UMS Concert Program, Thursday Feb. 19 To Mar. 10: University Musical Society: 1997-1998 Winter - Thursday Feb. 19 To Mar. 10 --
Season: 1997-1998 Winter
University Of Michigan, Ann Arbor
THE 1998 WINTER SEASON
University of Michigan, Ann Arbor
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 (www.ums.org). 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 734.647.1174, or send an e-mail message to firstname.lastname@example.org.
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.
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."
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University
F. Bruce Kulp
Chair, UMS Board of Directors
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
OunurSf Curtin & Alf "Curtin & Alf s support of the University Musical Society is both a priv?ilege and an honor.
Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excel?lence across the land."
DAVID G. LOESEL President, T.M.L. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
John E. Lobbia
Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organiza?tions that make the
Ann Arbor community a world-renowned center for the arts. The entire community shares in the countless benefits of the excellence of these programs."
Ttie Edward Surovell
"It is an honor for
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, Ph.D.
Chairman and Chief
"Our community is
enriched by the
Society. We warmly support the cultural events it brings to our area"
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"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 G. 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."
MCMULLEN President, Thomas B. McMutien Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
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 Principal Miller, Canfield, Paddock and Stone, P.L.C.
Miller, Canfield, Paddock and Stone is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community.
JORGE A. SOUS First Vice President ami 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, Tfte Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 83 years, and UMS has been here for 119, we can still appreci?ate the history they have with the city -and we are glad to be part of that history."
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
O'Neal Construction "A commitment to quality is the main reason we arc a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our
SUE S. LEE
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organi?zation as the Musical
Society at the University of Michigan."
hank You, Foundation Underwriters and Government Agencies
DAVID. E. ENGELBERT HIRAM A. DORFMAN
Benard L. Maas
The Benard L. Maas
Foundation is proud
to support the
University Musical Society in honor of its beloved founder: Benard L. Maas February 4,1896 May 13,1984.
We also gratefully acknowledge the support of the following foundations and government agencies listed here:
BENARD L. MAAS FOUNDATION
Chamber Music America
The Grayling Fund
The Herrick Foundation
Liu Wallace-Reader's digest Fund
Michigan Council for the Arts
and cultural affairs mosaic foundation national endowment for the arts new england foundation for
the Arts World heritage Foundation
Benard L Maas
The University Musical Society of the university of Michigan
BOARD OF DIRECTORS
I;. 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 Smokier Peter Sparling Edward D. Surovcll 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 lohn D'Arms lames J. Duderstadt Robben W. Fleming
Randy J. Harris Harlan H. Hatcher Peter N. Heydon Howard Holmes Kay Hunt David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long ludythe H. Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed
Harold T. Shapiro Ann Schriber Daniel H. Schurz Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
AdministrationFinance Kenneth C. Fischer, President Elizabeth Jahn, Assistant to
the President John B. Kennard, Jr.,
Administrative Manager R. Scott Russell, Systems Analyst
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant Manager and Group Sales
Choral Union Thomas Sheets, Conductor Edith Leavis Bookstein, Manager Donald Bryant, Conductor Emeritus
Catherine S. Arcure, Director Elaine A. Economou, Assistant
Director -Corporate Support Susan Fitzpatrick,
Administrative Assistant Lisa Murray, Advisory Support I. Thad Schork, Gift Processor Anne Griffin Sloan, Assistant
Director -Individual Giving
EducationAudience Development Ben lohnson, Director Yoshi Campbell, Manager
MarketingPromotion Sara Bitlmann, Director Sara A. Miller, Advertising and
Promotion Coordinator lohn Peckham, Marketing Coordinator
Gus Malmgren, Director
Emily Avers, Artist Services and
Production Coordinator Kathi Reister, Head Usher Paul lomantas, 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 Johnson Melissa Karjala Un Jung Kim Adrienne Levengood Beth Meyer Albert Muzaurieta Rebekah Nye Tansy Rodd
Laura Birnbryer Jack Chan Carla Dirlikov Colin Myscuwuec Amy Tubman
President Emeritus Gail W. Rector
1997-98 ADVISORY COMMITTEE
Janice Stevens Botsford
Lctitia J. Byrd
Mary Ann Daane
H. Michael Endres
Katherine Hilboldt Farrell
Beverley B. Geltner
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 leanne Merlanti Scott Merz Ronald G. Miller Robert B. Morris
Len Niehoff Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmussen Nina Swanson Robinson Maya Savarino lanet Shatusky Meg Kennedy Shaw Aliza Shevrin Loretta Skewes Cynny Spencer Ellen Stross Kathleen Treciak Susan B. Ullrich Dody Viola David White Jane Wilkinson
UMS TEACHER ADVISORY
Gail Davis Barnes
Letitia J. Byrd
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, sex or handicap. The University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Museum of Art: A coat closet is located to the right of the lobby gallery, near the south stair?case.
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 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.
Hill Auditorium: A wheelchair-accessible pub?lic telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby.
Power Center: Pay phones are available in the ticket office lobby.
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of the Michigan League. St. Francis: There are no public telephones in the church. Pay phones are available in the Parish Activities Center next door to the church.
Museum of Art: No public phones are avail?able at the Museum of Art. The closest public phones are located across the street in the basement level of the Michigan Union.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in
the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first bal?cony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A Wheelchair-accessible restroom is located on the north side of the main lobby and off of the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main
floor seating area.
St. Francis: Men's and women's rooms are
located in the basement at the bottom of the
front lobby stairs.
Museum of Art: Women's rooms are located
on the first floor near the south staircase.
Men's rooms are located on the basement level
near the south staircase.
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 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.
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.
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
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.
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.
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 WFUMAWGR, 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 KidACTION. 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.
The 1998 Winter Season
DAVID DANIELS, COUNTERTENOR MARTIN KAT2, PIANO JEANNE MALLOW, VIOLA
Friday, January 9, 8pm
PREP "David Daniels and His Program"
Richard LeSueur, Vocal Arts Information
Services. Fri. Jan 9, 7pm, Rackham Assembly
Hall, 4th floor.
This performance is presented through the
generous support of Maurice and Linda Binkow.
ISRAEL PHILHARMONIC ZUBIN MEHTA, CONDUCTOR Saturday, January 10, 8pm
CHRISTOPHER PARKENING, GUITAR A CELEBRATION OF ANDRES SEGOVIA
Sunday, January 11,4pm
Meet The Artist Post-performance dialogue
from the stage.
Sponsored by Thomas B. McMullen Co.
BOYS CHOIR OF HARLEM Sunday, January 18, 7pm Hill Auditorium
Sponsored by the Detroit Edison Foundation. Additional support provided by Beacon 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, Jr. Day Symposium.
TOKYO STRING QUARTET Thursday, January 22,8pm Rackham Auditorium
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET
Friday, January 30,8pm Rackham Auditorium Master of Arts Members of the American String Quartet, interviewed by Mark Stryker, Arts & Entertainment Reporter, Detroit Free Press. 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 Suwvell 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 WFUM WVGR. The University Musical Society is a grant recipient of Chamber Music Americas Presenter-Community Residency Program fund?ed by the Lila Wallace-Reader's Digest Fund.
BEETHOVEN THE CONTEMPORARY URSULA OPPENS, PIANO
Saturday, January 31, 8pm Rackham Auditorium PREP "When Two Movements are Enough: Lyricism, Subversion, Synthesis" Steven Whiting, V-MAsst. 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 Lita Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR.
