UMS Concert Program, Tuesday Dec. 02 To 14: University Musical Society: 1997-1998 Fall - Tuesday Dec. 02 To 14 --
Season: 1997-1998 Fall
University Of Michigan, Ann Arbor
University Musical Society
THE 1997 FALL SEASON
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
UMS Board of DirectorsSenate
UMS Choral Union
Auditoria Burton Memorial Tower
Education and Audience Development
Restaurant & Lodging Packages
The UMS Card
Sponsorship and Advertising
Ford Honors Program
Thanks very much for attending this perfor?mance and for supporting the University Musical Society (UMS) by being a member of the audience. I'd like to invite you to become even more involved with UMS. There are many ways you can do this, and the rewards are great.
Educational Activities. This season UMS is hosting more than 150 performance-related educational events, nearly all of them free and open to the public. Want to learn from a member of the New York City Opera National Company what it's like to be on the road for four months, or find out from Beethoven scholar Steven Whiting why the composer's music, beloved by today's audi?ences, was reviled by many in Beethoven's own time Through our "Master of Arts" interview series, Performance-Related Educational Presentations (PREPs), post-per?formance chats with the artists, and a variety of other activities, I invite you to discover the answers to these and other questions and to deepen your understanding and appreciation of the performing arts.
UMS Choral Union. Does singing with an outstanding chorus appeal to you UMS' own 180-voice chorus, which performs annu?ally on the UMS series and as guest chorus with leading orchestras throughout the region, invites you to audition and to experi?ence the joys of musicmaking with the won?derful people who make up the chorus.
Volunteering. We couldn't exist with?out the marvelous work of our volunteers. I invite you to consider volunteering -usher?ing at concerts, staffing the hospitality booth in the lobby, serving on the UMS Advisory Committee, helping prepare our artists' wel?come packets, offering your special talent to UMS, etc. -and joining the more than 500
people who make up this absolutely critical part of the UMS family.
Group Activities. If you are a member of a service club, youth group, religious orga?nization, or any group that enjoys doing things together, I invite you to bring your group to a UMS event. There are terrific dis?counts and other benefits, not to mention the fun your group can have before, during, and after a UMS event.
UMS Membership. If you're not already a UMS member, I hope you'll consider becoming one. Not only do you receive the satisfaction of knowing that your financial support is helping us bring the world's best artists to our community, but there are numerous benefits to enjoy, including advance ticket purchase, invitations to special events, opportunities to meet artists, and more.
You can obtain further information about all of these opportunities throughout this pro?gram book and on our website (www.ums.org). You can also stop by the hospitality booth in the lobby or come and talk to me directly. I'd love to meet you, answer any questions you might have, and, most importantly, learn of anything we can do at UMS to make your concertgoing experience the best possible. Your feedback and ideas for ways we can improve are always welcome. If you don't happen to catch me in the lobby, please call me at my office in Burton Tower at 313.647.1174.
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
F. Bruce Kulp
Chair, UMS Board of Directors
President, Beacon Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adven?turous, more enjoyable city."
L THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Carl A. brauer, Jr.
Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
Joseph Curtin and gregg alf
Oilmen, 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 Surovell
"It is an honor for
Company to be able
to support an immi
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
is proud to support
Musical Society and the cultural contribu?tion it makes to the community."
DOUGLAS D. FREETH
President, First of America Bank-Ann Arbor "We arc proud to be a part of this major cultural group in our community which
perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
JOHN PSAROUTHAKIS, PH.D.
Chairman and Chief
"Our community is
enriched by the
Society. We warmly support the cultural events it brings to our area."
THOMAS B. 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."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service own?ers, we consider our?selves fortunate that our business pro?vides so many
opportunities for supporting the University Musical Society and its contin?uing success in bringing high level talent to the Ann Arbor community."
Erik H. Serb
Paddock and Stone,
Paddock and Stone
pleased to support the University Musical Society and the wonderful cultural events it brings to our community.
JORGE A. SOUS First Vice President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
RONALD M. CRESSWELL, PH.D.
Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associat?ed with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Dr. James r. Irwin
Chairman anil 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."
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."
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
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
SUE S. LEE
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organi?zation as the Musical
Society at the University of Michigan."
Thank You, Foundation Underwriters
David. E. engelbert Hiram A. dorfman
Bcnard L. Maas
The Benard L Maas
Foundation is proud
to support the
Society in honor of ils beloved founder: Benard L. Maas February 4, 1896 May 13, 1984.
We also gratefully acknowledge the support of the following foundations:
benard l. maas foundation
Chamber music America
the Grayling Fund
The Herrick Foundation
Lila Wallace-reader's Digest Fund
Michigan Council for the Arts
and Cultural Affairs mosaic foundation National Endowment for the arts New England Foundation for
the Arts world Heritage foundation
Benard L Maas
The University Musical Society ofthe university of Michigan
BOARD OF DIRECTORS
F. Bruce Kulp, chair
Marina v.N. Whitman, vice chair
Carol Shalita Smokier, secretary
Elizabeth Yhouse, treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Paul C. Boylan
Lee C. Bollinger Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Beverley B. Geltner Walter L Harrison
Norman G. Herbert Stuart A. Isaac Thomas E. Kauper Rebecca McGowan Lester P. Monts Joe E. O'Neal John Psarouthakis Richard H. Rogel
George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell Susan B. Ullrich Iva M. Wilson
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Richard S. Berger Carl A. Brauer Allen P. Britton Douglas Crary John D'Arms James J. Duderstadt Robbcn W. Fleming
Randy J. Harris Harlan H. Hatcher Peter N. Heydon Howard Holmes Kay Hunt David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long Judythe H. Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed
Harold T. Shapiro Ann Schriber Daniel H. Schurz Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
AdministrationFinance Kenneth C. Fischer, President Elizabeth I.dm. Assistant to
the President John B. Kennard, Jr.,
Administrative Manager R. Scott Russell, Systems Analyst
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 ]. Thad Schork, Gift Processing Anne Griffin Sloan, Assistant
Director -Individual Giving
Education Audience Development
Ben Johnson, Director Yoshi Campbell, Manager
Sara Billmann, Director
Sara A. Miller, Advertising and
Promotion Coordinator John Peckham, Marketing Coordinator
ProgrammingProduction Michael I. Kondziolka, Director Emily Avers, Artist-Services
Coordinator Paul Jomantas, Assistant
Kathi Reister, Head Usher Kate Remen, Programming
Work-Study Laura Birnbryer Rebekah Camm Amy Hayne Sara Jensen
Heather L. Adelman lessica Flint Michael Lawrence Susanna Orcutt-Grady Caen Thomason-Redus
President Emeritus Gail W. Rector
1997-98 ADVISORY COMMITTEE
Janice Stevens Botsford
Letitia J. Byrd
Chen Oi Chin-Hsieh
Mary Ann Daane
H. Michael Endres
Katherine Hilboldt Farrell
Beverley B. Geltner
Esther Heitler Debbie Herbert Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Barbara I n it.in Doni Lystra Margie McKinley Scott Merz Clyde Metzger Ronald G. Miller Len Niehoff Nancy Niehoff
Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmussen Nina Swanson Robinson Maya Savarino I.tiki Shatusky Meg Kennedy Shaw Aliza Shevrin Cynny Spencer Ellen Stross Kathleen Treciak Susan B. Ullrich Dody Viola David White lane Wilkinson
UMS TEACHER ADVISORY
Gail Davis Barnes
Letitia J. Byrd
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.
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.
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.
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.
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.
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.
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of impor-
tant debuts and long relationships throughout the past 84 years. With acoustics that high?light everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an addi?tional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's ever-popular Symphony No. 5. Among the many artists who have performed on the Hill Auditorium stage are Enrico Caruso (in one of his only solo recitals outside of New York), Ernestine Schumann-Heink, Fritz Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignace Jan Paderewski (who often called Hill Auditorium "the finest music hall in the world"), Paul Robeson, Lily Pons, Leontyne Price, Marian Anderson and, more recently, Yo-Yo Ma, Cecilia Bartoli, Jessye Norman, Van Cliburn, the MET Orchestra in the debut concert of its inaugural tour, the Vienna Philharmonic and
the late Sergiu Celibidache conducting the Munich Philharmonic.
The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommo?date both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased the seating capacity to its current 4,163.
The organ pipes above the stage come from the 1894 Chicago Colombian Exposition. Named after the founder of the Musical Society, Henry Simmons Frieze, the organ is used for numerous concerts in Hill through?out the season. Despite many changes in appearance over the past century, the organ pipes were restored to their original stenciling, color and layout in 1986.
Hill Auditorium is slated for renovation. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conve?niences.
Fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, Newberry Hall and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to establish a $4 million endowment
to further the development of graduate stud?ies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level educa?tion, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the inti?macy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Power Center for the Performing Arts
The Power Center for the Performing Arts was bred from a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, togeth?er with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new
theatre." The Powers were immediately inter?ested, realizing that state and federal govern?ment were unlikely to provide financial sup?port for the construction of a new theatre.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural fea?tures include the two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. No seat in the Power Center is more than 72' from the stage. The lobby of the Power Center features two hand-woven tapes?tries: Modem Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the sec?ond floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Throughout the 1960s and 1970s, the 1,710-seat theater struggled against changes in the film industry and the owners put the Theater up for sale, threatening its very exis?tence. In 1979, the non-profit Michigan Theater Foundation, a newly-founded group dedicated to preserving the facility, stepped in to operate the failing movie house in 1979.
After a partial renovation in 1986 which restored the Theater's auditorium and Grand Foyer to its 1920s-era movie palace grandeur, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. Further restoration of the balcony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church build?ing, and on March 19, 1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking.
In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and fourty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series. This year's series celebrates the alto voice with recitals by Marilyn Home, David Daniels, and Susanne Mentzer.
Allen Pond & Pond, Martin & Lloyd, a Chicago architectural firm, designed the Mendelssohn Theatre, which is housed in the Michigan League. It opened on May 4,1929 with an original equipment cost of $36,419 and received a major facelift in 1979. In 1995, the proscenium curtain was replaced, and new carpeting and seats were installed.
U-M Museum of Art
The University of Michigan Museum of Art houses one of the finest university art col?lections in the country and the second largest art collection in the state of Michigan. A community museum in a university setting, the Museum of Art offers visitors a rich and
diverse permanent collection, supplemented by a lively, provocative series of special exhibi?tions and a full complement of interpretive programs. UMS presents two special concerts in the Museum in the 1997-98 season. On October 8, the Moscow Conservatory Chamber Ensemble performs a program of mixed cham?ber music. On March 10, Jean-Yves Thibaudet performs a program of French piano works, complementing the museum's exhibit, "Turning Point: Monet's Debacles at Vetheuil!'
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the box office and administra?tive location for the University Musical Society.
During a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen from miles around, be built in the center of campus to represent the idealism and loyal?ty of U-M alumni. In 1929 the UMS Board of Directors authorized construction of the Marion LeRoy Burton Memorial Tower. The University of Michigan Club of Ann Arbor accepted the project of raising money for the tower and, along with the regents of the Uni?versity, the City of Ann Arbor, and the Alumni Association, the Tower Fund was established. UMS donated $60,000 to this fund.
Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30 pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am.
A renovation project headed by local builder Joe O'Neal was completed in the sum?mer of 1991. As a result, UMS now has refur?bished offices complete with updated heating, air conditioning, storage, lighting and wiring. Over 230 individuals and businesses donated labor, materials and funds to this project.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown signifi?cantly. With a goal of deepening the under?standing of the importance of live performing arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collaborations and part?nerships to reach into the many diverse com?munities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) performances. This year, more than 6,000 stu?dents will attend the Youth Performance Series, which includes The Harlem Nutcracker, Chick Corea and Gary Burton, the New York City Opera National Company, Los Munequitos de Matanzas, and STREB.
The University Musical Society and the Ann Arbor Public Schools are members of the Kennedy Center Performing Arts Centers and Schools: Partners in Education Program.
Some highlighted activities that further the understanding of the artistic process and appreciation for the performing arts include:
Master of Arts Interview Series
In collaboration with Michigan Radio WUOM WFUMWVGR, the Institute for the Humanities, and the Institute for Research on Women and Gender, UMS presents a series of informal and engaging dialogues with UMS Artists.
Alberto Nacif, host of WEMU's "Cuban Fantasy" interviews the reigning "Queen of Salsa" Celia Cruz.
Ursula Oppens and the American String Quartet will be interviewed in conjunction with the Beethoven the Contemporary Series and will discuss their commitment to contem?porary classical music and its future.
MacArthur "Genius" grant winner Elizabeth Streb discusses her unique choreographic vision with UMS' Director of Education and Audience Development, Ben Johnson.
Contemporary choreographer Donald Byrd will discuss his canon of work with Kimberly Camp, President of the Museum of African American History in Detroit.
Terri Sarris and Gaylyn Studlar, U-M Film and Video Studies, will interview filmmaker Ngozi Onwurah, Artist in Residence for the Institute for the Humanities and the Paula and Edwin Sidman Fellow in the Arts.
PREPs (Performance-Related Educational Presentations)
Attend lectures and demonstrations that sur?round UMS events. PREPs are given by local and national experts in their field, and some highlights include:
Richard LeSueur, Vocal Arts Information Services, will conduct PREPs on vocal music before David Daniels, Susanne Mentzer, Marilyn Home, and the New York City Opera National Company.
Alberto Nacif, Cuban music expert, will share his knowledge of Afro-Cuban Music and his personal experiences with the members of Los Munequitos de Matanzas.
Professor Mark Slobin of Wesleyan University lectures on "The Spirit of Yiddish Folklore: Then and Now" before Itzhak Perlman, "In the Fiddler's House": A Klezmer Summit.
Glenn Watkins and Travis Jackson of the U-M School of Music will talk about Wynton Marsalis' world premiere being paired with Stravinsky's L'histoire du Soldat in "Marsalis Stravinsky," a joint project with the Chamber Music Society of Lincoln Center and Jazz at Lincoln Center.
A special concert goer's tour of the new U-M Museum of Art Monet exhibit "Turning
Point: Monet's Debacles at VetheuiF prior to Jean-Yves Thibaudet's recital.
And many other highlighted PREPs featur?ing Ellwood Derr, Juan Llobell, Frances Aparicio, Louise Stein, Helen Siedel and Jim Leonard.
Chicago Symphony Orchestra Residency Weekend
As part of the UMS opening symphony orchestra weekend (Sept. 25-27), and in col?laboration with the U-M School of Music, the Chicago Symphony Orchestra Residency will feature fifteen CSO musicians in a wide vari?ety of instrumental master classes and panel discussions. A rare opportunity to experience many of the world's greatest musicians teach?ing master classes all under one roof.
Beethoven the Contemporary
The first of three years in this historic residency comparing the formidable legacy of Beethoven with the visions of many contemporary com?posers. Some residency highlights include:
Cyberchats with Ursula Oppens and the American String Quartet, in conjunction with the U-M Information Technology Division and YoHA -Year of Humanities and Arts.
Brown Bag lunches and lectures by three of the featured composers whose contempo?rary works are featured as part of this dynamic series: Kenneth Fuchs, Amnon Wolman, and George Tsontakis.
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students which precede all six concerts by Ursula Oppens and the American
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: www.ums.org
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
STEVEN BLIER, PIANO
I DELFICI. STRING ENSEMBLE
Sunday, September 21, 4pm
Sponsored by Parke-Davis Pharmaceutical
THE CHICAGO SYMPHONY ORCHESTRA WEEKEND CHRISTOPH ESCHENBACH. CONDUCTOR
September 25,26 & 27, 1997
CHICAGO SYMPHONY ORCHESTRA CHRISTOPH ESCHENBACH,
CONDUCTOR AND PIANO Thursday, September 25, 8pm Hill Auditorium
CHICAGO SYMPHONY ORCHESTRA CHRISTOPH ESCHENBACH,
CONDUCTOR NADJA SALERNO-SONNENBERG,
Friday, September 26, 8pm Hill Auditorium
CHAMBER MUSIC WITH MEMBERS OF THE CHICAGO SYMPHONY ORCHESTRA
Saturday, September 27,8pm Rackham Auditorium The Chicago Symphony Orchestra Weekend is sponsored by Forest Heath Services. Additional support is provided by Arts Midwest, in part?nership with the National Endowment for the Arts.
MOSCOW CONSERVATORY CHAMBER ENSEMBLE Wednesday, October 8, 8pm U-M Museum of Art Presented with the generous support of Dr. Herbert Sloan.
ESTONIAN PHILHARMONIC CHAMBER CHOIR AND TALLINN CHAMBER ORCHESTRA TONU KALJUSTE, CONDUCTOR Thursday, October 9, 8pm Hill Auditorium
T6NU TALJUSTE, CONDUCTOR
Saturday, October 11,8pm
St. Francis of Assisi Catholic Church
Conducting Seminar Maestro Tdnu Kaljuste
and U-M conductors, Ocl 10, 11am, U-M School of Music Recital Hall. Choral Master Class Maestro Tdnu Kaljuste and members of the U-M Chamber Choir, Oct 10, 1:30pm, U-M School of Musk Recital Hall.
ORCHESTRA OF ST. LUKE'S
PHILIPPE HERREWEGHE, CONDUCTOR
Annette Markert, contralto
Thomas Young, tenor
William Sharp, baritone
Sunday, October 12,4pm
PREP Urn Leonard, Manager, SKR Classical,
Oct 12, 3pm, Rackham Assembly Hall, 4th floor.
GUITAR SUMMIT IV
Featuring Herb Ellis, Michael Hedges,
Sharon Isbin, and Rory Block
Thursday, October !6, 8pm
Presented with support from AAA Michigan
and media partner WDET.
MICHIGAN CHAMBER PLAYERS Sunday, October 19,4pm Rackham Auditorium Complimentary Admission
MARILYN HORNE, MEZZO-SOPRANO MARTIN KATZ, PIANO Saturday October 25,8pm Mendelssohn Theatre PREP "Marilyn Home as a Recital Singer" Richard LeSucur, 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.
WITH JOSE ALBERTO "EL CANARIO"
AND HIS ORCHESTRA
Friday, November 7, 8pm
PREP "Celia Cruz Queen of Salsa" Frances
Aparicio, Arthur S. Thurnau Professor of
Spanish & American Culture, U-M. Nov 7, 7pm
MI League Henderson Rm., 2nd fir.
Master of Arts Celia Cruz inten'iewed by
Alberto Nacif Musicologist and Host of
WEMU's "Cuban Fantasy" Nov 8, I lam,
Natural Sciences Aud.
Presented with support from media
hAkan hagegArd, baritone
warren jones, piano
Saturday, November 8, 8pm
Vocal Master Class H&kan Hagegdrd and U-M
School of Music vocalists. Nov 7, 3pm, U-M
School of Music Recital Hall.
PAT METHENY GROUP
Wednesday, November 12, 8pm
Presented with support from media partners
BEETHOVEN THE CONTEMPORARY
URSULA OPPENS, PIANO
Friday, November 14, 8pm
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 Etiiott Carter" Ursula Oppens, Nov
13, 3pm School of Music Recital Hall
Master of Arts Ursula Oppens interviewed by
Susan Isaacs Nisbett, Ann Arbor News Music
and Dance Reviewer. Nov 13, 7pm, 140 torch
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
Liltt 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.
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET Sunday, November 16, 4pm Rackham Auditorium PREP "The Beethoven Performances' Lectures" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music students. Nov 16, 2:30pm, Rackham Assembly Hall. Meet the Artists Post-performance dialogue from the stage.
String Quartet Master Class led by the
American String Quartet, with School of Music musicians, Nov 17,2:30pm Room 2026, School of Music.
