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UMS Concert Program, Wednesday Nov. 12 To 19: University Musical Society: 1997-1998 Fall - Wednesday Nov. 12 To 19 --

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

University Musical Society
The 1997 Fall Season
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1996-97 season. Pianist Leif Ove Andsnes responds to a standing ovation after perform?ing with the Detroit Symphony Orchestra in Hill Auditorium, saxo?phonist James Carter performs with drummer Richard "Pistol" Allen as a part of the 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.
Letter from the President
Corporate UnderwritersFoundations
UMS Board of DirectorsSenate
StaffAdvisory Committees
General Information
Ticket Services
UMS History
UMS Choral Union
Auditoria Burton Memorial Tower
Education and Audience Development
Season Listing
Volunteer Information
Restaurant & Lodging Packages
The UMS Card
Gift Certificates
Sponsorship and Advertising
Group Tickets
Advisory Committee
Ford Honors Program
UMS Contributors
UMS Membership
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 area 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 ofthf 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. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
JOHN E. LOBBIA Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organiza?tions that make the
Ann Arbor community a world-renowned center for the arts. The entire community shares in the countless benefits of the excellence of these programs."
The Edward Sitrovell
"It is an honor for
Edward Surovell
Company to be able
to support an insti-
tution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
WILLIAM E. ODOM Chairman, Ford Motor Credit Company "The people of Ford Credit are very proud of our continuing association with the University Musical
Society. The Society's long-established commitment to artistic excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accom?plishments."
Chairman and Chief
Executive Officer,
McKinley Associates,
"McKinley Associates
is proud to support
the University
Musical Society and the cultural contribu?tion it makes to the community."
DOUGLAS 0. FREETH President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community which
perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
John psarouthakis,
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."
MCMULLEN President, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
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.
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
Sue s. Lee
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organi?zation as the Musical
Society at the University of Michigan."
Thank You, Foundation Underwriters
David, e. Engelbert Hiram A. Dorfman
Benard L Maas
The Benard L. Maas
Foundation is proud
to support the
University Musical
Society in honor of its beloved founder: Benard L. Maas February 4,1896 May 13,1984.
We also gratefully acknowledge the support of the following foundations:
benard L. Uaas foundation
Chamber Music America
The Grayling Fund
the Herrick Foundation
kmd foundation
liu wallace-reader's digest fund
Michigan Council for the Arts
and Cultural Affairs Mosaic Foundation National Endowment for the Arts new England Foundation for
World Heritage foundation
Benard L Maas
The University Musical Society of the university of Michigan
F. Bruce Kulp, chair
Marina v.N. Whitman, vice chair
Carol Shalita Smokier, secretary
Elizabeth Yhouse, treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Paul C. Boylan
Lee C. Bollinger Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Beverley B. Geltner Walter L. Harrison
Norman G. Herbert Stuart A. Isaac Thomas E. Kauper Rebecca McGowan Lester P. Monts Joe E. O'Neal )ohn Psarouthakis Richard H. Rogel
George 1. Shirley John O. Simpson Herbert Sloan Edward D. Surovell Susan B. Ullrich Iva M. Wilson
UMS SEN AT E (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). Duderstadt Robben W. Fleming
Randy). Harris Harlan H. Hatcher Peter N. Heydon Howard Holmes Kay Hunt David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long ludythe 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 l.ihn, Assistant to
the President lohn 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 Group 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
Support Susan Fitzpatrick,
Administrative Assistant I Thad Schork, Gift Processing Anne Griffin Sloan, Assistant
Director -Individual Giving
Ben Johnson, Director
Yoshi Campbell, Manager
Marketing Promotion Sara BHlmann, Director Sara A. Miller, Advertising and
Promotion Coordinator ohn Peckham, Marketing Coordinator
ProgrammingProduction Michael J. Kondziolka, Director Emily Avers, Artist-Services
Coordinator Paul ]omanta$. Assistant
Head Usher
Kathi Reister, Head Usher Kate Remen, Programming
Work-Study Laura Birnbrycr Rebekah Camm Amy Hayne Sara )ensen
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
Rosannc 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 K.ilni Mercy Kasle Steve Kasle Maxine Larrouy Barbara Levitan Doni Lystra Margie McKinley Scott Merz Clyde Metzger Ronald G. Miller Len NiehofT Nancy Niehoff
Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmussen Nina Swanson Robinson Maya Savarino Janet Shatusky Meg Kennedy Shaw Aliza Shevrin Cynny Spencer Ellen Stross Kathleen Treciak Susan B. Ullrich Dody Viola David White Jane Wilkinson
Fran Ampey
Kitty Angus
Gail Davis Barnes
Alana Barter
Elaine Bennett
Letitia J. Byrd
Diane Davis
John Littlejohn
Dan Long
Laura Machida
Ken Monash
Gayle Richardson
Karen Schulte
Helen Sicdel
Sue Sinta
Sandy Trosien
Linda Warrington
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, sex or handicap. The University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Museum of Art: A coat closet is located to the right of the lobby gallery, near the south stair?case.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 313.763.5213.
For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby.
Power Center: Pay phones are available in the ticket office lobby.
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of the Michigan League. St. Francis: There are no public telephones in the church. Pay phones are available in the Parish Activities Center next door to the church.
Museum of Art: No public phones are avail?able at the Museum of Art. The closest public phones are located across the street in the basement level of the Michigan Union.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in
the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first bal?cony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A Wheelchair-accessible restroom is located on the north side of the main lobby and off of the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main
floor seating area.
St. Francis: Men's and women's rooms are
located in the basement at the bottom of the
front lobby stairs.
Museum of Art: Women's rooms are located
on the first floor near the south staircase.
Men's rooms are located on the basement level
near the south staircase.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMember Information Booth
A wealth of information about UMS events, restaurants and the like is available at the information booth in the lobby of each audi?torium. UMS volunteers can assist you with questions and requests. The information booth is open thirty minutes before each con?cert and during intermission.
University Musical Society
of the University of Michigan
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spec?trum of today's vigorous and exciting live per?forming arts world. Over its 119 years, strong leadership coupled with a devoted community have placed UMS in a league of internationally-recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied his?tory, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the next millenium. Every day UMS seeks to cultivate, nurture and stim?ulate public interest and participation in every facet of the live arts.
The Musical Society grew from a group of local university and townspeople who gath?ered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by
the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. The Musical Society included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensem?bles. Professor Frieze
became the first president of the Society.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensem?bles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artists residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. The Musical Society now hosts over 70 concerts and more than 150 educa?tional events each season. UMS has flour?ished with the support of a generous commu?nity which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, the Museum of Art and the Lydia Mendelssohn Theatre.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, the Musical Society is a sepa?rate not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
Thomas Sheets conducts the UMS Choral Union in Messiah
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.
Hill Auditorium
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
ackham Auditorium
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-nve 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 VitheuiL"
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 VetheuiV prior to lean-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.
For detailed Residency Information, call 313-647-6712.
Information on the above events can be found in the season listing in the following pages of this program book, the UMS Brochure, or on the UMS Website:
For Master of Arts Interviews, free tickets (limit two per person) are required. Call or stop by the UMS Box Office: 313-764-2538.
Wynton Marsalis greets local students during a UMS-sponsored event at Community High School.
The 1997 98 Season
Sunday, September 21,4pm
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
September 25,26 & 27,1997
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, October 11,8pm
St. Francis of Assisi Catholic Church
Conducting Seminar Maestro Tdnu Kaljuste
and U-M conductors, Oct 10, 11am, U-M School of Music Recital Hall. Choral Master Class Maestro Ttnu Kaljuste and members of the U-M Chamber Choir, Oct 10, 1:30pm, U-M School of Music Recital Hall.
Annette Markert, contralto
Thomas Young, tenor
William Sharp, baritone
Sunday, October 12,4pm
Rackham Auditorium
PREP Urn Leonard, Manager, SKR Classical,
Oct 12, 3pm, Rackham Assembly Hall, 4th floor.
Featuring Herb Ellis, Michael Hedges,
Sharon Isbin, and Rory Block
Thursday, October 16,8pm
Rackham Auditorium
Presented with support from AAA Michigan
and media partner WDET.
MICHIGAN CHAMBER PLAYERS Sunday, October 19,4pm Rackham Auditorium Complimentary Admission
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
Ml League Henderson Rm., 2nd fir.
Master of Arts Celia Cruz interviewed by
Alberto Nacif, Musicologist and Host of
WEMU's "Cuban Fantasy" Nov 8, 11am,
Natural Sciences Aud.
Presented with support from media
partner WEMU.
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 Hall.
Wednesday, November 12, 8pm
Michigan Theater
Presented with support from media partners
Friday, November 14, 8pm
Rackham Auditorium
Lecture "Beethoven Fundamentals" by Steven
Whiting, U-M Assistant Professor of
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 Halt.
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-Reader's Digest Arts Partners
Program, the National Endowment for the
Arts and media partner Michigan Radio,
TNUATRON DANCE THEATER (FAMILY PERFORMANCE) Saturday, November 15, 7pm Michigan Theater
This program is part of the Mid EastWest Fest International Community of Cultural Exchange sponsored by Amstore Corporation, W.K. Kellogg Foundation, Lufthansa, the Ministry for Foreign Affairs of Israel-Cultural Department and Ben Teitel Charitable Trust, Gerald Cook Trustee.
Sunday, November 16,4pm Rackham Auditorium PREP "The Beethoven Performances' Lectures" Steven Wltiting, U-M Asst. Professor of Musicology, with U-M School of Music students. Nov 16, 2:30pm, Rackham Assembly Hall. Meet the Artists Post-performance dialogue from the stage.
String Quartet Master Class led by the American String Quartet, with School of Music musicians, Nov 17,2:30pm Room 2026, School of Music.
Strings Master Class with the Ann Arbor School for the Performing Arts, Nov 17, 6pm, Black Box Theatre, Concordia College. lectureDemonstration "Entrances" with the American String Quartet and U-M School of Music students, Nov 18, 3:30pm, School of Music Recital Hall.
Cyberchat with members of the American String Quartet, Nov 18, 7pm. More information available at Sponsored by the Edward 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.
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 Klezmatics
Brave Old World
The Klezmer Conservatory Band and
The Andy Statman Klezmer Orchestra
Tuesday, December 2, 8pm
Hill Auditorium
Lecture "The Spirit of Yiddish Folklore: Tlien
and Now" Mark Shbin, Professor of Music,
Wesleyan University, Dec 2, 4pm. Kuenzel
Room, Michigan Union,
This performance is presented through the
generous support of the KMD Foundation and
McKinley Associates.
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Nicole Heaston, soprano
David Daniels, countertenor
John Aler, tenor
Nathan Berg, baritone
Saturday, December 6, 8pm
Sunday, December 7,2pm
Hill Auditorium
Presented with the generous support of
Dr. James and Millie Invin.
THE HARLEM NUTCRACKER Donald ByrdThe Group Thursday, December 11, 8pm Friday, December 12,8pm Saturday, December 13,2pm Saturday, December 13, 8pm Sunday, December 14, 2pm Sunday, December 14, 8pm Power Center
Master of Arts Choreographer Donald Byrd is interviewed by Kimberly Camp, President of the Museum of African American History in Detroit. Dec 8, 7pm, Rackham Amphitheatre. Links to Literature Members of the Ann Arbor Chapter of the Links, Inc. read and tell stories from the Harlem Renaissance. Thu. Dec 4, 7:30pm, Borders Books and Music. Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Nehvork. Additional support is provided by Arts Midwest in partnership with the National Endowment for the Arts, and media partners WEMU and WDET.
Friday, January 9,8pm
Mendelssohn Theatre
PREP "David Daniels and his Program"
Richard LeSueur, Vocal Arts Information
Services. Fri. Jan 9, 7pm, Rackham Assembly
Hall, 4th floor.
This performance is presented through the
generous support of Maurice and Linda Binkow.
ISRAEL PHILHARMONIC ZUBIN MEHTA, CONDUCTOR Saturday, January 10,8pm Hill Auditorium
Sunday, January 11, 4pm
Rackham Auditorium
Sponsored by Thomas B. McMutUn 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 I.ila 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 "The Beethoven Performances' Lectures" Steven Whiting, U-M Professor of Musicology, with U-M School of Music students. Jan 30, 6:30pm, Rackham Assembly Hall. Meet the Artists Post-performance dialogue from the stage.
Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMAWGR. The University Musical Society is a grant recipient of Chamber Music America's Presenter-Community Residency Program funded by the Lila Wallace-Readers Digest Fund.
continued ...
Saturday, January 31, 8pm Rackham Auditorium PREP "The Beethoven Performances' Lectures" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music stu?dents. Jan 31, 6:30pm, MI League Hussey Rm. Meet the Artist Post-performance dialogue from the stage.
LectureDemonstration "The Adventure of Contemporary Piano Music" Ursula Oppens, Feb I, 3pm, Kerrytown Concert House. In col?laboration with the Ann Arbor Piano Teachers Guild.
LectureDemonstration with Ursula Oppens and composer Amnon Wolman, Feb 2, 12:30pm Room 2043, U-M School of Music. Piano Master Class with Ursula Oppens and School of Music students, Feb 2, 4:30pm, U-M School of Music Recital Hall Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR.
Thursday, February 5, 8pm
St. Francis of Assisi Catholic Church
Conducting Seminar Conductor Dale
Warland and U-M conductors, Feb 6, 1 lam,
U-M School of Music Recital Hall
Chamber Choir Master Class Conductor Dale
Warland works with the U-M Chamber Choir,
Feb 6, 1:30pm, U-M School of Music Recital
Friday, February 6, 8pm
Hill Auditorium
Sponsored by NBD.
Sunday, February 8, 4pm
Hill Auditorium
Co-sponsored by First of America and Miller,
Canfield, Paddock, and Stone, 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 pan 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
front 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
(Catherine Larson, soprano
Jayne Sleder, mezzo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22,4pm
Hill Auditorium
PREP "Felix Mendelssohn-Banholdy:
Felicitous Choral Conductor and Choral
Composer" Ellwood Derr, U-M Professor of
Music, Feb 22, 3pm, MI League Koessler
Sponsored by Brauer Investments.
Master of Arts Ngozi Onwurah, filmmaker and Institute for the Humanities artist-in-residence and the Paula and Edwin Sidman Fellow for the Arts interviewed by Lecturer Terri Sarris and Director Gaylyn Studlar of the U-M Program in Film & Video Studies. Mar 9, 7pm, Rackham Amphitheatre
Tuesday, March 10, 8pm
U-M Museum of Art
PREP A concert goer's tour of "Monet at
Vilheuil: The Turning Point" Mar 10, 6:30pm,
West Gallery, 2nd Floor, U-M Museum of An.
Ticket to concert required.
Presented with the generous support of Dr.
Herbert Sloan.
Thursday, March 12, 8pm
Friday, March 13, 8pm
Saturday, March 14, 2pm (75-minute
Family Performance) Saturday, March 14,8pm Power Center
PREP "The Comic Donizetti" Richard LeSueur, Vocal Arts Information Services, Mar 12, 7pm, Ml League, Koessler Library. PREP Member of the New York City Opera National Company, Mar 13, 7pm, Ml League Vandetiberg 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 Munequilos: 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 .id,u in, artistic director Saturday, March 21,8pm Sunday, March 22,4pm Power Center
Tuesday, March 24, 8pm Hill Auditorium
Wednesday, March 25, 8pm Rackham Auditorium Meet the Artists Post-performance dialogue from the stage.
Friday, March 27, 8pm
Rackham Auditorium
University Hospital's Gifts of Art free concert
performed by Ursula Oppens in the University
Hospital Lobby, Mar 26, 12 noon.
lectureDemonstration "Piano Music: 1945
to the Present" Ursula Oppens, Mar 26, 3pm,
U-M School of Music Recital Hall.