DALE WARLAND SINGERS Thursday, February 5, 8pm St. Francis of Assisi Catholic Church Conducting Seminar Conductor Dale Warland and U-M conductors, Feb 6, 11am, U-M School of 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
SAINT PAUL CHAMBER ORCHESTRA HUGH WOLFF, CONDUCTOR EMANUEL AX. PIANO DALE WARLAND SINGERS
Friday, February 6, 8pm Hill Auditorium Sponsored by NBD.
Sunday, February 8,4pm
Co-sponsored by First of America and Miller,
Canfield, Paddock, and Stone, PLC.
ORCHESTRA OF AMSTERDAM RICCARDO CHAILLY, CONDUCTOR Wednesday, February 11, 8pm Hill Auditorium
JUAN-JOSE MOSALINI AND HIS
GRAND TANGO ORCHESTRA
Friday, February 13,8pm
Presented with support from media partner
CHEN ZIMBALISTA, PERCUSSION Saturday, February 14, 8pm Rackham Auditorium This program is part of the Mid EastWest 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
Meet the Artists Post-performance dialogue
from the stage.
CHICK COREA, PIANO AND GARY BURTON, VIBES
Friday, February 20, 8pm
Presented with support from media partners
WEMU and WDET.
UMS CHORAL UNION
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
(Catherine Larson, soprano
Jayne Sleder, mezzo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22, 4pm
PREP "Felix Mendelssohn-Bartholdy: Felicitous
Choral Conductor and Choral Composer"
Ellwood Derr, U-M Professor of Music, Feb 22,
3pm, MI League Koessler Library.
This performance is presented through the
generous support of Carl and Isabellc 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 V-M Program in Film & Video Studies. Mar 9, 7pm, Rackham Amphitheatre
Look for valuable information about UMS, the 199798 season, our venues, educational activities, and ticket information.
CHECK OUT THE UMS WEBSITE!
JEAN-YVES TH1BAUDET, PIANO
Tuesday, March 10, 8pm
U-M Museum of Art
PREP A concert goer's tour of "Monet at
Vitheuih 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.
NEW YORK CITY OPERA NATIONAL COMPANY DONIZETTI'S DAUGHTER OF THE REGIMENT
Thursday, March 12,8pm
Friday, March 13,8pm
Saturday, March 14, 2pm (75-minute
Family Performance) Saturday, March 14,8pm Power Center
PREP "The 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 pm, Michigan League, Hussey Room.
Sponsored by TriMas with support from the National Endowment for the Arts.
MICHIGAN CHAMBER PLAYERS Sunday, March 15,4pm Kackham 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 ofWEMU's "Cuban Fantasy," Wed. Mar 18, 7pm, Michigan League Hussey Rm. Presented with support from media partner WEMU.
BATSHEVA DANCE COMPANY OF ISRAEL
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, l2:30-2:00pm, 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 Amster.
RUSSIAN NATIONAL ORCHESTRA
MIKHAIL PLETNEV, CONDUCTOR
GIL SHAHAM. VIOLIN
Tuesday, March 24, 8pm
Sponsored by Kathleen G. Charla Associates
with support from Conlin Travel and British
AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI, CONDUCTOR STEVEN ISSERLIS, CELLO
Wednesday, March 25,8pm Rackham Auditorium Meet the Artists Post-performance dialogue from the stage.
URSULA OPPENS, PIANO
Friday, March 27,8pm
University Hospital's Gifts of Art free concert
performed by Ursula Oppens in the University
Hospital Lobby, Thu. Mar 26, 12:10 pm.
LectureDemonstration "Piano Music: 1945
to the Present" Ursula Oppens, Thu. Mar 26,
3pm, U-M School of Music Recital Hall.
PREP "Mottvic 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-Readers Digest Arts Partners
Program, the National Endowment for the Arts
and media partner Michigan Radio, WUOM
PACO DE LUCiA AND HIS FLAMENCO SEXTET
Saturday, March 28, 8pm
Presented with support from media
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET Sunday, March 29,4pm Rackham Auditorium PREP 'lFrom Romeo to Lenore: The Operatic Quartet" Steven Whiting, U-MAsst. Professor of Musicology, with U-M School of Music students. Sun. Mar 29,2:30pm, Midiigan League Hussey 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 Teachers Association (MASTA) and their students. Tue. Mar 31, 5-7pm, 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, WUOM 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.
Friday, April 3, 8pm Saturday, April 4, 8pm Power Center
Master of Arts Choreographer and 1997 MacArthur "Genius" Grant recipient Elizabeth Streb, interviewed by Ben Johnson, UMS Director of Education and Audience Development, Tltu. 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 PopACTION: Master Class, Wed. Apr 1, 7pm, Dance GalleryPeter Sparling & Co. Studio. PopACTION 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.
SUSANNE MENTZER, MEZZO-SOPRANO CRAIG RUTENBERG, PIANO 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.
EVGENY KISSIN, PIANO
Monday, April 13, 8pm
Sponsored by Parke-Davis Pharmaceutical
LUZ Y NORTE
THE HARP CONSORT
Thursday, April 23,8pm
PREP Andrew Lawrence-King, Artistic
Director of The Harp Consort, Tint. 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
Meet the Artists Post-performance dialogue
from the stage.
THE MET ORC SIR GEORG
Friday, Nj Hill Auditorium
FORD HONORS PROGRAM
featured artist will be announced in
Saturday, May 9,6pm
Sponsored by Ford Motor Company.
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 Thursday, February 19 through Tuesday, March 10,1998
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 childfen 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.
Petersen Quartet 3
Thursday, February 19, 8:00pm Rackham Auditorium
Chick Corea and Gary Burton 9
Friday, February 20, 8:00pm Michigan Theatre
UMS Choral Union 11
Sunday, February 22, 4:00pm Hill Auditorium
Jean-Yves Thibaudet 33
Tuesday, March 10, 8:00pm U-M Museum of Art
Conrad Muck, Violin Gernot Sussmuth, Violin Friedemann Weigle, Viola Hans-Jakob Eschenburg, Cello
Due to illness, Friedemann Weigle is unable to travel with the Petersen Quartet on their North American tour. Felix Schwartz is substituting for Mr. Weigle for these concerts.
Thursday Evening, February 19,1998 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Franz Josef Haydn
String Quartet in D Major, Op.1, No.3
Allegro Menuetto Adagio Menuetto Finale presto
String Quartet No. 1
Presto con fuoco
Allegretto con moto e con malinconia grotesca
Allegro giocoso alia Slovacca
Andante molto sostenuto
WolfgangAmadeusMozart String Quartet No. 22 in B-flat Major, K. 589
Forty-third Concert of the 119th Season
Thirty-fifth Annual Chamber Arts Series
The Petersen Quartet is represented by Mariedi Anders Artists Mgmt., Inc., San Francisco, CA
Large print programs are available upon request.
String Quartet in D Major, Op.1, No.3
Franz Joseph Haydn
Born on March 31, 1732 in Rohrau,
Lower Austria Died on May 31, 1809 in Vienna
Common wisdom calls Haydn the "father of the string quartet," and although common wisdom can often be accused of oversimpli?fying or distorting the facts, in this case it seems to be right on target. In fact, while many composers were writing four-part compositions for string instruments in the eighteenth century, certainly no one did as much to develop the string quartet as we know it as Franz Joseph Haydn.
