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UMS Concert Program, Friday Jan. 09 To 18: University Musical Society: 1997-1998 Winter - Friday Jan. 09 To 18 --

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

of the
Un iversity of Michigan, Ann Arbor
The 1998 Winter 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. A member of Steve Turre's Shell Choir plays his conch shell as part of the Blues, Roots, Honks and Moans concert, mezzo-soprano Ewa Podlis performs in Hill Auditorium and dancers perform the snow scene from The Harlem Nutcracker at the Power Center.
4 Letter from the President
5 Corporate UnderwritersFoundations
9 UMS Board of DirectorsSenate
StaffAdvisory Committees
10 General Information
13 Ticket Services
14 UMS History
15 UMS Choral Union
16 Auditoria Burton Memorial Tower 20 Education and Audience Development 22 Season Listing
Concert Programs begin after page 26
28 Volunteer Information
30 Hungry
30 Restaurant & Lodging Packages
32 The UMS Card
32 Gift Certificates
34 Sponsorship and Advertising
37 Group Tickets
37 Advisory Committee
37 Acknowledgments
38 Ford Honors Program 40 UMS Contributors
49 UMS Membership
50 Advertiser Index
Dear Friend,
Thanks very much for attending this perfor?mance and for supporting the University Musical Society (UMS) by being a member of the audience. I'd like to invite you to become even more involved with UMS. There are many ways you can do this, and the rewards are great.
Educational Activities. This season UMS is hosting more than 150 performance-related educational events, nearly all of them free and open to the public. Want to learn from a member of the New York City Opera National Company what it's like to be on the road for four months, or find out from Beethoven scholar Steven Whiting why the composer's music, beloved by today's audi?ences, was reviled by many in Beethoven's own time Through our "Master of Arts" interview series, Performance-Related Educational Presentations (PREPs), post-per?formance chats with the artists, and a variety of other activities, I invite you to discover the answers to these and other questions and to deepen your understanding and appreciation of the performing arts.
UMS Choral Union. Does singing with an outstanding chorus appeal to you UMS' own 180-voice chorus, which performs annu?ally on the UMS series and as guest chorus with leading orchestras throughout the region, invites you to audition and to experience the joys of musicmaking with the wonderful 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 information kiosk in the lobby, serving on the UMS Advisory Committee, helping prepare our artists' welcome packets, offering your special talent to UMS, etc. -and joining the more than 500 people
who make up this absolutely critical part of the UMS family.
Group Activities. If you are a member of a service club, youth group, religious orga?nization, or any group that enjoys doing things together, I invite you to bring your group to a UMS event. There are terrific dis?counts and other benefits, not to mention the fun your group can have before, during, and after a UMS event.
UMS Membership. If you're not already a UMS member, I hope you'll consider becoming one. Not only do you receive the satisfaction of knowing that your financial support is helping us bring the world's best artists to our community, but there are numerous benefits to enjoy, including advance ticket purchase, invitations to special events, opportunities to meet artists, and more.
You can obtain further information about all of these opportunities throughout this pro?gram book and on our website ( You can also stop by the information kiosk 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 734.647.117'4, or send an e-mail message to
Kenneth C. Fischer President
Thank You, Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of local?ized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cornerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University
Musical Society.
F. Bruce Kulp
Chair, UMS Board of Directors
Sam Edwards
President, Beacon Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adven?turous, more enjoyable city."
L THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Carl A. Brauer, Jr.
Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
Joseph Curtin and Gregg Alf
Oumm, Curtin &Alf "Curtin & Alf's support of the University Musical Society is both a priv?ilege and an honor.
Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excel?lence across the land."
David G. Loesel
President, T.M.L. Ventura, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
JOHN E. LOBBIA Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organiza?tions that make the
Ann Arbor community a 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
Edward Surovell
Company to be able
to support an insti-
tution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
John Psarouthakis,
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
Ronald weiser
Chairman and Chief
Executive Officer,
McKinley Associates,
"McKinley Associates
is proud to support
the University
Musical Society and the cultural contribu?tion it makes to the community."
DOUGLAS D. FREETH President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community which
perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
Kathleen G. Charla
President, Kathleen C. Charla Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Kathleen G. Charla Associates is
pleased and honored to support the University Musical Society and its great offerings of gifts to the community."
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."
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."
William S. Hann
President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients"
Erik H. Serr
Miller, Canficld,
Paddock and Stone,
Miller, Canfield,
Paddock and Stone
is particularly
pleased lo support the University Musical Society and the wonderful cultural events it brings to our community.
JORGE A. SOUS First Vice President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
Ronald M. Cresswell, Ph.D.
Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associat?ed with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
DR. JAMES R. IRWIN Chairman and CEO, T}e Irwin Group of Companies. President, Wolverine Temporaries, Inc "Wolverine Temporaries began its support of
the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
Larry McPherson
President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 83 years, and UMS has been here for 119, we can still appreci?ate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
JOE E. O'NEAL President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organi?zation as the Musical
Society at the University of Michigan."
Thank You, Foundation Underwriters and Government Agencies
Benard L. Maas
The Benard L. Maas
Foundation is proud
to support the
University Musical Society in honor of its beloved founder: Benard L. Maas February!, 1896 May 13,1984.
We also gratefully acknowledge the support of the following foundations and government agencies listed here:
arts midwest
benard l maas foundation
chamber music america
The Grayling Fund
The Herrick Foundation
kmd foundation
liu wallace-readers digest fund
Michigan Council for the Arts
and cultural affairs mosaic foundation national endowment for the arts New England Foundation for
Benard L Maas
The University Musical Society of the university of Michigan
F. Bruce Kulp, chair
Marina v.N. Whitman, vice chair
Stuart A. Isaac, secretary
Elizabeth Yhouse, treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Lee C. Bollinger
Janice Stevens Botsford
Paul C. Boylan Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Robert F. DiRomualdo David Featherman Beverley B. Geltner
Walter L. Harrison Norman G. Herbert Alice Davis Irani Thomas E. Kauper Earl Lewis Rebecca McGowan Lester P. Monts Joe E. O'Neal John Psarouthakis
Richard H. Rogel George I. Shirley John O. Simpson Herbert Sloan Carol Shalita Smokle Peter Sparling 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 Robben W. Fleming
Randy J. Harris Harlan H. Hatcher Peter N. Heydon Howard Holmes Kay Hunt David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long Judythe H. Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed
Harold T. Shapiro Ann Schriber Daniel H. Schurz Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
AdministrationFinance Kenneth C. Fischer, President Elizabeth Jahn, Assistant to
the President John B. Kennard, ]r..
Administrative Manager R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant Manager and Croup Sales
Choral Union Thomas Sheets, Conductor Edith Leavis Bookstein, Manager Donald Bryant, Conductor Emeritus
Catherine S. Arcure, Director
Elaine A. Economou, Assistant
Director -Corporate Support Susan Fitzpatrick,
Administrative Assistant Lisa Murray, Advisory Support J. Thad Schork, Gift Processor Anne Griffin Sloan, Assistant
Director -Individual Giving
EducationAudience Development Ben Johnson, Director Yoshi Campbell, Manager
Sara Billmann, Director
Sara A. Miller, Advertising and
Promotion Coordinator John Peckham, Marketing Coordinator
Gus Malmgren, Director
Emily Avers, Artist Services and
Production Coordinator Kathi Reister, Head Usher Paul Jomantas, Assistant Head
Michael Kondziolka, Director
Kate Remen, Manager
Work-Study Laura Birnbryer Rebekah Camm Danielle DeSwert Nikki Dobell Ron Dolen Mariela Flambury Amy Hayne Sara Jensen
Bert (ohnson Melissa Karjala Un Jung Kim Adrienne Levengood Beth Meyer Albert Muzaurieta Rebckah Nye Tansy Rodd
Laura Birnbryer Jack Chan Carla Dirlikov Colin Myscuwuec Amy Tubman
President Emeritus Gail W. Rector
Gregg Alf
Martha Ause
Paulett Banks
Kathleen Beck
Janice Stevens Botsford
Jeannine Buchanan
Lctitia ). Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
H. Michael Endres
Don Faber
Katherine Hilboldt Farrell
Penny Fischer
Sara Frank
Barbara Gelehrter
Beverley B. Geltner
Joyce Ginsberg
Linda Greene
Dianne Harrison Debbie Herbert Tina Goodin Hertel Matthew Hoffmann Maureen Isaac Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Beth LaVoie Barbara Levitan Doni Lystra Esther Martin Margie McKinley Jeanne Mcrlanti Scott Merz Ronald G. Miller Robert B. Morris
Len Niehoff Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmusscn Nina Swanson Robinson Maya Savarino Janet Shatusky Meg Kennedy Shaw Aliza Shevrin Loretta Skewes Cynny Spencer Ellen Stross Kathleen Treciak Susan B. Ullrich Dody Viola David White Jane Wilkinson
Fran Ampey
Kitty Angus
Gail Davis Barnes
Alana Barter
Elaine Bennett
Letitia (. Byrd
Diane Davis
Deb Katz
John Littlejohn
Dan Long
Laura Machida
Ken Monash
Gayle Richardson
Karen Schultc
Helen Siedel
Sue Sinta
Sandy Trosien
Linda Warrington
TJic University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, sex or handicap. The University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Museum of Art: A coat closet is located to the right of the lobby gallery, near the south stair?case.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213.
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 734.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby.
Power Center: Pay phones are available in the ticket office lobby.
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of the Michigan League. St. Francis: There are no public telephones in the church. Pay phones are available in the Parish Activities Center next door to the church.
Museum of Art: No public phones are avail?able at the Museum of Art. The closest public phones are located across the street in the basement level of the Michigan Union.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in
the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first bal?cony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A Wheelchair-accessible restroom is located on the north side of the main lobby and off of the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main
floor seating area.
St. Francis: Men's and women's rooms are
located in the basement at the bottom of the
front lobby stairs.
Museum of Art: Women's rooms are located
on the first floor near the south staircase.
Men's rooms are located on the basement level
near the south staircase.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 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 concert, during intermission and after the concert.
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 spectrum of today's vigorous and exciting live performing arts world. Over its 119 years, strong leader?ship 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. 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 ensembles.
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 ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, com?missioning of new works, youth programs, artists residencies and other collaborative pro?jects, UMS has maintained its reputation for quality, artistic distinction and innovation. The Musical Society now hosts over 70 concerts and more than 150 educational events each season. UMS has flourished with the support of a generous community 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 campus, and a regular collaborator with many University units, the Musical Society is a separate not-for-profit organization, which supports itself from ticket sales, corporate and individual contribu?tions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
For more information about the UMS Choral Union, please call 734.763.8997.
Throughout its 119-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orches?tras 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 per?formances of Handel's Messiah. Four years ago, the Choral Union further enriched that tradition when it began appearing in concert with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and Meadowbrook for subscrip?tion performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union entered into 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 Verdi's Requiem. Last sea?son, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presen?tation of Mahler's Symphony No. 8.
In this, its 119th season, the Choral Union will present Mendelssohn's Elijah with the Ann Arbor Symphony Orchestra under the direction of Thomas Sheets. The chorus will also perform Porgy and Bess with the BirminghamBloomfield Symphony Orchestra and The Dream ofGerontius with the Toledo Symphony.
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.
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, 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 highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orches?tras, 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.
The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conve?niences.
Rackham Auditorium
Sixty 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
Hill Auditorium
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 the 1,129-seat 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 education, is the fact that neither of the Rackhams ever attended the University of Michigan.
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, together 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 interest?ed, realizing that state and federal government were unlikely to provide financial support for
the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat 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. Restoration of the bal?cony, 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 building, 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.
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Auditoria, continued
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 pro?grammatic 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 cele?brates the alto voice with recitals by Marilyn Home, David Daniels, and Susanne Mentzer.
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 set?ting, the Museum of Art offers visitors a rich and diverse permanent collection, supple?mented by a lively, provocative series of special exhibitions and a full complement of inter?pretive programs. UMS presents two special concerts in the Museum in the 1997-98 season.
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.
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.
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.
The American String Quartet will be interviewed in conjunction with the Beethoven the Contemporary Series and will discuss their commitment to contemporary 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.
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, 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.
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 concertgoer's tour of the new U-M Museum of Art Monet exhibit "Monet at Vetheuil" prior to Jean-Yves Thibaudet's recital.
And many other highlighted PREPs featur?ing Ellwood Derr, Andrew Lawrence-King, Ohad Naharin, and Helen Siedel.
Teacher Workshop Series
A series of workshops for all K-12 teachers, these workshops are a part of UMS' efforts to provide school teachers with professional development opportunities and to encourage on-going efforts to incorporate the arts in the curriculum.
Space, Time and the Body: STREB Workshop Leader: Hope Clark, Associate Artistic Director of STREB and Director of KidACTTON. Monday, January 12, 4:00 6:00pm, Washtenaw Intermediate School District, Grades K-12.
A Master Class with Marilyn Home working with U-M Graduate Student. Sylvia Twine.
Scientific Thought in Motion
Workshop Leader: Randy Barron, Kennedy Center Arts Educator. Monday, January 26, 4:00 7:00 pm, Washtenaw Intermediate School District, Grade level: K-12
Infusing Opera into the Classroom: New York City Opera National Company's Daughter of the Regiment
Workshop Leader: Helen Siedel, Education Specialist, UMS. Monday, February 9, 4:00 -6:00 pm, Washtenaw Intermediate School District, Grade Level: 4-6
Rhythms and Culture of Cuba: Los Munequitos de Matanzas
Workshop Leader: Alberto Nacif, Musicologist, educator and host of WEMU's "Cuban Fantasy" Tuesday, February 17, 4:00 -6:00 pm, Washtenaw Intermediate School District, Grade Level: K-12
To Register or for more information, call 734.763.3100.
Beethoven the Contemporary
We are in the first of three seasons in this historic residency comparing the formidable legacy of Beethoven with the visions of many contemporary composers. Some residency highlights include:
Brown Bag lunches and lectures by three of the featured composers whose contempo?rary works are featured as part of this dynamic series: Kenneth Fuchs, Amnon Wolman, and George Tsontakis.
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students which precede all six concerts by Ursula Oppens and the American String Quartet.
A variety of interactive lecturedemon?strations by Ursula Oppens and the American String Quartet on these and other important contemporary composers and Beethoven's canon of works.
Other Educational Highlights
World renowned choral conductor Dale Warland (Dale Warland Singers) will lead conducting seminars and chamber choir mas?ter classes.
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, and Christopher Parkening.
STREB will be in residency for one week for many interactive activities, discussions, and master classes.
For detailed Residency Information, call 734.647.6712.
Information on the above events can be found in the season listing in the following pages of this program book, the UMS Brochure, or on the UMS Website:
For Master of Arts Interviews, free tickets (limit two per person) are required. Call or stop by the UMS Box Office: 734.764.2538.
The 1998 Winter Season
Friday, January 9,8pm
Mendelssohn Theatre
PREP "David Daniels and His Program"
Richard LeSueur, Vocal Arts Information
Services. Fri. Jan 9, 7pm, Rackham Assembly
Hall, 4th floor.
This performance is presented through the
generous support of Maurice and Linda Binkow.
Saturday, January 10, 8pm Hill Auditorium
Sunday, January 11,4pm
Rackham Auditorium
Meet The Artist Post-performance dialogue
from the stage.
Sponsored by Thomas B. McMullen Co.
Sunday, January 18, 7pm Hill Auditorium
Sponsored by the Detroit Edison Foundation. Additional support provided by Beacon Invest?ment Company and media partner WDET. This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1998 Rev. Dr. Martin Luther King, }r. Day Symposium.
Thursday, January 22, 8pm Rackham Auditorium
Friday, January 30, 8pm Rackham Auditorium Master of Arts Members of the American String Quartet, interviewed by Mark Stryker, Arts & Entertainment Reporter, Detroit Free Press. Wed. Jan 28, 7pm, Rackham Amphitheatre.
University Hospital's Gifts of Art free concert by the American String Quartet in the University Hospital Lobby, Thu. Jan 29, 12:10 pm. 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, Fri. Jan 30, 12 noon, Michigan League Vandenberg Rm. PREP "Compliments and Caricatures; or Beethoven Pays His Respects" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music students. Fri. Jan 30, 6:30pm, Rackham Assembly Hall
Meet the Artists Post-performance dialogue from the stage, with composer George Tsontakis. Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lib Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WVOM WFUM WVGR. The University Musical Society is a grant recipient of Chamber Music Americas Presenter-Community Residency Program fund?ed by the Lila Wallace-Readers Digest Fund.
Saturday, January 31, 8pm Rackham Auditorium PREP "Wlien Two Movements are Enough: Lyricism, Subversion, Synthesis" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music students. Sat. Jan 31,6:30pm, Michigan League Hussey Rm. Meet the Artist Post-performance dialogue from the stage, with composer Amnon Wolman. LectureDemonstration "The Adventure of Contemporary Piano Music" Ursula Oppens, Sun. Feb 1, 3pm, Kerrytown Concert House. In collaboration with the Ann Arbor Piano Teachers Guild.
LectureDemonstration with Ursula Oppens and composer Amnon Wolman, Mon. Feb 2, 12:30pm Room 2043, U-M School of Music. Piano Master Class with Ursula Oppens and School of Music students, Mon. 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-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR.
Thursday, February 5, 8pm St. Francis of Assisi Catholic Church Conducting Seminar Conductor Dale Warland and U-M conductors, Feb 6, Ham, U-M School of Music Recital Hall Chamber Choir Master Class Conductor Dale Warland works with the U-M Chamber Choir, Feb 6,1:30pm, U-M School of Music Recital Hall
Friday, February 6, 8pm Hill Auditorium Sponsored by NBD.
Sunday, February 8,4pm
Hill Auditorium
Co-sponsored by Pint of America and Miller,
Canfield, Paddock, and Stone, PLC.
Friday, February 13,8pm
Rackham Auditorium
Presented with support from media partner
CHEN ZIMBALISTA. PERCUSSION Saturday, February 14, 8pm Rackham Auditorium This program is part of the Mid EastWest Fest International Community of Cultural Exchange sponsored by Amstore Corporation, W.K. Kellogg Foundation, Lufthansa, the Ministry for Foreign Affairs of Israel Cultural Department and Ben Teitel Charitable Trust, Gerald Cook Trustee.
