergolesi's Stabat Mater (Dutoit) and the Mozart Requiem (Solti).
This season new DeccaLondon record releases will be an album of bel canto songs by Bellini, Donizetti and Rossini, in collabo?ration with Maestro Levine and Rossini's complete Turco in Italia, recorded at La Scala with Maestro Chailly. She also recorded sacred choral music by Vivaldi, Mozart and Franck under the baton of Maestro Chung at a Papal Concert celebrating the 1997 Youth Day in Paris.
Cecilia Bartoli begins this season with the aforementioned La Cenerentola at the Met. While in New York she will join
Maestro Levine at the MET Orchestra at one of their Carnegie Ball concerts. Also at Carnegie Hall she will sing a benefit concert for Columbia Presbyterian Hospital. Other concerts include a recital for the Caramoor festival and a special concert for Maestro Dutoit and the Montreal Symphony.
European appearances this season include concerts with Maestro Solti and L'Orchestra de la Suisse Romande (Geneva), with Maestro Chung and the Santa Cecilia Orchestra (Rome), with Maestro Harnoncourt and the Concentius Musicus (Salzburg Mozartwoche and Munich), with Maestro Mehta and the Israel Philharmonic in a Gala concert marking the fiftieth anniversary of the state of Israel (Tel Aviv), and with Christopher Rousset and Les Talents Lyriques in concert performances of Mozart's Le Nozze di Figaro at the Zurich Opera with Maestro Harnoncourt and at the same theater the title role of Paisiello's Nina, pazza per atnore in a new production conducted by Adam Fischer and directed by Cesare Lievi. Yet another new role for her will be Haydn's Armida which she performs in July under the baton of Maestro Harnoncourt, first at the Styriart Festival in Granz and then at the Zurich Opera's July Festival.
For her solo recital tours of Europe, Ms. Bartoli will collaborate with Alicia de Larrocha, Joao Maria Pires, Gyorgy Fischer, Jean-Yves Thibaudet and the I Delfici String Ensemble.
Many honors have come her way in the relatively short time of her career. Among others, she has a Grammy for "Best Classical Vocal Album;" the Deutsche Schallplatten Preis; La Stella d'Oro; the Caecelia Award; the Diapason d'Or, as well as "Best Opera Recording of the Year" for La Cenerentola in Japan. One of the top selling recording artists all over the world, Ms. Bartoli had the distinction recently of simultaneously hav?ing five of her solo albums among the top
fifteen best selling classical albums on Billboard's charts in North America. Her video of La Cenerentola was awarded the coveted Diapason d'Or in France. The French Government in 1995 conferred upon her the title of Chevalier of Arts and Letters.
Cecilia Bartoli made her UMS debut in April 1993. She appeared in recital again in September 1995. This performance marks her third appearance under UMS auspices.
Ms. Bartoli records exclusively for DeccaLondon Records Represented by J.F. Mastroianni Associates, New York City
Steven Blier enjoys a distinguished career as accompanist and vocal coach. Among the many artists he has partnered in recital are Arleen Auger, Maureen Forrester, Evelyn Lear, Roberta Peters, Samuel Ramey, Susanne Mentzer, Lorraine Hunt, and Kurt Ollmann. In April 1994 he played his first recital with mezzo-soprano Cecilia Bartoli at Alice Tully Hall. As a vocal coach he has helped to prepare Luciano Pavarotti, Marilyn Home and Joan Morris for record?ings and orchestral engagements.
Mr. Blier is the co-founder and artistic director of the acclaimed New York Festival of Song, where he has planned and played over forty different recital programs. The concert series, now in its seventh season, features new works, standard repertoire and re-discoveries from the world of art song, vocal chamber music and theater pieces, sung by a roster of America's finest singers. This season the group's New York concerts are divided between the 92nd Street Y and Carnegie Hall's Weill Recital Hall.
Mr. Blier's repertoire extends to a solo program of ragtime, blues and stride piano works by composers ranging from Eubie Blake to Aaron Copland. A champion of American music, Steven Blier has premiered
works by William Bolcom, Lee Hoiby, Aaron Kernis, Jeffrey Stock and John Musto.
This season, Mr. Blier will collaborate with Cecilia Bartoli in this Ann Arbor recital and in recitals at the Roy Thompson Hall, Toronto, Caramoor and Carnegie Hall. Last
season his engage?ments included, in addition to season-long performances with NYFOS, recitals with Cecilia Bartoli in Sao Paolo, Brazil and a collaboration with a variety of leading singers for a recital of Gershwin songs held
in Weill Recital Hall. He also appeared with mezzo-soprano Susan Graham in recitals in major United States cities, including Atlanta, Washington DC and New York.
Teaching has brought Mr. Blier to the Aspen Music Festival and the Chautauqua Festival and to the faculty of SUNY Purchase. He has given master classes and residencies across the country, and is cur?rently on the faculty of The Juilliard School in New York. A native New Yorker, Steven Blier completed his undergraduate degree at Yale University, where his piano teacher was Alexander Farkas. After graduating summa cum laude with an honors degree in English literature, he continued his musical studies in New York with Martin Isepp and Paul Jacobs.
This evening's performance marks Mr. Blier's third appearance under UMS auspices.
Graduates of Milan's Guiseppe Verdi Conservatory and Rome's Santa Cecilia Conservatory, the members of Delfici pursued post-graduate work at the Accademia Chigana in Siena and the Mozarteum in Salzburg. Independently, Antonella Franceschini, Luca Rocco, Gabriele Bartoli and Giuseppe Mule have performed profes?sionally as soloists as well as principals in noted Italian chamber ensembles and sym?phony orchestras including the Orchestras of the RAI, il Teatro dell'Opera di Roma, l'Accademia Filarmonica Romana and l'Accademia Barocca. Together, the Ensemble has toured extensively throughout Europe and North America including the Concertgebouw in Amsterdam, Theatre de Champs Elysee in Paris, Symphony Hall Birmingham, Tivoli Hall in Copenhagen, the Musikhalle in Hamburg, the Kolner Philharmonie, Symphony Hall in Chicago, Constitution Hall in Washington DC and Symphony Hall in Boston. This autumn I Delfici will make their debut at Carnegie Hall in New York.
With its concentration on the Italian sev?enteenth and eighteenth-century repertory -especially music for voice and strings -the group came to the attention of Cecilia Bartoli with whom I Delfici have since established an on-going collaboration. Together with Ms. Bartoli, I Delfici seeks to focus attention on a rarely-performed reper?tory derived from one of the most signifi?cant periods of music history.
This performance marks I Delfici s debut under UMS auspices.
Chicago Symphony Orchestra
Daniel Barenboim, Music Director
Sir Georg Solti, Music Director Laureate
Pierre Boulez, Principal Guest Conductor
Christoph Eschenbach, Guest Conductor and Piano
University
Musical
Society
and
Forest Health Services
present
Program
Hector Berlioz
Wolfgang Amadeus Mozart
Peter Ilyich Tchaikovsky
Thursday Evening, September 25,1997 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Roman Carnival Overture, Op. 9
Piano Concerto No. 23 in A Major, K. 488
Allegro Adagio Allegro assai
Christoph Eschenbach INTERMISSION
Symphony No. 6 in b minor. Op. 74 (Pathetique)
Adagio -Allegro non troppo Allegro con grazia Allegro molto vivace Adagio lamentoso
Second Concert of the 119th Season
119th Annual Choral Union Series
Special thanks to Randall and Mary Pittman for their support of the University Musical Society through Forest Health Services.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Special thanks to the Chicago Symphony Orchestra Administrative Staff and the University of Michigan School of Music for making the residency possible
Large print programs are available upon request.
Roman Carnival Overture, Op. 9
Hector Berlioz
Born on December 11, 1803 in
Cote-Saint-Andre, France Died on March 8, 1869 in Paris
Berlioz composed this overture in 1843 and 1844 and conducted the first performance on February 3, 1844, in Paris. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets, four bassoons, four horns, two trumpets and two cornets, three trom?bones, timpani, cymbals, tambourines, trian?gle, and strings. Performance time is approxi?mately nine minutes.
Like Beethoven's Leonore overtures, this music is what Berlioz was able to save for the concert hall from a troubled opera. But where Beethoven's Fidelio has found a secure place in the opera repertory, Berlioz's Benvenuto Cellini is known almost solely for its offspring.
The Roman Carnival Overture is not lit?erally the overture to Berlioz's opera; that music, too, has become an orchestral favorite, and to hear Berlioz's own first?hand report, it was the only music applaud?ed at the premiere of the opera on September 10,1838 at the Paris Opera. "The rest was hissed with exemplary precision and energy," he later recalled. But even after the humiliation of failing at Europe's most important opera house had begun to fade, and the work itself was virtually forgotten, Berlioz did not give up on it.
In the early 1840s, when his career as a conductor temporarily overtook that as a composer, Berlioz pulled some of the best music from the opera and fashioned this Roman Carnival Overture to add to his con?cert programs. For Berlioz it was only a small souvenir of a major work, but from the very first performance under his baton in 1844, it found immense success with the public. The opera remained unknown and
little appreciated, despite Berlioz's radical revision and an important revival led by Franz Liszt at his prestigious Weimar opera house in 1852. The failure of Benvenuto Cellini continued to haunt and mystify Berlioz: "I have just re-read my poor score carefully and with the strictest impartiality," he wrote in his Memoirs, "and I cannot help recognizing that it contains a variety of ideas, an energy and exuberance and a bril?liance of color such as I may perhaps never find again, and which deserved a better fate." In the meantime, the Roman Carnival Overture enjoyed an untroubled and highly successful career.
The original overture to Benvenuto Cellini gave Berlioz the pattern he would use for the Roman Carnival and all subsequent overtures: a brief allegro introducing a larg?er slow section, crowned by the return of the allegro. Here the fast music comes from the Mardi Gras finale to act one; the slow melody is Cellini's tender and expansive aria, now sung by the english horn. The contrast of love song with joyous dance music is highly effective, the orchestration is brilliant even by Berlioz's standards, and, in the end, like Beethoven's Leonore overtures, the whole conveys a sense of drama the opera itself rarely achieves.
Piano Concerto No. 23 in A Major, K. 488
Wolfgang Amadeus Mozart
Born on January 27, 1756 in Salzburg
Died on Decembers, 1791 in Vienna
Mozart entered this concerto in his catalog on March 2, 1786; he performed it for the first time that spring in Vienna. The orchestra consists of flute, two clarinets, two bassoons, two horns, and strings. Performance time is approximately twenty-five minutes.
Between 1782, the year after he moved to Vienna, and 1786, Mozart wrote fifteen piano concertos. This is an incredible out?pouring of important music, and it corre?sponds precisely to Mozart's heyday as a performer. These concertos were his main performing vehicles -also his primary source of income -and time has placed them among the crowning glories of all music. There is little else in Mozart's output, aside from the great operas, to compare with the magnificence, subtlety, and consis?tent brilliance of these scores, and in no other works did Mozart so ingeniously merge the symphonic, operatic, and cham?ber music styles into a uniquely personal language of expression.
In the winter of 1785-86, Mozart wrote three piano concertos while at work on The Marriage of Figaro. This was the most pro?ductive period in his life, and the only rea?sonable way to explain the enormous and varied output of these six months is to assume that the intense work on the com?plicated musical and dramatic structures of the opera set his mind racing with more ideas than a single four-act opera could con?tain. It has been suggested that the purely mechanical task of writing it all down would produce six full pages per day. Neither that challenge, nor the infinitely greater one of conceiving so much glorious music, appears to have inconvenienced Mozart in the least. Throughout the winter, he kept to his regular routine of teaching and performing, while also maintaining a full social calendar. The only activity that seems to have suffered was his letter writing, and so we have only a sketchy account of his daily life at the time.
Mozart entered the A-Major piano con?certo (K. 488) in his catalog on March 2, 1786, only a month after the one-act comic opera, The Impresario; just three weeks before the famous c-minor concerto (K. 491); and less than two months before The
Marriage of Figaro. Although we lack docu?mentation, Mozart probably performed the A-Major concerto at one of the Vienna Lenten concerts a few days after he finished it.
This A-Major concerto and the other two concertos of the Figaro winter are the first in Mozart's output to call for clarinets. (Sketches show that Mozart started writing this con?certo as early as 1784 with oboes instead.) Mozart begins the concerto as if he were fol?lowing the conventional recipe for a classical concerto (which is totally unlike him), and then after writing a few pages proceeds to ignore virtually every subsequent instruction. The result is the kind of risky -though not reckless -creation known only to the very greatest of chefs and composers. The tone of the entire movement is generous and warmly lyrical, although, as in the duet in the same key between the count and Susanna in act three of Figaro, there is still room for mis?chief, doubt, and the thrill of imminent danger.
Mozart marks the slow movement adagio instead of the more common andante; what he has to say cannot be rushed. This magnif?icent and justly famous music stands alone among all Mozart concerto movements, not just because of its tempo or its key -it is his only work in f-sharp minor -but because it unlocks a tragic power that will not surface in music again until Beethoven. The wind writing is particularly expressive, even for Mozart, and the piano solo is as simple and haunting as the melody of any slow aria. Even in Figaro, with its celebrated mixture of laughter and tears, there is scarcely a moment that plunges so deeply into the heart. The finale, a buoyant and delightful rondo, brings us back to A Major, and, after the "Adagio's" revelations, it sounds like the happiest key on earth.
Symphony No. 6 in b minor. Op. 74 (Pathetique)
Peter Ilyich Tchaikovsky
Born on May 7, 1840 in Votkinsk, Russia
Died on November 6, 1893 in Saint Petersburg
Tchaikovsky composed his sixth symphony between February and the end of August 1893, and conducted the first performance in Saint Petersburg, on October 28 of that year. The score calls for three flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, tim?pani, bass drum, cymbals, tam-tam, and strings. Performance time is approximately forty-seven minutes.
Five days after he conducted the premiere of this symphony, Tchaikovsky drank a glass of unboiled water, a careless move that year in Saint Petersburg, where countless cases of cholera had recently been reported. He died four days later. When the symphony was performed again, for a second time, the fol?lowing week, the hall was draped in black, and a bust modeled after the composer's death mask was prominently displayed. An eleven-year-old boy, who would soon become Russia's most celebrated composer, attended that concert with his father, the great baritone Fyodor Stravinsky. Little Igor, whose own music would eventually refute everything Tchaikovsky's glorified, under?stood, even at the time, the magnitude of this loss -not just to his family (his father was famous for his interpretations of several Tchaikovsky roles) but to the larger music world as well.
At the time he died, Tchaikovsky was one of the great figures in music: he was at the peak of his creative powers, and he was both famous and beloved far beyond his native Russia. His death came as a shock (he was only fifty-three) and the suspicious circum?stances surrounding his fatal illness, coupled with the tragic tone of his last symphony -
curiously titled Pathetique -produced a mystique about the composer's last days that still persists today. In 1979 the Russian emigre musicologist Alexandra Orlova published a now-infamous article proposing that Tchaikovsky had in fact committed suicide with poison, on the orders of his fellow alumni of the School of Jurisprudence, to cover up his alleged affair with the nephew of Duke Stenbock-Thurmor. For a time in the 1980s, suicide and homosexuality replaced the quaint old tale of cholera and drinking water, and, as Tchaikovsky's obitu?ary was rewritten, the Pathetique became the chief musical victim in this tabloid tale. Even Tchaikovsky's biographer, David Brown, writing in the sacrosanct New Grove, accepted Orlova's theory. But in recent years, scholars have wisely backed off -the evidence is almost totally undocumented -and a number of musicologists, including the biographer Alexander Poznansky, have refuted Orlova convincingly.
The circumstances surrounding the com?position of the Pathetique are dramatic and mysterious enough, if less lurid than pulp fiction. In December 1892, Tchaikovsky abruptly decided to abandon work on a pro?grammatic symphony in E-flat Major on which he had been struggling for some time -"an irreversible decision," he wrote at the time, "and it is wonderful that I made it." But the failure of the new symphony left Tchaikovsky despondent and directionless, and he began to fear that he was "played out, dried up," as he put it. ("I think and I think, and I know not what to do," he wrote to his nephew Bob Davydov, whose friend?ship and encouragement would help see him through this crisis.) Although he felt that he should give up writing "pure music, that is, symphonic or chamber music," with?in two months he had begun the symphony that would prove to be his greatest -and his last.
