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UMS Concert Program, Saturday Oct. 25 To Nov. 08: University Musical Society: 1997-1998 Fall - Saturday Oct. 25 To Nov. 08 --

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

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, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
Joseph Curtin and Gregg Alf
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 Ventures, Inc. "Cafc Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
John E. Lobbia
Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organiza?tions that make the
Ann Arbor community a world-renowned center for the arts. The entire community shares in the countless benefits of the excellence of these programs."
Vie Edward Surovell
"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."
Chairman, Ford Motor Credit Company "The people of Ford Credit are very proud of our continuing association with the University Musical
Society. The Society's long-established commitment to artistic excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accom?plishments." _________
Ronald Weiser
Chairman and Chief
Executive Officer,
McKinley Associates,
"McKinley Associates
is proud to support
the University
Musical Society and the cultural contribu?tion it makes to the community."
President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community which
perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
John Psarouthakis,
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."
President, Thomas B. McMuUen 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, Ford Motor Company "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
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."
Miller, Canfield,
Paddock and Slone,
Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community.
JORGE A. SOUS First Vice President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
RONALD M. CRESSWELL, PH.D. Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associat?ed with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Dr. James R. Irwin
Chairman and CEO, The Irwin 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 ofthe 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 J. 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 Judythc 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 I.ihn, ,wmm 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 J. Reid, Assistant Manager and Croup Sales
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 I. Thad Schork, Gift Processing Anne Griffin Sloan, Assistant
Director -Individual Giving
Ben Johnson, Director
Yoshi Campbell, Manager
MarketingPromotion Sara Billmann, Director Sara A. Miller, Advertising and
Promotion Coordinator ohn Peckham, Marketing Coordinator
ProgrammingProduction Michael J. 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 Jensen
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
Jeannine 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 Shcvrin Cynny Spencer Ellen Stross Kathleen Treciak Susan B. Ullrich Dody Viola David White Jane Wilkinson
Fran Ampey
Kitty Angus
Gail Davis Barnes
Alana Barter
Elaine Bennett
Letitia ). Byrd
Diane Davis
John Littlejohn
Dan Long
Laura Machida
Ken Monash
Gayle Richardson
Karen Schulte
Helen Siedel
Sue Sim.i
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.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 119-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual performances of Handel's Messiah each December. Four years ago, the Choral Union further enriched that tradition and reg?ularly collaborates as large chorus with the Detroit Symphony Orchestra. In that capacity, the ensemble has joined the orchestra for sub?scription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, and Prokofiev's Aleksandr Nevsky. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem, and
continuing with performances of the Berlioz Requiem, Bach's Mass in b minor and the Verdi Requiem.
Last season, the UMS Choral Union fur?ther expanded its scope to include perfor?mances with the Grand Rapids Symphony, joining with them in a presentation of the rarely-performed Mahler's Symphony No. 8 ("Symphony of a Thousand"). This season the Choral Union collaborates with the Ann Arbor Symphony Orchestra to present Mendelssohn's Elijah in February of 1998.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
For more information about the UMS Choral Union, please call 313.763.8997.
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 VetheuiL"
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
CONDUCTOR 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 Midwest, in part?nership with the National Endowment for the Arts.
MOSCOW CONSERVATORY CHAMBER ENSEMBLE Wednesday, October 8,8pm U-M Museum of Art Presented with the generous support of Dr. Herbert Sloan.
Thursday, October 9, 8pm Hill Auditorium
Saturday, Oclobcr 11, 8pm
St. Francis of Assisi Catholic Church
Conducting Seminar Maestro Tdnu Kaljuste
and U-M conductors, Oct 10, 1 lam, U-M School of Music Recital Hall Choral Master Class Maestro Tdnu Kaljuste and members of the U-M Chamber Choir, Oct 10, 1:30pm, U-M School of Music Recital Hall.
Annette Markert, contralto
Thomas Young, tenor
William Sharp, baritone
Sunday, October 12, 4pm
Rackham Auditorium
PREP Jim 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.
GABRIELI CONSORT & PLAYERS PAUL MCCREESH. MUSIC DIRECTOR Sunday, October 26, 8pm St. Francis-of-Assisi Catholic Church PREP Louise Stein, U-M Associate Professor of Musicology, Oct 26, 7pm, St. Francis Parish Activity Center.
Friday, November 7, 8pm
Hill Auditorium
PREP "Celia Cruz: Queen of Salsa" Frances
Aparicio, Arthur S. Thurnau Professor of
Spanish & American Culture, U-M. Nov 7, 7pm
MI League Henderson Rm., 2nd fir.
Master of Arts Celia Cruz interviewed by
Alberto Nacif, Musicologist and Host of
WEMU's "Cuban Fantasy" Nov 8, Ham,
Natural Sciences And.
Presented with support from media
partner WEMU.
hAkan hagegArd. baritone warren jones, piano
Saturday, November 8, 8pm
Hill Auditorium
Vocal Master Class HAkan Hageg&rd and U-M
School of Music vocalists. Nov 7, 3pm, U-M
School of Music Recital Halt.
PAT METHENY GROUP Wednesday, November 12, 8pm Michigan Theater
Presented with support from media partners WEMU and WDET.
Friday, November 14, 8pm
Rackham Auditorium
Lecture "Beethoven Fundamentals" by Steven
Whiting, U-M Assistant Professor of
Musicology, 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 "The Beethoven Performances' Lectures"
by Steven Whiting, U-M Assistant Professor of
Musicology 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-Readers 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 "The Beethoven Performances' Lectures" Steven Whiting, 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 Musk Recital Hall.
Cyberchat with members of the American String Quartet, Nov 18, 7pm. More information available at Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR. Vie University Musical Society is a grant recipient of Chamber Music Americas Presenter-Community Residency Program funded by the Lila Wallace-Reader's Digest Fund.
Wednesday, November 19,8pm
Hill Auditorium
PREP "Creams of the Mozart Crops: His Piano
Concertos," Ellwood Derr, U-M Professor of
Music, Nov 19, 7pm, MI League Hussey Rm.
Sponsored by Pepper, Hamilton & Scheetz,
Attorneys at Law.
A Klezmer Summit featuring
The Klczmatics
Brave Old World
The Klezmer Conservatory Band and
The Andy Statman Klezmer Orchestra
Tuesday, December 2, 8pm
Hill Auditorium
Lecture "Tlie 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
McKinlcy 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 Kimberty 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 WEMUandWDET.
Friday, lanuary 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. McMidlcn Co.
BOYS CHOIR OF HARLEM Sunday, January 18, 7pm Hill Auditorium
Sponsored by the Detroit Edison Foundation. Additional support provided by Beacon Investment Company and media partner WDET. This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1998 Rev. Dr. Martin Luther King, Jr. Day Symposium. Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network.
TOKYO STRING QUARTET Thursday, January 22,8pm Rackham Auditorium
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, MI League Vandenberg Rm.
PREP "Vtc Beethoven Performances' Lectures" Steven Whiting, U-M Professor of Musicology, with U-M School of Music students. Jan 30, 6:30pm, Rackham Assembly Halt. 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 Muskology, with U-M School of Music stu?dents. Jan 31, 6:30pm, MI League Hussey Rm. Meet the Artist Post-performance dialogue from the stage.
LectureDemonstration "The Adventure of Contemporary Piano Music" Ursula Oppens, Feb 1, 3pm, Kerrytown Concert House. In col?laboration with the Ann Arbor Piano Teacher's Guild.
LectureDemonstration with Ursula Oppens and composer Amnon Wolman, Feb 2, 12:30pm Room 2043, U-M School of Music. Piano Master Class with Ursula Oppens and School of Music students, Feb 2, 4:30pm, U-M School of Music Recital Hall Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the I tin Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOMJ WFUMWVGR.
Thursday, February 5, 8pm
St. Francis of Assisi Catholic Church
Conducting Seminar Conductor Dale
Warland and U-M conductors, Feb 6, 11am,
U-M School of Musk Recital Hall.
Chamber Choir Master Class Conductor Dale
Warland works with the U-M Chamber Choir,
Feb 6, 1:30pm, U-M School of Musk Recital
Sunday, February 8,4pm
Hill Auditorium
Co-sponsored by First of America and Miller,
Canfield, Paddock, and Stone, PLC.
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
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Katherine Larson, soprano
Jayne Sleder, mezzo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22,4pm
Hill Auditorium
PREP "Felix Mendelssohn-Bartholdy:
Felicitous Choral Conductor and Choral
Composer," Ellwood Derr, U-M Professor of
Music, Feb 22, 3pm, MI League Koessler
Sponsored by Braxter 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 goers 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, MI League, Koessler Library. PREP Member of the New York City Opera National Company, Mar 13, 7pm, Ml League Vandenberg Rm.
PREP for KIDS "Know Before You Go: An Introduction to Daughter of the Regiment" Helen Siedel, UMS Education Specialist, Mar 14,1:15 pm, Michigan League, Hussey Room. These performances are supported by the National Endowment for the Arts.
MICHIGAN CHAMBER PLAYERS Sunday, March 15, 4pm Rackham Auditorium Complimentary Admission
Wednesday, March 18, 8pm
Power Center
PREP "Los Muiiequitos: 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
Wednesday, March 25, 8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
URSULA OPPENS. PIANO Friday, March 27, 8pm
Rackham Auditorium
University Hospital's Gifts of Art free concert
performed by Ursula Oppens in the University
Hospital Lobby, Mar 26, 12 noon.
LectureDemonstration "Piano Music: 1945
w the Present" Ursula Oppens, Mar 26, 3pm,
U-M School of Music Recital Hall.
PREP "The Beethoven Performances' Lectures"
Steven Wliiting, U-M Asst. Professor of
Musicology, with U-M School of Music students,
Mar 27, 6:30pm, MI League Vandenberg Rm.
Meet the Artist Post-performance dialogue
from the stage
Sponsored by the Edward 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 atid Owner ofCasa de Espana of Detroit, Mar 28, 6:30pm, Ml League Hussey Rm. Presented with support from media partner WEMV.
Sunday, March 29,4pm Rackham Auditorium PREP "The Beethoven Performances' Lectures" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music stu?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 Lila Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR. Vte University Musical Society is a grant recipient of Chamber Music Americas 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, U-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-Readers 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
Hill 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
Saturday, October 25, 1997 -Saturday, November 8, 1997
General Information
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompa?nying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: Electronic beeping or chiming digi?tal watches, beeping pagers, ring?ing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat loca?tion and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS perfor?mances included in this editon. Thank you for your help.
Marilyn Home 3
Martin Katz, piano Saturday, October 25, 8:00pm Lydia Mendelssohn Theatre
Gabrieli Consort and Players 11
Sunday, October 26, 8:00pm
St. Francis-of-Assisi Catholic Church
Celia Cruz and Jose Alberto 25
Friday, November 7, 8:00pm Hill Auditorium
Hakan Hagegard 27
Warren Jones, piano Saturday, November 8,8:00pm Hill Auditorium
Marilyn Home
Mezzo-soprano Martin Katz, Piano
Harvey Worthington Loomis Roger Quilter Francis Poulenc Joseph Haydn Gerald Finzi
Franz Schubert Hugo Wolf Johannes Brahms
Saturday Evening, October 25, 1997 at 8:00 Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Songs on Texts by William Shakespeare
Hark! Hark! The Lark, from Cymbeline
Come Away, Death, from Twelfth Night Fancy, from The Merchant of Venice She Never Told Her Love, from Twelfth Night Who is Silvia from Two Gentlement of Verona
Der Tod und das Madchen Im Abendrot Fischerweise
Der Genesene an die Hoffnung
Rat einer Alten
Auf einer Wanderung
Unbewegte, laue Luft Da unten im Tale Botschaft
Francis Poulenc
Claude Debussy Charles Gounod Georges Bizet
Leonard Bernstein
La Bestiaire
Le dromadaire
La chevre du Thibet
La sauterelle
Le dauphin
La carpe
Beau soir
Viens! Les gazons sont verts!
Adieux de l'hotesse arabe
My House, from Peter Pan
So Pretty
Nachspiel, from Arias and Barcarolles
Sonnet XLIII: What lips my lips have kissed, from Songfest
Rabbit at Top Speed, from La Bonne Cuisine
Dream with Me, from Peter Pan
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Eleventh Concert of the 119th Season
Song Recital Series
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Special thanks to Richard LeSeuer, Leslie Guinn and Donovan Reynolds for their involvement in this residency.
Large print programs are available upon request.
Throughout her long and distin?guished career, Marilyn Home has resolutely resisted being categorized or pigeonholed. This refusal to be limited applies as much to reper?toire, style and genre as it has to vocal range. During our long part?nership we have performed sixteenth-century lute songs as well as world premieres with wet ink and the composer just a few feet away. Tonight's program certainly demon?strates her feelings for what a "complete" singer should be and the variety of reper?toire that involves.