Thursday, February 19,8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, February 20, 8pm
Michigan Theater
Presented with support from media partners
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
(Catherine Larson, soprano
Jayne Sleder, mezzo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22,4pm
Hill Auditorium
PREP "Felix Mendelssohn-Barlholdy: Felicitous
Choral Conductor and Choral Composer,"
Ellwood Derr, U-M Professor of Music, Feb 22,
3pm, Ml League Koessler Library.
This performance is presented through the
generous support of Carl and Isabelle Brauer.
Master of Arts Ngozi Onwurah, filmmaker and Institute for the Humanities artist-in-residence and the Paula and Edwin Sidman Fellow for the Arts, interviewed by Lecturer Terri Sarris and Director Gaylyn Studlar of the U-M Program in Film & Video Studies. Mar 9, 7pm, Rackham Amphitheatre
Tuesday, March 10,8pm
U-M Museum of Art
PREP A concert goer's lour of "Monet at
Vttbtuib The Turning Point" Tue. Mar 10,
6:30pm, West Gallery, 2nd Floor, U-M
Museum of Art. Concert ticket required for
Presented with the generous support of
Dr. Herbert Sloan.
Thursday, March 12,8pm
Friday, March 13, 8pm
Saturday, March 14, 2pm (75-minute
Family Performance) Saturday, March 14, 8pm Power Center
PREP "Vie Comic Donizetti" Richard LeSueur, Vocal Arts Information Services, Thu. Mar 12, 7pm, Michigan League, Koessler Library. PREP Member of the New York City Opera National Company, Fri. Mar 13, 7pm, Michigan League Vandenberg Rm. PREP for KIDS "Know Before You Go: An Introduction to Daughter of the Regiment" Helen Siedel, UMS Education Specialist, Sat. Mar 14, 1:15 ptn, Michigan League, Hussey Room.
Sponsored by TriMas with support from the National Endowment for the Arts.
MICHIGAN CHAMBER PLAYERS Sunday, March 15, 4pm Rackham Auditorium Complimentary Admission
LOS MUNEQUITOS DE MATANZAS Wednesday, March 18, 8pm Power Center
PREP "Los Munequitos: Cuban Ambassadors of the Rumba," Alberto Nacif, Musicologist and Host of WEMU's "Cuban Fantasy" Wed Mar 18, 7pm, Michigan League Hussey Rm. Presented with support from media partner WEMU.
Ohad Naharin, artistic director
Saturday, March 21,8pm
Sunday, March 22,4pm
Power Center
Master class Advanced Ballet with Alexander
Alexandrov, company teacher. Sat. Mar 21,
12:30-2:00pm, Dance Gallery, Peter Sparling &
Co. Studio. Call 734.747.8885 to register.
PREP "The Batsheva Dance Company" Ohad
Naharin, Artistic Director, Sat. Mar 21, 7pm
Michigan League Michigan Room.
Sponsored bythe University of Michigan with
support from Herb and Carol Arnster.
Tuesday, March 24,8pm
Hill Auditorium
Sponsored by Kathleen G. Charla Associates
with support from Conlin Travel and British
Wednesday, March 25,8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, March 27,8pm
Rackham Auditorium
University Hospital's Gifts of Art free concert
performed by Ursula Oppens in the University
Hospital Lobby, Thu. Mar 26, 12:Wpm.
LectureDemonstration "Piano Music: 1945
to the Present" Ursula Oppens, Thu. Mar 26,
3pm, U-M School of Music Recital Hall.
PREP "Motivic Comedies, Moonlit Fantasies
and 'Passionate Intensity'" Steven Whiting,
U-MAsst. Professor of Musicology, with U-M
School of Music students, fri. Mar 27, 6:30pm,
Michigan League Vandenberg Rm.
Meet the Artist Post-performance dialogue
from the stage
Sponsored by the Edward Surovell Co.
Realtors. Additional funding provided by the
Lila Wallace-Reader's Digest Arts Partners
Program, the National Endowment for the Arts
and media partner Michigan Radio, WUOM
Saturday, March 28, 8pm
Hill Auditorium
Presented with support from media
partner WEMU.
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET Sunday, March 29,4pm Rackham Auditorium PREP "From Romeo to Lenore: The Operatic Quartet" Steven Whiting, U-M Asst. Professor of Musicology, with U-M Scliool of Music studetits, Sun. Mar 29,2:30pm, Michigan League Hiissey Rm. Meet the Artists Post-performance dialogue from the stage, with composer Kenneth Fuchs. Brown Bag Lunch with composer Kenneth Fuchs, Mon. Mar 30, 12:30pm, Room 2026, U-M School of Music
LectureDemonstration with the American String Quartet and composer Kenneth Fuchs, Mon. Mar 30, 2:30pm Room 2026, U-M School of Music.
Youth Quartets Master Class with the Ann Arbor School for the Performing Arts, Mon. Mar 30, 6pm, Concordia College. LectureDemonstration An evening with the
American String Quartet and the Michigan American String Teacher's Association (MASTA) and their students. Tue. Mar 31, S-7pm, Kerrytown Concert House. Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio. WUOMWFUM WVGR. The University Musical Society is a grant recipient of Chamber Music Americas Presenter-Community Residency Program fund?ed by the Lila Wallace-Readers Digest Fund.
Friday, April 3,8pm Saturday, April 4,8pm Power Center
Master of Arts Choreographer and 1997 MacArthur "Genius" Grant recipient Elizabeth Streb, interviewed by Ben Johnson, UMS Director of Education and Audience Dewlopment, TIhl Apr 2, 7pm, Rackham Amphitheatre. Meet the Artists Post-performance dialogue from the stage, both evenings. Master Class FamilyACTlON: Movement Class for Families, Tue. Mar 31, 7pm, Dance GalleryPeter Sparling & Co. Studio. For par?ents and children ages 4 and up, led by Hope Clark, Associate Artistic Director. Call 734.747.8855 to register. Master Class PopACTlON: Master Class, Wed. Apr 1, 7pm, Dance GalleryPeter Sparling & Co. Studio. PopACTlON technique class led by members of STREB. Call 734.747.8855 to register. Presented with support from media partner WDET, Arts Midwest, New England Foundation for the Arts and the National Endowment for the Arts.
Tuesday, April 7, 8pm
Mendelssohn Theatre
PREP "Susanne Mentzer: The Recital" Richard
LeSueur, Vocal Arts Information Services, Tue.
Apr 5, 2pm, Ann Arbor District Library.
Meet the Artist Post-performance dialogue
from the stage.
Monday, April 13, 8pm
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Thursday, April 23,8pm
Mendelssohn Theatre
PREP Andrew Lawrence-King, Artistic
Director ofTlie Harp Consort, Tim. Apr 23,
7pm, Michigan League Koessler Library.
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 "Marsalis and Stravinsky: A Dialogue" Travis Jackson, U-M Professor of Musicology and Music History, and Glenn Watkins, Earl V. Moore Professor of Musicology, Fri. Apr 24, 7pm, MI League Henderson Rm. Co-Sponsored by Butzel-Long Attorneys and Ann Arbor TemporariesPersonnel Systems Inc. with additional support by media partner WDET.
Wednesday, April 29,8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, U I Hill Auditorium
featured artist will be announced in
February, 1998
Saturday, May 9, 6pm
Hill Auditorium
Sponsored by Ford Motor Company.
Educational Programming
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of pre-performance presentations, featuring talks, demonstrations and workshops.
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 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, 734.754.2538.
A Master of Arts interview with
Celia Cruz, interviewed by Alberto Nacif
University Musical Society
of the University of Michigan 1997-1998 Winter Season
Event Program Book Friday, January 9, 1998 through Sunday, January 18, 1998
General Information
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompa?nying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: Electronic beeping or chiming digi?tal watches, beeping pagers, ring?ing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat loca?tion and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS perfor?mances included in this editon. Thank you for your help.
David Daniels 3
Friday, January 9, 8:00pm Lydia Mendelssohn Theatre
Israel Philharmonic 11
Saturday, January 10, 8:00pm Hill Auditorium
Christopher Parkening 21
Sunday, January 11, 4:00pm Rackham Auditorium
Boys Choir of Harlem 29
Sunday, January 18, 7:00pm Hill Auditorium
Maurice and Linda Binkow
David Daniels
Martin Katz, Piano Jeanne Mallow, Viola
Friday Evening, January 9, 1998 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
I Ludwig van Beethoven Adelaide, Op. 46
Antonio Caldara Antonio Lotti Marco Antonio Cesti
Selve amiche
Pur dicesti, o bocca bella Intorno all 'idol mio
Christoph Willibald Gluck O del mio dolce ardor
from Paride ed Elena
GeorgeFridericHandel Inumano fratel...Stille amare,
from Tolomeo, Re di Egitto
Vivi, tiranno
from Rodelinda
Johannes Brahms
Two songs with viola. Op. 91
Gestillte Sehnsucht Geistliches Wiegenlied
Jeanne Mallow
Francis Poulenc Andre Messager
Henri Sauguet Poulenc
Priez pour paix
La maison grise,
from Fortunio
Berceuse Creole
C'est ainsi que tu es La belle jeunesse,
from Chansons gaillardes
Christoph Willibald Gluck Che faro senza Euridice,
from Orpheo ed Euridice
Thirtieth Concert of the 119th Season
Song Recital Series
This performance is presented through the generous support of Maurice and Linda Binkow. Special thanks to Maurice and Linda for their continued support of the University Musical Society.
Special thanks to Richard LeSueur for his involvement in this residency.
Large print programs are available upon request.
In the long and illustrious history of recitals under the UMS aegis, tonight's concert is the first to feature a counter?tenor as soloist with piano in a traditional recital format. To be sure, several counter?tenors -including Mr. Daniels -have appeared here prior to this evening, but those occasions have been Handel's Messiah or other "early music" presentations, where?as only sixty percent of tonight's repertoire is music which would ever have featured this particular voice type. We are now in the midst of such a countertenor "vogue" as has never existed. Ironically, we must remem?ber that nearly two centuries of singing cen?tered around this kind of vocal sound.
Call the singer a falsettist, a male alto, a contraltist or a countertenor ... these all amount to the same thing: a normal, mature and masculine instrument which, as a result of developing its falsetto (head) voice to a highly evolved degree, sings exclusively in the contralto or mezzo-soprano register. Various social, political and theological rea?sons first banned women from performing in certain venues, and thus created the need for the male treble voice. Later, quite a differ?ent rationale prevented this voice from appearing on concert stages and in salons. Even in our "enlightened" century, counter?tenors have been confined to early music or the very occasional modern score. Only in the last two decades have conductors and audiences begun to be more open to hearing and accepting this voice in the full range of vocal repertoire. As a result, this particular UMS series mirrors today's new attitude, fea?turing, as it does, artists of both sexes, and the notion that great singing, artistry and sincere expression can transcend mere gender. Of course, Poulenc and Brahms never dreamed of their songs being executed in falsetto by counter-tenor, but then ... did Handel ever imagine Marilyn Home
Beethoven will never be known as a song composer, although he has created marvelous gems and is even credited with writing the very first song-cycle. Most of us think of him first as a titan, a master of the large form, a revolution?ary who would risk beginning a concerto with the piano soloist or adding a choir to a symphony. Schubert's modest parlor evenings of song singing for friends are not for Beethoven. But occasionally he will emulate Schubert, and even more occasionally beat him at his own game. Schubert's setting of this same poem is genuinely lovely, but has never become the favorite which opens tonight's concert. A sense of two-part aria is present here, with lyricism and cantabile for both performers at the outset, and a rapid "cabaletta" wherein enthusiasm and fervor are primary. Of special interest are the song's final measures, a romantic rather than a classic ending; Beethoven refuses to leave things breathless and insists on one last gentle and worshipful view of the beloved.
The four pieces which comprise tonight's second group come under the collective heading Arie Antiche (Ancient Airs). Hundreds of seventeethand eighteenth-century arias and songs by Italians or others writing in the Italian style have come down to us through various editors and collectors. Rarely is more than a smattering of information available as to the original musical text or the dramatic context. To make matters worse, these melodies have acquired spurious notes, questionable romantic gestures, and unstylistic ornaments as they were used to teach the basics of bel canto singing in ages not known for their scholarship or research. Try as we may to be authentic today, precious little exists to vali?date our musical decisions; a performer must base his choices on general tenets of style
and educated guesses. Nothing is known about the first two arias, save that Caldara was Venetian and has nearly a hundred operas to his credit and that Lotti was a wildly popular madrigalist of the day. A bit more can be ascertained about Cesti: he held the post of Court Composer in Vienna, the same post Salieri would occupy in Mozart's time; this plaintive strophic aria is from his first opera. Finally, one can easily hear that Gluck's aria is from a slightly later time and style, and here at last we stand on firm ground for we have Gluck's original inten?tions in writing. In this aria which opens the opera, Paris arrives to woo Helen of Troy (and thereby launch the Trojan wars) but he does not see her; rather, he senses her pres?ence and responds with this highly erotic lovesong. With a skilled, stylistic interpreter, all these minature treasures can lose their too familiar identities as mere singing exer?cises and reassume their proper roles as important vehicles for expression from a time when great singing was the norm. Ann Arbor has been fortunate of late to hear these Arie Antiche only from singers who recognize and realize the potential of this genre, first Cecilia Bartoli and now David Daniels.
Italian operatic necessities of Handel's time demanded treble singing with heroic, virile, masculine personality and attitude. Only the castrato could provide this, and thus the cry of "Viva il coltello!" ("long live the knife!") was heard wherever baroque opera in Italian was performed. Today, countertenors assume these roles and the most accomplished of them give us the real sense of the technical and artistic athletes which their neutered predecessors were. These predecessors were superstars, and their fame and prestige has never been equalled. Both of tonight's arias were written for this era's greatest castrato, Senesino, and one gets a sense of his influ-
ence when one learns that Handel acceded to his every wish: which pitch should begin his every aria, and even which vowel was desired on that pitch! In the recitative and aria from Tolomeo, Handel has created an unusually theatrical moment, even for him. The hero has taken a potion he believes is poison, and is thus singing what he believes is his farewell. Constant decorations in the orchestra provide his tears, and we are in the very dark world of b-flat minor. This is a da capo aria, the predominant choice of form at that time, but Handel's sense of theatre would not allow him to finish the aria as we expect. The second aria from Rodelinda represents the height of baroque virtuosity. Added as a final showpiece for the opera's hero, the singer is expected to display the instrumentalist's ease and agility, dealing with cascades of notes.
Brahms' love of burnished mahogany has proven a godsend to any instrument which naturally produces such a shade. As a result, the repertoires for low voice and for viola have been wonderfully enriched with impor?tant pieces from his pen. The two viola sonatas from Op. 120 doubled that instrument's romantic chamber music overnight, and the Op. 53 Alto Rhapsody, along with countless songs originally in low keys achieve the same for the vocal repertoire. In a letter to Clara Schumann, Brahms expressed great pride and affection for the aforesaid rhapsody and even more particularly for these two songs which we hear tonight, wherein both of these favored instruments join together. In Riickert's haunting poem of bittersweet yearning, Brahms has given the viola the role of the breeze, now restless, now serene, while the singer's broad and sweeping lines seek the peace so rarely found. The second song takes a childlike Christmas carol played by the viola as its inspiration. The form Brahms has chosen for this song traces the
poem's architecture completely, as Mary moves from gentle lullaby to heated con?cern, from a glimpse into Jesus' future pain and finally back to the manger's domestic bliss. Throughout these songs, the piano provides a rich background for the two instruments, but never assumes a protagonist's role.
Twentieth-century French music has suc?ceeded in blending the salon, the concert hall, the nightclub, and in Poulenc's case, even the church in ways never contemplated in other countries. No disrespect is intended by these composers. Ripe harmonies and piano figurations which have taken on "cocktail" implications today are used equal?ly in sacred and ribald contexts by these Gallic masters. The songs by Messager and Sauguet were originally to be found in larg?er operas or operettas, but were then pub?lished separately, capitalizing on their suc?cesses. Messager's potential sentimentality is rescued by sophistication and charm; the Sauguet Creole lullaby is an example of how the French adore cultures more relaxed than their own. Poulenc is, of course, France's primary song composer in this genre, and has left an enormous legacy from which today's singer can select treasures. Priezpour paix attracted the pacifist and devout Catholic in Poulenc, and he has fashioned a gentle, powerful plea which transcends its sixteenth-century text with its timelessness. The group's last two songs show the sensual and even bawdy side of this saintsinner composer. The text to La belle jeunesse, like the prayer for peace, is also from a much earlier century, and it is amusing to see how eternal Naughtiness is!
The character of Orpheus has inspired writ?ers, composers, indeed all creative artists
since the myths surrounding him were first told. Shakespeare, Tennessee Williams, Monteverdi, Vaughan-Williams, Offenbach (who turns him into a joke) and of course, Gluck, whose music we have already sam?pled this evening, have all devoted extensive inspiration to this "mere" mortal who creat?ed music. Arias of this importance are only born when an emotional crossroads is reached; a character must turn to melodic invention of this magnitude when all else fails. Having lost his beloved Eurydice, Orpheus suffers a journey to the underworld, battles with the Furies, conquers all and leads his love out of darkness and death, with the sole condition that she not look at him. She cannot keep her bargain, turns, and... dies a second time. Gluck, the reformer of opera, banishes all complexity, all decoration, and creates a rondo-aria in C Major, wherein Orpheus pours out his over?whelming despair, his emptiness, his lack of direction for the future. Since 1762, this melody has remained on every opera lover's list of hit-tunes, and provides a shining example for us all of how simplicity and directness of expression can touch us so deeply.
Program notes by Martin Katz.
Countertenor David Daniels has achieved international prominence for his extraordinary talent. In addi?tion 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 made his Covent Garden debut in Fall 1997 as Sesto in Julius Caesar (the role in which he will make his Metropolitan Opera debut in Spring 1999) following a successful summer which
David Daniels
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 made his debut with New York City Opera this past October as Arsamenes in Handel's Xerxes (the role he sang with Boston Lyric Opera in 1996) and also debuts this spring with San Francisco Opera as Nero. In addition to his operatic roles, Mr. Daniels opened the 1997-98 season of Great Performers at Lincoln Center in recital at Alice Tully Hall and also sings this Ann Arbor recital and a recital in Washington, DC. In recent seasons David Daniels has appeared as soloist with a number of sym?phony orchestras including the New World Symphony in Miami conducted by John Nelson. This season he makes orchestral appearances with the symphonys 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.