Renewed -and relieved -by the old, familiar joy of composing, Tchaikovsky
wrote frantically. Within four days, the first part of the symphony was complete and the remainder precisely outlined in his head. "You cannot imagine what bliss I feel," he wrote to Bob on February 11, 1893, "assured that my time has not yet passed and that I can still work." The rest went smoothly and the symphony was completed, without set?backs, by the end of August.
Tchaikovsky conducted the premiere of his new symphony on October 16 in Saint Petersburg. The audience -"all Saint Petersburg" -rose and cheered when the composer appeared on stage. But after the symphony, the applause was half-hearted; the crowd did not know what to make of this sober, gloomy music. Leaving the con?cert hall, Tchaikovsky complained that nei?ther the audience nor the musicians them?selves seemed to like the piece, although two days later he decided rightly that "it is not that it wasn't liked, but it has caused some bewilderment."
The morning after the premiere the com?poser told his brother Modest that the sym?phony needed a title. (Tchaikovsky had originally thought of calling it the Program Symphony.) Modest first suggested Tragic and then Pathetique, which in Russian car?ries a meaning closer to passionate, full of emotion and suffering. Tchaikovsky agreed at once, and in his brother's presence wrote on the first page the title that "remained for?ever," as Modest later recalled, although the composer himself soon had second thoughts. (Tchaikovsky's publisher, who knew the marketing value of a good title, ignored the composer's urgent request that it simply be printed as Symphony No. 6.)
Like the abandoned E-Major symphony, the new b-minor score was programmatic, but, as he wrote to Bob, "with such a pro?gram that will remain a mystery to everyone -let them guess." Bob was only the first to ponder, in vain, the meaning of this deeply personal score. (And even he, to whom
Tchaikovsky would ultimately dedicate the score, could not draw a satisfactory answer from the composer except that it was "imbued with subjectivity")
Tchaikovsky carried his program with him to the grave. Cryptic notes scribbled among his sketches at the time refer to a symphony about life's aspirations and disap?pointments -yet another manifestation of the central theme of both Swan Lake and Eugene Onegin, and indeed the great theme of the composer's life: the painful search for an ideal that is never satisfied.
As scholars have learned more about Tchaikovsky's unfulfilled homoerotic pas?sion for his nephew Bob -a mismatch of youth and middle age, and a tangle of sexual persuasions in a society fiercely intolerant of homosexuality -the temptation to read this symphony as the composer's heart?breaking confession of a painful, repressed life has inevitably proved irresistible. In the inexhaustibly expressive, but sufficiently ambiguous language of music, Tchaikovsky could indeed tell the story of his life without ever giving up its secrets. The abstract nature of music has, arguably, never been so fearlessly tested.
The temptation to read something tragic into this score is as old as the music. Even the composer, despite not wanting to divulge his intentions, admitted before the premiere that it had something of the char?acter of a requiem. (The trombone incanta?tions in the first movement actually quote a Russian Orthodox chant for the dead.) And surely the first audience was stunned or bewildered by the unconventionally slow and mournful finale, trailing off into silence at the end, with just cellos and basses play?ing pppp. When Tchaikovsky died so sud?denly and violently on the heels of the pre?miere, the symphony became identified at once, perhaps inextricably, with its compos?er's own death. By the memorial perfor?mance on November 6, the Russian Musical
Gazette had already determined that the symphony was "indeed a sort of swan song, a presentiment of imminent death." (More than a century later, Orlova's devotees were to make much of the slowly fading final pages as a depiction of suicide.)
The score itself, though perhaps dulled by familiarity, is one of Tchaikovsky's most inspired creations. All of its true master?strokes are purely musical, and not pro?grammatic. It begins, exceptionally, with the sound of a very low bassoon solo over murky strings. (This slow introduction is in the "wrong" key but eventually works its way into b minor.) The entire first move?ment sustains the tone, although not the tempo, of the somber opening. The soaring principal theme, to be played "tenderly, very songfully, and elastically," is one of Tchaikovsky's greatest melodies. (Tchaikovsky carefully directs the emotional development of this rich and expansive tune all the way down to a virtually unprecedent?ed thread of sound, marked pppppp-) The recapitulation section reorders and tele?scopes events so that the grand and expres?sive melody, now magically rescored, steals in suddenly and unexpectedly, to great effect.
The central movements are, by necessity, more relaxed. The first is a wonderful, singing, undanceable waltz, famously set in 54 time. (There is a real waltz, in 34, in Symphony No. 5.) The second is a brilliant, dazzlingly scored march, undercut through?out by a streak of melancholy.
The finale begins with a cry of despair, and, although it eventually unveils a warm and consoling theme begun by the violins against the heartbeat of a horn ostinato, the mood only continues to darken, ultimately becoming threatening in its intensity. In a symphony marked by telling, uncommonly quiet gestures -and this from a composer famous for bombast -a single soft stroke of the tam-tam marks the point of no return. From there it is all defeat and disin?tegration, over a fading, ultimately faltering pulse.
Notes by Phillip Huscher, program annotator for the Chicago Symphony Orchestra.
Complete biographies and orchestra roster for the Chicago Symphony Orchestra week?end begin on page 30.
Chicago Symphony Orchestra
Daniel Barenboim, Music Director
Sir Georg Solti, Music Director Laureate
Pierre Boulez, Principal Guest Conductor
Christoph Eschenbach, Guest Conductor Nadja Salerno-Sonnenberg, Violin
University
Musical
Society
and
Forest Health Services
present
Program
Antonin Dvofdk
Peter Ilyich Tchaikovsky
Dvofdk
Friday Evening, September 26, 1997 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Carnival Overture, Op. 92
Violin Concerto in D Major, Op. 35
Allegro moderato Canzonetta: Andanteo Finale: Allegro vivacissimo
Nadja Salerno-Sonnenberg INTERMISSION
Symphony No. 9 in e minor. Op. 95 (From the New World)
Adagio--Allegro molto
Largo
Scherzo: Molto vivace
Allegro con fuoco
Tonights concert marks the Chicago Symphony Orchestras 200th appearance under the University Musical Society's auspices.
Third Concert
of the 119th Season
Special Concert
Special thanks to Randall and Mary Pittman for their support of the University Musical Society through Forest Health Services.
The University Musical Society is pleased to present tonight's concert with the Chicago Symphony Orchestra in conjunction with the University of Michigan's celebration of the successful comple?tion of its $1,000,000,000 Campaign for Michigan.
Large print programs are available upon request.
Carnival Overture, Op. 92
Antonin Dvorak
Born on September 8, 1841 in
Nelahozeves, Bohemia Died on May 1, 1904 in Prague
Dvorak composed the Carnival Overture between July 28 and September 12, 1891, and conducted the first performance on April 28, 1892 in Prague. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets, two bassoons, four horns, two trum?pets, three trombones and tuba, timpani, tambourine, triangle, cymbals, and strings. Performance time is approximately nine min?utes.
Three weeks after Antonin Dvorak, his wife, and their two children moved to New York City in 1892, the composer conducted a concert of his music in Carnegie Hall, then only seventeen months old. He included the Carnival Overture and two companion over?tures, because, as he wrote home to his pub?lisher in Prague, "I think they are my best orchestral works." (Within a matter of weeks he began to sketch the Symphony No. 9, quickly known as "From the New World," that would become his most popular com?position.)
Dvorak had unveiled his three concert overtures at his farewell concert in Prague the previous spring. They were the last works he wrote before his great adventure in the New World. He conceived of the three pieces as a set called Nature, Life, and Love, and they are unified by a lovely, languid theme representing nature. Even though Dvorak later agreed to publish them sepa?rately -as In Nature's Realm, Carnival, and Othello -he probably never dreamed that the middle one would immediately become a great audience favorite at the expense of the other two.
The Carnival Overture is suffused with joy and high spirits -"life" in Dvorak's
original plan. According to the 1892 pro?gram book, Carnival contrasts with the serenity of In Nature's Realm: "The dreamer of the afternoon and evening has returned to scenes of human life, and finds himself drawn into ... dancing in spirited Slavonic measures." The revelry is cut short just before the end in a brief dreamlike episode highlighted by the clarinet's sudden recol?lection of the nature theme from the first overture. Life itself returns, vigorously, and the carnival ends in a state of elation.
Violin Concerto in D Major, Op. 35
Peter Ilyich Tchaikovsky
Born on May 7, 1840 in Votkinsk, Russia
Died on November 6, 1893 in Saint Petersburg
Tchaikovsky began his violin concerto in March 1878 and completed it on April 11. The first performance was given on December 4, 1881 in Vienna. The orchestra consists of two flutes, two oboes, two clarinets, two bas?soons, four horns, two trumpets, timpani, and strings. Performance time is approximately thirty-five minutes.
This violin concerto was the best thing to come of a very bad marriage. In May 1877, Tchaikovsky received a letter from Antonina Milyukova, a former student he could not remember, who said she was madly in love with him. Earlier that year, Tchaikovsky had entered into an extraordinary relation?ship, conducted entirely by correspondence, with Nadezhda von Meek, and he found this combination of intellectual intimacy and physical distance ideal. In order to keep his homosexuality from the public, he impul?sively seized on the convenient, though unpromising, idea of marriage to a woman he didn't even know. On June 1 Tchaikovsky visited Antonina Milyukova for the first
time; a day or two later he proposed.
The marriage lasted less than three months, but it must have seemed a lifetime. Tchaikovsky quickly learned to despise Antonina -he could not even bring him?self to introduce her as his wife -and he was shocked to learn that she knew not one note of music. In September he botched a pathetic suicide attempt in which he waded into the freezing Moscow River hoping to contract a fatal chill and then fled to Saint Petersburg. On October 13, Anatoly, one of the composer's brothers, took Tchaikovsky on an extended trip to Europe. His thoughts quickly turned to composing, con?firming what he wrote to Nadezhda von Meek during the very worst days: "My heart is full. It thirsts to pour itself out in music." He returned to composition cautiously, beginning with the works that had been interrupted by the unfortunate encounter with Antonina: he completed Symphony No. 4 in January 1878 and finished Eugene Onegin the next month.
By March he had recovered his old strength; he settled briefly in Clarens, Switzerland, and there in the span of eleven days he sketched a new work, a violin con?certo in D Major; he completed the scoring two weeks later. When he returned to Russia in late April, there were still lingering difficulties -Antonina alternately accepted and rejected the divorce papers, and even extracted the supreme revenge of moving into the apartment above his -but the worst year of his life was over.
The Violin Concerto was launched by a visit to Clarens from Tchaikovsky's student and friend -and possible lover -the vio?linist Yosif Kotek, who arrived at Tchaikovsky's door with a suitcase full of music. (Kotek had been a witness at Tchaikovsky's wed?ding.) The next day they played through Lalo's Symphonie espagnol, and Tchaikovsky was immediately taken with the idea of writing a large work for violin and orches-
tra. He liked the way that Lalo "does not strive after profundity, but carefully avoids routine, seeks out new forms, and thinks more about musical beauty than about observing established traditions, as do the Germans." He plunged in at once, and found to his delight that music came to him easily. (Shortly after he arrived in Clarens, he had begun a piano sonata, but it did not go well and he quickly gave it up.) Each day Kotek offered advice on violinistic matters, and he learned the score page by page as Tchaikovsky wrote it. On April 1, when the work was completely sketched, they played through the concerto for the composer's other brother, Modest. Both Yosif and Modest thought the slow movement was weak. Four days later, Tchaikovsky wrote a new one (the original "Andante" became the "Meditation" from Souvenir d'un lieu cher), immediately began scoring the work, and unveiled the finished product on April 11. Clearly he was back on track.
New problems awaited Tchaikovsky, however. Although the concerto was dedi?cated to the great violinist Leopold Auer, and the premiere was already advertised for the following March 22, Auer stunned the composer by dismissing the piece as unplayable. Tchaikovsky was deeply wounded, and the premiere was postponed indefinitely. "Coming from such an author?ity," Tchaikovsky said, Auer's rejection "had the effect of casting this unfortunate child of my imagination into the limbo of the hope?lessly forgotten."
Two years passed. Then one day Tchaikovsky's publisher informed him that Adolf Brodsky, a young violinist, had learned the concerto and persuaded Hans Richter and the Vienna Philharmonic to play it in concert. That performance, in December 1881, was no doubt horrible, for the orchestra, underrehearsed and reading from parts chock full of mistakes, played pianissimo throughout to avert disaster.
Reviewing the concerto, the often ill-tem?pered critic Eduard Hanslick wrote that, for the first time, he realized that there was music "whose stink one can hear." Tchaikovsky never got over that review, and, for the rest of his life, it is said, he could quote it by heart. Although Hanslick stood by his opin?ion, Auer later admitted that the concerto was merely difficult, not unplayable, and he subsequently taught it to his students.
Hanslick's dislike is hard to understand, for this is hardly an inflated, pretentious, and vulgar work, although those are the words Hanslick uses. In fact, Tchaikovsky's lyric gift has seldom seemed so natural, flowing effortlessly through all three move?ments. If there is any deficiency here, it is one of form and construction, not content; even the most casual listener may find it dis?concerting that the lovely theme with which Tchaikovsky begins vanishes into thin air after a few seconds, never to return.
Hanslick also took offense at the demanding, virtuosic solo part, writing in terms that crop up in reviews of new music to this day: "The violin is no longer played; it is pulled about, torn, beaten black and blue." What Hanslick failed to notice is the way Tchaikovsky has taken care to cushion even the most challenging, exhibitionistic passages in music of unforced lyricism and restraint. Hanslick later admitted that the lovely slow movement made progress in winning him over. But the brilliant finale, with its driving, folklike melodies and very "Russian" second theme over the low bag?pipe drone of open fifths, was too much for him, and he concluded, sputtering about wretched Russian holidays and the smell of vodka. Even Auer had to admit that Hanslick's comment "did credit neither to his good judgment nor to his reputation as a critic." He wrote years later, after it had, in fact, become one of Tchaikovsky's most beloved works, "The concerto has made its way in the world and, after all, that is the
most important thing. It is impossible to please everybody."
Symphony No. 9 in e minor. Op. 95 (From the New World)
Antonin Dvorak
Dvorak composed this symphony in New York and Iowa during 1893, and it was first per?formed on December 16 of that year, in New York City. The score calls for two flutes and piccolo, two oboes and english horn, two clar?inets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately forty-one minutes.
Let us start with Mrs. Jeannette Thurber, the wife of a New York millionaire wholesale grocer and a self-appointed cultural maven, who abandoned her English-language opera company -after putting a serious dent in her husband's fortune -in order to foster an American school of composition. Mrs. Thurber contacted Antonin Dvorak in June 1891 with her proposal. She wanted the famous Czech composer to move to America; become the director of the National Conservatory of Music, where he would teach composition and instrumentation (for an annual salary of $15,000); serve as a fig?urehead for her new cause; and, in his spare time, write a number of new works, includ?ing an opera based on Longfellow's The Song of Hiawatha. Oddly enough, Dvorak agreed.
As soon as the SS Saale completed the Atlantic crossing the composer dreaded, Dvorak found himself an instant celebrity; he, in turn, became a keen observer of American life. When he wasn't teaching -or conducting the conservatory choir and orchestra -Dvorak explored New York. By day, he walked in Central Park to talk to the pigeons, and dropped by Lower East Side
cafes, where other Central Europeans liked to hang out. At night he visited assorted watering holes. (One night he drank the distinguished critic James Huneker under the table.) He loved to check out the ocean liners along the wharves and clock the trains as their locomotives roared into the city's stations. And, with Mrs. Thurber on his arm, he even attended Buffalo Bill's Wild West Show.
But how much of America's musical tra?dition he absorbed is another question alto?gether. The question, in fact, was raised with the first major work Dvorak wrote in America, his Symphony No. 9, which came to be known as "From the New World."
