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UMS Concert Program, Thursday Oct. 09 To 19: University Musical Society: 1997-1998 Fall - Thursday Oct. 09 To 19 --

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

Dniversity Musical
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 Conversin' with the Elders concert in the Lydia Mendelssohn Theatre, and choreographer Twyla Tharp performs as part of her recon?struction of The One Hundreds in the Power Center.
4 Letter from the President
5 Corporate UnderwritersFoundations
9 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 ( 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.
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, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
CARL A. BRAUER, JR. Owner, Braun Invalmrnl 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
Owners, 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. Ventura, 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 wo rid-renowned center for the arts. The entire community shares in the countless benefits of the excellence of these programs."
Vte Edward SuroveU
"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 Compatty "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-
Chairman and Chief
Executive Officer,
McKinley Associates,
"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."
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
Thomas B.
MCMUUEN President, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
ALEX TROTMAN Chairman, Chief Executive Officer, Forti 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.
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."
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 lrwin Group 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."
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
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 John 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 I. Duderstadt 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 Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
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 Sates
Choral Union Thomas Sheets, Conductor Edith Leavis Bookstein, Manager Donald Bryant, Conductor Emeritus
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
Sara Billmann, Director
Sara A. Miller, Advertising and
Promotion Coordinator John Peckham, Marketing Coordinator
ProgrammingProduction Michael I. Kondziolka, Director Emily Avers, Artist-Services
Coordinator Paul Jomantas, Assistant
Head Usher
Kathi Reister, Head Usher Kate Remen, Programming
Work-Study Laura Birnbryer Rebekah Camm Amy Hayne Sara lensen
Heather L. Adelman Jessica Flint Michael Lawrence Susanna Orcutt-Grady Caen Thomason-Redus
President Emeritus Gail W. Rector
Gregg Alf
Paulett Banks
Kathleen Beck
Janice Stevens Botsford
Teannine Buchanan
Letitia J. Byrd
Chen Oi Chin-Hsieh
Phil Cole
Mary Ann Daane
Rosanne Duncan
H. Michael Endres
Don Faber
Katherine Hilboldt Farrell
Penny Fischer
Barbara Gelehrter
Beverley B. Geltner
Joyce Ginsberg
Linda Greene
Esther Heitler Debbie Herbert Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Barbara Levitan Doni Lystra 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
Fran Ampey
Kitty Angus
Gail Davis Barnes
Alan.i Barter
Elaine Bennett
Letitia J. Byrd
Diane Davis
Deb Kate
lohn 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 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.
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 are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in
the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first 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.
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
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.
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
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.
OMS 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.
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, Jessye 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
theatre." The Powers were immediately inter?ested, realizing that state and federal govern?ment were unlikely to provide financial sup?port for the construction of a new theatre.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural fea?tures include the two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. No seat in the Power Center is more than 72' from the stage. The lobby of the Power Center features two hand-woven tapes?tries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
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 VetheuiU'
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 Debacles 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
Sunday, September 21, 4pm
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
September 25, 26 & 27,1997
CONDUCTOR AND PIANO Thursday, September 25, 8pm Hill Auditorium
Friday, September 26, 8pm Hill Auditorium
Saturday, September 27,8pm Rackham Auditorium The Chicago Symphony Orchestra Weekend is sponsored by Forest Heath Services. Additional support is provided by Arts Midn'est, in part?nership with the National Endowment for the Arts.
Wednesday, October 8,8pm U-M Museum of Art Presented with the generous support of Dr. Herbert Sloan.
Saturday, October 11,8pm
St. Francis of Assisi Catholic Church
Conducting Seminar Maestro Tdnu Kaljuste
and U-M conductors, Ocl 10, 11am, U-M School of Music Recilal 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.
Annette Markert, contralto
Thomas Young, tenor
William Sharp, baritone
Sunday, October 12,4pm
Rackham Auditorium
PREP Urn Leonard, Manager, SKR Classical,
Oct 12, 3pm, Rackham Assembly Hall, 4th floor.
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.
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.
Friday, November 7, 8pm
Hill Auditorium
PREP "Celia Cruz: Queen of Salsa" Frances
Aparido, 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" Nor S, Ham.
Natural Sciences Aud.
Presented with support from media
partner WEMU.
Saturday, November 8,8pm
Hill Auditorium
Vocal Master Class HAkan HagegArd and U-M
School of Music vocalists. Nov 7, 3pm, U-M
School of Music Recital Hall.
Wednesday, November 12,8pm
Michigan Theater
Presented with support from media partners
Friday, November 14,8pm
Rackham Auditorium
Lecture "Beethoven Fundamentals" by Steven
Whiting, 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
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
PREP "Hie 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
Lila Wallace-Reader's Digest Arts Partners
Program, the National Endowment for the
Arts and media partner Michigan Radio,
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-Cultural 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 Wlnting, U-M Asst. Professor of Musicology, 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, Concordia College. lectureDemonstration "Entrances" with the American String Quartet and U-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 Sponsored by the Edward Sttrovell 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. The University Musical Society is a grant recipient of Chamber Music Americas 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," Blwood Derr, U-M Professor of Music, Nov 19, 7pm, Ml League Hussey Rm. Sponsored by Pepper, Hamilton & Scheetz, Attorneys at Law.
A Klezmer Summit featuring
The Klezmatics
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: Then
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.
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. fames and Millie Irwin.
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 Lila Wallace-Reader's Digest Audiences for the Performing Arts Network Additional support is provided by Arts Midwest in partnership with the National Endowment for the Arts, and media partners WEMU and WDET.
Friday, January 9,8pm
Mendelssohn Theatre
PREP "David Daniels and his Program"
Richard LeSueur, Vocal Arts Information
Services. Fri. Jan 9, 7pm, Rackham Assembly
Hall 4th floor.
This performance is presented through the
generous support of Maurice and Linda Binkow.
Saturday, January 10,8pm Hill Auditorium
Sunday, January 11,4pm
Rackham Auditorium
Sponsored by Thomas B. McMullen Co.
BOYS CHOIR OF HARLEM Sunday, January 18, 7pm Hilt 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
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-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.
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. Jan 31, 6:30pm, Ml League Hussey Rm. Meet the Artist Post-performance dialogue from the stage.
LectureDemonstration "The Adventure of Contemporary Piano Music" Ursula Oppens, Feb I, 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 Lila Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR.
Thursday, February 5, 8pm
St. Francis of Assisi Catholic Church
Conducting Seminar Conductor Dale
Warland and U-M conductors, Feb 6, Ham,
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
Friday, February 6,8pm
Hill Auditorium
Sponsored by NBD.
Sunday, February 8,4pm
Hill Auditorium
Co-sponsored by First of America and Miller,
Canfield, Paddock, and Stone, PIC.
Friday, February 13, 8pm
Rackham Auditorium
Presented with support from media partner
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.
Thursday, February 19,8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, February 20, 8:00pm Michigan Theater
Presented with support from media partners WEMU and WDET.
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Katherine Larson, soprano
Jayne Sleder, me2zo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22,4pm
Hill Auditorium
PREP "Felix Mendelssohn-Bartholdy:
Felicitous Choral Conductor and Choral
Composer," Ellwood Derr, U-M Professor of
Music, Feb 22, 3pm, MI League Koessler
Sponsored by Brauer Investments,
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
Tuesday, March 10, 8pm
U-M Museum of Art
PREP A concert goer's tour of "Monet at
Vitheuil: 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.
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, Kotssler Library. PREP Member of the New York City Opera National Company, Mar 13, 7pm, Ml League Vandenberg Rin.
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.
Sunday, March 15, 4pm Rackham Auditorium Complimentary Admission
Wednesday, March 18,8pm
Power Center
PREP "Los Munequitos: Cuban Ambassadors
of the Rumba," Alberto Nacif, Musicologist and
Host ofWEMU's "Cuban Fantasy," Mar 18,
7pm, MI League Hussey Rm.
Presented with support from media partner
Ohad Naharin, artistic director Saturday, March 21, 8pm Sunday, March 22,4pm Power Center
Tuesday, March 24,8pm Hill Auditorium
Wednesday, March 25, 8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
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,
U-M School of Music Recital Hall.
PREP "The Beethoven Performances' Lectures"
Steven Whiting, U-MAsst. 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 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
Saturday, March 28, 8pm
Hill Auditorium
PREP "Flamenco: Yesterday, Today, and
Tomorrow" Juan Llobell, Flamenco Musician
and Owner ofCasa de Esparto of Detroit, Mar
28, 6:30pm, Ml League Hussey Rm.
Presented with support from media partner
Sunday, March 29,4pm Rackham Auditorium PREP "The Beethoven Performances' Lectures" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Musk stu?dents. Mar 29, 2:30pm, Ml 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 iila 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.
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
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.
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.
Monday, April 13, 8pm
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Thursday, April 23, 8pm
Mendelssohn Theatre
Presented with support from media partner
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 ofMusicology 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-Reader's Digest Audiences for the Performing Arts Network and media partner WDET.
Wednesday, April 29, 8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, May 1,8:30pm
Hil! Auditorium
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
Thursday, October 9,1997 through Sunday, October 19,1997
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.
Estonian Philharmonic Chamber Choir 3
Tallinn Chamber Orchestra
Thursday, October 9, 8:00pm Hill Auditorium
Estonian Philharmonic Chamber Choir 11
Saturday, October 11, 8:00pm
St. Francis of Assisi Catholic Church
Orchestra of St. Luke's Chamber Ensemble 27
Philippe Herreweghe, conductor Sunday, October 12,4:00pm Rackham Auditorium
Guitar Summit IV 37
Herb Ellis, Rory Block, Sharon Isbin, Michael Hedges Thursday, October 16, 8:00pm Rackham Auditorium
Faculty Artists Concert 43
Michigan Chamber Players Sunday, October 19,4:00pm Rackham Auditorium
Estonian Philharmonic
Chamber Choir
Tallinn Chamber Orchestra
Tonu Kaljuste, Artistic Director and Chief Conductor
Wolfgang Amadeus Mozart
Arvo Part
Thursday Evening, October 9, 1997 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Litaniae lauretanae in D Major, K. 195
Sancta Maria Salus Infirmorum Regina Angelorum Agnus Dei
Kaia Urb, Soprano, Malena Ernman, Mezzo-soprano, Mati Turi, Tenor, Lars Johansson, Bass
Ave verum corpus, K. 618
for string orchestra
Trisagion is dedicated to the parish of Prophet Elias in Ilomantsi on the occasion of its 500th anniversary.
Malena Ernman, Mezzo-soprano, Mati Turi, Tenor, Tut Kogermann, Tenor, Lars Johansson, Bass
Litany is dedicated to Helmuth Rilling and the Oregon Bach Festival, and was
commissioned by the twenty-fifth Oregon Bach Festival.
Sixth Concert of the 119th Season
119th Annual Choral Union Series
This performance is made possible by a gift from the estate of William R. Kinney.
Special thanks to Maestro Tonu Kaljuste, Jerry Blackstone, Theo Morrison, and the U-M Chamber Choir for their involvement in this residency.
Large print programs are available upon request.
Litaniae lauretanae in D Major, K. 195 Ave verum corpus, K. 618
Wolfgang Amadeus Mozart
Born on January 27, 1756 in Salzburg, Austria
Died on December 5, 1791 in Vienna
Mozart's sacred works are a substantial portion of his oeuvre but remain infrequently heard in the US, with the exception of his Requiem and the second work on today's program, Ave verum corpus. When Mozart was employed as Konzertmeister at the prince-archbishop's court in Salzburg, the composing of church music was his primary task. He fulfilled it with care and, frequently, with inspiration: masses, vespers, litanies and many short sacred works flowed from his pen.
The Salzburg Konzertmeiser was also expected to contribute to the litany, a liturgical prayer in which a series of supplications pronounced by an individual and addressed to a saint alternates with a response from the congregation. The Litaniae Lauretana was associated with the shrine to the Virgin Mary in Loreto, in central Italy -a frequent goal of pilgrimages. There are two distinct Salzburg Litaniae Lauretanae settings by Mozart, the second from 1774. The litany text is divided between several movements, and the text is set with excep?tionally florid lines for the soloists. There is considerable feeling throughout of traditional symphonic writing, as the composer weaves first movement sonata form into the "Kyrie."
Mozart's Ave verum corpus dates from the composer's last year, in Baden near Vienna. It was commissioned by the local choirmaster. The depth of expression, the darkness within calm and the majorminor duality of the work is characteristic of Mozart's most mature style.
Litaniae Lauretanae, K. 195
Kyrie eleison. Christe eleison. Kyrie eleison.
Christi audi nos. Christe exaudi nos.
Pater de coelis Deus, miserere nobis. Fili Redemptor mundi Deus, miserere nobis.
Spiritus Sancte Deus, miserere nobis
Sancta Trinitas, unus Deus, miserere nobis.
Lord, have mercy. Christ, have mercy. Lord, have mercy.
Christ, hear us, Christ, hear us.
Father in heaven, God have mercy. Son, Savior of the world, have mercy.
Holy Spirit, God, have mercy.
Holy Trinity, one God, have mercy.
Sancta Maria
Sancta Maria, ora pro nobis.
Sancta Dei genitrix, sancta Virgo virginum,
ora pro nobis.
Mater Christi, mater divinae gratiae.
Mater purissima, mater carissima,
ora pro nobis.
Mater inviolata, mater intemerata
ora pro nobis.
Mater amabilis, mater
mater Creatoris, mater Salvatoris,
ora pro nobis.
Virgo prudentissima, virgo veneranda,
Virgo praedicanda,
ora pro nobis.
Virgo potens, virgo clemens,
virgo fidelis, ora pro nobis.
Speculum justitae, sedes sapentiae,
causa nostrae laetitiae, ora pro nobis.
Vas spirituale, vas honorabile,
vas insigne devotionis, ora pro nobis.
Rosa mystica, ora pro nobis.
Turris Davidica, ora pro nobis.
Turris eburnea, ora pro nobis.
Domus aurea, foederis area,
janua coeli, Stella matutina,
ora pro nobis.
Salus infirmorum Salus infirmorum, ora pro nobis. Refugium peccatorum, ora pro nobis. Consolatrix afflictorum, auxilium Christianorum, ora pro nobis.
Regina Angelorum
Regina Angelorum, regina Patriarcharum, Regina Prophetarum, ora pro nobis. Regina Apostolorum, ora pro nobis. Regina Martyrum, regina Confessorum, Regina Virginum, regina Sanctorum omnium, ora pro nobis.
Holy Mary
Holy Mary, pray for us.
Holy mother of God, holy virgin of virgins,
pray for us.
Mother of Christ, mother of divine grace,
mother of pure, mother of dear,
pray for us.
Mother inviolate, mother undefiled,
pray for us.
Mother most amiable, mother most
mother of our Creator, mother of Savior,
pray for us.
Virgin most prudent, virgin most venerable,
virgin most renowned,
pray for us.
Virgin most powerful, virgin most merciful,
virgin most faithful, pray for us.
Mirror of justice, seat of wisdom,
cause of our joy, pray for us.
Spiritual vessel, vessel of honor,
distinguished vessel of devotion, pray for us.
Mystical rose, pray for us.
Tower of David, pray for us.
Tower of ivory, pray for us.
House of gold, ark of the covenant,
gate of heaven, morning star,
pray for us.
Health of the Sick
Health of the sick, pray for us.
Refuge of sinners, pray for us.
Comfort of the afflicted, help of Christians,
pray for us.
Queen of Angels
Queen of angels, queen of patriarchs, Queen of prophets, pray for us. Queen of apostels, pray for us. Queen of martyrs, queen of confessors, Queen of virgins, queen of all saints, Pray for us.
Agnus Dei
Agnus Dei,
qui tollis peccata mundi,
parce nobis Domine.
Agnus Dei,
qui tollis peccata mundi
exaudi nos Domine.
Agnus Dei,
qui tollis peccata mundi,
miserere nobis.
Ave verum corpus, K. 618
Ave verum corpus natum de Maria Virgine: Vere passum, immolatum in cruce pro hiomine: Cuius latus perforatum unda fluxit et sanguine: Esto nobis praegustatum in mortis exanime.
Lamb of God
Lamb of God,
who takes away the sins of the world,
spare us, Lord.
Lamb of God,
who takes away the sins of the world,
hear us, Lord.
Lamb of God,
who takes away the sins of the world,
have mercy upon us.
Hail, true flesh
Hail, true flesh,
born of the Virgin Mary.
You have truly suffered and were broken
on the Cross for man.
From your wounded side
flowed water and blood.
Be for us a foretaste
of the trials of death.
Trisagion Litany
Arvo Part
Born on September 11, 1935 in Paide, Estonia (then the USSR)
Arvo Part studied composition at the conservatory in Tallinn and then worked as a sound engineer for the Estonian radio from 1958 to 1967. In 1980 he emigrated to Vienna and, after receiving a grant from the Deutscher Akademischer Austauschdienst, moved to West Berlin where he has lived since 1982. Two distinct phases divide Part's work. His early compositions consisted mainly of serial works; this phase came to an end with his Credo (1968). The period from 1968 to 1976 was one of transition, during which he wrote the Symphony No. 3. His intense studies of medieval music opened a new phase in 1976. The compositions of this period, such as Fratres, Tabula Rasa and Arbos, are characterized by the combination of scales and triads with interchanging yet stable patterns, which Part calls "tintinnabuli" style. Trisagion for strings (1992, revised 1995) continues in this style, but in a highly-charged dramatic, declamatory way. Litany (1994) was given its premiere at the Oregon Bach Festival by the festival's orchestra and chorus with The Hilliard Ensemble as soloists, all under the direction of Helmuth Rilling. Litany shows Part's contemplative style in evolution, with the choir and vocal soloists in familiar slow movement, and the orchestra frequently more restless.