PREP "The Beethoven Performances' Lectures"
Steven Whiting, U-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-Readers Digest Arts Partners
Program, the National Endowment for the Arts
and media partner Michigan Radio, WUOM
Saturday, March 28, 8pm
Hill Auditorium
PREP "Flamenco: Yesterday, Today, and
Tomorrow" Juan Llobell, Flamenco Musician
and Owner ofCasa de Espana of Detroit, Mar
28, 6:30pm, MI League Hussey Rm.
Presented with support from media partner
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET Sunday, March 29,4pm Rackham Auditorium PREP "The Beethoven Performances' Lectures" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music stu?dents, Mar 29, 2:30pm, MI League Hussey Rm. Meet the Artists Post-performance dialogue from the stage.
Brown Bag Lunch with composer Kenneth Fuchs, Mar 30, 12:30pm, Room 2026, U-M School of Music.
LectureDemonstration with the American String Quartet and composer Kenneth Fuchs, Mar 30, 2:30pm Room 2026, U-M School of Music.
Youth Quartets Master Class with the Ann Arbor School for the Performing Arts, Mar 30, 6pm, Concordia College. Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR. The University Musical Society is a grant recipient of Chamber Music Americas Presenter-Community Residency Program funded by the Lila Wallace-Readers 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 of Musicology and Music History, and Glenn Watkins, Earl V. Moore Professor of Musicology, Apr 24, 7pm, Ml League Henderson Rrn.
Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network and media partner WDET.
Wednesday, April 29,8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, May 1, 8:30pm
Hill Auditorium
featured artist will be announced in
January, 1998
Saturday, May 9,6pm
Hill Auditorium
Sponsored by Ford Motor Company.
Educational Programming
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of pre-pcrformance presentations, featur?ing talks, demonstrations and work?shops.
Meet the Artists All are welcome to remain in the auditorium while the artists return to the stage for these informal post-performance discussions.
Master of Arts A free of charge UMS scries in collaboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions ?bout their art form. Free tickets required (limit 2 per person), available from the UMS Box Office, 764-2538.
A Master of Arts interview with choreographer Meredith Monk
University Musical Society
of the University of Michigan 1997-1998 Fall Season
Event Program Book November 12,1997 through November 19, 1997
General Information
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompa?nying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: Electronic beeping or chiming digi?tal watches, beeping pagers, ring?ing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat loca?tion and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS perfor?mances included in this editon. Thank you for your help.
Pat Metheny Group 3
Wednesday, November 12, 8:00pm Michigan Theatre
Ursula Oppens 9
Friday, November 14, 8:00pm Rackham Auditorium
Tnuatron 19
Saturday, November 15, 7:00pm Michigan Theatre
American String Quartet 23
Sunday, November 16,4:00pm Rackham Auditorium
Orpheus Chamber Orchestra 31
with Richard Goode
Wednesday, November 19, 8:00pm Hill Auditorium
Pat Metheny Group
Pat Metheny, Guitar
Lyle Mays, Piano
Steve Rodby, Bass
Paul Wertico, Drums
Mark Ledford, Vocals, percussion
Philip Hamilton, Vocals, miscelaneous instruments
Jeff Haynes, Percussion
Program Wednesday Evening, November 12, 1997 at 8:00
Michigan Theater, Ann Arbor, Michigan
This evening's concert will be announced from the stage.
Fifteenth Concert of the 119th Season
Jazz Directions Series
This performance is presented with support from media partners WEMU and WDET.
Large print programs are available upon request.
Rare is the improvising artist who reaches the wider audience without diluting his art. Rarer still is such an artist who sees his audience expand apace with his musical vision. At fourty-three, Pat Metheny -virtuoso guitarist, multi-faceted composer, innovative producer and guitar synthesizer pioneer -finds himself in a , most enviable position, primarily the result of an insatiable musical intelligence and seemingly unflagging energy. "Running" aptly describes his fast-forward career.
Born August 12,1954 in a rural exurb of Kansas City called Lee's Summit, Missouri, Pat Metheny has been a professional musi?cian for virtually half of his life. The gui?tarist's credentials, even outside of the Pat Metheny Group, are most impressive. An instructor while still in his teens at both the University of Miami and Boston's Berklee College of Music, Pat joined Gary Burton's band at age nineteen. During his three year stay (1974-77), Pat was featured on three of the vibraphonist's ECM albims (Ring,
Dreams So Real and Passengers).
Pat has performed andor recorded with some of the most innovative musicans of the past two decades: Gary Burton, Paul Bley, Sonny Rollins, Steve Swallow, Dewey Redman, Paul Motian, Hubert Laws, Roy Haynes, Miroslav Vitous, Dave Liebman, Eberhard Weber, Julius Hemphill, Jack Dejohnette, Michael Brecker, Charlie Haden, Billy Higgins, Ornette Coleman, Milton Nascimento, Herbie Hancock, Steve Reich, Joshua Redman, Bruce Hornsby and Trilok Gurtu. In 1979, he was a member of Joni Mitchell's stellar backing group for her Shadows and Light tour.
Having recorded twenty-three records in twenty-one years, Metheny's singular approach has been captured in a variety of settings, each a distinctive piece of a bold, larger design.
This performance marks the Pat Metheny Group's debut under UMS auspices.
Lyle Mays has been an integral part of the Pat Metheny Group since its inception in 1977 and has co-written a great deal of its music. Lyle's sense of melody, crystal clear virtuosity and almost cinematic scope of orchestration has clearly distinguished the group's sound.
Music has been a large part of Lyle's life for as long as he can remember. Born into a musical family in Wausaukee, Wisconsin, he was always encouraged to explore new forms of expression. As a teenager, Lyle attended jazz summer camps and studied with such talents as Rich Matteson and Marian McPartland. He then studied composition and arrangement at North Texas State University before touring with Woody Herman's Thundering Herd.
While appearing at the 1975 Wicheta Jazz Festival, Lyle met twenty year old guitarist, Pat Metheny. Lyle moved to Boston in 1977, and the two formed a musical alliance that
Pat Metheny
has proven to be among the most artistically successful of the past two decades.
In addition to winning seven Grammy Awards with the Pat Metheny Group, Lyle-has been nominated four times for his own work.
This performance marks Lyle Mays' debut under UMS auspices.
Acoustic and electric bassist Steve Rodby was born in December of 1954 in Joliet, Illinois. Steve began studying classical orchestral bass at age ten and quickly devel?oped an intense interest in jazz and pop music. A graduate of Northwestern Universtiy with a degree in classical bass performance, Steve studied with Warren Benfield (of the Chicago Symphony Orchestra) and the renowned jazz bassist, Rufus Reid.
A musician of diverse talents, Steve has performed with many jazz greats, including Joe Henderson, Roy Hanes, Sonny Stitt, Teddy Wilson, Milt Jackson, Art Farmer, George Coleman, Ira Sullivan, Zoot Sims, Lee Konitz, Jackie McLean, Eddie Lockjaw Davis, Kenny Burrell, James Moody, Johnny Griffin, and Monty Alexander. In addition to performing with the Pat Metheny Group for the past seventeen years, Steve has con?ducted orchestras as well as produced and recorded with many artists.
His most recent work as a producer is Northwest Passage, the latest release by the trailblazing group Oregon.
This performance marks Steve Rodby's debut under UMS auspices
One of the most versatile and musical drummers in music today, Paul Wertico became a member of the Pat Metheny Group in 1983. Since that time, he has won five Grammy Awards with the Pat Metheny
Group. In addition, Paul has always been in great demand as a sessiontouring musican. Paul has played with such jazz greats as Larry Coryell, Eddie Harris, Lee Konitz, Sam Rivers, Bob Mintzer, Terry Gibbs, Buddy DeFranco, Roscoe Mitchell, Evan Parker, Jay McShann, Herbie Mann, and Jerry Goodman.
When Paul is not touring with the Pat Metheny Group, he divides his time between studio work, producing, session playing, and leading his own groups. Paul's debut CD as a leader, entitled The Yin and the Yout, received four stars in Downbeat magazine. He also played drums on Paul Winter's 1990 Grammy nominated release, Earth: Voices of a Planet. Recently, Paul played on and produced a number of albums for various artists, including vocalist Kurt Elling's 1995 Grammy nominated release, Close Your Eyes, and Elling's latest CD, The Messenger. He has also recently released four co-op recording projects: his band Earwax Control's CD entitled 2 Live; a drumspercussion duo CD (with Hobgood and Brian Torff) entitled Union; and a two guitarstwo drums CD (with Derek Bailey, Pat Metheny, and Gregg Bendian) entitled The Sign of 4.
Paul serves on the percussion faculty of Northwestern University. He has written for various drum magazines and performs drum seminars around the world. In addi?tion, he released an instructional video enti?tled Sound Work of Drumming.
Paul was featured on a recent cover of Modern Drummer magazine and was also one of the players chosen to perform at the '97 Modern Drummer Drum Festival. In reviews, his playing has been compared to that of an "Impressionist painter," while Paul has also been described as "an inspired madman" and a "restless innovator."
This performance marks Paul Wertico's debut under UMS auspices.
Mark Ledford is simply one of the most dynamic and talented musicians around. Ledford's musical journey began three decades ago in his hometown of Detroit. While growing up there, the versatile vocal?ist and multi-instrumentalist went from violin virtuoso to talent show soul man by the time he reached his early teens. From 1978 to 1982, Ledford attended Boston's prestigious Berklee College of Music.
After graduation from Berklee, Ledford gigged around Boston for a few years and gradually made his way to New York where he has recorded albums and performed with the Brecker Brothers, Elaine Elias, Bill Evans, Special EFX9, and most recently with Bobby McFerrins' a capella group, Circle Song. He has also branched out into the world of production and his credits in that field include several tracks with Mary J. Blige and numerous television and radio campaigns. Throughout his many endeav?ors, Ledford never gave up his desire to make his own record, a vision now realized with his Verve Forecast premiere Miles 2 Go.
Mark has been a member of the Pat Metheny Group since 1987 and has record?ed on three of Pat's Grammy winning albums. He is featured once again on Imaginary Day.
This performance marks Mark Ledford's debut under UMS auspices.
Philip Hamilton was born in Boston, Mass. His early musical training included piano and hand drumming. He attended Middlebury College in Vermont where he received his BA in Political Science and Performance Studies. After graduation, he returned to attend both Berklee College of Music and the New England Conservatory of Music. During this time, he studied with John Cage and Bobby McFerrin. The time spent with these two visionaries greatly influence his unique use of sound, voice,
time and instrumentation. Hamilton was a founding member and co-composer of the group, Full Circle, which released five recordings. He has written a number of works for television and stage and has worked extensively in the world of dance. Hamilton has also been a featured per?former with Donald Fagen's New York Rock and Soul Review and has worked with Bonnie Raitt, John Cage, the Boston Symphony Orchestra, the Duke Ellington Orchestra, Gladys Knight, and Al Green. It is with great pleasure that the Pat Metheny Group has added this fine musician as one of its new members.
This performance marks Philip Hamilton's debut under UMS auspices.
If it's true that a musician is only as good as the talent he's performing with, the percus?sionist Jeff Haynes is reaching new heights. Whether performing or recording with such renowned artists as Cassandra Wilson, Harry Belefonte or Dionne Farris, Jeff has always had his hands in progressive circles. Jeff's sound has been described as "taking percussion beyond techniques and tradi-tions....He moves effortlessly from the var?ied and subtle textures to groovin' in the anchoring the rhythm section." Jeff has toured with the likes of Dionne Farris, Regina Carter, PM Dawn, Harry Belfonte and Peabo Bryson. He has toured most extensively over the past few years as a member of Cassandra Wilson's touring ensemble. The Pat Metheny Group looks forward to welcoming him as one of its newest members.
This performance marks Jeff Haynes' debut under UMS auspices.
The Edward
Surovell Co.
Beethoven the Contemporary
Ursula Oppens
Friday Evening, November 14,1997 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Ludwig van Beethoven Sonata in B flat Major, Op.22
Allegro con brio
Adagio con molta espressione
Rondo (Allegretto)
Elliott Carter
Piano Sonata
Andante -Allegro giusto -Andante
Sonata in B flat Major, Op. 106 (Hammerklavier)
Scherzo (Assai vivace)
Adagio sostenuto
Largo -Allegro -Allegro risoluto
Sixteenth Concert of the 119th Season
Beethoven the Contemporary Series
Special thanks to Ed Surovell for his continued support through the Edward Surovell Co.Realtors.
The Beethoven the Contemporary Series is made possible in part by a grant from the Lila Wallace-Reader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters.
(credits continue on the following pages)
Large print programs are available upon request.
credits, continued
This project is supported in part by a grant from the National Endowment for the Arts.
Additional support is provided by media partner Michigan Radio.
Special thanks to Steven Whiting, Julie Ellison, Lee Katterman, Susan Isaacs Nisbett, and Curtin and Alf Violin Makers, Year of the Humanities and Arts, Institute for Research on Women and Gender, U-M Institute for the Humanities, WUOM Michigan Radio for their involvement in the November residency events.
The Beethoven the Contemporary residency is a collaboration with the Ann Arbor Piano Teachers Guild, Ann Arbor Public Schools, Ann Arbor Schools for the Performing Arts, Curtain and Alf Violin Makers, U-M Institute for the Humanities, U-M Institute for Research on Women and Gender, U-M Institure for Social Research, the Ira F. Brilliant Center for Beethoven Studies at San Jose State University, Kerrytown Concert House, Michigan American String Teachers Association, U-M Office of the Vice President for Research, University of Michigan Hospital's Gifts of Art Program, U-M School of Music, and U-M Year of the Humanities and Arts.
Sonata in B-flat Major, Op. 22
Ludwig van Beethoven
Born on December 15 or 16, 1770 in
Bonn, Germany Died on March 26, 1827 in Vienna
Beethoven was not particularly fond of the piano sonata genre -which is some?what surprising, considering he composed thirty-two of them -but he seemed quite proud of his B-flat sonata, Op. 22, remark?ing to his publisher that it "had washed itself" ("hat sich gewaschen"), an idiomatic German expression that Sir Donald Tovey freely translates as, "it takes the cake." Composed in 1800 (but not published until 1802) the Op. 22 Sonata shows some affini?ties with the Op. 18 string quartets with which it is roughly contemporary. They have their moments of impatience with the amiable formality of the eighteenth century, but they still maintain their decorum. Both are a farewell to an older style, and an indi?cation that new musical possibilities are on the horizon.
The Op. 22 Sonata in B-flat Major begins defiantly, but there is something touchingly pensive about the gentler moods that fol?low. The first movement, "Allegro con brio," is very determined, unhindered in its for?ward momentum: a call to attention, almost a fanfare (with a sixteenth-note ornament that will form the basis for much later development). The thematic material is rather brief -over in less than two seconds -but Beethoven has frequently demon?strated how much he was able to do with such brief motifs. It is the energy bound up in this motto, more than the melody, that forms the thematic material for the move?ment. In the second key area, strong accents fall on the third beat of the 44 measure instead of the first, giving a characteristical?ly Beethovenian metric ambiguity, as if he had inserted a single 24 measure into the score. The rhythmic ambiguity is intensified
with added syncopations later in the second theme group. Throughout the movement scalar passages are not merely transitional, they are a feature of the thematic material itself. After the development section another rising scale signals the recapitulation, which continues without new surprises, entirely in keeping with Classical expectations.