Following his riveting Glyndebourne Festival Opera debut in 1996 as Didymus in Peter Sellar's critically acclaimed production of Handel's Theodora, highlights of David
Daniels' 1996-97 season included his London and New York recital debuts at Wigmore Hall and Lincoln Center, respectively. He also appeared in London as Oberon in A Midsummer Night's Dream with English National Opera and with Los Angeles Opera as L'Humanita FragilitaAnfinomo in Monteverdi's l Ritorno d'UHsse in Patria. Critics have unanimously praised Mr. Daniels as a virtually flawless countertenor in his role of Emperor Nero which he performed with Florida Grand Opera the same season. He made his highly acclaimed debut in this role with Glimmerglass Opera in 1994 direct?ed by Jonathan Miller and sang its reprise in 1996 at the Brooklyn Academy Music.
David Daniels appeared as a soloist in UMS' 1994 and 1997 Messiah performances. This recital marks his fifth appearance under UMS auspices.
artin Katz must surely be con?sidered the dean of collaborative pianists," said the Los Angeles Times after a concert last season. One of the world's busiest collab?orators, he has been in constant demand by our most celebrated vocal soloists for more than a quarter-century. This season marks his thirty-first collabora?tive year with Marilyn Home. This is a part?nership which not only launched Mr. Katz's career but has shaped his whole notion of collaboration immeasurably. In addition, he has appeared regularly with Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Sylvia McNair, and Jose Carreras in both concerts and recordings. Artists from the past with whom he has collaborated include Renata Tebaldi, Cesare Siepi, Katia Ricciarelli, Judith Blegen, Evelyn Lear, Thomas Stewart, Tatiana Troyanos, Gabriella Tucci, and Regine Crespin. Season after season, the world's
musical capitals figure prominently in his schedule. His many appearances at Carnegie Hall, Washington's Kennedy Center, Milan's La Scala, Vienna's Musikverein and Buenos Aires' Teatro Colon have been lauded by audiences and critics alike. He has more than a dozen recordings to his credit for BMG, CBS, Sony, Decca, Phillips, RCA, and FonitCetra labels. Mr. Katz is a native of California, where he began piano studies at the age of five. He attended the University of Southern California as a scholarship student and studied the specialized field of accompa?nying with its pioneer teacher, Gwendolyn Koldofsky. While yet a student, he was given the unique opportunity of accompanying the master classes and lessons of such lumi?naries as Lotte Lehmann, Jascha Heifetz, Pierre Bernac, and Gregor Piatigorsky. Following his formal education, he held the position of pianist for the US Army Chorus
in Washington, DC for three years before moving to New York where his busy inter?national career began in earnest in 1969. In more recent years, invitations to conduct orchestral evenings have come with increasing fre?quency. Mr. Katz has partnered several of
Martin Katz
his soloists on the podium for orchestras of the BBC, Houston, Washington, DC, Tokyo, New Haven and Miami. His editions of works by Handel and Rossini have been pre?sented by the Metropolitan, Houston Grand Opera and the National Arts Centre in Ottawa. He has also been pleased to con?duct several complete operas for UM's own Opera Theatre.
Finally, the professional profile of Martin Katz is completed with his commitment to teaching. Since 1983, he has been happy to
call Ann Arbor home, chairing the School of Music's program in accompanying and chamber music. He has played a pivotal role in the training of countless young artists who are now working all over the world. The University has recognized this important work, making him the first Arthur Schnabel Professor of Music. He is also a frequent guest for master classes here and abroad, regularly visiting such places as the Manhattan School of Music, the Juilliard School, Tanglewood Music Center, UCLA, and the Santa Fe Opera.
This performance marks Matin Katz's seven?teenth appearance under UMS auspices.
Jeanne Mallow descends from a long line of distinguished musicians. Her grandmother was Lillian Fuchs, vio?list; her great uncle is Joseph Fuchs, violinist; her mother is Barbara Stein Mallow, cellist; and her aunt is Carol Stein Amado, violinist. She began her studies initially as a violin?ist and, as a violinist received scholarships to the Fontainbleu School of Music, Kneisel Hall, Blue Hill, Main and Fellowships to the Aspen Music Festival. She studied at Indiana University with Joseph Gingold, at SUNY Purchase with Daniel Phillips, and with Paul Kantor in Ann Arbor.
In recent years, she felt more and more drawn to the deeper sonorities of the viola, and in 1994 exchanged the violin for the viola. In 1995 she was again awarded a fel?lowship to the Aspen Music Festival; this time as a violist. She continues working with Paul Kantor in Ann Arbor and is a teaching fellow at Hamptons Summer Music in East Hampton, NY.
This performance marks Jeanne Mallow's debut appearance under UMS auspices.
The University Musical Society World Culture Series
Contemporary Jewish Cultural Expression in Israel
is made possible through the generous support of our:
Honorary Co-Chairs
Prudence and Amnon Rosenthal
Carol and Irving Smokier
Eileen and Ronald Weiser
Honorary Committee
Carol and Herb Amster
Bette and Allen Cotzin
Linda and Richard Greene
Dr. and Mrs. Sanford Herman
Benard L. Maas Foundation
Sharon and Chuck Newman
Art and Mary Schuman The University of Michigan
Committee Members
Evie and Allen Lichter
Myrna and Newell Miller
Marylen and Harold Oberman
Jamie and Jim Abelson
The Honorable and Mrs. Avern L. Cohn
Susan and Arnold Coran
Lynn and David Engelbert
liana and Ari Gafni Joyce and Fred Ginsberg
Lila and Bob Green
Gloria and Joseph Gurt
Dr. and Mrs. Sanford Herman
Maxine and David Katz
Robert Krasny
Wendy and Ted Lawrence
Steven Leber and Dina Shtull-Leber
Myron and Bobbie Levine Joan Lowenstein and Jonathan Trobe
Mildred Ostrowsky
Dr. Owen Z. and Barbara Perlman
Harriet and Marvin Selin
Aliza and Howard Shevrin
Elise and Jerry Weisbach
Israel Philharmonic Orchestra
Zubin Mehta, Music Director and Conductor
Saturday Evening, January 10,1998 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Tzvi Avni
Richard Strauss
Till Eulenspiegels lustige Streiche, Op. 28 (Till Eulenspiegel's Merry Pranks)
Ludwig van Beethoven
Symphony No.3 in E-flat Major, Op. 55 ("Eroica")
Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto
Thirty-first Concert of the 119th Season
119th Annual Choral Union Series
We are grateful to the many members of the regional Jewish community who have provided support for this series. They include Honorary Chairs, Prudence and Amnon Rosenthal, Carol and Irving Smokier, and Ronald and Eileen Weiser.
The preconcert carillon recital was performed by Ray McLellan, U-M D.M.A., Organ 1994, and organist at Temple Beth Emeth in Ann Arbor.
Large print programs are available upon request.
in honor of the composer's seventieth birthday
Tzvi Avni
Born in 1927 in Germany
Communion is the second movement of my symphony Desert Scenes. Completed in 1991, the work was premiered that year by the Israel Philharmonic Orchestra conducted by Zubin Mehta. Approximately five minutes long, Communion opens with a short proclamation followed by a lyric, prayer-like melody played in the low range of the violins with light accompaniment by the rest of the strings, timpani, and harp, and short figures in the bass clarinet.
The whole opening is dominated by the tone of C, symbolizing perhaps a kind of Credo. Later, the orchestral texture becomes more dense and some rhythmical elements appear, building up to a climax of a declam?atory character. The strings play an impor?tant role throughout this movement, which, towards the end gets back to the initial C, fading out gradually.
Program note by Tzvi Avni
Till Eulenspiegels lustige Streiche, Op. 28 (Till Eulenspiegel's Merry Pranks)
Richard Strauss Born on June 11, 1864 in Munich Died on September 8, 1949 in Garmisch-Partenkirchen
When Richard Strauss first contemplated a musical version of the story of Till Eulenspiegel, he was planning a comic opera for which he attempted to write his own libretto. The thirty-year-old composer had already written the words and music to an opera, Guntram, a thoroughly Wagnerian music drama. Guntram had been a failure,
however; and Strauss was looking for a less esoteric subject for his second opera.
Till Eulenspiegel is a familiar figure in German folklore, a prankster who lived in the fourteenth century and who became the hero of a Volksbuch, a sort of popular novel widely disseminated in the sixteenth centu?ry. (It also appered in an English translation at the time, in which Eulenspiegel's name was translated as "Howleglas" [Eule = owl; Spiegel = mirror].) Eulenspiegel was a mas?ter of practical jokes, a defender of the sim?ple people against the powers that be, whether secular or ecclesiastic. He outwitted the learned, poked fun at the rich and typi?cally beat others at their own games.
However, Strauss soon dropped his plans for an Eulenspiegel opera. Although a now-obscure contemporary of Strauss, Cyrill Kistler, had written an opera on Till, for Strauss the subject did not have enough dramatic potential. As he wrote in a letter:
I have already put together a very pretty scenario, although the figure of Master Till Eulenspiegel does not quite appear before my eyes; the book of folk-tales only outlines a rogue with too superficial a dramatic personality -the developing of his character on more profound lines after his trait of contempt for humanity also presents considerable difficulties.
Strauss finally opted for a purely instru?mental treatment of Till and wrote what many regard his orchestral masterpiece. Till Eulenspiegel was his fourth tone poem, pre?ceded by Macbeth, Don Juan, and Death and Transfiguration, works that had established him practically overnight as the leading young German composer.
Strauss chose to give his Till Eulenspiegel tone poem the form of a rondo, in which a recurrent central theme alternates with vari?ous episodes. With its constant repetitions of the main theme, the rondo hardly seems
to be an appropriate way to tell the succes?sive stages of a story. But Strauss's rondo is not the classical form of Mozart and Beethoven in which each recurrence of the rondo theme is exactly identical. Strauss varies his rondo theme extensively each time, subjecting it to ingenious transforma?tions that completely alter the theme's char?acter while preserving its pitch sequence. It is through these transformations that Till's adventures are told. The theme is adapted to many different situations, such as Till quar?reling with the market-women, wooing a girl, mocking a priest and so forth. The episodes represent some of the other char?acters in the story such as the townspeople or the learned professors whom Till con?founds.
The music of Till Eulenspiegel quickly became known for the virtuoso treatment of the orchestral instruments. The main theme is presented by a horn solo that is one of the most magnificent (and most dif?ficult) in the entire orchestral literature, and shows Strauss's special fondness for the instrument. (His father, a member of the Munich Court Orchestra and professor at the Royal School of Music, was one of the greatest horn players of the day. Strauss had written works for the horn when he was fourteen, and wrote a concerto for the instrument in 1883.) Equally famous in Till is the use of the D clarinet, a smaller clar?inet with a high-pitched sound that had sel?dom been used before as a solo instrument.
Unlike the historic Till who died in bed as a victim of an epidemic, Strauss's hero is put to death for his pranks. The condemna?tion and the execution are depicted by a sudden interruption of the Till theme, some menacing drumrolls, and a descending major seventh in the bassoons, horns, and trombones that seems to say "der Tod" (death). Till is hanged and his last breath is marked by a final D-clarinet solo followed by a loud trill on the flute. The tone-poem
concludes with the archaic-sounding "once-upon-a-time" melody with which it began, adding a theatrical touch to the tone poem after all. It is in fact as if the curtain rose and then fell on the story of the great rogue.
Program note by Peter Laki
Symphony No. 3 in E-flat Major, Op. 55 ("Eroica")
Ludwig van Beethoven
Born on December 15 or 16, 1770 in
Bonn, Germany Died on March 26, 1827 in Vienna
Natura non facit saltus -nature takes no leaps. This principle, first formulated by the great mathematician and philosopher Gottfried Wilhelm von Leibniz around 1700, has influenced not only the natural sciences but also the views of many historians of the arts, including music. All too often, musicologists take great pains to trace the step-by-step evolution of musical styles, focusing on the gradual changes introduced at each stage of a particular composer's development.
We must recognize, however, that there are cases when this theory breaks down, and we are faced with works whose sudden emergence has in no way been foreshadowed by the composer's earlier music. Beethoven's Symphony No. 3 is such a composition. It represents a quantum leap within the com?poser's oeuvre in almost every respect. The sheer size of the work -almost twice the length of the average eighteenth-century symphony -was a surprise, to say nothing of what was a true revolution in musical technique and, even more importantly, in musical expression.
What brought about these rapid and radical changes in Beethoven One of the factors was surely Beethoven's encroaching deafness, which first became manifest in
1802, the year Beethoven wrote his deeply moving Heiligenstadt Testament. According to musicologist Maynard Solomon, Beethoven's struggle to derive increased inner energy from this handicap was one of the sources of his so-called "heroic" style. Beethoven's personal crisis was compounded by what Solomon called his "crisis of belief": the composer's highly ambivalent attitude towards the dramatic political events of his day, dominated by the figure of Napoleon Bonaparte.
The story about the symphony's torn-up dedication to Bonaparte is well known (see box, next page). As always, however, reality is more complex than what a simple story can express. First of all, Beethoven had been considering two different ways of linking Napoleon's name to the symphony. One would have been to dedicate it to him, the other to entitle it "Bonaparte;" the latter option would have allowed Beethoven to dedicate the work to Prince Lobkowitz and receive a fee in return.
But Beethoven had uneasy feelings about his entire situation in Vienna, and his dependence on artistocratic patronage in particular. He longed for more artistic freedom and for a while contemplated a move to Paris, where he hoped to establish himself as a "freelance" composer. A "Bonaparte" symphony could have been helpful to Beethoven in building a career in France. But these dreams never materialized, and the symphony was published in 1806 as Sinfonia eroica composta per festeggiare il sowenire di un grand Uomo ("Heroic sym?phony composed to celebrate the memory of a great man") with a dedication to Lobkowitz.
However, there are deeper reasons why Beethoven had identified with Napoleon in the first place. He had sympathized with the French Revolution since his time in Bonn, and, like many intellectuals of his time, was fascinated by Napoleon as a powerful leader
who had single-handedly changed the course of history. At the same time, he despised tyranny in all its forms.
The subject of the Symphony No.3 seems to be less Bonaparte himself than Beethoven's struggle to come to terms with this mighty and ambivalent leader -along with Beethoven's personal struggle in the face of his deafness. These struggles are manifest in the high passion and violent harmonic clashes of the first movement. The hero is buried in the second-movement funeral march, yet, as French novelist Romain Rolland has written in his book on Beethoven, "never has he been more truly alive: his spirit hovers above the coffin that is borne on the shoul?ders of humanity." Finally, in the third and fourth movements, Beethoven celebrates the victory that the hero (Beethoven himself) has won over the enemy (deafness), and the ending of the work leaves us with the strong sense that all earlier conflicts have been resolved.
The opening "Allegro con brio" is Beethoven's longest symphony movement aside from the finale of the Ninth. In it, some of the basic procedures of Classical sonata form (presentation and transformation of themes; traversal of various keys before a return to the initial tonality) are carried to a point where they take on an entirely new meaning. They become elements of a drama of unprecedented intensity. The themes are shorter than in most earlier symphonies and are more open-ended, lending themselves particularly well to modifications of various sorts. The develop?ment section -in which most of the thematic transformations and key changes take place -is much longer than the preceding expo?sition (in Beethoven's earlier works they were equal in length, or the exposition was longer). The Coda at the end of the movement
is also of extraordinary proportions and effectively functions as a second development area. Despite this great attention to motivic details, however, the movement's momentum is unbroken; it is a single chain of musical gestures going without interruption from beginning to end.
The second movement bears the title "Marcia funebre" (Funeral March). It is in the tragic key of c minor, with a middle section in C Major. The music begins softly and rises to a powerful, dramatic climax. After some extensive contrapuntal develop?ment in the middle of the movement, the main theme's final return is interrupted by rests after every three or four notes, as if the violins were so overcome by grief that they could barely play the melody.
In the third and fourth movements, Beethoven managed to ease the feeling of tragedy without letting the tension subside. The third-movement Scherzo begins with two notes repeated in an undertone that evolve into a theme only gradually. The somewhat more relaxed Trio belongs almost entirely to the three horns. At the return of the scherzo, several changes are introduced, including an unexpected break in the even pulsation as the triple meter changes to duple for a moment. The Coda pretends to leave the home key, only to reinforce it all the more powerfully.
The last movement has an interesting history. Beethoven used its main theme in no fewer than four of his compositions: first in a contra-dance for orchestra, next in the last movement of the ballet The Creatures of Prometheus (both in 1800-01), then in the Variations for Piano, Op. 35 (1802), and lastly, in the Symphony No. 3. In the last instance, Beethoven isolated the bass line of the contradance melody and made it into his theme for variations, of which the contradance melody is but one. It then disappears as the bass line is elaborated upon contrapuntally and in various other ways, and returns at
the most unexpected moments. The individ?ual variations are integrated into a single, continuous musical form. There is a minor-key variation with a distinct Hungarian flavor, and another one that turns the contra-dance theme into a slow aria. An enormous crescendo leads to the short Presto section that ends the symphony.
Program note by Peter Laki
From the Recollections of Ferdinand Ries:
In this symphony Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word "Buonaparte" at the extreme top of the title page, and at the extreme bottom "Luigi van Beethoven," but not another word. Whether and with what the space between was to be filled out, I do not know. I was the first to bring him the intelligence that Buonaparte had pro?claimed himself emperor, whereupon he flew into a rage and cried out: "Is he then, too, nothing more than an ordi?nary human being Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others to become a tyrant!" Beethoven went to the table, took hold of the title page by the top, tore it in two, and threw it on the floor. The first page was rewritten and only then did the symphony receive the title "Sinfonia eroica."