(Prayers of St. John Chrysostom for each hour of the day and night)
O Lord, of Thy heavenly bounties
deprive me not.
O Lord, deliver me from the eternal torments. O Lord, forgive me if I have sinned in my
mind or my thought, whether in word
or in deed. O Lord, free me from all ignorance and
forgetfulness, from despondency and
stony insensibility.
O Lord, deliver me from every temptation. O Lord, enlighten my heart which evil
desires have darkened. O Lord, as a man have I sinned, have Thou
mercy on me, as the God full of
compassion, seeing the feebleness of
my soul. O Lord, send down Thy grace to help me,
that I may glorify Thy name. O Lord Jesus Christ, write me down in the
book of life and grant unto me a good
end. O Lord my God, even if I had not done
anything good before Thee, do Thou
help me, in Thy grace, to make a good
beginning. O Lord, sprinkle into my heart the dew of
Thy grace. O Lord of heaven and earth, remember me,
Thy sinful servant, full of shame and
impurity, in Thy kingdom. Amen. O Lord, receive me in my penitence. O Lord, forsake me not. O Lord, lead me not into misfortune. O Lord, quicken in me a good thought. O Lord, give me tears and remembrance of
death, and contrition. O Lord, make me solicitous of confessing
my sins. O Lord, give me humility, chastity and
obedience. O Lord, give me patience, magnanimity
and meekness.
O Lord, implant in me the root of all good
-Thy fear in my heart. O Lord, vouchsafe that I may love Thee
from all my soul and mind and in
everything do Thy will. O Lord, shelter me from certain men, from
demons and passions, and from any
other unbecoming thing. O Lord, Thou knowest that Thou dost as
Thou wiliest, let then Thy will be done
in me, sinner, for blessed art Thou unto
the ages. Amen.
Tonu Kaljuste, born in Tallinn in 1953, is the artistic director and chief conductor of the Estonian Philharmonic Chamber Choir (EPCC). Mr. Kaljuste has frequently worked as a guest conductor for choirs such as the Finnish Radio Chamber Choir and the Vancouver Chamber Choir, and also serves as artistic director of the Swedish Radio Choir. Mr. Kaljuste has
conducted operas by Mozart, Britten, Weber and the tradi?tional symphonic repertoire.
Mr. Kaljuste has directed a number of international choral seminars and workshops, serving as artistic director of the international
choral festivals "Tallinn '88" and "Tallinn '91" and the international song festival "Bridges of Song" in 1991. In 1992 he received the Annual Culture Award of Estonia. In 1993 Mr. Kaljuste founded the Tallinn Chamber Orchestra.
In addition to Mr. Kaljuste's recordings with the EPCC, he may be heard leading the
Swedish Radio Choir on the Virgin Classics and Caprice Records labels.
These performances mark Tonu Kaljuste's second and third appearances under UMS auspices.
Founded as an amateur ensemble called the Ellerhein Choir in 1966 by Heino Kaljuste (father of Tonu Kaljuste), the Estonian Philharmonic Chamber Choir (EPPC) became a professional choir in 1981, and now gives over seventy-five concerts yearly. Its concert tours to the US, Finland, Sweden, Norway, Great Britain, Germany, Switzerland, Italy, Poland, Czech Republic and Japan have been met with great acclaim. In October 1995, the Choir performed Arvo Part's Te Deum to sold out halls in New York, Ann Arbor, Chicago, Minneapolis and Hartford. The EPCC performed in the Dag Hammarksjold Auditorium at the United Nations at the request of the Estonian Mission to the UN.
The Choir's recordings for ECM New Series BMG Classics,
receive high praise from reviewers worldwide. These include two discs of the works of fellow Estonian Arvo Part -Te Deum (nominated for a Grammy Award in the category "Best Choral Performance," 1995) and Litany, both of which have been international best sellers. For ECM they have also recorded works of Estonians Veljo Tormis and Erkki-Sven Tiiiir. For Virgin Classics the choir has recorded Tormis' Calendar Songs.
The choir has worked with a number of guest conductors including Claudio Abbado, Eric Ericson, Ward Swingle, Anders Ohrwall (Sweden), Sir David Willcocks (England) and Helmuth Rilling (Germany). Last sea?son, the principal guest conductor of the choir was Olari Elts.
The EPCC's concerts frequently juxta?pose major works from the Baroque era and music by the contemporary composer Arvo Part. Recently the choir performed a series of concerts entitled "Bach and Part" includ?ing four Lutheran Mass settings by Bach and all of Part's major works for choir and orchestra. The Estonian Philharmonic Chamber Choir was one of fewer than twenty choirs worldwide to be invited to perform at the third World Symposium on Choral Music in Vancouver in 1993.
At the 1991 Takarazuka Chamber Choir competition in Japan, the choir won three gold medals for its outstanding performance in the Women's, Men's and Mixed Choir categories, and was awarded the Grand Prix.
In June, 1996 the EPCC celebrated its thirtieth anniversary -fifteen years as an amateur choir and fifteen as a professional
choir -with a concert tour to all fifteen counties of Estonia.
The Estonian Philharmonic Chamber Choir debuted under UMS auspices on November 5, 1995. These performances mark the Estonian Philharmonic Chamber Choir's second and third appearances under UMS auspices.
The Tallinn Chamber Orchestra was found?ed in 1993 by Tonu Kaljuste. The orchestra, which numbers between sixteen and fourty musicians, is closely associated with twenti?eth century repertoire, including works by Bartok, Britten, Erkki-Sven Tiiiir, and Arvo Part. The TCO frequently collaborates with the Estonian Philharmonic Chamber Choir, and in 1993 the orchestra recorded its first CD with that ensemble. That CD (on the ECM New Series label) features the Part Te Deum, and it may be the most successful "debut recording" an orchestra has ever had: it was high on the Billboard "Classical Best Sellers" list. Since then, the orchestra has recorded Part's Litany and a disc devoted to works by Erkki-Sven Tiiur.
The Tallinn Chamber Orchestra fre?quently works with guest conductors, including Terje Tonnesen, Richard Tognetti and Juha Kangas. The orchestra has already toured widely to Finland, Germany, France, Italy. This their second tour to the US.
This performance marks the Tallinn Chamber Orchestra's second appearance under UMS auspices.
The Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra and Artistic Director Tonu Kaljuste may be heard on ECM New Series (BMG Classics) and Virgin Classics CDs.
The artists appear by arrangement with New World Classics, Kerby Lovallo, Director.
Estonian Philharmonic Chamber Choir
Soprano Kaia Urb Aile Asszonyi Vilve Hepner Kristiina Under Raili Jaanson Eha Parg Katrin Karelson
Karin Salumae Kadri Mitt Juta Roopalu-Malk Tiiu Otsing Kai Damns Ave Moor
Tiit Kogermann Mati Turi Toivo Kivi Arvo Aun Erkki Targo Mikk Oleoja
Aarne Talvik Allan Vurma Esper Linnamagi Kalev Keeroja Tonu Tormis Ranno-Eduard Linde
Tallinn Chamber Orchestra
Violin I
Harry Traksmann Maano Manni Sirje Salumets Olga Voronova Mai Rosenroth
Violin II Kaido Valja Eva Punder Jaan Normak Kadi Vilu Liina Jantson
Martti Magi Toomas Veenre Rain Vilu Tarmo Truuvaart
Cello Mart Laas Kaido Kelder Aare Tammesalu Hahndorf Olle
Double Bass
Jiiri Lepp Janel Altroff
Peeter Malkov
Mihkel Peaske
Kalev Kuljus Tonis Traksmann
Toomas Vavilov Velio Sakkos
Kristjan Kungla Tarmo Velmet
Corno Rait Erikson Kalle Koppel
Trumpet Aleksei Andrejev
Vaino Pollu
Ene-Mai Salumae
Percussion Madis Metsamart Rein Roos Kristjan Maeots
Estonian P Chamber C
lilharmonic loir
Tonu Kaljuste, Artistic Director and Chief Conductor
Anton Bruckner
Knut Nystedt
Ingvar Lidholm
Veljo Tormis
Saturday Evening, October 11,1997 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Virga Jesse floruit Christus factus est Ave Maria
O Crux Miserere
Libera me
Livonian Heritage
Waking the Birds
Day of a Herdsbody
Shrove Tuesday
Wee Winkie Mouse
Sang the Father, Sang His Son
St. John's Day Songs
Call to the Midsummer Bonfire I Call to the Midsummer Bonfire II Can't Be Caught by the Shot of a Gun Why we look forward to St. John's arrival St. John's Steed Fire Incantation St. John's Song
Curse Upon Iron
Seventh Concert of the 119th Season
Divine Expressions Series
Large print programs are available upon request.
Virga Jesse floruit Christus factus est Ave Maria
Anton Bruckner
Born on September 4, 1824 in Ansfelden, Austria
Died on October 11,1896 in Vienna
Anton Bruckner is best known as a symphonic composer, but this deeply religious man also contributed notable works to the choral repertoire. The entry on him in the authorita?tive Grove Dictionary claims that "the act of composing was to Bruckner part of his inde?structible religious life." The works Ave Maria (1861), Christus factus est (1884), and Virga Jesse floruit (1885) come from a mature portion of his career which also saw the emergence of his Symphony No. 7, that premiered in December 1884. It was this latter work, written when the sixty-year-old composer had been in Vienna for some sixteen years, that was said to have brought Bruckner "his first real taste of public success and the beginning of his belated fame."
Christus factus est is marked "Moderato misterioso," and opens homophonically but with almost an immediate contrapuntal contrast. It then builds to a dramatic climax which is followed by an equally dramatic conclusion, hushed and lovely.
Virga Jesse floruit is a work of considerable power, employing to great effectiveness the dramatic potential of dynamic contrasts and sudden pauses, with its quiet conclusion underlain by an organistic bass-pedal E.
Bruckner's seven-part Ave Maria setting (a hymn to the Virgin Mary) was first performed in Linz, where the composer was, at that time, cathedral organist. Reused in part in his Symphony No. i, it represents a stylistic development beyond the rigorous counterpoint lessons which he had heretofore studied. His biographer Max Auer calls it "his first masterwork."
These works have been called "perhaps the most brilliant a cappella settings of the late-19th century," and are said to "exemplify both the part-writing and the spiritual stature of this archaic-mystical yet avant-gardist visionary."
Christus factus est
Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis. Propter quod et Deus exaltavit ilium et dedit illi nomen, quod est super omne nomen.
Virga Jesse floruit
Virga Jesse floruit:
Virgo Deum et hominem genuit;
pacem Deus reddidit,
in se reconcilians ima summis.
Christ was made obediant for us
even unto death,
even the death of the cross.
Therefor God also has exalted him,
and given him a name
which is above every name.
The rod of Jesse has blossomed: A virgin has begotten One who is both God and man; God has restored peace, reconciling in himself the lowest to the highest.
Ave Maria
Ave Maria gratia plena
Dominus tecum.
Benedicta tu in mulieribus
et benedictus fructus ventris tui, Jesus.
Sancta Maria, mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae.
Hail Mary, full of grace
the Lord is with thee,
Blessed art thou among women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death.
O Crux Miserere
Knut Nystedt
Born on September 3, 1915 in Christiania, Norway
Knut Nystedt, a Norwegian composer, organist, and conductor, began his early studies in his homeland and furthered his career by work with Aaron Copland in 1947. He was appointed to the expert council of the Norwegian Composers' Association in 1953 and has received the Order of St. Olav.
Nystedt's early works have been called "lyrically classical" -his later works, however, are more romantic in spirit and display a bolder use of tonality and rhythm. O Crux, pub?lished in 1978, is a brilliant piece of choral writing, setting a magnificent Latin text describ?ing the splendor of the cross.
Nystedt's Miserere, Op. 140, is a setting of Psalm 51: David's prayer for forgiveness after his fall with Bathsheba. The composition draws upon and employs the older and better known Miserere by Gregorio Allegri (1582-1652) as a model, alternating in each of the twenty verses between the old Gregorian tune and a free choral setting which develops into canons in many parts. This work was premiered in 1995 in Canada under the direction of Tonu Kaljuste.
O Crux
O crux, splendidior cunctis astris,
mundo Celebris hominibus
multum amabilis,
sanctior universis.
quae sola fuisti digna portare
talentum mundi. Duke lignum, dulces clavos, dulcia ferens pondera. Salva praesentem catervam, in tuis hodie, laudibus congregatam.
O Cross
O Cross, more radiant than the stars.
Celebrated throughout the earth,
Beloved of the people.
Holier than all things,
Which alone was found worthy
to bear the light of the world: Blessed Tree. Blessed Nails. Blest the weight you bore: Save the flock which today is gathered to praise you.
Miserere (Psalm 51)
Miserere mei, Deus,
secundum magnam misericordiam tuam.
Et secundum multitudinem
miserationum tuarum, dele iniquitatem meam. Amplius lava me ab iniquitate mea:
et a peccato meo munda me. Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper. Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis,
et vincas cum judicaris. Ecce enim in iniquitatibus conceptus sum: et in peccatis concepti me mater mea. Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae
manifestasti mihi.
Asperges me hyssopo, et mundabor: lavabis me, et super nivem dealbabor. Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata. Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele. Cor mundum crea, in me, Deus: et spiritum rectum innova in visceribus meis. Ne projicias me a facie tua: et spiritum sanctum tuum
ne auferas a me.
Redde mihi laetitiam salutaris tui: et spiritu principali confirma me. Docebo iniquos
vias tuas:
et impii ad te convertentur. Libera me de sanquinibus, Deus,
Deus salutis meae:
et exsultabit lingua mea justitiam tuam. Domine, labia mea aperies: et os meum annuntiabit laudem tuam. Quoniam si voluisses sacrificium,
dedissem utique: holocaustis non delectaberis. Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus,
non despicies. Benigne fac, Domine, in bona voluntate
tua Sion:
Have mercy on me, O God, in your goodness, in your great tenderness wipe away my faults; wash me clean
of my guilt, purify me from sin. For I am well aware of my faults,
I have my sin constantly in mind, having sinned against none other than you, having done what you regard as wrong. You are just when you
pass sentence on me,
blameless when you give judgment. You know I was born guilty, a sinner from the moment of conception. Yet, since you love sincerity of heart, teach me the
secrets of Wisdom.
Purify me with hyssop until I am clean; wash me until I am whiter than snow. Instill some joy and gladness into me, let the bones you have crushed rejoice again. Hide your face from my sins, wipe out all my guilt. God, create a clean heart in me, put into me a new and constant spirit. Do not banish me from your presence, do not deprive me
of your Holy Spirit. Be my savior again, be my joy, keep my spirit steady and willing; and I shall teach transgressors
the way to you.
and to you the sinners will return. Save me from death,
God my Savior,
and my tongue will acclaim your righteousness; Lord, open my lips,
and my mouth will speak out your praise. Sacrifice gives you no pleasure, if I were to offer you holocaust,
you would not have it. My sacrifice is this broken spirit, you will not scorn this crushed
and broken heart. Show your favor graciously
to Zion,
ut aedificentur muri Jerusalem.
Tune acceptabis sacrificium justitiae,
oblationes, et holocauste:
tune imponent super altare tuum vitulos.
rebuild the walls of Jerusalem.
Then there will be proper sacrifice to please you
--holocaust and whole oblation--
and young bulls will be offered on the altar.
Libera Me
Ingvar Lidholm
Born on February 24, 1921 in Jonkoping, Sweden
Ingvar Lidholm, generally acknowledged as one of the masters of contemporary a cappella composition, belonged in the 1940s to the "Monday Group" of Swedish composers, who are said to have "made Hindemith their mentor and banished all residues of romanticism." Although a versatile composer in several media, it is in the realm of choral music that Lidholm is most appreciated.
Libera me
Libera me, Domine, de morte
aeterna in die ilia tremenda,
quando caeli movendi sunt et terra,
dum veneris ludicare saeculum
per ignem.
Tremens factus sum ego
et timeo, dum discussio venerit
atque ventura ira.
Quando caeli movendi sunt et terra.
Dies ilia, dies ira,
calamittis et miseriae,
dies magna et amara valde.
Dum vereris ludicare saeculum
per ignem.
Requiem aeternam dona eis,
Domine, et lux perpetua luceat eis.
Deliver me, O Lord, from death eternal,
on that dreadful day:
when the heavens and the hearth shall
when thou shalt come
to judge the world by fire.
I am seized by trembling, and I fear
until the judgement should come,
and I also dread the coming wrath.
O that day, day of wrath,
day of calamity and misery,
momentous day, and exceedingly bitter,
when thou shalt come
to judge the world by fire.
Eternal rest grant to them, O Lord,
and let perpetual light shine upon them.
Livonian Heritage St. John's Day Songs Curse Upon Iron
Veljo Tormis Born in 1930
Veljo Tormis is an Estonian composer who studied organ and choral conducting at the Tallinn Music Institute (1943-51), organ and composition at the Tallinn Conservatory (1951) and instrumentation at the Moscow Conservatory (1951-56). Highly regarded and a prize-winner in his homeland, he is an expert on Estonian folk music, and has often drawn on it in his choral works, which he has composed prolifically. In 1967 Tormis was made a Merited Artist of the Estonian SSR. He says:
The most essential part of my work is choral music.. .1 do not use folk song, it is folk song that uses me. To me, folk music is not a means of self-expression; on the contrary, I feel the need to express the essence of folk music, its spirit, meaning, and form. I believe the runic songs to be the highest achievement and most original achievement of Estonian culture. But today, runic song has ceased to exist as a component part of the Estonian way of life. Through modern art forms, I try to expose the originality and meaning of runic song. Eternal is the great circle of life, eternal are the life events repeating in their own way with each passing age...I turned to our national heritage in order to discover my musical mother tongue -my people's musical identity.