In his piano music, more often than in works for other instruments, Beethoven qualified his tempo directions with affective descriptions. It was the music he performed himself, and about which he had very defi?nite ideas regarding interpretation. He marked the second movement of Op. 22 "Adagio con molta espressione," and it shows his prophetic foreshadowing of the expres?sive nocturne style of Field and Chopin. The listener need only imagine Beethoven's cantabile E-flat melody played over a rip?pling arpeggiated figure, instead of the block-chord accompaniment he gives, and the similarities with Chopin become even more evident. Clearly this is a vocally con?ceived melody, and quite a long one by Beethoven's standards. The lyricism and slower tempo help disguise the form of the movement, which again follows a standard sonata form.
Beethoven rarely included a Minuet movement in his sonatas, preferring the livelier Scherzo, and even more rarely are they as conventionally dance-oriented as the one in this sonata. Here the composer included the Minuet (in the tonic key of B-flat Major) as an intentional nod to the century that was just closing, while the Trio section shows him looking forward to the beginning of a new era. The Trio is in a stormy g minor, with off-beat accents, like a gathering of revolutionary force subvert?ing the stateliness of the minuet.
If the Trio hinted at the Beethoven to come, the final movement, "Allegretto," reverts to the conventions of Haydn and Mozart, with its suave and elegant theme
leading into a regular rondo pattern. Some of Beethoven's later works would also revert to earlier styles (such as the Symphony No. 8, or the Piano Sonata Op. 31, No. 3) but almost always atavistically. Beethoven's heart was never in the eighteenth century again after this sonata. The movement is replete with classical-sounding appogiaturas, perhaps in conscious contrast to the triadic themes of the first movement and the minuet. This finale is unostentatious, even gracious: a fond farewell to the eighteenth century, with no regret but with no lack of sincere sentiment either.
Piano Sonata
Elliot Carter
Born on December 11, 1908 in New York City
With the Piano Sonata of 1945-46, Elliot Carter emerged as one of America's fore?most composers. The Sonata revealed Carter's strengths as a composer of intricate design, epic scale, and intellectual stature, and it was his first major work to achieve widespread success. There are some general similarities to Aaron Copland's earlier Piano Sonata, in the bell-like sonorities and the rhythmic and harmonic vocabulary, but it is the manner in which Carter deviates from Copland's model that expresses the former's development of his own personal style.
Carter said of his Sonata that "it takes as its departure the sonority of the modern piano, and is thought of as being completely idiomatic for that instrument...Harmonic materials were chosen for their effects of resonance, since one feature of the piano is its resonant pedal effects. Some melodies were composed with the idea of being played in harmonics. The very core of the work revolves around the piano sound as distinct from other musical sounds." The two-movement format and the inclusion of a fugue in the second movement recalls
Beethoven's late sonatas, which are also idiomatically pianistic in their own way.
The opening movement features a con?trast between two different kinds of motion. The first -declamatory "Maestoso" chords in half-note rhythms -recalls the expan?sive nobility found in much of Copland's music. The basic half-note rhythmic unit also contains a sixteenth-note flourish that gives rise to the second kind of thematic material in the movement. Though the met?ric pulse remains the same, the use of these smaller note values creates the effect of scurrying forward motion. Carter varies the measure lengths in these passages so that the number of sixteenth-notes in each mea?sure is constantly changing. He also alters the subdivision of notes within a measure so that, for example, fifteen sixteenth-notes may be divided into 7+8, 5+5+5, or 5+4+6. This results in a free-flowing stream of notes, like a constantly surging toccata. There are also passages in this movement in a slower tempo that mediate between the two extremes of rhythmic motion, provid?ing moments of lyricism and expressive rubato. Although the Sonata is mostly cen?tered on the key of B Major, this movement ends in B-flat.
The second movement begins in d minor, leaving the question of the work's tonality ambiguously open for the moment. Sonorous chordal writing soon develops into wide-ranging flights of melodic out?bursts. A sudden change to a "Misterioso" section allows Carter to explore another pianistic idiom, that of silently depressing keys and allowing the strings to resonate sympathetically while weaving rapid figura?tions around them. This mysterious passage turns out to be an introduction to an elabo?rate double fugue, beginning in B-flat Major, that builds to a climax of tremen?dous energy. A slow, hymnic coda recalls material from the beginning of the move?ment as well as from the first movement,
closing with a cadence of quiet splendor that spans the entire range of the keyboard.
Sonata in B-flat Major, Op. 106 (Hammerklavier)
Ludwig van Beethoven
1817 was not one of the happier years of Beethoven's life. His health was poor, his income dwindling, and legal battles over the custody of his nephew Karl were taking their toll, not to mention the deafness that had virtually isolated him from the rest of society. If life was a struggle for the compos?er, then composition most certainly was too; the sketchbooks show that the Piano Sonata in B-flat Major, Op. 106, composed during this period, required of Beethoven a level of intensity that was unusual even for him. Yet he considered this immense effort worth?while, mentioning to a friend, "I am now writing a sonata that will be my greatest."
Some critics have suggested that by the time Beethoven wrote the Op. 106 sonata, known informally as the "Hammerklavier," that the composer's deafness had caused him to forget the realities of writing for the piano and conceive this music in "absolute" terms. Yet this sonata is utterly pianistic (the conductor Felix Weingartner arranged the work for full orchestra, though this arrange?ment is regarded by most critics as merely an interesting experiment, rather than a successful transfer of pianistic writing to the orchestral medium). Certainly there are passages in the sonata that are almost unplayable and require a superhuman effort, but calling upon that effort and involving oneself in the physical-emotional struggle is precisely the substance of Beethoven's late musical style, and this sonata in particular.
The source of the nickname, "Hammerklavier," is not particularly instructive nor appropriate. During a period
when strong patriotic fervor burned within the composer, Beethoven sought for a German word to replace the Italian name ("pianoforte") of the instrument (believing erroneously that the piano had been invent?ed by a German). He included the term "Hammerklavier" on the title page of his Op. 101 Sonata in A Major, and in January 1817 instructed his publishers (with mock seriousness) that "henceforth all our works that have German titles are to have Hammerklavier instead of pianoforte." The Op. 106 sonata was the first to bear the des?ignation, "Sonata fur das Hammerklavier," hence the nickname. It's a common miscon?ception that Beethoven gave this title to indicate only that he intended the sonata exclusively for the piano (thus implying, quite improbably, that the earlier sonatas could have been played on a harpsichord).
The B-flat sonata begins with a dramatic first movement "Allegro," where hard, driving energy goes hand in hand with consoling melody. As in much of Beethoven's music it is the rhythmic quality of the theme, rather than its pitch content (fully-voiced B-flat triads), that is the starting point for later development and transformation. The sec?ond theme group is in the key of G Major instead of the more usual dominant key (F Major), but G Major is simply a parallel mode of the relative minor, and not so har?monically distant as it would first appear. The large development section, typical of Beethoven's sonata-allegro movements, blends into a recapitulation that also develops thematic material while diverting through numerous key areas, many of them only distantly related to the tonic. The recapitu?lation includes fugato passages that give a hint of the contrapuntal procedures found in the work's finale, capped by an extended coda that almost amounts to another devel?opment section entirely.
The brief Scherzo and Trio that follow (marked Assai vivace) present a fine example
of the composer's grim humor. As Beethoven scholar Eric Blom observed, "It would be difficult to think of any movement that rep?resents him more strikingly in his capricious playful mood, in which he is never far from sudden accesses of anger and rudeness." The outer sections are dominated by the incessant repetitions of a single short motive. Despite the oddly irregular phrase lengths there is an order and balance to the musical treat?ment that almost recalls the old minuet style. The contrasting Trio in b-flat minor has the melody in octaves, shifting between hands. But just when it seems Beethoven's procedures are becoming a little too straightforward, he inserts a cheeky presto tune of an entirely different character, which swells violently until it tumbles through five octaves and rushes hack up a cadenza-like scale. The return of the Scherzo partially restores the balance, though a brief emphasis on B-natural near the end shows that the intervening changes of temper have had their effect.
The slow movement is the longest Beethoven ever composed for the piano, but the listener's patience is amply rewarded with arguably the most profound and elevated movement in the entire piano repertoire. It is in a key (f-sharp minor) far removed from the main tonality of the whole work, unless, as Donald Tovey suggested, this is regarded merely as a convenient notation for g-flat minor. Either way, the effect of moving directly from the B-flat of the Scherzo to this new key is no more jarring than what one would find in some of Haydn's sonatas. The first two notes of the movement, an upbeat to the theme proper, were added at the last minute as the pub?lisher was preparing to print, and is one of the composer's most famous afterthoughts. The expansive theme of nearly twenty-five measures, in a slow 68, gives the illusion of music unfolding on a cosmic scale. Again, the vastness of the material hides the archi-
tecture of the movement, which follows a conventional sonata form. The second sub?ject, in D Major, includes a striking varia?tion where the accompanying ostinato switches into triplets (a common feature in many of Beethoven's variation movements as well). The central section, though formally a development section, is more a cadenza-like bridge to the reprise, which embroiders new figurations around the re-statement of themes.
In order to pass convincingly from the contemplative slow movement into a Finale (and to smooth over the transition from f-sharp minor to B-flat Major) Beethoven inserts a slow introduction in the style of a free fantasy, with sudden changes of tempo and thematic material. It is appropriate that this improvisatory passage recalls Bach, as Beethoven then proceeds into a Baroque-like fugal finale. The fugue subject is character?ized by a leap of a tenth, a trill, and running sixteenth-note figures. Beethoven adheres for the most part to the rules of Baroque fugue composition, but this is no mere aca?demic exercise, reaching levels of profundity and grandeur that many Baroque masters would have envied. Beethoven employs many of the stock devices of contrapuntal writing: inversions, augmentations, crab canons, and a fugue within a fugue. The trill figure and wide melodic leap in the fugue's subject help the listener keep track of the theme amid these various treatments. This movement in particular presents a challenge to both the audience and the performer, but as Beethoven himself remarked, "what is difficult is also beautiful."
Program notes by Luke Howard
Drsula Oppens has won equal acclaim as an interpreter of the established repertoire and as a champion of contemporary music. Her perfor?mances are marked by a powerful grasp of the composer's musical intentions and an equally powerful command of the keyboard.
This season, Ursula Oppens begins an unprecedented three-year project with the University Musical Society in which she plays the complete Beethoven piano sonatas coupled with notable compositions by American composers in a series of nine recitals, which will also be performed at Columbia University's Miller Theatre in New York and at Northwestern University in Illinois. In concert, Ms. Oppens presents concertos by Beethoven, Mozart, Ravel, MacDowell, Elliot Carter, and Joan Tower with orchestra, including the Chicago Symphony Orchestra, the Phoenix Symphony Orchestra and the American Symphony Orchestra. She performs also with the American, Vermeer and Mendelssohn string quartets. In recital, Ms. Oppens appears at the National Gallery in Washington DC, Purdue University, the University of Notre Dame, the University of Washington in Seattle, and Brandeis University.
Last season, Ms. Oppens returned to Carnegie Hall to perform on its distinguished Keyboard Virtuoso Series in a program of works by Beethoven, Tobias Picker and Rachmaninoff. Highlights of the program included her interpretation of Beethoven's monumental Hammerklavier Sonata and a world premiere performance of Tobias Picker's Etudes. Other engagements included performances of Lou Harrison's Piano Concerto with the Stuttgart Chamber Orchestra and Dennis Russell Davies at Lincoln Center; Mozart Concerto K. 449 and Alvin Singleton's BluesKonzert with the Detroit Symphony; Mozart K. 382 and
Ligeti's Piano Concerto with Maestro Davies and the Saint Paul Chamber Orchestra; Rachmaninoff's Rhapsody on a Theme by Paganini, Op. 43 with the Syracuse Symphony and in Europe, Ms. Oppens played the Lou Harrison Concerto with the ORF Symphony in Vienna.
This past summer, she performed a recital at the Tanglewood Music Festival and per?formed Brahms and Dvorak at the Santa Fe Chamber Music Festival. In Europe, Ms. Oppens played concerts in Germany and appeared at the Kuhmo and Aldeburgh festivals in works by Beethoven and con?temporary American composers.
Ursula Oppens has appeared as a soloist with the leading orchestras of the U.S. including the New York Philharmonic, the Los Angeles Philharmonic, the Cleveland Orchestra, the Boston Symphony, the Chicago Symphony, the Baltimore, Seattle, Atlanta, San Francisco, Milwaukee and Cincinnati symphonies, the American Composers Orchestra and the Los Angeles Chamber Orchestra. With the Houston Symphony, she premiered BluesKonzert
Ursula Oppens
which was co-commissioned by the Houston, Kansas City and Detroit symphonies.
Ms. Oppens has been heard in recital and concerto performances overseas, per?forming at many major European music centers, including the London Proms with the London Philharmonic; the BBC Broadcasting House in London and the piano series at the Queen Elizabeth Hall, at the Theatre des Champs-Elysees in Paris and in Stockholm, Brussels, Geneva, Bonn, Vienna and Barcelona. With the Vienna Radio Orchestra she performed the Ravel Concerto for Left Hand under the baton of Michael Gielen.
She has played at many of the world's major festivals including Tanglewood, Mostly Mozart, Santa Fe, Aspen, Ojai, Bear Valley, New Hampshire, Edinburgh, Bonn, Stresa and Bath.
Her commitment to contemporary repertoire has led Ms. Oppens to premiere and commission many compositions. In 1971, she co-founded Speculum Musicae, an ensemble dedicated to bringing contem?porary music to modern audiences. Ms. Oppens has premiered works by Carla Bley, Anthony Braxton, Elliott Carter, Anthony Davis, John Harbison, Julius Hemphill, Bun-Ching Lam, Tania Leon, Witold Lutoslawski, Gyorgi Ligeti, Conlon Nancarrow, Tobias Picker, Frederick Rzewski, Alvin Singleton, Francis Thorne, Joan Tower, Lois V Vierk, Christian Wolff, Amnon Wolman and Charles Wuorinen.
Ursula Oppens has received several awards including first prize at the 1969 Busoni International Piano Competition, the 1970 Diploma d'Honore of the Accademia Chigiana, an Avery Fisher Career Grant in 1976 and the 1979 Record World Award for her recording of Rzewski's The People United Will Never Be Defeated, which was re-released on CD in 1993 by Vanguard Classics and also received a Grammy nomination.
A native New Yorker, Ursula Oppens studied piano with her mother, Edith Oppens, as well as with Leonard Shure and Guido Agosti, and received her Master of Music degree at the Juilliard School, where she studied with Felix Galimir and Rosina Lhevinne. A prominent graduate of Radcliffe, where she studied English literature and economics, Ms. Oppens went on to become the first woman Chief Marshal at Harvard's 1990 commencement exercises. Under the auspices of Young Concert Artists, she made her New York debut in 1969 at Carnegie Recital Hall.
Ursula Oppens currently holds the position of the John Evans Distinguished Professor of Music at Northwestern University in Evanston, Illinois.
Ursula Oppens made her UMS debut in November 1992. This performance marks her second appearance under UMS auspices.