Shakespeare probably had no idea he would become the world's most popular lyricist in the English language, but such is definitely the case. In this opening group, we can view such diverse reactions to his verses as Haydn (1790) and Poulenc (1960). It is of course natural for his own country?men to help themselves to his texts. Quilter, an unabashed romantic used six Shakespearean texts in his Opus 6 of 1905. Finzi dedicated his five songs on Shakespeare to Vaughan-Williams, and used the final words of Who is Sylvia to create the cycle's title. Fancy is Poulenc's only song in English. He did not speak the language easily, and his song needs some shaping to sound idiomatic, but he does know how to capture a bell's resonance. Loomis' name is probably unfamiliar to today's audiences, but at the century's turn this student of Dvorak was renowned for music accompanying spoken melodrama. Finally, Haydn's response to this brief poem from Twelfth Night elevates Viola's response to a truly tragic picture. As you listen to this group of five songs, enjoy the musical variety while appreciating the poetic unity.
Ms. Home offers a trio of songs by three of her favorite Lieder composers, rather than restrict herself to only one style. One can glean some stylistic elements particular to Schubert, Wolf and Brahms from these brief glimpses.
Schubert, as we know from last season's festival with UMS, is certainly the father of the German song. He inherited the form as an unorganized ditty and elevated it to the status we know today. The endless variety of accompanimental figures and textures, cou?pled with his melodic genius make the songs immediately accessible. This trio of songs provides drama, serenity and good humor, all in turn. In only one page of music, Der Tod und das Madchen presents two voices, two pianists. Few events this brief are this dramatic. Love of nature and one's creator occupied Schubert a great deal, hence the natural appeal of hn Abendrot for him. Fischerweise is a wonderful example of a multiple-strophe Schubert song. (Listen for the very subtle changes in the third verse when the shepherdess appears!)
Of Wolf's large songbook of Morike texts, here are three finely contrasted examples. The first song, wherein the convalescent remembers to thank the god of Hope, could stand as a metaphor for Wolf's own quest. He chose to place it first in this important opus, and created a musical event worthy of that position. Morike and Wolf always had humor near at hand, and in Rat einer Alten it is clear that advice spins out of control. Walking is the Austrian national pastime, but in Auf einer Wanderung a simple stroll evolves into a life-changing experience. We can hear a simple Lied become an almost-Wagnerian aria. Wolf only put music to words when he felt he had "entered into the psyche of the poet." Here, music and words are inseparable.
The Viennese equivalent of the Hatfields and the McCoys were Brahms and Wolf at the end of the nineteenth century. Brahms could not set words to music properly according to Wolf, and Wolf couldn't write melodies properly according to Brahms. One hundred years later, we find room to appreciate both and cherish their differences. In Unbewegte laue Luft, Brahms creates the
most sultry and stagnant of atmospheres, but love is awake and ready! With Botschaft, one of Brahms' most popular songs, we become acquainted with how graceful he can be. In between is a pure Swabian folk?song, harmonized by Brahms. The composer adored folk music and integrated it into many of his compositions. The simple senti?ment of these four verses is inhanced with his piano part, but we are not distracted from its elemental message.
Next follows a sampling of what French song has to offer us. Le Bestiaire is Poulenc's very first essay in songwriting. Already at twenty, he was able to capture the irony and humor of Apollinaire's texts. This petite cycle may be sung with piano or with cham?ber ensemble, but the allegorical effect remains the same. Beau Soir is a fairly early song of Debussy, and we can tell from the sensuous vocal line that he was engaged to accompany voice lessons as a teenager. One can easily hear the beginnings of impres?sionism here, and nature as a reflection of humanity's role is a hallmark of that budding movement. Gounod was a prolific song composer, but sadly his songs are rarely used today. His melodic gift was unparal?leled, and he is able to redefine charm in this brief scherzo of a song. Finally, Bizet's two strophe Adieux de I'hdtesse arabe is a masterpiece of the French romantic genre. As were so many of his countrymen, Bizet was also fascinated by foreign, exotic cultures such as the middle-east. His feeling for vocal line and sensuous atmosphere is unsurpassed.
Ms. Home performed with Leonard Bernstein on many occasions, in repertoire as diverse as the Verdi Requiem and Copland's American Songs. Tonight's group of songs emanates from that association and mutual admiration. As is typical of Bernstein's eclectic nature, some of these songs are from Broadway, others from the concert hall. In 1949, Bernstein was asked to provide
songs and incidental music for a new version of Peter Pan starring Jean Arthur and Boris Karloff. Tonight's first and last songs are from that production, although "Dream with Me" was cut and never used. "Nachspiel" means postlude and is from Bernstein's last work, Arias and Barcarolles. It has a subtitle: "In Memoriam," but for whom is not speci?fied. Barbara Streisand was the first to sing the 1960 "So Pretty" to lyrics of Comden and Green. It is much more serious than its title would simply. A favorite association of Bernstein's was his partnership with mezzo Jennie Tourel in recital. "Rabbit at Top Speed" comes from that partnership, and is part of a four-recipe cycle which may be sung in French or English. Finally, "Sonnet XLIII: What lips my lips have kissed," to the haunt?ing poem of Edna St. Vincent Millay is taken from Bernstein's cycle for five singers, Songfest, premiered in 1977. This song was written for Miss Home, but she never had the oppor?tunity to perform it with the composer.
Program notes by Martin Katz
arilyn Home, one of America's most beloved singers also con?tinues to be one of the busiest. The 1995-96 season included recitals and orchestra concerts in New York City, Cleveland, .Charleston, Pittsburgh and St. Louis. She also sang duet recitals with soprano Benita Valente in Kentucky and Pennsylvania. In January 1996, Ms. Home returned to the Metropolitan Opera for six performances as Dame Quickly in Verdi's Falstaff. In July 1996, she was featured in orchestral performances and a recital at the Pacific Music Festival in Sapporo, Japan. October and November found her in Mexico and South America for recitals and orchestral concerts at venues which includ-
ed Teatro Municipal in Sao Paolo and the venerable Teatro Colon in Buenos Aires.
Ms. Home has sung on the world's most famous opera stages, including the Metropolitan Opera, La Scala, Barcelona's Teatro Liceu, London's Convent Garden, Venice's La Fenice, Paris' Opera, Chatelet, Champs-filysees, Pesaro's Rossini Festival, Chicago's Lyric, as well as with the compa?nies of Santa Fe, Houston, Dallas, Los Angeles, San Francisco, Hamburg, Berlin Salzburg, Vienna, Aix-en-Provence, Rome, Verona, and Palermo.
At least half of Marilyn Home's per?forming life consists of recitals. She is one of the very few vocalists who can sell out a house in this most exacting realm of singing. She has performed well over 1300 recitals. In recitals and recording, this year marks over thirty years of collaboration with Martin Katz, her illustrious accompanist. She also collaborates in recital with pianists Warren Jones and Brian Zeger.
In addition to her busy performance schedule, Ms. Home launched the Marilyn Home Foundation in 1994 with a gala birthday concert at Carnegie Hall. The
foundation, another milestone in the career of one of this century's greatest artists, is a non-profit organization devoted exclusively to the art of the vocal recital in the United States.
Another exciting new dimension of her remarkable career is the master class. An historic first for her was the Marilyn Home Vocal Workshop at Carnegie Hall, the first ever presented there. An intensive five-day exploration focusing on the bel canto reper?tory, the workshop gave some of our bright?est young artists the opportunity to learn and be coached by the esteemed mezzo-soprano. Also, this year Ms. Home will take on the new role of Head of the Vocal Program at the Music Academy of the West, a summer music institute in Santa Barbara, California.
Ms. Home's recent recordings on the BMG ClassicalRCA Cictor Red Seal label include a cross-over album featuring Ms. Home, Jerry Hadley, Thomas Hampson, Samuel Ramey and Spiro Malas, titled The Men in My Life; a Brahms album with Pinchas Zuckerman; an album of Lieder with Frederica von Stade; an album of lulla?bies from around the world, titled All Through the Night, a Rossini Bicentennial Celebration; and an album of Ms. Home's Carnegie Gala Birthday Celebration, Divas in Song, proceeds from which go to The Marilyn Home Foundation to help present gifted young artists in recital throughout America. Ms. Home's recent opera releases include a complete Falstaff and Handel's Semele which received a 1994 Grammy for Best Opera Recording.
Among Ms. Home's many honors are the Kennedy Center Honors, recognized by President Clinton in nationwide television broadcast ceremonies from the White House and the Kennedy Center in December 1995 and the National Endowment for the Arts' coveted National Medal of Arts presented to her by President Bush. She is a Commander
of the Order of Arts and Letters award by the Ministry of Culture of France, as well as a Commendatore al Merito della Republica Italiana. Also in Italy she was honored with the 'Premio D'oro,' as "il piu grande can-tante del mondo" (the greatest female singer in the world); and with the Abbiati Prize, awarded by the Italian music critics for Best Operatic Interpretation of the Year. She received the prestigious Fidelio Gold Medal from the International Association of Opera Directors for her substantial contribution to opera houses throughout the world -the first time an American artist was so hon?ored. Ms. Home also received the Covent Garden Silver Medal for Outstanding Service which marked the twenty-fifth anniversary of her debut at the Royal Opera House, and the Handel Medallion, New York City's highest cultural award. She was named 1995 Musician of the Year by Musical America. In April 1995 the Metropolitan Opera honored her for her twenty-five years of outstanding performances at the Met. In June 1995, in celebration of the Fiftieth anniversary of the United Nations, she per?formed the world premiere of A Whitman Triptych, an orchestra piece with solo mezzo soprano, written for her by William Bolcom and specially commissioned by the San Francisco Opera for this occasion. Following the concert, Madeline Albright (Secretary of State and former US Representative to the United Nations) presented to Ms. Home a Proclamation from the United Nations hon?oring her great achievements in the world of classical music.
Marilyn Home is a frequent guest on America's top television shows, including the David Letterman Show and the Tonight Show with both Johnny Carson and Jay Leno. She was recently profiled on television worldwide in a documentary co-produced 'by Reiner Moritz and The South Bank Show of the UK. Her cross-over popularity was also demonstrated in a twenty-fifth anniver-
sary celebration of the award-winning chil?dren's program, Sesame Street, aired throughout the USA.
Ms. Home has won Grammies for Presenting Marilyn Home, In Concert at the Met with Leontyne Price and Marilyn Home, Carmen (conducted by Leonard Bernstein), and the Prix du Disque for Souvenir of a Golden Era. Her recording of L'ltaliana in Algeri includes three newly-discovered alter?nate arias that had been forgotten since Rossini's day. In addition, she sang the title role in the first recording ever made of Roussel's Padmavati.
Born in Bradford, Pennsylvania, Marilyn Home began her musical studies with her father and first sang in public at the age of four. When she was eleven, her family moved to Long Beach, California. She stud?ied voice with William Vennard and song recital works with Gwendolyn Koldofsky (her accompanist thereafter for ten years) at the University of Southern California. She also participated in many master classes conducted by Lotte Lehmann. At age twenty, she was Dorothy Dandridge's singing voice in the motion picture of Oscar Hammerstein's Carmen Jones. Also that year she made her operatic debut with the Los Angeles Guild Opera. Her early opera career included three years at the opera house in Gelsenkerchen, Germany. During and after that period she sang often with Igor Stravinsky, who dedicated his last work to her. Ms. Home made her sensational debut in Wozzeck in 1960 with the San Francisco Opera Company. Her autobiography, Marilyn Home: My Life, written with Jane Scovell, was published by Atheneum in 1984.
This performance marks Marilyn Home's fifth appearance under UMS auspices.
'artin Katz must surely be con?sidered the dean of collaborative pianists," said the Los Angeles Times after a concert last season. One of the world's busiest collaborators, he has been in k constant demand by our most celebrated vocal soloists for more than a quarter-century. This season marks his thirty-first with Marilyn Home, although it is their first UMS appearance together. This is a partnership which not only launched Mr. Katz's career but has shaped his whole notion of collaboration immeasurably. In addition, he has appeared regularly with Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Sylvia McNair, and Jose Carreras in both concerts and recordings. Artists from the past with whom he has collaborated include Renata Tebaldi, Cesare Siepi, Katia Ricciarelli, Judith Blegen, Evelyn Lear, Thomas Stewart, Tatiana Troyanos, Gabriella Tucci, and Regine Crespin. Season after season, the world's musical capitals fig?ure prominently in his schedule. His many appearances at Carnegie Hall, Washington's Kennedy Center, Milan's La Scala, Vienna's Musikverein and Buenos Aires' Teatro Colon have been lauded by audiences and critics alike. He has more than a dozen recordings to his credit for BMG, CBS, Sony, Decca, Phillips, RCA, and FonitCetra labels. Mr. Katz is a native of California, where he began piano studies at the age of five. He attended the University of Southern California as a scholarship student and studied the specialized field of accompany?ing with its pioneer teacher, Gwendolyn Koldofsky. While yet a student, he was given the unique opportunity of accompanying the master classes and lessons of such lumi?naries as Lotte Lehmann, Jascha Heifetz, Pierre Bernac, and Gregor Piatigorsky. Following his formal education, he held the position of pianist for the US Army Chorus in Washington, DC for three years before
moving to New York where his busy inter?national career began in earnest in 1969.