Strings Master Class with the Ann Arbor School for the Performing Arts, Nov 17, 6pm, Black Box Theatre, Concordia College. lectureDemonstration 'Entrances with the American String Quartet and U-M School of Music students, Nov 18, 3:30pm, School of Music Recital Hall.
Cyberchat with members of the American String Quartet, Nov 18, 7pm. More information available at http:www.yoha.umich.edu Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts iiml media partner Michigan Radio, WUOM WFUMWVGR. The University Musical Society is a grant recipient of Chamber Music America's Presenter-Community Residency Program funded by the Lila Wallace-Reader's Digest Fund.
ORPHEUS CHAMBER ORCHESTRA RICHARD GOODE, PIANO Wednesday, November 19, 8pm Hill Auditorium
PREP "Creams of the Mozart Crops: His Piano Concertos," Ellwood Dcrr, U-M Professor of Music, Nov 19, 7pm, Ml League Husscy Rm. Sponsored by Pepper, Hamilton &Scheetz, Attorneys at Law.
IN THE FIDDLER'S HOUSE
A Klezmer Summit featuring
Brave Old World
The Klezmer Conservatory Band and
The Andy Statman Klezmer Orchestra
Tuesday, December 2,8pm
Lecture "The Spirit of Yiddish Folklore: Then
and Now" Mark Slobin, Professor of Musk,
Wesleyan University, Dec 2, 4pm. Kuenzel
Room, Michigan Union.
This performance is presented through the
generous support of the KMD Foundation and
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
Presented with the generous support of
Dr. James and Millie Irwin.
THE HARLEM NUTCRACKER Donald ByrdThe Group Thursday, December 1L, 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. Vut. Dec 4, 7:30pm, Borders Books and Music. Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Additional support is provided by Arts Midwest in partnership with the National Endowment for the Arts, and media partners WEMU and WDET.
DAVID DANIELS, COUNTERTENOR MARTIN KATZ, PIANO
Friday, January 9,8pm
PREP "David Daniels and his Program"
Richard LeSueur, Vocal Arts Information
Scn'ices. Fri. Ian 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
CHRISTOPHER PARKENING, GUITAR
A TRIBUTE TO ANDRES SEGOVIA
Sunday, January 11, 4pm
Sponsored by Thomas B. McMullen 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. Tfiis 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 Lita Wallace-Readers Digest Audiences for the Performing Arts Network.
TOKYO STRING QUARTET
Thursday, January 22, 8pm Rackham Auditorium
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET
Friday, January 30,8pm Rackham Auditorium Master of Arts Members of the American String Quartet, interviewed by Mark Stryker, Arts & Entertainment Reporter, Detroit Free Press, fan 28, 7pm, Rackham Amphitheatre, University Hospital's Gifts of Art free concert by the American String Quartet in the University Hospital Lobby, Jan 29, 12 noon. Open Rehearsal with the American String Quartet and composer George Tsontakis, Jan 29, 7pm, U-M School of Music Recital Hall Brown Bag Lunch with composer George Tsontakis, Jan 30, 12 noon, Ml League Vandenberg Rm.
PREP "The Beethoven Performances' Lectures" Steven Wliiting, 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 SuwveU Co. Realtors. Additional funding provided by the Lila Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR. Vie University Musical Society is a grant recipient of Chamber Music America's Presenter-Community Residency Program funded by the Lila Wallace-Readers Digest Fund.
CHECK OUT THE UMS WEBSITE!
BEETHOVEN THE CONTEMPORARY URSULA OPPENS. PIANO
Saturday, January 31,8pm Rackham Auditorium PREP "The Beethoven Performances' Lectures" Steven Whiting, U-M Ant. Professor of Musicohgy, with U-M School of Music stu?dents. Jan 31, 6:30pm, MI League Hussey Rm. Meet the Artist Post-performance dialogue from the stage.
LectureDemonstration "The Adventure of Contemporary Piano Music" Ursula Oppens, Feb 1, 3pm, Kerry town Concert House. In col?laboration with the Ann Arbor Piano Teacher's Guild.
LectureDemonstration with Ursula Oppens and composer Amnon Wolman, Feb 2, 12:30pm Room 2043, U-M School of Music. Piano Master Class with Ursula Oppens and School of Music students, Feb 2, 4:30pm, U-M School of Music Recital Hall Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMAWGR.
DALE WARLAND SINGERS
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
SAINT PAUL CHAMBER ORCHESTRA HUGH WOLFF, CONDUCTOR EMANUEL AX, PIANO DALE WARLAND SINGERS Friday, February 6,8pm Hill Auditorium Sponsored by NBD.
Sunday, February 8, 4pm
Co-sponsored by First of America and Miller,
Canfield, Paddock, and Stone, PLC.
ROYAL CONCERTGEBOUW ORCHESTRA OF AMSTERDAM RICCARDO CHAILLY, CONDUCTOR Wednesday, February 11, 8pm Hill Auditorium
JUAN-JOSE MOSALINI AND HIS GRAND TANGO ORCHESTRA
Friday, February 13, 8pm
Presented with support from media partner
CHEN ZIMBALISTA, PERCUSSION Saturday, February 14, 8pm Rackham Auditorium This program is part of the Mid EastWest Fist 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
Meet the Artists Post-performance dialogue
from the stage.
CHICK COREA, PIANO AND
GARY BURTON, VIBES
Friday, February 20, 8:00pm
Presented with support from media partners
WEMU and WDET.
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Kathcrine Larson, soprano
layne Sleder, mezzo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22,4pm
PREP "Felix Mendelssohn-Barlholdy:
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
JEAN-YVES THIBAUDET, PIANO
Tuesday, March 10, 8pm
U-M Museum of Art
PREP A concert goer's tour of "Monet at
Vttheuil: The Turning Point" Mar 10, 6:30pm,
West Gallery, 2nd Floor, U-M Museum of Art.
Ticket to concert required.
Presented with the generous support of Dr.
NEW YORK CITY OPERA NATIONAL COMPANY DONIZETTI'S DAUGHTER OF THE REGIMENT
Thursday, March 12, 8pm
Friday, March 13,8pm
Saturday, March 14, 2pm (75-minute
Family Performance) Saturday, March 14,8pm Power Center
PREP "Vie Comic Donizetti" Richard LeSiieur, Vocal Arts Information Services, Mar 12, 7pm, MI League, Koessler Library. PREP Member of the New York City Opera National Company, Mar 13, 7pm, MI League Vamlenbcrg Rm.
PREP for KIDS "Know Before You Go: An Introduction to Daughter of the Regiment" Helen Siedel, VMS Education Specialist, Mar 14, 1:15 pm, Michigan League, Hussey Room. These performances are supported by the National Endowment for the Arts.
MICHIGAN CHAMBER PLAYERS Sunday, March 15,4pm Rackham Auditorium Complimentary Admission
LOS MUNEQUITOS DE MATANZAS
Wednesday, March 18,8pm
PREP "Los Munequitos: Cuban Ambassadors
of the Rumba," Alberto Nacif, Musicologist and
Host ofWEMU's "Cuban Fantasy" Mar 18,
7pm, MI League Hussey Rm.
Presented with support from media partner
BATSHEVA DANCE COMPANY OF ISRAEL
Ohad Naharin, artistic director Saturday, March 21,8pm Sunday, March 22,4pm Power Center
RUSSIAN NATIONAL ORCHESTRA MIKHAIL PLETNEV, CONDUCTOR GIL SHAHAM, VIOLIN Tuesday, March 24,8pm Hill Auditorium
AUSTRALIAN CHAMBER ORCHESTRA
RICHARD TOGNETTI, CONDUCTOR
STEVEN ISSERLIS, CELLO
Wednesday, March 25, 8pm
Meet the Artists Post-performance dialogue
from the stage.
URSULA OPPENS, PIANO
Friday, March 27, 8pm
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-Reader's Digest Art's Partners
Program, the National Endowment for the Arts
and media partner Michigan Radio, WUOM
PACO DE LUCIA AND HIS
Saturday, March 28, 8pm
PREP "Flamenco: Yesterday, Today, and
Tomorrow" Juan Llobetl, Flamenco Musician
and Owner ofCasa de Espana of Detroit, Mar
28, 6:30pm, Ml 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, Ml League Hussey Rm. Meet the Artists Post-performance dialogue from the stage.
Brown Bag Lunch with composer Kenneth Fuchs, Mar 30, 12:30pm, Room 2026, U-M School of Music.
LectureDemonstration with the American String Quartet and composer Kenneth Fuchs, Mar 30,2:30pm Room 2026, U-M School of Music.
Youth Quartets Master Class with the Ann Arbor School for the Performing Arts, Mar 30, 6pm, Concordia College. Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR. Vie University Musical Society is a grant recipient of Chamber Music Americas Presenter-Community Residency Program funded by the Lila Wallace-Readers Digest Fund.
Friday, April 3, 8pm
Saturday, April 4,8pm
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.
SUSANNE MENTZER, MEZZO-SOPRANO
CRAIG RUTENBERG, PIANO
Tuesday, April 7,8:00pm
PREP "Susanne Mentzer: The Recital" Richard
LeSueur, Vocal Arts Information Services, Apr
5, 2pm, Ann Arbor District Library.
Meet the Artist Post-performance dialogue
from the stage.
EVGENY KISSIN, PIANO
Monday, April 13,8pm
Sponsored by Parke-Davis Pharmaceutical
LUZ Y NORTE
THE HARP CONSORT
Thursday, April 23,8pm
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 Marsatis and Extended Composition in Jazz" Travis Jackson, U-M Professor ofMusicology and Music History, and Glenn Watkins, Earl V. Moore Professor of Musicology, Apr 24, 7pm, Ml League Henderson Rm.
Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network and media partner WDET.
Wednesday, April 29,8pm
Meet the Artists Post-performance dialogue
from the stage.
THE MET ORCHESTRA
SIR GEORG SOLTI, CONDUCTOR
Friday, May 1,8:30pm
FORD HONORS PROGRAM
featured artist will be announced in
Saturday, May 9,6pm
Sponsored by Ford Motor Company.
A Master of Arts interview with choreographer Meredith Monk
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of prc-performance 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 series in collaboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person), available from the UMS Box Office, 764-2538.
University Musical Society
of the University of Michigan 1997-1998 Fall Season
Event Program Book Tuesday, December 2, through Sunday, December 14, 1997
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.
Itzhak Perlman 3
In the Fiddler's House: A Klezmer Summit
Tuesday, December 2, 8:00pm Hill Auditorium
Handel's Messah 11
Saturday, December 6, 8:00pm Sunday, December 7, 2:00pm Hill Auditorium
The Harlem Nutcracker 29
Wednesday, December 10, 8:00pm Thursday, December 11, 8:00pm Friday, December 12, 8:00pm Saturday, December 13, 2:00pm Saturday, December 13, 8:00pm Sunday, December 14, 2:00pm Sunday, December 14, 8:00pm Power Center
The University Musical Society World Culture Series
Contemporary Jewish Cultural Expression in Israel
is made possible through the generous support of our:
Prudence and Amnon Rosenthal
Carol and Irving Smokier
Eileen and Ronald Weiser
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
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 Garni Joyce and Fred Ginsberg
Lila and Bob Green
Gloria and Joseph Gurt
Dr. and Mrs. Sanford Herman
Maxine and David Katz
Wendy and Ted Lawrence
Steven Leber and Dina Shtull-Leber
Myron and Bobbie Levine Joan Lowenstein and Jonathan Trobe
Dr. Owen Z. and Barbara Perlman
Harriet and Marvin Selin
Aliza and Howard Shevrin
Elise and Jerry Weisbach
The KMD Foundation
In the Fiddler's House: A Klezmer Summit
Brave Old World
The Klezmer Conservatory Band
The Andy Statman Klezmer Orchestra
Program Tuesday Evening, December 2,1997 at 8:00
Hill Auditorium, Ann Arbor, Michigan
This evening's program will be announced from the stage.
Twentieth Concert of the 119th Season
World Culture Series
Special thanks to the KMD Foundation, and Ron and Eileen Weiser for their continued support through McKinley Associates.
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 co-chairs, Prudence and Amnon Rosenthal, Carol and Irving Smokier, and Ronald and Eileen Weiser, and Honorary Committee members 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, and The University of Michigan
Special thanks to Mark Slobin, Marysia Ostafin, Zvi Gitelman, the Center for Russian and Eastern European Studies, Frankel Center for Judaic Studies, and the Department of Anthropology for their contributions to this residency.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Mr. Perlman appears by arrangement with IMG artists. Largo print programs are available upon request.
From Old World To New
Klezmer music is the celebration of East European Jews around the world. Reflecting the interplay of dance tunes, folk song, and liturgi?cal music in the diverse Yiddish-speaking culture that flourished in Eastern Europe from the Baltic to the Black Sea until 1939, it is also resonant with the influences of Romanian, Ukrainian, Polish, Russian, Greek, Turkish, Hungarian, and Rom (Gypsy) musical art. Brought to the shores of North America and throughout the globe by the waves of Jewish immigrants who left the Old World in the late ninteenth and early twentieth centuries, klezmer music has survived Hitler and Stalin, oppression and assimilation. Since the mid-1970s it has been enjoying an international renaissance, and has taken its place on the world stage today.
Tonight's performance embodies the vitality of this resurgent form. It brings together a leading contemporary figure of classical music with four of the most excit?ing and accomplished groups making the klezmer music of today. The selections heard tonight represent Yiddish musical tra?ditions not only as they developed over the course of centuries in Europe and more recently in North America, but also include new compositions by the artists featured tonight, compositions that expand the bor?ders of the music and bespeak a thriving present. From concert hall to festival stage, contemporary klezmer music now boasts a marvelous array of interpretations, blending tradition and innovation and uniting time-honored styles with cutting-edge musical art on the eve of the twenty-first century.
Program note O Michael Alpert
Dndeniably the reigning virtuoso of the violin, Itzhak Perlman enjoys superstar status rarely afforded a classical musician. Beloved for his charm and humanity as well as his talent, he has come to be recognized by audiences all over the world who respond not only to his flawless technique, but to the irrepressible joy of making music which he communicates. President Reagan recognized these qualities when he honored Mr. Perlman with a "Medal of Liberty" in 1986.
Born in Israel in 1945, Mr. Perlman com?pleted his initial training at the Academy of Music in Tel Aviv. He came to New York and soon was propelled into the international arena with an appearance on the Ed Sullivan Show in 1958. Following his studies at The Juilliard School with Ivan Galamian and Dorothy DeLay, Mr. Perlman won the pres?tigious Leventritt Competition in 1964, which led to a burgeoning world-wide career. Since then, Itzhak Perlman has appeared with every major orchestra and in recitals and festivals throughout the world. In November of 1987 he joined the Israel Philharmonic Orchestra for history-making concerts in Warsaw and Budapest, represent?ing the first performances by this orchestra and soloist in Eastern bloc countries. He again made history as he joined the Israel Philharmonic for its first visit to the Soviet Union in AprilMay of 1990, and was cheered by audiences in Moscow and Leningrad who thronged to hear his recital and orchestral performances. In December of 1994 he joined the Israel Philharmonic for their first visits to China and India.
In December 1990, Mr. Perlman visited Russia for the second time to participate in a gala performance in Leningrad celebrating the 150th anniversary of Tchaikovsky's birth. This concert, which also featured Yo-Yo Ma, Jessye Norman, and Yuri Temirkanov con?ducting the Leningrad Philharmonic, was
televised live in Europe and later broadcast throughout the world, and is now available on home video. In December 1993, Mr. Perlman visited the city of Prague in the Czech Republic to perform in a Dvorak gala concert with Yo-Yo Ma, Frederica von Stade, Rudolf Firkusny and the Boston Symphony Orchestra conducted by Seiji Ozawa. This concert was also televised live with a later worldwide broadcast and was released on CD and home video in 1994.
The Emmy Award-winning PBS televi?sion special In the Fiddler's House is the third of Mr. Perlman's specials for televison to be recognized with this prestigious award. This Klezmer music program was filmed in Poland in 1995, and has since been released in home video format. The audio recording by the same name has sold well over 100,000 copies. A highly successful national tour of In the Fiddler's House in the summer of 1996 was followed by a second Klezmer music recording which was released by EMI: Live in the Fiddler's House (from Radio City Music Hall, 1996). This summer the Klezmer program was presented in Wolf Trap, Garden State in New Jersey, Mann Music Center in Philadelphia and Tanglewood.
Mr. Perlman's recordings regularly
appear on the best-seller charts and have won fifteen Grammy Awards. His most recent Grammy was awarded in 1996 for The American Album, with works by Barber, Bernstein and Foss, with Seiji Ozawa and the Boston Symphony Orchestra. Other recent releases include the Beethoven Triple Concerto with Daniel Barenboim, Yo-Yo Ma and the Berlin Philharmonic; a recording of short violin and piano pieces, Bits and Pieces, with Samuel Sanders; and a collaboration with pianist Oscar Peterson, guitarist Herb Ellis, bassist Ray Brown and drummer Grady Tate in some of the great classics of jazz. Throughout 1995 EMI honored Mr. Perlman on the occasion of his fiftieth birthday as "Artist of the Year" with the release of a twenty-one disc set entitled The Itzhak Perlman Collection. The release of this set coincided with The Definitive Perlman Experience festival in London in which Mr. Perlman performed seven concertos in four concerts at the Royal Festival Hall.
Numerous publications and institutions have paid tribute to Itzhak Perlman for the unique place he occupies in the artistic and humanitarian fabric of our times. Newsweek magazine featured him with a cover story in April of 1980, and in 1981 Musical America pictured him as Musician of the Year on the cover of its Directory of Music and Musicians. Harvard, Yale, Brandeis, Roosevelt, Yeshiva and Hebrew universities are among the institutions which have awarded him hon?orary degrees.
On television, Mr. Perlman has entertained and enlightened millions of viewers of all ages, on shows as diverse as The Late Show with David Letterman, Sesame Street, the PBS series The Frugal Gourmet, the Tonight show, the Grammy awards telecasts, several Live From Lincoln Center broadcasts, and the PBS specials A Musical Toast and Mozart by the Masters, both of which he hosted. In 1992, the PBS documentary of his historic trip to the Soviet Union with the Israel
Philharmonic, entitled Perlman in Russia, was honored with an Emmy award as best music documentary. In July of 1994, Mr. Perlman was seen by millions of viewers when he hosted the US broadcast of the Three Tenors, Encore! live from Dodger Stadium in Los Angeles.
One of Mr. Perlman's proudest achieve?ments was his collaboration with film score composer John Williams in Steven Spielberg's Academy Award winning film Schindler's List in which he performed the violin solos.
His presence on stage, on camera and in personal appearances of all kinds speaks eloquently on behalf of the handicapped and disabled, and his devotion to their cause is an integral part of his life.
Itzhak Perlman lives in New York with his wife, Toby, and their family.
This performance marks Itzhak Perlman s eighth appearance under UMS auspices.
Matt Darriau, clarinet, bass clarinet
David Licht, drums
Frank London, trumpet, piano, keyboards
Paul Morrissett, bass
Lorin Sklamberg, lead vocals, accordion, piano
Alicia Svigals, violin
In their eleven years together, The Klezmatics have established themselves as purveyors of traditional Yiddish music that combines Jewish identity and mysticism with a con?temporary Zeitgeist, a post-modern aesthetic, and an overtly political world view. The multitalented band members have back?grounds in folk, jazz, avant-rock, pop and classical styles and have individually per?formed with everyone from LL Cool J to Robert Plant to Don Byron. Their record?ings are Possessed, Jews With Horns, Rhythm + Jews, and Shvaygn = Toyt (Silence = Death). The Klezmatics have collaborated with Pulitzer Prize-winning author Tony Kushner (A Dybbuk, An Undoing World), Moroccan folk ensemble the Master Musicians of Jajouka, Israeli singer Chava Alberstein, poets Allen Ginsberg and Jerome Rothenberg, and avant-rockers Elliot Sharp, Marc Ribot and John Zorn. The band has provided music for new works by choreographer Twyla Tharp (Demeter and Persephone), members of the Flying Karamazov Brothers (Chelm, CA), Los Angeles Modern Dance and Ballet Company (Klezmania), and filmmakers Sally Potter (The Tango Lesson), Judith Helfand (A Healthy Baby Girl), Jonathan Berman (The Shvitz) and Gregg Bordowitz (Fast Trip, Long Drop).