Livonian Heritage (Liivlaste Parandus), dating from 1970, is a cycle of five songs on texts adapted by Herbert Tampere. Along with five other cycles (Votic Wedding Songs, Izhorian Epic, Ingrian Evenings, Vepsian Paths, and Karelian Destiny), its songs make up a larger grouping which Tormis has called Forgotten Peoples, and labeled as "The Ancient songs of my Balto-Finnish kinsfolk." Powerful, moody, and inexorable, these songs make for com?pelling listening.
St. John's Day Songs is a cycle from the series Estonian Calendar Songs. Estonian calendar tradition is a special fusion of pre-Christian customs and names of religious anniversaries of Catholic origin. The customs connected with calendar feasts and the accompanying songs represent an ancient country tradition of indeterminate age. The songs express either directly or indirectly the wish to influence the fertility of soil and cattle in the coming year. In the long run, the magic of ritualism receded and now the customs have become some?what of a children's pastime. Jaanipaev (St. John Day), or Midsummer (June 24) ranks next to Christmas in importance in Estonia, celebrating the end of spring field work and the beginning of haymaking. These songs are clearly ritualistic -there are songs which address Jaan (John the Baptist) -why he is expected (4), how he comes (5), and what he brings with him (7). The fire incantation (6) is clearly associated with the traditional Midsummer bonfire. Songs which have no direct connection with Midsummer (3) were also sung.
The composer has called Curse Upon Iron an "incantation." Dating from 1972, Tormis had cherished the idea behind this piece for many years. Formally drawing heavily on osti-nato and a folk melodic structure, it protests against the destructive powers of iron in a heavily effective way due to the primeval nature of the work. According to folk wisdom, knowledge about the essence and creation of things will give people power over them, and Tormis here turns to Finnish incantations, borrowing the incantation to iron from the ninth rune of "Kalevala" to serve as a basis for the text.
Program notes by Allen L. Borton
Liivlaste Parandus
Lindod virgtimi Tsitsor-linkist, tsitsor-linkist, ni um aiga iilzo nuzo, tsitsor, tsitSor!
Ni teg maggond pitko unda iiosto iiozo, pavast pauwo, tsitsor, tsitsor!
Liebist ljestad maddo mjerro, voilist ljestad muzo mjerro, tsitsor, tsitsor!
Jovad luomod maddo mottso, sudud, oksid muzo mottso, tsitsor, tsitsor!
Jovad puosod maddo kiillo, kozzist puosod muzo kiillo, tsitsor, titsor!
Kjerdod neitsod maddo kiillo, laiskad neitsod muzo kiillo, tsitsor, tsitsor!
Tsitsor-linkist, ni tad aiga um iilzo nuzo!
Jooda, jooda, paava, juuok3o siin, kus ova vetki juuok9ob! Kuliz minnon viizoz jara, lopiz minnon nuka jara.
Ur, tagan, ur, tagan, uruu! Ur, tagan, ur, tagan, uruu! Uruu, uruu!
Tsiirlinkist loolabod, kjevado tulub. Uud, aama, kukil', ma laabo karrol!
Uruu, uruu, uruu, uruu!
Seel't'a, seel't'a, aarmaz paava, neme vaalda guuogomuna. Se ju ab uuo guuogomuna, se um aarmaz paavalikki.
Uruu, uruu,
ur-ur-ur-ur-ur, uruu, uruu, Uruu, uruu, uhuu, uhuu, uh-uh-uh-uh, uhuu, uhuu!
Livonian Heritage
Waking The Birds
Tsitsor-birds, tsitsor-birds, Now it's time to wake, Tsitsor, tsitsor! You have had a long sleep Night after night, day after day, Tsitsor, tsitsor!
Fat flounders into our sea, Lean ones into another one, TSitsor, tsitsor!
Good animals into our wood, Wolves and bears into another one, Tsitsor, tsitsor!
Good boys into our village,
Cruel ones into another one,
TSitSor, tsitsor!
Hard-working maids into our village,
Lazy ones into another one.
Tsitsor, tsitsor!
Tsitsor-birds, now it's time for you to wake!
Day of a Herdsbody
Make haste sun, make haste, Run to where the river flows! I've worn out my best shoes, I've eaten my last crumb of bread.
Ur, go back, ur, go back, uruu, Ur, go back, ur, go back, uruu! Uruu, uruu!
Skylarks are singing,
Spring is coming.
Bake me a bun, dear mother,
I'm going to look after the herd!
Uruu, uruu, uruu, uruu!
Clear up sky, clear up,
The sun looks like the white egg of a goose,
It's not really the egg of a goose,
It's our dear sun.
Uruu, uruu,
ur-ur-ur-ur-ur, uruu, uruu, Uruu, uruu, uhuu, uhuu, uh-uh-uh-uh, uhuu, uhuu!
T3iirlinkist loolabod, kjevado tulub. Oud, aama, kukil', ma la'abo karrol! A3 uudub suur kukil', siz laab jo koogaz, ad uudub pi8kiz, siz taan iit letgol.
Uruu, niiemod kuodai, uruu, ur-ur, uruu! Paava laab luuojo, oodog tulub paalo, uruu, ur-ur, uruu!
Bz, bz, bz, bz, tabard salgo,
bz, bz, niiemod kuodai,
bz, bz, dundrud salgo, niiemod kuodai.
bz, bz, bz, niiemod kuodai,
bz, bz, niiemod kuodai,
bz, bz, niiemod kuodai, niiemod kuodai,
uruu, uruu!
Ririi, ririi, aanda semd'i,
Ririi, ririi, aanda semd'i,
Ririi, ririi, ririi, ririi, ririi, ririi, ririi!
Laz volg laalam, kien volg laalam, koorapainton siien vol' laalam, koorapainton laalam vol'. Uruu!
Zingi, pringi vastalova, ee, vastalova!
Aarmazo jema, laz lapsto tubbo! Kakanika lapston kiilmabod jaalgad. Kuziz kaangad taaduks, kiilmist jaalgad jara. Zingi, pringi vastalova, ee, vastalova!
Kil tiiedub, kil tiiedub kakanika jagu: kukil' leibo, kuolm kanno volto,
Skylarks are singing,
Spring is coming.
Bake me a bun, dear mother,
I'm going to look after the herd!
If you bake a big bun,
I'll go far,
If you bake a little one,
I'll stay near.
Uruu, go home, cows, Uruu, ur-ur, uruu! The sun is going down, Night is approaching. Uruu, ur-ur, uruu!
Bz, bz, bz, bz, tails high,
bz, bz, go home, cows,
Bz, bz, gadflies on your back, go home, cows,
Bz, bz, bz, go home, cows,
Bz, bz, go home, cows,
Bz, bz, go home, cows, go home, cows,
Uruu, uruu!
Ririi, ririi, it's milking time, Ririi, ririi, it's milking time! Ririi, ririi, ririi, ririi, ririi, ririi, ririi! Uruu!
When you have a hard time,
You have a hard time,
The herdsboy had a hard day,
A hard day had he.
Shrove Tuesday
Sing, mummer, dance, mummer, Sing and dance, Shrove mummer!
Mother dear,
Let the children in!
Let the Shrove mummers in!
The children's feet are cold:
They peed their shoes wet,
Now their feet are freezing.
Sing, mummer, dance, mummer,
Sing and dance, Shrove mummer!
I know, I well know
What's a Shrove mummer's share:
A small loaf of bread,
Three mugs of beer,
se um ni, se um ni kakanika jagu.
Zingi, pringi vastalova, ee, vastalova!
Kus sa juuok9od, unno iirki,
Puud'i kaandam, suono kitam,
Sa laamatod souv sizzol jara.
Ma pugub soona lovan ala.
Mis sa siiedo, mis sa juuodo,
soona lovan ala puggon
Ljeggo siiebo, duuni juuobo.
Sinnon paaistab maggo ilzo.
Ma siskabo nigloks katki.
U se sinnon siz ab poddo Ma vooidabo vooidogokso. Kus sa sjeda vooita saado Vanaaama buundlast utab. Kus se vanaaama saabo Keerebiz niiemo naanaast utab. Kus se keerabi niiemo saabo Moltsiz ruuogo ladast utab. Kus se ruuogo lada saabo Uuomogkastug tammon sandab. Kus se uuomogkastug saabo Tova joggo puoisto utab.
Laulis isa, laulis poega Looliz iza, looliz puuoga, loolist kak3i paalkamiiest. Jemin looliz iza puuogaks, ab ku kak3i paalkamiiest. Rallallaa!
Kui se ummo, kust5 tulab, kui nei kna3s'3'6 nanton laab Ne aat paagin volto juuonod, ne aat paagin mjeta siiend. Rallallaa!
Ik3i pitti keeldarikkis, kak3i kanno looda paal. Kipi siino, kipi taano, kipi looda tutkam paal! Rallallaa!
That's what is, that's what it is The Shrove mummer's share.
Sing, mummer, dance, mummer, Sing and dance, Shrove mummer!
Wee Winkie Mouse
Where are you running, wee winkie mouse,
To carry the wood, to heat the sauna,
You'll sufocate in the smoke.
I'll crawl under the platform.
What will you eat there
What will you drink
I'll eat some mud, I'll drink some mire.
You'll get a swollen belly.
I'll prick it with a needle.
Wouldn't it smart
I'll smear some butter on it.
Where do you get the butter from
I'll take it from the grandmother's churn.
Where does the grandmother get it from
From the udder of a piebald cow.
Where does the piebald cow get it from
From the head of a green bulrush.
Where does the bulrish get it from
From the dew in the morning.
Where does the morning dew get it from
From the bottom of a deep river.
Sang the Father, Sang His Son
Sang the father, sang His son,
Sang the two hired helps,
Father and his son sang well together,
Much better than the hired helps.
What's their secret, how does it come, That their singing goes so well They've been drinking a lot of beer, They have eaten a lot of honey. Rallallaa!
One barrel's in the cellar, Two mugs are on the table. Shove it here, shove it there, Shove it at the end of the table. Rallallaa!
Jaanilauiud (St. John's Day Songs)
Kutse jaanitulele I (Peetri)
Tulge jaanista tulele,
jaanike jaaniste jaanitulda oidemaie! Tuluk ulgub oonetesse, sade kargab katuksesse, kiibemed kiila vahele.
Kutse jaanitulele II (Kolga-Jaani)
Tulge jaaniku tulele,
jaaniku jaaniku tulge tulda oidemaie, karga kirge kaitsemaie! Kes ei tule jaaniku tulele, saagu mardini magama, ristipaini ringutama! Tulge jaaniku tulele, tooge puida tulessagi! Kes ei tule jaaniku tulele, jouluss piiiirgu teise kiilje, teisess jouluss teise kiilje!
Ei ole pussil puutav (Peetri)
Siis tulid naesed nalja parast,
jaanike jaaniste neiud lahke laulu parast. Neiud kiiksid kiige peale, neiud kiiksid, parjad laiksid. Mehed aga vaatsid alia metsa, poisikesed alia puude: Oleks piissi, piiuaks neidu, oleks noota, nouaks neidu, oleks vorku, votaks kinni! Siis mina moistsin, vasta kostsin: Ma pole pussil piiiietava, ega noodal nouetava, vorgul kinni voetava! Unt on pussil piiiietava, kala noodal nouetava, vorgul kinni voetava!
Call to the Midsummer Bonfire I (from Peetri parish)
Come to the midsummer bonfire,
jaanike jaaniste come and guard the fire! The flame wanders into houses, the spark leaps up onto roofs, burning scraps fall into village streets.
Call to the Midsummer Bonfire II
(from Kolga-Jaani parish) Come to the midsummer bonfire,
jaaniku jaaniku come and guard the fire, come to watch the flames! Those who do not come to the bonfire may they sleep till Martinmas, stretch their limbs till Ascension Day! Come to the midsummer bonfire, and bring some wood when you come! Those who do not come to the bonfire may they roll over at Christmas and onto their other side the next Christmas!
Can't Be Caught by the Shot of a Gun (from Peetri parish)
Then came women to have some fun,
jaanike jaaniste
maidens came for flattering songs. Maidens swinging on the swing, maidens swinging, their chaplets glittering. But the men stood watching at the forest edge the young boys under the trees: If we had a gun, we'd get a maiden, if a sweep net, we'd trap her, if a fish net, we'd catch her! Then I understood and answered them back: I won't be got by any gun, nor trapped by any sweep net, or caught by any fish net! A wolf can be got with a gun, fish can be trapped in a sweep net, or caught in a fish net!
Miks Jaani oodatakse
(Karksi) Mistes Jaani oodetesse,
jaanika jaani Jaanil kahja kannetesse Sestep Jaani oodetesse, et oo nii arja adatse, piimalehma pindejenna. Tule, Jaani, paasta neida, paasta nii arja adasta", piimalehma pindejesta! Sestep Jaani oodetesse. jaani jaanika
Jaani hobu (Kolga-Jaani)
Jaan oli tarka poisikene,
jaaniko jaaniko tegi tulesta obese, tulesoest silmakese, olekorrest korvakese, linaluiest leeris laka, kasteeinast vaanis kabjad.
Jaanikene, poisikene, kui laed soitu soitemaie, (Noo! Noo! Soitu, soitu!) ehita oma obene, pea tal pane pandelisse, silmad siidituttidesse! (Soitu, soitu, soitu, soitu!)
Jaanikene, poisikene, tule siis jaaniku tulele, siidineidu siile'essa, kallis neidu kaendelassa!
Tulesonad (Kuusalu) Kas tunned tule sanuja, taiad rauva tarbe'eida Tuli on tumma, raud on valju. Ei tuli minu poleda: mina tule tuttuvane; ei suitsu minu sureda: mina suitsu sugulane; ei vesi minu ubuda: mina vie vennapoiga. Tuli ei polda tuttavada, vesi ei vendada ubuda, raud ei raiu langusida. Tuleb kui tule vahingu, tulgu siis tule isanda,
Why we look forward to St. John's arrival (from Karksi parish)
Why do we look forward to Saint John's Eve,
jaanika jaani
why is libation brought to John This is why we look forward to John's arrival: The oxen are sick the milk cows in distress. Come, John, and save them, cure the oxen from sickness save the milk cows from their distress! That's why we look forward to John's arrival. jaani jaanika
St. John's Steed (from Kolga-Jaani parish)
John was a clever boy,
jaaniko jaaniko made himself a steed of fire, made eyes of coals of fire, ears from stalks of straw, twisted a mane from boon of flax, fashioned hooves out of bent-grass.
Little John, dear little boy
if you go out riding
(Gee up! Gee up! Ride away, ride away!)
then fashion your horse,
put its head through a wooden bridle
silk tassels over its eyes!
(Ride away, ride away, ride away, ride away!)
Little John, dear little boy then come along to the midsummer bonfire with a silk-clad maiden on your knee, a dear maiden in your arms!
Fire Incantation (from Kuusalu parish)
Do you know the spell for fire,
can you command what iron needs
Fire cannot speak, iron is harsh!
Fire does not burn me:
fire is my friend;
Smoke does not smother me:
smoke is my relative;
water does not drown me:
I am water's nephew.
Fire does not burn a friend,
water does not drown a brother,
or iron hack a brother-in-law.
When fire havoc arrives,
may the master of fire arrive,
tulgu siis tule emanda, tulgu tulda voitemaie, valgija valatamaie!
Jaanilaul (Hargla) Laa'mi valla Jaani kaima,
jaani jaani kas om Jaanil kahhar paa,
sis omma kesva keerulidse, kaara katsokandilidso. Laami valla Jaani kaima,
jaanika jaanika kas om Jaanil kahhar paa,
sis omma kesva keerulidse, kaara katsokandilidso.
Jaan tull' poldu miiiida,
jaani jaanika konde kullast kondu muiida,
ligi toie liiaonne, kaasa toie karjaonne. Jaan toi pika piimapiitii, madaligu voiupunna, rua toie riipiiga, kaara toie kaindlon.
Laami valla Jaani kaima,
jaani jaanika kas om Jaanil kahhar paa,
sis omma kesva keerulidse, kaara katsokandilidse. jaani jaanika
All titles in standard and words in Estonian dialects
Raua needmine
Ohoi sinda, rauda raiska, rauda raiska, rahka kurja, liha sooja, luu pureja, vere stiutuma valaja! Kust said kurja, kange'eksi, uleliia iilbe'eksi
may the mistress of fire arrive, may the conqueror of fire arrive, and guard the flames!
St John's Song (from Hargla parish)
Let's go out and look at John,
jaani jaani and see if he has bushy hair --
then the barley will curl and the oats be octagonal. Let's go out and look at John,
jaani jaani and see if he has bushy hair -
then the barley will curl and the oats are octagonal.
John came across the field,
jaani jaanika walked across the golden chaff,
brought with him much good luck brought with him cattle-luck. John brought a tall churn of milk and a hundredweight pat of butter, brought in his lap rye and oats under his arm.
Let's go out and look at John,
jaani jaanika and see if he has bushy hair -
then the barley will curl and thev oats grow double-eared. jaani jaanika
Translated by Kristin KuutmaEric Dickens
Curse Upon Iron
Ohoy, villain! Wretched iron! Wretched iron! Cursed bog ore! You flesh-eater, Gnawer of bones, You spiller of innocent blood! Scoundrel, how did you get power Tell how you became so haughty!
Hurjuh sinda, rauda raiska! Tean ma siindi sua sogeda, arvan algust su oela!