In more recent years, invitations to conduct orchestral evenings have come with increasing fre?quency. Mr. Katz has partnered several of his soloists on the
podium for orchestras of the BBC, Houston, Washington, DC, Tokyo, New Haven and Miami. His editions of works by Handel and Rossini have been presented by the Metropolitan, Houston Grand Opera and the National Arts Centre in Ottawa. He has also been pleased to conduct several com?plete operas for UM's own Opera Theatre.
Finally, the professional profile of Martin Katz is completed with his commitment to teaching. Since 1983, he has been happy to call Ann Arbor home, chairing the School of Music's program in accompanying and chamber music. He has played a pivotal role in the training of countless young artists who are now working all over the world. The University has recognized this impor?tant work, making him the first Arthur Schnabel Professor of Music. He is also a frequent guest for master classes here and abroad, regularly visiting such places as the Manhattan School of Music, the Juilliard School, Tanglewood Music Center, UCLA, and the Santa Fe Opera.
This performance marks Martin Katz's sixteenth appearance under UMS auspices.
Gabrieli Consort and Players
Robert Harre Jones, falsettist Charles Humphries, falsettist Malcolm Smith, falsettist Andrew Watts, falsettist Julian Podger, tenor Rodrigo del Pozo, tenor Warren Trevelyan-Jones, tenor
Anna McDonald, violinviola Jeremy West, cornett Michael Harrison, cornett Adrian Woodward, cornett Douglas Kirk, cornetttenor cornett Nicholas Perry, cornetttenor cornett William Lyons, dulzian
Angus Smith, tenor Robert Evans, baritone Charles Pott, baritone Simon Grant, bass Richard Savage, bass Michael McCarthy, bass Robert MacDonald, bass
Susan Addison, sackbut Paul Nieman, sackbut Tom Lees, sackbut Patrick Jackman, sackbut Anthony Leggett, sackbuttenor cornett Timothy Roberts, organ James Johnstone, organ soloists
Giovanni Gabrieli and Cipriano de Rore
Sunday Evening, October 26, 1997 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
High Mass from San Marco, Venice
Motet -Audite principes
Introit -chant
Kyrie -de Rore
Gloria -de Rore
Collect -chant
Epistle -chant
Gradual -Canzona
Gospel -chant
Credo -de Rore
Offertory -Salvator noster
Preface -chant
SanctusBenedictus -de Rore
Elevation -O Jesu mi dulcissime
Pater noster -chant
Agnus Dei -de Rore
Communion -Canzona
Post communion -chant
Recessional -Quern vidistes pastores
Twelfth Concert of the 119th Season
Divine Expressions Series
Special thanks to Louise Stein for serving as speaker in this evening's Performance Related Educational Presentation (PREP).
The Gabrieli Consort and Players appears by arrangement with Aaron Concert Artists Division, Trawick Artists Ltd., New York, NY.
Large print programs are available upon request.
High Mass from San Marco, Venice (c1600)
Giovanni Gabrieli
Born between 1554 ane 1557 in Venice
Died on August 12, 1612 in Venice
Cipriano de Rore
Born between 1515 and 1516 in Flanders
Died in September, 1565 in Parma, Italy
Messa La Notte di Natala: ...on Christmas eve... they celebrate Vespers, which with songs and soft sounds is sung by the salaried church musicians; and with others who have been selected in order to augment the numbers, they sing [Mass] later in the evening in 8, 10, 12 and 16 choirs [parts], to the stupor and wonder of all, especially the forestieri [those from outside Venice] who confess that never have they heard music more rare and special in any part of the world: and they speak the truth, as the musi?cians and singers, sounding most excellent [themselves], have moreover as their maestri and leaders those three famed Giovannis -Croce, known as Chiozotto, Gabrieli and Bassano.
Francesco Sansovino (rev Martinioni) -Venezia citta nobilissima et singolare (1581 rev 1653)
Music and ceremony at St Mark's
The Basilica of San Marco served a dual function as both private chapel of the Doge and principal church of the State, and as such figured prominently in Venetian politi?cal life. With its own distinctive liturgy, a minutely detailed ceremonial, sumptuous mosaic decoration, works of art and magnif?icent music, the Basilica not only reflected vividly the worldly glories of the Serenissima Repubblica, but also served to illustrate a complex fusion of political and religious ideology. Differing ranks of feasts called for
specific types of music: in particular, the formal appearance of the Doge at Mass and Vespers on thirty or so days each year required the exposition of the great golden altar-piece: the Pala d'oro. The presence of instrumentalists and the performance of elaborate music -not only on the most important religious festivals of the year, but also on local feastdays which often became associated with political or historical events. These civic andante would occur not only on the most important religious festivals of the year, but also on local feastdays which often became associated with political or historical events.
The Cappella Marciana
Although famed throughout Italy, the Cappella Marciana was not especially large, comprising some twelve to sixteen singers with a small instrumental ensemble of cor-netts, sackbuts and one or two string players. It was often greatly augmented by freelance players, and occasionally by the Doge's own piffari e trombe. The State fanfare-trumpeters were also present at major events, contem?porary descriptions mentioning up to twenty-four trumpeters and drummers. Although both Giovanni and his uncle Andrea Gabrieli are the most important composers of the Venetian school, neither held the office of maestro di cappella but served as organists at St Mark's. As well as the Basilica's two famed organs it was also customary to hire chamber organs on major feast days. The division of vocal and instrumental forces into spatially-separated choirs {cori spezzati) is, of course, one of the most char?acteristic features of the Venetian repertoire, and there were at least seven areas around the altar area from which musicians per?formed, including the two organ galleries and the pulpitum magnum cantorum or bigonzo ('tub') by the screen. But we should not be misled by this: the musicians almost certainly faced inwards towards the altar;
even in the grandest polychoral pieces there is still a feeling of chamber music in the interplay between voices and instruments.
The Music
It is difficult to date most Venetian sacred repertoire precisely as so much was pub?lished in large, retrospective and often posthumous collections. Moreover, there is some evidence that music remained in repertoire decades after composition, stile antico polyphony rubbing shoulders with motets and concerti in a more up-to-date style. Although Giovanni Croce, maestro from 1603-1609 wrote a reasonable corpus of sacred music, only Giovanni Gabrieli seems to have composed regularly the large-scale, multi-voiced, polychoral concerto sonata and canzona.
The orindary of the Mass is sung in a setting by Cipriano de Rore (cl515-1565). In 1563 Rore was elected to succeed another great Flemish musician, Adriano Willaert, as Maestro di Cappella at the Basilica, which was, even at that date probably the most prestigious post for a musician working in Italy. But for whatever reason Rore's tenure at the Basilica was extremely short and he returned to Parma where he died in August or September a year later. Unsurprisingly Rore's sacred repertoire includes little if anything specifically written for the Basilica. His mass, which is based on Josquin's cele?brated Christmas motet Praeter rerum seriem, was composed for a former employer, Duke Ercole II of Ferrara, the text of the first tenor is a long cantusfirmus line to the words 'Hercules Secondus, Dux Ferrarie quartus et vivet' (Ercole II, fourth Duke of Ferrara lives now and forever). For this per?formance the text has been rewritten -as it was doubtless in former times -to express more Venetian sentiments. This mass is one of the most elaborate and spectacular parody settings of the entire renaissance. Admittedly Josequin's material is of stunning originality
in itself but Rore adds an extra soprano part to the original, making an already complex six-part texture into a glorious seven-part one. Perhaps most surprising is the way in which Rore anticipates many stylistic features which we would call baroque; indeed there are many passages which prefigure Monteverdi's music perhaps almost half a century ahead of their time.
Venetian masses were liberally embellished with extra-liturgical motets, sonatas and canzonas. Audite Principes well illustrates a typically Venetian fusion of religious and civic, calling upon the serenissimi principes, veneranda senectus and the praestantissimi patres of the State to lead the celebration of the saviour's birth. Salvator noster is another cori spezzati classic, its polychoral dialogue complemented by modern style duetting for virtuoso cornettists. Both these pieces -rarely performed as they are -are most usually heard with large numbers of singers, but in fact there is no choir suitable for a ripieno Cappella. It seems therefore likely that these pieces were intended for a large number of instruments and few solo voices -one recalls Dulcis Jesu, the Sonata con voce preserved in Kassel. Indeed a number of German sets of parts for Gabrieli's works confirm this style of performance.
O Jesu mi dulcissime is performed in the last of three eight-voice settings by Giovanni Gabrieli. The voice parts are all of nearly two octaves in range, which is certainly unusual, but instrumental participation would seem inappropriate in such a madri-galian, not to say mannerist, work. Gabrieli seems to have been especially drawn to the intimacy and pictorial quality of this partic?ular text and this work is undoubtedly of considerable emotional power. The final motet is the famous fourteen voice setting of Qiiem vidistis pastores one of two works, according to traditional music histories, in which Gabrieli abandons the polychoral style for the new-fangled basso continuo.
Certainly, as printed, the work resembles nothing else in Gabrieli's oeuvre. Whilst a program note is not the place to expound detailed arguments, it is possible that the version as published is the work of an editor or pupil working from a sketch of an incomplete work. In the opening section the voices have been sketched in with the bass, but the constant gaps in the texture imply a working out with instruments or other voices. Moreover, the opening sinfonia, and especially the final section are very crudely written, with constant doubling over three octaves -something not found elsewhere in this compser's meticulously well-written work. The vocal scoring too is suspect, as if the arranger, reading ci 14 at the top of the sketch has distributed the material over a large number of vocal parts. The version performed this evening is a speculative re?working based on the printed material but arranged in a more Gabrielian style, with a more typical scoring of six instruments, four soloists and a four-part cappella.
The Reconstruction
The sequence of music this evening takes the form of a liturgical reconstruction not only incorporating the texts and ceremonial procedures of the Venetian Rite, but also reflecting the musico-liturgical practices of the era. The plainchant has been researched from many unique sixteenth and seventeenth century Venetian liturgical sources by John Bettley.
In northern Italy it was customary to suppress certain items of the liturgy in order to place greater emphasis on extra-liturgical music. Most often the official text was said by the celebrant in secreto at the High Altar. This practice was never sanc?tioned by the official (Roman) authorities, but in Venice, more than anywhere else, it allowed music to take on ever-increasing importance in services. At St Mark's there
was even a rule allowing priests to be fined if they interrupted the music! Certain points in the mass were considered particularly suited to musical elaboration with toccatas, motets, sonatas and canzonas, especially the Gradual, Offertory, Elevation, Agnus Dei, Communion, Post Dommunion and Deo gratias. It is not yet clear how much of the official text was spoken, sotto voce, under such music, and in any case there seems to have been considerable flexibility in prac?tice. The latter part of the Mass is especially problematic in this respect. In Venice, the Agnus Dei was frequently omitted, and it is quite possible that almost all the chant items from the Preface onwards were covered by the multiplicity of musical substitutes. Venetian liturgical sources are always com?plex, and research is constantly developing; if some decision regarding minor aspects of this reconstruction are conjectural, it is nonetheless based on a thorough interpreta?tion of all the major sources.
In any case such details are relatively unimportant -the actual pieces performed on a Christmas eve in the early years of the seicento will of necessity remain speculative. More interesting is the possibility of recreat?ing something greater than the sum of the individual pieces, and to put all the music into a richer, more colorful and more dra?matic perspective. We may have lost our ability to respond to religous and civic ritual so beloved of late Renaissance Venice. But in reconstructing such services we can perhaps rediscover something of the artistic and spiritual riches of this great city at the zenith of her powers.
Motet: Audite principes
Audite principes
et auribus percipite omnes
habitatores terrae et exultate. Audite senes quae loquor bovis: audiat terra verba oris
mei in laetitia Audite patres
et super filiis vestris narrate cum jubilo mirabilia magna Audite hodie serenissimi principes, audite hodie veneranda senectus, audite hodie praestantissimi patres. Salvator noster natus est. Gaudeamus,
quoniam una cuncta est laetitia communis est ratio, melliflui sunt coeli vineae florent et montes exultent Venite igitur omnes et exultemus et jubilemus et gaudeamus
quoniam puer natus est nobis et films datus est nobis et salvator donatus est nobis Alleluja
Dominus dixit ad me: filius meus es tu, ego hodie genui te. Quare fremuerunt gentes: et populi meditati sunt inania Gloria Patri et Filio et Spiritui Sancto. Sicut erat in Principio et nunc et semper; et in saecula saeculorum. Amen.
Kyrie eleison. Christe eleison. Kyrie eleison.
Hear, O ye princes,
and with your ears perceive, all ye inhabitants
of the earth, and rejoice. Hear, O ye elders, what I say to you: may the earth hear the words of my
mouth with joy. Hear, O ye forefathers, and tell to your sons great marvels with jubilation. Hear today, O most serene princes, hear today, O most reverend elders, hear today, O most excellent forefathers. Our Saviour is born. Let us rejoice, for there is one joy for all, one mind in common the heavens flow with sweetness, the vineyards flourish, and the mountains exult. O come, therefore, all ye people, and let us exult and let us be joyful and let us rejoice, for a boy is born to us and a son is given to us and a Saviour is presented to us. Allelluja.
The Lord said unto me, thou art my son, this day I have begotten thee. Why do the gentiles rage so furiously Why do the peo?ple imagine such vain things Glory be to the father and to the son and to the Holy Ghost. As it was in the beginning, is now and always and for ever and ever. Amen
Lord have mercy upon us. Christ, have mercy upon us Lord, havey mercy upon us.