The University Musical Society World Culture Series
Contemporary Jewish Cultural Expression in Israel
is made possible through the generous support of oui:
Honorary Co-Chairs
Prudence and Amnon Rosenthal
Carol and Irving Smokier
Eileen and Ronald Weiser
Honorary Committee
Carol and Herb Amster
Bette and Allen Cotzin
Linda and Richard Greene
Harold and Jean Grossman Family Foundation (Art and Mary Schuman)
Dr. and Mrs. Sanford Herman
Benard L. Maas Foundation
Sharon and Chuck Newman
The University of Michigan
Committee Members
Evie and Allen Lichter
Myrna and Newell Miller
Marylen and Harold Oberman
Jamie and Jim Abelson
Susan and Arnold Coran
Lynn and David Engelbert
liana and Ari Gafni Joyce and Fred Ginsberg
Lila and Bob Green
Gloria and Joseph Gurt
Dr. and Mrs. Sanford Herman
Maxine and David Katz
Robert Krasny
Wendy and Ted Lawrence
Steven Leber and Dina Shtull-Leber
Myron and Bobbie Levine Joan Lowenstein and Jonathan Trobe
Mildred Ostrowsky
Dr. Owen Z. and Barbara Perlman
Harriet and Marvin Selin
Aliza and Howard Shevrin
Elise and Jerry Weisbach
Tnuatron Dance Theatre
Dorit Shimron, Artistic Director and Choreographer Itamar Gourvitch, General Director and Producer Tal Elohev, Painting in Motion
Iris Eyal, Adi Bashan, Mirit Orenstein, Adi Uner, Hila Grinberg, Hila Yaffe, Yael Arieli, Noa Lubianiker, Amit Nachumi, Yael Evron, Smadar Shatner, Nataly Shahaf, Yael Rosentein, Avital Wertheimer, Rinat Weiss, Daniella Raveh, Liran Shaltiel, Noa Shaw, Sharon Steiner, Gal Bar, Galia Mann
Program Saturday Evening, November 15,1997 at 7:00
Michigan Theatre, Ann Arbor, Michigan
Beyond the Rainbow: Dream in Motion
I Reflections
Introspection Would
Flowing Floating Vision in the Mist
II Illusions
Over the Rainbow
Sally's Waltz
Rose Garden
HI Magic Lantern
Shadows -circle
All Feet Can Dance
End of Dream
E. Weber P. Glass Water drum P. Winter
G. Martin Carter M. Nyman H. Karandaro M. Nyman R. Aubry
M. Oldfield
A. VoUenweider
B. McFerrin T. Nyman M. Oldfield
Seventeenth Performance of the 119th Season
Family Series
The University Musical Society is grateful to the many members of the regional Jewish community who have provided support for this series. They include Honorary chairs, Prudence and Amnon Rosenthai, Carol and Irving Smolder, and Ronald and Eileen Weiser.
Special thanks to Prue Rosenthai, Jewish Community Center, John Littlejohn, Linda Preiscorn, Ann Arbor Public Schools, Hebrew Day School, Clague Intermediate School, Forsythe Intermediate School, Scarlett Intermediate School, Slauson Intermediate School, Tappan Intermediate School, Mosaic Youth Theater, Sharonda Harston, and the host families for their involvement with this residency.
Tnuatron is a part of the Mid EastWest Fest International Community Cultural Exchange. Major Mid EastAVest Fest sponsors include: Amstore Corporation, W.K. Kellogg Foundation, Lufthansa, Ministry for Foreign Affairs of Israel -Cultural Department, Ben Teitel Charitable Trust, Gerald Cook Trustee
Large print programs are available upon request.
Beyond the Rainbow: Dream in Motion
The performance was created by Dorit Shimron, the artistic director and choreog?rapher of the Tnuatron, through the inspi?ration of other art forms which influenced each other in the process: "painting in motion," a special technique used by Tal Elohev; "air sleeves," designed by Doron Gazit and used on stage for the first time. The dancers bring all of these art forms together.
Here sculpting and painting stray from their usual form and disappear at the end of the dance like the dancers and the music. Painting the dancers transforms two dimen?sional paintings into three dimensional sculptures in movement. The movement of the dancers in the air, the movement of shades and shapes, the movement of cloth and curtains form a kaleidoscope of lights and shadows.
The perfect harmony between the com?ponents create the magic of the performance from the moment of its reincarnation as a dream. The performance is a journey of adventure bringing together wishes for a better future derived from memories from our past.
Beyond the Rainbow is a rediscovery of the child within. The space is filled with purity and innocence as is the world of the child. The performence stimulates the imag?ination and activates all of the senses, elicit?ing different emotions.
With the hope that your dreams will be colored with all of the colors of the rainbow and soar above it...
Over twenty years ago, Israeli-born Dorit Shimron established a dance school in her native Ramat-Hasharon. The Tnuatron Dance School comprises dancers aged 6-12. Performing throughout Israel, at dance festivals, and abroad, the school has developed into a dance group with a unique style and structure of its own. As such, the company was adopted by the Hapoel sports organization.
This performance marks Tnuatron Dance Theatre's second appearance under UMS auspices.
Doron Gazit, Air Sleeves
Judy Kupferman, Lighting Designer
Haim Avnery, Production Associate
Amy Beth Malale, Stage Manager
Shalom Ephraim, Technical Manager
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Betty Mittelpunkt, Psychologist
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The Edward
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Beethoven the Contemporary
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshamolov, Viola David Geber, Cello

Ludwig van Beethoven
Sunday Afternoon, November 16, 1997 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Quartet in B-flat Major, Op.18, No.6 (La Melinconia)
Allegro con brio
Adagio ma non troppo
Scherzo: Allegro
La Malinconia: Adagio; Allegretto quasi Allegro
Giampalo Bracali
Quartet No. 2
Elegia Preludio Scherzo ? Rapsodia Divertimento Epilogo
Quartet in a minor. Op.132
Assai sostenuto; Allegro
Allegro ma non tanto
Heiliger Dangesangeines Genesenen in die Gottheit, in
der lydischedn tonnart: Molto adagio; Neue Kraft fiihlend: Andante Alia marcia, assai vivace Allegro appasionato
Eighteenth Concert of the 119th Season
Beethoven the Contemporary Series
Special thanks to Ed Surovell for his continued support through the Edward Surovell Co.Realtors.
(credits continue on the following page)
Large print programs are available upon request.
credits, continued The Beethoven the Contemporary Series is made possible in part by a
grant from the Lila Wallace-Reader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters.
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.
This project is supported in part by a grant from the National Endowment for the Arts.
UMS is a grant recipient of Chamber Music America's Presenter-Community Residency Program funded by the Lila Wallace-Reader's Digest Fund.
Additional support is provided by media partner Michigan Radio.
Special thanks Steven Whiting, Curtin and Alf Violin Makers, Paul Kantor, Andrew Jennings, Mark Lakirovich, Ann Arbor School for the Performing Arts, Julie Ellison, Lee Katterman, and Year of the Humanities and Arts for their involvment in the November residency events.
The Beethoven the Contemporary residency is a collaboration with the Ann Arbor Piano Teachers Guild, Ann Arbor Public Schools, Ann Arbor Schools for the Performing Arts, Curtain and Alf Violin Makers, U-M Institute for the Humanities, U-M Institute for Research on Women and Gender, U-M Institure for Social Research, The Ira F. Brilliant Center for Beethoven Studies at San Jose State University, Kerrytown Concert House, Michigan American String Teachers Association, U-M Office of the Vice President for Research, University of Michigan Hospital's Gifts of Art Program, U-M School of Music, and U-M Year of the Humanities and Arts.
Quartet in B-flat Major, Op. 18, No. 6 (La Melinconia)
Ludwig van Beethoven
Born on December 15 or 16, 1770 in
Bonn, Germany Died on March 26, 1827 in Vienna
The six string quartets that comprise Beethoven's Op. 18 were composed between 1798 and 1800, precisely at the same time (and in the same city, Vienna) as Haydn was writing his last and greatest works in that genre. Perhaps Beethoven's quartets repre?sent a symbolic passing of the torch: as Haydn concludes the Classical period, Beethoven makes his first steps towards infusing the string quartet with the musical language of emergent Romanticism. By the time he began composing Op. 18, Beethoven already had considerable experience writing for solo strings in chamber ensembles: he had already completed several string trios and serenades. But the string quartet was a special genre that, by the turn of the century, had assumed a substantial cultural magni?tude. It was expected to be genteel and refined, one of the highest expressions of the composer's art. In embarking on such a challenge, Beethoven signaled his readiness to assert his personal voice onto the inherit?ed legacy of quartet composition.
As with his Piano Sonata Op. 22, also in the key of B-flat, Beethoven's String Quartet Op. 18, No. 6 straddles two worlds. Beginning with a salute to the courtly and aristocratic world of pre-Revolutionary Europe, it con?cludes with a prophecy and a foretaste of nineteenth-century Romanticism. Both works, while hardly revolutionary, still demonstrate a level of independence and imagination rarely found in Beethoven's earlier, and sometimes more openly ambi?tious compositions. The stylistic connections between the early quartets and piano sonatas were made even more clear when Beethoven
himself arranged his Piano Sonata in E Major (Op. 14, No. 1) for string quartet in 1802, the year after the Op. 18 quartets were published.
The first movement of the Quartet in B-flat (Op. 18, No. 6) is a Haydnesque "Allegro con brio": pleasantly vivacious and dance-like. The thematic material in this sonata-form movement is lightweight (similar to that which opens the Symphony No. 2), and the harmonic procedures are largely unspec?tacular. But there are odd poetic touches such as the modulation to a momentary D-flat harmony in the second subject, and an unexpected passage near the end of the development section that has no thematic connection with anything else in the move?ment. Beethoven's boldest achievement in this movement is that he is able to make the prosaic and conventional sound compelling. The second movement, "Adagio ma non troppo," in E-flat Major has a theme that is again rather naive, although rhythmic and contrapuntal decorations redefine its char?acter with each repetition. A somber central section in b-flat minor, much barer in tex?ture, makes an impressive contrast and is alluded to in the movement's coda.
The third movement is the most humor?ous and aggressive "Scherzo" Beethoven had yet devised. Along with its accompanying capricious Trio, it makes much use of cross-rhythms that seem to alternate freely between 34 and 68. The composer throws in fre?quent sforzandi accents on the last 8th-note of the measure, which are just as frequently tied over the bar-line, adding to the eccen?tricity of the rhythmic character. Toward the end of the "Scherzo" an exhilarating climax leads into an abrupt collapse. The Trio is hardly more than a series of flitting leaps in the first violin, and is connected to the repeat of the "Scherzo" with a blustering mock-tragic passage in b-flat minor. This is comedy of a far rougher and more willful variety than audiences had ever experienced
in a string quartet; a far cry from the refined and decorous minuets that had come to be expected at this point in the composition. The Adagio introduction to the Finale is one of the most remarkable passages in Beethoven's chamber music. Entitled "La Melinconia," the extensive and elaborate written directions in the score suggest Beethoven was conscious of writing in an unusually emotional style -the composer directs that this interlude be "played with the greatest delicacy." The opening theme is not developed in Beethoven's usual manner. Instead, an unexpected early modulation leads to a passage of keyless diminished-sev?enth chords, ornamented with grace notes. The harmonic adventures of this introduc?tion are unprecedented, and look forward to the sound-world of Wagner's music seventy years in the future. After this extraordinary and prophetic introduction, he recalls a much more conventional, charming world for the "Allegretto quasi Allegro" finale. It is an unusual kind of rondo in which the sec?ond episode is a recapitulation of the first. The melancholy of the preceding "Adagio" reappears twice in the finale, but with each appearance shorter than the previous one: a musical parable of introspection being over?come by innocent joy. The movement ends with a dazzling prestissimo coda.
Quartet No. 2
Giampaolo Bracali Born in 1941
When Giampaolo Bracali was a student at the Santa Cecilia Conservatory of Music in Rome during the 1960s, he devoted most of his time to piano studies and conducting. But one of his composition teachers, Virgilio Mortari, urged the young student to take a stronger interest in composing, and Bracali eventually found it more challenging to compose music rather perform it. Success
followed soon after; he undertook further studies with Nadia Boulanger, and in 1967 won the prestigious Lili Boulanger Memorial Fund Award, when both Aaron Copland and Igor Stravinsky were on the judging panel. Bracali has written numerous orchestral and chamber works, and is currently on the composition faculty at the Manhattan School of Music in New York.
The String Quartet No. 2, completed in March 1995, was written for the American String Quartet, who performed the premiere a year later at the Manhattan School of Music. But the work is dedicated to the memory of Virgilio Mortari, Bracali's old mentor and teacher at the conservatory, who died while it was being composed. Bracali originally planned the quartet to be significantly shorter than it is presently, but on hearing the news of Mortari's death he decided to add an "Elegia" movement to the beginning of the work, and frame it with a concluding "Epilogo." This altered Bracali's whole conception of the quartet's structure. Between these movements there is a thoroughly conventional four-movement quartet that follows the traditional Classical forms and tempi: Allegro Scherzo Adagio Presto. But the addition of the new outer move?ments suggested a different arrangement to Bracali, and he conceived the final six-movement work in three pairs, with breaks after the second and fourth movements.
The opening "Elegia" (Adagio Molto) is, understandably, somewhat sad in its atmos?phere, with what Bracali has called "the cells of a theme" in the cello part. This leads directly into a contrasting "Preludio" (Allegro), which was originally intended to be the first movement of the quartet. In the second pair of movements, a lively "Scherzo" is followed by a "Rapsodia" (Adagio), which climaxes in several cadenza-like passages. The final pair includes a virtuosic "Divertimento" (Presto), which may have originally been Bracali's intended finale, but
the "Epilogo" (Adagio molto) recapitulates the sorrow and nostalgia of the opening movement.
Bracali's musical language in this work is a combination of free atonality and a limit?ed use of serial procedures, but still with a fundamental basis in tonality. In this respect it may recall the harmonic language of Alban Berg, who likewise smoothed over the boundaries between tonality and atonality, and who also composed poignant musical memorials touched with personal emotion.
Quartet in a minor. Op. 132
Ludwig van Beethoven
Beethoven had not composed any string quartets for twelve years when in 1822 he received a commission from Prince Nicolas Galitzin of Russia for "one, two, or three new quartets" (Galitzin was a talented cellist himself, and had already made numerous arrangements of Beethoven's piano sonatas for string quartet and quin?tet). The composer obliged, and produced three new quartets dedicated to Galitzin -the Op. 127 in E-flat, Op.130 in B-flat, and Op. 132 in a minor -though the first of these to be completed didn't appear until 1825. Much of the groundwork for the a minor quartet was undertaken in 1824, but Beethoven was still working on Op. 127 at the time and wasn't able to devote himself to Op. 132 until the Spring of the following year. The a-minor quartet was completed in July 1825 and privately premiered in November of that year, but there were so many delays in publishing it that the work did not appear in printed score until after the composer's death.
The initial four notes of the slow intro?duction to the first movement -G, A, F, and E in the cello -introduce one of the principal motivic ideas for the entire work, and in fact permeate Beethoven's next two
string quartets as well. For the opening eight measures of this movement, all instruments gravely explore the half-step interval, both rising and descending, before the first violin breaks free in preparation for the "Allegro" proper. The main theme of this "Allegro," heard first in the cello's high register and then more expansively in the violin, relies again on the half-step interval, but with the motto's first two notes reversed. This is a movement of dramatic extremes: there are many changes of mood, pace, and texture, as if to symbolize a tragedy full of unre?solved tensions. It closes abruptly with a fanfare-like outburst of energy.
The second movement, in a lilting triple meter, returns again to pairs of half-steps for its motivic material. The Trio is a rustic country dance, complete with drone accom?paniment, that includes in its middle section an Austrian Ldndler, but it becomes trans?figured into something distant and enigmat?ic. The retransition introduces the com?pletely new texture of deep octaves, that adds to the movement's mystery.