Kaisid kolme ilmaneitsit, taeva tiitarta tulista, lupsid maale rindasida, soo paale piimasida. Oks see lupsis musta piima, sest sai rauda pehme'eda; teine valgeta valasi, sellest tehtud on terakesed; kolmas see veripunasta, sellest malmi ilma tulnud.
Ohoi sinda, rauda raiska, rauda raiska, rahka kurja! Ei sa siis veel suuri olnud, ei veel suuri, ei veel uhke, kui sind soossa solguteldi, vedelassa vantsuteldi. Hurjuh sinda, rauda raiska! Tean ma siindi su sogeda, arvan algust su oela!
Susi jooksis sooda mooda, karu komberdas rabassa, soo tousis soe jalusta, raba karu kapa alta. Kasvid raudased orased, soe jalgade jalile, karu kappade kohale. Ohoi rauda, laukalapsi, rabarooste, pehme piima! Kes su kiill vihale kaskis, kes pani pahale toole
Surma soitis sooda mooda, taudi talveteeda mooda, leidis soost terakse taime, raua rooste lauka'alta.
Nii koneles suuri surma, taudi tappaja tahendas: mae alia mannikussa, pollulla kula paralla, talu aitade tagana: siin saab surma sepipada, siia ahju ma asetan,
Damn, you, bastard! Wretched iron! I know your birth, you purblind fool, I know well your source, you villain!
Once there walked three nature spirits, three fiery daughters of the sky. They milked their swelling breasts to earth, they squeezed their milk onto the fens. From the first maid spurted black iron, this turned into soft wrought iron. White milk squirted the second maid, this was the source of tempered steel. The third maid spouted blood-red milk, this gave birth to bog iron one.
Ohoy, villain! Wretched iron! Wretched iron! Cursed bog ore! Then you were not high and mighty, not yet mighty, not yet haughty, when you sloshed in swamps and marshes, when in bogholes you were trampled. Damn you, bastard! Wretched iron! I know your birth, you purblind fool! I know well your source, you villain!
A wolf then ran across the fen,
a shambling bear walked in the moor.
And the swamp stirred in the wolf tracks,
under the bear's paws moved the moor.
And there sprouted iron seedlings
in the traces of the wolf's claws,
in the hollows of the bear tracks.
Ohoy, iron! Child of boghole!
Swamp's red rust and gentle smooth milk!
Tell me, who made you so baleful!
Who decreed your works of evil
Death was riding through the marshes, plague was on a winter journey. Seedling steel it found in swampland, rusty iron in a boghole.
The great death then began to talk, the killer plague then spoke and said: In a pine grove on a hillside, in a field behind the village, far beyond the farmers' granges, right here will be the forge of death. Here I'll build the forge's furnace,
siia tostan lootsad laiad, hakkan rauda keetamaie, raua roostet lootsumaie, rauda tampima tigedaks.
o-hoo... oi-oi-joi-joi-etc.
Rauda, vaene mees, varises, jo varises, jo vobises, kuulis kui tule nimeda, tule kurja kutsumista.
Ohoi sinda, rauda raiska! Ei sa siis veel suuri olnud, ei veel suuri, ei veel uhke, kui sa aasilla agasid, vingusid vasara alia. Taat see ahjulta arises, halliparda vommi paarta:
Rauda rasvana venikse, ila kombel valgunekse, veerdes alia aasi'ilta, voolates valutulesta.
Veel sa rauda pehmekene,
miska sind karastatakse,
terakseksi tehtaneksi
Toodi ussilta ilada,
musta maolta miirgikesta.
Ei see raud kuri olekski
ilma usside ilata,
mao musta miirkideta.
Taat see ahjulta arises, halliparda vommi paalta: Varja niiiid vageva Looja, kaitse kaunike Jumala, et ei kaoks see mees koguni, hoopistiikkis ema lapsi, Looja loodusta elusta, Jumala alustatusta.
Uued ajad. Uued jumalad. Kahurid, lennukid, tankid, kuulipildujad. Uus raud ja teras, uhiuued, targad, tapsed, vagevad tapjad, automaatsete sihtimisseadmetega tuumalaengut kandvad,
here I'll place the widest bellows, here I'll start to boil the iron, fan and blast the rust-red bog ore, hammer anger into iron.
o-hoo... oi-oi-joi-joi-etc.
Iron, poor man, shivered, trembled, shivered, trembled, shuddered, quavered, when he heard the call for fire, heard the plea for flaming anger.
Ohoy, villain! Wretched iron! Then you were not high and mighty, not yet mighty, not yet haughty, moaning in the white-hot furnace, whining under beating hammers. Droned the old man on the oven, groaned the greybeard from the furnace:
Iron stretches, spreads like blubber, trickles, flows like dripping spittle, oozing from the blazing furnace, flowing from the scorching fire.
Iron, you're still soft and gentle. How have you yet to be tempered to make steel from harmless iron Get the spittle from an adder! Bring the venom from a viper! For iron wouldn't harbor evil without spittle from a serpent, without venom from a black snake, aa-oo-uu-oo-ee-aa-oo-uii-ii-ee-etc.
Droned the old man on the oven, groaned the greybeard from the furnace: Shelter us, supreme Creator! Keep us safe now, God Almighty! So that mankind would not perish, mother's child vanish without trace from the face of the earth, from life, from existence, God's creation.
New eras. New gods and heroes.
And cannons and airplanes
and tanks, and guns.
New steel and iron.
Brand-new, intelligent,
precise, powerful killers,
equipped with automated guiding devices,
armed with nuclear warheads.
torjerelvadele kattesaamatud raketid.
Noad, odad,
kirved, taprid, saablid,
lingud, tomahawkid, bumerangid,
ammud, nooled, kivid, kaikad,
kiiiined, hambad, liiv ja sool,
tuhk ja torv, napalm ja siisi.
Uus ja koige kaasaegsem tehnika, elektroonika viimane sona, valmis liikuma igasse punkti, korvalekaldumatult sihti tabama, peatama, rivist valja looma, havitama,
voitlusvoimetuks tegema, haavama, teadmata kaotama, tapma, tapma raua, terase, kroomi, titaani, uraani, plutooniumi, ja paljude teiste elementidega.
Ohoi sinda, rauda kurja, mooka soja siinnitaja, rauda rahka, kulda kilpi, sina teras, nurja tougu! Hurjuh sinda, rauda raiska! Oleme iihesta soosta, uhest seemnest me siginud, sina maasta, mina maasta, musta mulda me molemad, uhe maa paal me elame, iihe maa sees kokku saame, maad meil kiillalt siis molemal.
Missiles invulnerable to defensive rocketry.
Knives and spears,
axes, halberds, sabers,
and slings and tomahawks and boomerangs,
bows and arrows, rocks and warclubs,
and claws and teeth, sand and salt,
dust and tar, napalm and coal.
Brand-new and up-to-date technology,
the ultimate word in electronics,
ready to fly in any direction,
stay underflected on its course, hit the target,
paralyze, and knock out of action,
render helpless and defenseless,
harm and hurt, cause unknowable loss,
and kill, kill with iron and with steel,
with chromium, titanium, uranium, plutonium,
and with a multitude of other elements.
Ohoy, villain! Evil iron! Blade of the sword, mother of war! Boghole ore's the golden guardian, but you, steel, are kin to evil! Damn you, bastard! Wretched iron! We are kinsmen, of the same breed, of the same seed we have sprouted, You are earth-born, I am earth-born, in the black soil we are brethren. For we both live on the same earth and in that earth we two will merge. There will be land enough for both.
Biographies and roster for Tonu Kaljuste and the Estonian Philharmonic Chamber Choir begin on page 7 of this program book.
The Estonian Philharmonic Chamber Choir and Artistic Director Tonu Kaljuste may be heard on ECM New Series (BMG Classics) and Virgin Classics CDs.
The Estonian Philharmonic Chamber Choir and Artistic Director Tonu Kaljuste, appear by arrangement with New World Classics, Kerby Lovallo, Director.
Orchestra of St. Luke's Chamber Ensemble
Philippe Herreweghe, Conductor
Annette Markert, Contralto Thomas Young, Tenor William Sharp, Baritone
Elizabeth Mann, flute; Stephen Taylor, oboe; William Blount, clarinet, Dennis Godburn, bassoon; William Purvis, horn; Maya Gunji, Barry Centanni, percussion, Margaret Kampmeier, piano; Elizabeth DiFelice, harmonium and celeste; Krista Bennion Feeney, Robert Shaw, violins; Maureen Gallagher, viola; Myron Lutzke, cello; John Feeney, bass
Marianne Lockwood, President and Executive Director Elizabeth Ostrow, Director of Artistic Programming
Gustav Mahler
(Arr. Arnold Schoenberg)
(Arr. by Schoenberg
and Rainer Riehm)
Sunday Afternoon, October 12,1997 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Leider eines fahrenden Gesellen
Wenn mein Schatz Hochzeit macht
Ging heut' Morgen uber's Feld
Ich hab' ein gliihend Messer
Die zwei blauen Augen von Meinem Schatz
Das Leid von der Erde
Das Trinklied vom Jammer der Erde
Der Einsame im Herbst
Von der Jugend
Von der Schonheit
Der Trunkene im Friihling
Der Abschied
Annette Markert, Thomas Young
Eighth Concert of the 119th Season
Thirty-fifth Annual Chamber Arts Series
Special thanks to Jim Leonard, Manager, SKR Classical, speaker for tonight's Performance Related Educational Presentation (PREP).
Large print programs are available upon request.
Leider eines fahrenden Gesellen Das Leid von der Erde
Gustav Mahler
Born on July 7, 1860 in Kalischt, Bohemia
Died on May 18, 1911 in Vienna
Arnold Schoenberg
Born on September 13, 1874 in Vienna
Died on July 13, 1951 in Los Angeles
"If it is art it is not for all, and if it is for all it is not art." Thus spoke Arnold Schoenberg, whose unswerving allegiance to this precept surely accounts for both his exceptional importance among twentieth-century com?posers and his failure to attract a popular following among listeners. Though his state?ment sounds unacceptably elitist in our era of inclusiveness, Schoenberg was sincere in his belief that art was legitimately the province of "the happy few." In his Memories and Commentaries, he elaborated: "There are relatively few people who are capable of understanding, purely musically, what music has to say. Such trained listeners have prob?ably never been very numerous, but that does not prevent the artist from creating only for them. Great art pre-supposes the alert mind of the educated listener."
This was the spirit that fueled Schoenberg, in November 1918, to found in Vienna the Society for Private Musical Performances (VereinfiirPrivatauffiihrungen). The Society addressed a real need; much new music of that time -certainly Schoenberg's, but music by others as well -had become difficult to comprehend, and listeners could hardly hope to grasp the import of a piece without the benefit of repeated exposure. Public concerts, however, were expensive to produce, and the short-cut of recordings still lay largely in the future. Schoenberg's Society, therefore, was created to present repeated, well-rehearsed perfor-
mances of music (mostly modern) to a lim?ited-membership audience, with five musical overseers -Schoenberg's students Berg and Webern among them -divvying up the responsibility for preparing the works pre?sented. Alban Berg set forth the official goals and rules of the organization in no-nonsense tones:
1. The careful preparation and absolute faithfulness of the performances.
2. The repeated hearing of the same work.
3. The withdrawal of the concerts from the corrupting influences of official musical life, the rejection of commercial compe?tition, the indifference towards any form of failure or success.
The performers rehearsed as long as they needed to bring a work to the requisite level of performance; then, before they were allowed to perform at a Society meeting, they would play for the musical overseer and for Schoenberg himself. "What I find unclear will also be unclear to others," insisted Schoenberg, and one imagines that many works were sent back for further pol?ishing. In order to keep the proceedings free from "corrupting" forces, the programs were not announced to the membership in advance (thereby encouraging members to hear everything, rather than just works by their favorite composers), expressions of approval or disapproval (such as applause or hissing) were forbidden, and critics were banned.
Some compositions were presented just as they were written, but because of the group's limited resources, many were per?formed instead in arrangements for piano (four-hands or eight-hands) or for chamber ensemble (typically drawn from the available forces of two violins, viola, cello, double bass, flute, clarinet, piano, and harmonium). Schoenberg believed that such reduced versions might actually prove advantageous.
Alban Berg was surely acting as his mouth?piece when, in February 1919, he wrote: "In this manner, it becomes possible to hear and evaluate modern orchestral works stripped of all the sound effects produced by the orchestra and devoid of all sensual aids. This disproves the often-heard criticism that such music owes its impact solely to its more or less luxuriant and striking instrumenta?tion, and that it does not possess all the qualities which had been characteristic of good music up to now: melodic and har?monic richness, polyphony, formal construc?tion, architectonic structure, and so on."
The Society's lofty goals may have doomed its long-term prospects, and a dis?astrous turn in Austria's economy served as the coup de grace. The Society held its last concert in December 1921, but in its three years of activity its members chalked up a remarkable record of 117 concerts, in the course of which they presented 353 pieces, 154 of them contemporary. Anyone who thinks of Schoenberg and his followers as sternly doctrinaire figures would be surprised by the programs' wide-ranging repertoire. New works by Schoenberg, Berg, and Webern were performed, of course, but among the most frequently represented composers were Reger (with twenty-four works), Debussy (with sixteen), and Bartok (with twelve -the same number as Schoenberg himself).
Schoenberg had been fascinated with the music of Gustav Mahler (1860-1911) since he first "discovered" it in 1903. In 1904, Schoenberg and his teacher, Alexander von Zemlinsky, had founded the Assembly of Productive Composers (Vereinigung Schaffender Tonkiinstler), a Viennese con?temporary-music group that somewhat pre?figured the later Society for Private Musical Performances; it was with this group that Mahler, its honorary president, first con?ducted his Kindertotenlieder (Songs of Dead Children.) When Schoenberg founded his
Society in 1918, music by Mahler was again on the opening program. In the ensuing three years the Society's musicians would work their way through Mahler's Symphony No. 6 and Symphony No. 7 (both arranged for piano duet), as well as the Lieder eines fahrenden Gesellen (Songs of a Wayfarer), in chamber orchestration. Schoenberg himself arranged the Lieder eines fahrenden Gesellen, and his version for singer and ten instru?ments was unveiled at a Society concert on February 6, 1920. Before long, he also embarked on a setting, for vocal soloists and thirteen instruments, of Mahler's Das Lied von der Erde (The Song of the Earth); but the Society reached its end before Schoenberg completed his arrangement. The arrangement was left unfinished at Schoenberg's death, and was not brought into performable shape until Reiner Riehn completed the task, respectfully observing every indication that Schoenberg had left behind, and published the arrangement in 1983 (under the imprint of the Universal publishing firm).
Today Schoenberg's Mahler arrange?ments are admittedly less necessary than they were in the time of the Society. Notwithstanding its sometimes vast require?ments of scoring, Mahler's music is now performed frequently in concert, and listeners can choose among a seemingly endless array of recordings for enrichment at home. Nonetheless, these more modest versions can prove enlightening for precisely the rea?sons Berg cited -specifically, focusing the ear on structural issues rather than kaleido?scopic changes of timbre -and the smaller forces allow the songs to be interpreted by singers of a generally lyric persuasion, whose lighter voices might not be heard through the original orchestrations. In addi?tion, the Schoenberg versions are worthy of consideration as "original works" in their own right. His arrangements don't display obvious choices; where other arrangers
might have been content simply to reduce a full string section to a string quartet, or to turn a pair of oboes into an oboe and a clarinet, Schoenberg often rewrites Mahler's orchestrations entirely, striving to achieve an imaginative solution that is appropriate to his smaller ensemble. (In this regard, it's worth recalling that Schoenberg's orchestra?tion of Brahms' Piano Quartet in g-minor is one of the few "jointly composed" symphonic works to achieve an enduring place of honor in the orchestral repertoire.) A listener who was not familiar with Mahler's original would probably not guess that Schoenberg's setting was not what the composer had in mind from the outset.
The Lieder eines fahrenden Gesellen take us practically to the beginning of Mahler's composing career. He composed the four songs in late 1884 and early 1885, when he was twenty-four years old and working as an assistant conductor in Kassel. "I have composed a song cycle, six songs at present, all dedicated to her," wrote Mahler to a friend on New Year's Day of 1885. "Her" was Johanna Richter, a singer of whom he was temporarily enamored. "The songs are a sequence in which a wayfaring craftsman, who has had a great sorrow, goes out into the world and wanders aimlessly." Even though the cycle shrank to four movements (all with texts by Mahler himself), other responsibilities prevented Mahler from completing the orchestration until 1893, and he did not lead the premiere until 1896. Even at this early stage of his career, Mahler's hallmarks are in place: a fascination with death, a general despondency tempered by manic outbreaks of joy, perverse juxtaposi?tions of material, a narrative progression to both text and music, unpredictable rhythms and harmonic modulations -and an over?whelming sense of musical logic. In the opening song, the singer mourns the wed?ding day of his beloved, who is marrying someone else; he seems to have recovered
his good spirits for the next movement, a peasant-like celebration of nature, but the ending reveals that his happiness is merely a ruse. The gleaming knife that cuts into his breast in the third song reflects the pain he continues to endure, and in the finale he wanders off in a state of disillusioned grief, as dazed as the love-stunned wanderer of Schubert's Winterreise.
The horrified contemplation of death would remain central to Mahler's life; and as he wrote, "Only when I experience do I compose -only when I compose do I experience." Death weighed heavily on him as he composed Das Lied von der Erde. He had not begun to recover from the shock of his four-year-old daughter's recent passing when in the summer of 1907 his physicians informed him that he was suffering from a heart condition that would probably prove fatal. They advised him to give up all strenu?ous activity, including the conducting by which he earned his livelihood and the hik?ing from which he derived important spiri?tual nourishment. "At a single stroke," he wrote to his friend Bruno Walter, "I have lost any calm and peace of mind I ever achieved. I stand now face to face with nothingness, and now, at the end of my life, I have to begin to learn to walk and stand."