Gloria in excelsis Deo et in terra pax
hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam
gloriam tuam, Domine Deus, Rex coelestis, Deus Pater
omnipotens. Domine Fili unigenite, Jesu Christe,
Domine Deus,
Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi,
miserere nobis qui tollis peccata mundi,
suscipe deprecationem nostram. Qui sedes ad dexteram Patris,
miserere nobis.
Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu:
in gloria Dei Patris. Amen.
V. Dominus vobiscum R. Et cum spiritu tuo.
Deus, qui hanc sacratissiman noctem eri luminis fecisti illustratione clarescere: da, quaesumus; ut cuius lucis mysteria in terra cognovimus, eius quoque gaudiis in caelo perfruamur; qui tecum vivit, et regnat in unitate Spiritus sancti Deus, per omnia saecula saeculorum. R. Amen.
Glory to God in the highest, and on earth
peace to men of good will. We praise Thee, we bless Thee, we adore Thee, we glorify Thee. We give thanks to Thee for Thy
great glory. O Lord God, heavenly King, God the
Father almighty. O Lord the only-begotten Son,
Jesus Christ.
O Lord God, Lamb of God, Son of the Father. Thou who takest away the sins of the world,
have mercy on us. Thou who takest away the sins of the world,
receive our prayer. Thou who sittest at the right hand of the
Father have mercy on us. For Thou only art holy, Thou only art the Lord. Thou only, Jesus Christ, art most high, with the Holy Ghost,
in the glory of God the Father. Amen.
May the Lord be with you. And with thy spirit.
Let us pray.
O God who has made this most sacred night shine with true light, grant, we pray, that we may know the mystery of this light on earth and also may enjoy its joys in heaven; who lives and reigns in the unity of the Holy Spirit, God for ever and ever. Amen.
Lectio epistolae beati Pauli Apostoli ad Titum. Carissime: apparuit gratia Dei salvatoris nostri omnibus hominibus, erudiences nos, ut abnegantes impietatem, et saecularia desideria, sobrie, et iuste, et pie vivamus in hoc saeculo, expectantes beatam spem, et adventum gloriae magni Dei et salvatoris nostri Iesu Christi:
qui dedit semetipsum pro nobis: ut nos red-imeriet ab moni iniquitate, et mundaret sibi populum acceptabilem, sectatorem bono-rum operum. Hae loquere, et exhortarte: in Christo Iesu Domino nostro.
V. Dominus vobiscum
R Et cum spiritu tuo
V. Sequentia sancti Evangelii
secundum Lucam R. Gloria tibi Domine.
V. In illo tempore: exivit
edictum a Caesare Augusto, ut describerertur
universus orbis. Haec descriptio prima:
facta est a praeside Syriae Cyrino:
et ibant omnes ut profiterentus singuli
in suam civitatem. Ascendit autem et Ioseph
a Galilaea de civitate
Nazareth, In Iudaeam incivitatem
David, quae vocatur Bethlehem: eo quod
esset de domo et familia David,
ut profiterertur cum Maria desponsata sibi
uxore praegnante. Factum est autem, cum
essent ibi; impleti sunt dies ut pareret.
Et peperit filium suum primogenitum,
et pannis eum involvit, et reclinavit
eum in praesepio: quia non erat
eis locus in diversorio. Et pastores erant in
regione eadem vigilantes, et custodientes
vigilias noctis super gregem suum.
Et ecce Anglelus Domini stetit iuxta
illos, et timuerunt timore mago.
Et dixit illis Angelus: nolite timerer:
ecce einm evangelizo vobis gaudium
magnum, quod erit omni populo:
From the epistle of the apostle Paul to Titus. For the grace of God that bringeth salvation hath appeard to all men, teaching us that, denying ungodliness and wordly lusts, we should live soberly, righteously, and godly, in this present world; looking for that blessed hope, and the glorious appearing of the great God and our Saviour Jesus Christ: who gave himself for us, that he might redeem us from all iniquity, and purify unto himself a peculiar people, zealous of good works. These things speak and exhort. In Jesus Christ our Lord (Titus 2:11-14)
May the Lord be with you.
And with thy spirit.
A reading from the holy Gospel
according to St Luke. Glory be to thee, O Lord!
And it came to pass in those days, that there went out a decree from Caesar Augustus, that all the world should be taxed. And this taxing was first made when Cyrenius was governor of Syria. And all went to be taxed, every one into his own city. And Joseph also went up from Galilee, out of the city of Nazareth, into Judaea, unto the city of David, which is called Bethelehem (because he was of the house and lineage of David) to be taxed with Mary his espoused wife, being great with child. And so it was, that, while they were there, the days were accomplished that she should be delivered. And she brought forth her first-born son, and wrapped him in swaddling clothes, and laid him in a manger; because there was no room for them in the inn. And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, Lo, the angel of the Lord came upon them and the glory of the Lord shone round about them: and they were sore afraid. And the angel said unto them, Fear
quia natus est vobis hodie Salvator, qui est Christus Dominus, in vcivitatte David. Et hoc vobis signum: multitudo militiae caelestic, laudantium Deum, et dicentium: gloria in altissimis Deo, et in terra pax hominibus bonae voluntatis.
R. Laus tibi Christe.
Credo in unum Deum
Patrem omnipotentem, factorem coeli
e terrae
visibilium omnium et invisibilium Et in unum Dominum Iesum Christum, Filium Dei unigenitum et ex Patre natum ante omnia saecula. Deum de Deo, Lumen de Lumine, Deum verum de Deo vero genitum, non factum,
consubstantialem Patri; per quern omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis. Et incarnate est de Spiritu Sancto ex Maria Virgine, et homo factus est.
Crucifixus etiam pro nobis sub
Pontio Pilato; passus et sepultus est et resurrexit tertia die,
secundum Scripturas Et ascendit in coelum, sedet ad
dexteram Patris
Et iterum venturus est cum gloria, iudicare vivos et mortuos, cuius regni no erit finis. Et in Spiritum Sanctum, Dominum et vivificantem:
not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord. And this shall be a sign unto you; ye shall find the babe wrapped in swaddling clothes, lying in a manger. And suddenly there was with the angel a multitude of the heavenly host praising God, and saying, Glory to God in the highest, and on earth peace, good will toward men. (Luke 2: 1-14)
Praise be to thee, O Christ!
I believe in one God
the Father almighty, maker of heaven
and earth,
and of all things visible and invisible. And in one Lord Jesus Christ, the only begotten Son of God, born of the Father before all ages. God of God, light of light, true God of true God, begotten, not made; being of
one substance with the Father; by whom all things were made. Who for us men, and for our salvation, came down from heaven. And was incarnate by the Holy Ghost of the Virgin Mary; and was made man.
He was crucified also for us, under
Pontius Pilate
He suffered and was buried. And the third day He rose again
according to the Scriptures, and ascended into heaven. He sitteth at the
right hand of the Father.
And He shall come again with glory to judge both the living and the dead; of whose kingdom there shall be no end. And in the Holy Ghost, the Lord and giver of life,
qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per prephetas.
Et in unam, sanctam,
catholicam et apostolicam Ecclesiam.
Confiteor unum baptisma
in remissionem peccatorum.
Et exspecto resurrectionem mortuorum,
et vitam venturi saeculi. Amen.
Offertory: Salvator noster
Salvator noster
hodie dilectissimi natus est,
gaudeamus omnes
exultet igitur sanctus
quia approprinquat ad palmam
gaudeat peccator
quia invitatur ad veniam
animetur gentilis
quia invitatur ad vitam
V. Per omnia saecula saeculorum.
R. Amen.
V. Dominus vobiscum.
R. Et cum spiritu tuo.
V. Sursum corda.
R. Habemus ad Dominum.
V. Gratias agamus Domino Deo nostro.
R. Dignum et iustum est.
V. Vere dignum et iustum est, aequum et salutare, nos tibi semper, et ubique gratias agere: Domine sancte, Pater omnipotens, aeterne Deus. Quia per incarnati verbi mis-terium, nova mentis nostrae oculis lux tuae claritatis infulsit: ut dum visibilter Deum cognoscimus, per hunc in invisibiliium amorem rapiamur. Et ideo cum angelis et archangelis, cum thornis et dominationibus, cumque omni militia caelestis excercitus, hymnum gloriae tuae canimus sine fine dicentes:
who proceedeth from the Father and the Son; who together with the Father and the
Son is adored And glorified; who spoke by the Prophets.
And in one holy,
catholic and apostolic Church.
I confess one baptism
for the remission of sins
And I look for the resurrection of the dead,
and the life of the world to come. Amen.
Our Saviour
dearly beloved, is born today,
let us all rejoice,
let the holy man exult therefore
because he approaches victory
let the sinner rejoice
because he is summoned to forgiveness
let the pagan be given courage
because he is summoned to life.
World without end.
May the Lord be with you.
And with thy spirit.
Lift up your hearts.
We have lifted them up to the Lord.
Let us give thanks to the Lord our God.
It is meet and right to do so.
It is truly just and fitting, right and healthy that we should always and everywhere give thee thanks , holy Lord, Father almighty, eternal God. For by the mystery of the incarnate Word, the new light of your splendor has shone through our minds' eyes, that while we recognise the visible God, through him we are seized with love for the invisible. And therefore with angels and archangels, with thrones and dominations, and with whole army of the heavenly host, we sing a hymn of your glory, saying without end:
Sanctus, Sanctus, Danctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Osanna in excelsis.
Benedictus qui venit in nomine Domini.
Osanna in excelsis.
Elevation: O Jesu mi dulcissime
O Iesu mi dulcissime
adoro te in stabulo commorantem
O puer dilectissime
adoro te in praesepio iacentem
O Christe, rex piissime,
adoramus te in faeno cubantem
in coelo fulgentem.
O mira Dei pietas!
O singularis caritas!
Christus datus est
Iesus natus est;
datus est a patre
natus est de virgine matre
O divina ergo proles
te colimus hie homines
ut veneremur coelites.
Pater noster
V. Per omnia saecula saeculorum R. Amen. V. Oremus
Praeceptis salutaribus moniti, et divina institution formati, audemus dicere: Pater noster, qui es in caelis, sanctificetur nomen tuum. Adveniat regunum tuum, fiat voluntas tua, sicut in caelo et in terra. Panem nostrum quotidianum da nobis hodie, et dimitte nobis debit nostra, sicut et nos dimittimus debitoribus nostris. Et ne nos inducas
in tentationem. R Sed libera nos a malo V. Per omnia saecula saeculorum. R. Amen.
Holy, Holy, Holy,
Lord God of Hosts
Heaven and earth are full of thy glory Hosanna to God in the highest.
Hosanna to God in the highest.
Blessed is he that comes in the name of the Lord.
0 my most sweet Jesu
1 adore you abiding in the stable
0 most beloved child,
1 worship you lying in a manger O Christ, most holy king,
we worship you asleep in the hay,
resplendent in heaven.
O wondrous compassion of God!
O unique love!
Christ is given
Jesus is born;
he was given by the father
and born of a virgin mother.
O divine offspring,
as men we honour you here
that we may worship you as citizens of heaven.
World without end.
Let us pray.
Taught by our Saviour's command and follow?ing his divine instruction we make bold to say: Our Father, who art in heaven, hallowed be Thy name; Thy kingdom come; Thy will be done on earth, as it is in heaven. Give us this day our daily bread; and forgive us our trespasses, as we forgive them that trespass against us. And lead us not
into temptation. But deliver us from evil. World without end. Amen.
Agnus Dei
Agnus Dei, qui tollis peccata mundi,
miserere nobis
Angus Dei, qui tollis peccata mundi
miserere nobis
Agnus Dei, qui tollis peccata mundi,
dona nobis pacem.
V. Oremus. Da nobis, quaesumus domine Deus noster, ut qui nativitatem Domini nos-tri Iesu Christi misteriis nos frequentare gaudemus; dignis conversationibus ad eius mereamur pervenire consortium: qui tecum vivit et regnat in unitate Spiritus Sancti Deus: per omnia saecula saeculorum. R. Amen.
V. Dominus vobiscum. R. Et cum spiritu tuo V. Ite missa est R. Deo gratias.
Recessional: Quern vidistes pastores Quern vidistis pastores Dicite, annunciate nobis, in terris quis apparuit Christum salvatorem de
virgine natum vidimus et chorus angelorum collaudantes Domino. Mariam et Ioseph vidimus in terra stratos supplices et natum carum pariter adorantes humilter. Gratia Deo qui dedit nobis victorium per Iesum Christum salvatorem nostrum, ut animalia viderent Dominum natum iacentem in praesepio Alleluia.
Lamb of God, who takest away the sins of
the world, hav mercy on us.
Lamb of God, who takest away the sins of
the world have mercy on us.
Lamb of God, who takest away the sins of
the world, grant us peace.
Let us pray. Grant us we beseech Thee, O Lord our God, that we who rejoice in cele?brating the birth of our Lord Jesus Christ in these mysteries may by worthy conduct deserve to attain fellowship with him, who with you lives and reigns in the unity of the Holy Spirit for ever and ever. Amen.