Early in the spring of 1825, as he was working on this quartet, Beethoven con?tracted a serious illness. His recovery is commemorated in the title he gave to the Third Movement: "Holy Song of Thanksgiving of a Convalescent to the Deity" (marked Molto Adagio). Occasionally in the more solemn moments of his late works -the "Incarnatus" from the Missa Solemnis, for example -Beethoven reverts to the harmonic language of the church modes as a contrast to functional tonal har?mony. In this movement of Op. 132 he uses the Lydian mode (with a raised fourth scale degree) in the hymn-like phrases and in the more rapid figuration that frames them. The quartet's original motto is included in this movement as well, though it is interpreted modally, without the chromatic accidental, and inverted. The hymn is restated and var?ied twice more, with a brilliant D-Major
passage (which Beethoven marks, "Feeling new strength") between them. This, the last of Beethoven's extended slow movements, ends quietly on a chord of astounding peacefulness, with all instruments playing pianissimo in the treble register.
Discontinuity of style is one of the hall?marks of this quartet, and after the spiritual illumination of the Adagio, a short march quickly shifts the music back to worldly simplicity. Next, an impassioned recitative for the first violin reshuffles the pairs of half-steps that opened the quartet to form entirely new motives. The last movement, an urgent "Allegro appassionata" rondo, uses a theme that was originally intended for the finale of the Symphony No. 9, before Beethoven had the idea of making it a choral move?ment. In the repeat of the main episode, this theme shows its affinity with the opening motto (G-A-F-E) of the first movement. The rondo increases in urgency, intensified when a minor turns into A Major near the end, and rational order is barely restored in the closing unison.
Program notes by Luke Howard
In the seasons since its inception, the American String Quartet has reached a position of rare esteem in the world of chamber msuic. Annual tours have brought the American to virtually every important concert hall in eight European countries and across North America. Renowned for fluent and definitive interpretations of a diverse repertory, the Quartet has received critical acclaim for its presentation of the complete quartets of Beethoven, Schubert, Schoenberg and Mozart, and for collaborations with a host of distinguished artists.
Persuasive advocates for their art, the members of the Quartet are credited with
Droadening public awareness and enjoyment af chamber music across North America through their educational programs, semi?nars, broadcast performances, and pub?lished articles.
They have enjoyed a long association with the Aspen Festival, the Taos School of Music, and Lincoln Center's Mostly Mozart Festival, to which they frequently return as featured artists. Among the first to receive a National Arts Endowment grant for their activites on college campuses, the members of the American String Quartet have also maintained a commitment to contemporary music, resulting in numerous commissions and awards, among them three prize-win?ners at the Kennedy Centery Friedheim Awards. After ten years on the faculty of the Peabody Conservatory (where they initiated the program of quartet studies), they accepted the position of Quartet-in-Residence at the Manhattan School fo Music in 1984, and in 1992 were invited to become the resident ensemble for the Van Cliburn International Piano Competition. Their Mozart Year per?formances were rewarded with an invitation to record the complete Mozart quartets on a set of matched Stradivarius instruments; Volumes I, II, and III have been released by MusicMasters Musical Heritage.
The four musicians studied at the Juilliard school, where the Quartet was formed in 1974, winning the Colemna Competition and the Naumburg Award that same year. Outside the Quartet, each finds time for solo appearances, recitals, and teaching.
The American String Quartet continues to reach a borader audience through record?ings of more than a dozen works, numerous radio and television broadcasts in thirteen countries, tours to Japan and the Far East, and recent performances with the Montreal Symphony, the New York City Ballet and the Philadelphia Orchestra. Entering its third
American String Quartet
decade, the Quartet embodies the challenges and satisfactions of more than twenty years of music making.
This performance marks the American String Quartet's debut under UMS auspices.
The American String Quartet is represented by Melvin Kaplan, Inc. Burlington, Vermont
The American String Quartet has recordings on CRI, Musical Heritage, Nonesuch, New World and MusicMasters.
Pepper Hamilton & Scheetz LLP
Orpheus Chamber Orchestra
Richard Goode, Piano
Wednesday Evening, November 19,1997 at 8:00 Hill Auditorium, Ann Arbor, Michigan
GeorgFriederkHandel Water Music, Suite II in D Major
Alia Hornpipe
Wolfgang Amadeus Mozart Piano Concerto No. 9 in E flat Major, K. 271
Allegro Andantino Rondo: Presto Menuetto: Cantabile
Elizabeth Brown Mozart
Lost Waltz
Piano Concerto No. 24 in c minor, K. 491
Richard Goode
Nineteenth Concert of the 119th Season
119th Annual Choral Union Series
Special thanks to Michael Staebler and Rebecca McGowan for their continued support through Pepper, Hamilton & Scheetz LLP.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
The Orpheus Chamber Orchestra has received support for this concert from public funds from The National Endowment for the Arts and from the gen?erous support of the Andrew W. Mellon Foundation and the Metropolitan Life Foundation.
Large print programs are available upon request.
Water Music Suite II in D Major
Georg Friederic Handel
Born on February 23, 1685 in Halle, Germany Died on April 14, 1759 in London
In the summer of 1717, King George I of England proposed an evening's trip on barges down the Thames to Chelsea, where a dinner was arranged for him at the late Lord Ranelagh's villa. Wanting some entertainment during this boat ride, the King summoned the Swiss-born impresario, John Jakob Heidegger, but he named a price too high to suit the King. So, the King's courtier, Baron Kielmansegg, approached Handel and ulti?mately dug down in his pocket to pay for the whole event, including ?150 to float fifty musicians down the river.
A Prussian official living in London wrote home to Berlin with the following description:"... Next to the King's barge was that of the musicians, about fifty in number, who played on all kinds of instru?ments, to wit trumpets, horns, hautboys (oboes), bassoons, German flutes, French flutes, violins and basses: but there were no singers... His Majesty approved of it so greatly that he caused it to be repeated three times in all, although each performance last?ed an hour namely twice before and once after supper." According to this account, the king arrived at Chelsea at 1 a.m., "left at three o'clock and returned to St. James' about half past four..." If that time frame is correct, one wonders if the players had to read their music by torchlight and if all the working folks living along the Thames were kept up half the night by this glorious racket.
Handel's autograph manuscript for all this music has been lost and the performances we hear today have been reconstructed from manuscripts by reliable eighteenth-century copyists. Essentially, the nineteen pieces have been divided into three suites: one in
F Major featuring French horns, a second in D Major employing trumpets and horns, and a third in G Major featuring flutes. There is speculation that the two suites with brass instruments were played on the river, while the flute suite was played during sup?per at the villa. In the D Major Suite, the first two pieces are reworkings of the last two pieces in the F Major Suite, and the trumpets and horns echo each other's phrases antiphonally throughout each piece. While the brassy fanfares and occasional starchy dotted rhythms in the opening Prelude carry hints of the French style, the ever-popular Hornpipe is a more solidly English dance. Interestingly, it has a lighter trio section, scored without brass. The Trumpet Minuet is again in the formal French style and it is followed by an untitled dance movement set in skipping dotted rhythms. Handel indicated that the foursquare finale another untitled movment should be played three times; performers some?times use this opportunity to vary the orchestration, leaving out the brass during repetitions of certain segments.
Piano Concerto No. 9 in E-flat Major, K. 271 (Jeunehomme)
Wolfgang Amadeus Mozart Born on January 27, 1756 in Salzburg Died on December 5, 1791 in Vienna
A young French pianist by the name of Madamoiselle Jeunehomme seems to be an elusive lady of mystery in the Mozart story. Her name appears just twice in the compos?er's letters to his father, most significantly in a long letter written from Paris September 11, 1778, mentioning a concerto he had written for her. Apart from those two refer?ences, nothing is known of this pianist except that she passed through Salzburg in the winter of 1776-77 and her visit prompt-
ed Mozart to compose the concerto in January, 1777.
The work in question is the extraordi?nary Concerto No. 9 in E-flat, K. 271, which marked a great leap forward in Mozart's creative development. Mozart scholars speak of it in the same breath as his orchestral Serenade, K. 250. They were works that appeared in the middle of an uneventful period in his compositional career, suddenly exhibiting a new level of maturity, boldness and artistic inspiration. Mozart took the concerto with him on his trip to Mannheim and Paris later that year and attempted to have it published there. It was also the vehi?cle he used to show off his talent as a com?poser and performer during his first years in Vienna in the early 1780s. He thought so highly of it that he left future performers a choice of two highly expressive written cadenzas for each of the first two movements, plus several added transitional passages in the third movement.
Brilliance and daring virtuosity abound in the work. The very beginning of the piece sets a famous precedent in concerto form, letting the pianist briefly share in presenting the martial opening theme, instead of wait?ing until the end of a long orchestral exposi?tion of all the themes. This novel device was not again employed until Beethoven used it in his Fourth and Fifth piano concertos. In the "Jeunhomme" Concerto, Mozart quickly returned to classical conformity, allowing the orchestra to resume and complete its customary exposition of all the themes before giving them to the soloist in the sec?ond exposition. There are some half-dozen themes in the exposition, incidentally, once again testifying to the richness of Mozart's thematic invention. As the movement pro?gresses, they are vigorously developed and restated.
Images of a tragic operatic scene come to mind in the florid, hugely scaled "Andantino," also cast in sonata form. It proceeds as a
series of imposing thematic statements from a quietly grieving c minor to a more noble E-flat Major, then works its way back to the opening tonality in a starkly mournful restatement of its themes. The closing "Rondo" is full of gaiety and astonishing virtuosity, as the pianist leads the orchestra on a merry chase through a maze of intri?cate passagework. In a daring novelty, Mozart interrupted this perpetual-motion romp by inserting an elegant minuet into the body of the larger rondo movement.
Lost Waltz
Elizabeth Brown Born on 1953
Lost Waltz was commissioned by the Orpheus Chamber Orchestra with funds from the Greenwall Foundation and the Heathcote Art Foundation. It is scored for flute, oboes, clarinets, bassoons, horns and strings. Three main themes, one a fragment of a familiar children's song, emerge and recede in layers, moving in and out of waltz-time. The instruments shadow and echo each other, and at times, the sound wavers, like an old 78 or an image seen through rip?pling water. Occasionally, when the music becomes too dark or tense, the woodwinds relieve it with a mischievous interjection. Throughout, the flute plays as if lost in a dreamy world of its own -playfully or pas?sionately -as if no one is looking.
Piano Concerto No. 24 in c minor, K. 491
Wolfgang Amadeus Mozart
Key associations frequently come to mind in listening to Mozart's music and they seem especially vivid when hearing one of his minor-key piano concertos. In the
case of the c minor Piano Concerto, K. 491, the music arouses solemn, sometimes muted associations. The listener might easily think of certain portions of the great c minor Mass, K. 427, the c minor piano fantasias or the somber chorale prelude sung by the two armed men guarding the fire-and-ice cave in The Magic Flute. Mozart's melodic lines in the outer movements of this concerto often have a drooping profile and angular chromatic moments, leaving tinges of sadness, resigna?tion and quiet anguish upon the music.
The opening theme exhibits all these traits, but it also attests to the imposing scale of the music. After being stated in a quiet unison by the strings and bassoons, it bursts forth loudly in a fuller texture that reveals the contrapuntal aspirations of this concerto. Several thematic elements make up the orchestral exposition, and when the solo piano enters, it states still another theme before taking up the somber opening melody. The development section is quite rigorous in its thematic, contrapuntal and figurative exchanges between piano and orchestra. Mozart left no written cadenza at the end of the recapitulation, preferring to improvise one, but Beethoven and Hummel each supplied written-out cadenzas.
The "Larghetto" is one of Mozart's typi?cally serene, idyllic slow movements, begin?ning with a quiet, nobly sculpted theme shared by the solo piano and the winds. It alternates with a more decorative subsidiary theme in an extended five-part form (ABABA), followed by an elaborate coda. Mozart made the unusual choice of writing a theme and a set of eight variations as the finale, but the plaintive theme, with its many winding chromatic phrases, is inge?niously manipulated to meet a triple chal?lenge. The increasingly ornamental music in the first three variations identifies its basic form, while the alternation of solo and orchestral passages fits the variations into the dialogue of a concerto. At the same
time, the movement simulates the notion of a rondo (a more frequent third-movement form in Mozart's concertos) by periodically presenting the theme in a relatively undis?guised, undecorated manner during several of the variations, interlacing these segments with contrasting variations in related major-mode keys. The whole set is rounded off with a variation in 68 meter, again suggest?ing the rhythm of a gigue so common in third-movement finales of classical concer?tos and symphonies.
Program notes by Carl Cunningham
Elizabeth Brown, a native of Alabama, studied flute at the College-Conservatory of Music in Cincinnati and the Julliard School, from which she received a Master of Music degree in 1977. Since she began composing in her late twen?ties, her work has been performed at a vari?ety of notable venues: the Library of Congress, the Kitchen, the Los Angeles Museum of Art, the Houston Center for Photography, the Ijsbreaker in Amsterdam, Bang on a Can, Lincoln Center, and Kunstlerhaus Mousonturm in Franfurt. She has written for the microtonal instruments of Harry Partch, viola d'amore, glass armonica, and traditional Japanese instru?ments (she is an accomplished shakuhachi player.) Brown's music can be heard on CRI's Emergency Music: Bang on a Can Live Vol. II, Dance of the Seven Veils (Newband) on Music and Arts and The AIDS Quilt Songbook on Harmonia Mundi.
Additionally, Brown continues to perform as a flutist. This past season, she performed with the Orpheus Chamber Orchestra, the Brooklyn Philharmonic, the American Symphony, the American Composers Orchestra, the New Music Consort, the North County Chamber Players, the Adaskin
Trio, and the Greenleaf Chamber Players. She is on-the flute faculty of Sarah Lawrence College and The Julliard School's Music Advancement Program, and has recorded for CBS Masterworks, Deutsche Grammophon, CRI, Musical Heritage, Opus One, and Avant.
Richard Goode has been hailed for music-making of tremendous emo?tional power, depth, and expressivi?ty and has been acknowledged worldwide as one of today's leading interpreters of the music of Beethoven. In regular performances with the major orchestras, recitals in the world's music capitals, and acclaimed recordings, he has won a large and devoted following, including scores of fellow musi?cians. In an extensive profile in The New Yorker, David Blum wrote: "What one remembers most from Goode's playing is not its beauty -exceptional as it is -but his way of coming to grips with the com?poser's central thought, so that a work tends to make sense beyond one's previous per?ception of it...The spontaneous formulating process of the creator [becomes] tangible in the concert hall."
A native of New York, Goode studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute. He has won many prizes, includ?ing the Young Concert Artists Award, first prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy Award with clarinetist Richard Stoltzman. Richard Goode's remarkable interpretations of Beethoven came to national attention in 1986 when he played all five concerti with the Baltimore Symphony under David Zinman, and again during the 1987-88 sea?son, when he performed the complete cycle of sonatas at New York's 92nd Street Y and
Kansas City's Folly Theater.
Richard Goode has made more than two dozen recordings, including Mozart, Lieder of Schubert, Brahms, and Wolf with Benita Valente, and chamber and solo works of Brahms, Schubert, Schumann, and George Perle. Goode is the first American-born pianist to have recorded the complete Beethoven Sonatas, which were nominated for a 1994 Grammy Award. His recordings of these works have become a favorite of record buyers around the world.
Highlights of recent seasons have includ?ed first-time appearances with the orches?tras of Boston, Chicago, and Cleveland as well as return engagements with New York and Philadelphia. Other orchestral appear?ances have included Atlanta, Dallas, Detroit, Indianapolis, Los Angeles, Minnesota, and Canada's National Arts Centre Orchestra. In Europe, Goode appeared with the Berlin Radio Symphony, the Finnish Radio Symphony, and on a tour of Germany with the Bamberg Symphony. His eagerly await?ed, standing-room-only Carnegie Hall recital debut in December of 1990 was cited as a "Best of the Year" in the New York Times year-end wrap-up. His subsequent annual New York recitals at Lincoln Center, Carnegie Hall, the Metropolitan Museum, and the 92nd Street Y's Tisch Center have also been hailed as highlights of the season.