Dvorak began sketching his e-minor symphony only three months after he arrived at the dock in Hoboken. (He was always meticulous about dating his manu?scripts, both at the beginning and at the end of work on a piece, and the pages of the symphony tell us that he worked from January 10 until May 24,1893.) And while he was writing his Symphony No. 9, he remarked, "The influence of America can be felt by anyone who has a 'nose.'" We can excuse Dvorak's strangely mixed metaphors, but we cannot be so lenient with the musical implications.
This is where the picture begins to blur. There is no question that Dvorak was seri?ously interested in music of native American Indians and African-Americans. We know that he often invited Harry T. Burleigh, a gifted young black singer, to sing spirituals to him. But during his first year in the New World, Dvorak made a number of com?ments that virtually guaranteed the accla?mation of his new symphony as a genuine musical evocation of America and started lots of high-handed talk about the use of spirituals and Indian songs in a symphony. When, just before the first performance in December 1893, Dvorak tacked on that title, "From the New World," he ignited the argu-
ment for good.
It is difficult to determine the extent of the American influence on Dvorak, but it is fairly easy to lay to rest a couple of myths. The confusion centers mainly around Dvorak's use of the pentatonic scale, and one especially attractive tune. The first item can be quickly dismissed. The pentatonic scale -a five-note scale without half steps, best visualized as the black notes on the key?board -colors many of Dvorak's themes here and was thought to duplicate the sound of Native American melodies, but it is also indigenous to folk music worldwide, and popped up frequently in Dvorak's music before he ever crossed the Atlantic. The big tune is the one many listeners know as "Goin' Home," the gorgeous english horn melody of the second movement, and it is still often said to be a spiritual. It may, in fact, have been influenced by spirituals -we know that Dvorak ultimately picked the english horn because it reminded him of Burleigh's voice -but the tune is Dvorak's, and the words were later added by one of his students, who adapted the music as a spiritual.
The rest can be reduced to hot air. Dvorak, with the best of intentions, spoke in glowing terms about the spiritual -"tender, passion?ate, melancholy, solemn ... ideal material for a national melodic style" -but he had used similar words earlier to describe Scottish and Irish folk songs during his visits to Britain. And, although he was evidently impressed by the American Indian songs he first heard in Spillville, Iowa, during the summer of 1893 after he had finished the Symphony No. 9, he easily confused this music with that of African-Americans, and said as much in an interview with the New York Herald.
Eventually, Dvorak modified his stance a bit. In 1900 he wrote to a conductor who had programmed the New World Symphony: "Leave out the nonsense about my having
made use of American melodies. I have only composed in the spirit of such American national melodies." He later referred to all his works written in America as "genuine Bohemian music," and said that the title of his Ninth Symphony was only meant to signify "impressions and greetings from the New World" -a musical postcard to the folks back home.
And so, it all comes down to the music. To many concert-goers, this symphony is so familiar and welcoming that it resists expla?nation. There are, however, a few highlights worth noting.
The formal hallmarks of the piece are the use of a motto theme -that vigorous horn call that charges up and down the e-minor triad -in all four movements, and the reappearance of earlier themes, like relatives at a family reunion, in the finale. Neither idea is the least bit novel, but both are beau?tifully handled.
The first movement begins in a melan?choly mood in which some listeners find conclusive evidence of Dvorak's homesick?ness, but that is quickly shattered by the vaulting horn theme. Later, a gentle tune may, as many insist, suggest Swing Low, Sweet Chariot, but there is no evidence, in the music or elsewhere, to confirm its use.
The first movement ends decisively in e minor, and the great "Largo" theme begins in the relatively inaccessible key of D-flat Major. Dvorak takes the scenic route, via a beautiful progression of seven deep, broad chords that get us to D-flat quickly, and without incident. (We now know that Dvorak originally sketched the famous "Largo" melody in C, but transposed it to D-flat just so he could use this series of chords as a bridge.) Near the end, the motto theme barges in, unexpected and full of ter?ror, but the english horn quickly reinstates calm, and the movement ends pianissimo, with the double basses, alone.
The scherzo begins with a thunderclap;
however, this is not storm music, but, according to the composer, music inspired by the feast and dance of Pau-Puk Keewis in The Song of Hiawatha. It seems that Dvorak got no further than a few preliminary sketches for the Hiawatha opera Mrs. Thurber wanted, and decided to put his ideas to good use here.
The finale boasts a bold brass theme and two other lovely pastoral melodies of its own, but Dvorak grants visitation rights to the principal themes of the previous three movements early in the development sec?tion, and he is thus able to build a thrilling climax by throwing them all together near the end. Even that stately chord progression from the "Largo" appears.
A brief postscript: Jeannette Thurber died in Bronxville, New York, in 1946. In her last years, Mrs. Thurber liked to take credit for suggesting to Dvorak the idea for the "New World Symphony."
Program notes by Phillip Huscher, program annotator for the Chicago Symphony Orchestra.
Christoph Eschenbach became music director of the Houston Symphony on September 1, 1988. He follows a distinguished line of past music directors including Leopold Stokowski, Sir John Barbirolli, and Andre Previn.
Under Christoph Eschenbach's direction, the Houston Symphony has been widely acclaimed as one of the top orchestras in the United States. He has led the Symphony on triumphant national and international tours, enriched the musical repertoire by commissioning new music, expanded the Symphony's recordings, and created the Houston Symphony Chamber Players. Christoph Eschenbach has regularly con-
ducted the major orchestras of Europe and North America, including the Berlin Philharmonic, all the London orchestras, the Orchestre National de France, the National Symphony, the symphonies of Boston, Chicago, Pittsburgh, San Francisco, Toronto and Montreal, The Cleveland Orchestra and the Philadelphia Orchestra. He has also led the Vienna Symphony frequently in Vienna and on two tours in Japan as well as one in the United States. In addition, he has con?ducted the Israel Philharmonic and all the German Radio Orchestras.
In September 1994, Christoph Eschenbach was appointed music director of the Ravinia Festival, home of the Chicago Symphony Orchestra during its eight-week residency each summer. He follows James Levine, who held that post from 1971-1993. Maestro Eschenbach has also appeared at leading summer festivals including Tanglewood, the Mostly Mozart Festival in New York and the Salzburg Festival, among others.
In November the NDR Symphony Orchestra of Hamburg, Germany, announced that Christoph Eschenbach will become music director of that esteemed ensemble beginning with the 1998-99 season. He will succeed Herbert Blomstedt.
Maestro Eschenbach has led the Houston Symphony on international tours, including a critically-acclaimed first tour to Europe, in 1992, and a return tour in 1997. Other tours have included the Pacific Music Festival in Japan, where he and Michael Tilson Thomas are co-artistic directors, the Singapore Festival of Arts, and two tours of the north?east United States including concerts in the Kennedy Center and Carnegie Hall. A tour of the northeast and midwest United States is planned for 1998.
In the summers of 1993 and 1994, Christoph Eschenbach returned to Japan for performances with the Houston Symphony Chamber Players at the Pacific Music Festival, where he was awarded the 1993 Leonard Bernstein Award, an award present?ed to a musician who carries on the legacy of the late Leonard Bernstein, founder of the festival. The Houston Symphony Chamber Players also toured Germany in 1994 and played at the Ravinia Festival in 1996 and 1997.
Christoph Eschenbach has already earned a distinguished international reputa-tuion as a concert pianist before turning to conducting in 1972. Born in Breslau, Germany, he first studied piano with his mother. Subsequently, he studied piano with Eliza Hansen, and conducting with Wilhelm Bruckner-Ruggeberg, whom he regards as the principal mentors of his artistic devel?opment.
Christoph Eschenbach's career has been highlighted by winning several major prizes, including the Steinway Young Pianist Competition at age eleven and the International Music Competition in Munich at age twenty-two. His career as a pianist was heightened by the award of first prize in the Clara Haskil Competition in Lucerne in 1965. After making his American debut in 1969 with The Cleveland Orchestra, con?ducted by George Szell, he appeared as soloist with all the major orchestras
throughout the world and was widely heard in recital.
Meanwhile, he continued to study con?ducting with George Szell. His conducting debut came in Hamburg in 1972; his North American debut was with the San Francisco Symphony in 1975. In 1978, Christoph Eschenbach made his operatic conducting debut, and since then has been a regular guest at major opera houses. Since 1990 he has had numerous engagements with the Houston Grand Opera, including the acclaimed Robert Wilson production of Parsifal
Prior to becoming Music Director of the Houston Symphony, Christoph Eschenbach was music and artistic director of the Tonhalle Orchestra of Zurich and principal guest conductor of the London Philharmonic.
In 1990 the president of the Federal Republic of Germany, Richard von Weizsacker, awarded the Officer's Cross of the Order of Merit to Christoph Eschenbach for his outstanding achievements as pianist and conductor, and in 1993 he received the Commander's Cross of the Order of Merit of the Federal Republic of Germany.
These appearances mark Christoph Eschenbach's third appearance as a soloist and his fourth and fifth appearances as conductor under UMS auspices. He most recently appeared with the Houston Symphony in 1991.
Violinist Nadja Salerno-Sonnenberg is renowned for her powerful, riv?eting performances and discerning interpretations in the world of clas?sical music. Her uncanny ability to communicate the passion of a work with colorful intensity has helped to forge an international career that spans over fifteen years. As one of the
world's foremost violinists, she has appeared with conductors such as Muti, Levine, Masur, Mehta, Eschenbach, Davis (Sir Andrew), Litton, Dutoit, Shostakovich, Tilson Thomas, de Waart, Jarvi, Slatkin, Schwarz, Hogwood, Macal and Nagano. Performances include the orchestras of New York, Boston, Philadelphia, Chicago, Cleveland, Los Angeles, Cincinnati, San Francisco, Pittsburgh, Montreal, Minnesota, Detroit, Houston, Indianapolis and Seattle, as well as the London Symphony, Philharmonia Orchestra and London Philharmonic. In addition to England, inter?nationally she has performed in Germany, Japan, Austria, Holland, Switzerland, France, Monaco, Portugal, Philippines and Canada. Festival appearances include the Mostly Mozart Festival (New York and Japan), Ravinia, Blossom, Hollywood Bowl, Meadow Brook, Great Woods, Caramoor, Aspen, Tanglewood and the Schleswig-Holstein Festival. Among her numerous recital credits are Lincoln Center's Great Performers Series, Chicago's Orchestra Hall, New York's Tisch Center for the Arts Distinguished Artists Series, California's Ambassador Auditorium, the Kennedy Center and Library of Congress in Washington, DC. Articulate and energetic, Ms. Salerno-Sonnenberg has been featured on CBS' 60 Minutes, Sunday Morning, and Nightwatch;
NBC's National News and the Tonight Show numerous times; PBS' Live from Lincoln Center, BackstageLincoln Center and The Charlie Rose Show, as well as on the PBSBBC series The Mind. In 1989,
Crown books published Nadja: On My Way, written for children by Ms. Salerno-
Sonnenberg, in which she reflects on her experiences as a young musician building a career.
Following a tour of Japan in June 1996 and performances in July and August at the Aspen Music Festival and Wolf Trap, Ms. Salerno-Sonnenberg's 1996-97 season includ?ed performances with the Philadelphia Orchestra, St. Louis Symphony, Seattle Symphony, Detroit Symphony, New Jersey Symphony, Milwaukee Symphony and the New York Chamber Orchestra, and recitals from the East to West Coasts.
Born in Rome, Ms. Salerno-Sonnenberg emigrated to the United States at the age of eight to study at The Curtis Institute of Music and later studied with Dorothy DeLay at The Julliard School. She is the recipient of the prestigious Avery Fisher Career Grant and winner of the Walter W. Naumburg 1981 International Violin Competition.
Ms. Salerno-Sonnenberg first appeared under UMS auspices in 1988 performing the Mendebsohn Violin Concerto with the Pittsburgh Symphony Orchestra. In 1991 she returned to perform Shostakovich's Violin Concerto No. 1 with the Detroit Symphony Orchestra. This performance marks her third appearance under UMS auspices.
n its second century, the Chicago Symphony enjoys an enviable position in the music world. Performances are greeted with enthusiasm both at home and abroad. Best-selling recordings continue to win prestigious international awards, and syndicated radio broadcasts are heard by millions nationwide.
In September 1991, the Chicago Symphony Orchestra began a new collabo?ration with Daniel Barenboim, who assumed leadership as its ninth music direc?tor. Mr. Barenboim's tenure has been distin-
guished by highly praised productions of the three MozartDa Ponte operas, virtuoso appearances with the Orchestra in the dual role of pianist and conductor, and six inter?national tours. The most recent, completed in June 1997 in Leipzig and Cologne, Germany, was greeted by extraordinary audience and critical acclaim. In March 1995, Pierre Boulez was named the Orchestra's third principal guest conductor.
The Orchestra's 106-year history began in 1891 when Theodore Thomas, then the leading conductor in America and a recog?nized music pioneer, was invited by Norman Fay, a Chicago businessman, to establish a symphony orchestra there. Thomas's aim to establish a permanent orchestra with per?formance capabilities of the highest quality was realized at the first concerts on October 16 and 17 of that year. Maestro Thomas served as music director for thirteen years until his death in 1905 -just three weeks after the dedication of Orchestra Hall, the Chicago Orchestra's permanent home.
Thomas's successor was Frederick Stock, who began his career in the viola section in 1895 and became assistant conductor four years later. His tenure at the Orchestra's helm lasted thirty-seven years, from 1905 to
1942 -the longest of Chicago's nine music directors. Dynamic and innovative, the Stock years saw the founding of the Civic Orchestra of Chicago, the first training orchestra in the United States affiliated with a major symphony orchestra, in 1919. He also established youth auditions, organized the first subscription concerts especially for children, and began a series of popular con?certs.
Three distinguished conductors headed the Orchestra during the following decade: Desire Defauw was music director from
1943 to 1947; Artur Rodzinski assumed the post in 1947-48; and Rafael Kubelik led the Orchestra for three seasons from 1950 to 1953.
The next ten years belonged to Fritz Reiner, whose recordings with the Chicago Symphony Orchestra are still considered performance hallmarks. It was Maestro Reiner who invited Margaret Hillis to form the Chicago Symphony Chorus in 1957. During this time Carlo Maria Giulini began to appear in Chicago regularly; he was named principal guest conductor in 1969 and served in that capacity until 1972. The second principal guest conductor in the Orchestra's history was Claudio Abbado, who held the position from 1982 to 1985. For the five seasons from 1963 to 1968, Jean Martinon held the position of music direc?tor.
Sir Georg Solti, the Orchestra's eighth music director, served from 1969 until 1991. He now holds the title of music director laureate, and as such returns several weeks each season. Maestro Solti's arrival in Chicago launched one of the most success?ful musical partnerships of our time. The Chicago Symphony Orchestra's first interna?tional tour came in 1971 under his direc?tion, and subsequent European tours as well as tours to Japan and Australia have rein?forced its reputation as one of the world's finest musical ensembles.
Radio broadcasts and recordings are an important part of the Chicago Symphony
Orchestra's activities. Full-length concerts, taped at Orchestra Hall and the Ravinia Festival, are broadcast over two hundred stations across the country under the spon?sorship of Amoco Corporation with Chicago-area broadcasts sponsored by The Northern Trust Bank, United Airlines, and the Amoco Corporation.
Since 1916, when the Chicago Symphony became the first American orchestra to record under its regular conductor, the Orchestra has amassed a discography num?bering over nine hundred. Recordings by the Orchestra have earned fifty-three Grammy Awards from the National Academy of Recording Arts and Sciences including several Classical Album of the Year honors, as well as a number of Best Classical Performances in the orchestral, choral, instrumental and vocal soloist, and engineering categories.
The Chicago Symphony Orchestra has a long history of performing under UMS auspices begining with their first appearance in 1892, only one year after the orchestra was estab?lished, and continuing to their most recent appearance in 1994. These performances mark the Chicago Symphony Orchestra's 199th and 200th appearance under UMS auspices.