The earliest works included in the com?plete edition of Haydn's quartets -the two sets Op.l and 2, consisting, like the later sets, of six quartets each -were written before Haydn entered the service of the Esterhazy Princes for whom he would work for almost three decades. They were first performed at the house of a nobleman named Karl Joseph von Fuernberg near Melk (the site of the famous abbey), with Haydn himself playing the viola part. The original manuscript does not call these works quartets but rather "Divertimenti" or "Cassationes" -terms whose meaning was somewhat vague at the time, referring to a variety of multi-movement instrumental works for various orchestral or chamber formations (or even sometimes, in the case of the Divertimento, for solo keyboard).
In fact, musicologists have been debat?ing the question as to whether Op.l and 2 were actually written for four solo strings or for string orchestra, with multiple players on each line and a double bass reinforcing the cello part. The latter is at least a possi?bility, given the fact that in these quartets the viola sometimes descends underneath the cello, creating awkward-sounding inverted chords that would be rectified if
one imagined a bass playing along with the cello an octave lower. (One of the quartets in Op. 1 was really a symphony; and two from Op.2 originally included a pair of horns.)
Also, these works do not follow the four-movement format we have grown accustomed to in the later quartet literature. They are invariably in five movements, with two minuets in second and fourth place, respectively.
In Haydn's own catalog of his work, the present quartet in D-Major was first called a "Cassatio," then that word was crossed out and replaced by "Divertimento a quattro." Different eighteenth-century sets of parts call it variously "Cassatio," "Simphonia," or "Notturno."
It may come as a surprise that the D-Major quartet begins with a rather extended slow movement. The classical quartet tex?ture, known for the perfect balance of the four instruments, is not quite developed yet: the two violins take turns as leaders, while the viola and cello are relegated to the role of accompanists. In fact, this texture is iden?tical to that of the Baroque trio sonata. The work is typical of the transition from Baroque to Classical style: the melodic style is still predominantly Baroque, yet the out?lines of the classical sonata form -exposi?tion, development, recapitulation -are readily discernible.
Movements 2-5 are all in what one usually calls "trio" or "ABA" form: a middle section is framed by two identical state?ments of a "main" formal unit. The second movement is a graceful minuet, dominated by a figure consisting of a long note and several short ones. The unique charm of the trio results, in part, from the alternation of pizzicato and arco techniques (plucked vs. bowed strings). The third movement is called "Scherzo" -it is a Presto piece for two alternating pairs of instruments (first violin + viola vs. second violin + cello). The middle section, in the minor mode, contin-
ues this "game of the couples" for a while, but the texture eventually grows more com?plex.
The fourth movement is again a min?uet, but its rhythm is more even than that of the second movement. The trio -again in minor -is largely based on ascending and descending scales, with agitated countersub-jects. The Presto finale is a light and supple dance in a quick tempo. The harmonies are utterly simple if they are not missing alto?gether: the four instruments often play in unison or one of the violins plays without any accompaniment at all.
The entire work is extremely uncompli?cated and exudes a certain spring-like fresh?ness: a genre is being born before our very eyes.
Program note by Peter Laki.
String Quartet No. 1
Born on May 8, 1894 in Prague
Died on August 18, 1943 in
Wiilzburg concentration camp
Erwin Schulhoff first tried to compose for the classical medium of the string quartet while still a student at the Cologne Conservatory. It was a lightweight, slightly salon-type Divertimento in five movements, written in the Spring of 1914 -an early work. Much more mature is the string quartet that he composed during his army leave in August 1918, again in Cologne. It is worth mentioning that at the same time, as a repetitieur for Otto Klemperer, Schulhoff has the opportunity of getting to know Leos Janacek's opera Jenufa. The encounter with Janacek's music, as Schulhoff frequently recalled later, had fascinated him. But artis?tically he came to terms with the stimulus of this Moravian master only after his final return to Prague at the end of 1923. After
the war Schulhoff lived in fact, in Germany (Dresden, Saarbriicken, Berlin) where he leant towards the radical trends of the avant-garde. Schulhoff himself was promi?nent above all as a champion of jazz, which served him both as a Dadaistic provocation to official bourgeois taste and as a symbol of the new lifestyle. He devoted himself inten?sively to jazz later too -until the start of the 1930s.
Schulhoff's new creative period also began with his arrival in Prague. After the "storm and stress," so to speak, he attained a certain poise, which made possible a synthe?sis of the avant-garde elements with the fur?ther expanding tradition of European musi?cal thought. New in Schulhoff's musical language are the idioms, predominantly from Slavonic folklore, characterized by dance-like vivacity with sharply rhythmic figures. These idioms are met for the first time in the Five pieces for string quartet where Schulhoff also marked his return with the third piece, "Alia czeca." The sim?ple rhythmic figure used in 44 time in this piece derives from the polka, for which 24 time is typical. Schulhoff essentially created a tension which thus arises between bar-length and rhythm in the first piece, "Alia valse Viennese," where the waltz was inter?polate in the 44 bar -perhaps another reflection of Dadaistic joking.
The Five pieces for string quartet really represent a dance suite whose form was derived from the Baroque suite. Schulhoff composed the work in the first days of December 1923 in Prague and dedicated it to his French colleague Darius Milhaud. The work was given its first performance by the Czechoslovak (Zika) Quartet at the festi?val of the International Society for Contemporary Music in Salzburg on August 8,1924.
The success of Five pieces for string quartet stimulated Schulhoff to write a new String Quartet immediately after his return
from Salzburg. This time it was no longer to be a suite, but a quartet composed in the form of the sonata-movement cycle. Schulhoff worked with pleasure and strict concentration. The work is divided into four movements, in which their sequence, as compared to the usual norm, is changed through the postponement of the slow movement (Andante molto sostenuto) to the end of the sonata cycle. This has a legit?imate thematic reason: after three dance-like and neo-folklore movements, among which (in the second movement) there is even a suggestion of the grotesque, comes a melancholy nocturne, whose music offers scope for quiet meditation on the temporal joy of human life. In the mirror of this movement the entire previous round dance is transformed into a recollection, into the past, into a dream. As in the preceding piano sonata (1924), here too Schulhoff touches upon basic questions of human existence. The composer finished this work in Prague on September 10, 1924 and dedi?cated it to the Chzechoslovak (Zika) Quartet, which also gave the first perfor?mance of it the following year in the ISCM Festival in Venice.
Program note by Josef Bek (translated by Lionel Salter)
String Quartet in B-flat Major, K.589
Wolfgang Amadeus Mozart
Born on December 5, 1756 in Salzburg
Died on January 27,1791 in Vienna
About three decades separate Haydn's first string quartets from Mozart's last. In those thirty years, the string quartet had evolved to the point where it became one of the cen?tral genres of the time. In Haydn's hands, the form and style of the string quartet had become crystallized, and Mozart responded
to the challenge of his older contemporary and friend by a series of quartets that were unprecedented in their emotional richness and complexity.
K.589 is the second of a set of three quartets that remained Mozart's final con?tribution to the genre. Mozart planned to write six new quartets (quartets were usually published in groups of six) and dedicate them to Friedrich Wilhelm, King of Prussia. In the spring of 1789, Mozart had visited Prussia, where he was received by the King in the famous Sanssouci castle at Potsdam. Friedrich Wilhelm loved music and was an accomplished cellist. Two years earlier, in 1787, Haydn had dedicated a set of six quar?tets, his Op. 50, to him, lavishing special care on the cello part. Mozart intended to do the same upon his return to Vienna; he wrote one quartet (K.575) in June 1789 and two more (K.589 and 590) in May and June of 1790. However, other projects intervened and Mozart did not have a chance to write the remaining three quartets before his death in December 1791.