He reigned in his walking, but other?wise plunged ahead almost suicidally. In the fall he traveled to New York to prepare for his conducting debut at the Metropolitan Opera, and in the fall of 1909 he added yet another strenuous obligation: the full-time musical directorship of the New York Philharmonic. Given his health and the relentless pace of his activities, it is perhaps surprising that he managed to live almost four years after receiving his initial diagnosis.
Mahler seems to have tried tricking death with Das Lied von der Erde. He subscribed to the superstition that composers did not sur?vive beyond their ninth symphonies -a la Beethoven and Bruckner -and so avoided
calling this his Symphony No. 9, which it essentially is (since Mahler's symphonies often included prominent sections for vocal soloists). Instead, he gave it the un-numbered title A Symphony for Tenor, Contralto (or Baritone), and Orchestra. He did go on to compose Symphony No. 9; fatefully, it would prove to be his last, and his tenth remained an incomplete fragment.
A friend had presented Mahler with The Chinese Flute, a collection of Chinese (or pseudo-Chinese) poems assembled and translated into German by Hans Bethge. Their basic philosophy both reflected Mahler's death-fears and offered a measure of consolation: their message is that nature -the earth -goes on, perpetually renew?ing itself, but that man's experience of it is inevitably limited to a brief span. Mahler launched into his Bethge settings in the summer of 1907, immediately after receiv?ing his "death sentence," and completed the orchestration in New York during the 1908-09 season. Though it called for a very large orchestra, Mahler deployed his resources selectively, rather as a chamber ensemble with enormous possibilities. It is easy to understand why Schoenberg should have considered it appropriate for a chamber transcription.
The musical language of Lieder eines fahrenden Gesellen remains basically intact in Das Lied von der Erde, but the intervening years (and eight symphonies) had yielded a vast expansion of Mahler's musical and emotional palette. Along with his Symphony No. 9, this is perhaps the most introspective of his works, and such ear-tickling details as the chinoiserie of occasional pentatonic scales (as in the third and fourth songs) do nothing to obscure that this is a valedictory masterpiece of autobiography. The finale is one of Mahler's greatest movements. A half-hour long, and therefore nearly as long as all that has come before, it comprises two of Bethge's poems (with a final verse of
Mahler's own appended), and a desolate funeral march, which provides no relief from its heart-breaking sense of yearning and regret.
Mahler never heard Das Lied von der Erde performed. Bruno Walter would lead its premiere on November 20, 1911, six months after the composer's death. "Das Lied von der Erde" wrote Walter, "is the most personal utterance in Mahler's creative work and perhaps in music. Invention, too, which, beginning with the Symphony No. 6, was occasionally of less importance in itself to the great symphonic artist than as mere material for his creative forming, regains its highly personal character and, in that sense, it is quite in order to call Das Lied von der Erde the most 'Mahleresque' of his works."
Program notes by James M. Keller, Program Annotatorfor the Orchestra of St. Luke's and St. Luke's Chamber Ensemble, who also writes about music on staff at The New Yorker.
After studying the piano with Marcel Gazelle at the Conservatory of Ghent, his native city, Philippe Herreweghe devoted himself to the study of medicine and psychiatry, graduating in 1975. It was during his student years that he founded the Collegium Vocale of Ghent and attract?ed the attention of Nikolaus Harnoncourt and Gustav Leonhardt who asked him to participate in the recording of the complete cantatas of Bach.
The founding of La Chapelle Royale in 1977 and later of the European Vocal Ensemble made it possible for him to explore a repertory that extends from the Renaissance to the present day.
Philippe Herreweghe also conducts orchestras playing on instruments of the period: besides La Chapelle Royale and the
Collegium Vocale of Ghent, he is regularly invited to conduct the Concerto Koln, The Age of Enlightenment, the Freiburger Barockorchester as well as tradi?tional orchestras such as The Scottish Chamber
Orchestra. He is the leading guest conduc?tor of the Ensemble Musique Oblique. In collaboration with the Theatre des Champs-Elysees he founded the Orchestre des Champs-Elysees in 1991 with the aim of performing the romantic and pre-romantic repertory on original instruments.
He already has a large and important number of recordings to his credit, covering an extremely wide and varied repertory. Special mention may be made of Monteverdi's Vespers, the complete Passions, Motets and the Mass in b minor of Bach, Pierrot lunaire of Schonberg and the Violin Concerto, Op. 12 by Kurt Weill.
Since 1982 Philippe Herreweghe has been the artistic director of the Festival of Early Music in Saintes. He was also nomi?nated "Musical Personality of the Year 1990" by the Belgium musical press and "Cultural Ambassador for the Flanders" with the Collegium Vocale in 1993.
This performance marks Philippe Herreweghe's debut under UMS auspices.
ezzo-soprano Annette Markert was born in the Rhoen Valley in Germany and studied music at the Hochschule fur Music in Leipzig. Her first operatic engagement was in the Opera House of Halle, Germany (1983-1990), where the city of Halle twice awarded her the prestigious Handel Prize. At the Opera House of Halle she specialized in operas of Handel, particularly title roles such as Orest, Rinaldo and Floridante. She was then engaged at the Operahouse of Leipzig (1991-1996), where she won critical acclaim in such roles as Rosina in Barbiere di Siviglia, Cherubino in Le Nozze di Figaro, Dorabella in Coslfan tutte and Ogla in Eugene Onegin. Ms. Markert performed with the Basel Opera and the Opera Chatelet of
Pans during the 1996 season. Her recent and future concert tour loca?tions include Europe, Japan, Canada, Israel and the US. Her recent and future engagements include performances at the Salzburg Festival, with the Vienna
Philharmonic Orchestra, Gewandhausorchestra of Leipzig, the New York Philharmonic, the Orchestra Phiharmonique de Radio France, La Chapelle Royale, Orchestre des Champs Elysees, Virtuosi Saxoniae and the Israel Philharmonic, with such conductors as as Kurt Masur, Marek Janowski, Philippe Herreweghe, Kurt Sanderling, Ludwig Guttler, Peter Schreier and Lothar Zagrosek. She has recorded for Decca, Harmonia Mundi and Berlin Classics. Last year she recorded Mozart's Requiem with Philippe Herreweghe.
This performances marks Annette Markert's debut under UMS auspices.
Baritone William Sharp is a consum?mate artist possessing the rare combination of vocal beauty, sensitivity and charisma. Praised by The New York Times as a "sensi?tive and subtle singer" who is able to evoke "the special character of every song that he sings," Mr. Sharp has earneda reputation as a singer of great versatility and continues to garner critical acclaim for his work in concert, recital, opera and recordings.
Last season, William Sharp performed several New York engagements: at Alice Tully Hall with the New York Chamber Symphony, with the St. Luke's Chamber Ensemble, with the New York Festival of Song, and with the Chamber Music Society of Lincoln Center. Mr. Sharp's engagements this season include performances of Pierne's Crusade of the Children with the National Symphony Orchestra in Washington, DC and at Carnegie Hall in New York; Haydn's Lord Nelson Mass and Handel's Dixit
Dominus with the Tafelmusik Baroque Orchestra; Mahler's Lieder eines fahren-den Gesellen on tour with the St. Luke's Chamber Ensemble in this Ann Arbor concert and also in New York City, Kansas City, Harrisburg, PA and
Ontario; St. John Passion with the New Jersey Symphony Orchestra; Messiah with the Vancouver Cantata Singers; and perfor?mances of songs by Poulenc, Delage, Auric and Antheil in Texas and at Lincoln Center with the Da Camera Society of Houston. Winner of several prestigious awards, Mr. Sharp is the winner of the 1987 Carnegie Hall International American Music Competition.
William Sharp joined the faculty at the Aspen Music Festival in the summer of 1991. He has been Artist-in-Residence at Lafayette College in Easton, Pennsylvania and at Skidmore College in Saratoga Springs, New York.
This performance marks William Sharp's debut under UMS auspices
High praise for tenor Thomas Young from directors such as Peter Sellars and Mike Nichols is not just for his singing and acting, but also for his incredible versatil?ity. His work at the Netherlands Opera includes: Birtwistle's Punch and Judy, and Schoenberg's Von Heute auf Morgen, directed by Pierre Audi and conduct?ed by Oliver Knussen, and Shostakovich's Lady Macbeth ofMtsensk. He created the role of Enkofo for the world premiere in Antwerp of Red Rubber, composed by Dirk D'Haese with libretto by Alexander Steyermark.
Mr. Young made his New York City Opera debut singing the dual roles of Street and Elijah Muhammed he created for Anthony Davis' X: The Life and Times of Malcolm X. After this "brilliantly chameleon?ic performance" (Donal Henahan, The New York Times), City Opera invited him back to sing Aron in Schoenberg's Moses und Aron, then Desportes in Zimmermann's Die Soldaten. Anthony Davis went on to compose a role specifically for him in his science-fiction opera Under the Double Moon, which premiered at the Opera Theater of St. Louis. Making his San Francisco Opera debut as Molqi in John Adams' The Death of Klinghoffer, Mr. Young created this role for the world premiere at the Opera de la Monnaie in Brussels. Under the direction of Peter Sellars and baton of Kent Nagano, performances followed at the Opera de
Lyon in Vienna, and at the Brooklyn Academy of Music. Other operas include Messiaen's St. Francois d'Assise at the Salzburg Festival with Sellars and Esa-Pekka Salonen, the US premiere of Rossini's Armida as Rinaldo at Tulsa Opera, and Handel's Imeneo at New York's Town Hall. In February, Mr. Young sang the role of Polo in Tan Dun's opera Marco Polo at the Hong Kong Festival. This season, he will debut with the Lyric Opera of Chicago in another role written for him in the world premiere of Anthony Davis' Amistad.
With concert appearances in the major music centers of more than twenty countries, Mr. Young's US perfor?mances include, in New York: Blitzstein's Airborne Symphony and Schmidt's The Book of the Seven Seals with the
American Symphony Orchestra at Avery Fisher Hall; Beethoven's Symphony No. 9 with the Brooklyn Philharmonic, conducted by Dennis Russell Davies, at BAM and Avery Fisher Hall; Mozart's Great Mass with Lukas Foss at BAM; Too Hot to Handel and Duke Ellington's Sacred Songs with the Concordia Orchestra at Alice Tully Hall; Artist-in-Residence with the Philharmonia Virtuosi with founder and conductor Richard Kapp; and J.S. Bach's Mass in B Minor and Magnificat with the Long Island Philharmonic.
This performance marks Thomas Young's debut under UMS auspices.
St. Luke's, a multifaceted organization, encompasses three divisions: the Orchestra of St. Luke's; the St. Luke's Chamber Ensemble; and Children's Free Opera & Dance of New York. The St. Luke's Chamber Ensemble was formed in 1974 when a group of twenty musicians offered a season of concerts at the Church of Saint Luke in the Fields in New York City's Greenwich Village. The programs, which included chamber works, music for chamber orchestra, chamber operas, early music on original instruments, and premiere performances of works by leading American composers, reflected the versatility and cohesiveness that have become St. Luke's hallmarks.
The Chamber Ensemble consists of virtuoso artists who perform nationally and internationally. Playing in a variety of configurations, the Ensemble performs repertoire ranging from Baroque suites to contemporary works of large, mixed ensem?bles. The Ensemble presents an annual subscription series at Weill Recital Hall at Carnegie Hall and at the Brooklyn Museum of Art. The series opened this month with a stellar cast of singers in an all Mahler pro?gram conducted by Philippe Herreweghe. This concert was performed at the Brooklyn Museum of Art and at the Metropolitan Museum of Art, where this season St. Luke's performs its newest series. Expanding its long-standing commitment to the perfor?mance of contemporary music and valuable artistic collaborations, in 1993 St. Luke's ini?tiated "Second Helpings," an annual series of concerts now presented at Dia Center for the Arts. "Second Helpings" presents premieres and repeat performances of chamber works previously premiered -either by St. Luke's or other ensembles -in the informal and relaxed environment of Dia's galleries. Each of the three concerts centers around a prominent twentieth century chamber work
and is introduced by St. Luke's Composer-in-Residence, Eric Ewazen.
Congregation Emanu-El, the largest Jewish house of worship in the world, also presents the St. Luke's Chamber Ensemble in a festival of three concerts in May, which are free and open to the public. Each con?cert focuses on a single composer, allowing the audience and musicians to explore that composer's work in depth.
The Chamber Ensemble's newest recording is entitled Wedding Gifts, a collec?tion of Bach wedding cantatas with the Ensemble and soprano Heidi Grant Murphy on Arabesque. Other recordings include performances of Dvorak's String Quintet in G, Hindemith's Octet and Septet, Schubert's String Quintet in C, and various Mozart divertimenti and Bach concerti, all with MusicMasters. Over the past few years, the organization has commissioned and pre?miered many new works, including John Adams' Fearful Symmetries, Anthony Davis' Litany of Sins, and Bruce Adolphe's Sharehi. In honor of St. Luke's twentieth anniversary in 1994, St. Luke's commissioned a piano and wind trio from Andre Previn, which was performed with the composer.
In addition to its recordings, perfor?mances and broadcasts, the Ensemble participates in St. Luke's arts-in-education programs, Children's Free Opera & Dance and the In-School Workshops, in which members present performances and work?shops for students in New York City schools. St. Luke's also appears each summer at the Caramoor International Music Festival in Katonah, New York.
Characterized by a commitment to ensemble playing, diverse programming, high quality educational programs, and collaborations with a variety of performing arts organizations, St. Luke's has created a distinctive, vital identity, establishing a place for itself among the nation's finest musical institutions.
These performances mark St. Luke's Chamber Ensemble's debut under UMS auspices. The Orchestra of St. Luke's made its debut under UMS auspices in March 1993 and returned for two May Festival performances under the baton of Robert Spano in 1994.
The St. Luke's Chamber Ensemble tour is sponsored in part by France Telecom.
Guitar Summit IV
Herb Ellis Michael Hedges Sharon Isbin Rory Block
Thursday Evening, October 16,1997 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
This evening's program will be announced from the stage. The artists will perform in the following order:
Herb Ellis Rory Block
Sharon Isbin Michael Hedges
Susan Lamborghini, Tour Manager
Fred Allen, Technical DirectorLighting Designer
Charles Trundy, Sound Engineer
Ninth Concert of the 119th Season
Six Strings Series
This performance is presented with support from AAA Michigan and media partner WDET, 101.9 FM, Public Radio from Wayne State University.
Large print programs are available upon request.
Herb Ellis' innate talent, artistic commitment and deep passion for playing have earned him legendary status in the jazz world. His guitar playing career began at age seven, when he was given a guitar by a cousin, figured out how to tune it, and taught himself to play. Later, while attending music school at North Texas State University (where he was forced to major in bass violin because the school had no guitar instructors) he received his first real exposure to jazz.
Ellis started listening to Count Basie, Lester Young, Dizzy Gillespie, Charlie Parker and other jazz icons. But true inspiration
came when he first heard Charlie Christian, a guitarist with the Benny Goodman orchestra. Anxious to get out in the world and play, Ellis left the university after two years, and headed for Kansas City. Then in 1944, at age twenty-one, he
began playing with Glen Gray's Casa Loma Orchestra and later, went on the road with Jimmy Dorsey's band. Having gained invaluable experience, he exited with several fellow band members to form Soft Winds, an instrumental-vocal trio based in Boston. Performing with the group, from 1947-52, brought Ellis prominence in the music word and led to a particularly fortuitous meeting.
"One night, we were performing in Buffalo, New York, Oscar Peterson happened to be in the audience," says Ellis. "After the show we talked, and in 1953, when he needed a guitarist to round out his trio (which included bassist, Ray Brown) he called me." For six years Ellis played with the group and received international acclaim. During those years, Ellis also toured with Jazz at the
Philharmonic, a prestigious group of all-stars.
In the late 1950s, he led a quartet backing the woman he calls "the world's greatest singer" -Ella Fitzgerald. And throughout the 1960s, he played extensively with various studio bands on television. Starting with Donn Trenner's band on the Steve Allen Show, he then jumped to the Terry Gibbs Combo on the Regis Philbin Show and con?tinued with stints for the Danny Kaye, Red Skelton, Joey Bishop, Virginia Graham, Delia Reese and Merv Griffin shows.
The 1970s found Ellis teaming up with other guitarists -the legendary Joe Pass as well as a fifteen-year involvement in the historic jazz trio, the Great Guitars. With a combined ninety years of musical experience, Ellis, Barney Kessel and Charlie Byrd, received overwhelming public and critical accolades. Another tremendously successful trio for Ellis was Triple Treat. Formed in early 1980s, it featured Ray Brown on bass and Monty Alexander on piano. In the early 1990s, Herb re-forged his famed alliance with Oscar Peterson. The reunion produced a phenome?nal recording, The Legendary Oscar Peterson Trio Live at the Blue Note, which garnered two Grammy nominations in 1991.
Recordings have continually highlighted Ellis' career. His impressive body of work includes over 200 recordings on which he has played an integral role. His releases on Justice Records over the last several years -Roll Call, Texas Swings (featuring Willie Nelson), and 1996's Down-home all have received criti?cal acclaim. Despite his hectic recording and performance schedules, Ellis has always made it a priority to give something back to the music world. His main contribution has been the instruction and guidance he has provided for other musicians. Through educational books, videos and clinics he has developed a teaching approach that reaches both the beginner and the accomplished.