May the Lord be with you. And with Thy spirit. The mass is ended. Thanks be to God.
Shepherds, whom have you seen
Tell us, announce to us,
who has appeared on the earth
We have seen Christ the saviour born
of the virgin,
and choirs of angels together praising the Lord. We have seen Mary and Joseph as we prostrated ourselves in supplication and in like manner humbly worshipping the dear new born child. Thanks be to God who gave us the victory through Jesus Christ our saviour. O great mystery and wondrous sacrament that the animals should see the incarnate Lord lying in the manger. Alleluia.
Paul McCreesh is among the most pre-eminent and versatile British conductors of the younger genera?tion and has an outstanding inter?national reputation for his work in renaissance and baroque music, most notably with the Gabrieli Consort and Players which he founded in 1982.
With his ensemble he has performed in concert, radio and on television in most of Europe's international festivals and concert halls including the BBC Proms, Vienna Konzerthaus, Bergen Festival, Glasgow Mayfest, Lucerne Festival, Cite de la Musique in Paris, Bremen Musikfest, Covent Garden Festival, Accademia Santa Cecilia Roma, the South Bank Centre, Jerusalem Festival, Polish Radio, Styriate Graz, the Palau de la Musica Barcelona, Flanders Festival, Utrecht Festival, Ludwigsburger Schlossfestspiele, and the Handelfestspiele in Halle.
As well as conducting established master?pieces by Monteverdi, Handel, Bach and Purcell he is especially renowned for his imaginative programming, often calling upon the very latest research and placing music within the framework of great historic events and ceremonies.
Since 1993, Paul McCreesh has enjoyed an exclusive recording contract with Deutsche Grammophon Archiv Production. His recorded repertoire includes music by Gabrieli, Monteverdi, Purcell, Praetorius, Palestrina, Josquin, Victoria and Morales, and forthcoming recordings of Bach and Handel. These recordings, including video productions, have scooped most of the major international recording prizes, including two Gramophone Awards, the Diapason D'Or the Deutschen Schallplatten Preis and two Edisons.
Away from his own ensemble, Paul McCreesh is noted for the breadth of his interests in later repertoire. He has performed Bruckner for the BBC and City of London Festival, Stravinsky, Haydn, Elgar and Faure
with the Northern Sinfonia in New Castle, and has appeared with the Orchestra Regionale Toscana in Florence, with the Netherlands Bach Society and the Netherlands Chamber Choir. He has also enjoyed con?ducting opera and stage productions in the UK, France, Holland and the US.
This performance marks Paul McCreesh's debut under UMS asupkes.
Since its founding by Paul McCreesh in 1982, the Gabrieli Consort & Players have gained an international reputation for their performances of Renaissance and Baroque music. The ensemble is best known for its extra?ordinary reconstructions of famous sixteenthand seventeenth-century musical events. Much of this success can be attributed to the extensive research by Paul McCreesh in preparation for each project.
In 1989 the Consort & Players undertook their first historical reconstruction with A Venetian Coronation 1595. Specifically, this consisted of music by Andrea and Giovanni Gabrieli performed at the coronation of Doge Marino Grimani at San Marco in Venice. This mixture of High Mass and grand ceremonial caught the imagination of a public unfamiliar with much of the music, and has proved largely popular. In 1991 the recording received Gramophone's Award for "Best Early Music Recording," the Edison Award, and the ABC Award.
Subsequent reconstructions have been similarly successful: Venetian Vespers (ves?pers as it might have been in 1640's Venice), Christmas in Rome (Palestrina's Missa Hodie Christus Natus Est at Santa Maria Maggiore, Rome: filmed for TV, video and laser disc in 1992), and Lutheran Christmas Mass d620 by Michael Praetorius, with its colorful range of renaissance instruments and massed choirs. The latest project of this
kind took place recently at the Scuola di San Rocco in Venice, where Paul McCreesh ful?filled a long-held ambition by recreating and recording in sound and vision, on the 700th anniversary of the birth of San Rocco, a concert given at the Scuola in August 1608. Entitled Music at San Rocco, this extraordi?nary event features fifty-two performers, among them seven organists, and includes Giovanni Gabrieli's most majestic polychoral pieces, culminating in the monumental Magnificat for seven choirs. It was shown on European TV in 1996.
Paul McCreesh and the Gabrieli Consort & Players have extended their international concert, broadcasting, and recording activity. They often record for BBC Radio 3 and per?form throughout the UK, appearing at the BBC Proms, the South Bank, and at festivals including Oxford, Glasgow, York, Birming?ham, Covent Garden, and Spitalfields. Along with critically acclaimed performances at the BBC Proms, Vienna's Konzerthaus, and Cite de la Musique in Paris, they are regular guests at such leading European festivals as Lyon, Beaune, La Chaise Dieu, Flanders, and Utrecht.
In the field of music-theater Paul McCreesh and the ensemble made an original and well-received debut with a semi-staged production of Handel's Saul at the 1994 Covent Garden Festival in London. In 1995, Purcell's centenary year, they performed his dramatic masterpieces, King Arthur, The Fairy Queen, and Dido and Aeneas through?out Europe. Paul McCreesh and the Gabrieli Consort & Players record exclusively for Archiv Produktion.
This performance marks the Gabrieli Consort and Players' debut under UMS auspices.
Celia Cruz
with Jose Alberto, "El Canario"
Julio Cesar Carvajal, Timbales
Pablo Dominguez, Trumpet
Jose E. Jerez, Saxophone
Mark Lopez, Bongos
Geraldo Madera, Bass
Angel Martinez, Trumpet
Ariz Martinez, Coros
Jose R. Correna Navarro, Congas
Luis Orlando Cueto Rivera, Piano
Larry Moreno Sandoval, Trombone
Friday Evening, November 7,1997 at 8:00 Hill Auditorium, Ann Arbor, Michigan
This evening's concert will be anounced from the stage.
Pedro Knight, Musical Director Roberto Geronimo, Road Manager Cecar Carvajal, Band Boy
Thirteenth Concert of the 119th Season
World Culture Series
This performance is presented with support from media partner WEMU, 89.1 Public Radio from Eastern Michigan University.
Special thanks to Frances Aparicio and Alberto Nacif for their involvement with this residency.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
They call Celia Cruz the Queen of Salsa, the greatest female singer to emerge from Cuba, and a living leg?end. Her rich contralto voice has thrilled audiences for over half a century, first as the toast of 1950s Havana, then in a series of films through the 1950s and 60s, and more recently in the movie of Oscar Hijuelos' book, The Mambo Kings Play Songs of Love, in which she performed with her regular touring partner Tito Puente -the King of Mambo. As witnessed by this film, and her duet with David Byrne, "Loco de Amor," in his movie, Something Wild, she is one of the few Latin stars to have acquired an ail-American audience.
Born in the humble town of Santo Suarez in Havana, Cuba, she was one of fourteen children. She left Cuba after the 1959 revolution along with Cuba's most popular band, Sonora Matancera. In 1961, she became a permanent US citizen and had a contract to perform in the Hollywood Paladium. Celia Cruz has recorded with all the Latin greats including collaborations with Johnny Pacheco, Willie Colon, Papo Lucca and his Sonora Poncefia, and Pete "El Conde" Rodriguez.
The tributes to Celia Cruz are numer?ous: a Yale University honorary doctorate, a Hollywood star, a Grammy, a statue in the famous Hollywood wax museum, movie and theater appearances, and the keys to numerous cities. Her most recent honor came when President Bill Clinton presented her with the highest honor a contralto can receive, the National Medal of Arts, the nation's highest music award.
This performance marks Celia Cruz's debut under UMS auspices.
Jose Alberto "El Canario" is an authentic sonero who masters to perfection the art of improvising by putting together his great performing talent with his inner feelings. He was born on December 22,1957 in the picturesque village, Villa Consuelo, in Santo Domingo, Dominican Republic. At an early age, he used to accompany his mother Adalgisa Andujar, a well-known dancer during the Golden era of Radio-Television Dominicana.
When he was seven years old, Jos? Alberto moved with his family to Puerto
Rico where he began
to demonstrate his musical talent while studying at the Antilles Military Academy. Later he moved to New York, making the city his personal and profes?sional headquarters. Jose Alberto has
recorded sixteen albums, two of which have gone gold. He has toured the US, Europe, Central and South America, and Japan and has received numerous awards.
This performance marks Jose Alberto's debut under UMS auspices.
Warren Jones, Piano
Franz Schubert
Maurice Ravel
Hugo Wolf
Saturday Evening, November 8,1997 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Schwanengesang (selections) Der Atlas Ihr Bild
Das Fischermadchen Die Stadt Am Meer Der Doppelganger Standchen Aufenthalt In der Feme Abschied
Don Quichotte a Dulcinee
Chanson Romanesque Chanson Epique Chanson a Boire
Der Rattenfanger
The audience is politely requested to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Fourteenth Concert of the 119th Season
119th Annual Choral Union Series
Special thanks to Leslie Guinn, Julie Ellison and the YoHA Course Community for their help with this residency.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Only a hundred years of musical composition are embraced by tonight's three groups of songs, but what important and diverse reper?toire this is! Important, for in the case of two of tonight's three com?posers, these songs represent their very last statements in this or any other genre. Diverse, for the texts which have inspired this music range from the profoundly emo?tional to the irreverently inconsequential. Thus the opportunities for both singer and pianist to create every conceivable mood and emotion could not be greater. Tonight's program encounters alienation, reverence, shame and pride; we can enjoy a new look at an exterminator and hear a portrait come to life; we will hear two serenades and two very different farewells. Tonight's program truly offers us a kaleidoscope of experiences in song.
Franz Schubert
Born on January 31, 1797 in
Himmelpfortgrund (now Vienna) Died on November 19, 1828 in Vienna
It is important to avoid thinking of these ten Schubert songs as "excerpts" from Schwanengesang, the composer's final opus. That group of fourteen songs containing the words of three poets was constructed by a well-intentioned publisher; it was never conceived by Schubert, whose cycles and groups had always been unified by a single poet. By choosing ten of these final Schubert songs, tonight's recital rejects any sense of obligation to a "complete" work which never existed.
This group begins with the only songs Schubert ever wrote to texts of Heinrich Heine. These songs have the fewest notes of any of his songs, but they contain the most intense atmospheres. The definition of a song had already been forever changed by
Schubert during the previous twenty years. An inexhaustible supply of melody, an end?less array of pictorial accompaniments, and an ability to manipulate harmonies in new and interesting ways had securely estab?lished Schubert as a master of songwriting. Now, only sixty days from his death, Schubert was pushed even further by Heine's words. In Der Atlas, one can hear the operas of Weber and even early Wagner yet to come and truly sense the triumph of oppression. Ihr Bild, using only unison con?trasted with the simplest harmonies, brings the beloved's picture to life but devastates the beholder in doing so. For relief comes tonight's first serenade, Das Fischermadchen. Here Schubert masquerades as simple and naive: the pianist's hands cover but two octaves, and the singer seems to understate his plea, but who can resist the sly invitation in this gem of a song Die Stadt strikes us as amazingly contemporary even now, as we hear Schubert dare to make us uncomfort?able, repeating the same gesture again and again. Then foghorns, the ocean's roar, the warmth of the setting sun are all captured in the very demanding Am Meer. Finally, the miraculous Doppelgdnger, which breaks new ground dramatically as well as musically. Here the composer achieves the ultimate synthesis of recitative and song, delivers both over an unyielding accompaniment, and sears us all in the process.
The remaining Schubert songs tonight are on poetry of Ludwig Rellstab, a close friend of the composer's. These are not life-changing, ironic or unforgettable poems, but they are typical of the verses which attracted Schubert's attention most often. Their charm and symmetry, their romance and desire seem to call out for music, and Schubert is happy to supply it. Tonight's second serenade (Standchen) is much more outgoing than its predecessor and is proba?bly Schubert's most beloved song. Guitars and woodwinds at the piano and a most
italianate melody guarantee a successful wooing. In Aufenthalt, we encounter an inconsolable wanderer who could almost become part of the Winterreise. In der Feme presents a very similar opening to that of Am Meer heard earlier, and its first two stro?phes feature Schubert again manipulating harmonies around the simplest of tunes as only he can. The second half of this song, however, suddenly becomes highly romantic in texture, clearly pointing the way to Brahms. We say goodbye to this wonderful group with Abschied, one of Schubert's most infectious perpetual motion creations. Although the pony's jaunty trot is constant, every possible harmonic and melodic adventure is explored. The motor rhythm in this song of farewell is an endless fount of joy and makes these nearly two hundred bars seem almost brief.
Maurice Ravel
Born on March 7, 1875 in Ciboure,
Basses-Py rentes Died on December 28, 1937 in Paris
Although Ravel was to live another five years, this trio of songs based on Cervantes' Don Quixote was the last music he completed. He was invited to collaborate on a film which was to have starred the great Russian bass, Fyodor Chaliapin, as the gallant knight. How fortunate for us (and for all baritones) that Ravel accepted the invitation, for even though the film was never made, this last opus was born. Ravel seems to have been obsessed with the non-French world. Indeed, amongst his works for voice, more than half deal with other cultures. Looking through these pages, one would have no idea that Ravel belonged to the impressionist movement. The piano accompaniment is spare, lean, and evokes simple guitar gestures or sixteenth-century woodwind colors. This cycle is not a story; rather it is three
tableaux in this celebrated character's life. Each song is musically based on an antique dance rhythm, and the result of Ravel's genius is the evocation not of 1932 but of 1588, not of France but of Spain at its noblest.