Highlights of Richard Goode's 1996-97 season included festival appearances at Ravinia with the Chicago Symphony; at Tanglewood with the Boston Symphony Orchestra; at London's Proms with the BBC Symphony; and at the Berlin Festival with the Deutsches Symphonie Orchester. Further orchestral appearances included the Bamberg Symphony; the Minnesota Orchestra; and the NHK Symphony Orchestra and the Stuttgart Radio Orchestra. He also gave recitals in the major centers of North America, Europe, and Japan, and recitals in Ann Arbor, New York, Chicago, Boston,
Richard Goode
London, Paris, Munich, and Tokyo. He continues a project to perform and record twelve Mozart concertos with the Orpheus Chamber Orchestra over the next few seasons.
Richard Goode lives in New York City with his wife, violinist Marcia Weinfeld.
Richard Goode made his UMS debut in February 1969 as a part of Music from Marlboro and performed a solo recital as a part of last year's Choral Union series. Tonight's performance marks his fifth appearance under UMS auspices.
Orpheus, one of the world's foremost chamber orchestras, performs with?out a conductor. Central to the annual musical season of the twenty-six-member orchestra is the series of concerts at home in New York at Carnegie Hall, several recordings, and national and international tours that have by now included performances in nearly 300 cities in thirty-nine countries.
Orpheus was founded in New York City in 1972 by cellist Julian Fifer and a group of fellow musicians who aspired to perform chamber orchestral repertoire as chamber music -through their own close collabora?tive efforts, and without conductor. Orpheus developed its approach to the study and performance of this repertoire by bringing to the orchestral setting the chamber music principles of personal involvement and mutual respect. Orpheus is a self-governing organization; the players demand of one another a high level of personal and musical responsibility, and they rotate the seating positions to give each player the opportuni?ty to lead a section. Together they make the interpretive decisions that are ordinarily the work of a conductor. They also choose the repertoire and create the programs, and they continually study and refine their rehearsal techniques.
Central to the distinctive personality of Orpheus is their unusual process of sharing and rotating leadership roles. For every work, the members of the orchestra deter?mine the concertmaster and the principal players for each section. These players con?stitute the core group, whose role is to form the initial concept of the piece and to shape the rehearsal process. In the final rehearsals, all members of the orchestra participate in refining the interpretation and execution, with members taking turns listening from the auditorium for balance, blend, articula?tion, dynamic range and clarity of expres?sion. And in recording sessions, everyone
Orpheus Chamber Orchestra
crowds into the production booth to listen to the initial playbacks. Members of Orpheus, who have received recognition for solo, chamber music and orchestral perfor?mances, bring a diversity of musical experi?ence to the orchestra, which constantly enriches and nurtures the musical growth of the ensemble. Of the seventeen string and nine wind players who comprise the basic membership of Orpheus, many also hold teaching positions at prominent conservato?ries and universities in the New York and New England areas, including The Juilliard School, Manhattan School of Music, Mannes College of Music, Columbia University and Yale University.
Orpheus has recorded extensively for Deutsche Grammophon. Included in the catalogue of over forty recordings are sever?al Haydn symphonies and Mozart sere?nades, the complete Mozart wind concertos
with Orpheus members as soloists, romantic works by Dvorak, Grieg and Tchaikovsky and a number of twentieth-century classics by Bartok, Prokofiev, Copland and Stravinsky.
This season, Orpheus's international touring includes appearances in Paris, London, Rome, Prague, Venice, Amsterdam, Frankfurt, Vienna, Hong Kong, Shanghai, Seoul and Beijing. Highlights of US touring include this Ann Arbor concert, Boston, New York, Washington DC, Chicago, Atlanta and San Francisco. Recent recording releases include a new French disc, Pavane -featur?ing works of Ravel, Satie, and Faure, Mozart Symphonies Nos. 29, 33 and 40, and the complete Concern Grossi, Op. 6 of Handel.
This performance marks the Orpheus Chamber Orchestra's sixth appearance under UMS auspices.
Orpheus Chamber Orchestra
Ronnie Bauch Martha Caplin Guillermo Figueroa Jennifer Frauchi Laura Frauchi Liang Ping How Joanna Jenner Richard Rood Eriko Sato Michael Shih Naoko Tanaka
Sarah Clarke Christof Huebner Katherine Murdock Nardo Poy
Kathe Jarka Julia Lichten Melissa Meell Mina Smith
Marji Danilow Donald Palma
Susan Palma Nidel
Mark Hill Stephen Taylor
David Singer Jo-Ann Sternberg
Michael Finn Frank Morelli
David Jolley William Purvis
Carl Albach Susan Radcliff
Benjamin Ramirez
Robert Wolinsky
Orpheus Chamber Orchestra, Inc.
Julian Fifer, Founder and
President Norma Hurlburt, Executive
Vice President
The Orpheus Chamber Orchestra records for Deutsche Grammophon and Nonesuch.
The Orpheus Chamber Orchestra is represented by Frank Salomon Associates.
Like To Help Out
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activi?ties. We rely on volunteers for a vast array of activities, including staffing the education res?idency activities, helping at the UMS hospital?ity table before concerts and at intermissions, assisting in artists services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 313.936.6837 for more information. Internships
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semester-and year-long internships are available in many of the University Musical Society's departments. For more information, please call 313.763.0611 (Marketing Internships), 313.647.1173 (Production Internships) or 313.764.6179 (Education Internships). College work-study
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 313.764.2538.
UMS Ushers
Without the dedicated service of UMS' Usher Corps our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
Our ushers must enjoy their work because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. If you would like information about joining the UMS usher corps, call head usher Kathi Reister at 313.913.9696.
In an effort to help reduce distracting noises ind enhance the concert-going experience, the Warner-Lambert Company provides compli-Inentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The {ablets may be found in specially marked dis-
ensers located in the lobbies.
Thanks to Ford Motor Company for the
ise of a Lincoln Town Car to provide trans-
lortation for visiting artists.
Camerata Dinners
Following last year's great success, the UMS Board ot Directors and Advisory Committee are hosting another series of Camerata Dinners before many of the season's great performances. After taking your pick of prime parking spaces, join friends and fellow UMS patrons in the beautiful setting of the Alumni Center, a site within a short walking distance of Hill Auditorium. Our buffet will be open from 6:00 to 7:30 p.m. and costs $25 per person. Make your reser?vations by calling 313.764.8489. UMS members receive reservation priority.
Thursday, October 9
Estonian Philharmonic Chamber Choir
Wednesday, November 19
Orpheus Chamber OrchestraRichard Goode, piano
Tuesday, December 2
Klezmer Summit featuring Itzhak Perlman
Saturday, January 10
Israel Philharmonic OrchestraZubin Mehta, conducto:
Friday, February 6
St. Paul Chamber OrchestraEmanuel Ax, piano
Wednesday, February 11
Royal ConcertgebouwRiccardo Chailly, conductor
Tuesday, March 24
Russian National OrchestraGil Shaham, violin
Monday, April 13
Evgeny Kissin, piano
Friday, May 1
MET OrchestraSir Georg Solti, conductor
Dining Experiences to Savor: the Fourth Annual Delicious Experience
Following three years of resounding success, wondei ful friends and supporters of the University Musical Society are again offering a unique donation by hosi 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
Restaurant & Lodging Packages
Celebrate in style with dinner and a show, or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening. Add luxury accommodations to the package and make it a complete get away. The University Musical Society is pleased to announce their cooperative ventures with the following local establishments:
Paesano's Restaurant
3411 Washtenaw Road, Ann Arbor
313.971.0484 for reservations Wed. Nov. 19 Orpheus Chamber OrchestraRichard Goode, piano Sun. Dec. 7 Handel's Messiah (post performance dinner) Sun. Feb. 22 Mendelssohn's Elijah
Tue. Mar. 24 Russian National OrchestraGil Shaham, violin Mon. Apr. 13 Evgeny Kissin, piano
Package price $52 per person (with tax & tip incorporated) includes: Guaranteed dinner reservations (select any item from the special package menu) and reserved "A" seats on the main floor at the performance for each guest.
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue, Ann Arbor
313.769.0653 for reservations Join Ann Arbor's most theatrical host & hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes: two night's stay, breakfast, high tea and two priority reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 S. Thayer, Ann Arbor
313.769.3010 for reservations
{Fine dining and elegant accommodations, along with priority ?.seating to see some of the world's most distinguished performing 'artists, add up to a perfect overnight holiday. Reserve space now "for a European-style deluxe guest room within walking distance of the performance halls and downtown shopping, a special perfor-jmance dinner menu at the Escoffier restaurant located within the IKcll Tower Hotel, and great seats to the show. Beat the winter Iblues in style!
ISm. Dec. 6 Handel's Messiah
1H Jan. 9 David Daniels, countertenor
Kiit. Jan. 10 Israel Philharmonic Orchestra
mFri. Jan. 30 Beethoven the Contemporary: American String Quartet
tFri. Feb. 13 Juan-josi Mosalini and His Grand Tango Orchestra
4S(. Feb. 14 Chen Zimbalista, percussion
Vri. Feb. 20 Chick Corea, piano and Gary Burton, vibes
WFri. Mar. 13 New York City Opera National Company Donizetti's Daughter of the Regiment
Sat. Mar. 21 Batsheva Dance Company of Israel Sat. Mar. 28 Paco de Lucia and His Flamenco Orchestra Package price $199 (+ tax & gratuity) per couple ($225 for the Israel Philharmonic Orchestra) includes: valet parking at the hotel, overnight accommodations in a deluxe guest room with a continental breakfast, pre-show dinner reservations at the Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 S. Main Street, Ann Arbor
313.663.5555 for reservations Thu. Oct. 16 Guitar Summit IV Fri. Nov. 7 Celia Cruz with Josi 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 I 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
Eleanor Roosevelt
Robert Frost
Vladimir Horowitz
William D Revelli
Eugene Ormandy
Jessye Norman
The many faces of Hill
For over 80 years, Hill Auditorium has hosted great poets, great thinkers and great musical artists. But the years have taken their toll on this magnificent building. The Campaign for Hill is our chance to give something back...and assure that Hill Auditorium will face a bright and beautiful future.
Please, make your pledge today to the Campaign for Hill.
For information, call (313) 647-6065.
A Highlight of the Campaign for Michigan
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.
Jessye Norman accepts the 1997 Distinguished Artist Award from UMS Chair Bruce Kulp.
Thank You!
Great performances -the best in music, theater and dance -are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of August 1, 1997. If there has been an error or omission, we apologize and would appreciate a call at 313.647.1178 so that we may make the correction right away.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great tradi?tions of the Society in the future.
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy Niehoff Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Helen Ziegler Mr. and Mrs. Ronald G. Zollars
Sally and Ian Bund
Dr. and Mrs. James Irwin
Randall and Mary Pittman
Herbert Sloan
Carol and Irving Smokier
Mrs. M. Titiev
Paul and Elizabeth Yhouse
Ronald and Eileen Weiser
Brauer Investments
Consumers Energy
Detroit Edison Foundation
Ford Motor Credit Company
Ford Motor Company Fund
Forest Health Services Corporation
JPEincThe Paideia Foundation
McKinley Associates
NSK Corporation
The Edward Surovell Co.Realtors
TriMas Corporation
University of Michigan -
University Relations Parke-Davis Pharmaceutical
Research Wolverine Temporaries, Inc.
Arts Midwest
Grayling Fund
KMD Foundation
Lila Wallace-Readers Digest
Audiences for the Performing
Arts Network Lila Wallace-Readers Digest Arts
Partners Program Benard L. Maas Foundation
Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts New England Foundation for
the Arts
Individuals Robert and Ann Meredith Prudence and Amnon Rosenthal Edward Surovell and Natalie Lacy
Herb and Carol Amster
Carl and Isabelle Brauer
Margaret and Douglas Crary
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
Michael E. Gellert
Sun-Chien and Betty Hsiao
F. Bruce Kulp
Pat and Mike Levine
David G. LoeselCafe Marie
Charlotte McGeoch
Mrs. John F. Ullrich
Marina and Robert Whitman
Roy Ziegler
Beacon Investment Company
Curtin & Alf Violinmakers
First of America Bank
Ford Electronics
Masco Corporation
Thomas B. McMullen Company
Michigan Radio
Miller, Canfield, Paddock and
Stone, P.L.C. The Monroe Street Journal
O'Neal Construction Joe and Karen Koykka O'Neal
Project Management Associates
Foundations Chamber Music America Herrick Foundation
Individuals Robert and Martha Ause Maurice and Linda Binkow Barbara Everitt Bryant Dr. James Byrne Edwin F. Carlson Kathleen G. Charla Mr. Ralph Conger Katharine and Ion Cosovich Mr. and Mrs.
Thomas C. Evans Ken, Penny and Matt Fischer ohn and Esther Floyd Charles and Rita Gelman Sue and Carl Gingles Mercy and Stephen Kasle James N. Morgan John W. and Dorothy F. Reed Don & Judy Dow Rumelhart Maya Savarino and
Raymond Tanter Professor Thomas J. and
Ann Sneed Schriber Mrs. Francis V.Viola III
Corporations AAA of Michigan Butzel Long Attorneys Environmental Research Institute of Michigan Great Lakes Bancorp St. Joseph Mercy Hospital Waldenbooks
Foundations The Mosaic Foundation (of Rita and Peter Heydon)
Dr. and Mrs. Gerald Abrams
Professor and Mrs.
Gardner Ackley Dr. and Mrs.
Robert G. Aldrich Mr. and Mrs.
Max K. Aupperle Mr. and Mrs.
Arnold Aronoff Dr. Emily W. Bandera Bradford and Lydia Bates Raymond and
Janet Bernreuter Joan A. Binkow Howard and
Margaret Bond Jeannine and
Robert Buchanan Lawrence and Valerie Bullen Mr. and Mrs.
Richard J. Burstein Letitia J. Byrd Betty Byrne
Jean and Kenneth Casey Pat and George Chatas Mr. and Mrs.
John Alden Clark David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Susan and Arnold Coran Dennis Dahlmann Peter and Susan Darrow Jack and Alice Dobson Jim and Patsy Donahey Ian and Gil Dorer Cheri and Dr.
Stewart Epstein Dr. and Mrs. S.M. Farhat David and
Jo-Anna Featherman Adrienne and
Robert Feldstein Ray and Patricia Fitzgerald Richard and Marie Flanagan Ilene H. Forsyth Michael and Sara Frank Margaret Fisher and
Arthur French Mr. Edward P. Frohlich Lourdes and Otto Gago Marilyn G. Gallatin Beverley and Gerson Geltner William and Ruth Gilkey
Drs. Sid Gilman and
Carol Barbour Norman Gottlieb and
Vivian Sosna Gottlieb Ruth B. and
Edward M. Gramlich Linda and Richard Greene Frances Greer Susan R. Harris Walter and Dianne Harrison Anne and Harold Haugh Debbie and
Norman Herbert Bertram Herzog Julian and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and Joan F. Howe John and
Patricia Huntington Keki and Alice Irani Stuart and Maureen Isaac Herbert Katz Emily and Ted Kennedy Bethany and
A. William Klinke II Michael and
Phyllis Korybalski Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Bob and Laurie LaZebnik Elaine and David Lebenbom Mr. Henry M. Lee Carolyn and Paul Lichter Robert and Pearson Macek Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. and Mrs.
Donald A. Meier Dr. H. Dean and
Dolores Millard Myrna and Newell Miller Dr. and Mrs. Andrew
and Candice Mitchell Dr. and Mrs. Joe D. Morris George and Barbara Mrkonic Sharon and Chuck Newman William A. and
Deanna C. Newman Mark and Susan Orringer Constance L. and
David W. Osier
Mr. and Mrs.