This performance marks The Klezmatics UMS debut.
The Klezmatics appear by arrangement with the Brad Simon Organization, New York, NY.
In 1989, the klezmer revival was in full swing when four of its leading exponents joined together to create a new band and a new Yiddish music for the concert stage, combining the artistry of classical music and the innovative energy of jazz with the vibrant power of the East European Jewish tradition. Since then, Brave Old World, whose members live in Los Angeles, Chicago, New York and Berlin, has achieved interna-
Brave Old World
Michael Alpert, vocals, violin
Alan Bern, Musical Director, piano, accordian
Kurt Bjorling, clarinet, cymbalom
Stuart Brotman, bass, cymbalom, tilinka
tional recognition with concerts spanning Europe, North America and Israel (First Prize, 1992 International Klezmer Festival, Safed), and award-winning recordings on the Rounder, Flying Fish, and Pinorrekk labels (1994 Deutscher Schallplattenpreis). Brave Old World has brought klezmer music into the global-village present with original Yiddish songs on subjects as con?temporary as Chernobyl and the fall of the Berlin Wall; international workshop resi?dencies and pioneering collaborations with East European artists like Hungary's renowned Muzsikas. This is klezmer music with heart and depth, performed with all the qualities of a great string quartet or jazz group--music that is spontaneous, interac?tive, genuine, and challenging.
This performance marks Brave Old World's UMS debut.
Brave Old World appears by arrangement with loan Sherman Artist Management, Pittsburgh, PA
In the tradition of the great klezmer bands of the 1920's and 30's, the Klezmer Conservatory Band is one of the leaders in today's klezmer revival. Founded in 1980, they've brought their eclectic brand of Yiddish vocal and instrumental music to concert halls and festivals across eastern and western Europe, Australia, New Zealand and North America. The "KCB" has released eight recordings on the Rounder and Vanguard labels and their music can be heard in the film Enemies, A Love Story. The band pro?vided the music for The Fool and the Flying Ship, a Rabbit Ears children's video, with narration by Robin Williams and an original score composed by the band's founder and director, Hankus Netsky. They were recently featured in Joel Grey's Yiddish music revue, Borshtcapades '94.
This performances marks the Klezmer Conservatory Band's third appearance under UMS auspices.
The Klezmer Conservatory Band appears by arrangement with Aaron Concert Artists, a division of Trawick Artists Ltd, New York, NY.
The Klezmer Conservatory Band
Judy Bressler, vocals and tambourine
Ilene Stahl, clarinet
Deborah Strauss, violin
Robin Miller, flute and piccolo
Gary Bohan, cornel
Mark Hamilton, trombone
Javier Perez-Saco, piano
Jeff Warschauer, banjo, mandolin and guitar
Hankus Netsky, Director saxophone and accordian
James Guttmann, bass
Grant Smith, drums and percussion
Andy Statman is an internationally acclaimed clarinet and mandolin virtu?oso who has performed throughout the world and appeared on over 100 recordings. The protege of legendary Jewish clarinetist Dave Tarras, Mr. Statman was a pioneer of the klezmer revival of the 1970s and has long stood at the forefront of experimenta?tion within the tradition. A prolific compos?er as well as interpreter, his love of tradition is equalled only by his love of innovation-in both cases he strives to express the spiri?tuality inherent in Jewish music. Proficient in diverse musical idioms ranging from klezmer and Hasidic music to bluegrass and jazz, Mr. Statman has earned the critical acclaim of The New York Times, Billboard, Rolling Stone, Downbeat, Jazz Is and The Village Voice. Among Statman's numerous media credits are PBS, BBC, CBS Sunday
The Andy Statman Klezmer Orchestra
Andy Statman, clarinet, mandolin Roger Mason, upright bass Bob Weiner, drums, percussion Lincoln Mayorga, piano
Morning, CNN and National Public Radio. His recent CD Between Heaven and Earth on Shanachie Records is a groundbreaking improvisational treatment of songs of the great Jewish mystics.
This performance marks the Andy Statman Klezmer Orchestra's UMS debut.
Tour Production: IMG Artists Tour Coordination: Aaron Concert
Technical Supervisor: Rick Miller Audio Reinforcement Engineer: David Dansky Monitor Engineer: John Servies Sound Design: David Dansky and John Servies Lighting Director: Leonard Cowles
James and Millie Irwin
Georg Frideric Handel's
University Musical Society Choral Union Ann Arbor Symphony Orchestra Thomas Sheets, Conductor
Nicole Heaston, Soprano
David Daniels, Countertenor
John Aler, Tenor
Nathan Berg, Bass-baritone
Janice Beck, Organ
Edward Parmentier, Harpsichord
Program Saturday Evening, December 8, 1997 at 8:00
Sunday Afternoon, December 7,1997 at 2:00 Hill Auditorium, Ann Arbor, Michigan
Twenty-first and Twenty-second Concerts of the 119th Season
UMS Favorites Series
These performances are presented through the generous support of Dr. James and Millie Irwin. Our special thanks go to them for their continued involvement with this community event.
Large print programs are available upon request.
Georg Frideric Handel
Born on February 23, 1685 in Halle, Germany
Died on April 14, 1759 in London
Georg Frideric Handel's sacred orato?rio Messiah is without question one of the most popular works in the choralorchestral repertoire today. In what has become an indispensable Christmas tradition, amateur and professional musicians in almost every city and town throughout the country perform this work as a seasonal entertain?ment, and are rewarded with the satisfaction of taking part in one of the great communal musical events.
Since the first performances in 1742, generations of musicians have adapted Handel's Messiah to suit the changing tastes of fashion and function. The small ensem?bles Handel conducted himself had around twenty singers and an equal number of instrumental players, but even before the end of the eighteenth century much larger ensembles were performing the work. By the mid-nineteenth century, when the appeal of the spectacle sometimes outweighed the demands of musical integrity, singers and instrumentalists for a single performance would often number in the several thou?sands. But the size of the ensemble wasn't the only variable. Mozart re-orchestrated Handel's score in 1789, adding extra parts for woodwinds to give the orchestral writing richer harmonies and a more varied timbre. Sir Arthur Sullivan and Eugene Goosens likewise made their own arrangements of the orchestral parts, updating the work for their respective audiences. And in 1993, a popular recording of excerpts from Messiah titled A Soulful Celebration brought together Stevie Wonder, Quincy Jones, Al Jarreau, the Boys Choir of Harlem, and others in a gospel-style interpretation of Handel's music. The diversity of performance styles
and enthusiastic responses to this oratorio over the centuries testify to its immense popularity.
The oratorio as a musical genre originat?ed during the seventeenth century in the churches and monasteries of Italy. In the Oratory (a side chapel found in many con?secrated buildings), the theatrical presenta?tion of vocal music on a sacred topic was an adjunct to the liturgy of the Church. But by 1700, oratorios were being performed in private chapels and palaces as a form of entertainment, and had taken on the now-standard characteristics of a sung drama on sacred texts, without staging or costumes.
Handel composed several oratorios early in his career, including some in Italian -Trionfo del Tempo e del Disinganno and La Resurrezione -and the later English-lan?guage works Esther, Deborah, and Athalia. But after the collapse of his operatic ventures in London around 1740, Handel devoted himself to the oratorio as a form in which he could combine his flair for dramatic vocal writing and his experience as a com?poser of sacred, devotional music. With these later oratorios Handel eventually won back the esteem of the London critics, and secured a phenomenal public following that would ensure his future success and reputation.
The text for Messiah was selected and compiled from the Authorized (King James) Version of the Bible by Charles Jennens, an aristocrat and musicianpoet of modest tal?ent and exceptional ego. With Messiah, Jennens seems to have outdone himself in compiling a libretto with profound thematic coherence and an acute sensitivity to the inherent musical structure. With the fin?ished libretto in his possession, Handel began setting it to music on 22 August 1741, and completed it twenty-four days later. He was certainly working at white-hot speed, but this didn't necessarily indicate he was in the throes of devotional fervor, as legend has often stated. Handel composed many of his
works in haste, and immediately after com?pleting Messiah he wrote his next oratorio, Samson, in a similarly brief time-span.
The swiftness with which Handel com?posed Messiah can be partially explained by the musical borrowings from his own earli?er compositions. For example, the melodies used in the two choruses "And He shall purify" and "His yoke is easy" were taken from an Italian chamber duet Handel had written earlier in 1741, "Quelfior die all' alba ride!' Another secular duet, "Nd, di voi non vo' fidarmi," provided material for the famous chorus "For unto us a Child is born," and the delightful "All we like sheep" borrows its wandering melismas from the same duet. A madrigal from 1712, "Se tu non lasci amore" was transformed into a duet-chorus pair for the end of the oratorio, "O Death, where is thy sting," and "But thanks be to God." In each instance, howev?er, Handel does more than simply provide new words to old tunes. There is consider?able re-composition, and any frivolity that remains from the light-hearted secular models is more than compensated for by the new material Handel masterfully worked into each chorus.
Over-enthusiastic Handelists in the nine?teenth century perpetuated all sorts of leg?ends regarding the composition of Messiah. An often-repeated story relates how Handel's servant found him sobbing with emotion while writing the famous "Hallelujah Chorus," and the composer claiming, "I did think I did see all Heaven before me and the great God Himself." Supposedly Handel often left his meals untouched during this compositional peri?od, in an apparent display of devotional fasting and monastic self-denial. Present-day historians more familiar with Handel's life and religious views tend to downplay these stories. It's been suggested that if Handel did indeed have visions of Heaven while he composed Messiah, then it was
only in the same manner in which he visu?alized the Roman pantheon of gods while he composed his opera Semele. Handel's religious faith was sincere, but tended to be practical rather than mystical.
Handel was also not a native English-speaker, and examples of awkward text-set?ting in Messiah demonstrate some idiosyn?crasies in his English declamation. He set the word "were" as if it had two syllables, and "surely" with three syllables. In the bass aria, "The trumpet shall sound," Handel originally declaimed "incorruptible" with emphasis on the second and fourth sylla?bles. While these can be corrected by the editor of the score or the singer in perfor?mance, sometimes Handel placed rhythmic accents on the wrong words entirely. Yet they are so familiar to us now that we don't hear them as unusual: "For unto us a Child is born," or "Come unto Him, ye that are heavy laden."
The first public performance of Messiah took place in Dublin, Ireland, on 13 April 1742. As this was to be a benefit performance for charity, the ladies were asked not to wear hoop dresses, and the men to leave their swords at home, in order to accommodate more people in the hall. Messiah was an unqualified success in Dublin; Handel had worked for months preparing his chorus and orchestra, and brought in some of the finest solo singers from England. The alto soloist in particular sang so affectingly that after one aria an audience member exclaimed from his chair, "Woman, for this, be all thy sins forgiven." But when Handel took Messiah to London the following season, it received a chilly reception. Even though King George II attended the first performance at Covent Garden Theatre (and, it is claimed, initiated the tradition of standing for the "Hallelujah Chorus"), London audiences found its con?templative texts lacking in drama and nar?rative action, and it closed after only three performances. Some clergy considered the
theatre in general a den of iniquity and cer?tainly no place for a work on such a sacred topic (Handel couldn't win -when it was scheduled to be performed in Westminster Abbey, other members of the clergy declared it sacrilege for a public entertainment to take place in a consecrated church). And Jennens, the librettist, wasn't entirely pleased with what Handel had done to his texts. After initially voicing his thorough disappointment with the work, Jennens later declared Handel's composition "a fine Entertainment, tho' not near so good as he might & ought to have done." It wasn't until 1750, when another performance for charity was staged at the Foundling Hospital in London, that English audiences took Messiah to their hearts, and yearly perfor?mances at the hospital from that time on established the lasting popularity of both the work and its composer. Upon Handel's death in 1759, he willed his score and parts for Messiah to the Foundling Hospital in a charitable gesture of gratitude.
The tradition of performing Messiah at Christmas began later in the eighteenth century. Although the work was occasionally performed during Advent in Dublin, the oratorio was usually regarded in England as an entertainment for the penitential season of Lent, when performances of opera were banned. Messiah's extended musical focus on Christ's redeeming sacrifice also makes it particularly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel's lifetime. But in 1791, the Caecilian Society of London began its annual Christmas performances, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete per?formance in the United States on Christmas Day -establishing a tradition that contin?ues to the present. The University Musical Society is a direct result of this tradition. In 1879, a group of local university and towns?people gathered together to study Handel's Messiah; this group assumed the name "The
Choral Union" and, in 1880, the members of the Choral Union established the University Musical Society.
Following the pattern of Italian baroque opera, Messiah is divided into three parts. The first is concerned with prophecies of the Messiah's coming, drawing heavily from messianic texts in the Book of Isaiah, and concludes with an account of the Christmas story that mixes both Old and New Testament sources. The second part deals with Christ's mission and sacrifice, culmi?nating in the grand "Hallelujah Chorus." The final, shortest section is an extended hymn of thanksgiving, an expression of faith beginning with Job's statement "I know that my Redeemer liveth" and closing with the majestic chorus "Worthy is the Lamb" and a fugal "Amen." In its focus on Christ's sacrifice Messiah resembles the great Lutheran Passions of Schiitz and Bach, but with much less direct narrative and more meditative commentary on the redemptive nature of the Messiah's earthly mission. Handel scholar Robert Myers suggested that "logically Handel's masterpiece should be called Redemption, for its author celebrates the idea of Redemption, rather than the per?sonality of Christ."
For the believer and non-believer alike, Handel's Messiah is undoubtedly a majestic musical edifice. But while a truly popular favorite around the world, Messiah aspires to more than just a reputation as an enjoy?able musical event. After an early perfor?mance of the work in London, Handel was congratulated by Lord Kinnoul on the "noble entertainment" he had recently brought to the city. Handel is said to have replied, "My Lord, I should be sorry if I only entertained them; I wished to make them better." Certainly Messiah carries an ennobling message to people of all faiths and credos, proclaiming "peace on earth, and goodwill towards men" -a message that continues to be timely and universal.
Program note by Luke Howard
Isaiah 40: I Isaiah 40:2
Isaiah 40: 4
Isaiah 40: 5
Comfort ye, comfort ye my people, saith your God.
Speak ye comfortably to Jerusalem, and cry unto her that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way of the Lord, make straight in the desert a highway for our God.
Every valley shall be exalted, and every hill and mountain ... made low: the crooked ... straight, and the rough places plain:
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
Haggai 2: 6
Haggai 2: 7 Malachi 3: 1
. thus saith the Lord of hosts: Yet once,... a little while, and I will shake the heavens and the earth, the sea and the dry land; And I will shake all nations, and the desire of all nations shall come:...
... the Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the Lord of hosts.
Malachi 3: 2
Malachi 3: 3
9 Air and Chorus
Isaiah 40: 9
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire,...
... and he shall purify the sons of Levi,... that they may offer unto the Lord an offering in righteousness.
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.
Isaiah 60: 3
Isaiah 9: 6
Luke 2: 8
Luke 2: 9
Luke 2: 10
Zechariah 9: 9
For behold,... darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee.
And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
... there were ... shepherds abiding in the field, keeping watch over their flock by night.
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men.
Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour,... ... and he shall speak peace unto the heathen:...
Isaiah 35: 5
Isaiah 35: 6
Matthew 11: 28
Matthew 11: 29
Matthew 11: 30
Then shall the eyes of the blind be opened, and the ears of the deaf... unstopped.
Then shall the lame man leap as a hart, and the tongue of the dumb shall sing:...
Mr. Daniels and Ms. Heaston
He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and ... gently lead those that are with young. Come unto Him, all ye that labour and are heavy laden, and He will give you rest.
Take His yoke upon you, and learn of Him, for He is meek and lowly of heart: and ye shall find rest unto your souls.
His yoke is easy, and His burden is light.
Isaiah 50: 6
Isaiah 53: 4
Isaiah 53: 5
Isaiah 53: 4
... Behold, the Lamb of God, that taketh away the sin of the world!...
He was despised and rejected of men; a man of sorrows, and acquainted with grief:...
He gave his back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting.
Surely he hath borne our griefs, and carried our sorrows:... ... he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
Psalm 22: 7
All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
29 Accompanied recitative Mr. Aler
Psalm 69:20 Thy rebuke hath broken his heart; he is full of heaviness: he
looked for some to have pity on him, but there was no man; neither found he any to comfort him.
31 Accompanied recitative
. Behold and see if there be any sorrow like unto his sorrow...
. he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
Psalm 24: 7
Psalm 24: 8 Psalm 24: 9 Psalm 24:10
Hebrews 1: 5
Hebrews 1: 6
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord mighty in battle.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory The Lord of hosts, he is the King of glory.
... unto which of the angels said he at any time, Thou art my son, this day have I begotten thee...
... let all the angels of God worship him.
Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
Isaiah 52: 7
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things ...
Their sound is gone out into all lands, and their words unto the ends of the world.
40 Air and Accompanied recitative Mr. Berg
Psalm 2:1 Why do the nations so furiously rage together,... why do the
people imagine a vain thing Psalm 2:2 The kings of the earth rise up, and the rulers take counsel
together against the Lord and his anointed,...
Revelation 19: 6 Revelation 11:15
Let us break their bonds asunder, and cast away their yokes from us.
He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
... The kingdom of this world is become the kingdom of our Lord, and of his Christ; and he shall reign for ever and ever. ... King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.
Job 19:26 I Cor. 15:20
I know that my redeemer liveth, and that he shall stand at the latter day upon the earth.
And though ... worms destroy this body, yet in my flesh shall I see God.
For now is Christ risen from the dead,... the first fruits of them that sleep.
I Cor. 15:21
I Cor. 15:22
... since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
47 Accompanied recitative Mr. Berg
Cor. 15:51 Behold, I tell you a mystery; we shall not all sleep, but we shall
all be changed, Cor. 15:52 In a moment, in the twinkling of an eye at the last trumpet:
I Cor. 15:53
I Cor. 15:54
I Cor. 15:55 I Cor. 15:56
I Cor. 15: 57
Romans 8: 31 Romans 8: 33
... the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality.
... then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Mr. Daniels and Mr. Aler
O death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
If God be for us, who can be against us
Who shall lay anything to the charge of God's elect It is God that justifieth.
Who is he that condemneth It is Christ that died, yea rather, that is risen again, who is... at the right hand of God, who ... maketh intercession for us.
. Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. ... Blessing, and honour,... glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
Soprano Nicole Heaston, who is quickly coming to the attention of American and European opera companies and orchestras for her outstanding vocal talent, began this season performing Eve in Haydn's Creation for the Flanders Opera in Belgium. This season she also makes her European operatic stage debut in Montpellier as Anne Truelove in The Rake's Progress, Pamina in The Magic Flute with the Washington Opera and Susanna in The Marriage of Figaro with the Houston Grand Opera.
Last season she performed Gluck's Armide with Les Musiciens du Louvre under
the baton of Marc Minkowski with whom she also collaborated in performances of Pergolesi's Stabat Mater in Grenoble, France. Ms. Heaston created the role of Jacqueline Onassis in the world premiere of Jackie O with Houston Grand Opera and
appeared with the company as Pamina in The Magic Flute. Last summer, she appeared in Wolf Trap as Susanna in The Marriage of Figaro and Ismene in Mozart's Mitridate.