Tzvi Avni, one of Israel's foremost composers, was born in Germany in 1927 and came to Israel as a child. He studied music in Israel and the United States. His works, several of which won prizes, include a wide range of symphonic, vocal, choral, chamber, and solo pieces, as well as electronic music and music for art films, radio plays, and ballets. They are often performed in Israel and abroad and many of them have been issued on record?ings and CD's. Constantly active in Israel's public musical life, Tzvi Avni chaired, among others, the music committee of the National Council for Culture and Art, the Israel Composers' League, and the jury of the Arthur Rubenstein Piano Master Competition. He currendy serves as Chairman of the Jeunesses Muskales Movement in Israel. Since 1971, Professor Avni has been a mem?ber of the faculty at the Jerusalem Rubin Academy of Music, where he was head of the Theory and Composition Department, and Director of the Electronic Music Studio.
One of the leading orchestral and operatic conductors on the interna?tional scene, Zubin Mehta has had a remarkable association with the Israel Philharmonic Orchestra for more than three decades. He was named the Orchestra's music direc?tor in 1969, and appointed Music Director for Life in 1981. Mr. Mehta's concerts, recordings and tours on five continents with the Israel Philharmonic have resulted in more than 1600 performances.
Mr. Mehta first conducted the Israel Philharmonic in 1961, when both he and the Orchestra were twenty-five years old, and the bond established between them at that time has grown into what Mr. Mehta has called a "lasting marriage." His passion-
ate allegiance to the Orchestra stems from his loyalty to the land of Israel and the kin?ship he feels with the Jewish people, because he shares the devotion to music that has always been an integral part of their spirit and tradition.
At times of war and crisis in Israel's his?tory, Mr. Mehta has often canceled other obligations to be with the IPO and express his solidarity with his musicians. During the Gulf War, for example, he conducted perfor?mances during Scud missile attacks and during the 1967 Six Day War, he left a Metropolitan Opera tour to catch the last plane to Israel before the airport in Tel Aviv was closed. He has conducted concerts for military units and led the Orchestra at many important national events. Highlights of his performances with the Israel Philharmonic all over the world include memorable, emotional tours of Russia, Hungary and Poland, and a 1994 tour of China and India. Mr. Mehta considers his foreign tours with the Israel Philharmonic opportunities for presenting the essential qualities of Israel and the Jewish people to international audiences.
Zubin Mehta is a highly sought-after guest conductor with major orchestras and opera companies worldwide. During the current season, his engagements include performances with the Vienna Philharmonic in Vienna and several European cities and with the Montreal Symphony. He leads Mozart's Le Nozze di Figaro at the Lyric Opera of Chicago and conducts produc?tions at the Vienna State Opera and the Teatro Communale of Florence at the Maggio Musicale Fiorentino, where he has been Music Adviser and Chief Conductor for eleven years. In September 1998 he leads the Florence Opera in a production of Puccini's Turandot in Beijing. Also this sea?son, Mr. Mehta conducts at the Bavarian State Opera in Munich, where he will assume the post of General Music Director
at the beginning of the 1998-1999 season.
Mr. Mehta celebrated his sixtieth birth?day in April 1996, a milestone that coincided with the Israel Philharmonic Orchestra's sixtieth anniversary year. A joint concert with the Los Angeles Philharmonic was held on Mr. Mehta's sixtieth birthday to cap the Israel Philharmonic's spring 1996 tour of the United States. Highlights of Mr. Mehta's guest conducting appearances last season included three complete "Ring" cycles at the Lyric Opera of Chicago, two-week tours of Japan with both the Florence Opera and the Vienna Philharmonic, and operatic perfor?mances at the Maggio Musicale and the Vienna State Opera.
In June 1994 in Sarajevo, in the bombed out shell of the National Library, Mr. Mehta conducted a dramatic performance of the Mozart Requiem to honor the memory of the thousands killed in the Bosnian conflict, and to raise funds for refugee relief. This concert, in which internationally acclaimed soloists joined members of the Sarajevo Orchestra and Chorus, was televised live and eventually broadcast in twenty-six countries.
Born in Bombay, India, Zubin Mehta, a member of the Parsi community, inherited his obsession for music from his father, Mehli Mehta, a violinist who founded the Bombay Symphony and is now music direc?tor of the American Youth Orchestra in Los Angeles. Zubin Mehta became an assistant of his father's ensemble at the age of fifteen, memorizing scores and dreaming of a con?ducting career, but he was sent to the uni?versity as a pre-medical student. He soon abandoned these studies, however, in favor of a life in music and entered Vienna's pres?tigious Academy of Music at the age of eighteen. By the time he was twenty-five, he had led both the Berlin and Vienna Philhar?monic Orchestras. He has conducted both of these ensembles every season since then. Mr. Mehta served as Music Director of the
Zubin Mehta
Montreal Symphony (1961-1967) and of the Los Angeles Philharmonic (1962-1978).
Zubin Mehta held the post of Music Director of the New York Philharmonic from 1978 to 1991, the longest tenure in that orchestra's modern history. Highlights of his thirteen seasons and more than 1,000 concerts with the orchestra included major international tours to Latin America, Europe, and Asia; a 1988 trip to the former Soviet Union that culminated in a joint concert with the State Symphony Orchestra of the Soviet Ministry of Culture in Moscow's Gorky Park; the establishment of regular concerts by the New York Philharmonic Chamber Ensembles; the expansion of the orchestra's activities in the New York com?munity; and three concerts in May 1991 celebrating the 100th anniversary of Carnegie Hall.
Since leaving the New York Philharmonic, Mr. Mehta has placed greater emphasis on conducting opera. His July 1992 performance of Tosca on location in Rome with Placido Domingo was telecast live in fourty-five countries, and a second production of this opera, with Luciano Pavarotti, opened the season of the Royal Opera, Covent Garden, a few months later.
The recipient of many prestigious hon?ors, Zubin Mehta was named the 1995-96 Wolf Foundation Laureate in Music by
Israeli President Ezer Weizman in March 1996. Cited for his "humanitarian contribu?tions to bringing people together through the universal language of music and his constant encouragement of young artists," he shared the Wolf Prize with composer Gyorgy Ligeti. Among Zubin Mehta's other awards are the Nikisch Ring, bequeathed to him by Karl Bohm; the Vienna Philharmonic Ring of Honor, commemorating the twenty-fifth anniversary of his debut with that orchestra; and the Hans van Biilow medal, bestowed on him by the Berlin Philharmonic. He is also the recipient of India's prestigious "Order of the Lotus" and honorary doctor?ates from the Hebrew University in Jerusalem, Tel Aviv University and the Weizmann Institute. In addition he has received the Defender of Jerusalem Award, is an Honorary Citizen of the City of Tel Aviv, and is the only non-Israeli ever to receive the Israel Prize.
This performance marks Zubin Mehta's eighth appearance under UMS auspices.
The Israel Philharmonic Orchestra, which celebrated its sixtieth anniversary during 1996, is one of Israel's oldest and most influential cultural institutions. Its history is inextricably bound up with that of the nation itself: on May 14, 1948, the Orchestra performed the Israeli national anthem, Hatikvah, at the official ceremony that declared Israel a sovereign and inde?pendent State. Today, as Israel marks its fiftieth anniversary, the Orchestra continues to play a central role in the country's collec?tive life. Music Director Zubin Mehta, who has held this post for three decades, has remarked: "These musicians play for audi?ences that can't do without them."
The founding of the Israel Philharmonic, originally called the Palestine Orchestra, by
famed Polish violinist and humanist Bronislaw Huberman in 1936 predated the founding of the State of Israel itself by twelve years. Its establishment affirmed the importance of music in a land that still faced years of danger and uncertainty before emerging as an independent nation. The ensemble's first concert took place on December 26, 1936, and was conducted by the legendary Arturo Toscanini, himself an impassioned spokesman for freedom. He led "an orchestra of soloists" -first-chair musicians from German and Eastern European orchestras who had lost their positions due to Nazism and were recruited by Huberman to join the new ensemble. The Orchestra's early tours of Arab lands -to Egypt (within only a few weeks of its founding) and to Lebanon -reflected the founders' hopes that the new ensemble would serve as an ambassador of good will.
From its earliest days, the Israel Philharmonic has continued to maintain its prominent position in the cultural life of the nation and to perform without inter?ruption, not only during times of national celebration but even, or perhaps especially, in periods of national crisis. In 1948, during the War of Independence, a rising young conductor, Leonard Bernstein, led the Orchestra in a concert on the sand dunes of Beersheba in the Negev Desert for an audi?ence of 5,000 soldiers. The Orchestra also traveled in armored cars to the besieged city of Jerusalem to give performances that raised the morale of both civilians and mili?tary personnel alike. In 1967, during the Six Day War, Mr. Mehta left a Metropolitan Opera tour to conduct the Orchestra in Israel, and at the conclusion of the conflict Leonard Bernstein conducted a memorable performance of Mahler's "Resurrection" Symphony on Mount Scopus in Jerusalem. During the 1973 Yom Kippur War, the Orchestra presented a concert every night. Almost two decades later, when Israel was
hit by Scud missiles during the Gulf War, Mr. Mehta again canceled appearances with orchestras abroad to come to Israel and lead the Israel Philharmonic in more than twen?ty concerts.
The Orchestra gives more than 150 per?formances each year in Israel, both in the major urban centers and in rural areas of the country, and honors its traditional prac?tice of giving free concerts for the armed forces. The ensemble will play a prominent role in the celebrations marking the fiftieth anniversary of the founding of the State of Israel in April and May 1998. Among the concerts to be conducted by Mr. Mehta are a memorial program for Yitzhak Rabin; Independence Day performances in Jerusalem and Tel Aviv with soloists Itzhak Perlman, Pinchas Zukerman, Yefim Bronfman and Cecilia Bartoli; and a perfor?mance of Noam Sheriff's Revival of the Dead at Yad Vashem, the memorial to the victims of the Holocaust.
Fulfilling its original mission, the Israel Philharmonic serves as an important ambassador for Israel and tours extensively. Since its first performances in the United States in 1951, the Orchestra has visited this country many times. It has performed in many European countries as well, appearing at such prestigious music festivals as those of Salzburg, Berlin and Lucerne. This sea?son, in addition to performing in the Far East, the Orchestra makes two European tours led by Zubin Mehta and Chief Guest Conductor Antonio Pappano.
The Israel Philharmonic has also per?formed many moving concerts outside of Israel in the spirit of reconciliation. These include a 1991 concert before the Spanish royal family in Toledo to mark the 500th anniversary of the Expulsion of the Jews from Spain; a tour of Poland; and, in 1971, the Orchestra's first concert in Germany, which Mr. Mehta has described as his most memorable concert.
Zubin Mehta was appointed Music Director of the Israel Philharmonic in 1969, and his appointment was extended for life in 1981. The late Leonard Bernstein, who maintained close ties with the IPO from the time of his debut in 1947, and whose musi?cal influence is still felt today, was named Laureate Conductor in 1988. Kurt Masur was appointed Honorary Guest Conductor in 1992, and this season leads the Orchestra in Beethoven's Symphony No. 9 in both Israel and New York. Throughout its distin?guished history the Orchestra has collabo?rated with many of this century's greatest conductors and soloists.
The Israel Philharmonic continues to uphold its historical commitment to absorbing new immigrants to Israel from all over the world. While more than half of the Orchestra's current members are native-born Israelis, its ranks include many musi?cians who have emigrated from the United States and Eastern Europe, including over twenty-five new arrivals from the former Soviet Union who have joined the ensemble in recent years.
America has played a vital role in creat?ing, as well as sustaining, the Israel Philharmonic Orchestra, recognizing the importance of the Orchestra's role in Israel and throughout the world. American Friends of the Israel Philharmonic Orchestra is a national organization com?mitted to supporting the Orchestra through an endowment that enables the IPO to maintain its high musical standards, to undertake foreign tours, and to enhance its educational programs. The organization was established in 1980 through the joint vision of Fredric Mann and Zubin Mehta. Mr. Mehta serves as Co-Chairman of the American Friends with Itzhak Perlman.
This performance marks the Israel Philharmonic's sixth appearance under UMS auspices.
Israel Philharmonic Orchestra
Zubin Mehta, Music Director and Conductor
The Music Director's position is endowed by the William Petschek Family
Leonard Bernstein (1947-1990), Laureate Conductor
Kurt Masur, Honorary Guest Conductor Antonio Pappano, Chief Guest Conductor
First Violin Menahem Breucr,
Coticertmastcr Ilia Konovalov, Concertmastcr Yigal Tuneh, Concenmascr Alexander Stark,
Assistant Concertmastcr Saida Bar-Lev Marina Dorman Raphael Frankel Genadi Gurevich Rimma Kaminkovsky Zinovi Kaplan Robert Mozes Ron Porath Anna Rosnovsky Avital Steiner Alon Weber Drorit Valk Paya Yussim
Second Violin
Elyakum Salzman Yitzhak Geras Amnon Valk Shimeon Abalovitch Emanuel Aronovich Alexander Dobrinsky Nathalie Gandelsman HlicvcrGantman Shmuel Glaziris Addina Grodsky Elizabeth Krupnik Kalman Levin Yoram Livne Alexander Povolotzky Marianna Povolotzky Olga Stern
Yuri Gandelsman ?
Claire and Albert Schusslcr
Endowed Chair Miriam Hartman (acting) Avraham Lcvental (acting) Roman Spitzer Michael Appelman Rachel Kam Yuval Kaminkovsky Shimon Koplansky Zvi Litwak Eugenia Malkovsky Klara Nussovitzky Abraham Rosenblit Aharon Yaron
Michael Haran Marcel Bergman Shulamit Lorrain Alia Yampolsky ?? Yoram Alperin David Barnea Naomi Enoch Dmitri Golderman Baruch Gross Alexander Kaganovsky Enrique Maltz Felix Nemirovsky
Doublebass Teddy Kling Peter Marck ? Yevgeny Shatzky Ruth Amir Brad Annis Eli Magen Talia Mense-Kling Michael Nitzberg Gabriel VolS
Yossi Arnheim Eyal Ein-Habar Avichai Ornoy Bezalcl Aviram Leor Eitan
Piccolo Leor Eitan
Bruce Weinstein Evan Thee Merrill Greenberg Tamar Narkiss-Melzer Hermann Openstein
English Horn Merrill Greenberg
Richard Lesser ? Yaakov Barnea Rashelly Davis Israel Zohar
E-Flat Clarinet Yaakov Barnea Kashelly Davis
Bass Clarinet Israel Zohar
Bassoon Zeev Dorman Uzi Shalcv ? Gad Lcdcrman Carol Patterson
Contrabassoon Carol Patterson
Andrew Balio Ram Oren ? Ilan Eshed Raphael Glaser Yigal Meltzer
Yaacov Mishori lames Cox ? Anatol Krupnik Sally Ben-Moshe Yossef Rabin Shelomo Shohat
Trombone Stewart Taylor Yehoshua Pasternak i Micha Davis
Bass Trombone
Mattiyahu Grabler Micha Davis
Charles Schuchat ?
Timpani Gideon Steiner
Percussion Gabi Hershkovich Ayal li.ill.ili Eitan Shapiro Daphna Yanai
Judith Liber
Israel Philharmonic
Orchestra Management
Yehoshua Pasternak, Chairman
Baruch Gross
Yaacov Mishori
Avi Shoshani, Secretary General
Avigdor Levin, Chief
Business Officer Marilyn Steiner, Chief
Dana Schlanger, Librarian Uzi Seltzer, Stage Manager Yaakov Kaufman, Technical
Canada Concertmaster Chair
Associate Principal ? Assistant Principal : On leave or sabbatical
ICM Artists Touring Division
Byron Gustafson, Director and Senior Vice President
Leonard Stein, General Manager
Richmond Davis, Stage Manager
The orchestra gratefully acknowledges American Friends of the Israel Philharmonic Orchestra as a principal underwriter of the Orchestra's North American tour.
Tour management by ICM Artists, Ltd. New York, New York
Thomas B. McMullen Co.
Christopher Parkening
Sunday Afternoon, January 11, 1998 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
A Celebration of Andres Segovia
Johann Sebastian Bach Prelude
John Dowland Galliard and Allemande
GasparSanz Espanoletas
Passacalle de la cavalleria de Napoles Canarios
Sylvius Leopold Weiss Prelude
Fernando Sor Etude No.3 (Op.6, No.2)
Variations on a Theme of Mozart
Alexandre Tansman Suite in Modo Polonico (a Andres Segovia)
Tempo de Polonaise
Kolysanka No.2
Alia Polacca
Oberek (Mazurka Vive)
Heitor Villa-Lobos Prelude (Homage to Bach)
FederkoMoreno Torroba Fandanguillo
Francisco Tdrrega Capricho Arabe (serenata)
Isaac Albeniz Leyenda
"Transcribed by Andres Segovia
Thirty-second Concert of the 119th Season
Six Strings Series
Immediately following the performance you are invited to remain in the concert hall for a brief question and answer session with Mr. Parkening.
Special thanks to Tom McMullen for his continued support through the Thomas B. McMullen Company.
"The Ramirez family is extremely pleased to provide Christopher Parkening with the 1967 Ramirez guitar from the Jose Ramirez Collection in Madrid, Spain. This instrument was played by Maestro Segovia in the Teatro Real de Madrid when he received the Medalla al Merito del Trabajo. It will be used by Mr. Parkening for this 1997-1998 Segovia Celebration Tour."-Jose Ramirez IV
Large print programs are available upon request.
A Celebration of Andres Segovia
Prelude Gavotte
Johann Sebastian Bach
Born on March 21,1685 in Eisenach, Germany
Died on July 20, 1750 in Leipzig, Germany
Segovia transcribed this Prelude for the guitar from the original version, which was written for the lute, transposing it from the key of c minor to d minor. The guitar is not a descendant of the lute but rather a close cousin. Bach knew several lutenists of the day, S.L. Weiss and lohann Kropffgans among them, and wrote numerous works for the lute, many of which were transcribed and arranged for the first time by Segovia. The "Gavotte" was taken from the Cello Suite No. 6. The similar ranges and tuning of the baroque cello and guitar coupled with this exquisite transcription by Segovia make it sound as though it could have been originally written for the guitar.