This performance marks Herb Ellis' debut under VMS auspices.
Winner of two consecutive W. C. Handy awards (Acoustic Blues Album of the Year and Traditional Blues Female Artist of the Year), Rory Block learned her craft from the truly legendary guitarists Son House, Reverend Gary Davis, and Mississippi John Hurt. Hailed by many as the best blues guitarist in the business, Block attracts such guests on her recordings and performances as Stevie Wonder, Bonnie Raitt, Mary Chapin Carpenter and Taj Mahal. Her stunning versatility performing intense Delta blues, passionate folk, and gripping originals have garnered her headlining spots at festivals as diverse as the San Francisco Blues Festival, the Edmonton and Philadelphia Folk Festivals, the Memphis in May Festival, W.O.M.A.D.'S Blues and Rhythms in England, the Peer R 7 B Festival in Belgium, and the giant Pink Pop Festival.
Rory Block grew up in New York City. Her father Alan Block, a banjo and country fiddle player was a sandal maker and leather craftsman who had a store in Greenwich Village. It was in the mid 1960s, the heyday of the folk revival, that his shop became the unofficial headquarters of the old-time string band revival, and impromptu jam sessions continuously took place. Rory, who had been studying classical guitar, was drawn to the sound of the great Delta blues guitarists who would stop by the shop, and she found herself in the very fortunate posi?tion of having personal contact with some of the greatest old bluesmen. The legendary Son House showed Block his style of singing and playing guitar. Skip James, Reverend Gary Davis and Mississippi John Hurt were also on hand to give her inspiration and advice. Block's first recording was at age sixteen when she performed on Stephan Grossman's How to Play Blues Guitar instructional album. Her early record deals were with RCA for one album, Chrysalis for two, and Blue Goose, an independent label
where she recorded one album. In 1981, she began her relationship with Rounder records, and it has proved to be a very successful one.
Block's latest CD, Gone Woman Blues, is a compilation of acoustic blues sides from her five most recent Rounder releases. Tornado, released in 1996, featured guest spots from Mary Chapin Carpenter, Paul Shaffer and others. Her 1995 release, When A Woman Gets The Blues, was one of her most acclaimed recordings, winning her a prestigious W. C. Handy Award for traditional blues recording of the year.
Her 1991 release, Mama's Blues, was issued on Rounder Records and features several of Block's passionate originals as well as inspired Delta blues by the likes of Robert Johnson, Tommy Johnson, Bessie Smith and Buddy Boy Hawkins. Although Block is known for many styles, Mama's Blues was a return to the all-
blues format that was so successful on her first Rounder album High Heeled Blues. Block's follow-up, Ain't IA Woman, may be Block's most poetically evocative and artistically origi?nal work to date; her music is both a his-
toric preservation of the past as well as a strong and original contemporary vision of the blues. Block is joined by such esteemed members of the music world as Mark Knopfler and Alan Clark of Dire Straits, John Sebastian, and John Hall.
As described by her long-time friend Bonnie Raitt, "Rory Block has been an inspiration to me since we started out years ago. Her guitar playing, singing and song-writing are some of the most soulful in tra?ditional and modern blues."
This performance marks Rory Block's debut under UMS auspices.
Acclaimed for her extraordinary lyri?cism, technique and versatility, Sharon Isbin is considered one of the finest guitarists in the world. Named "Best Classical Guitarist" by Guitar Player in 1996, and the winner of the Toronto, Munich and Queen Sofia (Madrid) international compe?titions, she gives sold-out performances in the greatest halls throughout the world, including New York's Carnegie and Avery Fisher Hall, Boston's Symphony Hall, Washington DCs Kennedy Center, London's Barbican Center and Wigmore Hall, Amsterdam's Concertgebouw, Munich's Herkulessaal, and Madrid's Teatro Real. Her best-selling recordings for EMIVirgin Classics and Concord -from Baroque, SpanishLatin and Twentieth-Century to crossover and jazz fusion -have received many awards, including "Recording of the Year" in Gramophone and CD Review, "Best Recording" in Stereo Review, and "Best Classical Album" in Guitar Player. Recent
titles include J.S. Bach: Complete Lute Suites, Nightshade Rounds, Road to the SunLatin Romances, Love Songs and Lullabies (with Benita Valente), and RodrigoVivaldi con-certi. Her latest recording, Journey to the Amazon is the
first of a new multi-record contract with Teldec Classics and features South American music with guest artists Paul Winter on soprano saxophone and Thiago de Mello on Brazilian percussion.
Praised as "the Monet of classical guitar" {Atlanta Journal) Isbin has also been acclaimed for expanding the guitar reper?toire with some of the finest new works of the century and has commissioned and pre-
miered more concerti than any other gui?tarist. American Landscapes, with the Saint Paul Chamber Orchestra, is the first-ever recording of American guitar concerti and features works written for her by John Corigliano, Joseph Schwantner and Lukas Foss. Other composers who have written for her include Aaron Kemis, Tan Dun, Leo Brouwer, Joan Tower, David Diamond, and Ned Rorem.
This season, Isbin has over sixty concerts in the US alone including appearances in New York (with guest mezzo Denyce Graves), Washington DC (with the National Symphony), Los Angeles, San Francisco, Boston, Minneapolis, Atlanta, Miami, Baltimore and Toronto. She appears in festi?vals throughout the world, including Mostly Mozart, Aspen, Santa Fe, Montreux, Strasbourg, Paris, and Hong Kong, and with many orchestras including the Saint Louis, Indianapolis, Minnesota, Milwaukee, Houston, Phoenix, London, BBC Scottish, Orchestra National de France, and Tokyo Symphony Orchestras. She was recently featured on the nationally televised CBS Sunday Morning program, and often appears on NPR's St. Paul Sunday and Garrison Keillor's A Prairie Home Companion.
Born in Minneapolis, Isbin began her guitar studies at age nine in Italy and later studied with Oscar Ghiglia and Andres Segovia. She has collaborated with many artists, from baroque specialist Rosalyn Tureck to Brazil's Antonio Carlos Jobim, and recorded and toured for years as a trio with Laurindo Almeida and Larry Coryell. In March 1998, she will make a recording with mezzo-soprano Susanne Mentzer for Erato. Author of the Acoustic Guitar Answer Book, Isbin is Director of the guitar depart?ments of The Juilliard School and the Aspen Music Festival. She has served as Artistic Director of festivals for Carnegie Hall and National Public Radio.
Visit Sharon Isbin on the Internet at:
This performance marks Sharon Isbin's debut under VMS auspices.
ichael Hedges is one of the most innovative and kinetic acoustic guitarists in the history of the instrument. He is first and fore?most, however, a composer who plays guitar, not a guitarist who .plays compositions. His radical guitar techniques are a means to an end, and they result from the demands of his compositions rather than conspicuous attempts at virtuosity. Hedges' embodiment of contemporary composer, innovative gui?tarist, and flamboyant performer all in one has led to an eclectic and individual style which consistently defies categorization. He has used various phrases to describe his music over the years -"violent acoustic," "heavy mental," "acoustic thrash," "wacka-wacka," "edgy pastoral," "savage myth" -but regardless of what he or anyone else calls it, the fact remains that Hedges has defied classification for fifteen years while still producing profoundly expressive music on his own terms.
Hedges' life in music began in his home?town of Enid, Oklahoma, where he flirted with various instruments before focusing on flute and guitar. He eventually enrolled at Phillips University in Enid to study classical guitar, but more importantly, to study com?position under the tutelage of his mentor E. J. Ulrich. He then went on to earn a degree in composition from the Peabody Conservatory in Baltimore, while concur?rently nurturing an interest in electronic music. That interest led him in 1980 to Stanford University's renowned electronic music department. While playing an acoustic set in nearby Palo Alto, Hedges was
heard by Windham Hill co-founder and guitarist William Ackerman.
Hedges' first Windham Hill release in 1981, Breakfast in the Field, immediately established him as the label's rebel and pio?neer of an entirely new acoustic guitar genre as profound as that created by Hedges' self-described "big brother," Leo Kottke, before him. In 1984, he created a milestone record?ing unlike anything anyone had ever heard -the Grammy-nominated Aerial
Boundaries. Watching My Life Go By fol?lowed in 1985, and 1987 saw Live on the Double Planet. In 1990, Michael received another Grammy nomination for Taproot. After a break of four years, he released The Road to Return.
Hedges' most recent release for Windham Hill is the highly acclaimed Oracle. Amid the delicate solo compositions and sometimes churning ensemble work, there is the acoustic guitar, from which Oracle draws its power and its heart. Oracle signals Hedges' full-throttle reemergence into the world of instrumental guitar music after several albums which found him exploring a wide-ranging vocal concept. While it features some of the singing styles and elaborate arrangements of classic Hedges albums, Oracle is a purely melody and song oriented affair, shaded with new colors and textures from his extensive compositional palette.
Hedges has appeared on the cover of every major guitar magazine, winning Guitar Player magazine's readers' poll award for "best acoustic guitarist" five years run?ning. Hedges says, "[Guitar Player] retired me to their 'Gallery of the Greats.' I took that to mean that I no longer have to prove to anybody that I am a guitarist....! don't
want to be limited by what people call a 'style.' I want to write music as I feel it, not what people expect of me because of what I've done in the past." One gets the sense that Hedges has come full-circle, or as many of his new songs suggest, is feeling reborn.
His genius has always been his ability to use his music as a tool for self-discovery as well as the means for expressing it. This has never been truer than right now.
This performance marks Michael Hedges' debut under UMS auspices.
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Richard Sherman, Flute Harry Sargous, Oboe Fred Ormand, Clarinet Richard Beene, Bassoon Bryan Kennedy, Horn Freda Herseth, Mezzo-soprano
Anton Nel, Piano
Paul Kantor, Violin
Liza Zurlinden, Violin
Yizhak Schotten, Viola
Anthony Elliott, Cello
Erling Blondal Bengtsson, Cello
Carl Nielsen
Louis Spohr
Franz Schubert
Sunday Afternoon, October 19, 1997 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Wind Quintet, Op. 43
Allegro ben moderato
Praeludium (Adagio) --
Tema con variazioni (Un poco andantino)
Sherman, Sargous, Ormand, Beene, Kennedy
German Songs for Voice, Clarinet and Piano, Op. 103
Sei still mein Herz
Wiegenlied (in drei Tonen)
Das heimliche Lied
Wach auf
Herseth, Ormand, Nel
Cello Quintet in C Major, D. 956
Allegro ma non troppo
Scherzo: Presto; Trio: Andante sostenuto
Kantor, Zurlinden, Schotten, Elliott, Bengtsson
Tenth Concert of the 119th Season
Large print programs are available upon request.
Wind Quintet, Op. 43
Carl Nielsen
Born on June 9, 1865 in Sortelung, Denmark
Died on October 3, 1931 in Copenhagen
The music of Danish composer Carl Nielsen has long been overshadowed by that of his exact contemporary and fellow Scandinavian Jean Sibelius. Both established their reputa?tions through extended symphonic works, built firmly on the foundation provided by the ninteenth-century symphonic tradition. Both rejected many of the innovations introduced by other twentieth-century com?posers, and developed compositional styles with an intensely personal character despite this conservative element in their work. But it was Sibelius who garnered the early fame, while Nielsen's music has only recently begun to achieve wider renown outside his native country.
If there is one trait that distinguishes Nielsen's music from Sibelius' it is perhaps his classicism, expressed not only in the for?mal conception of his works, but in their clarity, transparency of texture, stronger reliance on tonal harmony, and even humor. After Nielsen had completed the fifth of his six symphonies in 1922, his musical style became more chamberistic. This was first apparent in one of his most popular works, the Wind Quintet, Op. 43, in which the music is derived directly from the character of each individual instrument: flute, oboe, clarinet, bassoon, and horn. Nielsen once said that he felt like he was creeping inside the instrument he was writing for, discover?ing its soul and becoming a part of its being. With the great variety of timbres and colors within the woodwind family, the wind quin?tet genre allowed Nielsen to explore this "counterpoint of characters" that would become a trait of his later style. Ironically, the Wind Quintet was the last piece of chamber music Nielsen composed; the new
chamberistic style would be developed fur?ther in his later orchestral pieces.
Nielsen composed the Wind Quintet not only with the instruments' particular personalities in mind, but also the individual personalities within the ensemble that pre?miered it, the Copenhagen Wind Quintet. It was when Nielsen heard this group rehearsing Mozart that he had the idea of composing a quintet for them -further evidence of his classical leanings -and there is an unmis?takable Mozartian clarity in the composition's form and texture.
The Wind Quintet is nominally in the key of A Major, though the first movement, "Allegro ben moderato" is in E. The first theme, and arpeggiated figure heard in the solo bassoon, returns in various guises throughout the movement, which is redo?lent with pastoral allusions and the forest freshness of the Danish countryside. The second movement, a gentle minuet in A Major, includes long passages of unashamed two-part writing, and a mischievous trio. The final movement is a theme with varia?tions, introduced by a long "Praeludium" in c minor in which the oboist switches to the darker English horn. But the wild, even pri?mal demeanor of this passage soon fades, replaced by a gentle A-Major harmonized hymn tune that is the basis for the eleven subsequent variations. The tune, Min Jesus, lad min Hjertefaa en saadan Smagpaa dig (My Jesus, make my heart to love Thee) is one of Nielsen's own, taken from his Hymns and Sacred Songs of 1912-16. Each of the instruments is given a solo variation during the movement, in which the respective instrumental characters are most clearly evi?dent. Numerous martial episodes alternate with gently lilting variations, rustic dances, and a delightfully comic duet (in the fifth variation) between the bassoon and clarinet. The chorale tune returns at the end, bestow?ing a mood of joyous calm on the whole.
German Songs for Voice, Clarinet and Piano, Op. 103
Louis Spohr
Born on April 5, 1784 in Braunschweig,
Germany Died on October 22, 1849 in Kassel, Germany
Though now a relatively obscure figure, the German composer Louis Spohr's fame and influence in the middle of the nineteenth century was exceeded only by Mendelssohn's. Spohr was an active and important conductor, championing the music of Bach and Wagner before either of them became fashionable. He was also a renowned violinist, attracting students from all over the world. As a com?poser, he had a certain experimental flair, writing, for example, double string quartets and a handful of early programmatic sym?phonies, and in his operas he prefigured Wagner's use of leitmotifs. But Spohr's musical language remained, for the most part, conservative.
Spohr composed over ninety Lieder, although the song genre was not one of his principal interests; opera, symphony, and chamber music were most important to him. But his preference for unusual combi?nations of instruments overflowed into his Lieder composition as well. In the Op. 101 collection he composed a four-handed piano accompaniment; other songs include obbligato parts for violin, two violins, and, in the case of the Op. 103 songs, clarinet.
The German Songs, Op. 103, were written in 1837 at the request of the Princess of Schwarzburg-Sondershausen. The clarinetist in the Princess's court orchestra, Johann Hermstedt, was a friend of Spohr's, and it was for him that Spohr conceived the clar?inet part, while the Princess herself sang soprano. The Princess was reportedly so delighted with the songs that she gave Spohr a valuable ring in appreciation for the work, and he dedicated the collection to her when
it was published in Leipzig the following year.
In Lieder composition, Spohr tended toward the comfortable domestic atmos?phere of the middle-class drawing room. Nowhere is this more apparent than in the Op. 103 set; in which the songs are generally strophic, usually in triple meter, a major key, and with a gently rocking piano accompani?ment. There is certainly art in these songs, but little artifice or pretension.
In the first song of Op. 103, "Sei still mein Herz," the clarinet plays a concertante role, filling in the pauses between vocal phrases with arpeggiated runs, while adding gentle countermelodies to the vocal line. The second song, "Zwiegesang," has the clar?inet imitating the birds mentioned in the text, with trills and ornaments in dialogue with the singer. With its pastoral associations it may recall Schubert's Der Hirt aufdem Felsen composed nine years earlier for pre?cisely the same instrumental combination. "Sehnsucht" inhabits a darker sound world of chromatic harmonies, as the clarinet again arpeggiates through its entire range, perhaps portraying the depth of the poet's longing. "Wiegenlied (in drei Tonen)" brings a sudden change from the restlessness of the previous song, and is something of a novelty. As the title suggests, the vocal line consists of only three notes: B-flat, C, and D. The accompanying harmonies and changing clarinet patterns provide the variety. "Das heimliche Lied" is a study in juxtaposition, with its rapid dynamic changes and seam?less modulations between the parallel major and minor keys. "Wach auf," the final song, scampers through trills, bells, and dance rhythms as it urges the listener to share in the excitement of youthful love.
Cello Quintet in C Major, D.956
Franz Schubert
Born on January 31, 1797 in
Himmelpfortgrund, Austria Died on November 19, 1828 in Vienna
In the years leading up to his tragically early death, Franz Schubert suffered a series of illnesses that often left him so weak he was unable to compose for long periods of time. Yet in the months immediately before his death in late 1828, there came from the composer's pen an outpouring of magnifi?cent music; it may well have been his swan-song, his farewell to mortality. In addition to most of the Lieder later published as the Schwanengesang, Schubert composed his last three piano sonatas, a string quartet, and the Cello Quintet in C Major, all in September 1828, a matter of weeks before his death. While the other works all had an earlier genesis in sketches, the quintet seems to have emerged from merely a week or two of intense creativity. Within that short span of time, the composer was able to condense a wealth of emotion beyond his experience. As Joseph Horowitz surmised, "Perhaps it is merely a sentimental conceit to imagine that Schubert's truncated output telescopes a lifetime of experience, that his late works intimate mortality. Still we cannot suppress the knowledge that the C-Major Cello Quintet, freighted with nostalgia and other?worldly calm, was his last work of chamber music; that, months later, he turned his head to the wall and died."