Equally at home on the concert stage, Ms. Heaston has performed the soprano solos in Handel's Messiah, Bach's b minor Mass and St. Matthew Passion, Neue Liebeslieder Waltzes, A Song ofThankgiving and Dona Nobis Pacem by Vaughan Williams.
Ms. Heaston's many awards and prize winning competitions include the Richard Tucker Award -Jacobson Study Grant, the Shoshana Foundation Grant, the Robert Weede Corbett Award, the Oper Guild of Dayton Competition, the OperaColumbus Competition, the San Antonio Opera Guild Competition, the Metropolitan Opera Regional Audition-Encouragement Award,
and Houston Grand Opera's Eleanor McCollum Award Competition.
Nicole Heaston completed her Masters Degree in Voice at the Cinicinnati Conservatory of Music. She received her undergraduate degree in music at the University of Akron.
These performances marks Nicole Heaston's debut and second appearance under VMS auspices.
Countertenor David Daniels has achieved international prominence for his extraordinary talent. In addition to enthusiastic audiences and critics, the Richard Tucker Music Foundation has recognized his exquisite artistry by honoring Mr. Daniels with its 1997 award.
Mr. Daniels makes his Covent Garden debut in Fall 1997 as Sesto in Julius Caesar (the role in which he will make his Metro?politan Opera debut in Spring 1999) follow?ing a successful summer which included his debut with the Munich Staatsoper as Nero in Monteverdi's L'Incoronazione di Poppea as well as his first recital at the Edinburgh Festival. He makes his debut with New York City Opera as Arsamenes in Handel's Xerxes (the role he sang with Boston Lyric Opera in 1996) and also debuts with San Francisco Opera as Nero. In addition to his operatic
roles, Mr. Daniels opens the season of Great Performers at Lincoln Center in recital at Alice Tully Hall and also sings recitals in Washington, DC and Ann Arbor. In recent seasons David Daniels has appeared as soloist with a number of
symphony orchestras including the New World Symphony in Miami conducted by John Nelson. This season he makes orches-
tral appearances with the symphonies of San Francisco and St. Louis as well as appearing in both San Francisco and the Brooklyn Academy of Music with Philharmonia Baroque conducted by Nicholas McGegan.
An exclusive artist for solo recordings on the EMI label, David Daniels' first CD, an album of Handel arias, is scheduled to be recorded in 1998.
David Daniels appeared as a soloist in the 1994 Messiah performances. These perfor?mances mark his third and fourth appear?ances under UMS auspices.
American singer John Aler has been singled out as one of the most acclaimed lyric tenors on the international stage. In opera he has performed with most of the major companies and opera houses in Europe including the Royal Opera at Covent Garden, Glyndebourne, Deutsche Oper, Vienna, Munich, Salzburg, Hamburg, Geneva, Madrid, Lyon and Brussels, as well as New York City Opera and the operas of St. Louis, Santa Fe, Washington DC and Baltimore in the United States.
A consummate soloist, he performs often with such orchestras as the New York Phil?harmonic, Cleveland and Philadelphia Orchestras, the Boston, Chicago, Los Angeles and San Francisco symphonies, as well as major orchestras in Europe with such con?ductors as Barenboim, Dutoit, Masur, Mehta, Norrington, Ozawa, Previn, Rattle, Salonen,
Slatkin and Zinman.
John Aler has made over fifty recordings for many major recording labels. He is featured on two 1994 Grammy winning recordings: Handel's Semele, with the English Chamber Orchestra and John Nelson and an all-
star cast, winner of the Grammy Award for Best Opera Recording; and Bartok's The Wooden Prince and Cantata Profana, with Pierre Boulez and the Chicago Symphony, winner of Best Classical Album. In 1985, he was awarded a Grammy for Best Classical Vocal Soloist for his participation in the recording of the Berlioz Requiem with Robert Shaw and the Atlanta Symphony.
These performances marks John Aler's debut and second appearance under UMS auspices.
Born in Saskatchewan, Canada, Nathan Berg's vocal studies have taken him to Canada, America, Paris and finally to the Guildhall School of Music and Drama in London, where he began to study with Vera Rozsa. Winner of the Gold Medal for Singers at the Guildhall, he has also won prizes in the Royal Over-Seas League, Peter Pears, Kathleen Ferrier and Walther Gruner Lieder Competitions.
He has given recitals at the Blackheath Concert Halls, the Wigmore Hall, the Musee d'Orsay in Paris with Roger Vignoles, the Harrogate International Festival, and the Three Choirs Festival and in Detroit and Montreal for the CBC. In concert, he has appeared extensively with such conductors as Christie, Masur, Salonen, Dohnanyi, Herrweghe, Tortelier, Norrington, Haenchen, Rilling, and Leppard, singing repertoire ranging from Bach and Handel oratorios to Mahler song cycles. Most recently he has sung Schubert songs with the San Francisco Symphony Orchestra under Tilson Thomas, Schubert's Mass in A Flat at the BBC Proms with the BBC Symphony Orchestra under Belohlavek and Beethoven's Symphony No. 9 in Tanglewood with the Boston Symphony Orchestra under Shaw.
Operatic roles have included Figaro in the Marriage of Figaro in Nice and Tourcoing, Guglielmo in Cosifan tutte for the Welsh National Opera, Masetto in Don Giovanni and Mercurio in L'Incoronazione di Poppea
for the Netherlands Opera; Leporello in Don Giovanni for Tourcoing Opera and Schaunard in La Boheme for the Canadian Opera Company. Most recently he has sung the role of Thesee in Rameau's Hippolyte et
Aricie with Les Arts Florissants in New York.
Recordings have included Messiah, Mozart's Requiem and Purcell's Dido and Aeneas, all with William Christie, songs by Othmar Schoeck both with the English Chamber Orchestra and with Julius Drake, a recording of Mendelssohn songs and duets with Sophie Daneman and Eugene Asti and a contribution to Hyperion's prestigious Schubert series with Graham Johnson.
Upcoming operatic appearances include the roles of Masetto and Leporello in the new Peter Brook production of Don Giovanni, conducted by Claudio Abbado and Daniel Harding. Future concerts include perfor?mances of Purcell's King Arthur, Monteverdi's Combattimento and Rameau's Zoroastre, all with Les Arts Florissants under William Christie; Beethoven's Symphony No. 9 in Rome; a performance of Vaughan Williams' Sea Symphony in Vancouver and Handel's Messiah in Germany and France both with the RIAS Berlin Chamber Choir and the Windsbacher Knabenchor.
These performances marks Nathan Berg's debut and second appearance under UMS auspices.
Virginian by birth, Janice Beck received her early training in organ in Williamsburg where she often played recitals in historic Bruton Parish Church. Her major organ study was accomplished at Rollins College under Catharine Crozier. As a Fulbright scholar in
Paris she studied organ with Jean Langlais and gave the premiere performance of his American Suite. She completed her formal training at the University of Michigan School of Music where she studied with Marilyn Mason. She is the recipient of the Algernon Sydney Sullivan Award, presented by Rollins College, "for leadership, great achievement in one's chosen field, and service to others."
Janice Beck resides in Ann Arbor where she is organist of the First United Methodist Church, and from which she pursues an active, professional career as a solo recitalist. In recent tours of Europe, she has presented recitals in France, the United Kingdom, Poland and Slovakia, at international music festivals such as the Bury Music Festival in Bury St. Edmonds, UK, the International Festival of Organ and Chamber Music, the
International Festival of Organ Music, and the Jozef Gresak Organ Festival in Bardejov, Slovakia. Among other recitals venues in Europe and the US in which she has played recently are Cathedral St. Pierre in Montpellier, Westminster Abbey
in London, Coventry Cathedral, the Mormon Tabernacle in Salt Lake City, the First Congregational Church in Los Angles, and Ann Arbor's Hill Auditorium. She has been a member of the Alumnae Board of Governors of the University of Michigan School of Music, and the Advisory Committee of the University Musical Society. During 1995-96 she was Dean of the Ann Arbor Chapter of the American Guild of Organists.
Janice Beck performed in the UMS produc?tions of Messiah in 1995 and 1997. These are her fifth and sixth performances under UMS auspices.
Edward Parmentier, harpsichordist and director of the Early Music Ensemble, has performed throughout the United States, Russia, Western Europe, Japan and Korea on harpsichord and historic organs. He is a frequent recitalist, lecturer and adjudicator at symposia and festivals. His collection of recordings has won both
critical and popular acclaim. Recent releases include Bach's partitas, French seventeenth-century harpsichord music, sonatas of Scarlatti and music of the English virginal-ists. He appears fre?quently in ensemble settings as a con-
tinuist and concerto soloist. Mr. Parmentier conducts modern instrument chamber orchestras in performances of baroque and classical repertoire. His annual summer harpsichord workshops at the University of Michigan attract performers from all over the world. Mr. Parmentier holds degrees in classical languages and literatures, humani?ties and musicology from Harvard and Princeton. His harpsichord teachers were Albert Fuller and Gustav Leonhardt.
Edward Parmentier appeared in the 1995 and 1997 performances oMessiah. These perfor?mances mark his fifth and sixth appearances under UMS auspices.
Thomas Sheets is an accomplished and versatile conductor whose work with community choruses, academic insti?tutions and opera companies has received widespread acclaim. Appointed Music Director of the University Musical Society Choral Union in 1993, he is the tenth conductor to hold this position in the ensemble's 119-year history.
In the past four seasons, he has prepared the Choral Union for several notable perfor?mances given by the Detroit Symphony Orchestra under the direction of Neeme Jarvi and Jerzy Semkow, the Grand Rapids Symphony Orchestra under the direction of Catherine Comet, and by the Toledo Symphony, led by Andrew Massey.
Last season, Mr. Sheets conducted the Choral Union's annual holiday performances of Handel's Messiah with the Ann Arbor Symphony Orchestra, and directed two per?formances of Bach's Mass in b minor with the Toledo Symphony. In February of 1996, he led the Choral Union and the University of Michigan Dance Company in four per?formances of Orff's Carmina Burana. In the current season he will conduct the Choral Union and the Ann Arbor Symphony Orchestra in Mendelssohn's choral master-work, Elijah.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William
Hall Chorale and the Master Chorale of Orange County, both conducted by his mentor, the distin?guished choral con?ductor William Hall. During that time, he assisted in preparing all the major choralorchestral works in the current
repertoire, in some instances for perfor?mances led by Robert Shaw, Jorge Mester, Joann Faletta and Michael Tilson-Thomas. As chorusmaster in 1988 for Long Beach Opera's highly-acclaimed American premiere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four continents. He was engaged in the same role in 1992 for that company's avant-garde staging of Simon Boccanegra,
where the chorus again received singular plaudits.
Thomas Sheets is also Music Director of the 120-voice Toledo Symphony Chorale. He received the degree Doctor of Musical Arts from the University of Southern California and has held appointments as Director of Choral Activities at several col?leges and universities. Dr. Sheets is a fre?quent conference leader and clinician; his editions of choral music are published by Augsburg-Fortress, and he is a regular con?tributor of articles on choral music perfor?mance.
These performances mark the fifth year that Thomas Sheets has conducted Messiah under UMS auspices.
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 when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem, and continuing with performances of the Berlioz Requiem and Verdi's Requiem. Last season, the Choral Union again expanded its scope to include
performances with the Grand Rapids Symphony, joining them in a rare presenta?tion of Mahler's Symphony No. 8 (Symphony of a Thousand).
In this, its 119th Season, the Choral Union will perform Handel's Messiah and Mendelssohn's Elijah with the Ann Arbor Symphony Orchestra, Porgy and Bess with the Birmingham-Bloomneld Symphony Orchestra and The Dream of Gerontius with the Toledo Symphony.
Participation in the Choral Union remains open to all by audition. Representing a mix?ture 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 or e-mail email@example.com, or visit the UMS Website at www.ums.org
The UMS Choral Union began performing in 1879 and has presented the Messiah in annual performances. These performances mark their 370th and 371st appearances under UMS auspices.
The UMS Choral Union
Thomas Sheets, Conductor Jean Schneider-Claytor, Accompanist Donald Bryant, Conductor Emeritus Edith Leavis Bookstein, Chorus Manager
Edith Leavis Bookstein
Marie Ankenbruck Davis
Kathryn Foster Elliott
Mary Kay Lawless
Margaret Dearden Petersen
Judith A. Premin
Linda Kaye Woodman
Debra Joy Brabenec Ann Burke Cheryl Clarkson Kathy Neufeld Dunn Patricia Forsberg-Smith Mary L. Golden Deirdre Hamilton Elizabeth Jahn Meredyth Jones Loretta Lovalvo Melissa Hope Marin Linda Marshall Marilyn Meeker Sara Peth Virginia J. Reese Mary A. Schieve Denise Rae Scramstad Sue Ellen Straub Barbara Hertz Wallgren Rachelle Barcus Warren Kathleen Young
Mary Jo Baynes Myrna Berlin Paula Brostrom Lori Cheek Laura Clausen Kathryn Coon Dolores Davidson Deborah Dowson Anna Egert
LeAnn Eriksson Guyton Jeanette Luton Carol Milstein Joan L. Morrison Holly Ann Muenchow Lisa Michiko Murray Lotta Olvegrd Kathleen Operhall Karen Osborn Carren Sandall Amy Smith Elizabeth Suing
Joan Cooper Marilyn Finkbeiner Sarah Gross Hilary Haftel Nancy Ham Carol Hohnke Jean Leverich Cynthia Lunan Nancy L. Murphy Lynn Powell Miriam Rossow Beverly N. Slater Cynthia Sorensen Gayle Stevens Cheryl Utiger
Fr. Timothy J. Dombrowski Stephen Erickson John W. Etsweiler III Arthur Gulick Mark Hager Steven J. Hansen Stephen Heath Chuck Lever Paul Lowry Bradley Martin Justin Rossow Matthew J. Rush Elizabeth Sklar
Chris Bartlett Fred L. Bookstein Philip Enns Albert P. Girod Jr Roy Glover Henry Johnson Douglas Keasal Robert Klaffke Mike Needham William Ribbens Scott Silveira Samuel C. Ursu James Van Bochove
John M. Brueger Michael Karaman George Lindquist Lawrence Lohr Charles Lovelace Joseph D. McCadden Kevin Miller Michael Pratt William Premin Sheldon Sandweiss John T. Sepp Jayme Stayer Jack R. Waas Benjamin Williams
Howard Bond Mark Bonnell Harry Bowen Kee Man Chang Dan Davidson George Dentel Don Faber Philip Gorman Donald L. Haworth Charles T. Hudson Mark K. Lindley Gerald Miller Bradley Pritts Marshall S. Schuster William Simpson Jeff Spindler Robert Stawski Robert D. Strozier Terril O. Tompkins John Van Bolt
Ann Arbor Symphony Orchestra
Stephen Shipps, Concertmaster
Kathleen Grimes Barbara Zmich Nathan Peters Carolyn Tarzia Zara Christopher
Vladimir Babin Alicia Rowe Alison Badger Carrie Dunning
Gregg Emerson Powell Kenneth Marrs Beshir Har.ik.it
Lorelei Crawford Kristin Reynolds Judi Scramlin Axianna Kalian
Trumpet Joshua MacCluer J. David Hunsicker
What began in 1928 as an all-vol?unteer orchestra, performing a brief season of community con?certs, has grown sixty-eight years later into an all-professional, resident orchestra which annu?ally presents six mainstage and two youth concerts in the historic Michigan Theater. In addition, the A2SO serves as the orchestra in residence for The University Musical Society's Messiah and was the orchestra for the 1994 UMS presentation of the Martha Graham Dance Company's, In the American Grain. The A2SO is now the largest arts employer in Washtenaw County, and thrives on a combination of ticket sales and private development, receiving only 6 of its funding from public money.
The A2SO's Education and Outreach Programs reach more than 25,000 young people annually through a number of unique initiatives. Among these, the Mentorship Program for youth at risk provides concert tickets for 133 economically at risk youngsters and their families in a program sponsored jointly by the A2SO and area businesses; the Daytime Youth Concerts serve thirty-three
area school districts for 3,400 students; the Youth Soloist Competition allows Michigan youngsters under twenty to compete for the honor of performing a complete Mozart concerto with the Ann Arbor Symphony Orchestra as part of our subscription series concerts; the free Preconcert Lectures are presented by Music DirectorConductor Samuel Wong, and average 200 500 people per lecture.
Under the direction of Maestro Samuel Wong, a protege of both Kurt Masur and Zubin Mehta, the A2SO has grown in musi?cal stature, receiving national recognition as one of the very best regional orchestras.
The Ann Arbor Symphony Orchestra has performed in the UMS presentation of the Messiah every year since 1988. This weekend's performances mark their twenty-fifth and twenty-sixth appearances under UMS auspices.
The Harlem Nutcracker
ChoreographerDirector Donald Byrd
Peter Ilyich Tchaikovsky
Music arranged by
Duke Ellington with Billy Strayhorn
Librettist Donald Byrd
Donald ByrdThe Group
Michael Blake, Brian Brooks, Stephanie Guiland, Raymell Jamison, Massimo Pacilli, Elizabeth Parkinson, Laura Rossini, Leonora Stapleton
with Guest Artists
Eleanor McCoy Gus Solomons jr
Roger Bellamy, Alicia Diaz, Lakey Evans, Michele Golden, Theresa Howard, Gregory King, Freddie More, Karen Savage, Nathan Trice, Wendy White, Daniel S. Wilkins
The Harlem Nutcracker Band,
Marcus Belgrave, Leader
and The Harlem Nutcracker Gospel Chorus
James Abington, Director
Program Wednesday Evening, December 10, 1997 at 8:00
Thursday Evening, December 11, 1997 at 8:00 Friday Evening, December 12,1997 at 8:00 Saturday Afternoon, December 13, 1997 at 2:00 Saturday Evening, December 13,1997 at 8:00 Sunday Afternoon, December 14, 1997 at 2:00 Sunday Evening, December 14, 1997 at 8:00
Power Center Auditorium, Ann Arbor, Michigan
Twenty-third, Twenty-fourth, Twenty-fifth, Twenty-sixth, Twenty-seventh, Twenty-eighth and Twenty-ninth Performances of the 119th Season
Moving Truths Series
Presented with support from the Lila-Wallace Reader's Digest Audiences for the Performing Arts Network.
Additional support comes from Arts Midwest, a regional arts organization serving America's heartland, in partnership with the National Endowment for the Arts.
Special thanks to the General Motors Foundation, sponsors of the UMS Camerata dinners in support of The Harlem Nutcracker.
Media support is provided by WEMU and WDET.
Special thanks to all the parents of The Harlem Nutcracker children's casts.
Special thanks to Kimberly Camp, Eva Powers, Wayne State University, Tony Smith, Colin Mysliwiec, African American Cultural and Historical Museum of Ann Arbor, Lola Jones, Ann Ann Arbor, Inc., Borders Books and Music, Barbara Meadows, Ann Arbor Chapter of the Links, Inc. for their contributions to The Harlem Nutcracker residency.
Large print programs are available upon request.