Hugo Wolf
Born on March 13, 1860 in Windischgraz,
Styria (Austria) Died on February 22, 1903 in Vienna
Tonight's last group of songs were all written in 1888 and thus fall, chronologically, halfway between our other two composers. But whereas Schubert and Ravel excelled in almost every musical genre, the name Hugo Wolf is only associated with vocal music, and mainly with song. Wolf reinvented the song in the same way that Wagner reinvented opera. It is not possible to speak of melody and accompaniment with Wolf; both parts are now inextricably bound up into one fused entity. And unlike Schubert, Brahms and Strauss, Wolf only had an appetite for texts of the highest literary merit, among them Goethe, Eichendorf, Michelangelo and Morike. His love of words is demonstrated by the fact that he insisted that his own name appear below that of the poet whenever his songs were published -quite a unique gesture for an ambitious young man trying to achieve some success! Mr. Hagegird has chosen three of Wolf's most delightful and humorous songs to close this concert. Goethe's ratcatcher seems to be much too easily distracted to be trusted at his job. Fussreise is probably the most carefree walk in all of song. The poem for Abschied, tonight's second farewell, must surely have appealed enormously to Wolf, himself a for?mer reviewer and someone who was forever being viciously denounced by his detractors. We can all join him and take a bit of vicarious pleasure in the sad fate of his uninvited critic.
Program notes by Martin Katz
Swedish baritone Hakan Hagegard's sophisticated artistry and keen sense of subtlety rank him amongst the world's most accomplished perform?ers. Catapulted into stardom by his delightful appearance as Papageno in Ingmar Bergman's film version of Mozart's The Magic Flute, he is equally at ease on the operatic stage, in recitals and in concerts.
Last season, Mr. Hagegard embarked on an extensive world tour consisting of recitals, concerts and opera performances. The tour began in Karlstad, Sweden -his birthplace -and took him to all five conti?nents. In addition to the world tour, Mr. Hagegard performed the premiere of a work by Dominick Argento in St. Paul, Minnesota with Frederica von Stade. He also performed at the Lyric Opera of Chicago, and sang in Paris with the Orchestre de Paris, as well as in Vienna in Segreto di Susanna.
Mr. Hagegard's subtle and aristocratic voice has been heard throughout the world's most distinguished opera houses and con?cert halls including Carnegie Hall, the Glyndebourne Opera, Covent Garden, La
Scala, Vienna, the Opera Bastille in Paris, the Concertgebouw in Amsterdam, the Grand Theatre of Geneva, the Sydney Opera House, Santa Fe, and the Deutsche Oper in Berlin.
A superlative recitalist, Mr. Hagegard specializes in the traditional German reper?toire and has recorded many of the great song cycles including Schubert's Winterreise, Schumann's Dichterliebe, Wolf's Italienisches Liederbuch and Grieg's Fifty Songs.
Mr. Hagegard's impressive discography comprises complete opera recordings, the great song cycles, sacred music, Mozart arias, Mahler songs and contemporary works as well as popular tunes. His recording of the Brahms Requiem with James Levine and the Chicago Symphony won a Grammy Award in 1984.
In 1985 Mr. Hagegard was appointed vocalist to His Majesty the King Carl XVI Gustaf of Sweden and in 1989, he became a member of the Royal Swedish Academy.
In 1992 Mr. Hagegard opened the HageGarden Music Center in Brunskog, Sweden, an hour from Stockholm. This unique complex was built with the idea that performers who work all around the world sometimes need some respite, a place where they can pause, study, meditate and renew themselves in an atmosphere of peace and nature. The Center, built amongst the forests of Sweden, welcomes students, musicians, actors and other performers for master classes, seminars, retreats and recordings. The acoustics of the main hall are of the highest caliber and BMG's first recording of the Grieg songs was done at HageGarden. The Center features high-tech media equipment as well as the latest in modern telecommu?nications. It includes more than twenty hotel rooms and is open year round.
Hakan Hagegard was born in Sunne, Sweden and began his musical training at the municipal school of music. He contin?ued his education at the Royal Academy of
Music in Stockholm before going on to the Mozarteum in Salzburg. He then studied with Tito Gobbi in Florence and Gerald Moore in London. He made his Metro?politan Opera Debut in 1978 as Malatesta in Don Pasquale. He lives in Brunskog on the grounds of HageGarden.
This performance marks Hdkan Hagegdrd's fourth appearance under UMS auspices.
Warren Jones frequently performs with many of today's most well-known artists, including Marilyn Home, Carol Vaness, Barbara Bonney, Ruth Ann Swenson, Dame Kiri Te Kanawa, Samuel Ramey, Hakan Hagegard, Olaf Baer, Bo Skovhus, and James Morris. In the past he has partnered such great singers as Kathleen Batde, Judith Blegen, Tatiana Troyanos, and Martti Talvela. His collaborations have earned consistently high praise from many publications: the Los Angeles Times has named him "a paragon for all to hear," and Le Figaro of Paris remarked that he performed there "with a devilish, diabolic facility, employing an ease which permitted him to be at one with his partner."
Mr. Jones has been featured in an American television interview with Eugenia Zuckerman on CBS Sunday Morning, in which his work as a performer and teacher was explored, and he has appeared on tele?vision across the United States with Luciano Pavarotti. He has often been a guest artist at Carnegie Hall and in Lincoln Center's Great Performers series, as well as the festivals of Tanglewood, Ravinia, and Caramoor. His international travels have taken him to recitals at the Salzburg Festival, Milan's Teatro alia Scala, the Maggio Musicale Festival in Florence, Paris' Theatre des Champs-Elysees and Opera Bastille, Wigmore Hall and Queen Elizabeth Hall
in London, the Konzerthaus of Vienna, Suntory Hall in Tokyo, the Cultural Centre in Hong Kong, and theaters throughout Scandinavia and Korea. Mr. Jones has been invited twice to the White House by American presidents to perform at concerts honoring the presidents of Russia and Italy, and he was featured in the United Nations memorial concert and tribute to Miss Audrey Hepburn which was telecast world?wide following Miss Hepburn's death.
Recently three new recordings have been released featuring Mr. Jones: i carry your heart, with Ruth Ann Swenson on EMI, Every Time We Say Goodbye with Samuel Ramey on the SONY Classic label, and Faure Songs with Barbara Bonney and Hakan Hagegard on RCA Red Seal. Two other RCA compact discs also feature Mr. Jones: Strange Hurt, in which he collabo?rates with Metropolitan Opera soprano Harolyn Blackwell in contemporary American music of Ricky Ian Gordon; and Divas in Song, a live recording of Marilyn Home's sixtieth birthday concert from Carnegie Hall. In addition, a critically acclaimed survey of songs by Edward Grieg with Mr. Hagegard has been issued by RCA. Mr. Jones' recording of Copland and Ives with Mr. Ramey was nominated for a Grammy Award, and he can be seen on the best-selling Deutsche Grammophon video of his Metropolitan Museum recital with Kathleen Battle.
This performance marks Warren Jones' third appearance under UMS auspices.
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 Universit) 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 iWarner-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 iise of a Lincoln Town Car to provide trans?portation for visiting artists.
Camerata Dinners
Following last year's great success, the UMS Board o: 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, conductc
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 un. Dec. 7 Handel's Messiah (post performance dinner) un. Feb. 22 Mendelssohn's Elijah
Tue. Mar. 24 Russian National OrchestraGil Shaham, violin Mon. Apr. 13 Evgeny Kissin, piano
'ackage price $52 per person (with tax & tip incorporated) ncludes: Guaranteed dinner reservations (select any item from he special package menu) and reserved "A" seats on the main loor at the performance for each guest.
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue, Ann Arbor
313.769.0653 for reservations
oin Ann Arbor's most theatrical host & hostess, Fred & Edith .eavis Bookstein, for a weekend in their massive stone house built n the mid-1800s for U-M President Henry Simmons Frieze. This listoric house, located just minutes from the performance halls, las been comfortably restored and furnished with contemporary rt and performance memorabilia. The Bed & Breakfast for Music nd Theater Lovers!
'ackage 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 he performance.
The Bell Tower Hotel & Escoffier Restaurant
300 S. Thayer, Ann Arbor I 313.769.3010 for reservations
Fine dining and elegant accommodations, along with priority Seating to see some of the world's most distinguished performing prtists, 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 pell Tower Hotel, and great seats to the show. Beat the winter Jlues in style!
pat. Dec 6 Handel's Messiah
rri. Jan. 9 David Daniels, countertenor
Eat. Jan. 10 Israel Philharmonic Orchestra
fri. Jan. 30 Beethoven the Contemporary: American String Quartet
fri. Feb. 13 Juan-Ion.' Mosalini and His Grand Tango Orchestra
Sat. Feb. 14 Chen Zimbalista, percussion
Fri. Feb. 20 Chick Corea, piano and Gary Burton, vibes
fri. Mar. 13 New York City Opera National Company Donizetti's Daughter of the Regiment
Sat. Mar. 21 Batsheva Dance Compatty 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 Escofficr restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 S. Main Street, Ann Arbor
313.663.5555 for reservations Tim. Oct. 16 Guitar Summit IV Fri. Nov. 7 Celia Cruz with Jose Alberto "El Canario" Thu. Dec. 11 The Harlem Nutcracker Sun. Jan. 18 Boys Choir of Harlem Thu. Feb. 19 Petersen Quartet Thu. Mar. 12 New York City Opera National Company
Donizetti's Daughter of the Regiment Fri. Apr. 3 STREB
Package price $45 per person includes: guaranteed reservations for a pre-show dinner (select any item from the menu plus a non?alcoholic beverage) and reserved "A" seats on the main floor at the performance.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 65 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
Make your gift stand out from the rest: call the UMS Box Office at 313.764.2538, or stop by Burton Tower.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsor?ing of UMS performances will enable you to reach 125,000 of southeastern Michigan's most loyal con?cert-goers.
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 313.647.4020 to learn how your business can benefit from advertising in the UMS program book.
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 Smolder
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. AJdrich 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 I;. 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 luli.111 and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and Joan F. Howe John and
Patricia Huntington Keki and Alice Irani Stuart and Maureen Isaac Herbert Katz Emily and Ted Kennedy Bethany and
A. William Klinke II Michael and
Phyllis Korybalski Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Bob and Laurie LaZebnik Elaine and David Lebenbom Mr. Henry M. Lee Carolyn and Paul Lichter Robert and Pearson Macek Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. and Mrs.
Donald A. Meier Dr. H. Dean and
Dolores Millard Myrna and Newell Miller Dr. and Mrs. Andrew
and Candice Mitchell Dr. and Mrs. Joe D. Morris George and Barbara Mrkonic Sharon and Chuck Newman William A. and
Deanna C. Newman Mark and Susan Orringer Constance L. and
David W. Osier
Mr. and Mrs.
William B. Palmer Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Donald H. Regan and Elizabeth Axelson Professor and Mrs.
Raymond Reilly Glenda Renwick Molly Resnik and
John Martin
Jack and Margaret Ricketts Richard and Susan Rogel Don and
Judy Dow Rumelhart Dick and Norma Sarns Rosalie and
David Schottenfeld Janet and Mike Shatusky Cynthia J. Sorensen Dr. Hildreth H. Spencer Steve and Cynny Spencer Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs.
E. Thurston Thieme Dr. Isaac Thomas III and
Dr. Toni Hoover Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
Laura A. Van House John Wagner Elise and Jerry Weisbach Angela and Lyndon Welch Roy and JoAn Wetzel Douglas and Barbara White Elizabeth B. and
Walter P. Work, I r. 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. Bockenstedt and
David A. Fox
Dr. William and Beatrice Fox David ). 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
John K. Lawrence
Leo A. Lcgatski
Myron and Bobbie Levine
Dean and Gwen Louis
Mr. and Mrs. Carl J. Lutkehaus
Brigitte and Paul Maassen
John and Cheryl MacKrell
Ken Marblestone and
Janisse Nagel
Mr. and Mrs. Damon L. Mark Hattie and Ted McOmber Walter and Ruth Metzger Mr. and Mrs.
Francis L. Michaels Grant Moore and
Douglas Weaver 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 ). Pierce Barry and Jane Pitt Eleanor and Peter Pollack
Richard L. Prager, M.D. Jerry and Lorna Prescott Tom and Mary Princing Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Stephen and Agnes Reading Jim and Bonnie Reece La Vonne and Gary Reed Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Restuccia Katherine and
William Ribbens Barbara A. Anderson and
John H. Romani Mary R. Romig-deYoung Gustave and
Jacqueline Rosseels Mrs. Doris E. Rowan Dr. Nathaniel H. Rowe Sheldon Sandweiss Meeyung and
Charles Schmitter Mrs. Richard C. Schneider Edward and Jane Schulak Joseph and Patricia Settimi Julianne and Michael Shea Mr. and Mrs.