Chicago
Symphony
Orchestra
Daniel Barenboim, Music Director Sir Georg Solti, Music Director Laureate Duain Wolfe, Chorus Director William Eddins, Assistant Conductor
Pierre Boulez, Principal Guest Conductor Augusta Read Thomas, Composer-in-Residence Yaron Traub, Assistant Conductor
Violins Samuel Magad
Concertmaster
The Sarah and Watson
Arnwur Chair
David Taylor Yuan-Qing Yu
Assistant Concertmasters Victor Aitay
Co-Concertmaster Emeritus Francis Akos
Assistant Concertmaster Emeritus Ella Braker Cornelius Chiu Alison Dalton Russell Hershow Nisanne Howell Blair Milton Edgar Muenzer Paul Phillips, Jr. Sando Shia Fred Spector Otakar Sroubek Susan Synnestvedt Heidi Turner
Joseph Golan Principal
The Marshall and Arlcne Bennett Family Foundation Chitir
Albert Igolnikov
Assistant Principal
Tom Hall
Arnold Brostoff
Baird Dodge
Fox Fehling
Rachel Goldstein
Lei Hou
Qing Hou
Mihaela [onescu
Melanic Kupchynsky
loyce Noh
Nancy Park
Ronald Satkiewicz i Florence Schwartz . Jennie Wagner
Eric Wicks
Violas Charles Pikler
Principal
Vic Prince Charitable Trusts
Chair Li-Kuo Chang
Assistant Principal lohn Bartholomew Catherine Brubaker Karen Dirks
Richard Ferrin Lee Lane Hui Liu Diane Mues Lawrence Neuman Daniel Orbach Maxwell Raimi Robert Swan Thomas Wright
Cellos
lohn Sharp
Principal
Vie Eloise W. Martin Chair Stephen Balderston
Assistant Principal
Philip Blum Loren Brown Leonard Chausow
Assistant Principal Emeritus Richard Hirschl Katinka Kleijn Donald Moline Jonathan Pegis David Sanders Gary Stucka
Basses
Joseph Guastafeste
Principal
Daniel Armstrong Roger Cline Joseph DiBello Michael Hovnanian Robert Kassinger Mark Kraemer Stephen Lester Bradley Opland
Harps
Sarah Bullen
Principal Lynne Turner
Flutes Donald Peck
Principal Richard Graef
Assistant Principal Louise Dixon Walfrid Kujala
Piccolo Walfrid Kujala
Oboes
Alex Klein Principal
The Nancyand Larry Fuller Chair
Michael Henoch
Assistant Principal
Richard Kanter Grover Schiltz
English Horn Grover Schiltz
Clarinets Larry Combs
Principal John Bruce Yeh
Assistant Principal Gregory Smith J. Lawrie Bloom
E-FIat Clarinet John Bruce Yeh
Bass Clarinet
J. Lawrie Bloom
Bassoons David McGill
Principal William Buchman
Assistant Principal Burl Lane
Contrabassoon Burl Lane
Saxophone
Burl Lane
Horns
Dale Clevenger
Principal Gail Williams
Associate Principal Daniel Gingrich David Griffin Kimberly Wright
Trumpets
Adolph Herseth Principal
Tlie Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor
Mark Ridenour Assistant Principal
John Hagstrom
Trombones
Jay Friedman
Principal James Gilbertsen
Associate Principal Michael Mulcahy Charles Vernon
Bass Trombone Charles Vernon
Tuba
Gene Pokorny
Timpani Donald Koss
Principal Gordon Peters
Assistant Principal
Percussion Gordon Peters
Principal James Ross Patricia Dash
Piano
Mary Sauer
Librarian Walter Horban
Personnel Manager Carol Lee Iott Anne DerHovsepian
Assistant Personnel
Manager
Stage Manager
William Hogan
Stage Technicians lames Hogan Thomas Ingersoll Kelly Kerins Bernie Long Patrick Reynolds Richard Tucker
'The Louis C. Stutter Conccrtmasler's Chair, endowed by an anonymous benefactor, is presently unoc?cupied.
The Chicago Symphony Orchestra string sections uti?lize revolving seating. Players behind the first desk (first two desks in the violins) change seats systematically every two weeks and are listed alphabet?ically in the roster above.
Chamber Music with Members of the
Chicago Symphony Orchestra
Alex Klein, Oboe Larry Combs, Clarinet William Buchman, Bassoon Gail Williams, Horn Christoph Eschenbach, Piano
University
Musical
Society
and
Forest Health Services
present
Program
Robert Schumann
Schumann
Schumann
Ludwig Van Beethoven
Saturday Evening, September 27,1997 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Adagio and Allegro for Horn and Piano in A-flat Major, Op. 70
Fantasy Pieces for Clarinet and Piano, Op. 73
Tenderly and with expression Lively and light Fast and with fire
Three Romances for Oboe and Piano, Op. 94
Not fast Simple, inward Not fast
INTERMISSION
Piano Quintet in E-flat Major, Op. 16
Grave -Allegro ma non troppo
Andante cantabile
Rondo: Allegro ma non troppo
Fourth Concert of the 119th Season
Thirty-fifth Annual Chamber Arts Series
Special thanks to Randall and Mary Pittman for their support of the University Musical Society through Forest Health Services.
Large print programs are available upon request.
Adagio and Allegro for Horn and Piano, Op.70
Fantasy Pieces for Clarinet and Piano, Op.73
Three Romances for Oboe and Piano, Op.94
Robert Schumann
Born on June 8, 1810 in Zwickau, Saxony
Germany Died on July 29, 1856 in Endenich, near
Bonn, Germany
These three Schumann works were all written in the same year (1849), the single most prolific year in the composer's life. Having overcome an earlier period of depression, Schumann composed about thirty works between January and December, including the Konzertstiick for four horns, the Scenes from Goethe's "Faust" and the stunning Requiem fur Mignon.
Schumann was only thirty-nine years old in 1849, yet his works from that year are often said to exemplify his "late" period. Of course, we know in hindsight that in 1849 Schumann had only four creative years left before his mental collapse early in 1854. The composer himself was full of energy, and must have felt that he was only beginning to reach the peak, having just completed a long-cherished opera project (Genoveva). He was also to make the biggest career move of his life soon: in 1850 he left his native Saxony and relinquished the editorship of the Neue Zeitschrift fur Musik, in order to relocate to Diisseldorf, several hundred miles to the west, where he took over the direction of the local symphony orchestra.
Thus, there may have been no premoni?tions in 1849 that the tragic end was near. Yet an astute observer would have noticed that the Schumann of 1849 was no longer the heaven-storming young Romantic of the 1830s. The young tone poet of the early
years had been obsessed with self-expres?sion. When he invented the literary charac?ters Eusebius and Florestan, who were dif?ferent aspects of his own personality, or when he dreamed up the mythical Davidsbund ("David Society") to fight the Philistines of the art world, he gave voice to sentiments that echoed those of Schumann's Romantic literary heroes, E.T.A. Hoffmann, Jean Paul, and Heinrich Heine. By 1849, Schumann's concerns had changed. For the better part of the past decade (since his 1841 marriage to Clara Wieck in particular), he had been consciously striving for recog?nition as Germany's greatest composer, and had conquered, in turn, the genres of sym-pony, chamber music, oratorio and opera. (During the first stage of his career, he had concentrated almost exclusively on piano music.) A composer of such exalted status had to think of more than himself; he had to concern himself with issues like the musi?cal education of young people (Album for the Youth), the importance of the choral movement (a large body of choral music written in the late 40s and early 50s), and the significance of folk music in the devel?opment of musical culture (arrangements and imitations of folk melodies). It is signif?icant that during these years he returned to the Classical works of Johann Wolfgang Goethe (Faust, Wilhelm Meister) for literary inspiration. To these concerns we may add the desire to create a body of work suitable for Hausmusik -performance in private homes -and, at the same time, to enlarge the relatively modest chamber literature for wind instruments. The three works heard in the first half of the present program were all part of that systematic effort on Schumann's part.
It is a sign of Schumann's genius that, while developing the more "public" aspect of his artistic persona, he never lost touch with his Romantic youth. One of the most striking things about the chamber music for
winds is how he managed to combine a newly-won Classical poise with the Romantic fervor of the early years. The melodies are more regular, more symmetri?cal and more "folk-like" (at least in the sense Schumann gave the term). Yet the old fire is still burning; the passionate Eusebius and the dreamer Florestan are still alive and well (with, perhaps, just a little silver in their hair).
The Adagio and Allegro (originally called "Romance and Allegro") is one of the earli?est solo works written for the newly invent?ed valve horn. The success of this composi?tion encouraged Schumann to write his more ambitious Konzertstiick for four horns soon afterwards. It is exactly what the title promises: a lyrical slow introduction fol?lowed by a fast section marked "Rasch und feurig" (Fast and fiery); yet the latter includes a slower middle section, which makes full use of the new-fangled instrument's ability to play all twelve tones of the chromatic scale with equal ease.
The Phantasiestiicke (Fantasy Pieces) for clarinet alludes with its title to a celebrated piano cycle of the same name (Op. 12) writ?ten in 1837, at the height of Schumann's youthful period. That cycle included such celebrated pieces as "Aufschwung" (Soaring Upward) and "Warum" (Why) whose spir?it lives on in these three lyrical pieces, played without pause. The tempo markings are also concise character descriptions: "Tenderly and with expression," "Lively and light," "Fast and with fire."
In the Three Romances for oboe we find less of the contrasts in character that ani?mate the horn and clarinet pieces. All three romances are slow to moderate in tempo and nostalgic in tone. The first is practically a single uninterrupted melody, while the second and third embrace "A-B-A" form, with new themes in the middle, after which the opening material returns. The main theme of Romance No.2 is a beautiful
example of Schumann's "simple" style (it is reminiscent of several of the short piano pieces in Album for the Youth); it is juxta?posed with a more dymanic second melody. Romance No. 3 is the most pensive and introspective in the set, ending with a won?derfully intimate and touching coda.
All three works were published with alternate instrumental parts: Adagio and Allegro and Fantasy Pieces can also be played on violin or cello, Three Romances on violin or clarinet. Yet Schumann's melodic writing and his use of registers are clearly tailored to the instruments of his first choice; all three works are central to the chamber literature for winds.
Quintet in E-flat Major for Piano, Oboe, Clarinet, Horn, and Bassoon, Op.16
Ludwig Van Beethoven
Born on December 16,1770 in Bonn, Germany
Died on March 26, 1827 in Vienna
After three relatively late works by Schumann, here is some definitely early Beethoven. The quintet for piano and winds (1796) is one in a series of compositions that made Beethoven's name known in Vienna in the years after the young musi?cian had moved there from his native Bonn in 1792. Mozart's influence is apparent at every turn, yet there are many signs reveal?ing the birth of one of the most individual styles in musical history.
The E-flat Major Quintet is indebted to Mozart in more than a general sense. Mozart had written a quintet for the same instru?mental combination (K.452), and a compar?ison of the two works makes it amply clear that Beethoven had followed his model very closely indeed. Not only do the two quintets share the same key of E-flat Major, their sec?ond movements are also in the same tonali-
ty (B-flat) and they have a number of addi?tional points in common, most notably the slow introductions which were much more frequent in symphonies than in chamber music works.
The "Grave" introduction in Beethoven's quintet is built around a solemn motif in dotted rhythm. It strikes a serious tone after which the light and graceful melodies of the "Allegro ma non troppo" come both as a relief and a contrast. Only in the development section does the music become slightly more tempestuous for a while. The most "Beethovenian" feature (that is, the one most strongly anticipating his mature style) is the extended coda, introduced by a piano cadenza.
The second movement ("Andante cantabile") has a song-like theme that receives more and more extensive ornamen?tation each time it returns. The recurrences of the theme are separated by two more agi?tated episodes, the first featuring the oboe, the second the horn.
The third movement opens with a melody that resembles several of Mozart's finale themes. It is cheerful and lighthearted music with only occasional and transient clouds on the horizon. In the coda, Beethoven breaks up the main theme into small fragments (this procedure would remain one of his favorite ways of motivic development during his middle period) and plays many delightful games with it. As in many of his later works, the end is announced by a long piano trill.
This quintet exists in an alternative instrumentation (as do the Schumann works in the first half of this program). The first edition, published in 1801, included a version for piano, violin, viola, and cello. It seems that in 1801 as in 1849, most con?sumers of chamber music were string play?ers; composers and publishers alike were well advised to remember that important segment of the market.
Program notes by Peter Laki, program anno-tatorfor The Cleveland Orchestra.
Christoph Eschenbach's biography appears on page 30 of this book.
William Buchman joined the Chicago Symphony Orchestra in 1992 and currently is assistant principal bassoon. A native of Canton, Ohio, Buchman earned a bachelor of science degree in physics, magna cum laude with honors, from Brown University in 1987. While at Brown, he studied bassoon with Judy Bedford and Rebecca Eldredge. With the
support of a DAAD Fellowship, he contin?ued his physics studies the following year at the Universitat Fridericiana Karlsruhe in Germany. On returning to the United States, Buchman was accept?ed at the Yale School of Music, and, after
one year, he transferred to the University of Southern California School of Music. Following his first year of study, he won the position of second bassoon with the Dallas Symphony Orchestra, where he remained for two seasons before joining the Chicago Symphony.
William Buchman appeared in 1993 as a member of the Chicago Symphony Winds. This concert marks his second appearance under UMS auspices.
Larry Combs, clarinet, has been a member of the Chicago Symphony Orchestra since 1974 and was named principal clarinet in 1978. Before coming to Chicago, he served as prin?cipal clarinet of the Montreal Symphony for five seasons and previously was first chair of the New Orleans Philharmonic. He also has served as principal clarinet of the Santa Fe Opera and has performed at the Marlboro Music Festival and participated in chamber music and orchestral recordings there. Combs is a founding member of the
Chicago Chamber Musicians, which undertakes such pro?jects as a ten-concert subscription series, a monthly noontime chamber series at the Chicago Cultural Center, regular live radio concerts on WFMT, a series of
concerts in nontraditional concert venues (such as Lamb's Farm and the Lawson YMCA), a pilot program of concerts and lectures at Sullivan High School, and residencies and master classes in colleges and conservatories coast to coast.
Born in Charleston, West Virginia, Larry Combs began clarinet studies at the age of ten. He studied with Stanley Hasty at the Eastman School of Music, and, after gradua?tion, with Leon Russianoff in New York.
Larry Combs appeared in 1993 as a mem?ber of the Chicago Symphony Winds. This concert marks his second appearance under UMS auspices.
Alex Klein became principal oboe of the Chicago Symphony Orchestra in 1995. He made his solo orchestral debut at the age of ten in his native Brazil and subsequently performed and
recorded with that country's leading ensembles. He earned music degrees from the Oberlin Conserv?atory of Music, where he studied with James Caldwell. As a concert artist, Klein has appeared extensively as soloist
with orchestras, including the Philadelphia Orchestra and the Orchestre de la Suisse Romande, and in recital, performing regu?larly in many cultural centers in the United
States and abroad to audience and critical acclaim. He made his debut as a soloist with the Chicago Symphony Orchestra in September 1996. A pedagogue as well as a performer, Klein has served on the faculties of the Oberlin Conservatory of Music, the University of Washington in Seattle, and at several summer music festivals. He currently is on the faculty of the Northwestern University School of Music.
This performance marks Alex Klein's debut under UMS auspices.
Gail Williams joined the Chicago Symphony Orchestra horn section in 1979 and was appointed associate principal horn in 1984. She studied with John Covert at Ithaca College and earned a master's degree at Northwestern University.
Williams is a founding member of the Chicago Chamber Musicians and Summit Brass, with which she frequently performs. She also has recorded two compact discs of solo contemporary music for Summit
Records. In addi?tion, Williams per?forms at the Bay Chamber Concerts in Rockport, Maine; at the Skaneateles (New York) Chamber Festival; and with the Teton Music Festival Orchestra as princi?pal horn. She has
performed as a soloist with the Chicago Symphony Orchestra under Sir Georg Solti, the San Antonio Orchestra, and a number of smaller orchestras in the United States, and recently appeared with the Chamber Music Society of Lincoln Center. Williams is on the faculty of the Northwestern University School of Music.