The high esteem in which performers and audiences hold Schubert's Cello Quintet is perhaps best summarized by his biogra?pher John Reed, who stated that the Cello Quintet is "not only essential Schubert, not only his greatest piece of chamber music, but on any reckoning a supremely poetic expression of the romantic spirit in music."
Schubert seems to have followed the Mozartian model in composing a string
quintet although, unlike Mozart, he added a second cello to the standard ensemble rather than a second viola. This seems at first a curious choice as Schubert was (like Mozart) a violist, and may reasonably have been expected to add the instrument he played himself. But Schubert's increasing interest in the cello sonority had begun to emerge with greater clarity in his other late works as well. His last String Quartet in G and the late piano trios show an increasing liberation of the cello from its traditional role as harmonic bass line, allowing it to become an indepen?dent melodic voice. In the Cello Quintet, it adds warmth to the sonority, enriches the middle textures, and plays some of the most beautiful melodic lines ever conceived.
Schubert leaves the opening of the first movement harmonically ambiguous, hesi?tantly touching on the tonic key before embarking on some tonal wanderings that are a hallmark not only of this work, but of his late style in general. The first theme in this sonata-form movement, a jaunty con?trapuntal passage reworked from an earlier Fantasia for violin and piano, quickly gives way to the famous second theme, a glorious cello duet in E-flat that is the emotional center of the movement. The modulation to a non-traditional key area (the usual practice would have been to modulate to the domi?nant, G, for the second theme), and the unusual scoring are all but overshadowed by the sublime lyricism of the cello melody, underscored by the pizzicato viola playing the bass line. The development section shows again Schubert's fondness for key relationships of a third -the mediant and submediant -while the dominant, G Major, does not appear as a substantial key area until the movement's finale.
Jack Westrup once noted that this "robust and courageous" Cello Quintet is "illuminated by shafts of tenderness that no-one, having once heard them, can ever forget." Undoubtedly he was referring to the
second movement "Adagio," one of the most sublime moments in the entire chamber repertoire. It's haunting yet gentle opening (used to great effect in Christopher Hampton's film, Carrington) remains imprinted on the listener long after the sounds have died away. Despite its seeming simplicity, such music is extraordinarily dif?ficult to write. The slow pace lays everything open to view, but in so doing, only demon?strates Schubert's perfect control of his resources. Together with the turbulent mid?dle section, the opening "Adagio" shows the dual disparate emotions of Schubert's farewell: resignation and torment.
The third movement "Scherzo" and "Trio" is almost a mirror image of the preceding "Adagio." In each, the central section is in a Neapolitan key relationship (a half-step higher), and both juxtapose contrasting expressive worlds. The "Scherzo" is heavy and physical, while the "Trio" -normally the section where Schubert allows a moment of spiritual release, a lilting dance, or lyrical point of repose -is wistful and questioning, in both harmonic language and emotional disposition.
In the "Finale," Schubert shows that his humor is not all lost in pathos. The dance begins in c minor, but another cello duet soon establishes the tonic C Major, and before long the sounds of country fiddles and droning accordions enliven the dance without any hint of irony. Schubert's Romantic vision was not exclusively philo?sophical; there was room for joy and opti?mism even in the face of death. As his friend and colleague Josef van Spaun wrote concerning these final months of Schubert's life, "We were the happiest people in all the world."
Program notes by Luke Howard
Richard Beene, bassoon, enjoys an active career as an orchestral player, soloist, cham?ber musician and educator, and is a member of several faculty ensembles. He is also prin?cipal bassoonist with the Toledo Symphony Orchestra, where he has appeared numerous times as a soloist.
The internationally acclaimed cellist, Erling Blondal Bengtsson joined the University of Michigan School of Music Faculty in 1990. Long known to European audiences, he has enjoyed a distinguished and prolific career as a teacher, performer and recording artist not only in the Scandinavian countries, but throughout Europe and the Soviet Union.
Anthony Elliott, cello, has combined admirable careers in performance and teaching for more than two decades. A pro?tege of Janos Starker and Frank Miller, he won the Feuerman International Cello Solo Competition. He is a frequent guest soloist with major orchestras including those of Detroit, Minnesota, Vancouver, CBC Toronto and the New York Philharmonic. Mr. Elliot joined the Michigan faculty in 1994.
Freda Herseth, mezzo-soprano, has sung leading roles in opera houses in Germany and the United States, and has received criti?cal acclaim for her performances in La Cenerentola, The Marriage of Figaro, Hansel and Gretel, Cost fan tutte, Der Rosenkavalier and The Barber ofSevile. She was guest soloist with the Stuttgart Opera from 1983-95.
Paul Kantor, violin, has appeared as concerto soloist with a dozen symphony orchestras, has served as concertmaster of several orchestral ensembles, including the New Haven Symphony, Aspen Chamber Symphony, Lausanne Chamber Orchestra and Great Lakes Festival Orchestra and has been guest concertmaster of the New Japan Philharmonic and the Toledo Symphony
Orchestra. Recognized as one of the principal violin pedagogues of the younger generation, Kantor held concurrent appointments at Yale University, the New England Conserva?tory and Juilliard.
Bryan Kennedy, horn, a two-time prize winner in the Heldenleben International Horn Competition, came to the School of Music in 1995 after a distinguished orchestral career. He was a member of the Detroit Symphony Orchestra from 1982-1995, playing under many renowned con?ductors, including Neemi Jarvi.
Anton Nel, piano, has appeared with orchestras, as a recitalist, and as a chamber musician in North and South America, Europe, Asia and Africa. Recent engagements include debuts with the Cleveland Orchestra, San Francisco and Detroit symphonies and concerts in Russia, Poland, Germany, Denmark, Sweden, Mexico and South Africa.
Fred Ormand, clarinet, has played with the Chicago, Cleveland and Detroit symphony orchestras, and has performed as a soloist with distinguished orchestras in the United States and abroad. Mr. Ormand founded and toured extensively with the Interlochen Arts Quintet and the Dusha Quartet. Hailed as a "genius teacher" by Mstislav Rostropovich, Ormand recently was award?ed the Harold Haugh award in recognition of his outstanding work as a studio teacher.
Harry Sargous, oboe, came to Michigan in 1982 from Toronto where he had been prin?cipal oboist since 1971 of the Toronto Symphony and the Toronto Chamber Winds. He held that position as well with the Kansas City Philharmonic and the Toledo Symphony, and performed for sever?al summers at the Marlboro Music Festival.
Yizhak Schotten, violist, was a member of the Boston Symphony, an exchange member of the Japan Philharmonic and principal violist of both the Cincinnati and Houston symphonies. Before coming to Michigan in 1985, he taught at the University of Washington in Seattle and the Shepherd School of Music at Rice University.
Richard Sherman, flute, is an Associate Professor at Michigan State University School of Music. He is principal flutist with the Chautauqua Symphony Orchestra, and is the former principal flutist with the Rochester Philharmonic Orchestra.
Liza Zurlinden, violin, is an undergraduate student majoring in violin performance. She is a member of the University Symphony Orchestra and is a student of Professor Paul Kantor. This is her third year as a member of the Kocapelli Quartet.
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.
In 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.
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, conducto
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 Experience
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. Throughou 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 Mon. 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 loin 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!
Sal. Dec. 6 Handel's Messiah
Fri. Jan. 9 David Daniels, countertenor
Sat. Ian. 10 Israel Philharmonic Orchestra
Fri. Jan. 30 Beethoven the Contemporary: American String Quartet
Fri. Feb. 13 ]uan-]osi Mosalini and His Grand Tango Orchestra
Sat. Feb. 14 Chen Zimbalista, percussion
Fri. Feb. 20 Chick Corea, piano and Gary Burton, vibes
i. Mar. 13 New York City Opera National Company Donizetti's Daughter of the Regiment
Sat. Mar. 21 Batsheva Dance Company of Israel Sat. 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 Escoffier 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. II 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.
ift 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.
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 r the UMS program book.
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.
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
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
Brauer Investments
Consumers Energy
Detroit Edison Foundation
Ford Motor Credit Company
Ford Motor Company Fund
Forest Health Services Corporation
JPEincThe Paideia Foundation
McKinley Associates
NSK Corporation
The Edward Surovell Co.Realtors
TriMas Corporation
University of Michigan -
University Relations Parke-Davis Pharmaceutical
Research Wolverine Temporaries, Inc.
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
Individuals Robert and Ann Meredith Prudence and Amnon Rosenthal Edward Surovell and Natalie Lacy
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. John F. Ullrich
Marina and Robert Whitman
Roy Ziegler
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
Foundations Chamber Music America Herrick Foundation
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)
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 Ilene 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 Sams 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
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
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
Janice Stevens Botsford David and Tina Bowen Laurence Boxer, M.D. and
Grace J. 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 J. Cole and
Elsa Kircher Cole H. Richard Crane Alice B. Crawford William H. and
Linda J. Damon III Elizabeth Dexter Judy 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. Bockenstcdt and
David A. Fox
l)r. 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 Jean 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
ohn K. Lawrence
Leo A. Legatski
Myron and Bobbie Levine
Dean and Gwen Louis
Mr. and Mrs. Carl). Lutkehaus
Brigitte and Paul Maassen
John and Cheryl MacKrell
Ken Marblestone and
lanissc 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 John and Michelle Morris Barry Nemon and
Barbara Stark-Nemon Martin Neuliep and
Patricia Pancioli M. Haskell and
Jan 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 lane 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 im 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. Steffek Mr. and Mrs.
lohn C. Stegeman Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey 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 VVilles 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 Barfield 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
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 I. Ashe
Essel and Menakka Bailey
Julie and Bob Bailey
Lesli and Christopher Ballard
John and Betty Barfield
Norman E. Barnett
Dr. and Mrs. Mason Barr, Jr.
Leslie and Anita Bassett
Astrid B. Beck and
David Noel Freedman Neal Bedford and
Gerlinda Melchiori Harry and Betty Bcnford RE. Bennett
Ruth Ann and Stuart I. Bergstein )erry and Lois Beznos fohn and Marge Biancke Ruth E. and Robert S. Bolton Roger and Polly Bookwalter C. Paul and Anna Y. Bradley Richard Brandt and
Karina Niemeyer Betsy and Ernest Brater loci N. Bregman and
Elaine S. Pomeranz Mr. and Mrs. Gerald Bright Mary Jo Brough June and Donald R. Brown Morton B. and Raya Brown Arthur and Alice Burks Edward and Mary Cady Joanne Cage Jean W. Campbell Is.thrill' Carduner Jim and Priscilla Carlson
Professor Brice Carnahan
Marchall F. and Janice L. Carr
leannette and Robert Carr
Janet and Bill Cassebaum
Andrew and Shelly Caughey
Yaser Cereb
Tsun and Siu Ying Chang
lames 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
Lolagcne C. Coombs
Mary K. Cordes
Aian and Bcttc Cotzin
Merle and Mary Ann Crawford
William H. Damon III
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 Drcyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser Joan and 1mil 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 Fonthcim James and Anne Ford Wayne and Lynnette Forde Deborah and Ronald Frccdman Harriet and Daniel Fusfeld Bernard and Enid Gaiter Gwyn and )ay 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. Vilma E. Perez Mrs. William Grabb Jerry and Mary K. Gray Dr. John and Rcnee M. Greden Dr. and Mrs. Lazar . 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 I. Stewart George N. Hall Marcia and Jack Hall Mrs. William Halstead
Margo Halsted
Michael C. and Deanna A. Hardy
M. C. Harms
Dagny and Donald Harris
Clifford and Alice Hart
Kenneth and Jeanne Heininger
John L Henkel and
Jacqueline Stearns Bruce and Joyce Herbert Fred and Joyce Hcrshenson Herb and Dee Hildcbrandt Louise Hodgson Dr. and Mrs. Ronald Holz John and Lillian H. Home Linda Samuclson and Joel Howcll 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 Limit 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. Kid Rhea and Leslie Kish Paul Kissncr, M.D. and
Dana Kissner, M.D. James and Jane Kister Dr. George Kleiber Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Barbara and Charles Krause Doris and Donald Kraushaar Konrad Rudolph and
Marie Krugcr 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 Mackic-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 Market Rhoda and William Martel Sally and Bill Martin Dr. and Mrs. Josip Matovinovic
4 4 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 McGauley Deanna Relyea and
Piotr Michalowski Leo and Sally Miedler Icanette and lack Miller Dr. M. Patricia Mortell Sally and Charles Moss Dr. Eva L MueUer Marianne and Mutsumi Nakao Edward and Betty Ann Navoy Frederick C. Ncidhardt and
Germaine Chipault Peter F. Norlin Richard S. Nottingham Mr. and Mrs. James O'Neill Mark Ouirnet and
Donna Hrozencik Donna D. Park Shirley and Ara Paul Dr. Owen Z. and Barbara Periman Margaret D. and lohn 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 1.111.1 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 and Elizabeth Quackenbusl 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
knimi Skalitzky Sarosi Gary and Arlene Saxonhouse Dr. Albert J. and Jane L. Sayed David and Marcia Schmidt David ?. 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
Scott and loan Singer
lohn and Anne Griflin Sloan
Alene M. Smith
Carl and Jari Smith
Mrs. Robert W. Smith
Jorge and Nancy Solis
Dr. Elaine R. Sollc7
Lois and William Solomon
Mr. and Mrs. Edward Sopcak
Dr. Yoram and Eliana Sorokin
Juanita and Joseph Spallina
L. Grasselli Sprankle
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. Theis Edwin J. Thomas Mr. and Mrs. W. Paul Tippett Kathleen Treciak Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Hugo and Karla Vandersypen Jack and Marilyn van der Velde 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. Joan D. Weber Deborah Webster and
George Miller Harry C. White and
Esther R. Redmount Janet 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. Wool! Phyllis B. Wright Don and Charlotte Wyche Mr.zand Mrs. Edwin H. Young Gail and David Zuk
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
Ann Arbor Area Community
Foundation Shlomo and Rhonda Mandell
Philanthropic Fund
lohn 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 lane Wilkinson Drs. lames and
Cathleen Culotta-Andonian Catherine M. Andrea T. L. Andresen
Dr. and Mrs. Dennis I. AngelHs Elaine and Ralph Anthony fames Antosiak and Eda Weddington Patricia and Bruce Arden Bert and Pat Armstrong Gaard and Ellen Ameson Mr. and Mrs. Lawrence E. Arnett Jeffrey and Deborah Ash Mr. and Mrs. Dan E. Atkins III Undi Atkins and Thomas Kenney fim and Patsy Auiler Eric M. and Nancy Aupperle Erik W. and Linda Lee Austin Eugene and Charlene Axelrod Shirley and Don Axon Jonathan and Marlene Ayers Virginia and Jerald Bachman Prof, and Mrs. J. Albert Bailey Richard W. Bailey and
Julia I Bailey Bill and Joann Baker Laurence K Baker and
Barbara K. Baker Gary and Cheryl Balint Drs. Helena and Richard Baton Dr. and Mrs. Peter Banks Kate Barald and Douglas Jewett Barbara Barclay Rosalyn and Mel Barclay lohn R. Bareham Mr. and Mrs. David Barera Maria Kardas Bama 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. Bcckcrt Marquila Bedway Dr. and Mrs. Richard Beil, Jr. Walter and Antic Benenson Merete and Erling Blondal Bengtsson Linda and Ronald Benson Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg Mr.andMrs.S.E.Berki L S. Berlin
Abraham and Thelma Berman Gene and Kay Bcrrodin Andrew H. Berry, D.O,
Bharat C. Bhushan
John and Laurie Birchler
William and Ilene 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 Bonncll
Ed and Luciana Borbely
Lola J. Borchardt
Gil and Mona Borlaza
Dr. and Mrs. David Bostian
Bob and Jan Bower
Dr. and Mrs. Ralph 1 Well
Mclvin W. and Ethel F. Brandt
Representative Liz and
Professor Enoch Brater 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 Cannell Dr. and Mrs. James E. Carpenter Jan and Steve 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 1Wehrley and Patricia Chapman Dr. Carey A. Charles loan and Mark Chester George and Sue Chism Catherine Christen Edward and Rebecca Chudacoff Dr. and Mrs. David Church Robert J. Cicrzniewski Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke CofTey 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 Colquitt 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 J. and Dr. Joan Crawford Mr. and Mrs. Richard Crawford
Kathleen ). Crispell 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 Oalton Lee and Millie Danielson Jane and Gawaine 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. dcLoof 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 K. Doezema Fr. Timothy J. Dombrowski Hilde and Ray Donaldson Steven and Paula Donn Thomas Doran Dick and Jane Dorr 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 Conl: Mr. and Mrs. Richard Edgar Mr. and Mrs. fohn 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 Engclbert Mark and Patricia Enns Carolyne and Jerry Epstein Stephen H. Epstein Mr. and Mrs. Frederick A. Erb Dorothy and Donald F. Eschman lames and Mary Helen Eschman Eric and Caroline Ethington Barbara Evans Adele 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 Felbeck Reno and Nancy Feldkamp Phil and Phyllis Fellin Ruth Fiegel Carol Finerman Clay Finkbeincr 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 John W. Waidley
Winifred Fisher
James and Barbara Fitzgerald
Linda and Thomas Fitzgerald
David and Ann Fluckc
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
Joanna and Richard Friedman
Gail Frames
Philip And Renee Frost
Lcla ). Fuester
Ken and Mary Ann Gaertner
Ari and liana Garni
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 Gciringer and Karen Bantel
ina Hanel-Gerdenich
Michael Gerstenberger
W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson
Paul and Suzanne Gikas
Peter and Roberta Gluck
Sara Goburdhun
Mr. and Mrs. Edward W. Godsalve
Albert L Goldberg
Dr. and Mrs. Edward Goldberg
Ed and Mona Goldman
Irwin J. Goldstein and Marty Mayo
Mrs. Esztcr 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. fames ). Gribble Werner H. Grilk 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 Hackett
Helen C. Hall
Harry L and Mary L Hallock
Sarah I. Hamcke
Mrs. Frederick G. Hammilt
Dora E. Ham pel
Lourdcs S. Bastos Hansen
Charlotte Hanson
Herb and Claudia Harjes
Stephen G. and Mary Anna Harper
Mr. and Mrs. Randy I. Harris
Robert and lean Harris
Robert and Susan Harris
Phyllis Harrison-Ross
M. lean Hartcr
Jerome P. Hartweg
Elizabeth C. Hassinen
Harlan and Anne Vance Hatcher
lames B. and Roberta Hause
Jeanninc and Gary Hayden
Dr. Lucy K. Hayden
Mr. and'Mrs. Edward J. Hayes
Charles S. Heard
Bob and Lucia Hcinold
Mrs. Miriam Heins
Sivana Heller
Margaret and Walter Helmreich
Karl Henkcl and Phyllis Mann
Dr. and Mrs. Keith S. Henley
Margaret Martin Hermel
C.C. Herrington, M.D.