William B. Palmer Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Donald H. Regan and Elizabeth Axelson Professor and Mrs.
Raymond Reilly Glenda Renwick Molly Resnik and
John Martin
Jack and Margaret Ricketts Richard and Susan Rogel Don and
Judy Dow Rumelhart Dick and Norma Sarns Rosalie and
David Schottenfeld Janet and Mike Shatusky Cynthia J. Sorensen Dr. Hildreth H. Spencer Steve and Cynny Spencer Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs.
E. Thurston Thieme Dr. Isaac Thomas III and
Dr. Toni Hoover Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
Laura A. Van House John Wagner Elise and Jerry Weisbach Angela and Lyndon Welch Roy and JoAn Wetzel Douglas and Barbara White Elizabeth B. and
Walter P. Work, Jr. Nancy and
Martin Zimmerman
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 Raqucl Agranoff
M. Bernard Aidinoff
Dr. and Mrs. Peter Aliferis
Catherine S. Arcure
Robert L. Baird
James 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 lim Botsford and
Janice Stevens Botsford David and Tina Bowen Laurence Boxer, M.D. and
Grace). 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 ludy and Steve Dobson Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs.
Cameron B. Duncan Dr. and Mrs. John H. Edlund Mr. and Mrs.
Charles Eisendrath Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Mrs. Beth B. Fischer Robben and Sally Fleming Daniel R. Foley Phyllis W. Foster
Paula L. Bockenstedt and
David A. Fox
Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach
Henry and Beverly Gershowitz Wood and Rosemary Geist Margaret G. Gilbert Joyce and Fred M. Ginsberg Grace M. Girvan Paul and Anne Glendon Dr. Alexander Gotz Elizabeth Needham Graham Lila and Bob Green John R. and Helen K. Griffith Bita Esmaeli, M.D. and
Howard Gutstein, M.D. Mr. and Mrs. Elmer F. Hamel Mr. and Mrs.
Ramon Hernandez Mrs. W.A. Hiltner Janet Woods Hoobler Mary 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. Legatski
Myron and Bobbie Levine
Dean and Gwen Louis
Mr. and Mrs. Carl J. Lutkehaus
Brigitte and Paul Maassen
John and Cheryl MacKrcll
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 J. 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. Stress 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. VVolk Dr. and Mrs. Clyde Wu MaryGrace and Tom York
Corporations The Ann Arbor
District Library The Barfield CompanyBartech Coffee Express Co. General Systems Consulting
Group KeyBank Arbor Temporaries
Personnel Systems, Inc. Van Boven Shoes, Inc.
Foundations The Power Foundation Shiffman Foundation Trust
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
John and Susan Anderson
David and Katie Andrea
Harlene and Henry Appelman
Mr. and Mrs. Arthur I. Ashe
Essel and Menakka Bailey
Julie and Bob Bailey
Lesli and Christopher Ballard
John and Betty Barfield
Norman E. Barnett
Dr. and Mrs. Mason Barr, Ir.
Leslie and Anita Bassett
Astrid B. Beck and
David Noel Freedman Neal Bedford and
Gerlinda Melchiori Harry and Betty Benford P.E. Bennett
Ruth Ann and Stuart J. Bergstein lerry 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 Nicmeyer 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 Isabcllc Carduncr Jim and Priscilla Carlson
Professor Brice Carnahan
Marchall F. and Janice L. Carr
Jeannctte and Robert Carr
land and Bill Cassebaum
Andrew and Shelly Caughey
Yaser Cercb
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
Lolagenc 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 Dreyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser Joan and f mil Engel Don Faber
Dr. and Mrs. Stefan Fajans Dr. and Mrs. John A. Faulkner Dr. fames F. Filgas Herschel and Annette Fink Joseph J. Fitzsimmons Stephen and Suzanne Fleming Jennifer and Guillermo Flores Ernest and Margot Fonthcim James and Anne Ford Wayne and Lynnettc Forde Deborah and Ronald Frcedman Harriet and Daniel Fusfcld Bernard and Enid Galler Gwyn and lay Gardner Professor and Mrs. David M. Gates Thomas and Barbara Gelehrter Elmer G. Gilbert and
Lois M. Verbrugge James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod A. David and Shelley Goldberg Mary L. Golden Dr. Luis Gonzalez and
Ms. Vilma E. Perez Mrs. William Grabb Jerry and Mary K. Gray Dr. (ohn and Renee M. Greden Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Mark and Susan Griffin Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Margaret and Kenneth Guire Philip E. Guire Don P. Hacfner and
Cynthia J. Stewart George N. Hall Marcia and Jack Hall Mrs. William Halstead
Margo Halsied
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 Hildebrandt Louise Hodgson Dr. and Mrs. Ronald Holz John and Lillian H. Home Linda Samuclson and Joel Howell Che C. and Teresa Huang Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hum Thomas and Kathryn Huntzicker Robert B. Ingling Professor and Mrs.
John H. Jackson K. John larrctt and
Patrick T. Sliwinski Wallie and Janet Jeffries Mr. and Mrs. Donald L. Johnson Ellen C. Johnson Billic and Henry Johnson Kent and Mary Johnson Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Allyn and Shorn 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. James and fane Kister Dr. George Kleiber Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Barbara and Charles Krausc 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 lane Mackie-Mason Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Edwin and Catherine Marcus Geraldine and Sheldon Market Rhoda and William Martcl Sally and Bill Martin Dr. and Mrs. Josip Matovinovic
44 Associates, continued
Mary and Chandler Matthews Mary Mazure and Andy Tampos Margaret E. McCarthy Mrs. Lester McCoy Kevin McDonagh and
Leslie Crofford Griff and Pat McDonald lames and Kathleen McGauley Deanna Relyea and
Piotr Michalowski Leo and Sally Miedler Icanettc 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. Nortin 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 Pignanelli Dr. and Mrs. Michael Pilepich Richard and Meryl Place
Donald and Evonne Planlinga 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 ]. Thomas and Kathleen Pustell Leland and Elizabeth Quackenbush Michael and Helen Radock Homayoon Rahbari, M.D. Anthony L Reffells and
Elaine A. Bennett Mr. and Mrs. Neil Ressler Constance Rinehart Mrs. Irving Rose Gay and George Rosenwald Jerome M. and Lee Ann Salle Michael Sarosi and
Kiiinn Skalitzky Sarosi Gary and Arlene Saxonhouse Dr. Albert J. and lane 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 Joan Singer
John and Anne Griffin Sloan
Alenc 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 T. Wirick Farris and Ann Womack Richard and Dixie Woods Mr.andMrs.A.C.WooU Phyllis B. Wright Don and Charlotte Wyche Mr.zand Mrs. Edwin H. Young Gail and David Zuk
Atlas Tool, Inc. Edwards Brothers, Inc. Hagopian World of Rugs John Leidy Shop, Inc. Lewis Jewelers
Mariano Pallares, International Translating Bureau, Inc. Scientific Brake and
Equipment Company University Microfilms
Ann Arbor Area Community
Foundation Shlomo and Rhonda Mandell
Philanthropic Fund
Jiidn R. Adams Tim and Leah Adams Michihiko and Hiroko Akiyama Michael and Suzan Alexander Mr. and Mrs. Gordon E. Allardyce Michael Altemang 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
Cathleen Culotta-Andonian Catherine M. Andrea T. L. Andresen
Dr. and Mrs. Dennis L. Angellis Elaine and Ralph Anthony lames Antosiak and Eda Weddington Patricia and Bruce Arden Bert and Pat Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Jeffrey and Deborah Ash Mr. and Mrs. Dan E. Atkins III Linda Atkins and Thomas Kenney Inn and Patsy Auilcr Eric M. and Nancy Aupperle Erik W. and Linda Lee Austin Eugene and Charlene Axelrod Shirley and Don Axon Jonathan and Marlene Ayers Virginia and ferald 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 ]i.n.iM and Douglas Jewett Barbara Barclay Rosalyn and Mel Barclay John R. Bareham Mr. and Mrs. David Barera Maria Kardas Barna Cy and Anne Barnes Robert and Sherri Barnes Laurie and Jeffrey Barnett Donald C. Barnctte, Jr. Mark and Karla Bartholomy Dorothy W. Bauer R. T. Bauer Kathleen Beck
Mr. and Mrs. Steven R. Beckert Marquita Bedway Dr. and Mrs. Richard Beil, Jr. Walter and Antje Benenson Merete and Erling Blondal Bengtsson Linda and Ronald Benson Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg Mr. and Mrs. S.E. Berki L. S. Berlin
Abraham and Thetma Herman Gene and Kay Berrodin Andrew H. Berry, D.O.
Bharat C. Bhushan
John and Laurie Birchler
William and Ilene Birge
Elizabeth S. Bishop
Alt and Betty Blair
Ralph B. Blasier, Inc.
Marshall and Laurie Blondy
Henry Blosser
Dr. George and Joyce Blum
Beverly J. Bole
Mr. and Mrs. Mark D. Bomia
Dr. and Mrs. Frank Bongiorno
Rebecca and Harold Bonnell
Ed and Luciana Borbely
Lola J. Borchardc
Gil and Mona Borlaza
Dr. and Mrs. David Bostian
Bob and Ian Bower
Dr. and Mrs. Ralph Bozell
Mclvin W. and Ethel F. Brandt
Representative Liz and
Professor Enoch Brater Robert and Jacqueline Bree Professor and Mrs. Dale E. Briggs Allen and Veronica Britton Olin L. Browder Linda Brown and Joel Goldberg Molly and John Brucger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant I'hil Bucksbaum and Roberta Morris Trudy and Jonathan Bulkley Dr. Frances E. Bull Robert and Carolyn k Sherry A. Byrnes Louis and Janet Callaway Susan and Oliver Cameron Mr. and Mrs. Robert Campbell Nancy Campbell-Jones Charles and Martha Cannell Dr. and Mrs. James E. Carpenter Jan and Steve Carpman Dennis B. and Margaret W. Carroll Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Kathtan M. Chan Bill and Susan Chandler ). Wehrley and Patricia Chapman Dr. Carey A. Charles Joan and Mark Chester George and Sue Chism Catherine Christen Edward and Rebecca Chudacoff Dr. and Mrs. David Church Robert J. Cierzniewski Pal Clapper John and Nancy Clark Brian and Cheryl Clarkson Charles and Lynne Clippcrt 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 Colquitt Gordon and Marjorie Comfort Kevin and Judy Compton Patrick and Anneward Conlin Sandra S. Connellan Janet Cooke
Dr. and Mrs. William W. Coon Gage R. Cooper Mr. and Mrs. Herbert Couf Paul N. Courant and
Mai [.i 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 Rundelt Culotta Richard ). Cunningham Mary R. and John G. Curtis Jeffrey S. Cutter R. K. and M. A. Daane Marylee Dalton Lee and Millie Daniclson Jane and Gawaine Dart Dr. and Mrs. Sunil Das DarLinda and Robert Dascola Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Mr. and Mrs. Roy C. Davis David and Kay Dawson Mr. and Mrs. Kenneth Dec foe and Nan Decker Dr. and Mrs. Raymond F Decker Rossanna and George DeGrood Peter H. dcLoof and Sara A. Bassett Uoyd and Genie Dethloff Elizabeth and Edmond DeVine A. Nelson Dingle Dr. and Mrs. Stephen W. Director Helen M. Dobson Dr. and Mrs. Edward R. Doezema Fr. Timothy J. Dombrowski Hilde and Ray Donaldson Steven and Paula Donn Thomas Doran Dick and Jane Dorr Prof William Gould Dow Mr. Thomas Downs Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Dreffs John Dryden and Diana Raimi Paul E. Duffy and
Marilyn L. Wheaton Edmund and Mary Durfee John W. Durstine Gloria Dykhouse George C. and Roberta R. Earl Elaine Economou and Patrick Conlin Mr. and Mrs. Richard Edgar Mr. and Mrs. John R. Edman Sara and Morgan Edwards David A. EkJund Judge and Mrs. S. J. Elden Sol and Judith Elkin Ethel and Sheldon Ellis James Ellis and Jean Lawton Mrs. Genevieve Ely Mackenzie and Marcia Endo Jim and Sandy Eng David and Lynn Engelbert Mark and Patricia Enns Carolyne and Jerry Epstein Stephen H. Epstein Mr. and Mrs. Frederick A. Erb Dorothy and Donald F. Eschman James and Mary Helen Eschman Eric and Caroline Ethington Barbara Evans Adelc Ewell
Mr. and Mrs. Robert B. Fair, Jr. Mark and Karen Falahee Elly and Harvey Falit Richard and Shelley Farkas Mr. and Mrs. H. W. Farrington, Jr. Inka and David Felbeck Reno and Nancy Feldkamp Phil and Phyllis Fell in Ruth Fiegcl Carol Finerman Clay Finkbeiner C. Peter and Bev A. Fischer Lydia ft Fischer Patricia A. Fischer
Eileen and Andrew Fisher
Dr. and Mrs. Richard L Fisher
Susan R. Fisher and John W. Waidley
Winifred Fisher
James and Barbara Fitzgerald
Linda and Thomas Fitzgerald
David and Ann Flucke
Scott and lanet Foglcr
Mr. and Mrs. George W. Ford
Susan Goldsmith and Spencer Ford
Bob and Terry Foster
Ronald Fracker
Tom Franks, Jr.
Lucia and Doug Freeth
Richard and Joann Freethy
Andrew and Deirdre Freiberg
Otto W. and Helga B. Freitag
loanna and Richard Friedman
Gail Fromes
Philip And Renee Frost
Lela J. Fuester
Ken and Mary Ann Gaertner
An and liana Garni
Walter and Heidi Gage
Jane Galanlowicz
Thomas H. Galantowicz
Arthur Gallagher
Mrs. Shirley HGarland
Del and Louise Garrison
Janet and Charles Garvin
Drs. Steve Geiringer and Karen Bantel
Ina Hanel-Gcrdenich
Michael Gerstcnberger
W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson
Paul and Suzanne Gikas
Peter and Roberta Gluck
Sara Goburdhun
Mr. and Mrs. Edward W. Godsalve
Albert L Goldberg
Dr. and Mrs. Edward Goldberg
Ed and Mona Goldman
I twin ). Goldstein and Marty Mayo
Mrs. Eszter Gombosi
Graham Gooding
Mitch and Barb Goodkin
Selma and Albert Gorlin
William and lean Gosling
Charles Goss
Naomi Gottlieb and
Theodore Harrison, D.D.S. Siri Gottlieb Michael L Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Dr. William H. and Maryanna Graves Whit and Svea Gray Alan Green and Mary Spence Jeff Green
Bill and Louise Gregory Daphne and Raymond Grew Mr. and Mrs. James I. Gribble Werner H. Grilk Robert M. Grover Robert and Julie Grunawalt Robert and Linda Grunawalt Ms. Kay Gugala Arthur W. Gulick, M.D. Sondra Gunn Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta
4 6 Advocates, continued
Caroline and Roger Hackctt
Helen C. Hall
Harry L and Mary L Hallock
Sarah I. Hamcke
Mrs. Frederick G. Hammitt
Dora E. Hampe)
Lourdes S. Bastos Hanscn
Charlotte Hanson
Herb and Claudia Harjcs
Stephen G. and Mary Anna Harper
Mr. and Mrs. Randy I. Harris
Robert and lean Harris
Robert and Susan Harris
Phyllis Harrison-Ross
M. lean Harter
Jerome P. Hartweg
Elizabeth C. Hassinen
ii.iil.iii and Anne Vance Hatcher
fames B. and Roberta Hause
Icannine and Gary Hayden
Dr. Lucy K. Hayden
Mr. and Mrs. Edward I. Hayes
Charles S. Heard
Bob and Lucia Heinold
Mrs. Miriam Heins
Sivana Heller
Margaret and Walter Helmreich
Karl Henkel and Phyllis Mann
Dr. and Mrs. Keith S. Henley
Margaret Martin Hermel
C.C. Hcrrington. M.D.