Ghost Of Her Husband......Gus Solomons jr
Clara's Son................Michael Blake
His Wife..................Karen Savage, Leonora Stapleton
Their Children..............See Children's Casts
Clara's Daughter............Lakey Evans
Her Husband..............Gregory King, Brian Brooks
Their Children.............See Children's Casts
Wife...................Alicia Diaz, Laura Rossini
Their Children..........See Children's Casts
Wife...................Leonora Stapleton, Teresa Howard
Their Children..........See Children's Casts
Choralers.................See Gospel Choir Roster insert
Death....................Theresa Howard, Daniel Wilkins
Dogs & Maidens............Lakey Evans, Freddie Moore, Massimo
Pacilli, Elizabeth Parkinson, Karen Savage, Nathan Trice, Wendy White, Daniel Wilkins
Ghouls...................Michael Blake, Brian Brooks, Roger Bellamy,
Alicia Daz, Stephanie Guiland, Raymell Jamison, Laura Rossini, Leonora Stapleton, Michele Golden
Snow.....................Michael Blake, Roger Bellamy, Brian Brooks,
Alicia Daz, Lakey Evans, Michele Golden, Stephanie Guiland, Raymell Jamison, Gregory King, Freddie Moore, Massimo Pacilli, Elizabeth Parkinson, Laura Rossini, Karen Savage, Leonora Stapleton
Car Driver.................Daniel Wilkins
The Doormen..............Michael Blake, Nathan Trice
Head Doorman............Brian Brooks
Sweets For The Sweets.......Brian Brooks, Lakey Evans, Stephanie
Guiland, Gregory King, Freddie Moore, Elizabeth Parkinson, Laura Rossini, Karen Savage, Leonora Stapleton, Nathan Trice, Wendy White
Cigarette Girl..............Theresa Howard
Master Of Ceremonies
Magician..................Michael Blake with Michele Golden,
Toot Toot Tootie Toot.......Elizabeth Parkinson & Raymell Jamison,
Laura Rossini & Massimo Pacilli,
Karen Savage & Gregory King,
Leonora Stapleton & Brian Brooks,
Roger Bellamy, Alicia Diaz, Michele Golden
Peanut Brittle Brigade.......Michael Blake & Stephanie Guiland,
Freddie Moore & Alicia Diaz
Adagio....................Michele Golden & Nathan Trice
Leonora Stapleton & Brian Brooks Gregory King & Karen Savage
Sugar Rum Cherry..........Elizabeth Parkinson with Michael Blake &
Brian Brooks, Leonora Stapleton
Volga Vouty................Brian Brooks, Raymell Jamison, Gregory
King, Massimo Pacilli, Nathan Trice, Daniel Wilkins, Stephanie Guiland, Laura Rossini, Karen Savage, Alicia Diaz
Chinoiserie ...............Elizabeth Parkinson & Roger Bellamy,
Stephanie Guiland & Michael Brooks
Waltz Of The Floreodores
Dewdrop...............Laura Rossini, Theresa Howard
Couples................Brian Brooks & Lakey Evans,
Stephanie Guiland & Freddie Moore, Raymell Jamison & Wendy White, Karen Savage & Gregory King
Arabesque Cookie..........Laura Rossini & Daniel Wilkins
Bodybuilders...............Gregory King, Nathan Trice
Harem....................Alicia Diaz, Lakey Evans, Stephanie Guiland,
Elizabeth Parkinson, Karen Savage, Leonora Stapleton, Wendy White
(Casting subject to change)
Anthony Smith -Rehearsal Director Children's Casts Colin Mysliwiec -Residency Coordinator Children's Casts
Wednesday, December 10 Friday matinee, December 12 Saturday evening, December 13 Sunday matinee, December 14
Toni Battle Angela Blocker Marcus Bright Lajuana Lighfoot Jonathan McElrath Lauren McElrath Candice Mitchell Lauren Sims Ashley Wilson
Thursday, December 11 Friday evening, December 12 Saturday matinee, December 13 Sunday evening, December 14
Brian Carter Jessica Courtland Ain Drew Keely Ferguson Jessica Lamarre James Lee Tamara Mixon Tawanna Reynolds Lea Nicole Smith
Henry Hammond Sandra Osiah
The Harlem Nutcracker Children's Casts with Rehearsal Director, Anthony Smith; UMS Board Member, Leticia Byrd; Residency Coordinator, Colin Mysliwiec; and UMS President, Ken Fischer.
Clara's Home in Harlem
Scene 1 Empty House Blues
Scene 2 Clara Dances with Her Two Children Children's Dance Spanish Dance Memory of Romance
Later That Evening
Scene 3 Glimpse of Death Memory of the Nutcracker Death and his Maidens Battle
Scene 4 Walking Through Snow Snow Dance
Scene 5 Outside Club Sweets
Scene 1 Inside Club Sweets
The Magic Show Toot Toot Tootie Toot Peanut Brittle Brigade Sugar Rum Cherry Volga Vouty Chinoiserie
Waltz of the Floreodores Arabesque Cookie
Scene 2 Passing Through Time
Clara's Home in Harlem Scene 3 Christmas Morning
Act I, Scene I
Clara is awaiting the arrival of her children and grandchildren for a Christmas Eve party at her home in Harlem. As she waits, she thinks about her husband who was her prince. He is recently deceased and this is the family's first Christmas without him. She reminisces about her youth and her aspirations for her husband and her family. She feels his presence and, indeed, believes that he is with her, looking just as he did the Christmas before. Together they finish trim?ming the tree and preparing for the big party just as they have always done. As she turns to show him a nutcracker her gave her long ago, Clara realizes that she is alone and that the visit was merely her loneliness getting the best of her. Just then the door bell rings and her children, grandchildren, in-laws and neighbors come bustling in. The festivities have begun!
Act I, Scene 2
During the party, Clara catches another glimpse of her husband's ghost. His fleeting appearance leaves her with a renewed sadness. Knowing that she is missing their father, her children try distracting her by engaging her in a favorite dance. Clara glances across to the punch bowl, and once again sees her husband. This time he looks as he did when they were young. The world seems to freeze as Clara and her husband return to the Christmas party where they first met. They flirt, laugh and dance, but again she turns around only to find him gone.
Act I, Scene 3
After the neighbors have gone and the family has gone to bed, Clara returns to the living room to close up the house for the night. As she closes the drapes, she feels a chill and is attacked by a sudden pain in her chest. She remembers the day her husband proposed
and gave her the gift of the nutcracker for Christmas. She feels another pain as Death arrives with his maidens and ghouls to claim her. Just as she is about to succumb, the nutcracker springs to life and tries to fight off death. Death applies voodoo to a nutcracker doll and as the nutcracker is about to die, Clara snatches the voodoo doll, thereby vanquishing Death. The nut?cracker is transformed into her husband!
Act I, Scene 4
Reunited, the happy couple stroll in the snow, where they see other young couples, including their children. It's a magical winter day and together they celebrate. Clara's hus?band then takes her back to the time of the fabulous Club Sweets.
Act II, Scene 1
At Club Sweets, a fancy 1930's Harlem night club, Clara and her husband are treated to a glamorous show. As the show ends, Death reappears. The couple rushes out of the club.
Act II, Scene 2
They pass forward through time to escape Death; through the 1930's and the Great Depression; the 40's and World War II; the 50's and the beginning of the Civil Rights Movement; the 60's with Dr. King and the protest marches. The 1970's show the hopes that people of color have for a new world. In the 80's that hope diminishes with the dete?rioration of the Black communities and the Black family. All this leads to the present and a people devoid of hope, but still hang?ing on. Overwhelmed, Clara faints.
Act II, Scene 3
Once again in her home, Clara is discovered by her children lying on the floor with the nutcracker in her arms. They see to her comfort and begin to open Christmas pre?sents. As she watches them, Clara sees Death draped in his black cape. As he gets closer,
she sees that it's her husband. This time the couple, united for eternity, beam hopefully at their beautiful family.
Dream of a Life Fulfilled: The Harlem Nutcracker
Since its first United States production in 1940, the classic Nutcracker ballet with music by Tchaikovsky has become almost a Christmas ritual in many American cities. Originally based on a story by the German Romantic writer E.T.A. Hoffmann, called Nutcracker and Mouseking, most Nutcracker ballets describe how a little girl, excited by the wonders of Christmas Eve (which includes the gift of a beautiful nutcracker), undertakes a fantastic journey. Traveling from the Kingdom of Snow to the Land of Sweets, the little girl's dream culminates in a fairy tale ending --? her marriage to the Nutcracker prince.
With The Harlem Nutcracker, Donald Byrd set out to examine what made Tchaikovsky's ballet an American institution. Asking what meaning is embedded in the story that appeals specifically to Americans, Byrd focused on the way in which the piece enforces the idea of family, revealing the value of compassion, love and support in a family setting. At a time when African American communities suffer from devasta?tion wrought by drugs, violence, and poverty, Byrd means to create a reminder of the resilience of African American families in particular, and family (in the sense of com?munity) in general.
The Harlem Nutcracker, which includes Duke Ellington's Nutcracker Suite and addi?tional composition by David Berger, takes up the story at the point where other versions leave off. Here Clara is a grandmother who experiences the joy of sharing a Christmas
with her children and grandchildren, but also feels the pain of celebrating the holiday for the first time without her husband who recently passed away.
As Clara lives through the night of Christmas eve, her Harlem mansion becomes a stage on which her past unfolds. Not only is she invited to observe key moments of her life, but she is allowed to live the times she could only dream of.
Donald Byrd (choreographerdirector) started his company, Donald ByrdThe Group, in Los Angeles, California in 1978, moving it to New York City in 1983. Prior to that time, Mr. Byrd studied at Tufts and Yale Universities, The Cambridge School of Ballet, the London School of Contemporary Dance, Alvin Ailey American Dance Center, and with Mia Slavenska. He danced with Twyla Tharp, Karole Armitage, and Gus Solomons jr. Since 1976, Mr. Byrd has created over eighty works for his own company and others, including the Alvin Ailey American Dance Theater, the Alvin Ailey Repertory Ensemble, Atlanta Ballet, Dayton Contemporary Dance Company, Philadelphia Dance Company, De Nieuwe DansGroep of Amsterdam, and Phoenix Dance Company of Leeds, England. In 1997, Mr. Byrd created new works for Alvin Ailey American Dance Theatre and for Pacific Northwest Ballet. Works created for Donald ByrdThe Group include Prodigal,
The Minstrel Show, Drastic Cuts, Bristle, Life Situations: Daydreams on Giselle, The Beast, and Still. Mr. Byrd has choreo?graphed for numerous stage productions at Center Stage in Baltimore, the New York Shakespeare
Festival. He has also choreographed Peter Sellars' productions of A Soldier's Take, The Seven Deadly Sins, and Was Looking at the Ceiling and Then I Saw the Sky. During the current season, he choreographed San Francisco Opera's production of Aida and directed and choreographed Carmina Burana for New York City Opera. Mr. Byrd is the recipient of fellowships from the New York Foundation for the Arts, Metropolitan Life Foundation, and the National Endowment for the Arts. In 1992, he received a Bessie Award for The Minstrel Show. Mr. Byrd served on the faculty of the California Institute for the Arts for six years, and has taught at Wesleyan University, the School of Visual Arts, Harvard Summer Dance Center, California State University Long Beach, the University of California at Santa Cruz, and Ohio University. Mr. Byrd is currently an associate-artist at the Yale Repertory Theater and serves on the Board of Trustees for Dance Theater Workshop and DanceUSA.
Duke Ellington (music arranger) created over 1000 compositions during his lifetime, among them "sacred concerts," symphonic works, film scores, ballets, suites, and popular songs. In 1937, following the death of his mother, he created his first long work, Reminiscence in Tempo. In the 40s, he began composing tone poems, the first of which was Black, Brown and Beige, a history of black people. In 1959, he received the Presidential Medal of Freedom. Duke Ellington's contri?bution to music history was acknowledged with twenty-four honorary degrees presented to him from various institutions throughout his life.
Billy Strayhorn was arranger and occasional second pianist and lyricist with Duke Ellington beginning in 1939. The collaboration contin?ued until the 1960s. Among his hundreds of compositions best known are "Lush Life" and "Take the A Train." During the pre-bop period of the mid 1940s Strayhorn experi-
mented with false modulations and expand?ed the swing vocabulary of chord voicings.
David Berger (music directorconductor) is recognized internationally as a leading authority on the music of Duke Ellington
and the swing era. Conductor and arranger for the Lincoln Center Jazz Orchestra from its inception in 1988 through 1994, Berger has transcribed more than 300 of Ellington's works and has collabo?rated on a variety of musical projects with
Ellington family members, notably the late Mercer Ellington, director of The Duke Ellington Orchestra, and choreographer Mercedes Ellington. In addition, Berger has written scores for television, Broadway shows, including Sophisticated Ladies; films, including The Cotton Club; and dance com?panies, including the Alvin Ailey American Dance Theatre. He maintains a close associ?ation with Wynton Marsalis through collab?orations on projects for NPR, PBS and Columbia Records. Berger's compositions and arrangements also may be found on recordings and in the libraries of Quincy Jones, Thad Jones Mel Lewis, Clark Terry and the late Gerry Mulligan. A seven-time recipient of National Endowment for the Arts fellowships, Berger resides in New York City, where he is a member of the Manhattan School of Music jazz faculty.
Roger Bellamy (Guest Artist) studied dance at Duke Ellington School for the Arts. He received scholarships to ballet Aspen and Alvin Ailey American Dance Center. He danced a season with the Washington Ballet and joined the Alvin Ailey Repertory Ensemble. In 1992, he joined the Alvin Ailey
American Dance Theatre where he danced for five years. He has worked with such choreographers as Milton Myers, James Trenite, Louis Johnson, George Faison and Donald McKalye. Mr. Bellamy wishes to remember the spirits of friends who are no longer here.
Isaac ben Alaya (Rehearsal Pianist) received his B.M. from Oberlin where he majored in historical performance on the harpsichord. He was the music direcotr and commissioned composer for Swing Mikado at Karamu, in Cleveland, the music director for Beehive at the Arkansas Repertory Theater Company, and is the leader of the Issac ben Alaya Trio. He is the Founder and Director of Jazz Studies at the Brooklyn Music School.
Leslie Bernstein (Associate Costume Designer) recently designed a season at the Brezard Music Center under Maestro David Effron of City Opera. The season included large-scale productions of Carmen, Abduction from the Seraglio, A Little Night Music, and West Side Story. Leslie has been the resident designer for the T. Schrieber Studio for some time now. She recently designed Terry Schreiber's production of Hedda Gabler. She also designed The Big Knife, Hot-L-Baltimore, Once In A Lifetime, An Ideal Husband, Thieves' Carnival, and Happy End at the Directors' Unit. Leslie has worked on several films, including Godzilla, Howard Stern's Private Parts, and Stepmom. Leslie has painted for Paul Taylor Ballet Moonbine and is excited to be working with the Donald Byrd Dance Foundation.
Gabriel Berry (Costume Designer) has designed more than 200 productions for theatre, opera and dance including sixty world or American premieres. She is the winner of an Obie award for her theatre work and a 1992 Bessie Award for Donald Byrd's Minstrel Show and Liolissa Fenley's Place. Other projects include The Tempest at
American Repertory Theater, Dona Carlos at the Stadtische Buhnen in Augsburg, Germany, Yoshiko Chuma's new work at the 92nd Street Y, JoAnn,e Akalitis' production of Dance of Death at Arena Stage, and The Beast-The Domestic Violence Project for Donald ByrdThe Group.
Mona Heinze-Barrecca (Dramaturg) has worked as a dramaturg on numerous pro?ductions of classics and new plays. She has taught at various universities, most recently NYU's Tisch School of the Arts and Brooklyn College, where she is head of the M.F.A. program in Dramaturgy and Dramatic Criticism. Ms. Heinze-Barrecca is a former Fulbright scholar in theater and holds M.F.A. degrees in dramaturgy (Yale University) and Performing Arts Management (Brooklyn College). Her translations and adaptations include Brecht's Vision of Sitnone Machard, Han Magnus Enzensberger's The Sinking of the Titanic, and plays by Marieluise Fleisser.
Michael Blake (Dancer) performed with the Jose Limon Company from 1986-1991. Michael is a well-known and respected teacherchoreographer both in the US and the Far East. Previously with the Murray Louis Company and Joyce Trisler Danscompany under the direction of Milton Myers, Michael managed and directed a dance school in Osaka, Japan from 1985-90. Michael has danced ten seasons with Donald ByrdThe Group over the course of a thirteen-year period.
Brian Brooks (Dancers) was born in Pittsburgh, PA. His training consisted of scholarships with The Dance Theater of Harlem and Alvin Ailey American Dance Center. He has performed with the Alvin Ailey American Dance Theatre, Footprints, Forces of Nature, and Philidanco. He joined Donald ByrdThe Group in 1997.
Alicia Diaz (Guest Artist) is originally from San Juan, Puerto Rico, where she began her dance training at the Academia de Baile de Alma Concepcion. In the United States, she studied at the Princeton Ballet Society, the Alvin Ailey American Dance Center and the University of Michigan at Ann Arbor. She has worked with Contemporary Motions Dance Co., the Alice Farley Dance Theatre, the Joseph Holmes Chicago Dance Theatre and Complexions: A Concept in Dance. Ms. Diaz also teaches and choreographs for youth at the Henry Street Settlement Arts Program in the Lower East Side of New York City.
Lakey Evans (Guest Artist), a native of Reading, Pennsyvania, began her dance training at The University of the Arts in Philidelphia, PA. After graduating with a B.F.A. she moved to New York and was awarded a scholarship at The Alvin Ailey Repertory ensemble, with whom she has toured with for the past three years. Ms. Evans has also been teaching at Alvin Ailey, Steps, Peridance, and most recently, Hollin College. This is her second year of The Harlem Nutcracker.
Kathryn Frawley (General Manager) joined Benjamin Mordecai & Associates with extensive experience in general management and company management on Broadway, Off-Broadway, National and International tours. Among her many credits are David Henry Hwang's Golden Child, Master Class, the 1998 Moscow Art Theater Centennial Tour to the United States, Moscow Stations (starring Tom Courtnay), Lost in Yonkers, Love Letters, My Fair Lady (starring Rex Harrison), Rent (1996 Tony Award and Pulitzer Prize), Romance Romance, Sisters Rosensweig, Torch Song Trilogy, and Zorba. She is a member of ATPAM (Association of Theatrical Press Agents and Managers) for which she serves on the Apprentice Committee, conducting seminars for ATPAM's training program. Ms. Frawley has also lectured
graduate students in the Yale School of Drama's MFA program for theater managers.
Michele Golden (Guest Artist) from Los Angeles, CA trained at the Joffrey Ballet School and The Pacific Northwest Ballet. She received a B.A. from UCLA as a dance major. She is now living in New York where she appears with the New Jersey Ballet and other companies as a guest artist. This is her second year of The Harlem Nutcracker.
Stephanie Guiland (Dancer), after attending the Joffrey School, the Dance Theater of Harlem School and the Darvash School on scholarship, Stephanie graduated from the Fiorello H. LaGuardia High School of the Performing Arts in 1990. She has performed in such classics as Coppelia and Nutcracker, and on television in music videos with Lisa Stansfield, En Vogue and P.M. Dawn, and on Star Search. In 1994 she participated in the debut performance of Dwight Rhoden and Desmond Richardson's company, Complexions. She joined Donald ByrdThe Group in 1992 and has served as both a per?former and rehearsal assistant. She has gone on to acquire a certification in personal training and is taking part in The Harlem Nutcracker for her second year.
Betsy Herst (Stage Manager), is a California native, who received her training at California Institute of the Arts. She has since served as Production Stage ManagerLighting Designer for the Jazz Tap Ensemble, Technical Director Lighting Designer for the Department of Dance at Cal State UniversityLong Beach, and Production ManagerResident Lighting Designer for Dayton Ballet. She has been with The Group since September 1993.
Theresa Howard (Guest Artist) has excelled in various artistic mediums. A former mem?ber of the Dance Theater of Harlem, she has also worked in the commercial world of dance, both in the US and Europe. She has
appeared in international fashion magazines such as Vogue, Max, Weiner and Vibe. She had the opportunity to work with Donald Byrd in the NYC Opera's Cartnina Burana, in which she was a featured dancer. Ms. Howard has also written for the publica?tions One World and The Source Magazine and has recently co-authored The Lessons: A Black Woman's Guide to Relationships due out this spring.