This performance marks Gail William's debut under UMS auspices.
Moscow Conservatory Chamber Ensemble
Nadezhda Serdiuk, Mezzo-soprano Igor Poltavtsev, Piano Olga Pushechnikova, Piano Anton Ivanov, Cello Aleksander Trostyansky, Violin
University
Musical
Society
and
Dr. Herbert Sloan
present
rogram
Sergei Rachmaninov
Rachmaninov
Rachmaninov
Rachmaninov
Rachmaninov
Wednesday Evening, October 8,1997 at 8:00 U-M Museum of Art, Ann Arbor, Michigan
Sonata in g minor for Cello and Piano, Op. 19 (iii. iv)
Andante Allegro mosso
Anton Ivanov, Olga Pushechnikova
Four Romances
Lilacs, Op. 21, No. 5 I am Waiting for You, Op. 14, No. 1 The Night is Sad, Op. 26, No. 12 Spring Waters, Op. 14, No. 11
Nadezhda Serdiuk, Olga Pushechnikova
Romance for Violin and Piano in d minor. Op. 6, No. 1
Aleksander Trostyansky, Igor Poltavtsev
Musical Moment, Op. 16, No. 4 Prelude in c-sharp minor. Op. 3, No. 2 Prelude in g-sharp minor. Op. 32, No. 12
Olga Pushechnikova
Liebeslied
Liebesfreud
Olga Pushechnikova INTERMISSION
Sergei Prokofiev
Rodion Shchedrin
Dmitri Shostakovich
Five Melodies for Violin and Piano, Op. 35bis, (i, iv, v)
Sonata No. 2 in D Major, Op. 94bis
Scherzo
Aleksander Trostyansky, Igor Poltavtsev
Not Only Love
Varvara's Song Chustuchki
Nadezhda Serdiuk, Igor Poltavtsev
Piano Trio No. 2 in e minor. Op. 67
Andante moderato
Allegro non troppo, marcatissimo, pesante
Largo
Allegretto (attaca)
Fifth Concert
of the 119th Season
Thirty-fifth Annual Chamber Arts Series
This performance is presented with the generous support of Dr. Herbert Sloan.
Large print programs are available upon request.
lussian music owes its profuse beauty to two phases of Russian creative genius which permit the artist to be at once a nationalist and a cosmopolitan eclectic.
Richard Anthony Leonard, A History of Russian Music
The works on this evening's program offer a sampling of the music of composers having had an association with the Moscow Conservatory from the end of the nineteenth century into the middle of the twentieth century. Most of the works featured in the program, except for two piano pieces by Rachmaninov, are infrequently heard by American audiences even though the names of their composers may be familiar.
Sergei Rachmaninov
Born on April 1, 1873 in Semyonovo, Russia
Died on March 28, 1943 in Beverly Hills
The first half of the program is devoted to works by Sergei Rachmaninov, a remarkable artist who gained international distinction early in the twentieth century as a virtuoso pianist, composer and conductor. Today he is remembered as a composer of symphonic music, piano concerti, and solo piano pieces which are widely performed and recorded. However, there is another dimension of Rachmaninov as a composer of romantic songs and chamber works.
The last two movements of Rachmaninov's Sonata in g minor for Cello and Piano, Op. 19 open the program. Rachmaninov had explored writing chamber music while still a student at the Moscow Conservatory but only the cello sonata and his Trio elegiaque, in d minor, Op. 9, written earlier in 1893, are considered as showing the composer at his best in the genre. The sonata is known for its grandiloquent and sensuous melodies, big
themes, and vivid piano parts that have come to characterize the composer's music. The third movement, marked "Andante," is simple in its construction with only two themes. The piano opens with the first few notes stating the theme of a placid, almost mystical song that is carried to the fore by the cello. A separate theme is then intro?duced by the piano and again supported by the cello. For the rest of the movement the two themes are interwoven with varying degrees of intensity but always retaining a sense of tranquility and deep feeling. The fourth and last movement of the sonata, marked "Allegro mosso," is full of life and excitement. It opens with a dramatic state?ment by the piano followed by the cello's swinging introduction to the movement's first subject accompanied by arpeggios from the piano. Then the two instruments join to express the theme and a second subject is introduced by a long and expressive melody that is so characteristic of Rachmaninov's compositions. The subjects are interwoven in a lively fashion that allows the virtuosic qualities of each instrument to be realized. After reaching a pitch of excitement, the cello returns to a tranquil theme and, with the piano, lingers for a moment in this mode before the movement ends with a flourish.
The four songs or romances that are offered in tonight's program come from two sets, Op. 14 and Op. 21, that Rachmaninov wrote at the turn of the century. He com?posed over eighty songs from the 1890s to 1916, spanning the time of his most prolific period as a composer. He chose most of the
texts from poems by Russian Romantics and it was only in the final set of six songs, Op. 38, that he turned to modern symbolist poems. The twelve Op. 21 songs were all written in 1902. This was the time of his marriage to his first cousin Natalya Satina and renewed confidence as a composer. The work is likened to a miniature tone poem and is one of the composer's most popular romances. Rachmaninov later transcribed the song for piano solo and it is often heard in this form. "I Am Waiting for You," Op. 14, No.l is set to a poem by M. Davidova and speaks to the pain and suffering of love's desire as one waits patiently through the day and night to be together with a lover. "The
Night is Sad" is the twelfth from the Op. 26 set of fifteen songs, all composed in 1906 and dedicated to Arkady and Mariya Kerzin, patrons of Russian arts. The music, in keep?ing with the mood of the text, is somewhat gloomily introspective and declamatory in nature. The last of the songs presented is "Spring Waters," Op. 14, No.l 1. After the first song of the Op. 14 set, Rachmaninov started to give prominence to the piano part. However, in "Spring Waters" (1896), the piano achieves almost orchestral dimen?sions. The text speaks of the welcome to spring as the snows melt and the spring floods begin and May Day comes again.
Sergei Rachmaninov
Four Romances
Siren
(Ekaterina Beketova)
Po utru, na zare,
Po rosistoj trave,
Ja pojdu svezhim utrom dyshat';
I v dushistuju ten',
Gde tesnitsja siren',
Ja pojdu svoje schast'je iskat'...
V zhizni schast'je odno
Mne najti suzhdeno,
I to schast'je v sireni zhivet;
Na zelenykh vetvjakh,
Na dushistykh kistjakh
Moje bednoje schast'je cvetet...
Lilacs
In the morning, at dawn,
On the dew laden grass
I will go and breathe in the fresh morn.
In the sweet fragrant shade
That the lilacs command
I will search for my true happiness.
In a lifetime by once
Father bliss may be mine
In sweet lilacs that joy may abide.
In their branches so green,
Fragrant petals supreme
My faint happiness quietly dreams.
Ja zhdu tebja
(M. Davidova)
Ja zhdu tebja! Zakat ugas, I nochi tjomnyje pokrovy Spustit'sja zemlju gotovy I sprjatat' nas.
Ja zhdu tebja! Dushistoj mgloj Noch' napojila mir usnuvshij, I razluchilsja den' minuvshij Na vek s zemlej. Ja zhdu tebja! Terzajas' i ljubja, Schitaju kazhdyja mgnoven'ja, Polna toski i neterpen'ja. Ja zhdu tebja!
Noch' pechai'na
(Ivan Aleksejevich Bunin)
Noch' pechal'na, kak mechty moji... Daleko, v glukhoj stepi shirokoj, Ogonek mercajet odinokij... V serdce mnogo grusti i ljubvi.
No komu i kak razskazhesh' ty, Chto zovet tebja, chem serdce polno Put' dalek, glukhaja step' bezmolvna, Noch' pechal'na, kak moji mechty.
Vesennije vody
(Fjodor Ivanovich Tjutchev)
Jeshchjo v poljakh belejet sneg, A vody uzh vesnoj shumjat, Begut i budjat sonnyj breg, Begut i bleshchut, i glasjat.
Oni glasjat vo vse koncy: "Vesna idet, vesna idet! My molodoj vesny goncy, Ona nas vyslala vperjod. Vesna idet, vesna idet!" I tikhikh, teplykh majskikh dnej Rumjanyj, svetlyj khorovod Tolpitsja veselo za nej.
I Am Waiting for You
I am waiting for you. Day is closing in,
and the dark veils of night
are preparing to cover the earth
and conceal us.
I am waiting for you. Night has filled
the world asleep with exquisite perfumes,
and the past day
has left the earth forever.
I am waiting for you. Suffering and loving,
I count every moment,
full of languidness and impatience.
I am waiting for you.
The Night is Sad
The night is as sad as my dreams...
Far away, in the wide savage steppe,
A solitary light is glimmering...
There is much sadness and love in my heart.
But to whom and how could you tell What is beckoning you, what your heart is full of The road is long, the savage steppe is silent, The night is as sad as my dreams.
Spring Waters
The fields are still covered with white snow. But the streams are already rolling in a spring mood, Running and awakening the sleepy shore, Running and glittering and announcing loudly.
They are announcing loudly to every corner: "Spring is coming, spring is coming! We are the messengers of young spring, She has sent us to come forward, Spring is coming, spring is coming!" And the quiet, warm May days Follow her, merrily crowded Into the rosy, bright dancing circle.
The Romance for Violin and Piano in d minor, Op. 6, No. 1 is from the set of two pieces (Romance and Hungarian Dance) written during the summer of 1893. Rachmaninov had completed his first opera, Aleko, which had its premiere that spring. The composer had been diligently working to solve the problem he had balancing instruments in chamber ensembles. While it is arguable among musicians whether he ever resolved that problem, Romance dis?plays the lushness and long melodic lines given to both instruments.
A sampling of the piano solo works by Rachmaninov completes the first half of the program. The Musical Moment Op.16, No 4 (Presto in e minor) is a florid dramatic piece dating from 1896. Its left-hand part in particular displays the bravura style that would be characteristic of Rachmaninov's later piano works.
The famous Prelude in c sharp minor was published as the second of a set of five Morceaux defantaisie Op.3. Rachmaninov had suffered a brief but painful illness and fever during the summer of 1896 while liv?ing temporarily outside Moscow. By the end of August he moved back to Moscow. One of the first things he did was to write a piano piece in c-sharp minor which he played for the first time at a concert on September 26. The piece met with such acclaim that he was catapulted into prominence. The fame of the work was so great that wherever Rachmaninov went he was asked to play "the Prelude" (as it was simply called) as an encore at almost all his concerts. The inter?national copyright did not extend to Russia at the time so he received little financial benefit.
The Prelude in c-sharp minor needs little introduction and description. It is considered the epitome of Rachmaninov's style as both composer and pianist. It has its dark melan?cholic moments as well as its passionate
central section and a grandiose climax. The work has been arranged for all kinds of instruments and ensembles. Rachmaninov, later in the US in 1938, made his own arrangment for two pianos.
The Prelude in g-sharp minor, Op.32, No. 12 was composed in 1910 at a time when Rachmaninov was living in the relaxed atmosphere of his country estate in Ivanoka, where he often worked on compositions. He had already completed a successful concert tour in the US. The thirteen pieces of Op. 32 with the ten published as Op. 23 and the one in c-sharp minor (Op. 3, No.2) fulfilled his desire to complete a set of twenty-four preludes written in all the major and minor keys as had Chopin.
Completing the first half of the program are Rachmaninov's transcriptions of Fritz Kreisler's violin pieces: Liebeslied and Liebesfreud. These transcriptions were first played by the composer in the early 1920s. In the last twenty years of his life, Rachmaninov added a number of transcrip?tions of his own to his extensive repertory.
Sergei Prokofiev
Born on April 27, 1891 in Sontsovka, Russia Died on March 5, 1953 in Moscow
First on the program's second half are three sections of the Five Melodies, Op.35-bis. The original Op.35 were five songs without words for voice and piano written by Prokofiev in December 1920 when he was on his second tour to the US. He was in California at the time and evidently could not find the poetic material he wanted to fit his musical ideas for the cycle. They were first performed in March 1921 by the Russian singer, Nina Koshetz, known for her interpretations of Rachmaninov songs. Prokofiev dedicated the cycle of songs with?out words to Koshetz and in 1925, with the aid of the violinist Paul Kochanski, rewrote
them for violin and piano. The music was designed to evoke "a pure impression of romantic reverie and the transports of love." There are sudden shifts in tonalities, con?trasting melodies and even humor (No.4) that are characteristic of the composer's style. One can imagine the violin as the female voice engaged in a vocalise.
The "Scherzo" from Sonata No. 2 in D Major, Op.94bis is an off-shoot of the origi?nal Op. 94 four-movement Sonata which was composed for flute and piano in 1942. During the 1943-44 concert season in Moscow Prokofiev, after discussing the mat?ter with David Oistrakh, arranged the flute sonata for violin and piano, listing the new version as Op.94bis. The violin and piano version differs greatly from the original in that it contains typical violinistic techniques such as double stops and chords, harmonics, pizzicato, etc. The new version was given its first performance by David Oistrakh and Lev Oborin on June 17,1944. It has gained acceptance in the repertory of many violin?ists ever since. The "Scherzo" is a short piece structured in the traditional ABA form. It opens with a fast, lively dance rhythm which is interrupted by a contrasting brief lyrical interlude before returning to the skittish dance with which it began.
Rodion Shchedrin
Born on December 16, 1932 in Moscow
Rodion Shchedrin, one of the newer gen?eration of Russian composers, taught at the Moscow Conservatory in the late 1960s. Although too young to be involved in the infamous 1948 purge of the leading Soviet composers at the time, Shchedrin at age twenty, was one of the few who spoke up in defense of a more daring and creative search in the arts, even publishing an essay expounding his views. He became a specialist in Russian folk music of the various regions
of what is now called the Federation, and is recognized as a composer of realistic ten?dencies despite occasional experiments with "modernism." He is known outside of Russia chiefly for his ballets and a popular Carmen Suite that he transcribed from Bizet's opera for strings and percussion. In addition to two symphonies and other orchestral works, piano concerti, chamber works, piano pieces and a variety of vocal and choral compositions, Shchedrin has written two operas that are rarely performed outside of Russia: Not Only For Love and Dead Souls.
"Varvara's Song" and "Chastushki" are from the 1961 opera Not Only for Love. The libretto of the opera is an adaptation of sever?al short stories by Sergei Antonov depicting life in the Soviet countryside. "Chastushki" refers to the urban folk ditties, the risqu? rhymes and insolent-sounding tunes that Shchedrin incorporated into many of his scores.
Dimitri Shostakovich
Born on September 25, 1906 in St. Petersburg
Died on August 9, 1975 in Moscow
Shostakovich began work on the Piano Trio No.2 in e minor, Op. 67, in February 1944, shortly after the early death of his close friend, the music critic Ivan Sollertinsky, to whom the work is dedicated. The war in Europe came to an end with the surrender of Germany in early May, 1944. Even before the surrender, there were sensational reports in the Soviet Press about the horrors uncov?ered by the Red Army's liberation of death camps in Poland. Thus it could be said that while the Piano Trio No.2 was begun in grief it was finished in anger.
The first movement, marked "Andante moderate" is opened by the muted high register strings of the cello, giving it a sad, almost wailing sound that is drawn into
more mournful notes by the piano and other strings. Repeated staccato notes follow and evolve into melodies bearing a Slavic folk song character. The dolorous quality of the music is maintained throughout the movement.
The second movement, marked in detail by Shostakovich at its head, "Allegro non troppo, marcatissimo, pesante" (not too fast, heavily stressed, ponderous) is in the form of a scherzo. The dance has a grotesque quality that is characteristic of the scherzi written by the composer. Its music has also been likened to a "clumsy peasant dance," suggested as "another swipe at Stalinist anti-intellectualism." The middle section of the scherzo (the trio) displays a more exuberant waltz and even a hint of Spanish gypsy music.