The B-flat Major quartet opens with a gentle theme that soon picks up consider?able momentum as Mozart introduces excit?ed figurations and accompaniment figures. The "royal" cello competes with the first violin for primacy throughout; and this friendly rivalry adds a great deal of dramatic tension to the movement. By contrast, the second movement is one of Mozart's great singing Adagios (its theme is related to the slow movement of the last piano concerto, K.595, whose key it also shares). Not sur?prisingly, the theme is introduced by the cello, which is treated as a solo instrument through much of the movement.
The third movement is a graceful min?uet whose playful demeanor continues into the trio. Or so it seems at first: for halfway through the trio we suddenly hear some very unsettling modulations and a highly dramatic interruption by a general rest. The playful
atmosphere then resumes for the ending of the trio and the repeat of the minuet. The finale is a Rondo whose main theme could be a conscious allusion to the last movement of Haydn's famous quartet Op.33, No.2 (known as "The Joke"). Throughout the movement, there is some?thing Haydnesque in the way the main theme keeps appearing in unexpected keys; the surprise rest and the cleverly understat?ed ending are also devices dear to the older master. Yet Mozart's unique personality is evident at every turn, making this move?ment at once a tribute to a cherished friend and a personal masterpiece of the very first order.
Program note by Peter Laki
Conrad Muck was born in 1965 and began violin studies in 1970 with Prof. Heinz Rudolf. He entered music school in 1976, continued his studies at the Music Academy in Dresden (1983-1987), and enrolled at the Hans Eisler Music Academy (Berlin) in 1987. He has also attended the master class?es of Prof. Marschner, Boris Gudnikov, Tibor Varga and Ruggiero Ricci. In 1981 Mr. Muck won First Prize at the International Ludwig Spohr Competition.
Gernot Siissmuth was born in 1963, studied violin at the Hans Eisler Music Academy between 1980-1985, and was concertmaster of the Berlin Radio Symphony Orchestra between 1985-1988. He is also concertmas?ter of the New Berlin Chamber Orchestra and often appears as soloist. He plays a vio?lin by Grancino (Venice, 1693).
Friedemann Weigle was born in 1962 and studied with Professor Alfred Lipka at the Berlin Music Academy between 1979-1984. He was first violist with the Berlin Symphony (1984-1988), and performs as
soloist with numerous orchestras. He plays a viola by K-H. Lunghummer (Vogtland, 1988).
Hans-Jakob Eschenburg was born in 1963, studied at the Berlin Music Academy (1979-1984), and was principal cellist of the Leipzig Radio Symphony (1984-1988). He has an active career as a solo cellist, and also with various chamber ensembles. He plays a cello by N. F. Vuillaume (Brussels, 1841).
Felix Schwartz was born in 1965, and stud?ied with Professor Alfred Lipka at the Hanns Eisler Music Academy between 1984-91. In 1987 he was honored with two prizes at the international competition of music in Genf. Since 1988 he has been first violist with the Staatskapelle Berlin, under Daniel Barenboim. He has extensive performances as a soloist and as a memeber of various chamber ensembles, and he has also held many teaching positions.
The Petersen Quartet
The Petersen Quartet is widely acclaimed as one of the most excit?ing young quartets to have emerged from Germany in recent years. Founded in 1979 by students at the Hanns Eisler Musikhochschule in (former) East Berlin, its members went on to occupy principal positions in leading orchestras in Berlin and Leipzig before devoting themselves to the Quartet full-time.
Since then the Petersen Quartet has won many international prizes, including second prize at the Evian Competition in France in 1985, first prize at the International Chamber Music Competition in Florence in 1986, and second prize at the ARD Competition in Munich in 1987 (no first prize awarded). In 1992, Conrad Muck joined as leader of the Quartet.
In 1988 they were appointed Resident Quartet at the (former) East Berlin Radio, a fruitful collaboration which has led to a close relationship with Capriccio recordings. Their discography, which already includes more than ten titles, has earned superlatives from critics plus numerous international awards, including the Prix de I'Academie Charles Gros and Choc de I'Annee ofLe
Monde de la Musique (late Beethoven quar?tets), and the Deutsche Schallplattenpreis for three separate discs: works of Erwin Schulhoff (a composer with whom they have become closely identified), works of Boris Blacher, and a GriegSchumann disc.
The Petersen Quartet's extensive tour?ing schedule includes concerts throughout Germany, regular appearances abroad (Paris, Rome, Florence, Milan, Zurich, Prague, London's Wigmore Hall, the BBC and major United Kingdom festivals), plus tours in Spain, Finland, Australia, South America, the US and Canada. In 1997, they made their debut tour of Japan. Their 1998 North American tour includes this Ann Arbor performance and appearances in Los Angeles, San Francisco, Boston, Indianapolis and at Carnegie Hall.
The quartet has collaborated with such eminent artists as Siegfried Lorenz (baritone), Stephen Kovacevich, and Norbert Brainin and Martin Lovett of the Amadeus Quartet. Their teachers have included (in addition to the Amadeus Quartet) Thomas Brandis of the Brandis Quartet and Sandor Vegh.
This performance marks the Petersen Quartet's debut under UMS auspices.
Chick Corea & Gary Burton
Program Friday Evening, February 20,1998 at 8:00
Michigan Theatre, Ann Arbor, Michigan
This evening's concert will be announced from the stage.
Forty-fourth Concert of the 119th Season
Jazz Directions Series
Support for this performance is provided by media partners WEMU and WDET.
Large print programs are available upon request.
To celebrate their twenty-five year collaboration, the jazz world's pre?mier duo has been spending time in the studio making their fifth recording, and setting out on a year-long world tour that takes them across the US, and through?out Europe and Asia for approximately one hundred concert dates.
What has developed into one of the most enduring combinations in jazz began rather casually as an unplanned improvisa?tion at the 1972 Munich Jazz Festival. Pianist Chick Corea and vibraphonist Gary Burton were among several leading musi?cians featured on a concert billed as "The Art of the Solo." Solo performing was then a newly popular format, pioneered through recordings by both Corea and Burton. For the Munich concert, five artists were sched?uled to play unaccompanied sets. In addi?tion, the festival director was anxious to organize some kind of finale to the concert, but with the absence of a rhythm section, there was no way to create a band with only five soloists on hand. So, Chick and Gary volunteered to do a duet piece. A quick rehearsal resulted in the preparation of Corea's La Fiesta and when the end of the
concert arrived, the duo brought down the house with their unexpected collaboration.
That led to an invitation to perform as a duet at the Berlin Jazz Festival a few months later, and then the pair went into the studio to make the classic Crystal Silence, the duo's first and most enduring recording. The release of Crystal Silence ini?tiated a number of concert requests, and duet tours became a permanent part of the musicians' schedules. Two records which followed in 1979 and 1981, Duet and Zurich Concert, both won Grammy awards, and continues their successful formula of featur?ing mostly original music composed by Corea which showcased the incredible vir?tuosity and musical rapport of these two great artists. For their fourth recording in 1983, a string quartet was added to perform a seven-part suite composed by Corea, titled Lyric Suite for Sextet.