John Dowland
Born in 1563, probably in London
Died on February 20, 1626 in London
These two dances by Dowland are rather characteristic of the famous, late-Elizabethan lutenist who spent much of his life abroad. The stately Galliard and the Allemande, enti?tled My Lady Hunssdon's Puffe, are written out improvisations, quite elaborate, containing divisions (sometimes called diminutions, dobles or doubles) and while they are too complex for dancing, the composer has maintained the rhythmic pattern of the original dance. Many of the dance forms from this period and later were used as models to demonstrate the musician's abilities in the art of playing in the galant style.
Passacalle de la cavalleria de Napoles
Gaspar Sanz Born in 1640 Died in 1710
Gaspar Sanz was both an outstanding Spanish guitar virtuoso and composer of the late seventeenth-century. These three pieces are from Sanz' Suite espaiwla. In the "Passacalle de la cavalleria de Napoles" you can hear the arrival of the riders on horse?back. "Canarios" is one of the most famous themes in guitar literature, used by the renowned twentieth-century composer Joaquin Rodrigo as the final movement of his popular guitar concerto, Fantasia para un gentilhombre dedicated to Segovia.
Sylvius Leopold Weiss
Born on October 12, 1686 in Breslau, Germany
Died on October 16,1750 in Dresden, Germany
As a young boy, Parkening's favorite recorded guitar piece was Segovia's version of the Weiss Prelude. He first heard this work live at the young age of 11, along with the Gigue, in a Segovia concert at the Wiltshire Ebell Theatre in Los Angeles, April 13, 1959. (This was the first meeting between the Maestro and his soon-to-be protege). Though passed off for several decades as part of a "lost" suite by lutenist Sylvius Weiss, Segovia relat?ed to Parkening that the piece was actually authored by twentieth-century composer Manuel Ponce. The decision to attribute the work to Weiss was made by Segovia and Ponce at a party in 1926, as a "musical escape," and later "to confuse a music critic." Authorship aside, this piece remains techni?cally demanding and musically exciting.
Variations on a Theme of Mozart
Fernando Sor
Born on February 13,1778 in Barcelona, Spain
Died on July 10, 1839 in Paris
Born in Barcelona, Spain, and known as "The Beethoven of the Guitar," Fernando Sor composed numerous studies and technically demanding works for the instrument. He also enjoyed renown as a virtuoso, performing throughout Europe and Russia. The Etude, No.3 (Op.6 No.2) is taken from a collection of twenty compiled by Segovia, who claimed them to be "the most effective and beautiful studies written by Fernando Sor for the gui?tar." For the Variations..., Sor borrows a graceful theme from Mozart's opera Die Zauberflote (The Magic Flute) and develops variations that grow into a dazzling display of guitar pyrotechnics that challenges even the most accomplished virtuoso. On January 8,1928, at the old Town Hall in New York, the public heard the Variations... performed for the first time in Segovia's pre?miere performance in the United States.
Suite in Modo Polonico (a Andres Segovia)
Alexandre Tansman
Born on June 12, 1897 in Lodz, Poland
Died on November 15, 1986 in Paris
"I have been fascinated by Andres Segovia's musical personality since the first contact I had with his art," wrote Tansman on intro?ducing the Suite in 1962, "and I am proud to have been among the first young (at that time) composers to have composed a work for him." He continues "This Suite was inspired by the ancient court dances of Poland. Some of them have counterparts elsewhere in Europe; others are typically Polish." Each movement from the opening "Entree" (a "branle," which is an ancient French dance) to the rhythmic "Polonaise"
into the lively "Polacca" and the "Oberek" to the beautiful lullaby "Kolysanka" there is a variety of charm which the composer has captured, reflecting the culture of the Polish people.
Prelude (Homage to Bach)
Heitor Villa-Lobos
Born on March 5, 1887 in Rio de Janeiro
Died on November 17, 1959 in Rio de Janeiro
The restlessly energetic Brazilian composer and guitarist Heitor Villa-Lobos met Andres Segovia in Paris in 1924 and they became lifelong friends. Maestro Segovia encouraged him to continue writing of the guitar. Villa-Lobos wrote Cinq Preludes (dedicated to his wife) in 1940 as part of his prolific output resulting from Segovia's encouragement.
Federico Moreno Torroba Bom in 1891 Died in 1982
Renowned Spanish composer Federico Moreno Torroba remained a lifelong friend of Maestro Segovia. Although he did not play the guitar himself, he composed numerous pieces for the instrument at the request of Segovia, greatly enriching the gui?tar's repertory. The "Fandanguillo" com?posed in 1921, is the first movement from his Suite castellana.
Capricho Arabe (serenataj
Francisco Tarrega
Born on November 21, 1852 in Villarreal,
Castellon, Spain Died on December 15,1909 in Barcelona, Spain
Although Tarrega, a painfully shy man with a handicap, only shared his artistry with a small circle of friends, his contributions have reached out to the whole world. His Capricho is a fancy dedicated to the Arabic
culture of Spain and reflects the impression?istic epoch of great Spanish composers such as Albeniz. The interpretation of this pro?grammatic piece, with a Moorish flavor, was first established by Andres Segovia in 1914. More than seventy years later, this same work appeared on Segovia's final tour program, in the US, in 1987. The last concert of this tour, April 4th, occurred at the Dade County Auditorium in Miami, Florida, and the audience in attendance was privileged to hear his ultimate rendition of this serenely beautiful work by Tarrega.
Isaac Albeniz
Born on May 29, 1860 in Camprodon, Spain Died on May 18, 1909 in Cambo-les-Bains, France
This brilliant transcription of Asturias, leyenda from Suite Espanola, Op.47 No.5 by Segovia was originally written by Albeniz for piano. Within the richly appealing impressionistic colors and fire, the legends of Spain come to life and one can almost see the interplay between the dance and the cante hondo (deep song). Segovia ended his Los Angeles debut concert with this piece, March 9, 1937. He stated, this work is "one of my favorites."
Program notes by John Nelson and Ron Purcell
Christopher Parkening is celebrated as one of the world's preeminent virtuosos of the classical guitar. For more than a quarter century, his concerts and recordings have received the highest worldwide acclaim. The Washington Post cited "his stature as the leading guitar virtuoso of our day, com?bining profound musical insight with com?plete technical mastery of his instrument." Parkening is recognized as an heir to the legacy of the great Spanish artist Andres Segovia, who proclaimed that "Christopher Parkening is a great artist -he is one of the most brilliant guitarists in the world."
Parkening's rare combination of dramatic virtuosity and eloquent musicianship has captivated audiences around the world from New York to Tokyo. He has performed at the White House, appeared with Placido Domingo on Live from Lincoln Center, participated in Carnegie Hall's 100th Anniversary celebration and performed twice on the internationally televised GrammyO Awards. Parkening has appeared on many nationally broadcast tele?vision programs, including The Tonight Show, Good Morning America, CBS Sunday Morning, The Today Show, 2020, and was a guest artist on The Disney Channel. He was recently invited by Kathie Lee Gifford to perform on her CBS holiday special Just in Time for Christmas. Voted "Best Classical Guitarist" in a nationwide readers' poll of Guitar Player Magazine for many years run?ning, he was placed in their Gallery of Greats along with Andres Segovia, John Williams and Julian Bream.
Parkening has been a frequent guest soloist with the finest orchestras in the United States, including the Philadelphia, Cleveland and Minnesota orchestras, the Chicago, Pittsburgh, and National symphony orchestras, Detroit, Houston and St. Louis symphonies, the St. Paul and Los Angeles
Christopher Parkening
chamber orchestras, and the Los Angeles Philharmonic at the Hollywood Bowl. His extensive recital schedule takes him through?out the country, with regular appearances in New York, Boston, Chicago, Philadelphia, Washington DC, Houston and Los Angeles. Following a recent performance The Los Angeles Times noted "Parkening is considered America's reigning classical guitarist, carry?ing the torch of his mentor, the late Andres Segovia."
Parkening has amassed an extensive discography on Angel Records and EMI Classics. He is the recipient of two GrammyO nominations in the category of Best Classical Recording for Parkening and the Guitar, and The Pleasures of Their Company, a collabora?tion with soprano Kathleen Battle.
In honor of Parkening's twenty-fifth year as a recording artist with EMI, a two-CD collection of favorites, The Great Recordings, was issued in celebration of his prolific artistry. Another Parkening disc, A Tribute to Segovia, was dedicated to the great Spanish guitarist and was recorded on one of the Maestro's own concert guitars. As his thirtieth anniversary approaches, Mr. Parkening recently signed a new multi-record contract with EMI Classics.
Parkening's commitment to music extends beyond his demanding performance schedule. Each summer, he teaches a series of master classes at Montana State University in Bozeman, Montana. He has also authored The Christopher Parkening Guitar Method, Volumes I and II, basic pedagogy books for beginning and advanced players.
Parkening has received commendations honoring his dedication and artistry, includ?ing an Honorary Doctorate of Music from Montana State University and the Outstanding Alumnus Award from the University of Southern California "in recognition of his outstanding international achievement and in tribute to his stature throughout the world as America's preeminent virtuoso of the classical guitar." In addition, Parkening was given the acclaimed American Academy of Achievement Award for his excellence in his field of music both nationally and inter?nationally.
Christopher Parkening resides in Southern California. At the heart of his dedication to performance, recording, and teaching is a deep commitment to the Christian faith. He is also a world class fly-fishing and casting champion who has won the International Gold Cup Tarpon Tournament (the Wimble?don of fly-fishing) held in Islamorada, Florida.
This performance marks Christopher Parkening's seventh appearance under VMS auspices.
Andres Segovia performed nine times under VMS auspices from 1960-1986.
Detroit Edison Foundation
The Boys Choir of Harlem
Dr. Walter J. Turnbull, Director and Founder
Sunday Evening, January 18, 1998 at 7:00 Hill Auditorium, Ann Arbor, Michigan
Alberto Ginastera
The Lamentations of Jeremiah the Prophet
O vos omnes qui transitis per viam Ego vir videns paupertatem meam Recordare Domine quid acciderit nobis
Franz Joseph Haydn
Mass in G Major, Hob. XXII:6 ("Sancti Nicolai")
Agnus Dei
arr. Moses Hogan arr. Hall Johnson arr. Hogan arr. Leonard Depaur arr. William Dawson
The Battle of Jericho
I've Been 'Buked
Elijah Rock
O Fix Me
Exekiel Saw de Wheel
arr. Robert Freeman
Show Biz Medley
The Lullaby of Broadway
Sit Down! You're Rockin' de Boat
Fugue for the Tin Horns
Strike Up the Band
No Bad News
Edward Kennedy
"Duke" Ellington Billy StrayhornEllington Ellington Herzogarr. Sadin
Jazz Greats
Interlude (Praise God and Dance)
Take the "A" Train
It Don't Mean a Thing (If It Ain't Got That Swing)
God Bless the Child
Pride and Hope
CooperTwinearr. Holland We Are Heroes
Back to You Up in Harlem Power
arr. Don Sebesky Croucharr. Holland arr. Holland Hawkinsarr. Twine
Amazing Grace Glorify the Lord Available to You Goin' Up Yonder
Thirty-third Concert of the 119th Season
African American Stories Series
Tonight's performance is sponsored by the Detroit Edison Foundation. Special thanks to S. Martin Taylor for continued support through the Detroit Edison Foundation.
Supporting sponsor for this evening's performance is provided by Beacon Investment Company. Special thanks to Sam Edwards for support through Beacon Investment Company.
Additional support is provided by media partner WDET.
This concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the 1996 Dr. Martin Luther King, Jr. Day Symposium.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
The Lamentations of Jeremiah the Prophet
Alberto Ginastera
Born on April 11, 1916 in Buenos Aires
Died on June 25, 1983 in Geneva
The Lamentations of Jeremiah the Prophet was written by the then thirty-year old Alberto Ginastera during a visit to the United States in 1946. A native of Buenos Aires, Argentina, his early music often explored the relationship between native Argentine styles, and European traditions. The Lamentations of Jeremiah the Prophet consists of five poems from the Old Testament. The poems relate the story of how Nebuzaradan, a captain of the guard from Babylon, captured Jerusalem and
1:12 0 vos omnes qui transitis per viam
attendite et videte si est dolor
sicut dolor meus
Quonium vindemiavit me ut
locutus est Dominus in die furoris sui
1:20 Vide Dominue quonium tribulor venter meus conturbatus est subversum est cor meum in memetipsa quoniam amaritudine plena sum foris interfecit gladius et domi mors est
1:16 Id circo ego plorans
et oculus meus deducens aquam
quia longe factus est a me consolator
anima meum facte sunt
filii mei perditi
quoniam invalut inimicus.
3:66 Persequeris in furore et conteres eos sub caelis Domine.
burned it to the ground in 587 BC. Details are related in the Book of Kings; The Lamentations supply the human impact and personal meaning of the historical facts, expressing the horror, resilience and hope of the survivors. The Lamentations of Jeremiah have been frequently set to music by such composers as Cristobal de Morales, Pierluigi da Palestrina and Thomas Tallis. Franz Joseph Haydn wrote a Lamentation Symphony (No. 26) in which the second movement uses a "Lamentations" plain chant cantus firmus. In our century, Lamentations have been set to music by Leonard Bernstein, Ernst Krenek and Igor Stravinsky. Unlike most settings, Ginastera's skips between verses to focus on emotional contrasts not possible otherwise.
1:12 All you who pass this way look and see: is any sorrow like the sorrow that inflicts me with which our Lord
has struck me on the day of His burning anger
1:20 Look, o Lord. How great my anguish
My heart turns in me.
I have always been a rebel
and now outside,
the sword has robbed me of my children,
and inside there is death.
1:16 And that is why I weep;
my eyes disolve in tears,
since the comforter
who could revive me
My sons are in despair,
the enemy has proven too strong.
3:66 Pursue them in fury, root them out from underneath Your Heavens.
3:1 Ego vir videns paupertatem meam in virga indignationis ejus.
3:2 Me minavit et adduxit in tenebris et non in lucem
3:4 Vetustam fecit pellam meam
et carnem meam contrivit ossa mea.
3:6 In tenebrosis collocavit me quasi mortuos sempiternos.
3:8 Sed et cum clamavero et rogavero exclusit orationem meam.
3:18 Et dixi periit finis meus at spes mea a Domino
5:1 Recordare Domine
quid acciderit nobis
intuere et respice opprobium nostrum.
5:21 Converte nos Domine ad te
et convertemur;
innova dies nostros sicut a principio.
5:19 Tu autem Domine
in aeternum permanebis solium tuum in generationen et generationen.
Mass in G Major, Hob. XXII:6 ("Sancti Nicolai")
Franz Josef Haydn
Born March 31, 1732 in Rohrau, Lower Austria
Died May 31, 1809 in Vienna
The Saint Nicholas Mass is one of Haydn's better kept secrets. This unassuming jewel is often overlooked for his more outgoing, flamboyant Masses. Nevertheless, it glides with unusually pastoral and gentle qualities and attracts with sudden bursts of sound
3:11 am the man familiar with misery under the rod of his anger.
3:2 I am the one he has driven and forced to walk in darkness and without any light.
3:4 He has wasted my flesh
and skin away, He has broken my bones.
3:6 He has forced me to dwell in darkness with the dead of long ago.
3:8 And when I call and shout he shouts out my prayer.
3:18 And I said, my strength is gone
and hope is gone which came from the Lord.
5:1 Remember, O Lord,
what is come upon us;
consider and behold our reproach.
5:21 Turn Thou us unto Thee, O Lord, and we shall be turned; renew our days as of old.
5:19 Thou O Lord,
remainest forever; Thy throne from generation to generation.
and sparkling text. Written at the age of forty, the Saint Nicholas Mass was the sixth of his fourteen complete masses. Evidence suggests that it was written quickly--so quickly that the text was not written out in the final sec?tion (the Dona nobis pacem) but instead left to his singers to improvise under the same music as the Kyrie.
Identical music at the opening and clos?ing creates a frame around which the rest of the mass is built. Each movement within this frame is built around a soloist or group
of soloists. The center of both the Gloria and Credo features soloists. The Sanctus, which is entirely choral, prepares the Benedictus, devoted exclusively to the soloists.
A particularly magical moment happens in the Credo: the place in a mass for state?ments of beliefs. Each voice part sings a different line of text simultaneously, like multiple conversations. These tangled musical textures then focus suddenly on one text, becoming understandable. Was this technique used as a practical compositional solution to a long text in the Missa brevis tradition, or a philosophical statement
It has been two hundred twenty six years since the Saint Nicholas Mass was performed for the first time -too long to keep an elegant secret.
Program note by Dr. Jeffrey Johnson
The Black Spiritual, referred to as the Negro Spiritual before the 1950s, constitutes one of the largest single bodies of American folk songs. The former slave and Black leader Frederick Douglass (c. 1817-1895) wrote of singing spirituals when a slave: "A keen observer might have detected in our repeated singing of'O Canaan, I am bound for the Land of Canaan' something more than a hope of reaching heaven." The spiritual has always served as more than a sense of hope but also as a way to defy injustice.
Jazz Greats
"Jazz Greats" is a choreographed representa?tion of the stylistic diversity within the jazz genre. The set includes Duke Ellington's ele?gant and sophisticated Take the "A" Train and It Don't Mean a Thing and ends with a tribute to one of the greatest song stylists, Billie Holiday, with God Bless the Child.
Pride and Hope
The Boys Choir of Harlem represents more than just music-making. The songs Back to You, Up in Harlem (Unencumbered) reflect the diversity in Harlem. This section of tonight's program represents the spirit of The Boys Choir of Harlem.
The Gospel genre is one that is an extension of the Spiritual tradition in the Black com?munity. Forerunners, Hymnody, Spirituals and Jazz, all come together in Praise and celebration. The John Newton Amazing Grace, recognized all over the world, flows naturally into Crouch's Glorify the Lord and the Contemporary Gospel Available to You, with a final shout: Going Up Yonder by Hawkins.
Program note by Dr. Walter Tumbull
Dr. Walter J. Tumbull has celebrated more than twenty-nine years as the leader of the internationally acclaimed Boys Choir of Harlem. An artist, educator, and master teacher, Dr. Turnbull has created a highly effective system for educat?ing inner city children and motivating them to become disciplined, confident, and suc?cessful adults. He is a frequent lecturer on education in the arts, and a sought-after master teacher.