The "Largo" that follows opens with heavy strokes from the piano. The move?ment's structure is that of a passacaglia cen?tered around the eight notes ponderously struck by the piano. Each time the piano repeats the notes the strings give out with a lament that lends an air of despair to the funerary nature of the music.
The finale, "Allegretto (attaca)," was writ?ten rapidly in late July and early August 1944 and in essence gives an image of Shostakovich's reactions to the reports of the Nazi death camps. The movement is considered the first of the composer's "Jewish" pieces that later got him in trouble with the political establishment. The music was meant to shock the listeners and remind them of the tragedy of the death camps. It contains Yiddish tunes mixed with macabre stum?bling dances of death which unfold with sepulchral undertones. The movement is brought to a close with a restatement of the dirge from the preceding "Largo" and falters to a stop.
Notes prepared by Arthur Canter, Professor emeritus University of Iowa.
The Moscow Conservatory was founded in 1866 by Nikolay Rubinstein (1835-1881), a virtuoso pianist and a well-known conductor. Nikolay was the younger brother of the internationally known pianist-composer Anton Rubinstein (1829-1894) who had founded a conservatory in St. Petersburg four years earlier. The develop?ment of the two conservatories by the brothers parallels the history of music of the Russian Federation. The early rivalry between them mirrored the ubiquitous conflicts among the Russian intelligentsia regarding nationally derived arts versus those borrowed from Western culture. Thus at the time of the Rubinstein brothers there were two influential groups of musicians: those arguing for creating a Russian, or nationalistic, music (the Slavophiles) and those arguing for a more eclectic approach (the Westernizers). Despite the initial dis?putes that led to the creation of two conser?vatories, over the years there has been con?tinual "cross-fertilization," where a graduate of one would become a faculty member of the other. By the end of the second genera?tion of conservatory students, the competi?tion was for talent and resources rather than for values.
The Moscow Conservatory (also referred to as The Tchaikovsky Conservatory) is now considered the Russian Federation's most prestigious training institution for musical performance and composition. Since its inception it has enriched the musical world by the achievements of its graduates and its wide range of artistic traditions. Conservatory students, graduates and faculty have garnered numerous prestigious awards throughout the world. The list of graduates and teachers of the Moscow Conservatory is extraordi?nary. It includes such luminaries as Tchaikovsky, Taneyev, Rachmaninov, Scriabin, Shostakovich, and noted musicians such as Gilels, Oistrakh, Richter, Rostropovich,
Nikolayeva, Tretyakov, and Bashmet.
A leader in the development and training of the next generation of extraordinary musicians, the Conservatory upholds an unparalleled commitment to excellence in music. Since the beginning of the twentieth century, the Conservatory has been at the center of Russian musical culture, promul?gating the development of radical and newly awakened national traditions of playing , composing and teaching. Numerous ensem?bles have been born and nurtured at the Conservatory. These have included the Beethoven Quartet, the Komitas Quartet and the Borodin Quartet.
Leading composers give their new works to Conservatory students for inaugural per?formances, a tradition that began with the world premiere of Tchaikovsky's Eugene Onegin in 1879. The Conservatory has made an impact on the development of musical technique in many other conservatories and professional training institutions through?out the Russian Federation and former republics of the Soviet Union.
Anton Ivanov, cello, was born in 1976 in Moscow. Since 1982 he has studied in Moscow's renowned music school Gnesin. In 1994 he entered the Moscow Conservatory in the class of Professor Shahovskoy. He has participated in international festivals in Italy and Moscow and the international competi?tion for cellists in Austria in 1994. Presently he is a fourth year student at the Conservatory. To his credit already are appearances in Russia as well as abroad. He has recorded for the Russian State radio.
Igor Poltavtsev, piano, was born in 1971 in Krasnodar. He began his education in the class of Professor E. Chaiko at the Rimsky-Korsakov Higher Music College in Krasnodar from which he graduated with honors in 1990. In 1990 he entered the Moscow Conservatory in the class of Professor Evgeny Malinin and, since 1995
he has perfected his techinique at the post?graduate couses of the Moscow Conservatory with Professor E. Malinin and Docent I. Osipova. Igor Poltavtsev is the laureate of National competitions and of the Finale-Ligoure International Competition in Italy in 1995. He has been invited to work with the Moscow Concert Agency, tours actively as a soloist and with chamber ensembles in Russia and abroad, and has recorded for Russian State radio and television.
Olga Pushechnikova, piano, was born in Moscow in 1975 to a family of musicians. She is a graduate of the Central Musical School at the Moscow Conservatory under the guidance of Professor E. Timakin. In 1987 Ms. Pushechnikova became the Laureate of the International Youth Competition "Prague Concertino" in
Czechoslovakia. In 1993 she won first prize at the First International Piano Competition named after Rachmaninoff. In 1996 she was awarded Laureate of the Eighth International Unisa Transnet Piano
Competition in South Africa.
Currently, Ms. Pushechnikova is a second year student of the Moscow Conservatory of Tchaikovsky in the class of Professor Sergei Dorenski. She is a soloist with the Moscow State Philharmonic Society, a correspondent member of the International Academy of Arts. She tours frequently both in Russia and abroad and has performed in Poland, Iceland, Finland, Bulgaria, France, the US, Spain, Germany and Japan.
Born in Moscow in 1972, mezzo-soprano Nadezhda Serdiuk is a post-graduate stu?dent at the Moscow Conservatory. She has trained under the guidance of two famous
vocal teachers: Ksenya Tichonova and Galina Pisarenko. At the Moscow Conservatory, Ms. Serdiuk has sung Orfeo in Gluck's Orfeo and Eurydke and subsequently sang it on the stage of the Moscow Children's Musical Theater. She has also sung the role of Olga in Tchaikovsky's Eugene Onegin and has appeared in a number of Rimsky-Korsakov operas.
In September 1994 Ms. Serdiuk was selected to work with the well-known Bach Academy in Stuttgart under the direction of Helmut Rilling. She performed Haydn's Lord Nelson Mass and the Magnificat by
Bach. The 1994-95 season had her singing with the Moscow New Opera, directed by Kolobov. She won a Second Prize in the 1995 International Glinka Vocal Competition. In July 1996 she was invited to take mas-
ter classes with Christa Ludwig and Marilyn Home. During this time she again sang the role of Olga with an international cast that included Sergei Leiferkus, Galina Gorchakova, Neil Rosenstein, and Irina Archipova. She scored a huge success singing those roles in Sapporo and Tokyo, Japan.
Born in 1972 into a family of musicians, violinist Aleksander Trostyansky began his musical training under the tutelage of his father, then continued in the class of profes?sor M.B. Liberman at a school for gifted children in Novosibirsk, Siberia, world-renowned for producing such acclaimed violinists as Vadim Repin and Maxim Vengerov.
Mr. Trostyansky's professional career began in 1984 with performances through?out the former Soviet Union. He won the title of laureate at the all-Russian musical competition in 1989 and at the international competition "Premio Paganini" in Genoa in
1990. In 1990 he entered the Moscow con?servatory as a student of the highly-esteemed teacher I.V. Bochkova. 1995 saw Mr. Trostyansky's graduation from the Conservatory and his debut in their Great
Hall and, in the same year, at the Tchaikovsky Concert Hall.
He has partici?pated in a number of festivals, including the Moscow Fall, Contemporary Festival of Music Moscow, and "Musik Im Michel."
He has recorded for Russian radio and for Vista International, Chandos and Dowani. In 1996, Mr. Trostyansky was awarded first prize at an international competition in Orford, Canada after which he received an invitation to record on the Chandos Label with I Musici de Montreal. He has appeared with the Moscow Soloists under the direction of Yuri Bashmet, with whom he toured the US. Currently, Mr. Trostyansky is a soloist with the Moscow Philharmonic Orchestra and a member of the Chamber Ensemble "Romantic Trio." He is an active participant in Russian musical life and is particularly involved in contemporary music.
Mr. Trostyansky teaches and is engaged in post-graduate work at the Moscow Conservatory.
This performance marks the Moscow Conservatory Chamber Ensemble's debut under UMS auspices.
Produced by David Eden
Program director for tour: Svetlana Sigida, Director of External Relations, Moscow Conservatory
The 1997 fall tour of students of the Moscow Conservatory is made possible in part by then generosity of the Trust for Mutual Understanding.
The producer would like to thank the following for their assis?tance in this project: Betsy Hcer, Arthur Canter, udy Hurtig, Ken Fischer and all the presenters who took part in the 1995 cultural mission to Russia.
Like To Help Out
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activi?ties. We rely on volunteers for a vast array of activities, including staffing the education res?idency activities, helping at the UMS hospital?ity table before concerts and at intermissions, assisting in artists services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 313.936.6837 for more information. Internships
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semester-and year-long internships are available in many of the University Musical Society's departments. For more information, please call 313.763.0611 (Marketing Internships), 313.647.1173 (Production Internships) or 313.764.6179 (Education Internships). College work-study
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, event planning and production. 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.
UMS Ushers
Without the dedicated service of UMS' Usher Corps our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. 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.
Our 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. If you would like information about joining the UMS usher corps, call head usher Kathi Reister at 313.913.9696.
Acknowledgments
fln an effort to help reduce distracting noises 'and enhance the concert-going experience, the Warner-Lambert Company provides compli?mentary 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 Lincoln Town Car to provide trans?portation for visiting artists.
Hungry
Camerata Dinners
Following last year's great success, the UMS Board of Directors and Advisory Committee are hosting another series of Camerata Dinners before many of the season's great performances. After taking your pick of prime parking spaces, join friends and fellow UMS patrons in the beautiful setting of the Alumni Center, a site within a short walking distance of Hill Auditorium. Our buffet will be open from 6:00 to 7:30 p.m. and costs $25 per person. Make your reser?vations by calling 313.764.8489. UMS members receive reservation priority.
Thursday, October 9
Estonian Philharmonic Chamber Choir
Wednesday, November 19
Orpheus Chamber OrchestraRichard Goode, piano
Tuesday, December 2
Klezmer Summit featuring Itzhak Perlman
Saturday, January 10
Israel Philharmonic OrchestraZubin Mehta, conductoi
Friday, February 6
St. Paul Chamber OrchestraEmanuel Ax, piano
Wednesday, February 11
Royal ConcertgebouwRiccardo Chailly, conductor
Tuesday, March 24
Russian National OrchestraGil Shaham, violin
Monday, April 13
Evgeny Kissin, piano
Friday, May 1
MET OrchestraSir Georg Solti, conductor
Dining Experiences to Savor: the Fourth Annual Delicious Experiences
Following three years of resounding success, wonder ful friends and supporters of the University Musical Society are again offering a unique donation by host ing a delectable variety of dining events. Throughoul the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 313-936-6837 for more information and to receive a brochure.
Restaurant & Lodging Packages
Celebrate in style with dinner and a show, or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening. Add luxury accommodations to the package and make it a complete get away. The University Musical Society is pleased to announce their cooperative ventures with the following local establishments:
Paesano's Restaurant
3411 Washtenaw Road, Ann Arbor
313.971.0484 for reservations
Wed. Nov. 19 Orpheus Chamber OrchestraRichard Goode, piano Sun. Dec. 7 Handel's Messiah (post performance dinner) Sun. Feb. 22 Mendelssohn's Elijah
Tue. Mar. 24 Russian National OrchestraGil Shaham, violin lon. Apr. 13 Evgeny Kissin, piano
Package price $52 per person (with tax & tip incorporated) includes: Guaranteed dinner reservations (select any item from the special package menu) and reserved "A" seats on the main floor at the performance for each guest.
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue, Ann Arbor
313.769.0653 for reservations
Join Ann Arbor's most theatrical host & hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes: two night's stay, breakfast, high tea and two priority reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 S. Thayer, Ann Arbor
313.769.3010 for reservations
Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style deluxe guest room within walking distance of the performance halls and downtown shopping, a special perfor?mance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and great seats to the show. Beat the winter blues in style!
Sat. Dec. 6 Handel's Messiah Fri. Jan. 9 David Daniels, countertenor Sat. Ian. 10 Israel Philharmonic Orchestra
Fri. Ian. 30 Beethoven the Contemporary: American String Quartet Fri. Feb. 13 Juan-Jose Mosalini and His Grand Tango Orchestra Sat. Feb. 14 Chen Zitnbalista, percussion Fri. Feb. 20 Chick Corea, piano and Gary Burton, vibes Fri. Mar. 13 New York City Opera National Company Donizetti's Daughter of the Regiment
Sat. Mar. 21 Batsheva Dance Company of Israel Sal. Mar. 28 Paco de Lucia and His Flamenco Orchestra Package price $199 (+ tax & gratuity) per couple ($225 for the Israel Philharmonic Orchestra) includes: valet parking at the hotel, overnight accommodations in a deluxe guest room with a continental breakfast, pre-show dinner reservations at the Escofficr restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 S. Main Street, Ann Arbor
313.663.5555 for reservations Thu. Oct. 16 Guitar Summit IV Fri. Nov. 7 Celia Cruz with ]os( Alberto "El Canario" Thu. Dec. 11 The Harlem Nutcracker Sun. Jan. 18 Boys Choir of Harlem Thu. Feb. 19 Petersen Quartet Thu. Mar. 12 New York City Opera National Company
Donizetti's Daughter of the Regiment Fri. Apr. 3 STREB
Package price $45 per person includes: guaranteed reservations for a pre-show dinner (select any item from the menu plus a non?alcoholic beverage) and reserved "A" seats on the main floor at the performance.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 65 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
Make your gift stand out from the rest: call the UMS Box Office at 313.764.2538, or stop by Burton Tower.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsor?ing of UMS performances will enable you to reach 125,000 of southeastern Michigan's most loyal con?cert-goers.
Advertising
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 313.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your invest?ment. For example, UMS offers you a range of pro?grams that, depending on level, provide a unique venue for:
Enhancing corporate image
Launching new products
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic
groups Making highly visible links with arts and
education programs Recognizing employees Showing appreciation for loyal customers
For more information, call 313.647.1176
Advisory Committee
The Advisory Committee is an integral part of the University Musical Society providing the volunteer corps to support the Society as well as fundraising. The Advisory Committee is a 53-member organiza?tion which 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 preand post-concert events, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $140,000 this current season. In addition to fund raising, this hard-working group generously donates valuable and innumerable hours in assisting with the educational programs of UMS and the behind-the-scenes tasks associated with every event UMS presents. If you would like to become involved with this dynamic group, please give us a call at 313.936.6837 for informa?tion.
Group Tickets
Event planning is simple at UMS! Organize the perfect outing for your group of friends, co-work?ers, religious congregation, classmates or confer?ence participants. The UMS Group Sales Office will provide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assis?tance with dining arrangements at a facility that meets your group's culinary criteria.
When you purchase at least 10 tickets through the UMS Group Sales Office your group can save 10-25 off of the regular ticket price for most events. Certain events have a limited number of discount tickets available, so call early to guarantee your reservation. Call 313.763.3100.
Ford Honors Program
The Ford Honors program is made possible by a generous grant from the Ford Motor Company and benefits the UMS Education Program. Each year, UMS honors a world-renowned artists or ensemble 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. Van Cliburn was the first artist so honored and this past season UMS honored Jessye Norman.
This year's Ford Honors Program will be held Saturday, May 9, 1998. The recipient of the Third UMS Distinguished Artist Award will be announced in 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 August 1, 1997. If there has been an error or omission, we apologize and would appreciate a call at 313.647.1178 so that we may make the correction right away.
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 sup?port to continue the great tradi?tions of the Society in the future.
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy Niehoff Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Helen Ziegler Mr. and Mrs. Ronald G. Zollars
MAESTROS
Individuals
Sally and Ian Bund
Dr. and Mrs. James Irwin
Randall and Mary Pittman
Herbert Sloan
Carol and Irving Smokier
Mrs. M. Titiev
Paul and Elizabeth Yhouse
Ronald and Eileen Weiser
Corporations
Brauer Investments
Consumers Energy
Detroit Edison Foundation
Ford Motor Credit Company
Ford Motor Company Fund
Forest Health Services Corporation
JPEincThe Paideia Foundation
McKinley Associates
NBD
NSK Corporation
The Edward SuroveU Co.Realtors
TriMas Corporation
University of Michigan -
University Relations Parke-Davis Pharmaceutical
Research Wolverine Temporaries, Inc.