Carl and Charlene Hcrstein
Charles W. Fisher and
Elfricda H. Hiebert Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Jacques Hochglaube, M.D., P.C. Jane and Dick Hoerner Anne Hoff and George Villec Bob and Fran Hoffman Carol and Dieter Hohnke Dr. Carol E. Holden and
Mr. Kurt Zimmer lohn and Donna Hollowell Arthur G. Horner, Jr. Dave and Susan Horvath George M. Houchens and
Caroline Richardson Dr. and Mrs. Joseph A. Houle Fred and Betty House lim and Wendy Fisher House Dr. and Mrs. Jeffrey Housner Hetga Hover
Drs. Richard and Diane Howlin Mrs.V.C. Hubbs Charles T. Hudson Harry and Ruth Huff Mr. and Mrs. William Hufford Joanne W. Hulce Ann D. Hungerman Duanc V. Hunt
Diane Hunter and Bill Ziegler Jewel and John C. Hunter Mr. and Mrs. David Hunting Russell and Norma Hurst Eileen and Saul Hymans Edward Ingraham Margaret and Eugene Ingram Ann K. Irish Perry Irish Carol and lohn Isles Morito Ito Judith G. fackson Manuel and loan Jacobs Harold and Jean Jacobson Professor and Mrs. Jerome felinek James and Elaine Jensen Keith Jensen JoAnn . Jeromin Paul and Olga Johnson Tim and Jo Wiese Johnson Constance L. Jones
Dr. Marilyn S. Jones lohn and Linda K. ]onides Stephen G. Josephson and
Sally C Fink Tom and Marie luster Mary Kalmcs and Larry Friedman Dr. and Mrs. Mark S. Kaminski Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L Kaplin Thomas and Rosalie Karunas Bob and Atsuko Kashino Alex F. and Phyllis A. Kato Martin and Helen Katz Maxine and David Katz Nick and Mcral Kazan Janice Keller
fames A. Kelly and Mariam C. Noland lohn 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 Kosacheff Edward and Marguerite Kowaleski Richard and Brenda Krachenbcrg Jean and Dick Kraft David and Martha Krehbiel William J. Bucci and lanet Kreiling William G. Kring Alan and Jean Krisch Bert and Gcraldine Kruse Danielle and George Kuper Ko and Sumiko Kurachi Dr. and Mrs. Richard A. Kutcipal Dr. and Mrs. fames 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. fill Latta and Mr. David S. Bach Robert and Leslie Lazzcrin 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. Lcvine Mr. and Mrs. Harry Lcvine, III Deborah S. Lewis Donald and Carolyn Dana Lewis Jacqueline H. Lewis Norman Lewis Thomas and Judy Lewis Lawrence B. Lindemer Mark Lindlcy Mr. Ronald A. Lindroth Rod and Robin Little Vi-Cheng and Hsi-Ycn Liu Jackie K. Livcsay Louis Loeb and Tully Lyons Naomi E. Lohr fane Lombard Dan and Kay Long Ronald Longhofer Mr. and Mrs. Richard S. Lord Joann Fawn Love Donna and Paul Lowry Ross E. Lucke Lynn Luckenbach
Pamela and Robert Ludolph
Fran Lyman
Donald and Doni Lyslra
Susan E. Marias
Marcia MacMahan
Geoffrey and lanet Maher
Suzanne and lay Mahler
Deborah Malamud and Neal Plotkin
Claire and Richard Malvin
Melvin and )ean Manis
Pearl Manning
Gcraldine and Sheldon Market
Professor Howard Markcl
Lee and Greg Marks
Alice and Bob Marks
Ann W. Martin
lames E. and Barbara Martin
Rebecca Martin and James Grieve
Dcbra Mattison
Margaret Maurer
Jeffrey and Sandra Maxwell
Mr. and Mrs. Donald C. May, )r.
Mr. and Mrs. Brian McCall
Margaret and Harris McClamroch
Dores M. McCree
Joseph and Susan McGrath
Eileen Mclntosh and
Charles Schaldenbrand Mary and Norman Mclver Bill and Ginny McKeachie Fred McKenzic Margaret B. McKinley Daniel and Madelyn McMurtrie Nancy and Robert Meader Anthony and Barbara Medeiros Samuel and Alice Meisels Robert and Doris Melling Mr. and Mrs, Warren A. Merchant Debbie and Bob Merion Bcrnice and Herman Merte Russ and Brigette Merz Henry D. Messer Carl A. House John and Fei Fei Metzler Ms. Anna Meyendorff Professor and Mrs. Donald Meyer Valerie Meyer Shirley and Bill Meyers Dr. William P. Mies Dr. and Mrs. William M. Mikkclscn Carmen and jack 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 Melinda and Bob Morris Robert C. Morrow Brian and Jacqueline Morton Cyril and Rona Moscow James and Sally Mueller Gavin Eadic and Barbara Murphy Laura and Charles Musil Dr. and Mrs. Gundcr A. Myran Linda M. Nadeau Rosemaric Nagel Isabcllc Nash
Mr. and Mrs. Homer Ncal Randy and Margaret Nesse Susan and Jim Newton John and Ann Nicklas Mrs. Marvin Nichuss Shinobu Niga Susan and Richard Nisbett Laura Nitzberg and Thomas Carli Virginia and Clare North John and Lcxa O'Brien Patricia O'Connor
Richard and loycc Odcll
Henry and Patricia O'Kray
Ncls and Mary Olson
Mr. I. L Oncley
Karen Koykka O'Neal and Joe O'Neal
Zibby and Bob Oneal
Kathleen I. Opcrhall
Dr. Jon Oscherwitz
Lillian G. Ostrand
Julie and Dave Owens
Penny and Steve Papadopoulos
Michael P. Parin
Evans and Charlcnc Parrott
Mr. and Mrs. Brian P. Patchen
Mr. and Mrs. Ronald J. Patterson
Robert and Arlcne Paup
Hon. Steven and Janet Pepe
Susan A. Perry
Doris I. Pcrsyn
Ann Marie Petach
James L. and Julie Phclps
Joyce and Daniel Phillips
Joseph W. Phillips
Mr. and Mrs. Frederick R. Pickard
Robert and Mary Ann Pierce
Roy and Winnifred Pierce
Dr. and Mrs. James Pikulski
Martin Podolsky
Robert and Mary Pratt
Jacob M. Price
Bradley and Susan Pritts
Ernst Pulgram
Mr. and Mrs. Mitchell Radcliff
Patricia Randlc and James Eng
Alfred and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Douglas J. Rasmussen
Mr. and Mrs. Robert H. Rasmussen
Sandra Reagan
Kathcrinc R. Rcebel
Stanislav and Dorothy R. Rehak
JoAnne C. Reuss
II. Robert and Kristin Reynolds
John and Nancy Reynolds
Alice Rhodes
Ms. Donna Rhodes
Paul Rice
James and Helen Richards
Mrs. RE. Richart (Betty)
Dennis and Rita Ringle
John and Marilyn Rintamaki
Sylvia Ristic
Mary Ann Ritter
Kathleen Roclofs Roberts
Peter and Shirley Roberts
Dave and Joan Robinson
Janet K. Robinson, Ph.D.
Richard C. Rockwell
Mary Ann and Willard Rodgers
Marilyn L. Rodztk
Mr. and Mrs. Stephen J. Rogers
Mary F. Loeffler and
Richard K. Rohrer Yclcna and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Bernard and Barbara Rosen Drs. Stephen Rosenblum and
Rosalyn Sarver
Richard Z. and Edie W. Rosenfeld Marilynn M. Roscnthal Mr. and Mrs. John P. Rowe Michael and Margie Rudd Roger and O. J. Rudd Dr. and Mrs. Raymond W. Ruddon Samuel and Irene Rupert Robert and Beth Ruskin Tom and Dolores Ryan Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and Joan Sachs Dr. and Mrs. Jagncswar Saha Arnold Sameroff and
Susan McDonough
Miriam S. Joffe Samson
lna and Terry Sandalow
John and Reda Santinga
Sarah Savarino
Hclga and Jochen Schacht
Lawrence and Marilyn Schlack
Courttand and Inga Schmidt
Charlene and Carl Schmult, Jr.
Thomas Schramm
Carol Schreck
Cerald and Sharon Schreiber
Sue Schroeder
Albert and Susan Schultz
Ailecn M. Schulze
Drs. R. R. Lavelle and M. S. Schuster
Alan S. and Sandra Schwartz
Ed and Sheila Schwartz
Jane and Fred Schwarz
Jonathan Bromberg and
Barbara Scott David and Darlene Scovcll Michael and Laura Seagram John and Carole Segall Sylvia and Leonard Segel Richard A. Scid Suzanne Sctig Gerda Seligson
Stan and Judalyn Greer Seling Ms. lanet Sell
Louis and Sherry L. Senunas George H. and Mary M. Sexton Dr. and Mrs. J. N. Shanberge Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shapplrio Maurice and Lorraine Shcppard Rev. William J. Sherzer Cynthia Shevel Drs. Jean and Thomas Shopc HolHs and Martha Showalter Pam and Ted Shultz Ned Shure and Ian Onder John and Arlene Shy Dr. Bruce M. Siegan Milton and Gloria Siegel Drs. Dorit Adler and Terry Silver Alida and Gene Silvcrman 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. Loretta M. Skewes Irma J. Sklenar Beverly N. Slater John W. Smillie, M.D. Dr. and Mrs. Michael W. Smith Susan M. Smith Virginia B. Smith
Richard Soble and Barbara Kesslcr Richard and Julie Sohnly James A. Somers Mina Diver Sonda Mrs. Herbert W. Spendlovc (Anne) IcffSpindler Edmund Sprunger Francyne Staccy
Samuel T. and Randy Dean Slahl David and Ann Staigcr Caren Stalburg, M.D. Betty and Harold Stark Dr. and Mrs. William C. Stcbbins Bert and Vickie Steck Ron and Kay Stcfanski Virginia and Eric Stein William and Gcorgine Stende Barbara and Bruce Stevenson Harold and Nancy Stevenson Steve and Gaylc Stewart John and Beryl Stimson Mr. James L. Stoddard Robert and Shelly Stolcr
W. F. Stolper
Anjanette M. Stoltz, M.D.
Ellen M. Strand and Dennis C. Regan
Aileen and Clinton Stroebel
Mrs. William H.Stubbins
Valerie Y. Suslow
Peg Talburtt and Jim Peggs
]im and Sally I,mini
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Eva and Sam Taylor
Leslie and Thomas Tentlcr
George and Mary Tewksbury
Gauri Thergaonkar and Giri Iyengar
Paul Thiclking
Bettc 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 Truesdcll
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 Fredda Unangst
Mary L. Unterburger
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Fred and Carole S. Van Recsema
Kate and Chris Vaughan
Sy and Florence Veniar
Alice and Joseph Vining
Carolyn and Jerry Voight
John and Jane S. Voorhorst
Wendy L. Wahl, M.D. and
William Lee, M.D. Jerry Waldcn 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 Buysc and Michael Webster Jack and Jerry Wcidenbach Donna G. Wcisman Barbara Weiss Lisa and Steve Weiss Carol Campbell Welsch and
John Welsch
Rosemary and David Wcsenbcrg Mr. and Mrs. Peter Westcn Tim and Mim Wcstcrdale Ken and Cherry Westerman Susan and Peter Westerman mi uWestphal Ruth and Gilbert Whitaker B. Joseph and Mary White Iris and Fred Whitehouse Mr. and Mrs. Nathaniel Whiteside 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 Ailcen Gattcn
Jeffrey and Linda Witzburg
Charlotte Wolfe
Patricia and Rodger Wolff
Dr. and Mrs. Ira S. Wollncr
Muriel and Dick Wong
Nancy and Victor Wong
I. D. Woods
Charles R. and Jean L Wright
David and April Wright
Mr. and Mrs. R. A. Yaglc
Teruhiko Yamazaki
Toshihiko Yarita
Sandra and lonathan Yobbagy
Frank O. Youkstctter
lames P. Young
Mr. John G. Young
Ann and Ralph Youngrcn
Dr. and Mrs. Joe H. Yun
Mr. and Mrs. F.L. Zeisler
Peter and Teresa Ziolkowski
David S. and Susan H. Zurvalec
Garris, Garris, Garris &
Garris Law Office Loomis, Sayles and Co. II1. Organizational Designs Inc. Alice Simsar Fine An, Inc. University Bank
Alan and Marianne Schwartz-The Shapero Foundation
MEMORIALS John H. Bryant Mary Crawford George R. Hunsche Alexander Krezel, Sr. Katherine Mabarak Frederick C. Matthaei, Sr. Steffi Reiss Ralph L. Steffek William Swank Charles R. Tieman John F. Ullrich Francis Viola III Carl H. Wilmot Peter Holderness Woods
Catherine Arcure
Barbara Everitt Bryant
David G. Loesel, Cafe Marie
Katy and Tony Derezinski
Dough Boys Bakery
Einstein's Bagel
Espresso Royale Caffes
Damian and Katherine Farrell
Guillermo and Jennifer Flores
Ford Electronics
Daphne Grew
Matthew and Kerry Hoffmann
Kim Hornberger
Kay and Tom Huntzicker
John Isles
Craig I. Kruman
Don and Gerri Lewis
Stephanie Lord
Ron Miller
Rosemarie Nagel
Susan and Richard Nisbett
John and Cynthia Nixon
Mary and Bill Palmer
Maggie Long, Perfectly
Regrets Only
Richard and Susan Rogel
Ann and Tom Schriber
Ali.i and Howard Shevrin
Dr. Herbert Sloan
Nat Lacy and Ed Surovell
Tom Thompson
Karla Vandersypen
Whole Foods
Warner Electric Atlantic
Ron and Eileen Weiser
Sabrina Wolfe
Advertiser Index
Ann Arbor Acura
Ann Arbor Commerce Bank
Ann Arbor Reproductive Medicine
Ann Arbor Symphony Orchestra
Bank of Ann Arbor
Beacon Investment
Bodman, Longley, and Dahling
Butzel Long
Cafe Marie
Charles Reinhart Company
Chelsea Community Hospital
Chris Triola Gallery
David Smith Photography
The Dental Advisor
Dobb's Opticians
Dough Boys Bakery
Edward Surovell Co.Realtors
Emerson School
Fraleighs Landscape Nursery
General Motors Corporation
Glacier Hills
Gubbins & McGlynn Law
Offices 13 Harmony House 35 Hill Auditorium Campaign 26 Howard Cooper Imports 33 Individualized Home Care
Nursing 13 Interior Development
44 John Leidy Shop, Inc.
31 KeyBank
26 King's Keyboard House 50 Lewis Jewelers 30 Maude's
33 Michigan Media
8 Miller, Canfield, Paddock,
& Stone 52 Mir's Oriental Rugs
32 Mundus and Mundus 2 NBD Bank
45 Nina Howard Studio 39 Performance Network 8 Red HawkZanzibar 37 Regrets Only
39 Reinhart Realtors 42 Schwartz Investment
Council, Inc. 17 SKR Classical 15 Sweet Lorraine's
34 Sweetwaters Cafe 45 Ufer and Company
50 U-M Matthaei Botanical
U-M Vocal Health Center University Productions Van Boven Shoes WDET WEMU
Whole Foods Market WUOM

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