Raymell Jamison (Dancer) studied dance, drama, music and visual art at Cleveland School of Performing Arts from fourth grade through high school graduation. In 1985, he received a scholarship to study at School of Cleveland Ballet. Mr. Jamison was also a schorlarship student at School of American Ballet and Alvin Ailey American Dance Center. He has since performed with The Julliard Dance Ensemble, Ballet Builders, and Creative Outlet Dance Theater of Brooklyn. Raymell received his B.F.A from The Julliard School in May of 1997 and is dancing with Donald ByrdThe Group for his first season.
Shelby Jiggetts (Dramaturg) is the Director of Play Development at The New York Shakespeare FestivalJoseph Papp Public Theater. Her most recent project was Bring in Da Noise, Bring in Da Funk (NYSF, Broadway). She is very proud to have been invited to participate in The Harlem Nutcracker.
Fabrice Lemire (Rehearsal Director) has worked as rehearsal director and assistant chroeographer for Donald Byrd in the United States and Europe. In addition he assisted the Ballet Master for the Jeune Ballet de France. Also an accomplished performer, he has appeared with numerous European and American modern and ballet companies.
Eleanor McCoy (Guest Artist) appeared on Broadway in Timbuktu and The Wiz, in vari?ous regional theatres, and on many television
shows. Ms. McCoy also worked as a private coach to such major celebrities as Michael Jackson, Chaka Khan, Donna Summers and Latoya Jackson. She is a graduate of Juilliard School of Music, has toured internationally with the Alvin Ailey American Dance Theatre, Pearl Lang Dance Company and was one of the original three ballerinas at the inception of The Dance Theatre of Harlem. Ms. McCoy is currently a freelance actress, and drama and dance teacher to the youth of Harlem.
Michael J. McDonald (Assistant Costume Designer) New York design credits include Atnahl and the Night Visitors for Lincoln Center, Fear and Misery in the Third Reich for Classic Stage Company and Tongues of Stone for New Georges. Regional credits include The Grapes of Wrath, Candide, St. Joan, Evita, Angels in America and Amedeus directed by J. Randall Hugill. Michael assist?ed on the Broadway and national companies of Blood Brothers and has designed for nine seasons at the Muhlenberg Summer Music Theatre Festival.
Freddie Moore (Guest Artist) was born in New Jersey and has performed with the Alvin Ailey Repertory, Donald ByrdThe Group, Forces of Nature, and Gallman's Newark Dance Company. His television credits include The Colored Museum direct?ed by George C. Wolfe, Opening Night with Robert La Prince, Alvin Ailey P.B.S. Arts and Entertainment documentaries. Freddie has tought dance throughout the US, Europe, South America, and the Caribbean. He is currently on faculty at the Alvin Ailey American Dance Center. His choreography has been performed both in Europe and the US. In 1993, he completed a national tour with the revival of the Broadway musical The Wiz. Along with Footprints, Mr. Moore is the artistic director of Hudson Repertory Dance Theater.
Benjamin Mordecai (Executive Producer) is Associate Dean of the Yale School of Drama where, in additon to teaching and chairing the school's graduate management program, he is responsible for long-range planning, development and alumni affairs. From 1982-1993, he was managing director of Yale Repertory Theatre. Mr. Mordecai is one of Broadway's most active producers. Previously he produced August Wilson's Seven Guitars and is this year presenting David Henry Hwang's Golden Child. Prior producing credits include Twilight: Los Angeles, 1992 and he was executive producer of Angels in America. He has also produced on Broadway Lanford Wilson's Redwood Curtain, and he was Associate Producer of The Kentucky Cycle. Mr. Mordecai transferred nine plays from Yale to Broadway including five plays by August Wilson (for The Piano Lesson and Two Trains Running, he was executive pro?ducer), A Walk in the Woods, Blood Knot and the renowned Eugene O'Neill Centenial productions of Long Day's Journey Into Night and Ah! Wilderness with Jason Robards and Colleen Dewhurst. All of Mr. Mordecai's New York productions have been nominated for the Tony Award; three have received this distinction and three of these plays also received the Pulitzer Prize.
Massimo Pacilli (Dancer) was born in Torino, Italy and trained at The Torino School of Arts. He appeared on television in Italy before relo?cating to New York in 1993. He has performed with Dance Compass, Alvin Ailey Repertory Ensemble, and Elisa Monte. This is his first season with Donald ByrdThe Group.
Elizabeth Parkinson (Dancer) was a principal dancer with The Joffrey Ballet and The Feld Ballets NY. She has appeared in two PBS "Dance in America" programs and in the national tours of Carousel and Singin in the Rain. Currently she is participating in the new Bob Fosse project with Chet Walker and Gwen Verdon. Elizabeth has previously
appeared as a guest artist in The Minstrel Show, Life Situations, The Beast and The Harlem Nutcracker and has joined Donald ByrdThe Group full-time this season.
M. Asher Richelli (Company Manager) recently graduated from Yale University, where he was Vice-President and President of the Yale Dramatic Association. While at Yale, he produced more than fifteen shows, including Sweeney Todd: The Demon Barber of Fleet Street, Les Parents Terribles, and Suddenly, Last Summer. This past fall, he and his production company, SJR Prods., presented the first Off-Broadway revival of Lee Blessing's Fortinbras. Future productions include Gum by up-and-coming playwright Karen Hartman. Mr. Richelli is an associate at Benjamin Mordecai & Associates.
Laura Rossini (Dancer) started her dance training in Atlanta, Georgia with the late Pittman Corry. She continued with Patricia Bromley and Gary Harrison before accept?ing a scholarship at Alvin Ailey American Dance Center in NYC. She toured nationally with Alvin Ailey Repertory Ensemble and has worked with Contemporary Motions, Footprints Project, and Deja Vu Dance Company. She joined Donald ByrdThe Group in 1993.
Karen Savage (Guest Artist) is a native of Philadelphia, PA and a graduate of Adelphi University in Long Island, NY. Ms. Savage worked with Joseph Holmes Chicago Dance Theatre, Philadelphia Dance Company and, last year, was also a guest dancer in The Harlem Nutcracker last year. Ms. Savage has worked with numerous choreographers such as Milton Myers, George Faison, Louis Johnson and John Caraffe.
Isaiah Sheffer (Lyricist) is a founder and Artistic Director of Symphony Space in NYC, where his duties include directing the hit literary series, Selected Shorts: A celebra-
tion of the Short Story. He has directed stage productions at such theatres as Yale Rep and The American Place Theatre. His most recent writing efforts for screen and stage include: Millennium, The Rise of David Levinsky, the screenplay of the short feature film Pair of Jokers, and Yiddle with a Fiddle. His new play, Demons and Dreamers: The Worlds of Isaac Bashevis Singer, will open in New York in 1997 after a national tour. A musical revue he has written about doctors and patients, The Doctor Will See You Now, will have its premiere at The Mayo Clinic in Minnesota in 1997.
Eduardo V. Sicangco (Scenic Designer) has previously designed two traditional versions of The Nutcracker for Ballet Florida and Ballet Philippines. New York credits include Gentleman Prefer Blondes on Broadway, The Spring Spectacular at Radio City Music Hall, The Gershwin Celebration for BAM and PBS, Cavalleria RusticanaPagliacci and Carmen for New York City Opera and the Off-Broadway productions of Das Barbecu, From the Mississippi Delta and Splendora. Regional credits include the world premieres of the KopitYeston Phantom in Houston, Duke Ellington's Queenie Pie at the Kennedy Center, Babes in Toyland for Houston Grand Opera, The Wizard ofOz for the Ordwy Music Theater and the Virginia Opera pro?ductions of Manon, La Traviata and The 'Not' Mikado. Other regional companies he has designed for include Hartford Stage, Goodspeed Opera House, McCarter Theater, Seattle Rep, Bay Street Theater, Cincinnati Playhouse, Center Stage, George Street Playhouse, and Chautauqua Opera. He holds the position of Master Teacher of Design at New York University's Tisch School of the Arts.
Gus Solomons jr (Guest Artist) dances, makes dances (Solomons CompanyDance and others), teaches dance (NYU Tisch, et. al.), critiques dance (Village Voice, Dance Magazine, etc.), loves pockets, puzzles and
buildings (architecture degree from M.I.T.), and danced in the companies of Pearl Lang, Donald McKayle, Martha Graham, and Merce Cunningham. In addition, Mr. Solomons serves frequently as an adjudicator and dance panelist for various state arts councils, artistic advisory boards, and private foundations.
Leonora Stapleton (Dancer) was born in Leeds, England and trained at London Contemporary Dance School. She came to New York in 1985 and received a scholarship to Alvin Ailey American Dance Center. She has performed with Blue Mercury Dance Company, Manuel Alum, Anti-Gravity, Jubilation Dance Company, the Dance Theater of Harlem Ensemble, Ethos Dance Company and Footprints Project. She joined Donald ByrdThe Group in January 1992.
Nancy Thun (Associate Scenic Design) has designed sets and costumes for theatre, tele?vision, opera, and ice-shows from coast to coast and from Korea to Santo Domingo. On Broadway, she designed the scenery for Red Buttons on Broadway and served as Associate Designer for Joseph and the Amazing Technicolor Dreamcoat. Additional productions of Joseph include Germany and the tours of US, England, and New Zeland. A graduate of the Yale School of Drama, she has designed three seasons for the Santa Fe Opera and was an Emmy-nominated designer for NBC's Another World. Other work for television includes As the World Turns, The Guiding Light, and the pilot for Rewind, a PBS children's program. Ms. Thun has also designed Off-Broadway and such regional companies as American Repertory Theatre, Virginia Stage, and Philadelphia Theatre Company. Past projects include everything from Resident Designer for Hershey Park to designs for The Panda Party at the Bronx Zoo.
Nathan Trice (Guest Artist) out of Detroit, MI studied at The Alvin Ailey American Dance Center from 1991-93. Since then he has worked with Momix Dance Company and Complexions-A Concept in Dance, Joseph Homes Dance Company and Donald Byrd The Group.
Wendy White (Guest Artist), a native of Montgomery, Alabama, received her training from the Alabama Dance Theatre and the Carver Creative and Performing Arts Center Magnet School. A 1994 Presidential Scholar in the Arts, Wendy performed with the Alvin Ailey Repertory Ensemble during their 1995-96 season.
Daniel S. Wilkins (Guest Artist) graduated School of American Ballet performing prin?ciple roles in Agon, Gounoud Symphony, and Dance Concertante at Lincoln Center. He then went on to Pittsburgh Ballet Theatre staying two years as a member of the corps de ballet. Returning to New York City, he accepted a contract with Donald ByrdThe Group. He danced with DBTG for a year and then went on to dance as a principal on the Brazilian tour of Complexions and as a guest dancer in the New York City Opera premiere of Donald Byrd's produc?tion of Carmina Burana. Also, with the New York City Opera, he has performed the role of Matador in La Traviata. Daniel is the principal dancer in The Outlaws and has both choreographed and performs in the plays Social Notes on Dorothy Parker at the Algonquin Hotel and Good People.
The Detroit Public Schools' Dance Program
has been going strong for over fifty years. It was started in 1925 by Prudentia Huffman Carty, Ruth Lovell Murray, and Delia P. Hussey who wanted to develop creative experiences for students. They each had studied with Gertrude Colby, a proponent of "natural dancing" at Columbia Dancing and some of the modern dance pioneers:
Martha Graham, Charles Weidman, Doris Humphrey, and Bird Larson.
Today, the Detroit Public Schools' Dance program exists in every level of edu?cation. The dance program is nationally rec?ognized as unique and significant. Most of the dance teachers are specialists. There is a special facility, usually a modern studio, provided at the majority of the schools. Of the twenty-two high schools, twenty have dance classes. Most of the classes are still under the aegis of the Physical Education Department, but three are identified with the Performing Arts Department. Students have the opportunity to choreograph, perform, and take master lessons from professional artists. The University Musical Society is honored to have collaborated with the adminstration, teachers and students of the Detroit Public Schools' Dance Program on The Harlem Nutcracker residency. Their spirit, energy and talent propel the excellence of this production to the highest standard of the performing arts.
The Harlem Nutcracker Band is composed of some of the finest jazz musicians from Metro Detroit and New York. The combined work of these musicians has encompassed all areas of the jazz spectrum and many also perform with symphony orchestras and with theatrical productions. Their perfor?mances have been heard in local, national and international venues. The musicians assembled for these performances can be heard on a wide variety of recordings and have received numerous professional awards.
The Harlem Nutcracker Band
Jerome Richardson, Reeds
Vincent York, Reeds
Peter Kahn, Reeds
Mark Hynes, Reeds
Beans Bowles, Reeds
Marcus Belgrave, Trumpet
Dwight Adams, Trumpet
Rayse Biggs, Trumpet
Maurice Davis, Trumpet
Ed Gooch, Trombone
Albert Dunkan, Trombone
Ronald Kischuk, Trombone
Isaac ben Ayala, Piano
Chuck Israels, Bass
Jimmy Madison, Drums
Staff for The Harlem Nutcracker
Music DirectorConductor Scenic Design Costume Design Lighting Design Sound Design General Manager Production Supervisor Production Stage Manager Lyricist Technical Supervisors
Company Manager Associate Scenic Design Associate Costume Design Rehearsal Director Props Designers Dramaturg
Stage Manager Children's Director Rehearsal Pianists Head Carpenter Master Electrician Magic Consultant Asst. Lighting Design Asst. Costume Designer Wardrobe Supervisor
Asst. Head CarpenterFlyman
Asst. Master Electrician Asst. Wardrobe Supervisor Property Supervisor Nutcracker Designer Legal Services
Accounting Services Travel Agent
Benjamin Mordecai &
Associates Benjamin Mordecai Kathryn Frawley David Berger Eduardo Sicangco Gabriel Berry Jack Mehler Jim Van Bergen Kathryn Frawley Gene O'Donovan Betsy Hearst Isaiah Sheffer Gene O'Donovan, Laura Brown, Abigail Koreto M. Asher Richelli Nancy Thun Leslie Bernstein Fabrice Lemire Steven Capone, Nora Pozos Mona Heinze-Barrecca,
Shelby Jiggetts Sheila Paule Stefan Lingenfelter Isaac ben Ayala Mike Kerns Ron Schwyer Mike Makman Kenneth L. Schutz Michael McDonald Loretta Bussen
Jeff Rossomando Zinda Williams Kevin Sosbee Sally Plass Barry I. Slotnick, Esq.,
Richards & O'Neil, LLP Ann FitzRoy, Rosenzweig &
Maffia Orin Adar, JMC Travel
Scenery built by Center Line Studios, Inc.; scenery painted by Michael Hagen, Inc.; costumes constructed by Paula Buchert, CostumesCouture, Costume Works, Rodney Gordon, Izquierdo Studios, Panzai Boutique, Studio, Studio Rouge; lighting equipment provided by BASH; sound equipment provided by GSD; trucking by Road Show Services Inc.; poster design by Eduardo Sicangco; graphics by Rebecca Lown Designs and Jonathan Corum. Rehearsed in part at Joyce SoHo under the auspices of the Harkness Space grant Program at Joyce SoHo.
Special thanks to Christopher Darling, Bill Easterby, Lawrence Frances, Roger M. Gray, Shelly Gray, Michael Hagen, Janine King and Michael BradleyArtists Community Federal Credit Union, Donna Langman, Mark Malamud, Liz Perlman, Don Stern, Sarah Timberlake, The Fund for the City of New York, Rosi Zingales.
The Donald Byrd Dance Foundation, Inc. Board of Directors
Donald Byrd, President Caroline Cronson, Chair
Arnoldo Caballero Marilynn Donini Linda D. Gray Caroline Sharp
Clarence Clark Cheryl D. Fells, Esq. Alberto Paciucci Dr. James Spratley
Donald ByrdThe Group Staff: Donald Byrd, Artistic Director; Betsy Herst, Production Stage Manager; Patricia R. Klausner, General Manager; David Paley, Company Manager; Andrea Star Reese, Videographer; Manuel R. Rodriguez, Development Director; David H. Rosenburg, Technical Director; Tania Varela-Ibarra, Administrative Assistant
Donald ByrdThe Group is supported in part by public funds from the National Endowment for the Arts, New York State Council on the Arts, New York City's Department of Cultural Affairs and the DCA Cultural Challenge Program.
Additional support is provided by AT&T, Evelyn Sharp Foundation, The Fund for US Artists at International Festivals and Exhibitions, The Harkness Foundations for Dance, Jerome Foundation, Lila Acheson Wallace Theater Fund at Community Funds, Inc., Mid-Atlantic Arts Foundation, New York Community Trust, Philip Morris Companies Inc., and Robert Sterling Clark Foundation. Additional support provided by Andrea and Rita Reese.
The Donald Byrd Dance Foundation, Inc. is a not-for-profit organization and relies on the generosity of indi?viduals to make its programs possible. If you would like to make a contribution, or want additional information about the company and its upcoming activities please contact: Donald ByrdThe Group, 808 Union Street, Suite 3D, Brooklyn, NY 11215, (p) (718) 230-8826 and (0(718)622-9621.
Exclusive USA booking director for The Harlem Nutcracker provided by Benjamin Mordecai & Associates, New York, New York.
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.
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.
[n an effort to help reduce distracting noises ind enhance the concert-going experience, the Warner-Lambert Company provides compli?mentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a Lincoln Town Car to provide trans?portation for visiting artists.
Following last year's great success, the UMS Board o: Directors and Advisory Committee are hosting another series of Camerata Dinners before many of the season's great performances. After taking your pick of prime parking spaces, join friends and fellow UMS patrons in the beautiful setting of the Alumni Center, a site within a short walking distance of Hill Auditorium. Our buffet will be open from 6:00 to 7:30 p.m. and costs $25 per person. Make your reser?vations by calling 313.764.8489. UMS members receive reservation priority.
Thursday, October 9
Estonian Philharmonic Chamber Choir
Wednesday, November 19
Orpheus Chamber OrchestraRichard Goode, piano
Tuesday, December 2
Klezmer Summit featuring Itzhak Perlman
Saturday, January 10
Israel Philharmonic OrchestraZubin Mehta, conducts
Friday, February 6
St. Paul Chamber OrchestraEmanuel Ax, piano
Wednesday, February 11
Royal ConcertgebouwRiccardo Chailly, conductor
Tuesday, March 24
Russian National OrchestraGil Shaham, violin
Monday, April 13
Evgeny Kissin, piano
Friday, May 1
MET OrchestraSir Georg Solti, conductor
Dining Experiences to Savor: the Fourth Annual Delicious Experience:
Following three years of resounding success, wonder ful friends and supporters of the University Musical Society are again offering a unique donation by host ing a delectable variety of dining events. Throughou the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 313-936-6837 for more information and to receive a brochure.
Restaurant & Lodging Packages
Celebrate in style with dinner and a show, or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening. Add luxury accommodations to the package and make it a complete get away. The University Musical Society is pleased to announce their cooperative ventures with the following local establishments:
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 Man. Apr. 13 Evgeny Kissin, piano
Package price $52 per person (with tax & tip incorporated) includes: Guaranteed dinner reservations (select any item from the special package menu) and reserved "A" seats on the main floor at the performance for each guest.