Foundations
Arts Midwest
Grayling Fund
KMD Foundation
Lila Wallace-Readers Digest
Audiences for the Performing
Arts Network Lila Wallace-Readers Digest Arts
Partners Program Benard L. Maas Foundation
Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts New England Foundation for
the Arts
VIRTUOSI
Individuals Robert and Ann Meredith Prudence and Amnon Rosenthal Edward Surovell and Natalie Laq
CONCERTMASTERS
Individuals
Herb and Carol Amster
Carl and Isabelle Brauer
Margaret and Douglas Crary
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
Michael E. Gellert
Sun-Chien and Betty Hsiao
F. Bruce Kulp
Pat and Mike Levine
David G. LoeselCafe Marie
Charlotte McGeoch
Mrs. )ohn F. Ullrich
Marina and Robert Whitman
Roy Ziegler
Corporations
Beacon Investment Company
Curtin & Alf Violinmakers
First of America Bank
Ford Electronics
Masco Corporation
Thomas B. McMullen Company
Michigan Radio
Miller, Canfield, Paddock and
Stone, P.L.C. The Monroe Street Journal
O'Neal Construction Joe and Karen Koykka O'Neal
Project Management Associates
WDET
WEMU
Foundations Chamber Music America Herrick Foundation
LEADERS
Individuals Robert and Martha Ause Maurice and Linda Binkow Barbara Everitt Bryant Dr. James Byrne Edwin F. Carlson Kathleen G. Charla Mr. Ralph Conger Katharine and Jon Cosovich Mr. and Mrs.
Thomas C. Evans Ken, Penny and Matt Fischer John and Esther Floyd Charles and Rita Gelman Sue and Carl Gingles Mercy and Stephen Kasle James N. Morgan John W. and Dorothy F. Reed Don & Judy Dow Rumelhart Maya Savarino and
Raymond Tanter Professor Thomas J. and
Ann Sneed Schriber Mrs. Francis V.Viola III
Corporations AAA of Michigan Butzel Long Attorneys Environmental Research Institute of Michigan Great Lakes Bancorp St. Joseph Mercy Hospital Waldenbooks
Foundations The Mosaic Foundation (of Rita and Peter Heydon)
PRINCIPALS
Individuals
Dr. and Mrs. Gerald Abrams
Professor and Mrs.
Gardner Ackley Dr. and Mrs.
Robert G. Aldrich Mr. and Mrs.
Max K. Aupperle Mr. and Mrs.
Arnold Aronoff Dr. Emily W. Bandera Bradford and Lydia Bates Raymond and
Janet Bernreuter Joan A. Binkow Howard and
Margaret Bond Jeannine and
Robert Buchanan Lawrence and Valerie Bullen Mr. and Mrs.
Richard J. Burstein Letitia J. Byrd Betty Byrne
Jean and Kenneth Casey Pat and George Chatas Mr. and Mrs.
John Alden Clark David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Susan and Arnold Coran Dennis Dahlmann Peter and Susan Darrow Jack and Alice Dobson Jim and Patsy Donahey Jan and Gil Dorer Cheri and Dr.
Stewart Epstein Dr. and Mrs. S.M. Farhat David and
Jo-Anna Featherman Adrienne and
Robert Feldstein Ray and Patricia Fitzgerald Richard and Marie Flanagan Dene H. Forsyth Michael and Sara Frank Margaret Fisher and
Arthur French Mr. Edward P. Frohlich Lourdes and Otto Gago Marilyn G. Gallatin Beverley and Gerson Geltner William and Ruth Gilkey
Drs. Sid Gilman and
Carol Barbour Norman Gottlieb and
Vivian Sosna Gottlieb Ruth B. and
Edward M. Gramlich Linda and Richard Greene Frances Greer Susan R. Harris Walter and Dianne Harrison Anne and Harold Haugh Debbie and
Norman Herbert Bertram Herzog Julian and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and Joan F. Howe John and
Patricia Huntington Keki and Alice Irani Stuart and Maureen Isaac Herbert Katz Emily and Ted Kennedy Bethany and
A. William Klinke II Michael and
Phyllis Korybalski Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Bob and Laurie LaZebnik Elaine and David Lebenbom Mr. Henry M. Lee Carolyn and Paul Lichter Robert and Pearson Macek Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. and Mrs.
Donald A. Meier Dr. H. Dean and
Dolores Millard Myrna and Newell Miller Dr. and Mrs. Andrew
and Candice Mitchell Dr. and Mrs. Joe D. Morris George and Barbara Mrkonic Sharon and Chuck Newman William A. and
Deanna C. Newman Mark and Susan Orringer Constance L. and
David W. Osier
Mr. and Mrs.
William B. Palmer Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Donald H. Regan and Elizabeth Axelson Professor and Mrs.
Raymond Reilly Glenda Renwick Molly Resnik and
John Martin
Jack and Margaret Ricketts Richard and Susan Rogel Don and
Judy Dow Rumelhart Dick and Norma Sarns Rosalie and
David Schottenfeld Janet and Mike Shatusky Cynthia J. Sorensen Dr. Hildreth H. Spencer Steve and Cynny Spencer Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs.
E. Thurston Thieme Dr. Isaac Thomas III and
Dr. Toni Hoover Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
Laura A. Van House John Wagner Elise and Jerry Weisbach Angela and Lyndon Welch Roy and JoAn Wetzel Douglas and Barbara White Elizabeth B. and
Walter P. Work, Jr. Nancy and
Martin Zimmerman
Corporations
3M Health Care
Ann Arbor Public Schools
Comerica Inc.
General Automotive
Corporation Hudson's
Jacobson Stores Inc. Kantner and Associates Mechanical Dynamics Michigan Car Services and
Airport Sedan, LTD
4 2 Principals, continued
Michigan National Bank Pepper, Hamilton & Scheetz Riverview Lumber &
Building Supply Co., Inc. Shar Products Company Target
Foundations Washtenaw Council for
the Arts Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation
BENEFACTORS
Individuals
Jim and Barbara Adams
Bernard and Raquel Agranoff
M. Bernard Aidinoff
Dr. and Mrs. Peter Aliferis
Catherine S. Arcure
Robert L. Baird
lames R. Baker, Jr., M.D.
and Lisa Baker M. A. Baranowski Robert and Wanda Bartlett Karen and Karl Bartscht Ralph P. Beebe Mrs. Kathleen G. Benua Mr. and Mrs. Philip C. Berry Suzanne A. and
Frederick J. Beutler Mr. Hilbert Beyer John Blankley and
Maureen Foley
Ron and Mimi Bogdasarian Charles and Linda Borgsdorf Jim Botsford and
lanice Stevens Botsford David and Tina Bowen Laurence Boxer, M.D. and
Grace I. Boxer, M.D. Dean Paul C. Boylan David and Sharon Brooks Phoebe R. Burt
Kathleen and Dennis Cantwell ' Bruce and Jean Carlson Mrs. Raymond S. Chase Sigrid Christiansen and
Richard Levey Roland I. Cole and
Elsa Kircher Cole H. Richard Crane Alice B. Crawford William H. and
Linda I. Damon III Elizabeth Dexter ludy and Steve Dobson Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs.
Cameron B. Duncan Dr. and Mrs. John H. Edlund Mr. and Mrs.
Charles Eisendrath Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Mrs. Beth B. Fischer Robben and Sally Fleming Daniel R. Foley Phyllis W. Foster
Paula L. Bockenstedt and
David A. Fox
Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach
Henry and Beverly Gershowitz Wood and Rosemary Geist Margaret G. Gilbert Joyce and Fred M. Ginsberg Grace M. Girvan Paul and Anne Glendon Dr. Alexander Gotz Elizabeth Needham Graham Lila and Bob Green John R. and Helen K. Griffith Bita Esmaeli, M.D. and
Howard Gutstein, M.D. Mr. and Mrs. Elmer F. Hamel Mr. and Mrs.
Ramon Hernandez Mrs. W.A. Hiltner Janet Woods Hoobler Mary lean and Graham Hovey David and Dolores Humes Ronald R. and
Gaye H. Humphrey Gretchen and John Jackson Jim and Dale Jerome Robert L. and
Beatrice H. Kahn Richard and Sylvia Kaufman Thomas and Shirley Kauper Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Richard and Pat King Tom and Connie Kinnear Hermine Roby Klingler Samuel and Marilyn Krimm Jim and Carolyn Knake
Bud and Justine Kulka
Bert and Catherine La Du
Suzanne and Lee E. Landes
Lois H. Largo
Mr. and Mrs. David Larrouy
John K. Lawrence
Leo A. Legatski
Myron and Bobbie Levine
Dean and Gwen Louis
Mr. and Mrs. Carl . Lutkehaus
Brigitte and Paul Maassen
lohn and Cheryl MacKrell
Ken Marblestone and
Janisse Nagel
Mr. and Mrs. Damon L. Mark Hattie and Ted McOmber Walter and Ruth Metzger Mr. and Mrs.
Francis L. Michaels Grant Moore and
Douglas Weaver lohn and Michelle Morris Barry Nemon and
Barbara Stark-Nemon Martin Neuliep and
Patricia Pancioli M. Haskell and
Ian Barney Newman Len and Nancy Niehoff Virginia and Gordon Nordby Marylen and Harold Oberman Dr. and Mrs.
Frederick C. O'Dell Mary R Parker William C. Parkinson Lorraine B. Phillips Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack
Richard L. Prager, M.D. lerry and Lorna Prescott Tom and Mary Princing Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Stephen and Agnes Reading Jim and Bonnie Reece La Vonne and Gary Reed Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Restuccia Katherine and
William Ribbens Barbara A. Anderson and
John H. Romani Mary R. Romig-deYoung Gustave and
Jacqueline Rosseels Mrs. Doris E. Rowan Dr. Nathaniel H. Rowe Sheldon Sandweiss Meeyung and
Charles Schmitter Mrs. Richard C. Schneider Edward and Jane Schulak Joseph and Patricia Settimi Julianne and Michael Shea Mr. and Mrs.
Fredrick A. Shimp, Jr. Helen and George Siedel Mrs. Charles A. Sink Mr. and Mrs. Neil J. Sosin Mrs. Ralph L. Steffi Mr. and Mrs.
John C. Stegeman Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoflrey K. Stross Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Joan Lowenstein and
Jonathan Trobe Herbert and Anne Upton Joyce A. Urba and
David J. Kinsella Don and Carol Van Curler Gregory and Annette Walker Dr. and Mrs.
Andrew S. Watson Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns Marcy and Scott Westerman
Mrs. Elizabeth Wilson Len and Maggie Wolin Frank E. Wolk Dr. and Mrs. Clyde Wu MaryGrace and Tom York
Corporations The Ann Arbor
District Library The B.irficld CompanyBartech Coffee Express Co. General Systems Consulting
Group KeyBank Arbor Temporaries
Personnel Systems, Inc. Van Boven Shoes, Inc.
Foundations The Power Foundation Shiffman Foundation Trust
ASSOCIATES
Individuals
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
lohn and Susan Anderson
David and Katie Andrea
Harlene and Henry Appelman
Mr. and Mrs. Arthur . Ashe
Essel and Mcnakka Bailey
lulie and Bob Bailey
Lesli and Christopher Ballard
lohn and Betty Barfield
Norman E. Barnett
Dr. and Mrs. Mason Barr, r.
Leslie and Anita Bassett
Astrid B. Beck and
David Noel Freedman Neal Bedford and
Gerlinda Melchioh Harry and Betty Benford P.E. Bennett
Ruth Ann and Stuart . Bergstein Jerry and Lois Beznos lohn and Marge Biancke Ruth E. and Robert S. Bolton Roger and Polly Bookwaltcr C. Paul and Anna Y. Bradley Richard Brandt and
k.irin.i Niemeyer Betsy and Ernest Brater foci N. Brcgman and
Elaine S. Pomeranz Mr. and Mrs. Gerald Bright Mary Jo Brought fune and Donald R. Brown Morton B. and Raya Brown Arthur and Alice Burks Edward and Mary Cady Joanne Cage Jean W. Campbell Isabelle Carduner lim and Priscilla Carlson
Professor Brice Carnahan
Marchall F. and Janice L Carr
Jeannette and Robert Carr
Janet and Bill Cassebaum
Andrew and Shelly Caughcy
Yaser Cercb
Tsun and Siu Ying Chang
James S. Chen
Dr. Kyung and Young Cho
Nancy Cilley
Janice A. Clark
Cynthia and Jeffrey Colton
Edward J. and Anne M. Comeau
James and Constance Cook
Lolagene C. Coombs
Mary K. Cordes
Alan and Bette Cotzin
Merle and Mary Ann Crawford
William H. Damon HI
Ed and Ellie Davidson
Laning R. Davidson, M.D.
John and Jean Debbink
Elena and Nicholas Delbanco
Louis M. DeShantz
Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Cecilia and Allan Dreyfuss Martin and Rosalie Edwards Dr. AJan S. Eiser Joan and Emil Engel Don Faber
Dr. and Mrs. Stefan Fajans Dr. and Mrs. John A. Faulkner Dr. James F. Filgas Herschel and Annette Fink Joseph J. Fitzsimmons Stephen and Suzanne Fleming Jennifer and Guillermo Flores Ernest and Margot Fontheim James and Anne Ford Wayne and Lynnette Forde Deborah and Ronald Freedman Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and Mrs. David M. Gates Thomas and Barbara Gelehrter Elmer G. Gilbert and
Lois M. Verbrugge James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod A. David and Shelley Goldberg Mary L. Golden Dr. Luis Gonzalez and
Ms. VUma E. Perez Mrs. William Grabb Jerry and Mary K. Gray Dr. John and Renee M. Greden Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Mark and Susan Griffin Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Margaret and Kenneth Guire Philip E. Guire Don P. Haefner and
Cynthia J. Stewart George N. Hall Marcia and Jack Hall Mrs. William Halstead
Margo Halstcd
Michael C. and Deanna A. Hardy
M. C. Harms
Dagny and Donald Harris
Clifford and Alice Hart
Kenneth and Jeanne Heiningcr
John L. Henkcl and
Jacqueline Stearns Bruce and Joyce Herbert Fred and Joyce Hershenson Herb and Dee Hildebrandt Louise Hodgson Dr. and Mrs. Ronald Holz John and Lillian H. Home Linda Samuelson and Joel Howell Che C. and Teresa Huang Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Robert B. Ingling Professor and Mrs.