A native of Greenville, Mississippi, he is an honors graduate of Tougaloo College where his academic achievements and notable contributions earned him recogni?tion in Who's Who in American Colleges and Universities.
Dr. Turnbull received his Masters in Music and Doctor of Musical Arts degrees from the Manhattan School of Music, and graduated from the Columbia University
School of Business Institute for Non-Profit Management. He has received honorary degrees from Queens College, Tougaloo College, California College, and Muhlenberg College. His alma mater has recently named a scholarship in his honor for Boys Choir of Harlem alumni.
Dr. Turnbull has appeared as a tenor soloist with both the New York Philharmonic and the Philadelphia Orchestra. He made his operatic debut with the Houston Grand Opera in Scott Joplin's Treemonisha. Other operatic roles include Alfredo in La Traviata and Tamino in Die Zauberflote, both with the Lake George Opera.
He has performed in Carmen and Turandot with Opera South and created the role of Antonio in the world premiere of Roger Ames' opera Amistad. He has also sung with the Godovsky Opera Theatre and Young Audiences, Inc. Other credits include Carmina Burana with Alvin Ailey Dance Theatre and Joplin's Treemonisha on Broadway. Dr. Turnbull also gives annual recitals at Merkin Hall in New York City.
He is a recipient of the William M. Sullivan Award, the Eleanor Roosevelt Community Service Award, the Edwin Berry National Business and Professional Award, and National Association of Negro Musician's prize. He has received the President's Volunteer Action Award on behalf of The Boys Choir of Harlem from Ronald Reagan at the White House and the Intrepid Salute Award. He has been honored by the State of New York and State of Mississippi and has received several distinguished alumnus' awards. Most recently, Dr. Turnbull accepted the National Medal of the Arts from President Clinton for The Boys Choir of Harlem.
Dr. Turnbull has received national and international media recognition. He has been profiled on Nightline, 2020, The Today Show, 60 Minutes, Good Morning, America, CBS Sunday Morning, and CBS This Morning. He has also appeared on Amazing Grace with
Bill Moyers, Great Performances: Ellington and his Music, The Rosie O'Donnell Show, and The Phil Donahue Show.
The Boys Choir of Harlem was founded in 1968 as the Ephesus Church Boys Choir by Dr. Walter J. Turnbull, a nationally known edu?cator, conductor, and tenor, as an alternative to the despair he found in the streets and schools of Harlem. Incorporated in 1975 as a non?profit, tax exempt organization, The Boys Choir of Harlem has grown from a small, community choir to a major performing arts institution of international renown. The Boys Choir of Harlem's growth -from a small group of church choristers to a signifi?cant institution serving over 500 boys and girls -has been an evolutionary process. Starting in the 1970's, The choir moved from being a performing ensemble for church services to one presenting concerts and recitals in public venues. The choir "sys?tem" was inaugurated; community outreach was instituted; open auditions in local Harlem elementary schools began; as did academic tutoring and counseling, servicing members and their families. In 1979, the Girls Choir was established, as was the Touring Choir. That year, The Boys Choir of Harlem went on its first European Tour to France, Belgium, and The Netherlands, an event which was captured in an Emmy Award winning documentary, From Harlem to Haarlem: The Story of a Choirboy.
In the 1980s, The Boys Choir of Harlem began to develop as an institution. The Choir established a formal after-school music education and tutoring program and enhanced counseling and community out?reach activities. The Summer Music Institute was created as an intensive annual retreat and renewal program for individuals
and for The Boys Choir of Harlem as a whole. The Choir Academy, an on-site satel?lite school, serving the middle grades, was developed to meet the need for high quality schooling for members.
The 1990's represent continuing pro?gram expansion and refinement. The Choir Academy, originally serving only boys in grades 4-8, has progressively added an addi?tional grade each year. And, in 1993, in a unique partnership with the NYC Board of Education Division of Alternative High Schools and Community School District 5, The Boys Choir of Harlem opened The Choir Academy of Harlem -a co-educa?tional, college preparatory school running from grades 4-12 in its own facility. The partnership offers The Boys Choir of Harlem a building -the former PS 201 -classrooms, an auditorium, academic teaching staff, plus custodial, security and some administrative assistance. In 1996 and 1997, The Boys Choir of Harlem graduated fourty students, all of which were accepted to colleges.
To meet the needs of older students at greatest risk of dropping out, The Boys Choir of Harlem is expanding educational resources and college preparatory programs, developing a Multi-Media Library and Learning Center and additional computer and language learning labs. In addition, The Choir is planning a Teacher Training Institute and national replication project, and will continue a multi-year program of organiza?tional renewal, strategic planning, and long range financial development.
77ns performance marks the Boy's Choir of Harlem's second appearance under UMS auspices
Touring Staff
Dr. Walter J. Trunbull Hilda Cabrera Pamela Hobson Todd Hutchinson Frank Jones, Jr.
Eamon Scanelli Thomas Selsey Lorenzo Shihab Lloyd Vaughn Glenn Pearson Gregory T. Barrett Clyde Bullard Keith Burton Daryl Smith
Founder Director Company Manager Lighting Director Sound Engineer Director of
Counseling Service Road Manager Monitor Mixer Wardrobe Mistress Stage Manager Piano Drums Bass Piano Guitar
Sheldon Connealy Division Columbia Artists Management Inc Personal Direction: R. Douglas Sheldon New York, NY
THE BOYS CHOIR OF HARLEM 2005 Madison Avenue New York, NY 10035
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 734.936.6837 for more information.
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 734.763.0611 (Marketing Internships), 734.647.1173 (Production Internships) or 734.764.6179 (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 734.764.2538.
UMS Ushers
Without the dedicated service of UMS' Usher Corps, our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
Our ushers must enjoy their work because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. If you would like information about joining the UMS usher corps, leave a message for head usher Kathi Reister at 734.913.9696.
Camerata Dinners
presented by General Motors
Following last year's great success, the UMS Board of Directors and Advisory Committee are hosting another series of Camerata Dinners before many of the season's great performances. After taking your pick of prime parking spaces, join friends and fellow UMS patrons in the beautiful setting of the Alumni Center, a site within a short walking distance of Hill Auditorium. Our buffet will be open from 6:00 to 7:30 p.m. and costs $25 per person. Make your reser?vations by calling 734.764.8489. UMS members receive reservation priority.
Saturday, January 10
Israel Philharmonic OrchestraZubin Mehta, conductor
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 OnJuSmfrair Georg Solti, conductor
Dining Experiences to Savor: the Fourth Annual Delicious Experiences
Wonderful friends and supporters of the UMS are again offering a unique donation by hosting 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 o 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 734.936.6837 for more information and to receive a brochure.
Restaurant & Lodging Packages
Celebrate in style with dinner and a show, or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening. Add luxury accommodations to the package and make it a complete get away The University Musical Society is pleased to announce their cooperative ventures with the following local establishments:
Paesano's Restaurant
j 3411 Washtenaw Road, Ann Arbor. Reservations: 734.971.0484
Bun. Feb. 22 Mendelssohn's Elijah
hue. Mar. 24 Russian National OrehestraGil Shaham, violin
ft011. 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
ttloor at the performance for each guest.
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue, Ann Arbor. Reservations: 734.769.0653 Join Ann Arbor's most theatrical host & hostess, Fred & Edith leavis Bookstein, for a weekend in their massive stone house built fin the mid1800s 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 nights' stay, breakfast, high tea and two priority reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
I 300 S. Thayer, Ann Arbor. Reservations: 734.769.3010 Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style deluxe guest room within walking distance of the performance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and great seats to the show. Beat the winter blues in style!
Yri. Jan. 9 David Daniels, countertenor
Sat. Jan. 10 Israel Philharmonic Orchestra
rri. Jan. 30 Beethoven the Contemporary: American String Quartet
tri. Feb. 13 luan-Josi Mosalini and His Grand Tango Orchestra
bat. Feb. 14 Chen Zimbalista, percussion ri. Feb. 20 Chick Corea, piano and Gary Burton, vibes vri. Mar. 13 New York City Opera National Company
Donizetti's Daughter of the Regiment at Mar. 21 Batsheva Dance Company of Israel 'at. Mar. 28 Paco de Lucia and His Flamenco Orchestra 'ackage price $199 (+ tax & gratuity) per couple ($225 for the srael Philharmonic Orchestra) includes: valet parking at the lotel, overnight accommodations in a deluxe guest room with a ontinental breakfast, pre-show dinner reservations at the Escoffier restaurant in the Bell Tower Hotel, and two performance ickets with preferred seating reservations.
Gratzi Restaurant
326 S. Main Street, Ann Arbor. Reservations: 734.663.5555 un. Jan. 18 Boys Choir of Harlem Tim. Feb. 19 Petersen Quartet "hi. Mar. 12 New York City Opera National Company
Donizetti's Daughter of the Regiment 'ri. Apr. 3 STREB
'ackage price $45 per person includes: guaranteed reservations or a pre-show dinner (select any item from the menu plus a non-lcoholic beverage) and reserved "A" seats on the main floor at the erformance.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 70 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 734.764.2538, or stop by Burton Tower.
The UMS 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 through the UMS Card, a privilege for subscribers and donors of at least $100. 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 Jacques
John Leidy Shop Kerrytown Bistro King's Keyboard House
Marty's Menswear
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 also 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 sponsoring UMS performances will enable you to reach 125,000 of southeastern Michigan's most loyal concertgoers.
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 734.647.4020 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 investment. For example, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image
Launching new products
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic
groups Making highly visible links with arts and
education programs Recognizing employees Showing appreciation for loyal customers
For more information, call 734.647.1176
Eleanor Roosevelt
Robert Frost
Vladimir Horowitz
William D Revelli
Eugene Ormandy
Jessye Norman
The many faces of Hill
For over 80 years, Hill Auditorium has hosted great poets, great thinkers and great musical artists. But the years have taken their toll on this magnificent building. The Campaign for Hill is our chance to give something back...and assure that Hill Auditorium will face a bright and beautiful future.
Please, make your pledge today to the Campaign for Hill.
For information, call (313) 647-6065.
Advisory Committee
The Advisory Committee is a 53-member organi?zation 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 Dinner Dance. The Advisory Committee has pledged to donate $140,000 this current season. In addition to fundraising, 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 734.936.6837 for information.
Group Tickets
Organize the perfect outing for your group of friends, co-workers, religious congregation, class?mates or conference 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 assistance 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 the regular ticket price for most events as well as receive 1-3 complimentary tickets for the group organizer (depending on the size of the group). Certain events have a limited number of discount tickets available, so call early to guarantee your reservation. Call 734.763.3100.
In an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary Halls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies. Thanks to Ford Motor Company for the use of a Lincoln Town Car to provide transportation for visiting artists.
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 artist 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 in 1997 UMS honored Jessye Norman.
This year's Ford Honors Program will be held Saturday, May 9. The recipient of the 1998 UMS Distinguished Artist Award will be announced in early February.
Thank You!
Great performances--the best in music, theater and dance--are pre?sented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, who constitute the members of the Society. The list below represents names of current donors as of November 1, 1997. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this 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 support to continue the great traditions of the Society in the future.
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy Niehoff Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Helen Ziegler Mr. and Mrs. Ronald G. Zollars
Randall and Mary Pittman
Herbert Sloan
Paul and Elizabeth Yhouse
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical Research
Carl and Isabelle Brauer
Sally and Ian Bund
Kathleen G. Charla
Dr. and Mrs. James Irwin
Carol and Irving Smokier
Mrs. M. Titiev
Ronald and Eileen Weiser
Consumers Energy
Detroit Edison Foundation
Ford Motor Credit Company
JPEincThe Paideia Foundation
McKinley Associates
NSK Corporation
The Edward Surovell Co.Realtors
TriMas Corporation
University of Michigan -
University Relations Wolverine Temporaries, Inc.
Arts Midwest
Grayling Fund
KMD Foundation
Lila Wallace-Reader's Digest
Audiences for the Performing
Arts Network
Lila Wallace-Reader's Digest Arts
Partners Program Benard L. Maas Foundation Michigan Council for Arts
and Cultural Affairs National Endowment for the Arts New England Foundation for the Arts
Individuals Robert and Ann Meredith Prudence and Amnon Rosenthal Edward Surovell and Natalie Lacy
Businesses General Motors Great Lakes Bancorp
Herb and Carol Amster
Douglas Crary
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
Michael E. Gellert
Sun-Chien and Betty Hsiao
F. Bruce Kulp and Ronna Romney
Pat and Mike Levine
Mr. David G. LoeselCafe Marie
Charlotte McGeoch
Joe and Karen Koykka O'Neal
Mrs. John F. Ullrich
Marina and Robert Whitman
Roy Ziegler
Beacon Investment Company Curtin & Alf Violinmakers First of America Bank Ford Electronics Thomas B. McMullen Company Michigan Radio Miller, Canfield, Paddock and Stone, P.L.C.
The Monroe Street Journal O'Neal Construction Project Management
Associates WDET WEMU
Foundations Chamber Music America Herrick Foundation
Individuals Robert and Martha Ause Maurice and Linda Binkow Barbara Everitt Bryant Dr. and Mrs. James P. Byrne Edwin F. Carlson Mr. Ralph Conger Katharine and Jon Cosovich Mr. and Mrs.
Thomas C. Evans Ken, Penny and Matt Fischer John and Esther Floyd Sue and Carl Gingles Mercy and Stephen Kasle John and Dorothy Reed Prudence and
Amnon Rosenthal Don and
Judy Dow Rumelhart Maya Savarino Professor Thomas J. and
Ann Sneed Schriber Raymond Tanter Richard E. and
Laura A. Van House Mrs. Francis V. Viola III Marion T. Wirick and
James N. Morgan
Businesses AAA of Michigan Arbor Temporaries
Personnel Systems, Inc. Butzel Long Attorneys Environmental Research
Institute of Michigan KeyBank
MaudesMain Street Ventures St. Joseph Mercy Hospital Target 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 Janet and Arnold Aronoff Mr. and Mrs. Max K. Aupperle Dr. Emily W. Bandera Bradford and Lydia Bates Raymond and Janet Bernreuter Joan A. Binkow Howard and Margaret Bond Jim Botsford and
Janice Stevens Botsford Jeannine and Robert Buchanan Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Jean and Kenneth Casey Pat and George Chatas Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Susan and Arnold Coran Alan and Bette Cotzin Dennis Dahlman Peter and Susan Darrow Jack and Alice Dobson Jim and Patsy Donahey Jan and Gil Dorer Cheri and Dr. Stewart Epstein David and Jo-Anna Featherman Adrienne and Robert Feldstein Ray and Patricia Fitzgerald Richard and Marie Flanagan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Margaret Fisher and
Arthur French Mr. Edward P. Frohlich Lourdes and Otto Gago
Marilyn G. Gallatin Beverley and Gerson Geltner William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Enid M. Gosling Norm 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 Dr. and Mrs. Sanford Herman 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
Thomas and Shirley Kauper 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 Carolyn and Paul Lichter Peter and Sunny Lo Robert and Pearson Macek Alan and Carla Mandel ludythe and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. and Mrs. Donald A. Meier Jeanne and Ernie Merlanti
Dr. H. Dean and
Dolores Millard Myrna and Newell Miller Andrew and Candice Mitchell Dr. and Mrs. )oe D. Morris George and Barbara Mrkonic Sharon and Chuck Newman William A. and
Deanna C. Newman Bill and Marguerite Oliver
(Pastabilities) Mark and Susan Orringer Constance L. and
David W. Osier Mr. and Mrs. William B. Palmer Dory and John D. Paul John M. Paulson Frances M. Pendleton Maxine and Wilbur K. Pierpont Donald H. Regan and
Elizabeth Axelson Professor and Mrs.
Raymond Reilly Glenda Renwick Molly Resnik and John Martin Jack and Margaret Ricketts Dr. Nathaniel H. Rowe Dick and Norma Sams Rosalie and David Schottenfeld Janet and Mike Shatusky Dr. Hildreth H. Spencer Steve and Cynny Spencer Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. Isaac Thomas III &
Dr. Toni Hoover Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt 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.
4 2 Principals, continued
3M Health Care
Ann Arbor Public Schools
The Barfield CompanyBartech
Comerica Inc.
General Automotive
Corporation Hudson's
Jacobson Stores Inc. Kantner and Associates Michigan Car Service and Airport Sedan, LTD Mechanical Dynamics Pepper, Hamilton & Scheetz Riverview Lumber &
Building Supply Co., Inc. Shar Products Company Target
Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation The Power Foundation
Jim and Barbara Adams
Bernard and Raquel Agranofif
M. Bernard Aidinoff
Dr. and Mrs. Peter Aliferis
Dr. and Mrs. Rudi Ansbacher
Catherine S. Arcure
lames R. Baker, Jr., M.D. and
Lisa Baker
Robert and Wanda Bartlett Karen and Karl Bartscht Ralph P. Beebe Mr. and Mrs. Philip C. Berry Suzanne A. and
Frederick J. Beutler John Blankley and
Maureen Foley Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Tina Bowen Laurence Boxer, M.D.;
Grace J. Boxer, M.D. David and Sharon Brooks Kathleen and Dennis Cantwell Bruce and Jean Carlson Tsun and Siu Ying Chang
Mrs. Raymond S. Chase Sigrid Christiansen and
Richard Levey Roland J. Cole and
Elsa Kircher Cole James and Constance Cook H. Richard Crane Alice B. Crawford William H. and
Linda J. Damon III Benning and 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 Daniel R. Foley Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox
Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach
Wood and Rosemary Geist Charles and Rita Gelman Henry and Beverly Gershowitz Margaret G. Gilbert Joyce and Fred M. Ginsberg Grace M. Girvan Paul and Anne Glendon Dr. Alexander Gotz Dr. and Mrs. William A. Gracie Elizabeth Needham Graham Jerry M. and Mary K. Gray Lila and Bob Green John R. and Helen K. Griffith Leslie and Mary Ellen Guinn Bita Esmaeli, M.D. and
Howard Gutstein, M.D. Mr. and Mrs. Elmer F. Hamel Mr. and Mrs. Ramon Hernandez Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty
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 Ed and Juliette Jonna Robert L. and Beatrice H. Kahn Richard and Sylvia Kautman Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Tom and Connie Kinnear Jim and Carolyn Knake Samuel and Marilyn Krimm Bert and Catherine La Du Lee E. Landes
David and Maxine Larrouy John K. Lawrence Leo A. Legatski Myron and Bobbie Levine Evie and Allen Lichter Dean and Gwen Louis Mr. and Mrs. Carl J. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Ken Marblestone and
Janisse Nagel Hattie and Ted McOmber Ted and Barbara Meadows Walter and Ruth Metzger Mr. and Mrs. Francis L Michaels John and Michelle Morris Martin Neuliep and
Patricia Pancioli M. Haskell and
Jan Barney Newman Len and Nancy NiehofT Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell Mary R Parker William C. Parkinson Lorraine B. Phillips Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Richard L. Prager, M.D. Jerry and Lorna Prescott
Richard H. and Mary B. Price Tom and Mary Princing Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Stephen and Agnes Reading Jim and Bonnie Reece La Vonne and Gary Reed Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Restuccia Katherine and William Ribbens Barbara A. Anderson and
John H. Romani Mary R. Romig-deYoung Gustave and Jacqueline Rosseels Mrs. Doris E. Rowan Sheldon Sandweiss Meeyung and Charles Schmitter Mrs. Richard C. Schneider Joseph and Patricia Settimi Helen and George Siedel Mrs. Charles A. Sink Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Mrs. Ralph L Steffek Mr. and Mrs. John C. Stegeman Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Dr. and Mrs. E Thurston Thieme Joan Lowenstein and
Jonathan Trobe Herbert and Anne Upton Joyce A. Urba and
David J. Kinsella Don and Carol Van Curler Gregory and Annette Walker Dr. and Mrs. Andrew S. Watson VVilles and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns Marcy and Scott Westerman Mrs. Elizabeth Wilson Len and Maggie Wolin Frank E. Wolk Dr. and Mrs. Clyde Wu Nancy and Martin Zimmerman
The Ann Arbor News
The Ann Arbor District Library
B [ -Because Company's Coming
Coffee Express Co.