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue, Ann Arbor
313.769.0653 for reservations
loin Ann Arbor's most theatrical host & hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes: two night's stay, breakfast, high tea and two priority reserved tickets to the performance.
rhe Bell Tower Hotel & Escoffier Restaurant
300 S. Thayer, Ann Arbor
313.769.3010 for reservations
Fine dining and elegant accommodations, along with priority icating to see some of the world's most distinguished performing irtists, add up to a perfect overnight holiday. Reserve space now or a European-style deluxe guest room within walking distance of he performance halls and downtown shopping, a special perfor-nancc dinner menu at the Escofficr restaurant located within the Jell Tower Hotel, and great seats to the show. Beat the winter lues in style!
n(. Dec. 6 Handel's Messiah
cri. Jan. 9 David Daniels, countertenor
at. Jan. 10 Israel Philharmonic Orchestra
cri. Jan. 30 Beethoven the Contemporary: American String Quartet
Fri Feb. 13 Juan-Jose Mosalini and His Grand Tango Orchestra
xil. Feb. 14 Chen Zimbalista, percussion
fri Feb. 20 Chick Corea, piano and Gary Burton, vibes
cri. 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 tte Lueia 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.
326 S. Main Street, Ann Arbor
313.663.5555 for reservations Thu. Oct. 16 Guitar Summit IV Fri. Nov. 7 Celia Cruz with Jost Alberto "El Canario" Thu. Dec. II The Harlem Nutcracker Sun. Jan. 18 Boys Choir of Harlem Thu. Feb. 19 Petersen Quartet Thu. Mar. 12 New York City Opera National Company
Donizetti's Daughter of the Regiment Fri. Apr. 3 STREB
Package price $45 per person includes: guaranteed reservations for a pre-show dinner (select any item from the menu plus a non?alcoholic beverage) and reserved "A" scats on the main floor at the performance.
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.
The DMS Card
The University Musical Society and the following businesses thank you for your generous UMS sup?port by providing you with discounted products and services. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Art Center Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc.
of Ann Arbor Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest lacques
John Leidy Shop Kerrytown Bistro King's Keyboard House
Michigan Car Services,
Inc. and Airport
Sedan, LTD Paesano's Perfectly Seasoned Regrets Only Ritz Camera One Hour
SKR Classical Schoolkids Records Shaman Drum Bookshop Zingerman's
The UMS card entitles you to 10 off your ticket purchases at seventeen other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS box office for more information.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsor?ing of UMS performances will enable you to reach 125,000 of southeastern Michigan's most loyal con?cert-goers.
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 313.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your invest?ment. For example, UMS offers you a range of pro?grams that, depending on level, provide a unique venue for:
Enhancing corporate image
Launching new products
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
William D Revelli
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.
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.
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.
Great performances -the best in music, theater and dance -are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of August 1, 1997. If there has been an error or omission, we apologize and would appreciate a call at 313.647.1178 so that we may make the correction right away.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
BURTON TOWER SOCIETY
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great tradi?tions of the Society in the future.
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
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
Carol and Irving Smokier
Mrs. M. Titiev
Paul and Elizabeth Yhouse
Ronald and Eileen Weiser
Detroit Edison Foundation
Ford Motor Credit Company
Ford Motor Company Fund
Forest Health Services Corporation
JPEincThe Paideia Foundation
The Edward Surovell Co.Realtors
University of Michigan -
University Relations Parke-Davis Pharmaceutical
Research Wolverine Temporaries, Inc.
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
National Endowment for the Arts New England Foundation for
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
Mrs. John F. Ullrich
Marina and Robert Whitman
Beacon Investment Company
Curtin & Alf Violinmakers
First of America Bank
Thomas B. McMullen Company
Miller, Canfield, Paddock and
Stone, P.L.C. The Monroe Street Journal
O'Neal Construction Joe and Karen Koykka O'Neal
Project Management Associates
Foundations Chamber Music America Herrick Foundation
Individuals Robert and Martha Ause Maurice and Linda Binkow Barbara Everitt Bryant Dr. James Byrne Edwin F. Carlson Kathleen G. Charla Mr. Ralph Conger Katharine and Jon Cosovich Mr. and Mrs.
Thomas C. Evans Ken, Penny and Matt Fischer John and Esther Floyd Charles and Rita Gelman Sue and Carl Gingles Mercy and Stephen Kasle James N. Morgan John W. and Dorothy F. Reed Don & Judy Dow Rumelhart Maya Savarino and
Raymond Tanter Professor Thomas J. and
Ann Sneed Schriber Mrs. Francis V.Viola III
Corporations AAA of Michigan Butzel Long Attorneys Environmental Research Institute of Michigan Great Lakes Bancorp St. Joseph Mercy Hospital Waldenbooks
Foundations The Mosaic Foundation (of Rita and Peter Heydon)
Dr. and Mrs. Gerald Abrams
Professor and Mrs.
Gardner Ackley Dr. and Mrs.
Robert G. Aldrich Mr. and Mrs.
Max K. Aupperle Mr. and Mrs.
Arnold Aronoff Dr. Emily W. Bandera Bradford and Lydia Bates Raymond and
Janet Bernreuter loan A. Binkow Howard and
Margaret Bond Jeannine and
Robert Buchanan Lawrence and Valerie Bullcn Mr. and Mrs.
Richard J. Burstein Letitia J. Byrd Betty Byrne
lean and Kenneth Casey Pat and George Chatas Mr. and Mrs.
John Alden Clark David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Susan and Arnold Coran Dennis Dahlmann Peter and Susan Darrow Jack and Alice Dobson Jim and Patsy Donahey Jan and Gil Dorer Cheri and Dr.
Stewart Epstein Dr. and Mrs. S.M. Farhat David and
Jo-Anna Featherman Adrienne and
Robert Feldstein Ray and Patricia Fitzgerald Richard and Marie Flanagan Ilene H. Forsyth Michael and Sara Frank Margaret Fisher and
Arthur French Mr. Edward P. Frohlich Lourdes and Otto Gago Marilyn G. Gallatin Beverley and Gerson Geltner William and Ruth Gilkey
Drs. Sid Gilman and
Carol I'..u111 hii 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
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
3M Health Care
Ann Arbor Public Schools
Jacobson Stores Inc. Kantner and Associates Mechanical Dynamics Michigan Car Services and
Airport Sedan, LTD
4 2 Principals, continued
Michigan National Bank Pepper, Hamilton & Scheetz Riverview Lumber &
Building Supply Co., Inc. Shar Products Company Target
Foundations Washtenaw Council for
the Arts Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation
Jim and Barbara Adams
Bernard and Raquel Agranoff
M. Bernard Aidinoff
Dr. and Mrs. Peter Aliferis
Catherine S. Arcure
Robert L. Baird
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
Ron and Mimi Bogdasarian Charles and Linda Borgsdorf Jim Botsford and
Janice Stevens Botsford David and Tina Bowen Laurence Boxer, M.D. and
Grace J. Boxer, M.D. Dean Paul C. Boylan David and Sharon Brooks Phoebe R. Burt Kathleen and Dennis Cantwell Bruce and Jean Carlson Mrs. Raymond S. Chase Sigrid Christiansen and
Richard Levey Roland J. Cole and
Elsa Kircher Cole H. Richard Crane Alice B. Crawford William H. and
Linda J. Damon III Elizabeth Dexter Judy and Steve Dobson Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs.
Cameron B. Duncan Dr. and Mrs. John H. Edlund Mr. and Mrs.
Charles Eisendrath Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Mrs. Beth B. Fischer Robben and Sally Fleming Daniel R. Foley Phyllis W. Foster
Paula L. Bockenstedt and
David A. Fox
Dr. William and Beatrice Fox David J. Fugenschuh and
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 MacKrell
Ken Marblestone and
Mr. and Mrs. Damon L. Mark Hattie and Ted McOmber Walter and Ruth Mctzger 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
Ian Barney Newman Len and Nancy Niehoff Virginia and Gordon Nordby Marylen and Harold Oberman Dr. and Mrs.
Frederick C. O'Dell Mary R Parker William C. Parkinson Lorraine B. Phillips Mr. and Mrs. William ). 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 Inn 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
Dr. and Mrs. Jeofrrey K. Stross Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Joan Lowenstein and
Jonathan Trobe Herbert and Anne Upton Joyce A. Urba and
David J. Kinsella Don and Carol Van Curler Gregory and Annette Walker Dr. and Mrs.
Andrew S. Watson Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns Marcy and Scott Westerman
Mrs. Elizabeth Wilson Len and Maggie Wolin Frank E. Wolk Dr. and Mrs. Clyde Wu MaryGrace and Tom York
Corporations The Ann Arbor
District Library The Barfield CompanyBartech Coffee Express Co. General Systems Consulting
Group KeyBank Arbor Temporaries
Personnel Systems, Inc. Van Boven Shoes, Inc.
Foundations The Power Foundation Shiffman Foundation Trust
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
John and Susan Anderson
David and Katie Andrea
Harlenc and Henry Appelman
Mr. and Mrs. Arthur J. Ashe
Essel and Mcnakka Bailey
Julie and Bob Bailey
Lesli and Christopher Kill.ml
John and Betly Barfield
Norman E. Barnett
Dr. and Mrs. Mason Barr. Jr.
Leslie and Anita Bassett
Astrid B. Beck and
David Noel Freedman Neal Bedford and
Gcrlinda Melchiori Harry and Betty Bcnford P.E. Bennett
Ruth Ann and Stuart I. Bergstein Icrry and Lois Beznos lohn and Marge Biancke Ruth E. and Robert S. Bolton Roger and Polly Bookwaltcr C. Paul and Anna Y. Bradley Richard Brandt and
Karina Niemeyer Betsy and Ernest Bratcr Joel N. Brcgman and
Elaine S. Pomcranz Mr. and Mrs. Gerald Bright Mary o Brough June and Donald R. Brown Morton B. and Raya Brown Arthur and Alice Burks Edward and Mary Cady loannc Cage Jean W. Campbell Isabelle Carduner Jim and Priscilla Carlson
Professor Brice Carnahan
Marcball F. and Janice L Carr
leannette and Robert Carr
Janet and Bill Casscbaum
Andrew and Shelly Caughcy
Tsun and Niu Ying Chang
James S. Chen
Dr. Kyung and Young Cho
Janice A. Clark
Cynthia and Jeffrey Collon
Edward J. and Anne M. Comeau
James and Constance Cook
Lolagene C. Coombs
Mary K. Cordes
Alan and Bctte Cotzin
Merle and Mary Ann Crawford
William H. Damon III
Ed and Ellic Davidson
! .mini'. R. Davidson, M.D.
John and Jean Debbink
Elena and Nicholas Delbanco
Louis M. DeShantz
Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Cecilia and Allan Drcyfuss Martin and Rosalie Edwards Dr. Alan S. Eiscr loan and Emit Enget Don Faber
Dr. and Mrs. Stefan Fajans Dr. and Mrs. John A. Faulkner Dr. James F. Filgas Hcrschcl and Annette Fink Joseph J. Fitzsimmons Stephen and Suzanne Fleming Jennifer and Guillermo Florcs Ernest and Margot Fonthcim James and Anne Ford Wayne and Lynnette Forde Deborah and Ronald Freedman Harriet and Daniel Fusfeld 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. John and Renee M. Greden Dr. and Mrs. Lazar J. Greenfield Carlcton and Mary Lou Griffin Mark and Susan GritTin Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Margaret and Kenneth Guire Philip E. Guire Don P. Haefner and
Cynthia J. Stewart George N. Hall Marcia and Jack Hall Mrs. William Halstead
Michael C. and Deanna A. Hardy
M. C Harms
Dagny and Donald Harris
Clifford and Alice Hart
Kenneth and Icanne Heiningcr
luhii L. Hcnkel and
Jacqueline Stearns Bruce and Joyce Herbert Fred and Joyce Hershenson Herb and Dec Hildebrandt Louise Hodgson Dr. and Mrs. Ronald Holz )ohn and Lillian H. Home Linda Samuclson and Joel Howell Che G and Teresa Huang Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Robert B. Ingling Professor and Mrs.
John H. Jackson K. John Jarrett and
Patrick T. Sliwinski Wai lit1 and Janet Jeffries Mr. and Mrs. Donald L. Johnson Ellen C. Johnson Billie and Henry Johnson Kent and Mary Johnson Susan and Stevo Julius Steven R. Kalt and
Robert D. Hcercn Allyn and Sherri Kantor Anna M. Kaupcr David and Sally Kennedy Richard L. Kennedy Donald F. and Mary A. Kiel Rhca and Leslie Kish Paul Kissner, M.D. and
Dana Kissner, M.D. James and Jane Kister Dr. George Kleiber Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Barbara and Charles Krause Doris and Donald Kraushaar Konrad Rudolph and
Marie Kruger Thomas and Joy Kruger Henry and Alice Landau Marjoric Lansing Mr. and Mrs. Henry M. Lapcza Ted and Wendy Lawrence John and Theresa Lee Richard LeSucur Jody and Leo Lighthammer Leslie and Susan Loomans Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Jeffrey and Jane Mackie-Mason Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahlc Marcovitz Family Edwin and Catherine Marcus Gcraldinc and Sheldon Market Rhoda and William Martel Sally and Bill Martin Dr. and Mrs. Josip Matovinovic
4 4 Associates, continued
Mary and Chandler Matthews Mary Mazure and Andy Tampos Margaret E. McCarthy Mrs. Lester McCoy Kevin McDonagh and
Leslie Crofford Griff and Pat McDonald James and Kathleen McGauley Dcanna Relyea and
Piotr Michalowski Leo and Sally Micdler Jeanette and Jack 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 R Norlin Richard S. Nottingham Mr. and Mrs. James O'Neill Mark Ouimet and
Donna Hrozencik Donna D. Park Shirley and Ara Paul Dr. Owen Z. and Barbara Perlman Margaret D. and John Pctersen Frank and Nelly Petrock William and Barbara Pierce Frank and Sharon PignanelH Dr. and Mrs. Michael Pilepich Richard and Meryl Place
Donald and Evonne Plantinga Lana and Henry Pollack Stephen and Tina Pollock Cynthia and Roger Postmus Bill and Diana Pratt Larry and Ann Preuss Charleen Price Wallace Prince
Mr. and Mrs. Millard H. Pryor J. Thomas and Kathleen Pustell Uland and Elizabeth Quackenbush Michael and Helen Radock Homayoon Rahbari, M.D. Anthony L. Reffells and
Elaine A. Bennett Mr. and Mrs. Neil Ressler Constance Rinehart Mrs. Irving Rose Gay and George Rosenwald Jerome M. and Lee Ann Salle Michael Sarosi and
Kimm Skalitzky Sarosi Gary and Arlene Saxonhouse Dr. Albert J. and Jane L. Sayed David and Marcia Schmidt David E. and Monica N. Schteingart
Art and Mary Schuman Marvin and Harriet Selin Constance Sherman Dr. and Ms. Howard and
Aliza Shevrin George and Gladys Shirley
Edward and Marilyn Sichler
Scott and Joan Singer
John and Anne Griffin Sloan
Alene M. Smith
Carl and Jari Smith
Mrs. Robert W. Smith
Jorge and Nancy Solis
Dr. Elaine R. Soller
Lois and William Solomon
Mr. and Mrs. Edward Sopcak
Dr. Yoram and Eliana Sorokin
Juanita and Joseph Spallina
L. Grasselli Sprankle
Gus and Andrea Stager
Irving M. Stahl and
Pamela M. Rider Barbara and Michael Steer Dr. and Mrs. Alan Steiss Dr. and Mrs. Stanley Strasius Charlotte Sundelson Ms. Nina Swanson Brian and Lee Talbot Ronna and Kent Talcott Mary D. Teal Lois A. Theis Edwin J. Thomas Mr. and Mrs. W. Paul Tippett Kathleen Treciak Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Hugo and Karla Vandersypen lack and Marilyn van der Velde Michael L. Van Tassel William C. Vassell John and Maureen Voorhees Sally Wacker Ellen C. Wagner Warren Herb Wagner and
Florence S. Wagner Mr. and Mrs. Norman C. Wait Charles R. and Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mrs. Joan D. Weber Deborah Webster and
George Miller Harry C. White and
Esther R. Redmount Janet F. White Mrs. Clara G. Whiting Shirley M.Williams Thomas and Iva Wilson Marion T. Wirick Farris and Ann Womack Richard and Dixie Woods Mr. and Mrs. A. C Wooll 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
John R. Adams Tim and Leah Adams Michihiko and Hiroko Akiyama Michael and Suzan Alexander Mr. and Mrs. Gordon E. Allardyce Michael Allcmang James and Catherine Allen Christine Webb Alvey Augustine and Kathleen Amaru Mr. and Mrs. David Aminoff Dr. and Mrs. Charles T. Anderson Howard Ando and Jane Wilkinson Drs. lames and
Cathleen Culotta-Andonian Catherine M. Andrea T. L. Andresen
Dr. and Mrs. Dennis L. Angellis Elaine and Ralph Anthony fames Antosiak and Eda Wcddington 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 Kenncy lim and Patsy Auiler Eric M. and Nancy Auppcrle Erik U". and Linda Lee Austin Eugene and Charlenc Axelrod Shirley and Don Axon Jonathan and Marlcnc Ayers Virginia and lerald Bachman Prof, and Mrs. J. Albert Bailey Richard W. Bailey and
Julia Huttar Bailey Bill and Joann Baker Laurence R. Baker and
Barbara K. Baker Gary and Cheryl Balint Drs. Helena and Richard Balon Dr. and Mrs. Peter Banks Kate Barald and Douglas Jewett Barbara Barclay Rosalyn and Mel Barclay lohn R. Barcham Mr. and Mrs. David Barera Maria Kardas Barna Cyand Anne Barnes Robert and Sherri Barnes Laurie and Jeffrey Barnett Donald C. Barnette, Jr. Mark and Karla Bartholomy Dorothy W. Bauer R. T. Bauer (Kathleen Beck
Mr. and Mrs. Steven R. Beckert Marquita Bed way Dr. and Mrs. Richard Beil, Jr. Walter and Antje Bencnson Mercte and Erling Btondal Bengtsson Linda and Ronald Benson Mr. and Mrs. Ib Bcnt2cn-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg Mr. and Mrs. S.E. Berki L. S. Berlin
Abraham and Thelma Berman Gene and Kay Berrodin Andrew H. Berry, D.O.
lth.ir.it C. Bhush.ni
John and Laurie Birchler
William and Ilene Birge
Elizabeth S. Bishop
Art and Belty Blair
Ralph B. Blaster, Inc.
Marshall and Laurie Blondy
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. Borchardt
Gil and Mona Borlaza
Dr. and Mrs. David Bostian
Bob and Jan Bower
Dr. and Mrs. Ralph Bozell
Melvin W. and Ethel F. Brandt
Representative Liz and
Professor Enoch Brater Robert and Jacqueline Bree Professor and Mrs. Dale ?. Briggs Allen and Veronica Britton Olin L. Browder Linda Brown and Joel Goldberg Molly and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Phil Bucksbaum and Roberta Morris Trudy and Jonathan Bulklcy Dr. Frances E. Bull Robert and Carolyn Burack Sherry A. Byrnes Louis and Janet Callaway Susan and Oliver Cameron Mr. and Mrs. Robert Campbell Nancy Campbell-Jones Charles and Martha Cannell Dr. and Mrs. James E. Carpenter Jan and Steve Carpman Dennis B. and Margaret W. Carroll Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Kathran M.Chan Bill and Susan Chandler J. 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 Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke CofFcy 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
M.ui.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
Constance Crump and Jay Simrod
Mr. and Mrs. James 1. Crump, Jr.