For over two and a half decades, Chick Corea and Gary Burton have toured to most countries around the world, including being the first jazz performers to visit the Soviet Union following a twenty-year absence of American musicians when they performed in Moscow and Leningrad in 1982. Both have continued their individual careers as
band-leaders and recording artists, but
they have returned to the duet setting for performances each year, keeping their repertoire continually evolving.
Native Sense, their newest CD pro?ject on Stretch Records, was released in 1997 and features eleven new additions to their duet repertoire.
This performance marks Chick Corea's second appearance under UMS auspices.
This performance marks Gary Burton's debut under UMS auspices.
Chick Corea and Gary Burton
Carl and Isabelle Brauer
DMS Choral Dnion
Ann Arbor Symphony Orchestra
Thomas Sheets, Conductor
Katherine Larson, Soprano Jayne Sleder, Alto Richard Fracker, Tenor Gary Relyea, Baritone Paul Dennison, Boy Soprano
The Concordia Choir Kurt E. vonKampen, Conductor
Sunday Afternoon, February 22, 1998 at 4:00 Hill Auditorium, Ann Arbor, Michigan
Elijah revives the widow's son
Elijah confronts the priests of Baal
Elijah redeems Israel from the drought
Elijah confronts Ahab and the Queen
Elijah's flight to the wilderness
Elijah's journey to Mount Horeb and ascension to heaven
Forty-fifth Concert of the 119th Season
119th Annual Choral Union Series
This performance is presented through the generous support of Carl and Isabelle Brauer. Our special thanks go to them for their continued and generous support of the University Musical Society.
Large print programs are available upon request.
Jeremiah 8: 20
Lamentations 4: 4
Elijah: As God the Lord of Israel liveth, before whom I stand, there shall not be dew nor rain these years, but according to my word.
Help, Lord! wilt thou quite destroy us The harvest now is over, the summer days are gone, and yet no power cometh to help us! Will then the Lord be no more God in Zion
The deep affords no water, and the rivers are exhausted! The suckling's tongue now cleaveth for thirst to his mouth; the infant children ask for bread, and there is no one breaketh it to feed them!
2. Duet with chorus Ms. Larson and Ms. Slader
Chorus: Lord, bow thine ear to our prayer.
Lamentations 1:17 Duet: Zion spreadeth her hands for aid, and there is neither help nor comfort.
Joel 2: 13
Deuteronomy 4: 29
Job 23: 3
Exodus 20: 6
Obadiah: Ye people, rend your hearts and not your garments, for your transgressions the prophet Elijah hath sealed the heavens through the word of God. I therefore say to ye: forsake your idols, return to God, for he is slow to anger, and merciful, and kind and gracious, and repenteth him of the evil.
If with all your hearts ye truly seek me, ye shall ever surely find me;
thus saith our God. Oh! that I knew where I might find him, that I might even come
before his presence.
Yet doth the Lord see it not; he mocketh at us, his curse hath fallen
down upon us, his wrath will pursue us till he destroy us! For he, the Lord our God, he is a jealous god; and he visiteth all the
fathers' sins on the children to the third and the fourth generation
of them that hate him. His mercies on thousands fall -fall on all them that love him, and
keep his commandments.
I Kings 17:3
7. Chorus Psalm 91: 11
Psalm 91: 12
An Angel: Elijah! get thee hence; depart, and turn thee eastward; thither hide thee by Cherith's brook. There shalt thou drink its waters; and the Lord thy God hath commanded the ravens to feed thee there: so do according unto his word.
For he shall give his angels charge over thee, that they may protect thee in all the ways thou goest;
that their hands shall protect and guide thee, lest thou dash thy foot against a stone.
Elijah revives the widow's son
8. Recitative, arias and duet
Ms. Slader, Ms. Larson and Mr. Relyea
I Kings 17: 7 The Angel: Now Cherith's brook is dried up, Elijah --
Kings 17: 9 arise and depart, and get thee to Zarapeth; thither abide: for the
Lord hath commanded a widow woman there to sustain thee. Kings 17:14 And the barrel of meal shall not waste, neither shall the cruse of
oil fail, until the day that the Lord sendeth rain upon the earth.
I Kings 17:18 A Widow Woman: What have I to do with thee, O man of God Art
thou come to me, to call my sin into remembrance -to slay my
son art thou come hither Kings 17:17 Help me, man of God, my son is sick! and his sickness is so sore that
there is no breath left in him!
Psalm 38: 6 I go mourning all the day long; I lie down and weep at night.
Psalm 10:14 See mine affliction; be thou the orphan's helper.
Kings 17:19 Elijah: Give me thy son. Turn unto her, O Lord my God; in mercy
help this widow's son! Psalm 86:15 For thou art gracious, and full of compassion, and plenteous in
mercy and truth.
Psalm 86:16 Lord, my God, O let the spirit of this child return, that he again may live!
Psalm 88:10 The Widow Woman: Wilt thou show wonders to the dead Shall the
dead arise and praise thee Kings 17:21 Elijah: Lord, my God, O let the spirit of this child return, that he
again may live! I Kings 17:22 The Widow Woman: The Lord hath heard thy prayer, the soul of my
Kings 17:23 Elijah: Now behold, thy son liveth!
Kings 17:24 The Widow Woman: Now by this I know that thou art a man of God,
and that his word in thy mouth is the truth. What shall I render
to the Lord for all his benefits to me Psalm 128:1 Both: Thou shalt love the Lord thy God with all thine heart, and with
all thy soul, and with all thy might. O blessed are they who fear him!
Psalm 128:1 Psalm 112:4
10. Recitative with
I Kings 18: 15
I Kings 18:17 I Kings 18: 18
I Kings 18: 19
I Kings 18:23 I Kings 18:24
I Kings 18: 22
I Kings 18: 26
Blessed are the men who fear him: they ever walk in the ways of peace. Through darkness riseth light to the upright. He is gracious, compassionate; he is righteous.
Elijah confronts the priests of Baal
chorus Mr. Fracker and Mr. Relyea
Elijah: As God the Lord of Sabaoth liveth, before whom I stand: three
years this day fulfilled, I will show myself unto Ahab; and the Lord
will then send rain again upon the earth. Ahab: Art thou Elijah Art thou he that troubleth Israel The people: Thou art Elijah, he that troubleth Israel! Elijah: I never troubled Israel's peace; it is thou, Ahab, and all thy
father's house -ye have forsaken God's commands, and thou
hast followed Baalim! Now send and gather to me the whole of Israel unto Mount Carmel;
there summon the prophets of Baal, and also the prophets of the
groves, who are feasted at Jezebel's table. Then we shall see whose
god is the Lord.
The people: And then we shall see whose god is god the Lord. Elijah: Rise then, ye priests of Baal; select and slay a bullock, and put
no fire under it. Uplift your voices, and call the god ye worship; and I then will call on
the Lord Jehovah: and the god who by fire shall answer, let him
The people: And the god who by fire shall answer, let him be God. Elijah: Call first upon your god: your numbers are many; I, even I,
only remain one prophet of the Lord! Invoke your forest gods
and mountain deities.
Priests of Baal: Baal, we cry to thee! hear and answer us! Heed the sacrifice we offer! hear us! O hear us, Baal!