General Systems Consulting
Group Jewish Federation of
Metropolitan Chicago Arbor TemporariesPersonnel
Systems, Inc.
St. Joseph Mercy Hospital United Jewish Foundation of
Metropolitan Detroit Van Boven Shoes, Inc.
Foundations Shiftman Foundation Trust
Anastasios Alexiou Christine Webb Alvey Dr. and Mrs. David G. Anderson Hugh and Margaret Anderson David and Katie Andrea Harlene and Henry Appelman Mr. and Mrs. Arthur J. Ashe Essel and Menakka Bailey Julie and Bob Bailey Gary and Cheryl Balint Lesli and Christopher Ballard John and Betty Barfield Norman E. Barnett Dr. and Mrs. Mason Barr, Jr. Leslie and Anita Bassett Astrid B. Beck and
David Noel Freedman Kathleen Beck Neal Bedford and
Gerlinda Melchiori Harry and Betty Benford RE. Bennett
Ruth Ann and Stuart J. Bergstein Jerry and Lois Beznos John and Marge Biancke Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Ruth E. and Robert S. Bolton Roger and Polly Bookwalter C. Paul and Anna Y. Bradley Richard Brandt and
Karina Niemeyer Betsy and Ernest Brater Mr. Joel Brcgman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Mary Jo Brough June and Donald R. Brown Morton B. and Raya Brown Arthur and Alice Burks Edward and Mary Cady Joanne Cage Jean W. Campbell Jim and Priscilla Carlson Marchall F. and Janice L. Carr Jeannette and Robert Carr Janet and Bill Casscbaum Andrew and Shelly Caughey James S. Chen Dr. Kyung and Young Cho Nancy Cilley Janice A. Clark Cynthia and Jeffrey Colton Edward J. and Anne M. Comeau Lolagene C. Coombs Mary K. Cordcs
Merle and Mary Ann Crawford Ed and ! 11kDavidson Laning R. Davidson, M.D. John and Jean Debbink Elena and Nicholas Delbanco Louis M. DeShantz Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Cecilia and Allan Dreyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser Joan and Emil Engel Don Faber and Jeanette Luton Dr. and Mrs. Stefan Fajans Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Dr. James F. Filgas Herschel and Annette Fink Joseph J. Fitzsimmons Stephen and Suzanne Fleming Jennifer and Guillermo Flores Ernest and Margot Fontheim James and Anne Ford Deborah and Ronald Freedman Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and Mrs.
David M. Gates
Thomas and Barbara Gelehrtcr Elmer G. Gilbert and
Lois M. Verbrugge James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod DASH
Mary L. Golden Dr. Luis Gonzalez and
Ms. Vilma E. Perez Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Mark and Susan Griffin Ken and Margaret Guire Philip Guire Don P. Haefner and
Cynthia J. Stewart .George N. Hall Margo Halsted
Michael C. and Deanne A. Hardy M. C. Harms Clifford and Alice Hart Kenneth and Jeanne Heininger John L. Henkel and
Jacqueline Stearns Bruce and Joyce Herbert Fred and Joyce Hershenson Herb and Dec Hildcbrandt Louise Hodgson Dr. and Mrs. Ronald W. Holz John and Lillian H. Home Linda Samuclson and Joel Howell Che C. and Teresa Huang Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Robert B. Ingling Professor and Mrs.
John H. Jackson
K. lohn Jarrctt and
Patrick T. Sliwinski Wallie and Janet Jeffries Mr. and Mrs. Donald L. Johnson Billie and Henry Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Steven R. Kalt and
Robert D. Heeren Dr. and Mrs. Mark S. Kaminski Allyn and Sherri Kantor Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Donald F. and Mary A. Kiel Rhea and Leslie Kish Paul Kissner M.D. and
Dana Kissner M.D. James and Jane Kister Dr. George Kleiber Philip and Kathryn Klinrworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Dimitri and Suzanne Kosacheff Barbara and Charles Krause Doris and Donald Kraushaar Konrad Rudolph and
Marie Kruger Thomas and Joy Kruger Henry and Alice Landau Marjorie Lansing Mr. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence John and Theresa Lee Richard LeSueur Jody and Leo Lighthammer Leslie and Susan Loomans Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Donald and Doni Lystra Jeffrey and Jane Mackie-Mason Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Edwin and Catherine Marcus Geraldine and Sheldon Markel Rhoda and William Martel Sally and Bill Martin Dr. and Mrs. Josip Matovinovic Mary and Chandler Matthews Mary Mazure and Andy Tampos Margaret E. McCarthy Kevin McDonagh and
Leslie Crofford Griff and Pat McDonald James and Kathleen McGauley Leo and Sally Miedler Jeanctte and Jack Miller Dr. M. Patricia Mortell Sally and Charles Moss Dr. Eva L. Mueller Dr. and Mrs. Gundcr A. Myran Marianne and Mutsumi Nakao Edward and Betty Ann Navoy Frederick C. Neidhardt and
Germaine Chipault Barry Nemon and
Barbara Stark-Nemon
44 Associates, continued
Mr. and Mrs. James O'Neill Mark Ouimet and
Donna Hrozencik Donna D. Park Shirley and Ara Paul Dr. Owen Z. and Barbara Perlman Margaret D. and John Petersen Frank and Nelly Petrock William and Barbara Pierce Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonne Plantinga Lana and Henry Pollack Stephen and Tina Pollock Bill and Diana Pratt Larry and Ann Preuss Charleen Price Wallace Prince
Mr. and Mrs. H. Pryor J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Michael and Helen Radock Homayoon Rahbari, M.D. Anthony L. Reffells and
Elaine A. Bennett Constance Rinehart Ken and Nina Robinson Gay and George Rosenwald Jerome M. and Lee Ann Salle Gary and Arlene Saxonhouse Dr. Albert J. and Jane L. Sayed
David and Marcia Schmidt
Marvin and Harriet Selin
Howard and Aliza Shevrin
George and Gladys Shirley
Alida and Gene Silverman
Scott and Joan Singer
John and Anne Griffin Sloan
Alene M. Smith
Carl and Jari Smith
Mrs. Robert W. Smith
Virginia B. Smith
Jorge and Nancy Solis
Dr. Elaine R. Soller
Lois and William Solomon
Katharine B. Soper
Dr. Yoram and Eliana Sorokin
Juanita and Joseph Spallina
L. Grasselli Sprankle
Barbara and Michael Steer
Dr. and Mrs. Stanley Strasius
Charlotte Sundelson
Brian and Lee Talbot
Ronna and Kent Talcott
Mary D. Teal
Lois A. Theis
Edwin J. Thomas
Mr. and Mrs. W. Paul Tippett
Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Treciak Van Dam Hugo and Karla Vandersypen
Jack and Marilyn van der Velde
Michael L. Van Tassel
William C. Vassell
John and Maureen Voorhees
Sally Wacker
Ellen C. Wagner
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 Shirley M. Williams Thomas and Iva Wilson Farris and Ann Womack Mr. and Mrs. A. C. Wooll Phyllis B. Wright Don and Charlotte Wyche Mr. and 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 Patlares, International
Translating Bureau, Inc. Scientific Brake and
Equipment Company University Microfilms
Ann Arbor Area Community
Foundation Shlomo and Rhonda Mandell
Philanthropic Fund
liin and Jamie Abelson
John R. Adams
Tim and Leah Adams
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. Allardyce
Michael Allemang
James and Catherine Allen
Richard and Bcttye Allen
Augustine and Kathleen Amaru
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Howard Ando and Jane Wilkinson
Drs. lames and
Cathlcen Culotta-Andonian Catherine M. Andrea T. L Andrcsen
Dr. and Mrs. Dennis L. Angcllis Elaine and Ralph Anthony Patricia and Bruce Arden Bert and Pat Armstrong Gaard and Ellen Arncson
Mr. and Mrs. Lawrence E. Arnett
Jeff and Deborah Ash
Mr. and Mrs. Dan E. Atkins HI
Jim and Patsy Auiler
Eric M. and Nancy Aupperle
Erik W. and Linda Lee Austin
Eugene and Charlene Axclrod
Shirley and Don Axon
Jonathan and Marlene Ayers
Virginia and Jerald Bachman
Jane Bagchi
Prof, and Mrs. J. Albert Bailey
Richard W. Bailey and
Julia I lunar Bailey Doris I. Bailo Robert L. Baird Bill and Joann Baker Laurence R. Baker and
Barbara K Baker Drs. Helena and Richard Balon Dr. and Mrs. Peter Banks Barbara Barclay John R. Bareham David and Monika Barera Cy and Anne Barnes Robert and Sherri Barnes Laurie and Jeffrey Barnett Donald C. Barnettc, Jr. Mark and Karla Bartholomy Dorothy W. Bauer R. T. Bauer
Mr. and Mrs. Steven R. Beckcrt Marquita Bedway Walter and Antje Benenson Mcrctc and Erling Blondal Bengtsson Bruce Benncr Linda and Ronald Benson Joan and Rodney Bentz Mr. and Mrs. Ib Bentzcn-Bilkvist Helen V. Berg Mr. and Mrs. S.E. BerkJ L. S. Berlin
Abraham and Thelma Bcrman Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Mark Bertz Bharat C. Bhushan William and Ilene Birge Elizabeth S. Bishop Art and Betty Blair Marshall and Laurie Blondy Henry Blosser Dr. George and Joyce Blum Beverly). Bole
Mr. and Mrs. Mark D. Bomia Dr. and Mrs. Frank Bongiorno Rebecca and Harold Bonnell Ed and Luciana Borbcly Lola J. Borchardt Gil and Mona Borlaza Dr. and Mrs. David Bostian Bob and Jan Bower Melvin W. and Ethel F. Brandt Robert and Jacqueline Brec Professor and Mrs. Dale E. Briggs Allen and Veronica Britton Olin L. Browdcr Linda Brown and Joel Goldberg Molly and John Brucger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Phil Bucksbaum and Roberta Morris Trudy and Jonathan Bulkley Dr. Frances E. Bull Sherry A. Byrnes Louis and Janet Callaway Susan and Oliver Cameron Jenny Campbell (Mrs. D.A.) Mr. and Mrs. Robert Campbell
Charles and Martha Canncll Dr. and Mrs. James E. Carpenter )an and Steve Carpman Dennis B. and Margaret W. Carroll Carolyn M. Carty and Thomas H. Haug John and Patricia Carver Kathran M. Chan William and Susan Chandler [ Wehrley and Patricia Chapman Dr. Carey A. Charles Joan and Mark Chesler George and Sue Chism Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Robert I. Cierznicwski Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Hubert and Ellen Cohen Hilary and Michael Cohen Lois and Avern Cohn Gerald S. Cole and Vivian Smargon Howard and Vivian Cole The Michael Collier Family Ed and Cathy Colone Wayne and Melinda Colquitt Gordon and Marjorie Comfort Kevin and Judy Compton Patrick and Anneward Conlin Sandra S. Connellan Janet Cooke
Dr. and Mrs. William W. Coon Gage R. Cooper Mr. and Mrs. Herbert Couf Paul N. Courant and Marta A. Manildi Clifford and Laura Craig Marjorie A. Cramer Mr. Michael J. and Dr. Joan Crawford Mr. and Mrs. Richard Crawford Lawrence Crochier Constance Crump and Jay Simrod Mr. and Mrs. James I. Crump, Jr. John and Carolyn Rundell Culotta Richard J. Cunningham Mary R. and John G. Curtis Jeffrey S. Cutter
Roderick and Mary Ann Daane Marylee Dalton Lee and Millie Danielson Jane and Gawainc Dart Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Mr. and Mrs. Roy C. Davis David and Kay Dawson Joe and Nan Decker Lloyd and Genie Dethloff Elizabeth and Edmond DeVine A. Nelson Dingle Dr. and Mrs. Stephen W. Director Dr. and Mrs. Edward R. Doezema Fr. Timothy J. Dombrowski Hilde and Ray Donaldson Steven and Paula Donn Thomas Doran Dick and Jane Dorr Prof William Gould Dow Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Dreffs John Dryden and Diana Raimi Jean and Russell Dunnaback Edmund and Mary Durfee John W. Durstine Gloria Dykhouse George C. and Roberta R. Earl
Jacquelynne S. Ecdcs
Elaine Economou and Patrick Conlin
Mr. and Mrs. Richard Edgar
Mr. and Mrs. John R. Edman
Sara and Morgan Edwards
Rebecca Eiscnberg and Judah Garber
David A. Eklund
Judge and Mrs. S. . Elden
Sol and Judith Elkin
Ethel and Sheldon Ellis
James Ellis and Jean Lawton
Mrs. Genevieve Ely
Mackenzie and Marcia Endo
Jim and Sandy Eng
David and Lynn Engelbert
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
Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr.
Barbara and Garry C. Faja
Elly and Harvey Falit
Richard and Shelley Farkas
Mr. and Mrs. H. W. Farrington, Jr.
Inka and David Felbeck
Reno and Nancy Feldkamp
Phil and Phyllis Fellin
Ruth Ficgel
Carol Fincrman
Clay Finkbeiner
C. Peter and Bev A. Fischer
Mr. and Mrs. Gerald B. Fischer
Lydia H. Fischer
Patricia A. Fischer
Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher
Susan R. Fisher and John W. Waidley
Winifred Fisher
Barbara and James Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
David and Ann Fluckc
Scott and Janet Fogler
Mr. and Mrs. George W. Ford
Susan Goldsmith and Spencer Ford
Bob and Terry Foster
Ronald Fracker
Tom Franks, Jr.
Richard and Joann Freethy
Andrew and Deirdre Freiberg
Otto W. and Helga B. Freitag
Gail Fromes
Philip And Renee Frost
Lela J. Fuester
Joseph E. Fugere and
Marianne C. Mussett An and liana Gafni Jane Galantowicz Thomas H. Galantowicz Arthur Gallagher Mrs. Shirley H. Garland Del and Louise Garrison Janet and Charles Garvin Jutta Gerber In.i Hancl-Gerdcnich Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Gennc and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas llan Gittlen
Peter and Roberta Gluck Sara Goburdhun Mr. and Mrs. Robert Gockcl
Mr. and Mrs. Edward W. Godsalve
Albert L. Goldberg
Dr. and Mrs. Edward Goldberg
Ed and Mona Goldman
Irwin J. Goldstein and Marty Mayo
Mrs. Eszter Gotnbosi
Mitch and Barb Goodkin
Sclma and Albert Gorlin
William and Jean Gosling
Charles Goss
Naomi Gottlieb and
Theodore Harrison DDS Siri Gottlieb Michael L Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Dr. William H. and Maryanna Graves Alan Green and Mary Spence Jeff Green
Bill and Louise Gregory Daphne and Raymond Grew Mr. and Mrs. James J. Gribble Werner H. Grilk Richard and Marion Gross Robert M. Grover Robert and Linda Grunawalt Dr. Robert and Julie Grunawalt Arthur W. Gulick, M.D. Sondra Gunn Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hackett Helen C. Hall
Harry L and Mary L. Hallock Sarah I. Hamckc
Mrs. Frederick G. Hammitt
Dora E Hampel
Lourdes S. Bastos Hansen
Charlotte Hanson
Herb and Claudia Harjes
Dr. Rena Harold
Nile and Judith Harper
Stephen G. and Mary Anna Harper
Mr. and Mrs. Randy f. Harris
Robert and Susan Harris
Robert and lean Harris
Phyllis Harrison-Ross
M. Jean Harter
Jerome P. Hartweg
Elizabeth C. Hassincn
Harlan and Anne Vance Hatcher
Jeannine and Gary Hayden
Dr. Lucy K. Hayden
Mr. and Mrs. Edward J. Hayes
Charles S. Heard
Bob and Lucia Heinold
Mrs. Miriam Heins
Sivana Heller
Margaret and Walter Helmreich
Karl Henkel and Phyllis Mann
Margaret Martin Hermel
C.C. Herrington, M.D.