John and Carolyn Rundell Culotta
Richard J. Cunningham
Mary R. and John G. Curtis
Jeffrey S. Cutter
R. K. and M. A. Daane
I iv and Millie Danielson
Jane and Gawaine Dart
Dr. and Mrs. Sunil Das
DarLinda and Robert Dascola
Dr. and Mrs. Charles Davenport
Mr. and Mrs. Arthur W. Davidge
Mr. and Mrs. Roy C. Davis
David and Kay Dawson
Mr. and Mrs. Kenneth Dec
Joe and Nan Decker
Dr. and Mrs. Raymond F. Decker
Rossanna and George DeGrood
Peter H. deLoof and Sara A. fiassett
Lloyd and Genie Dcthloff
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
Dick and lane Dorr
Prof William Gould Dow
Mr. Thomas Downs
Paul Drake and Joyce Penner
Roland and Diane Drayson
Harry M. and Norrenc M. Dreffs John Dryden and Diana Raimi Paul E. Duffy and
Marilyn L. Wheaton Edmund and Mary Durfee John W. Durstine Gloria Dykhouse George C. and Roberta R. Earl Elaine Economou and Patrick Conlin Mr. and Mrs. Richard Edgar Mr. and Mrs. John R. Edman Sara and Morgan Edwards David A. Eklund Judge and Mrs. S. J. Eldcn Sol and Judith Elkin Ethel and Sheldon Ellis James Ellis and )ean Lawton Mrs. Genevieve Ely Mackenzie and Marcia Endo Jim and Sandy Eng David and Lynn Engelbert Mark and Patricia Enns Carolyne and Jerry Epstein Stephen H. Epstein Mr. and Mrs. Frederick A. Erb Dorothy and Donald F. Eschman James and Mary Helen Eschman Eric and Caroline Ethington Barbara Evans Adcle Ewell
Mr. and Mrs. Robert B. Fair, (r. Mark and Karen Falahec Elly and Harvey Falit Richard and Shelley Farkas Mr. and Mrs. H. W. Farrington, Jr. Inka and David Fclbeck Reno and Nancy Feldkamp Phil and Phyllis Fell in Ruth Ficgel Carol Finerman Clay Finkbeiner C. Peter and Bev A. Fischer Lydia H. Fischer Patricia A. Fischer
Eileen and Andrew Fisher Dr. and Mrs. Richard L. Fisher Susan R. Fisher and John W. Waidlcy Winifred Fisher lames and Barbara Fitzgerald Linda and Thomas Fitzgerald David and Ann Flucke Scott and Janet Fogler Mr. and Mrs. George W. Ford ? Susan Goldsmith and Spencer Ford Bob and Terry Foster Ronald Frackcr Tom Franks, Jr. Lucia and Doug Frecth Richard and (oann Freethy Andrew and Deirdre Freiberg Otto W. and Helga B. Frcitag Jiuiiiu and Richard Friedman Gail Frames Philip And Renee Frost Lela I. Fuester
Ken and Mary Ann Gaertner Ari and liana Gafni Walter and Heidi Gage Jane Galantowicz Thomas H. Galantowicz Arthur Gallagher Mrs. Shirley H. Garland Del and Louise Garrison Janet and Charles Garvin Drs. Steve Geiringer and Karen Bantel Ina Hanel-Gerdenich Michael Gerstenbergcr W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Gennc and Allan Gibbard lames and Cathie Gibson
Paul and Suzanne Gikas
Peter and Roberta Gluck
Mr. and Mrs. Edward W. Godsalve
Albert L Goldberg
Dr. and Mrs. Edward Goldberg
Ed and Mona Goldman
Irwin I. Goldstein and Marty Mayo
Mrs. Eszter Gombosi
Mitch and Barb Goodkin
Selma and Albert Gorlin
William and lean Gosling
Naomi Gottlieb and
Theodore Harrison, D.O.S. Siri Gottlieb Michael I. Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Dr. William H. and Maryanna Graves Whit and Svea Gray Alan Green and Mary 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 loseph and Gloria Gurt Margaret Gutowski and
4 6 Advocates, continued
Caroline and Roger Hackctt
Helen C. Hall
Harry L and Mary L Hallock
Sarah I. Hamckc
Mrs. Frederick G. Hammitt
Dora E. Hampel
11 iimlcs S. Bastos Hansen
Herb and Claudia Harjes
Stephen G. and Mary Anna Harper
Mr. and Mrs. Randy I. Harris
Robert and lean Harris
Robert and Susan Harris
M. Jean Harter
Jerome P. Hartweg
Elizabeth C. Hassinen
Harlan and Anne Vance Hatcher
James B. and Roberta Hausc
Jcannine and Gary Hayden
Dr. Lucy K. Hayden
Mr. and Mrs. Edward ). Hayes
Charles S. Heard
Bob and Lucia Hcinold
Mrs. Miriam Heins
Margaret and Walter Helmreich
Karl Hcnkcl and Phyllis Mann
Dr. and Mrs. Keith S. Henley
Margaret Martin Hcrmcl
C.C. Hcrrington, M.D.
Carl and Charlcne Hcrstein
Charles W. Fisher and
Elfrieda H. Hiebert Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Jacques Hochglaube, M.D., P.C. Jane and Dick Hocrner Anne HofT and George Villec Bob and Fran Hoffman Carol and Dieter Hohnkc Dr. Carol E. Holdcn and
Mr. Kurt Zimmcr John and Donna Hollowell Arthur G. Horner, Jr. Dave and Susan Horvath George M. Houchcns and
Caroline Richardson Dr. and Mrs. Joseph A. Houlc Fred and Betty House Jim and Wendy Fisher House Dr. and Mrs. Jeffrey Housner Hclga Hover
Drs. Richard and Diane Howlin Mrs.V.CHubbs Charles T. Hudson Harry and Ruth Huff Mr. and Mrs. William Hufford Joanne W. Hulce Ann D. Hungcrman DuaneV. Hunt Diane Hunter and Bill Zieglcr (cwcl and John C. Hunter Mr. and Mrs. David Hunting Russell and Norma Hurst Eileen and Saul Hymans Edward Ingraham Margaret and Eugene Ingram Ann K. Irish Perry Irish Carol and John Isles Morito Ito Judith G. Jackson Manuel and Joan Jacobs Harold and lean facobson Professor and Mrs. Jerome Jclinek James and Elaine Jensen Keith Jensen liiAini J. Jcromin Paul and Olga Johnson Tim and )o Wiese Johnson Constance 1. Jones
Dr. Marilyn S. Jones lohn and Linda K. Jonidcs Stephen G. Josephson and
Sally C. Fink Tom and Marie luster Mary Kalmes and Larry Friedman Dr. and Mrs. Mark S. Kaminski Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L Kaplin Thomas and Rosalie Karunas Bob and Alsuko Kashino Alex F. and Phyllis A. Kato Martin and Helen Katz Maxinc and David Katz Nick and Meral Kazan lanice Keller
James A. Kelly and Mariam C Noland John B. Kennard Frank and Patricia Kennedy William and Betsy Kincaid Eva J. Kinney Dr. David E. and
Heidi Castlcman Klein Shira and Steve Klein Drs. Peter and Judith Kleinman Sharon L. Knight Rosalie and Ron Kocnig Dr. and Mrs. Mel Korobkin Dimiiri and Suzanne Kosachcff Edward and Marguerite Kowaleski Richard and Brcnda Krachenbcrg Jean and Dick Kraft David and Martha Krehbiel William J. Bucci and Janet Krciling William G. Kring Alan and lean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs. lames Labcs
Mr. and Mrs. John Laird
Mr. and Mrs. Seymour Lampert
Patricia M. Lang
Lome L. Langlois
Carl and Ann La Rue
Ms. Jill 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
Margaret E. Leslie
David E. Levinc
Mr. and Mrs. Harry Levinc, III
Deborah S. Lewis
Donald and Carolyn Dana Lewis
Jacqueline H. Lewis
Thomas and Judy Lewis
Lawrence B. Lindemcr
Mr. Ronald A. Lindroth
Rod and Robin Little
Vi-Chcng and Hsi-Yen Liu
Jackie K. Livesay
Louis Locb and Tully Lyons
Naomi E. Lohr
Dan and Kay Long
Mr. and Mrs. Richard S. Lord
Joann Fawn Love
Donna and Paul Lowry
Ross E. Luckc
Pamela and Robert Ludotph
Donald and Doni Lystra
Susan ?. Macias
Geoffrey and Janet Maher
Suzanne and lay Mahler
Deborah Malamud and Neal Plotkin
Claire and Richard Malvin
Melvin and lean Manis
Gcraldinc and Sheldon Market
Professor Howard Market
Lee and Greg Marks
Alice and Bob Marks
Ann W. Martin
lames E. and Barbara Martin
Rebecca Martin and lames Grieve
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 McKcachic Fred McKenzie Margaret B. McKinley Daniel and Madclyn McMurtrie Nancy and Robert Meader Anthony and Barbara Mcdciros Samuel and Alice Meisels Robert and Doris Melting Mr. and Mrs. Warren A. Merchant Debbie and Bob Merion Bernice and Herman Merte Russ and Brigette Merz Henry D. Messer Carl A. House John and Fei Fci Metzler Ms. Anna Mcyendorff Professor and Mrs. Donald Meyer Valerie Meyer Shirley and Bill Meyers Dr. William P. Mies Dr. and Mrs. William M. Mikkclscn Carmen and lack Miller Dr. Robert R. Miller Kathleen and lames Mitchiner Mr. and Mrs. William G. Moller, Jr. Jim and Jeanne Montic Lester and Jeanne Monts Rosalie E. Moore Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Dr. and Mrs. George W. Morley Paul and Terry Morris Mclinda and Bob Morris Robert C. Morrow Brian and Jacqueline Morton Cyril and Rona Moscow James and Sally Mueller Gavin Eadic and Barbara Murphy Laura and Charles Musil Dr. and Mrs. Gundcr A. Myran Linda M. Nadeau Rosemaric Nagel Isabelle Nash Mr. and Mrs. Homer Neal Randy and Margaret Nesse Susan and Jim Newton John and Ann Nicklas Mrs. Marvin Niehuss Shinobu Niga Susan and Richard Nisbett Laura Nitzbcrg and Thomas Carli Virginia and Clare North John and Lexa O'Brien Patricia O'Connor
Richard and Joyce 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 1. Opcrhall
Dr. Jon Oschcrwitz
Lillian G. Ostrand
Julie and Dave Owens
Penny and Steve Papadopoulos
Michael P. Parin
Evans and Charlenc Parrott
Mr. and Mrs. Brian P. Patchen
Mr. and Mrs. Ronald ). Patterson
Robert and Arlenc Paup
Hon. Steven and lanct Pepe
Susan A. Perry
Doris I. Pcrsyn
Ann Marie Petach
James L. and Julie Phelps
Joyce and Daniel Phillips
Joseph W. Phillips
Mr. and Mrs. Frederick R. Pickard
Robert and Mary Ann Pierce
Roy and Winnifred Pierce
Dr. and Mrs. James Pikulski
Robert and Mary Pratt
Jacob M. Price
Bradley and Susan Pritts
Mr. and Mrs. Mitchell Radcliff
Patricia Randle and James Eng
Alfred and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Douglas J. Rasmussen
Mr. and Mrs. Robert H. Rasmusscn
Kathcrine R. Reebel
Stanislav and Dorothy R. Rchak
JoAnne C. Reuss
H. Robert and Kristin Reynolds
John and Nancy Reynolds
Ms. Donna Rhodes
James and Helen Richards
Mrs. F.E. Richart (Betty)
Dennis and Rita Ringle
John and Marilyn Rintamaki
Mary Ann Ritter
Kathleen Roelofs Roberts
Peter and Shirley Roberts
Dave and Joan Robinson
Janet K. Robinson, Ph.D.
Richard C. Rockwell
Mary Ann and Willard Rodgcrs
Marilyn L. Rodzik
Mr. and Mrs. Stephen J. Rogers
Mary F. Loefflcr and
Richard K. Rohrcr Yelena and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Bernard and Barbara Rosen Drs. Stephen Rosenblum and
Richard Z. and Edie VV. Roscnfcld Marilynn M. Rosenthal 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. Jagneswar Saha Arnold Sameroflf and
Miriam S. Joffc Samson
Ina and Terry Sandalow
John and Reda Santinga
IUk;,i and loehen Schacht
Lawrence and Marilyn Schlack
Courtland and Inga Schmidt
Charlcnc and Carl Schmult, Jr.
Gerald and Sharon Schreiber
Albert and Susan Schultz
Ailecn M. Schulze
Drs. R. R. Lavelle and M. S. Schuster
Alan S. and Sandra Schwartz
Ed and Sheila Schwartz
fane and Fred Schwarz
Jonathan Brombcrg and
Barbara Scott David and Darlenc Scovcll Michael and Laura Seagram )ohn and Carole Segall Sylvia and Leonard Scgel Richard A. Scid Suzanne Sclig Gcrda Scligson
Stan and Judalyn Greer Seling Ms. Janet Sell
Louis and Sherry L. Scnunas George H. and Mary M. Sexton Dr. and Mrs. J. N. Shanbergc Matthew Shapiro and
Susan Garetz, M.D. David and Elvcra Shappirio Maurice and Lorraine Shcppard Rev. William I. Sherzer Cynthia Shevel Drs. Jean and Thomas Shope Hollis and Martha Showalter Pam and Ted Shall Ned Shure and Jan Ondcr John and Arlenc Shy Dr. Bruce M. Siegan Milton and Gloria Siegel Drs. Dorit Adler and Terry Silver Alid.i and Gene Silverman Costella Simmons-Winbush Sandy and Dick Simon Frances U. and Scott K. Simonds Michael and Maria Simonte Robert and Elaine Sims Donald and Susan Sinta Mrs. Lorctta M. Skewes Inn.i f. Sklenar Beverly N. Slater John W. Smillie, M.D. Dr. and Mrs. Michael W. Smith Susan M. Smith Virginia B. Smith
Richard Soblc and Barbara Kessler Richard and Julie Sohnly James A. Somers Mina Diver Sonda Mrs. Herbert W. Spcndlove (Anne) JefTSpindler Edmund Sprungcr Francyne Stacey
Samuel T. and Randy Dean Stahl David and Ann Staiger Carcn Stalburg, M.D. Betty and Harold Stark Dr. and Mrs. William C. Stcbbins Bert and Vickie Steck Ron and Kay Stefanski Virginia and Eric Stein William and Gcorgine Stende Barbara and Bruce Stevenson Harold and Nancy Stevenson Steve and Gayle Stewart John and Beryl Stimson Mr. James L. Stoddard Robert and Shelly Stoler
W. F. Stolper
Anjancttc M. Stoltz, M.D.
Ellen M. Strand and Dennis C. Regan
Ailcen and Clinton Stroebcl
Mrs. William H. Stubbins
Valeric Y. Suslow
Peg Talburtt and Jim Pcggs
tim and Sally l.nnin
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Eva and Sam Taylor
Leslie and Thomas Tentler
George and Mary Tcwksbury
Gauri Thergaonkar and Giri Iyengar
Betie M. Thompson
Mrs. Peggy Ticman
Mr. Andrew Tomasch
Dr. and Mrs. Merlin C. Townlcy
lames W. Toy
Angie and Bob Trinka
Kenneth and Sandra Trosien
Luke and Merling Tsai
Marilyn Tsao and Steve Gao
[eff and Lisa Tulin-Silver
fan and Nub Turner
Dolores J. Turner
Dr. Hazel M. Turner
William H. and Gerilyn K. Turner
Michael and Nancy Udow
Aivan and Katharine Uhle
Paul and Fredda Unangst
Mary L. Unterburger
Dr. and Mrs. Samuel C. Ursu
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Fred and Carole S. Van Reesema
Kate and Chris Vaughan
Sy and Florence Veniar
Alice and Joseph Vining
Carolyn and Jerry Voight
John and lane S. Voorhorst
Wendy L. Wahl, M.D. and
William Lee, M.D. Jerry Walden and Julia Tiplady Richard and Mary Walker Bruce and Raven Wallace Mr. and Mrs. Chip Warrick Lorraine Nadclman and
Sidney Warschausky Ruth and Chuck Watts Robin and Harvey Wax Barry and Sybil Wayburn Edward C. Weber Joan M. Weber
Leone Buyse and Michael Webster Jack and Jerry Weidcnbach Donna G. Weisman Barbara Weiss Lisa and Steve Weiss Carol Campbell Welsch and
Rosemary and David Wcscnberg Mr. and Mrs. Peter Westcn Tim and Mim Wcstcrdale Ken and Cherry Wcsterman Susan and Peter Westerman Marjoric Westphal Ruth and Gilbert Whitaker B. Joseph and Mary While Iris and Fred Whitchousc Mr. and Mrs. Nathaniel Whiteside Mr. and Mrs. Carl A. Widmann Christina and William Wilcox
Brymer and Ruth Williams
Reverend Francis E. Williams
Shelly F. Williams
Beverly and Hadley Wine
fan and Sarajanc Winkclman
Beth and l.W.Winslen
Dr. and Mrs. Lawrence D. Wise
Charles Witkc and Ailecn GtttCTl
Jeffrey and Linda Witzburg
Patricia and Rodger Wolff
Dr. and Mrs. Ira S. Wollner
Muriel and Dick Wong
Nancy and Victor Wong
J. D. Woods
Charles R. and lean L. Wright
David and April Wright
Mr. and Mrs. R. A. Yaglc
Sandra and Jonathan Yobbagy
Frank O. Youkstclter
James P. Young
Mr. John G. Young
Ann and Ralph Youngren
Dr. and Mrs. JoeH.Yun
Mr. and Mrs. EL. Zcislcr
Peter and Teresa Ziolkowski
David S. and Susan H. Zurvalcc
Garris, Garris, Garris &
Garris Law Office Loomis, Sayles and Co. L.P. Organizational Designs Inc. Alice Simsar Fine Art, Inc. University Bank
Alan and Marianne Schwartz-The Shapero Foundation
MEMORIALS John H. Bryant Mary Crawford George R. Hunsche Alexander Krezel, Sr. Katherinc Mabarak Frederick C. Matthaei, Sr. Steffi Reiss Ralph L Steffek William Swank Charles R. Tieman lohn F. Ullrich Francis Viola III Carl H. Wilmot Peter Holderness Woods
Barbara Everitt Bryant
David G. Loesel, Cafe Marie
Katy and Tony Derezinski
Dough Boys Bakery
Espresso Royale Caffes
Damian and Katherine Farrell
Guillermo and Jennifer Flores
Matthew and Kerry Hoffmann
Kay and Tom Huntzicker
Craig L. Kruman
Don and Gerri Lewis
Susan and Richard Nisbctt
(ohn and Cynthia Nixon
Mary and Bill Palmer
Maggie Long, Perfectly
Richard and Susan Rogel
Ann and Tom Schriber
Aliza and Howard Shevrin
Dr. Herbert Sloan
Nat Lacy and Ed Surovell
Warner Electric Atlantic
Ron and Eileen Weiser
28 Ann Arbor Acura
48 Ann Arbor Commerce Bank
38 Ann Arbor Reproductive
32 Ann Arbor Symphony
8 Bank of Ann Arbor 3 Beacon Investment
29 Bodman, Longlcy, and
34 Butzel Long 37 Cafe Marie
39 Charles Reinhart Company 44 Chelsea Community
Chris Triola Gallery
David Smith Photography
The Dental Advisor
Dough Boys Bakery
Edward Surovell Co.Realtors
Emerson School 47 ERIM
15 Fraleighs Landscape Nursery 18 General Motors Corporation 26 Glacier Hills 50 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,
Mir's Oriental Rugs Mundus and Mundus NBD Bank Nina Howard Studio Performance Network Red HawkZanzibar
37 Regrets Only
39 Reinhart Realtors
42 Schwartz Investment Council, Inc.
17 SKR Classical
15 Sweet Lorraine's
34 Sweetwaters Cafe
45 Ufer and Company
50 U-M Matthaei Botanical
U-M Vocal Health Center University Productions Van Boven Shoes WDET WEMU
Whole Foods Market WUOM