Carl and Charlene Herstein
Charles W. Fisher and
Elfricda H. Hiebert Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Jacques Hochglaube, M.D., P.C Jane and Dick Hoerner Anne Hoff and George Villec Bob and Fran Hoffman Carol and Dieter Hohnke Dr. Carol E. Holdcn 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 Housner Hclga Hover
Drs. Richard and Diane Howlin Mrs.V.C.Hubbs Charles T. Hudson Harry and Ruth Huff Mr. and Mrs. William Hufford 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 Morito Ito Judith G. Jackson Manuel and Joan Jacobs Harold and Jean Jacobson Professor and Mrs. Jerome Jclinek James and Elaine Jensen Keith Jensen JoAnn J. feromin Paul and Olga Johnson Tim and Jo Wiesc Johnson Constance L Jones
Dr. Marilyn S. (ones lohn and Linda K. lonides Stephen G. Joscphson and
Sally C. Fink Tom and Marie luster Mary Kalmcs 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 Maxinc and David Katz Nick and Mcral Kazan Janice Keller
lames A. Kelly and Mariam C. Noland John B. Kcnnard Frank and Patricia Kennedy William and Betsy Kincaid Eva I, Kinncy Dr. David E. and
Heidi Castlcman 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 Kosacheff Edward and Marguerite Kowaleski Richard and Brcnda Krachenberg Jean and Dick Kraft David and Martha Krehbiel William J. Bucci and fanct Krciling 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
Mr. and Mrs. John Laird Mr. and Mrs. Seymour Lampert Janet Landsberg Patricia M. Lang Lome 1 Langlois Carl and Ann La Rue Ms. lill Latta and Mr. David S. Bach Robert and Leslie Lazzerin Mrs. Kent W. Leach Chuck and Linda Leahy Fred and Ethel Lee Moshin and Christina Lee Diane and Jeffrey Lehman Mr. and Mrs. Fernando S. Leon Ron and Leona Leonard Sue Leong Margaret E. Leslie David E. Levine Mr. and Mrs. Harry Levine, III Deborah S. Lewis Donald and Carolyn Dana Lewis Jacqueline H. Lewis Norman Lewis Thomas and Judy Lewis Lawrence B. Lindemcr Mark Lindley Mr. Ronald A. Lindroth Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Jackie K. Livcsay Louis Inch and Tully Lyons Naomi E. Lohr Jane Lombard Dan and Kay Long Ronald Longhofer Mr. and Mrs. Richard S. Lord Joann Fawn Love Donna and Paul Lowry Ross E. Lucke Lynn Luckcnbach
Pamela and Robert Ludolph
Donald and Doni Lystra
Susan ?. Macias
Marcia MacMahan
Geoffrey and Janet Maher
Suzanne and lay Mahler
Deborah Malamud and Ncal Plotkin
Claire and Richard Malvin
Mclvin and lean Manis
Pearl Manning
Geraldine and Sheldon Markel
Professor Howard Markel
Lee and Greg Marks
Alice and Bob Marks
Ann W. Martin
lames E. and Barbara Martin
Rebecca Martin and lames Grieve
Debra Mattison
Margaret Maurer
Jeffrey and Sandra Maxwell
Mr. and Mrs. Donald C. May, Jr.
Mr. and Mrs. Brian McCall
Margaret and Harris McClamroch
Dores M. McCree
Joseph and Susan McGrath
Eileen Mclntosh and
Charles Schaldenbrand Mary and Norman Mdver Bill and Ginny McKeachic Fred McKenzie Margaret B. McKinley Daniel and Madelyn McMurtric Nancy and Robert Meader Anthony and Barbara Medeiros Samuel and Alice Meisels Robert and Doris Mclling Mr. and Mrs. Warren A. Merchant Debbie and Bob Mcrion Bernice and Herman Merte Russ and Brigette Merz Henry D. Messer Carl A. House John and Fei Fei Metzler Ms. Anna Meyendorff Professor and Mrs. Donald Meyer Valerie Meyer Shirley and Bill Meyers Dr. William P. Mies Dr. and Mrs. William M. Mikkelsen Carmen and Jack Miller Dr. Robert R. Miller Kathleen and James Mitchiner Mr. and Mrs. William G. Moller, Jr. ]im and Jeanne Montie Lester and Jeanne Monts Rosalie E. Moore Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Dr. and Mrs. George W. Morley Paul and Terry Morris Melinda and Bob Morris Robert C. Morrow Brian and Jacqueline Morton Cyril and Rona Moscow James and Sally Mueller Gavin Eadie and Barbara Murphy Laura and Charles Musil Dr. and Mrs. Gunder A. Myran Linda M. Nadeau Rosemarie Nagel Isabclle Nash Mr. and Mrs. Homer Neal Randy and Margaret Nesse Susan and Jim Newton John and Ann Nicklas Mrs. Marvin Nichuss Shinobu Niga Susan and Richard Nisbett Laura Nitzberg and Thomas Carli Virginia and Clare North John and Lexa O'Brien Patricia O'Connor
Richard and Joyce Odcll
Henry and Patricia O'Kray
Nels and Mary Olson
Mr. I. L Oncley
Karen Koykka O'Neal and Joe O'Neal
Zibby and Bob Oneal
Kathleen I. Opcrhall
Dr. Jon Oscherwitz
Lillian G. Ostrand
Julie and Dave Owens
Penny and Steve Papadopoulos
Michael P. Parin
Evans and Charlcne Parrott
Mr. and Mrs. Brian P. Patchcn
Mr. and Mrs. Ronald J. Patterson
Robert and Arlcne Paup
Hon. Steven and Janet Pepe
Susan A. Perry
Doris I. Persyn
Ann Marie Petach
James L and Julie Phelps
Joyce and Daniel Phillips
Joseph W. Phillips
Mr. and Mrs. Frederick R. Pickard
Robert and Mary Ann Pierce
Roy and Winnifrcd Pierce
Dr. and Mrs. lames Pikulski
Martin Podolsky
Robert and Mary Pratt
Jacob M. Price
Bradley and Susan Pritts
Ernst Pulgram
Mr. and Mrs. Mitchell Radcliff
Patricia Randlc and lames Eng
Alfred and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Douglas J. Rasmussen
Mr. and Mrs. Robert H. Rasmussen
Sandra Reagan
Kathcrine R. Reebel
Stanislav and Dorothy R. Rehak
JoAnne C. Rcuss
H. Robert and Kristin Reynolds
John and Nancy Reynolds
Alice Rhodes
Ms. Donna Rhodes
Paul Rice
James and Helen Richards
Mrs. F.E. Richart {Betty)
Dennis and Rita Ringle
John and Marilyn Rintamaki
Sylvia Ristic
Mary Ann Rittcr
Kathleen Roclofs Roberts
Peter and Shirley Roberts
Dave and Joan Robinson
Janet K. Robinson, Ph.D.
Richard C. Rockwell
Mary Ann and Willard Rodgers
Marilyn L Rodzik
Mr. and Mrs. Stephen J, Rogers
Mary F. Lxcfflcr and
Richard K. Rohrer Yclcna and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Bernard and Barbara Rosen Drs. Stephen Rosenblum and
Rosalyn Sarvcr
Richard Z. and Edie W. Roscnfcld Marilynn M. Rosenlhal Mr. and Mrs. John P. Rowe Michael and Margie Rudd Roger and O. J. Rudd Dr. and Mrs. Raymond W. Ruddon Samuel and Irene Rupert Robert and Beth Ruskin Tom and Dolores Ryan Mitchell and Carole Rycus Ellen and Jim Saalbcrg Theodore and Joan Sachs Dr. and Mrs. Jagncswar Saha Arnold Sameroff and
Susan McDonough
Miriam S. Jofifc Samson
Ina and Terry Sandalow
John and Reda Santinga
Sarah Savarino
Helga and Jochcn Schacht
Lawrence and Marilyn Schlack
Courtland and Inga Schmidt
Charlene and Carl Schmull, )r.
Thomas Schramm
Carol Schrcck
Gerald and Sharon Schreiber
Sue Schroedcr
Albert and Susan Schultz
Ailcen M. Schulze
Drs. R. R. Lavelle and M. S. Schuster
Alan S. and Sandra Schwartz
Ed and Sheila Schwartz
lane and Fred Schwarz
Jonathan Bromberg and
Barbara Scott David and Darlenc Scovell Michael and Laura Seagram John and Carole Segall Sylvia and Leonard Scgcl Richard A. Seid Suzanne Selig Gcrda Seligson
Stan and Judalyn Greer Seling Ms. fanet Sell
Louis and Sherry L. Senunas George H. and Mary M. Sexton Dr. and Mrs.). N. Shanberge Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shappirio Maurice and Lorraine Shcppard Rev. William J. Sherzer Cynthia Sheve! Drs. (can and Thomas Shope Hollis and Martha Showalter Pam and Ted Shultz Ned Shure and Ian Onder John and Arlene Shy Dr. Bruce M. Siegan Milton and Gloria Siegel Drs. Dorit Adler and Terry Silver Alida and Gene Silvcrman Costetla Simmons-Winbush Sandy and Dick Simon Frances U. and Scott K. Simonds Michael and Maria Simonte Robert and Elaine Sims Donald and Susan Sinta Mrs. Loretta M. Skcwes Irma). Skienar Beverly N. Slater John W. Smillie, M.D. Dr. and Mrs. Michael W. Smith Susan M. Smith Virginia B. Smith
Richard Soblc and Barbara Kessler Richard and Julie Sohnly lames A. Somers Mina Diver Sonda Mrs. Herbert W. Spendlove (Anne) JefTSpindler Edmund Sprunger Francyne Stacey
Samuel T. and Randy Dean Stahl David and Ann Staiger Caren Stalburg, M.D. Betty and Harold Stark Dr. and Mrs. William C. Stebbins Bert and Vickie Stcdc Ron and Kay Stefanski Virginia and Eric Stein William and Gcorgine Stende Barbara and Bruce Stevenson Harold and Nancy Stevenson Sieve and Gayle Stewart lohn and Beryl Stimson Mr. James L. Stoddard Robert and Shelly Stoler
W. F. Stolper
Anjanette M. Stoltz, M.D.
Ellen M. Strand and Dennis C. Regan
Aileen and Clinton Stroebel
Mrs. William H.Stubbins
Valeric Y. Suslow
PegTalburtt and Inn Peggs
Inn and Sally Tamm
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Eva and Sam Taylor
Leslie and Thomas Tcntler
George and Mary Tewksbury
Gauri Thergaonkar and Giri lyengar
Paul Thiclking
Bcttc M. Thompson
Mrs. Peggy Tieman
Mr. Andrew Tomasch
Dr. and Mrs. Merlin C. Townley
James W. Toy
Angic and Bob Trinka
Sarah Trinkaus
Kenneth and Sandra Trosien
Irene Truesdell
Luke and Merling Tsai
Marilyn Tsao and Steve Gao
Jeff and Lisa Tulin-Silver
Jan and Nub Turner
Carol Turner
Dolores J. Turner
Dr. Hazel M. Turner
William H. and Gerilyn K. Turner
Michael and Nancy Udow
Taro Ucki
Alvan and Katharine Uhle
Paul and Fredda Unangst
Mary L. Unterburgcr
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Fred and Carole S. Van Reesema
Kate and Chris Vaughan
Sy and Florence Veniar
Alice and Joseph Vining
Carolyn and Jerry Voight
luhn and Jane S. Voorhorst
Wendy L Wahl, M.D. and
William Lee, M.D. lerry Walden and Julia Tiplady Richard and Mary Walker Bruce and Raven Wallace Mr. and Mrs. Chip Warrick Lorraine Nadelman and
Sidney Warschausky Ruth and Chuck Watts Robin and Harvey Wax Barry and Sybil Wayburn Edward C. Weber Joan M. Weber
Leone Buyse and Michael Webster Jack and Jerry Weidenbach Donna G. Weisman Barbara Weiss Lisa and Steve Weiss Carol Campbell Welsch and
John Welsch
Rosemary and David Wesenberg Mr. and Mrs. Peter Westen Tim and Mim Westcrdale Ken and Cherry Westerman Susan and Peter Westerman Marjoric Westphal Ruth and Gilbert Whitaker B. Joseph and Mary White Iris and Fred Whitehouse Mr. and Mrs. Nathaniel Whitesidc Mr. and Mrs. Carl A. Widmann Christina and William Wilcox
Brymcr and Ruth Williams
Reverend Francis E. Williams
Shelly F. Williams
Beverly and Hadlcy Wine
Jan and Sarajane Winkclman
Dr. and Mrs. Lawrence D. Wise
Charles Wilke and Aileen Gallen
Jeffrey and Linda Witzburg
Charlotte Wolfe
Patricia and Rodger Wolff
Dr. and Mrs. Ira S. Wollner
Muriel and Dick Wong
Nancy and Victor Wong
I. D. Woods
Charles R. and Jean L. Wright
David and April Wright
Mr. and Mrs. R. A. Yagle
Tcruhiko Yamaraki
Sandra and Jonathan Yobbagy
Frank O. Youkstetter
James P. Young
Mr. ohn G. Young
Ann and Ralph Youngrcn
Dr. and Mrs. Joe H. Yun
Mr. and Mrs. F.L. Zeislcr
Peter and Teresa Ziolkowski
David S. and Susan H. Zurvalcc
Garris, Garris, Garris &
Garris Law Office LoomU, Saylcs and Co. LP. Organizational Designs Inc. Alice Simsar Fine Art, Inc. University Bank
Alan and Marianne Schwartz-The Shapero Foundation
MEMORIALS John H. Bryant Mary Crawford George R. Hunsche Alexander Krezel, Sr. (Catherine Mabarak Frederick C. Matthaei, Sr. Steffi Reiss Ralph L. Steffek William Swank Charles R. Tieman John F. Ullrich Francis Viola III Carl H. Wilmot Peter Holderness Woods
Catherine Arcure
Barbara Everitt Bryant
David G. Loesel, Cafe Marie
Katy and Tony Derezinski
Dough Boys Bakery
Einstein's Bagel
Espresso Royale Caffes
Damian and (Catherine Farrcll
Guillermo and Jennifer Flores
Ford Electronics
Daphne Grew
Matthew and Kerry Hoffmann
Kim Hornberger
Kay and Tom Huntzicker
John Isles
Craig L. Kruman
Don and Gerri Lewis
Stephanie Lord
Ron Miller
Rosemarie Nagel
Susan and Richard Nisbett
John and Cynthia Nixon
Mary and Bill Palmer
Maggie Long, Perfectly
Regrets Only
Richard and Susan Rogel
Ann and Tom Schriber
Aliza and Howard Shevrin
Dr. Herbert Sloan
Nat Lacy and Ed Surovell
Tom Thompson
Karla Vandersypen
Whole Foods
Warner Electric Atlantic
Ron and Eileen Weiser
Sabrina Wolfe
Advertiser Index
Ann Arbor Acura
Ann Arbor Commerce Bank
Ann Arbor Reproductive
Medicine Ann Arbor Symphony
Orchestra Bank of Ann Arbor Beacon Investment Bodman, Longley, and
Dahling Butzel Long Cafe Marie
Charles Reinhart Company Chelsea Community
Chris Triola Gallery David Smith Photography The Dental Advisor Dobb's Opticians Dobson-McOmber Dough Boys Bakery Edward Surovell CoiRealtors Emerson School ERIM
Fraleighs Landscape Nursery General Motors Corporation Glacier Hills Gubbins & McGlynn Law
Harmony House Hill Auditorium Campaign Howard Cooper Imports Individualized Home Care
Nursing Interior Development
44 John Leidy Shop, Inc. 31 KeyBank
26 King's Keyboard House 50 Lewis Jewelers 30 Maude's
33 Michigan Media
8 Miller, Canfield, Paddock,
& Stone
Mir's Oriental Rugs Mundus and Mundus NBD Bank Nina Howard Studio Performance Network Red HawkZanzibar
37 Regrets Only
39 Reinhart Realtors
42 Schwartz Investment Council, Inc.
17 SKR Classical
15 Sweet Lorraine's
34 Sweetwaters Cafe
45 Ufer and Company
50 U-M Matthaei Botanical
U-M Vocal Health Center University Productions Van Boven Shoes WDET WEMU
Whole Foods Market WUOM

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