Fredrick A. Shimp, Jr. Helen and George Siedel Mrs. Charles A. Sink Mr. and Mrs. Neil J. Sosin Mrs. Ralph L. Steffek Mr. and Mrs.
John 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 Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns Marcy and Scott Westerman
Mrs. Elizabeth Wilson Len and Maggie Wolin Frank E. Wolk Dr. and Mrs. Clyde Wu MaryGrace and Tom York
Corporations The Ann Arbor
District Library The Barfield CompanyBartech Coffee Express Co. General Systems Consulting
Group KeyBank Arbor Temporaries
Personnel Systems, Inc. Van Boven Shoes, Inc.
Foundations The Power Foundation Shiftman Foundation Trust
Anastasios Alcxiou
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
John and Susan Anderson
David and Katie Andrea
Harlene and Henry Appelman
Mr. and Mrs. Arthur ]. Ashe
Essel and Mcnakka Bailey
Julie and Bob Bailey
Lesli and Christopher Ballard
John and Betty Barfield
Norman E. Barnett
Dr. and Mrs. Mason Barr, r.
Leslie and Anita Bassett
Astrid B. Beck and
David Noel Freedman Neal Bedford and
Gerlinda Mclchiori Harry and Betty Benford P.E. Bennett
Ruth Ann and Stuart J. Bergstein Jerry and Lois Beznos John 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 Joel 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 Isabelle Carduner fim and Priscilla Carlson
Professor Brice Carnahan
Marchall F. and Janice L Carr
Jeannette and Robert Carr
Janet and Bill Cassebaum
Andrew and Shelly Caughey
Yaser Ccreb
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
Lolagene C. Coombs
Mary K. Cordes
Alan and Bette 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 Emil Engel Don Faber
Dr. and Mrs. Stefan Fajans Dr. and Mrs. John A. Faulkner Dr. James F. Filgas Herschcl and Annette Fink Joseph J. Fitzsimmons Stephen and Suzanne Fleming Jennifer and Guillermo Flores Ernest and Margot Fontheim fames and Anne Ford Wayne and Lynnette Forde Deborah and Ronald Freedman Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and (ay Gardner Professor and Mrs. David M. Gates Thomas and Barbara Gelehrtcr Elmer G. Gilbert and
Lois M. Verbrugge James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almcda 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 Rcnce M. Gredcn Dr. and Mrs. Lazar J. Greenfield Carlcton 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. Haerher and
Cynthia J. 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 Hershenson Herb and Dee Hildcbrandl Louise Hodgson Dr. and Mrs. Ronald Holz John and Lillian H. Home Linda Samuelson and Joel Howell Che C. and Teresa Huang Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Robert B. Ingling Professor and Mrs.
John H. Jackson K. John Jarrett and
Patrick T. Sliwinski Wallie and Janet Jeffries Mr. and Mrs. Donald L. Johnson Ellen C. Johnson Billie and Henry Johnson Kent and Mary Johnson Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Allyn and Sherri Kantor Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Donald F. and Mary A. Kiel Rhea and Leslie Kish Paul Kissner, M.D. and
Dana Kissner, M.D. lames and Jane Kister Dr. George Kleiber Philip and Kathryn KJintworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Barbara and Charles Krause Doris and Donald Kraushaar Konrad Rudolph and
Marie Kruger Thomas and Joy Kruger Henry and Alice Landau Marjorie Lansing Mr. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence John and Theresa Lee Richard LeSueur Jody and Leo Lighthammer Leslie and Susan Loomans Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Jeffrey and Jane Mackie-Mason Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Edwin and Catherine Marcus Geraldinc 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 CrofTord Griff and Pat McDonald lames and Kathleen McGauley Deanna Relyea and
Piotr Michalowski Leo and Sally Miedler Jcanettc and lack Miller Dr. M. Patricia Mortell Sally and Charles Moss Dr. Eva L Mueller Marianne and Mutsumi Nakao Edward and Betty Ann Navoy Frederick C. Neidhardt and
Germaine Chipault Peter F. Norlin Richard S. Nottingham Mr. and Mrs. James O'Neill Mark Ouimet and
Donna Hrozencik Donna D. Park Shirley and Ara Paul Dr. Owen Z. and Barbara Perlman Margaret D. and John Petersen Frank and Nelly Petrock William and Barbara Pierce Frank and Sharon Pignanclli Dr. and Mrs. Michael Pilepich Richard and Meryl Place
Donald and Evonne Plantinga Lana and Henry Pollack Stephen and Tina Pollock Cynthia and Roger Postmus Bill and Diana Pratt Larry and Ann Preuss Charleen Price Wallace Prince
Mr. and Mrs. Millard H. Pryor J. Thomas and Kathleen Pusteli Leiand and Elizabeth Quackenbush Michael and Helen Radock Homayoon Rahbari, M.D. Anthony L. RefTells and
Elaine A. Bennett Mr. and Mrs. Neil Ressler Constance Rinehart Mrs. Irving Rose Gay and George Rosenwald Jerome M. and Lee Ann Salic Michael Sarosi and
Kimm Skalitzky Sarosi Gary and Arlene Saxonhouse Dr. Albert J. and Jane L. Sayed David and Marcia Schmidt David E. and Monica N. Schteingart
Art and Mary Schuman Marvin and Harriet Selin Constance Sherman Dr. and Ms. Howard and
Aliza Shevrin George and Gladys Shirley
Edward and Marilyn Sichler
Scott and loan Singer
John and Anne Griffin Sloan
Alene M. Smith
Carl and Jari Smith
Mrs. Robert W. Smith
Jorge and Nancy Solis
Dr. Elaine R. Soller
Lois and William Solomon
Mr. and Mrs. Edward Sopcak
Dr. Yoram and Eliana Sorokin
luanita 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 X Wirick Farris and Ann Womack Richard and Dixie Woods Mr. and Mrs. A. C. Wooll Phyllis B. Wright Don and Charlotte Wyche 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
ohn R. Adams Tim and Leah Adams Michihiko and Hiroko Akiyama Michael and Suzan Alexander Mr. and Mrs. Gordon E. Allardyce Michael Allcmang 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. James and
Cathlecn Culotta-Andonian Catherine M. Andrea T. L. Andresen
Dr. and Mrs. Dennis L. Angellis Elaine and Ralph Anthony James Antosiak and Eda Weddington Patricia and Bruce Arden Bert and Pat Armstrong and Ellen Arncson Mr. and Mrs. Lawrence E. Arnctt Jeffrey and Deborah Ash Mr. and Mrs. Dan E. Atkins III Linda Atkins and Thomas Kenney Jim and Patsy Auiler Eric M. and Nancy Aupperle Erik W. and Linda Lee Austin Eugene and Charlene Axelrod Shirley and Don Axon Jonathan and Marlenc Ayers Virginia and Jerald Bachman Prof, and Mrs. J. Albert Bailey Richard W. Bailey and
Julia Huttar Bailey Bill and Joann Baker Laurence R. Baker and
Barbara K. Baker Gary and Cheryl Balint Drs. Helena and Richard Balon Dr. and Mrs. Peter Banks Kate Barald and Douglas Jewett Barbara Barclay Rosalyn and Mel Barclay John R. Barcham Mr. and Mrs. David Barera Maria Kardas Barna Cy and Anne Barnes Robert and Sherri Barnes Laurie and Jeffrey Barnett Donald C. Barnette, Jr. Mark and Karla Bartholomy Dorothy W. Bauer R. T. Bauer Kathleen Beck
Mr. and Mrs. Steven R. Beckert Marquita Bedway Dr. and Mrs. Richard Beil, Jr. Walter and Antjc Benenson Mcrete and Erling Blondal Bengtsson Linda and Ronald Benson Mr. and Mrs. 1b Bentzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg Mr. and Mrs. S.E. Berki L S. Berlin
Abraham and Thelma Berman Gene and Kay Berrodin Andrew H. Berry, D.O.
Bharal C. Bhushan
lohn 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 loyce Blum
Beverly J. Bole
Mr. and Mrs. Mark D. Bomia
Dr. and Mrs. Frank Bongiorno
Rebecca and Harold Bonnell
Fd and Luciana Borbely
Lola J. Borchardt
Gil and Mona Borlaza
Dr. and Mrs. David Bostian
Bob and )an Bower
Dr. and Mrs. Ralph Bozell
Melvin W. and Ethel F. Brandt
Representative Liz and
Professor Enoch Brater Robert and Jacqueline Bree Professor and Mrs. Dale ?. Briggs Allen and Veronica Britton Olin L. Browder Linda Brown and Joel Goldberg Molly and John Brucger 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. )amcs 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 J. Wehrley and Patricia Chapman Dr. Carey A. Charles loan and Mark Chesler George and Sue Chism Catherine Christen Edward and Rebecca Chudacoff Dr. and Mrs. David Church Robert J. Cierzniewski Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson Charles and Lynne Clipper! Roger and Mary Coe Dorothy Burke Coffey Hubert and Ellen Cohen Lois and Avern Cohn Gerald S. Cole and Vivian Smargon Howard and Vivian Cole The Michael Collier Family Ed and Cathy Colone Wayne and Melinda Colquilt Gordon and Marjorie Comfort Kevin and JudyCompton Patrick and Anneward Conlin Sandra S. Connellan lanet Cooke
Dr. and Mrs. William W. Coon Gage R. Cooper Mr. and Mrs. Herbert Couf Paul N. Couranl and
Marta A. Manildi Clifford and Laura Craig Marjorie A. Cramer Mr. Michael J. and Dr. Joan Crawford Mr. and Mrs. Richard Crawford
Kathleen J. Crispell and
Thomas S. Porter Lawrence Crochier Constance Crump and Jay Simrod Mr. and Mrs. James I. Crump, Jr. John and Carolyn Rundcll Culotta Richard I. Cunningham Mary R. and John G. Curtis Jeffrey S. Cutter R. K. and M. A. Daane Marylee Dalton xv and Millie Danielson Jane and Gawainc Dart Dr. and Mrs. Sunil Das DarLinda and Robert Dascola Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Mr. and Mrs. Roy C. Davis David and Kay Dawson Mr. and Mrs. Kenneth Dec Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DcGrood Peter H. deLoof and Sara A. Bassett Lloyd and Genie Dethloff Elizabeth and Edmond DeVinc A. Nelson Dingle Dr. and Mrs. Stephen W. Director Helen M. Dobson Dr. and Mrs. Edward R. Doezema Fr. Timothy J. Dombrowski Hilde and Ray Donaldson Steven and Paula Donn Thomas Doran Dick and )ane Dorr Prof William Gould Dow Mr. Thomas Downs Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. DrefTs John Drydcn and Diana Raimi Paul E. 1 nitv and
Marilyn L. Wheaton Edmund and Mary Durfee John W. Durstine Gloria Dykhouse George C. and Roberta R. Earl Elaine Economou and Patrick Conlin Mr. and Mrs. Richard Edgar Mr. and Mrs. John R. Edman Sara and Morgan Edwards David A. Eklund Judge and Mrs. S.). Elden Sol and Judith Elkin Ethel and Sheldon Ellis James Ellis and Jean Lawton Mrs. Genevieve Ely Mackenzie and Marcia Endo Jim and Sandy Eng David and Lynn Engelbert Mark and Patricia Enns Carolyne and Jerry Epstein Stephen H. Epstein Mr. and Mrs. Frederick A. Erb Dorothy and Donald F. Eschman James and Mary Helen Eschman Eric and Caroline Ethington Barbara Evans Adcle Ewell
Mr. and Mrs. Robert B. Fair, Jr. Mark and Karen Falahee 1111, and Harvey Falit Richard and Shelley Farkas Mr. and Mrs. H. VV. Farrington, Jr. Inka and David Felbeck Reno and Nancy Feldkamp Phil and Phyllis Fell in Ruth Fiegel Carol Finerman Clay Finkbeiner C. Peter and Bcv 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
fames and Barbara Fitzgerald
Linda and Thomas Fitzgerald
David and Ann Flucke
Scott and Janet Fogler
Mr. and Mrs. George W. Ford
Susan Goldsmith and Spencer Ford
Bob and Terry Foster
Ronald Fracker
Tom Franks, Jr.