12. Recitative and chorus
Kings 18:27 Elijah: Call him louder, for he is a god! He talketh; or he is pursuing;
or he is in a journey; or, peradventure, he sleepeth; so awaken
him: call him louder. Kings 18:26 Priests of Baal: Hear our cry, O Baal! now arise! Wherefore slumber
13. Recitative and chorus
Kings 18:28 Elijah: Call him louder! he heareth not. With knives and lancets cut
yourselves after your manner; leap upon the altar ye have made. Call him and prophecy: not a voice will answer you; none will listen, none heed you.
Kings 18:26 Priests of Baal: Hear and answer, Baal! Mark how the scorner derideth us! Hear and answer!
14. Recitative and aria
I Kings 18: 30 I Kings 18: 36
I Kings 18: 37
Psalm 108: 4
Elijah: Draw near all ye people: come to me!
Lord God of Abraham, Isaac and Israel! this day let it be known that
thou art God, and I am thy servant! O show to all this people that
I have done these things according to thy word. O hear me, Lord, and answer me: and show these people that thou
art Lord God, and let their hearts again be turned!
Angels: Cast thy burden upon the Lord, and he shall sustain thee.
He never will suffer the righteous to fall: he is at thy right hand. Thy mercy, Lord, is great, and far above the heavens. Let none be
made ashamed that wait upon thee.
16. Recitative and chorus
Psalm 104: 4 I Kings 18:38 I Kings 18:39
I Kings 18: 40
17. Aria Jeremiah 23:29
Psalm 7: 11 Psalm 7: 12
Elijah: O thou, who makest thine angels spirits; thou whose ministers
are flaming fires: let them now descend! The people: The fire descends from heaven: the flames consume his
offering! Before him upon your faces fall! The Lord is God: O Israel, hear!
Our God is one Lord, and we will have no other gods before
the Lord! Elijah: Take all the prophets of Baal, and let not one of them escape
you: bring them down to Kishon's brook, and there let them be slain. The people: Take all the prophets of Baal, and let not one of them
escape us: bring all and slay them!
Elijah: Is not his word like a fire, and like a hammer that breaketh the
rock into pieces
For God is angry with the wicked every day: and if the wicked turn not, the Lord will whet his sword; and he hath
bent his bow, and made it ready.
Woe unto them who forsake him! Destruction shall fall upon them, for they have transgressed against him. Though they are by him redeemed, yet they have spoken falsely against him.
Elijah redeems Israel from the drought
19. Recitative with chorus
Mr. Dennison and Mr. Fracker
Jeremiah 14: 22
I Kings 18: 42
I Kings 18: 43
Deuteronomy 28: 23
II Chronicles 6: 26
II Chronicles 6: 27
I Kings 18: 43 Deuteronomy 28: 23 I Kings 18: 43
Psalm 28: 1
I Kings 18: 44
Psalm 106:1 Psalm 106:1
Psalm 93: 3
Obadiah: O man of God, help thy people! Among the idols of the
gentiles, are there any that can command the rain, or cause the
heavens to give their showers The Lord our God alone can do
these things. Elijah: O Lord, thou has overthrown thine enemies and destroyed
them. Look down on us from heaven, O Lord: regard the distress
of thy people. Open the heavens and send us relief: help, help thy
servant now, O God! The people: Open the heavens and send us relief: help, help thy servant
now, O God! Elijah: Go up now, child, and look toward the sea: hath my prayer
been heard by the Lord
The Youth: There is nothing: the heavens are as brass above me. Elijah: When the heavens are closed up because they have sinned
against thee, yet if they pray and confess thy name, and turn from
their sin when thou dost afflict them: then hear from heaven, and forgive the sin! Help! send thy servant
help, O God! The people: Then hear from heaven, and forgive the sin! Help! send
thy servant help, O God!
Elijah: Go up again, and still look toward the sea. The Youth: There is nothing: the earth is as iron under me. Elijah: Hearest thou no sound of rain -seest thou nothing arise
from the deep
The Youth: No; there is nothing. Elijah: Have respect to the prayer of thy servant, O Lord, my God!
Unto thee will I cry, Lord my rock: be not silent to me; and thy
great mercies remember, Lord! The Youth: Behold, a little cloud ariseth now from the waters; it is like
a man's hand! The heavens are black with clouds and with wind;
the storm rusheth louder and louder! The people: Thanks be to God for all his mercies! Elijah: Thanks be to God for he is gracious, and his mercy endureth
Thanks be to God! He laveth the thirsty land! The waters gather, they rush along; they are lifting their voices! The stormy billows are high; their fury is mighty.
But the Lord is above them, and almighty!
21. Aria Ms. Larson
Isaiah 48:1, 18 Hear ye, Israel, hear what the Lord speaketh: "Oh, hadst thou heeded
my commandments!" Isaiah 53:1 Who hath believed our report; to whom is the arm of the Lord
revealed Isaiah 51:12 Thus saith the Lord, the Redeemer of Israel, and his Holy One, to
him oppressed by tyrants: I am he that comforteth; be not afraid,
for I am thy God, I will strengthen thee. Isaiah 51:13 Say, who art thou, that thou art afraid of a man that shall die, and
forgettest the Lord thy Maker, who hath stretched forth the heavens,
and laid the earth's foundations Isaiah 41:10 Be not afraid, for I, thy God, will strengthen thee.
Isaiah 41:10 Be not afraid, saith God the Lord. Be not afraid! thy help is near.
God, the Lord thy God, saith unto thee, "Be not afraid." Though thousands languish and fall beside thee, and tens of thousands around thee perish, yet still it shall not come nigh thee.
Elijah confronts Ahab and the Queen
23. Recitative with chorus Ms. Slader and Mr. Relyea
Kings 14: 7 Elijah: The Lord hath exalted thee from among the people, and over
his people Israel hath made thee king. Kings 16:30 But thou, Ahab, hast done evil to provoke him to anger above all that
were before thee,
Kings 16: 31 as if it had been a light thing for thee to walk in the sins of Jeroboam.
Kings 16:32 Thou hast made a grove and an altar to Baal, and served him and
worshipped him. Thou hast killed the righteous, and also taken possession.
Kings 14:15 And the Lord shall smite all Israel, as a reed is shaken in the water;
and he shall give Israel up, and thou shalt know he is the Lord. The Queen: Have ye not heard he hath prophesied against all Israel The people: We heard it with our ears.
The Queen: Hath he not prophesied also against the King of Israel The people: We heard it with our ears.
Jeremiah 26: 9 The Queen: And why hath he spoken in the name of the Lord Doth
Ahab govern the kingdom of Israel while Elijah's power is greater
than the king's
Kings 19:2 The gods do so to me, and more, if by tomorrow about this time, I
make not his life as the life of one of them whom he hath sacrificed at the brook of Kishon! The people: He shall perish! The Queen: Hath he not destroyed Baal's prophets
II Kings 1:13
Jeremiah 26: 11
Deuteronomy 31: 6
Exodus 12: 32 Jeremiah 5: 3
I Kings 19:4
I Kings 19:10
27. Recitative I Kings 19: 5 Psalm 34: 7
Psalm 121:1 Psalm 121:2 Psalm 121: 3
The people: He shall perish!
The Queen: Yea, by the sword he destroyed them all! The people: He destroyed them all! The Queen: He also closed the heavens! The people: He also closed the heavens! The Queen: And called down a famine upon the land. The people: And called down a famine upon the land. The Queen: So go ye forth and seize Elijah, for he is worthy to die; slaughter him! do unto him as he hath done!