Carl and Charlene Herstein
Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Jacques Hochglaube, M.D., RC Jane and Dick Hoerner Anne Hofif and George VUIcc Bob and Fran Hoffman Carol and Dieter Hohnke
4 6 Advocates, continued
1'ilui and Donna Hollowell Arthur G. Horncr, Jr. Dave and Susan Horvath George M. Houchens and Caroline Richardson Dr. Nancy Houk Dr. and Mrs. Joseph A. Houle Fred and Betty House Jim and Wendy Fisher House Dr. and Mrs. Jeffrey Housner Helga Hover
Drs. Richard and Diane Howlin Charles T. Hudson Mr. and Mrs. William Hufford Joanne Winkleman Hulce Ann D. Hungerman Diane Hunter and Bill Ziegler Jewel and John C. Hunter Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. & Mrs. Jacob Hurwitz Eileen and Saul Hymans Edward Ingraham Margaret and Eugene Ingram Ann K. Irish Perry Irish Carol and John Isles Mi it Hi Ito Judith G. Jackson Dr. and Mrs. Manuel Jacobs Harold and Jean Jacobson Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek Keith Jensen JoAnn J. Jeromin
Paul and Olga Johnson Dr. Marilyn S. (ones Stephen G. Josephson and
Sally C. Fink Tom and Marie luster Mary Kalmes and Larry Friedman Paul Kantor and
Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Bob and Atsuko Kashino Alex F. and Phyllis A. Kato Maxine and David Katz Nick and Meral Kazan Janice Keller
James A. Kelly and Mariam C. Noland John B. Kennard Frank and Patricia Kennedy Linda Atkins and Thomas Kenney Paul and Leah Kilcny Andrew Kim
William and Betsy Kincaid Dr. David E. and
Heidi Castleman Klein Shira and Sieve Klein Drs. Peter and Judith Kleinman Sharon L. KnightTitle Research Ruth and Thomas Knoll Rosalie and Ron Kocnig Mclvyn and Linda Korobkin Edward and Marguerite Kowaleski Richard and Brenda Krachenberg Jean and Dick Kraft
David and Martha Krehbiel
William I. Bucci and )anct 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. James Labes
lane Laird
Mr. and Mrs. Seymour Lampert
Janet Landsberg
Patricia M. Lang
Lome L. Langlois
Carl and Ann La Rue
Ms. fill Latta and Mr. David S. Bach
Beth and George Lavoie
Robert and Leslie Lazzertn
Chuck and Linda Leahy
Fred and Ethel Lee
Moshin and Christina Lee
Diane and Jeffrey Lehman
Mr. and Mrs. Fernando S. Leon
Ron and Leona Leonard
Sue Leong
Margaret E. Leslie
David E. Levine
Mr. and Mrs. Harry Levine, III
Deborah Lewis
Donald and Carolyn Dana Lewis
Jacqueline H. Lewis
Norman Lewis
Thomas and Judy Lewis
Lawrence BLindemer
Mark Lindley
Mr. Ronald A. Lindroth
Rod and Robin Little
Vi-Chengand Hsi-Yen Liu
Naomi E. Lohr
Jane Lombard
Dan and Kay Long
Ronald Longhofer
Armando Lopez R.
Mr. and Mrs. Richard S. Lord
Joann Fawn Love
Ross E. Lucke
Pamela and Robert Ludolph
Fran Lyman
Susan E. Macias
Marcia MacMahan
Suzanne and Jay Mahler
Deborah Malamud and Neal Plotkin
Claire and Richard Malvin
Melvin and Jean Manis
Alice and Bob Marks
Ann W. Martin
Rebecca Martin
Mr. and Mrs. Stephen D. Marvin
Dcbra Mattison
Margaret Maurer
Jeffrey and Sandra Maxwell
Mr. and Mrs. Donald C. May, Jr.
Mr. and Mrs. Brian McCall
Thomas and Jackie McClain
Margaret and Harris McClamroch
Dorcs M. McCree
Jeffrey T. McDole
Eileen Mclntosh and
Charles Schaldenbrand Mary and Norman Mclver Bill and Ginny McKeachie Fred McKenzie
Daniel and Madelyn McMurtrie Nancy and Robert Meader Anthony and Barbara Medeiros Samuel and Alice Meiscls Robert and Doris Melltng Mr. and Mrs. Warren A. Merchant Debbie and Bob Merion Hely Merle
Bernice and Herman Merle
Russ and Brigette Merz
Henry D. Messer Carl A. House
Ms. Anna Meyendorff
Professor and Mrs. Donald Meyer
Valerie Meyer
Shirley and Bill Meyers
Dr. William P. Mies
William and Joan Mikkelsen
Carmen and lack Miller
Robert Rush Miller
Kathleen and lames Mitchiner
Mr. and Mrs. William G. Moller, Jr.
Jim and Jeanne Montie
Lester and Jeanne Monts
Rosalie E. Moore
Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley Paul and Terry Morris Robert C. Morrow Brian and Jacqueline Morton Cyril and Rona Moscow James and Sally Mueller M.ik i Mulligan and
Katie Mulligan (youth) Gavin Eadie and Barbara Murphy Laura and Charles Musil Linda M. Nadeau Rosemarie Nagel Isabelle Nash
Randy and Margaret Nesse Susan and Jim Newton John and Ann Nicklas Mrs. Marvin Niehuss Shinobu Niga Susan and Richard Nisbett Laura Nitzberg and Thomas Carli Dr. Nicole Obregon John and Lexa O'Brien Patricia O'Connor Richard and Joyce Odell Mr. J. L. Oncley
Karen Koykka O'Neal and Joe O'Neal Kathleen I. Operhall Dr. Jon Oscherwitz Lillian G. Ostrand Julie and Dave Owens Penny and Steve Papadopoulos Michael P. Parin Evans and Charlcne Parrot! Mr. and Mrs. Brian P. Patchen Mr. and Mrs. Ronald I. Patterson Robert and Arlene Paup Hon. Steven and Janet Pepe Susan A. Perry Ann Marie Petach Joyce and Daniel Phillips Joseph W. Phillips Mr. and Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Roy and Winnifred Pierce Dr. and Mrs. James Pikulski Martin Podolsky
Russell and Elizabeth Pollard Hines Robert and Mary Pratt Jacob M. Price Ernst Pulgram
Mr. and Mrs. Mitchell Radcliff Patricia Randlc and James Eng Alfred and lackie Raphaelson Dr. and Mrs. Robert Rapp Mr. and Mrs. Douglas J. Rasmussen Mr. and Mrs. Robert H. Rasmussen Sandra Reagan (Catherine R. Reebel Stanislav and Dorothy R. Rehak John and Nancy Reynolds
Alice Rhodes
Ms. Donna Rhodes
Paul Rice
James and Helen Richards
Mrs. RE. Richart (Betty)
ohn and Marilyn Rintamaki
Sylvia Ristic
Mary Ann Ritter
Kathleen Roelofs Roberts
Peter and Shirley Roberts
Dave and Joan Robinson
Janel K. Robinson, Ph.D.
Richard C. Rockwell
Mary Ann and Willard Rodgers
Marilyn L. Rodzik
Mr. and Mrs. Stephen I. Rogers
Mary F. Loeffler and
Richard K. Rohrer Elizabeth A. Rose Bernard and Barbara Rosen Drs. Stephen Roscnblum and
Rosalyn Sarver
Richard Z. and Edie W Roscnfcld Marilynn M. Rosenthal Michael and Margie Rudd Roger and O.I. Rudd Dr. and Mrs. Raymond W. Ruddon Samuel and Irene Rupert Robert and Beth Ruskin Mitchell and Carole Rycus Ellen and Mm Saalberg Theodore and Joan Sachs Arnold Sameroff and
Susan McDonough Miriam S. Joffe Samson Ina and Terry Sandalow form and Reda Santinga Sarah Savarino Hclga and Jochcn Schacht Lawrence and Marilyn Schlack Courtland and Inga Schmidt Charlene and Carl Schmult, Jr. Thomas Schramm Carol Schreck
Gerald and Sharon Schreiber Sue Schroeder Albert and Susan Schultz Ailcen M. Schulze Drs. R. R. Lavelle and M. S. Schuster Alan S. and Sandra Schwartz Ed and Sheila Schwartz Jonathan Bromberg and
Barbara Scott David and Darlene Scovell Michael and Laura Seagram E. . Sedlander Sylvia and Leonard Segel Suzanne Selig Gerda Seligson
Stan and Judalyn Greer Seling Louis and Sherry L. Senunas George H. and Mary M. Sexton Dr. and Mrs.). N. Shanberge Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shappirio Rev. William J. Sherzer Cynthia Shcvel Drs. Jean and Thomas Shope Hollis and Martha Showalter Pam and Ted Shultz Ned Shure and Jan Ondcr John and Arlene Shy Milton and Gloria Siegel Eldy and Enrique Signori Drs. Dorit Adler and Terry Silver Costella Simmons-Winbush Sandy and Dick Simon Frances U. and Scott K. Simonds Michael and Maria Simonte
Robert and Elaine Sims
Donald and Susan Sinta
Mrs. Loretta M. Skewes
Imu ISklenar
Beverly N. Slater
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard Soblc and Barbara Kessler
Richard and luluSohnly
James A. Somers
Mina Diver Sonda
Mrs. Herbert W. Spendlove (Anne)
Edmund Sprunger
Francyne Stacey
Samuel T. and Randy Dean Stahl
David and Ann Staiger
Betty and Harold Stark
Dr. and Mrs. William C. Siebbins
Bert and Vickie Sleek
Ron and Kay Stefanski
Virginia and Eric Stein
William and Georginc Steude
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
Mrs. William H. Stubbins
Valerie Y.Suslow
Peg Talburtt and Jim Peggs
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Leslie and Thomas Tentler
George and Mary Tewksbury
Gauri Thergaonkar and Giri lyengar
Paul Thielking
Bette M. Thompson
Mrs. Peggy Ticman
Mr. Andrew Tomasch
Dr. and Mrs. Merlin C. Townley
James W. Toy
Angie and Bob Trinka
Sarah Trinkaus
Kenneth and Sandra Trosien
Luke and Merling Tsai
Marilyn Tsao and Steve Gao
Jeff and Lisa Tulin-Silver
)an and Nub Turner
Carol Turner
Dolores J. Turner
Dr. Hazel M. Turner
William H. and Gerilyn K. Turner
Taro Ueki
Alvan and Katharine Uhle
Mary L. Unterburger
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Bram and Lia van Leer
Fred and Carole S. Van Rcescma
Kate and Chris Vaughan
Phyllis Vegter
Sy and Florence Veniar
Alice and Joseph Vining
Jane and Mark Vogel
Carolyn and Jerry Voight
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 Nadetman and
Sidney Warschausky Ruth and Chuck Walts Robin and Harvey Wax Barry and Sybil Wayburn Edward C. Weber Joan M. Weber
Leone Buyse and Michael Webster Jack and Jerry Weidenbach Donna G. Wcisman Barbara Weiss Carol Campbell Wclsch and
John Welsch
Rosemary and David Wcsenberg Mr. and Mrs. Peter Westen Tim and Mim Wcsterdale Ken and Cherry Weslerman Susan and Peter Westcrman Marjorie Westphal Paul L Duffy and Marilyn L Whcaton Ruth and Gilbert Whitaker B. Joseph and Mary White Iris and Fred Whitehouse Mr. and Mrs. Nathaniel Whiteside Mr. and Mrs. Carl A. Widmann William and Cristina Wilcox Brymer and Ruth Williams Reverend Francis E. Williams Beverly and Hadley Wine Jan and Saraane Winkelman Beth and I. W.Winslen Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Jeffrey and Linda Witzburg Charlotte Wolfe
Patricia and Rodger Wolff
Dr. and Mrs. Ira S. Wollner
Muriel and Dick Wong
Nancy and Victor Wong
I. D. Woods
Charles R. and Jean L Wright
Ben and Fran Wylie
Mr. and Mrs. R. A. Yagle
Teruhiko Yamazaki
Toshihiko Yarila
Sandra and )onathan Yobbagy
Frank O. Youkstetter
lames P. Young
Mr. John G. Young
Ann and Ralph Youngren
Dr. and Mrs. Joe H. Yun
Mr. and Mrs. F.L. Zeisler
Peter and Teresa Ziolkowski
David S. and Susan H. Zurvalec
Ann Arbor Bivouac, Inc. Garris, Garris, Garris &
Garris Law Office Loomi5, Sayles and Co. L.P. Organizational Designs Alice Simsar Fine Art, Inc. University Bank
Alan and Marianne Schwartz-The Shapiro Foundation
John H. Bryant Margaret Crary Mary Crawford George R. Hunsche Alexander Krezel, Sr. Katherine Mabarak Frederick C. Matthaci. Sr. Steffi Reiss Ralph L. Stcffek Clarence Stoddard William Swank Charles R. Tieman John F. Ullrich Ronald VandenBclt Francis Viola III Carl H. Wilmol Peter Holderness Woods Helen Zieglcr
Bernard and Ricky Agranoff Ann Arbor Symphony Orchestra Anneke's Downtown Hair
and Company Applause Salon Catherine Arcure The Ark
B] Because Company's Coming Dr. Emily Bandera Paulett and Peter Banks Gail Davis Barnes Ede Bookstein Janice Stevens Botsford The Boychoir of Ann Arbor Brewbakers Barbara Everitt Bryant Butzel Long
David G. LoeselCafe Marie Tomas Chavez Chelsea Flower Shop Chianti Tuscan GriU Elizabeth Colburn Conlin Travel Curtin & Alf Violinmakers Mary Ann and Roderick Daane Sam Davis
Katy and Tony Derezinski Dough Boys Bakery Rosanne Duncan Einstein's Bagel Pat Eriksen Espresso Royale Caffes Damian and Katherine Farrell ludy Fike of J'Cakes Beth and )oe Fitzsimmons Guillermo and Jennifer Flores Ford Electronics Gallery Von Glahn The Gandy Dancer Beverly and Gerson Geltncr Generations for Children Lee GillesGreat Frame Up Renee GrammaticoVoila Linda and Richard Greene Daphne Grew Inn Harbaugh Foundation Marilyn HarberGeorgetown Gifts Esther Hcitlcr J. Downs Herold Matthew and Kerry Hoffmann Kim Hornberger Kay and Tom Huntzicker Stuart and Maureen Isaac John Isles
Jeffrey Michael Powers Beauty Spa
Urban Jupena and Steve Levicki
Gerome Kamrowski
Stephen and Mercy Kasle
Katharine's Catering
Martha Rock Keller
Ed Klum
Craig L. Kruman
Diane Kurbatoff
Henry and Alice Landau
John Leidy Shop
Don and Gerri Lewis
Stephanie Lord
Market Strategies, Inc.
Marty's Menswear
Michigan Theater
Ron Miller
Moe Sport Shops
Monahan's Seafood Market
Motif Hair by Design
The Moveable Feast
Rosemarie Nagel
Susan and Richard Nisbett
John and Cynthia Nixon
Baker O'BrienThe Labino Studio
Christine Oldenburg
Karen Koykka O'Neal
Mary and Bill Palmer
Pen in Hand
Maggie LongPerfectly Seasoned
Chris W. Petersen
Mary and Randall Pittman
Sharon and Hugo Quiroz
Radrick Farms Golf Course
leva Rasmussen
Regrets Only
Nina Hauscr Robinson
Richard and Susan Rogel
Susan Tait of Fitness Success
Maya Savarino and Raymond Tanter
Sarah Savarino
Ann and Tom Schriber
Boris Sellers
Richard Shackson
Janet and Mike Shatusky
Aliza and Howard Shevrin
George Shirley
)ohn Shultz
Dr. Herbert Sloan
David Smith
Steven Spencer
lohn Sprentall
Deb Odom Stern
Nat Lacy and Ed Surovell
Sweet Lorraine's
Tom Thompson
TIRA's Kitchen
Donna Tope
Tom TrocchioAtys
University of Michigan
Charlotte Van Curler
Kathleen and Edward VanDam
Karla Vandersypen
Warner Electric Atlantic
Emil Weddige
Ron and Eileen Wciscr
Marina and Robert Whitman
Whole Foods
Sabrina Wolfe
Young People's Theater
Ann and Ralph Youngren
Advertiser Index
42 Afterwords
27 Ann Arbor Acura
50 Ann Arbor Commerce Bank
12 Ann Arbor Reproductive
32 Ann Arbor Symphony
39 Austin Diamond 8 Bank of Ann Arbor 11 Beacon Investments 26 Blue Nile Restaurant 31 Bodman, Longley, and
14 Butzel Long 50 Cafe Marie
26 Charles Reinhart Company 44 Chelsea Community
34 Chris Triola Gallery 38 The Dental Advisor 50 Dobb's Opticians
13 Dobson-McOmbcr 47 Dough Boys Bakery
24 Edward Surovell Co.Realtors 31 Emerson School 47 ERIM
15 Fraleighs Landscape Nursery
33 Ford Motor Company 46 Garris, Garris, Garris,
& Garris
37 General Motors Corporation
27 Glacier Hills
42 Gubbins & McGlynn Law
Offices 13 Harmony House
38 Harris Homes
35 Hill Auditorium Campaign
28 Howard Cooper Imports 34 Individualized Home Care
13 Interior Development 50 John Leidy Shop, Inc. 44 Kerrytown Bistro
18 KeyBank
30 King's Keyboard House 3 Lewis Jewelers 39 Market Strategies
19 Maude's
41 Michigan Media
12 Miller, Canfield, Paddock,
& Stone
52 Mir's Oriental Rugs 32 Mundus and Mundus 2 NBD Bank 34 Nina Howard Studio 39 Performance Network 12 Red HawkZanzibar
42 Regrets Only
27 Schwartz Investment
Council, Inc. Seva Restaurant SKR Classical Sweet Lorraine's Sweetwaters Cafe Ufer and Company U-M Matthaei Botanical
U-M Vocal Health Center University Productions Van Boven Shoes WDET WEMU
Whole Foods Market WUOM
Please note: The first half of the program for this evening's concert has changed.
The Boys Choir of Harlem
Gloria in excelsis Deo Cantata No. 191
1. Gloria in excelsis
2. Gloria Patri
3. Sicut erat in principio
Mass in G Major (Hob. XXII:6) "Sancti Nicolai"
Agnus Dei
Four Spirituals
The Battle of Jericho Sister Mary
0 Fix Me
1 Can Tell the World
J.S. Bach (1685-1750)
Joseph Haydn (1732-1809)
arr. Hogan arr. Sadin arr. Depaur arr. Hogan

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