John H. Jackson K. John Jarrett and
Patrick T. Sliwinski Wallie and Janet Jeffries Mr. and Mrs. Donald L. Johnson Ellen C. Johnson Billie and Henry Johnson Kent and Mary Johnson Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Allyn and Sherri Kantor Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Donald F. and Mary A. Kiel Rhea and Leslie Kish Paul Kissncr, M.D. and
DanaKissner, M.D. James and Jane Kister Dr. George Kleibcr Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Barbara and Charles Krause Doris and Donald Kraushaar Konrad Rudolph and
Marie Kruger Thomas and Joy Kruger Henry and Alice Landau Marjorie Lansing Mr. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence John and Theresa Lee Richard LcSueur Jody and Leo Lighthammer Leslie and Susan Loomans Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Jeffrey and Jane Mackie-Mason Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Edwin and Catherine Marcus Gcraldine and Sheldon Markel Rhoda and William Martel Sally and Bill Martin Dr. and Mrs. Josip Matovinovic
44 Associates, continued
Mary and Chandler Matthews Mary Mazure and Andy Tampos Margaret E. McCarthy Mrs. Lester McCoy Kevin McDonagh and
Leslie Crofford Griff and Pat McDonald lames and Kathleen McGaulcy Deanna Relyea and
Piotr Michalowski Leo and Sally Miedler (eanette and lack Miller Dr. M. Patricia Mortell Sally and Charles Moss Dr. Eva L Mueller Marianne and Mutsumi Nakao Edward and Betty Ann Navoy Frederick C. Neidhardt and
Germaine Chipault Peter F. Norlin Richard S. Nottingham Mr. and Mrs. James O'Neill Mark Ouimct and
Donna Hrozencik Donna D. Park Shirley and Ara Paul Dr. Owen Z. and Barbara Perlman Margaret D. and John Petersen Frank and Nelly Petrock William and Barbara Pierce Frank and Sharon Pignanelli Dr. and Mrs. Michael Pilepich Richard and Meryl Place
Donald and Evonne Plantinga Lana and Henry Pollack Stephen and Tina Pollock Cynthia and Roger Postmus Bill and Diana Pratt Larry and Ann Preuss Charleen Price Wallace Prince
Mr. and Mrs. Millard H. Pryor I. Thomas and Kathleen Pustell Leland and Elizabeth Quackenbush Michael and Helen Radock Homayoon Rahbari, M.D. Anthony L. Reffells and
Elaine A. Bennett Mr. and Mrs. Neil Ressler Constance Rinehart Mrs. Irving Rose Gay and George Rosenwald Jerome M. and Lee Ann Salle Michael Sarosi and
Kimm Skalitzky Sarosi Gary and Arlene Saxonhouse Dr. Albert I. and Jane L. Sayed David and Marcia Schmidt David E. and Monica N. Schteingart
Art and Mary Schuman Marvin and Harriet Selin Constance Sherman Dr. and Ms. Howard and
Aliza Shevrin George and Gladys Shirley
Edward and Marilyn Sichler
Scolt and Joan Singer
John and Anne Griffin Sloan
Alcne M. Smith
Carl and Jari Smith
Mrs. Robert W. Smith
Jorge and Nancy Solis
Dr. Elaine R. Soller
Lois and William Solomon
Mr. and Mrs. Edward Sopcak
Dr. Yoram and Eliana Sorokin
Juanita and Joseph Spallina
L. Grassclli Sprankk
Gus and Andrea Stager
Irving M. Stahl and
Pamela M. Rider Barbara and Michael Steer Dr. and Mrs. Alan Steiss Dr. and Mrs. Stanley Strasius Charlotte Sundelson Ms. Nina Swanson Brian and Lee Talbot Ronna and Kent Talcott Mary D. Teal Lois A. Thcis Edwin J. Thomas Mr. and Mrs. W. Paul Tippctt Kathleen Treciak Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Hugo and Karla Vandersypen Jack and Marilyn van der Veldc Michael L. Van Tassel William C. Vassell John and Maureen Voorhees Sally Wacker Ellen C. Wagner Warren Herb Wagner and
Florence S. Wagner Mr. and Mrs. Norman C. Wait Charles R. and Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mrs. loan D. Weber Deborah Webster and
George Miller Harry C. White and
Esther R. Redmount (anet F. White Mrs. Clara G. Whiting Shirley M. Williams Thomas and Iva Wilson Marion T. Wirick Farris and Ann Womack Richard and Dixie Woods Mr. and Mrs. A. C. Wooll Phyllis B. Wright Don and Charlotte Wyche Mr.zand Mrs. Edwin H. Young Gail and David Zuk
Corporations
Atlas Tool, Inc. Edwards Brothers, Inc. Hagopian World of Rugs John Leidy Shop, Inc. Lewis Jewelers
Mariano Pallares, International Translating Bureau, Inc. Scientific Brake and
Equipment Company University Microfilms
International
Foundations
Ann Arbor Area Community
Foundation Shlomo and Rhonda Mandcil
Philanthropic Fund
ADVOCATES
Individuals
John R. Adams Tim and Leah Adams Michihiko and Hiroko Akiyama Michael and Suzan Alexander Mr. and Mrs. Gordon E. Allardyce Michael Allemang lames and Catherine Allen Christine Webb Alvey Augustine and Kathleen Amaru Mr. and Mrs. David Aminoff Dr. and Mrs. Charles T. Anderson Howard Ando and Jane Wilkinson Drs. lames and
Cathleen Culotta-Andonian Catherine M. Andrea T. L Andrcsen
Dr. and Mrs. Dennis L. Angellis Elaine and Ralph Anthony lames Antosiak and Eda Weddington 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. Dan E. Atkins HI Linda Atkins and Thomas Kcnncy Jim and Patsy Auilcr Eric M. and Nancy Aupperle Erik W. and Linda Lee Austin Eugene and Charlenc Axclrod Shirley and Don Axon Jonathan and Marlenc Ayers Virginia and Jcrald Bachman Prof, and Mrs.). Albert Bailey Richard W. Bailey and
lulu Huttar Bailey Bill and tn.mii Baker Laurence R. Baker and
Barbara K. Baker Gary and Cheryl Balint Drs. Helena and Richard Balon Dr. and Mrs. Peter Banks Kate Barald and Douglas Icwett Barbara Barclay Rosalyn and Mel Barclay John R. Bareham Mr. and Mrs. David Barera Maria Kardas Barna Cy and Anne Barnes Robert and Sherri Barnes Laurie and Jeffrey Barnett Donald C. Barnette, Jr. Mark and Karla Bartholomy Dorothy W. Bauer R. T. Bauer Kathleen Beck
Mr. and Mrs. Steven R. Beckert Marquita Bedway Dr. and Mrs. Richard Beil, Jr. Walter and Antje Benenson Meretc and Erling Blondal Bcngtsson Linda and Ronald Benson Mr. and Mrs. Ib Bentzcn-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg Mr. and Mrs. S.E. Berkt L S. Berlin
Abraham and Thclma Berman Gene and Kay Berrodin Andrew H. Berry, D.O.
Bharat C. Bhushan
John and Laurie Birchler
William and llene Birge
Elizabeth S. Bishop
Art and Betty Blair
Ralph B. Blasier, Inc.
Marshall and Laurie Blondy
Henry Blosser
Dr. George and Joyce Blum
Beverly J. Bole
Mr. and Mrs. Mark D. Bomia
Dr. and Mrs. Frank Bongiorno
Rebecca and Harold Bonnell
Ed and Luciana Borbeiy
Lola ]. Borchardt
Gil and Mona Borlaza
Dr. and Mrs. David Bostian
Bob and Ian Bower
Dr. and Mrs. Ralph Bozcll
Melvin W. and Ethel F. Brandt
Representative Liz and
Professor Enoch Bratcr Robert and Jacqueline Bree Professor and Mrs. Dale E. Briggs Allen and Veronica Britton Olin L Browder Linda Brown and Joel Goldberg Molly and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Phil Bucksbaum and Roberta Morris Trudy and Jonathan Bulkley Dr. Frances E. Bull Robert and Carolyn Burack Sherry A. Byrnes Louis and Janet Callaway Susan and Oliver Cameron Mr. and Mrs. Robert Campbell Nancy Campbell-Jones Charles and Martha Canncll Dr. and Mrs. James E. Carpenter Jan and Sieve Carpman Dennis B. and Margaret W. Carroll Carolyn M.Carty and
Thomas H. Haug John and Patricia Carver Kathran M. Chan Bill and Susan Chandler J. Wehrley and Patricia Chapman Dr. Carey A. Charles Joan and Mark Chesler George and Sue Chism Catherine Christen Edward and Rebecca Chudacoff Dr. and Mrs. David Church Robert J. Cierzniewski Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson Charles and Lynne Clipper! Roger and Mary Coe Dorothy Burke Coffey Hubert and Ellen Cohen Lois and Avern Cohn Gerald S. Cole and Vivian Smargon Howard and Vivian Cole The Michael Collier Family Ed and Cathy Colone Wayne and Melinda Colquiti Gordon and Marjorie Comfort Kevin and Judy Compton Patrick and Anneward Conlin Sandra S. Connellan Janet Cooke
Dr. and Mrs. William W. Coon Gage R. Cooper Mr. and Mrs. Herbert Couf Paul N. Courant and
Marta A. Manildi Clifford and Laura Craig Marjorie A. Cramer Mr. Michael . and Dr. Joan Crawford Mr. and Mrs. Richard Crawford
Kathleen ). Crispcll and
Thomas S. Porter Lawrence Crochier Constance Crump and Jay Simrod Mr. and Mrs. James I. Crump, Jr. John and Carolyn Rundell Culotta Richard J. Cunningham Mary R. and John G. Curtis Jeffrey S. Cutter R. K. and M. A. Daane Marylee Dalton Lcc and Millie Danielson Jane and Gawainc Dart Dr. and Mrs. Sunil Das DarLinda and Robert Dascola Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Mr. and Mrs. Roy C. Davis David and Kay Dawson Mr. and Mrs. Kenneth Dec Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Peter H. deLoof and Sara A. Bassett Lloyd and Genie Dethloff Elizabeth and Edmond DeVine A. Nelson Dingle Dr. and Mrs. Stephen W. Director Helen M. Dobson Dr. and Mrs. Edward R. Doezema Fr. Timothy J. Dombrowski Hilde and Ray Donaldson Steven and Paula Donn Thomas Doran Dick and lane Don-Prof William Gould Dow Mr. Thomas Downs Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Dreffs John Dryden and Diana Raimi Paul E. Duffy and
Marilyn L. Wheaton Edmund and Mary Durfee John W. Durstine Gloria Dykhouse George C. and Roberta R. Earl Elaine Economou and Patrick Conlin Mr. and Mrs. Richard Edgar Mr. and Mrs. John R. Edman Sara and Morgan Edwards David A. Eklund Judge and Mrs. S. J. Elden Sol and Judith Elkin Ethel and Sheldon Ellis James Ellis and Jean Lawton Mrs. Genevieve Ely Mackenzie and Marcia Endo Jim and Sandy Eng David and Lynn Engelbert Mark and Patricia Enns Carolyne and Jerry Epstein Stephen H. Epstein Mr. and Mrs. Frederick A. Erb Dorothy and Donald F. Eschman James and Mary Helen Eschman Eric and Caroline Ethington Barbara Evans Adcle Ewell
Mr. and Mrs. Robert B. Fair, Jr. Mark and Karen Falahee Elly and Harvey Falit Richard and Shelley Farkas Mr. and Mrs. H. W. Farrington, Jr. Inka and David Fclbeck Reno and Nancy Feldkamp Phil and Phyllis Fellin Ruth Fieget Carol Finerman Clay Finkbcincr C. Peter and Bev A. Fischer Lydia H. Fischer Patricia A. Fischer
Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher
Susan R. Fisher and )ohn W. Waidley
Winifred Fisher
lames and Barbara Fitzgerald
Linda and Thomas Fitzgerald
David and Ann Flucke
Scott and Janet Fogler
Mr. and Mrs. George W. Ford
Susan Goldsmith and Spencer Ford
Bob and Terry Foster
Ronald Fracker
Tom Franks, Jr.
Lucia and Doug Freeth
Richard and Joann Freethy
Andrew and Deirdre Freiberg
Otto W. and Helga B. Freitag
loanna and Richard Friedman
Gail Frames
Philip And Renee Frost
Lela J. Fuester
Ken and Mary Ann Gaertner
Ari and liana Gafni
Walter and Heidi Gage
Jane Galantowicz
Thomas H. Galantowicz
Arthur Gallagher
Mrs. Shirley H. Garland
Del and Louise Garrison
Janet and Charles Garvin
Drs. Steve Geiringer and Karen Bantel
Ina Hanel-Gerdenich
Michael Gerstcnberger
W. Scott Gerstenbergcr and
Elizabeth A. Sweet Beth Gennc and Allan Gibbard James and Cathie Gibson
Paul and Suzanne GUcas
Peter and Roberla Gluck
Sara Goburdhun
Mr. and Mrs. Edward W. Godsalve
Albert L Goldberg
Dr. and Mrs. Edward Goldberg
Ed and Mona Goldman
[r win . Goldstein and Marly Mayo
Mrs. Eszter Gombosi
Graham Gooding
Mitch and Barb Goodkin
Selma and Albert Gorlin
William and lean Gosling
Charles Goss
Naomi Gottlieb and
Theodore Harrison, D.D.S. Siri Gottlieb Michael L. Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Dr. William H. and Maryanna Graves Whit and Svea Gray Alan Green and Mary Spence Jeff Green
Bill and Louise Gregory Daphne and Raymond Grew Mr. and Mrs. lames ). Gribbte Werner H. Gritk Robert M. Grover Robert and Julie Grunawalt Robert and Linda Grunawalt Ms. Kay Gugala Arthur W. Gulick, M.D. Sondra Gunn Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta
4 6 Advocates, continued
Caroline and Roger Hacked
Helen C. Hall
Harry L. and Mary L Hallock
Sarah I. Hamckc
Mrs. Frederick G, Hammitt
Dora E. Hampel
Lourdcs S. Bastos Hansen
Charlotte Hanson
Herb and Claudia Harjes
Stephen G. and Mary Anna Harper
Mr. and Mrs. Randy J. Harris
Robert and )ean Harris
Robert and Susan Harris
Phyllis Harrison-Ross
M. Jean Harter
Jerome P. Hartweg
Elizabeth C. Hassinen
Harlan and Anne Vance Hatcher
lames B. and Roberta Hause
Icannine and Gary Hayden
Dr. Lucy K. Hayden
Mr. and Mrs. Edward . Hayes
Charles S. Heard
Bob and Lucia Heinold
Mrs. Miriam Heins
Sivana Heller
Margaret and Walter Helmreich
Karl Hcnkel and Phyllis Mann
Dr. and Mrs. Keith S. Henley
Margaret Martin Hermel
C.C Hcrrington, M.D.
Carl and Charlene Herstein
Charles W. Fisher and
Elfrieda H. Hiebert Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Jacques Hochglaubc, M.D., P.C. Jane and Dick Hoerner Anne Hoff and George Villec Bob and Fran Hoffman Carol and Dieter Hohnke Dr. Carol E. Holden and
Mr. Kurt Zimmer John and Donna Hollowell Arthur G. Homer, Jr. Dave and Susan Horvath George M. Houchens and
Caroline Richardson Dr. and Mrs. Joseph A. Houle Fred and Betty House Jim and Wendy Fisher House Dr. and Mrs. Jeffrey Housncr Helga Hover
Drs. Richard and Diane Howlin Mrs.V.CHubbs Charles T. Hudson Harry and Ruth Huff Mr. and Mrs. William Hufiford Joanne W. Hulce Ann D. Hungerman Duane V. Hunt Diane Hunter and Bill Ziegler Jewel and John C. Hunter Mr. and Mrs. David Hunting Russell and Norma Hurst Eileen and Saul Hymans Edward Ingraham Margaret and Eugene Ingram Ann K. Irish Perry Irish Carol and John Isles Mm itu ItO Judith G. Jackson Manuel and Joan Jacobs Harold and Jean Jacobson Professor and Mrs. Jerome Jelinek James and Elaine Jensen Keith Jensen JoAnn J. Jeromin Paul and Olga Johnson Tim and Jo Wiese Johnson Constance I. Jones
Dr. Marilyn S. Jones John and Linda K. Jonides Stephen G. losephson and
Sally C. Fink Tom and Marie luster Mary Kalmes and Larry Friedman Dr. and Mrs. Mark S. Kaminski Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Bob and Atsuko Kashino Alex F. and Phyllis A. Kato Martin and Helen Katz Maxine and David Katz Nick and Meral Kazan lanice Keller
James A. Kelly and Mariam C. Noland John B. Kennard Frank and Patricia Kennedy William and Betsy Kincaid Eva). Kinney Dr. David E. and
Heidi Castleman Klein Shira and Steve Klein Drs. Peter and Judith Kleinman Sharon L. Knight Rosalie and Ron Koenig Dr. and Mrs. Mel Korobkin Dimitri and Suzanne KosachefT Edward and Marguerite Kowaleski Richard and Brcnda Krachenberg lean and Dick Kraft David and Martha Krehbiel William I. Bucci and Janet Kreiling William G. Kring Alan and Jean Krisch Bert and Geraldine Kruse Danielle and George Kuper Ko and Sumiko Kurachi Dr. and Mrs. Richard A. Kutcipal Dr. and Mrs. James Labes Jane Laird
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