Woe to him, he shall perish, for he closed the heavens! And why hath he spoken in the name of the Lord Let the guilty prophet perish! He hath spoken falsely against our land and us, as we have heard him with our ears. So go ye forth, seize on him! He shall die!
Elijah's flight to the wilderness
Mr. Fracker and Mr. Relyea
Obadiah: Man of God, now let my words be precious in thy sight.
Thus saith Jezebel: "Elijah is worthy to die." So the mighty gather against thee, and they have prepared a net for
thy steps, that they may seize thee, that they may slay thee. Arise,
then, and hasten for thy life; to the wilderness journey. The Lord thy God doth go with thee; he will not fail thee, he will not
Now begone, and bless me also. Elijah: Though stricken, they have not grieved! Tarry here, my servant:
the Lord be with thee. I journey hence to the wilderness.
It is enough, O Lord: now take away my life, for I am not better than
I desire to live no longer; now let me die, for my days are but vanity. I have been very jealous for the Lord God of Hosts! for the children
of Israel have broken thy covenant, thrown down thine altars, and
slain thy prophets with the sword; and I, even I, only am left, and
they seek my life to take it away.
See, now he sleepeth beneath a juniper tree in the wilderness; and there the angels of the Lord encamp round about all them that fear him.
Women of The Concordia Choir
Angels: Lift thine eyes to the mountains, whence cometh help. Thy help cometh from the Lord, the Maker of heaven and earth. He hath said, thy foot shall not be moved; thy Keeper will never slumber.
29. Chorus Psalm 121:4 Psalm 138: 7
Angels: He, watching over Israel, slumber not nor sleeps. Shouldst thou walking in grief languish, he will quicken thee.
Elijah's journey to Mount Horeb and ascension to heaven
I Kings 19: 8
Isaiah 49: 4 Isaiah 64:1 Isaiah 64:2 Isaiah 63:17
Psalm 37: 7 Psalm 37:4 Psalm 37:5 Psalm 37:1
Psalm 143: 7
Psalm 143: 6 I Kings 19:11
I Kings 19:11
I Kings 19:12
Ms. Slader and Mr. Relyea
An Angel: Arise, Elijah, for thou has a long journey before thee. Forty
days and forty nights shalt thou go, to Horeb, the mount of God. Elijah: O Lord, I have laboured in vain; yea, I have spent my strength
for naught! O that thou wouldst rend the heavens, that thou wouldst come
down; that the mountains would flow down at thy presence, to make thy name known to thine adversaries, through the wonders
of thy works! O Lord, why hast thou made them to err from thy ways, and hardened
their hearts that they do not fear thee O that I now might die!
The Angel: O rest in the Lord, wait patiently for him, and he shall give thee thy heart's desires. Commit thy way unto him, and trust in him, and fret not thyself because of evil doers.
He that shall endure to the end shall be saved.
Ms. Larson and Mr. Relyea
Elijah: Night falleth round me, O Lord! Be thou not far from me!
hide not thy face, O Lord, from me;
my soul is thirsting for thee, as a thirsty land. An Angel: Arise, now! get thee without, stand on the mount before
the Lord: for there his glory will shine on thee! Thy face must be
veiled, for he draweth near.
Behold, God the Lord passed by! And a mighty wind rent the mountains around, brake in pieces the rocks, brake them before the Lord: but yet the Lord was not in the tempest. Behold, God the Lord passed by! And the sea was upheaved, and the earth was shaken: but yet the Lord was not in the earthquake.
And after the earthquake there came a fire: but yet the Lord was not in the fire. And after the fire there came a still small voice: and in that still voice, onward came the Lord.
35. Recitative and chorus Ms. Slader
Isaiah 6:2 Above him stood the seraphim, and one cried out to another:
Isaiah 6:3 Chorus: Holy, holy, holy is God the Lord -the Lord Sabaoth! Now
his glory hath filled all the earth.
36. Chorus and recitative
I Kings 19:15 I Kings 19:18
Psalm 71:16 Psalm 16: 9
II Kings 2:11
Matthew 13: 43
Malachi 4: 5
Malachi 4: 6
Isaiah 42: 1 Isaiah 11: 2
Go, return upon thy way!
For the Lord yet hath left him seven thousand in Israel, knees which
have not bowed to Baal. Go, return upon thy way: thus the Lord
commandeth. Elijah: I go on my way in the strength of the Lord. For thou art my
Lord, and I will suffer for thy sake. My heart is therefore glad, my glory rejoiceth, and my flesh shall also
rest in hope.
For the mountains shall depart, and the hills be removed; but thy kindness shall not depart from me, neither shall the covenant of thy peace be removed.
Then did Elijah the prophet break forth like a fire: his words appeared like burning torches. Mighty kings by him were over?thrown. He stood on the mount of Sinai, and heard the judgments of the future, and in Horeb its vengeance. And when the Lord would take him away to heaven, lo! there came a fiery chariot, with fiery horses; and he went by a whirlwind to heaven.
Then shall the righteous shine forth as the sun in their heavenly
Father's realm. Joy on their head shall be for everlasting, and all sorrow and
mourning shall flee away for ever.
Behold, God hath sent Elijah the prophet before the coming of the
great and dreadful day of the Lord. And he shall turn the heart of the fathers to the children, and the
heart of the children unto their fathers, lest the Lord shall come
and smite the earth with a curse.
But the Lord from the north hath raised one who from the rising of the sun shall call upon his name and come on princes.
Behold my servant and mine elect, in whom my soul delighteth.
On him the Spirit of God shall rest: the spirit of wisdom and understanding, the spirit of might and of counsel, the spirit of knowledge and of the fear of the Lord.
Isaiah 58: 8
O come, every one that thirsteth, O come to the waters, come
unto him. O hear, and your soul shall live for ever!
And then shall your light break forth as the light of morning
breaketh, and your health shall speedily spring forth then; and the glory of the Lord ever shall reward you.
Lord, our creator, how excellent thy name is in all the nations! Thou fillest heaven with thy glory. AMEN.
Born on February 3, 1809 in
Hamburg, Germany Died on November 4, 1847 in Leipzig,
The music historian Ernest Newman once wondered whether the British were so fond of oratorios because Handel and Mendelssohn composed them, or whether Handel and Mendelssohn wrote oratorios because the British were so fond of them. Certainly the oratorio genre has benefited from English audiences' remarkable enthusi?asm, which at times bordered on veneration. For music-lovers in the Victorian era, the oratorio was considered the highest form of musical expression, and an oratorio concert was itself viewed as an act of worship. Wagner wrote (with evident cynicism) in 1855 that for the English, "an evening spent in listening to an oratorio may be regarded as a sort of service, and is almost as good as going to church. Everyone in the audience holds a Handel piano score in the same way as one holds a prayer-book..." It's small wonder, then, that Mendelssohn's oratorios, Elijah in particular, should have had such phenomenal success in England. Since its
premiere, Elijah has enjoyed there a level of popularity exceeded only by Handel's Messiah.