Lucia and Doug Frceth
Richard and Joann Freethy
Andrew and Deirdre Freiberg
Otto W. and Helga B. Freitag
Joanna and Richard Friedman
Gail Frames
Philip And Renee Frost
Id.i J. Fuesler
Ken and Mary Ann Gacrtner
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 Gharlcs Garvin
Drs, Steve Geiringer and Karen Bantel
Ina Hancl-Gcrdenich
Michael Gerstcnberger
W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Gcnne 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
lrwin I Goldstein and Marty Mayo
Mrs. Eszter Gombosi
Graham Gooding
Mitch and Barb Goodkin
Sclma and Albert Gorlin
William and Jean Gosling
Charles Goss
Naomi Gottlieb and
Theodore Harrison, D.D.S. mii Gottlieb Michael I. 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 Spencc Jeff Green
Bill and Louise Gregory Daphne and Raymond Grew Mr. and Mrs. James I. Gribble Werner H. Grilk Robert M. Grover Robert and lulie Grunawalt Robert and Linda Grunawalt Ms. KayGugala Arthur W. Gulick, M.D. Sondra Gunn )oseph and Gloria Gurt Margaret Gutowski and
Michael Marietta
4 6 Advocates, continued
Caroline and Roger Hacked
Helen C. Hall
Harry L and Mary L Hallock
Sarah 1. Hamckc
Mrs. Frederick G. Hammilt
Dora E. Hampel
Lourdes S. Bastos Hansen
Charlotte Hanson
Herb and Claudia Harjes
Stephen G. and Mary Anna Harper
Mr. and Mrs. Randy J. Harris
Robert and lean Harris
Robert and Susan Harris
Phyllis Harrison-Ross
M. Jean Hartcr
Jerome P. Hartweg
Elizabeth C. Hassincn
Harlan and Anne Vance Hatcher
James B. and Roberta Hause
Jeannine and Gary Hayden
Dr. Lucy K. Hayden
Mr. and Mrs. Edward ). Hayes
Charles S. Heard
Bob and Lucia Hcinold
Mrs. Miriam Heins
Sivana Heller
Margaret and Walter Helmrcich
Karl Hcnkel and Phyllis Mann
Dr. and Mrs. Keith S. Henley
Margaret Martin Hcrmel
C.C. Herrington. M.D.
Carl and Charlene Herstein
Charles W. Fisher and
Elfrieda H. Hiebert Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Jacques Hochglaube, M.D., P.C. Jane and Dick Hocrner Anne HofT and George Villec Bob and Fran Hoffman Carol and Dieter Hohnkc Dr. Carol E. Holden and
Mr. Kurt Zimmer John and Donna Hollowell Arthur G. Homer, Jr. Dave and Susan Horvath George M. Houchens and
Caroline Richardson Dr. and Mrs. Joseph A. Houlc 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. Hulcc Ann D. Hungcrman DuaneV. 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 facobson Professor and Mrs. Jerome Jelinek James and Elaine Jensen Keith Jensen JoAnn J. Jeromin Paul and Olga Johnson Tim and Jo Wiese Johnson Constance I. Jones
Dr. Marilyn S. Jones lohn and Linda K. lonides Stephen G. Josephson and
Sally C. Fink Tom and Marie luster Mary Kalmes and Larry Friedman Dr. and Mrs. Mark S. Kaminski Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin 1 and Rosalie Karunas Bob and Atsuko Kashino Alex F. and Phyllis A. Kato Martin and Helen Katz Maxinc and David Katz Nick and Moral Kazan lanicc Keller
lames A. Kelly and Mariam C Noland John B. Kennard Frank and Patricia Kennedy William and Betsy Kincaid Eva J. Kinney Dr. David E. and
Heidi Castleman Klein Shira and Steve Klein Drs. Peter and Judith Kleinman Sharon L Knight Rosalie and Ron Koenig Dr. and Mrs. Mel Korobkin Dimitri and Suzanne Kosachcff Edward and Marguerite Kowaleski Richard and Brcnda Krachcnbcrg lean and Dick Kraft David and Martha Krchbicl William J. Bucci and fanet Kreiling William G. Kring Alan and lean Krisch Bert and Gcraldine Krusc 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 L. Langlois Carl and Ann La Rue Ms. Jill I .in.i 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 Lcona 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 fudy Lewis Lawrence B. Lindemer Mark Lindlcy Mr. Ronald A. Lindroth Rod and Robin Little Vi-Cheng and Hsi-Ycn Liu Jackie K. Livesay Louis Locb and 'hilly 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. Luckc Lynn Luckcnbach
Pamela and Robert Ludolph
Fran Lyman
Donald and Doni Lystra
Susan E. Marias
Marcia MacMahan
Geoffrey and Janet Mahcr
Suzanne and ]ay Mahler
Deborah Malamud and Neal Plotkin
Claire and Richard Malvin
Melvin and Jean Manis
Pearl Manning
Gcraldinc and Sheldon Markcl
Professor Howard Markcl
Lee and Greg Marks
Alice and Bob Marks
Ann W. Martin
lames ?. and Barbara Martin
Rebecca Martin and James 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 Schaldcnbrand Mary and Norman Mclver Bill and Ginny McKeachie Fred McKenzie Margaret B. McKinley Daniel and Madelyn McMurtrie 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 Bcrnicc and Herman Merte Russ and Brigette Merz Henry D. Messer Carl A. House John and Fci 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. Mikkelscn Carmen and lack Miller Dr. Robert R. Miller Kathleen and James Mitchiner Mr. and Mrs. William G. Moller, Jr. Jim 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 Mclinda 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 Musi! Dr. and Mrs. Gundcr A. Myran Linda M, Nadeau Roscmarie Nagel Isabellc Nash
Mr. and Mrs. Homer Neal Randy and Margaret Nesse Susan and Jim Newton John and Ann Nicklas Mrs. Marvin Niehuss Shinobu Niga Susan and Richard Nisbett Laura Nitzberg and Thomas Carli Virginia and Clare North John and Lcxa O'Brien Patricia O'Connor
Richard and Joyce Odell
Henry and Patricia O'Kray
Nels and Mary Olson
Mr. J. L Oncley
Karen Koykka O'Neal and Joe O'Neal
Zibby and Bob Oncal
Kathleen I. Opcrhall
Dr. Jon Oscherwitz
Lillian G. Oslrand
Julie and Dave Owens
Penny and Steve Papadopoulos
Michael P. Parin
Evans and Charlene Parrott
Mr. and Mrs. Brian P. Patchen
Mr. and Mrs. Ronald f. Patterson
Robert and Arlene Paup
Hon. Steven and Janet Pcpe
Susan A. Perry
Doris I. Persyn
Ann Marie Pctach
James L. and Julie Phelps
Joyce and Daniel Phillips
loseph W. Phillips
Mr. and Mrs. Frederick R. Piclcard
Robert and Mary Ann Pierce
Roy and Winnifred 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 ). Rasmussen
Mr. and Mrs. Robert H. Rasmussen
Sandra Reagan
[Catherine R. Reebel
Stanislav and Dorothy R. Rchak
JoAnne C. Reuss
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 Roelofs 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. Loefiler and
Richard K. Rohrer Yelena and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Bernard and Barbara Rosen Drs. Stephen Roscnblum and
Rosalyn Sarver
Richard Z. and Edie W. Rosenfeld Marilynn M. Rosenthal Mr. and Mrs. John P. Rowe Michael and Margie Rudd Roger and O.). 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 Saalberg Theodore and loan Sachs Dr. and Mrs. fagneswar Sana Arnold Samcroff and
Susan McDonough
Miriam S. JorTe Samson
Ina and Terry Sandalow
".-im and Rcda Santinga
Sarah Savarino
Hclga and Jochcn Schacht
Lawrence and Marilyn Schlack
Courtland and Inga Schmidt
Charlene and Carl Schmuit, Jr.
Thomas Schramm
Carol Schreck
Gerald and Sharon Schreiber
Sue Schrocder
Albert and Susan Schultz
Ailecn M. Schulzc
Drs. R. R. Lavelle and M. S. Schuster
Alan S. and Sandra Schwartz
Ed and Sheila Schwartz
Jane and Fred Schwarz
(onathan Brombcrg and
Barbara Scott David and Darlcne Scovcll Michael and Laura Seagram lohn and Carole Segall Sylvia and Leonard Segel Richard A. Scid Suzanne Selig Gcrda Scligson
Stan and ludalyn Greer Seling Ms. lanet Sell
Louis and Sherry L. Scnunas George H. and Mary M. Sexton
Dr. and Mrs. J. N. Shanbergc
Matthew Shapiro and Susan Garciz, M.D.
David and Elvera Shappirio
Maurice and Lorraine Shcppard
Rev. William . Sherzer
Cynthia Shcvcl
Drs. lean and Thomas Shope
Hollis and Martha Showalter
Pam and Ted Shultz
Ned Shurc and (an Onder
ohn and Arlene Shy
Dr. Bruce M. Siegan
Milton and Gloria Sicgel
Drs. Dorit Adler and Terry Silver
Alida and Gene Silverman
Costella 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. Lorctta M. Skewcs
irma I. Sklenar
Beverly N. Slater
lohn W. Smillie, M.D.
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Virginia B. Smith
Richard Soble and Barbara Kcssler
Richard and Julie Sohnly
James A. Somers
Mina Diver Sonda
Mrs. Herbert W. Spendlove (Anne)
Edmund Sprunger
Francyne Stacey
Samuel T. and Randy Dean Stahl
David and Ann Staigcr
Caren Stalburg, M.D.
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Ron and Kay Stefanski
Virginia and Eric Stein
William and Georgine Stende
Barbara and Bruce Stevenson
Harold and Nancy Stevenson
Steve and Gaylc Stewart
John and Beryl Stimson
Mr. James L.Stoddard
Robert and Shelly Stoler
W. F. Stolper
Anjanettc M. Sioltz, M.D.
Ellen M. Strand and Dennis C. Regan
Aileen and Clinton Stroebel
Mrs. William H. Stubbins
Valeric Y. Suslow
PegTalburtt and ]im Peggs
Jim and Sally Tamm
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Eva and Sam Taylor
Leslie and Thomas Tentler
George and Mary Tewksbury
Gauri Thergaonkar and Giri lyengar
Paul Thielking
Bcttc M.Thompson
Mrs. Peggy Tieman
Mr. Andrew Tomasch
Dr. and Mrs. Merlin C. Townley
James W. Toy
Angie 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 Ueki
Alvan and Katharine Uhle
Paul and Frcdda Unangst
Mary L. Unterburger
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallicr
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Fred and Carole S. Van Reescma
Kate and Chris Vaughan
Sy and Florence Vcniar
Alice and Joseph Vining
Carolyn and Jerry Voight
John and lane S. Voorhorst
Wendy L. Wahl, M.D. and
William Lee, M.D. Jerry 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 lack and Jerry Wcidenbach Donna G. Wcisman Barbara Weiss Lisa and Steve Weiss Carol Campbell Welsch and
John Welsch
Rosemary and David Wesenberg Mr. and Mrs. Peter Westen Tim and Mim Westcrdalc Ken and Cherry Westcrman Susan and Peter Wcsterman MarjoricWestphal Ruth and Gilbert Whitakcr B. Joseph and Mary White Iris and Fred Whitchouse Mr. and Mrs. Nathaniel Whitcsidc Mr. and Mrs. Carl A. Widmann Christina and William Wilcox
Brymcr and Ruth Williams
Reverend Francis E. Williams
Shelly F. Williams
Beverly and Hadley Wine
Ian and Sarajane Winkelman
Beth and I. W. Winsten
Dr. and Mrs. Lawrence D. Wise
Charles Witkc and Aileen Gattcn
Jeffrey and Linda Witzburg
Charlotte Wolfe
Patricia and Rodger Wolff
Dr. and Mrs. Ira S. Wollner
Muriel and Dick Wong
Nancy and Victor Wong
. D. Woods
Charles R. and lean L. Wrighl
David and April Wright
Mr. and Mrs. R. A. Yagle
Teruhiko Yamazaki
Toshihiko Yarila
Sandra and Jonathan Yobbagy
Frank O. Youkstctter
lames P. Young
Mr. John G. Young
Ann and Ralph Youngren
Dr. and Mrs. loeH.Yun
Mr. and Mrs. F.L. Zeislcr
Peter and Teresa Ziolkowski
David S. and Susan H. Zurvalcc
Gams, Garris, Garris & Garris Law Office
Loomis, Sayles and Co. 1.1' 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. Hunschc Alexander Krezel, Sr. Katherine Mabarak Frederick C. Matthaei, Sr. Steffi Reiss Ralph L. Sid kk William Swank Charles R. Tieman lohn 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 Katherine Farrell
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 Nisbctt
John and Cynthia Nixon
Mary and Bill Palmer
Maggie Long, Perfectly
Regrets Only
Richard and Susan Rogcl
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
33 Afterwords
28 Ann Arbor Acura
48 Ann Arbor Commerce Bank
38 Ann Arbor Reproductive
Medicine 32 Ann Arbor Symphony
8 Bank of Ann Arbor 3 Beacon Investment
29 Bodman, Longley, and
34 Butzel Long 37 Cafe Marie
39 Charles Reinhart Company 44 Chelsea Community
Chris Triola Gallery David Smith Photography The Dental Advisor Dobb's Opticians Dobson-McOmber Dough Boys Bakery Edward Surovell Co.Realtors 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
John Leidy Shop, Inc.
King's Keyboard House
Lewis Jewelers
Michigan Media
Miller, Canfield, Paddock,
& Stone
Mir's Oriental Rugs Mundus and Mundus NBD Bank Nina Howard Studio Performance Network Red HawkZanzibar Regrets Only Reinhart Realtors Schwartz Investment
Council, Inc. SKR Classical Sweet Lorraine's Sweerwaters Cafe Ufer and Company U-M Matthaei Botanical
U-M Vocal Health Center University Productions Van Boven Shoes WDET WEMU
Whole Foods Market WUOM

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