Mendelssohn began plans to write an oratorio on the subject of the Old Testament prophet Elijah as early as 1837, a few months after the premiere of his first oratorio, St. Paul. He discussed the work among friends, but the project was put aside until June 1845, when he was commissioned to write "a new oratorio, or other music" for the Birmingham Musical Festival. Mendelssohn worked with a German libretto by Julius Schubring (based on biblical texts) when composing Elijah, but as it was written for an English audience he went to great pains to ensure the English version would be not only acceptable, but definitive. He assured his translator, William Bartholomew, that he would alter the notes if necessary to pre?serve the English (King James) version of the biblical passages. Mendelssohn complet?ed the music in early 1846, worked with Bartholomew over the subsequent months, and conducted the premiere on August 26, 1846 in Birmingham. It was substantially revised after its premiere, and the composer again conducted the final version in a series of four concerts in London during April 1847.
Why was Mendelssohn, by all accounts a gentle man, so attracted to the character of Elijah, the fiercest and most vengeful of the
prophets (He also considered writing an oratorio based on St. Peter, a similarly force?ful character) The Old Testament story was at least compatible with both his Lutheranism (to which he had converted as a young boy) and his Judaic heritage. But Mendelssohn was also a deeply conservative man, troubled by the moral decay that was sweeping across the European continent. In 1838 he wrote:
I imagined Elijah as a prophet such as we could really do with today: strong, zealous, angry, and gloomy, in opposition to the courtiers, the riff-raff, and practically the whole world -and yet borne aloft as if on angels' wings.
The story of divine retribution against cor?rupt pagans was also appealing to several factions within England's religious commu?nity. Nonconformists, Dissenters and Evangelical Anglicans were particularly attracted to the work, as it portrays a faith?ful few combating the perverse and mis?guided majority. For all listeners, regardless of religion or denomination, it was a confir?mation of the old faith, complete with mira?cles, in opposition to the growing influences of rationalism and "pagan" science.
Mendelssohn's conservatism also extend?ed to the old musical forms, so that the story was presented through musical idioms that were by then familiar and well-tried. Elijah is as pictorial as Handel's or Haydn's oratorios, and with all the drama and char?acterization of Bach's Passions; Mendelssohn borrows liberally from these predecessors, and in so doing frees Elijah from the "corruptions" of modern musical radicalism as practiced by the morally-ques?tionable Berlioz or Wagner. (England's love affair with Mendelssohn was undoubtedly due as much to his upright character, as blameless and virtuous as their queen, as to his musical conservatism).
The oratorio is cast in two parts of roughly equal length. The first centers on
Elijah's confrontation with the priests of Baal, contrasting the prophets calm assur?ance with the frantic agitations of the pagan followers. This is a public drama, while the second part deals more with the private Elijah as he faces his own doubts. Each of these two parts tells its own story, reaches its own climax, and is largely self-contained dramatically. It is perhaps more useful to consider them as a set of distinct tableaux rather than acts of a continuous drama. Mendelssohn consciously avoided turning Elijah into an epic theater-piece, and does not employ the openly narrative aspect that is so familiar from Handel's oratorios and Bach's Passions.
Mendelssohn's librettist suggested the unique and effective idea of placing Elijah's curse before the overture, thus making the instrumental passage represent the effects of that drought on the land and people. Elijah's opening recitative, emphatically con?cise, includes heavy trombone sonorities (also used in numerous later passages to represent God's power) and melodic tri-tones to establish the menacing tone. The fugal overture itself begins in the manner of Handel, but by the end has evolved into something more Beethovenian, perhaps in an attempt to portray the passage of time stylistically as well as chronologically.
After the overture, there are three sepa?rate scenarios in Part I. The first depicts the people's fear and suffering in the drought, and Obadiah's attempts to call them to repentance. At the heart of the scene, the famous aria "If with all your hearts" is in the naive style of Mendelssohn's youthful songs and cantatas, but is immediately followed by a powerful chorus based on the tritone skips of the overture. This chorus encapsulates the dualism of God's justice and mercy; amidst a scene of utter desolation, the peo?ple conclude with a majestic tribute to the love of God.
The next short scene divides into two
vignettes: Cherith's brook (where Elijah is miraculously fed by the ravens),and the prophet's conversation with the widow, cul?minating in the miracle of raising her son from the dead. But Elijah is only alluded to at the brook -the singers for the recitative and double quartet in this section are all designated "angels." It is really a prelude to the episode with the widow, which marks Elijah's first appearance since he cursed the land in the opening recitative.
Immediately the setting moves to the court of king Ahab, and Elijah's confronta?tion with the prophets of Baal. In Eric Werner's biography of Mendelssohn, he writes that the exchanges between Elijah and the priests or Baal "are among the most grippingly forceful ever to be dared in an oratorio." The pagan priests entreat Baal in a chorus that begins confidently and regally, but soon becomes more anxious as the desired response is apparently not forth?coming. Elijah mockingly urges them on, and at the climax there is a breathless anxi?ety as the priests cry "Hear and answer, Baal!" only to be met with absolute silence. The f-sharp minor of the Baal-worshippers contrasts dramatically with Elijah's aria, which is in a peaceful (and symbolically important) E-flat Major. An angelic quartet follows with the familiar chorale-like hymn "Cast thy burden upon the Lord."
After Elijah's prayer and the descent of fire from heaven (marked, appropriately, Allegro con fuoco), the priests of Baal are slain by the people. Elijah observes that God's word is also like a fire and a hammer in an aria that bears more than a passing resemblance to "Thou shalt break them" from Handel's Messiah. The scene with the priests of Baal has its dramatic parallel when Elijah then prays to his God for rain. Twice he calls on God to send rain, but there is no response. The prophet's final cry is accompanied by trombones (again used to symbolize God's power), and the people's
general rejoicing at the miraculous down?pour is again in the "divine" key of E-flat. Part II does not develop the plot-line much further, except to expound at the start on Queen Jezebel's anger at Elijah, leading to his exile. The remainder of the oratorio addresses the prophet's feelings of failure and resignation, the encounter with God, his renewed faith and vigor, and culminates in his being caught up into heaven. Though more contemplative and less openly dramat?ic than the first part, there are still moments of great emotion and eloquence. Elijah's moving aria "It is enough," in which he expresses his wish to die, is based closely on the aria "Es ist vollbracht" from Bach's St. John Passion, the sarabande rhythm lending it a funereal weariness. A trio of angels give comfort in the unaccompanied "Lift thine eyes," the intimacy of the setting contrasting effectively with the grand scale of the rest of the oratorio. The alternation of resignation and comfort continues, each time the solace is expressed through a modulation to the flat sub-mediant key. Toward the end of the oratorio, the emphasis shifts away from Elijah as a central character and treats his story as an allegory of obedient piety for all the faithful. The final Messianic choruses, a theological commentary on all that has pre?ceded them, are full of Handelian majesty and assurance, concluding with a noble fugue and gloriously affirmative "Amen."
Program note by Luke Howard.
Thomas Sheets is an accomplished and versatile conductor whose work with community choruses, academ?ic institutions and opera companies has received widespread acclaim. Appointed Music Director of the University Musical Society Choral Union in 1993, he is the tenth conductor to
hold this position in the ensemble's 119-year history. In the past four seasons, he has prepared the Choral Union for sev?eral notable perfor?mances given by the Detroit Symphony Orchestra under the direction of Neeme
Jarvi and Jerzy Semkow, the Grand Rapids Symphony Orchestra under the direction of Catherine Comet, and by the Toledo Symphony, led by Andrew Massey.
In the past two seasons, Mr. Sheets has conducted the Choral Union's annual holiday performances of Handel's Messiah with the Ann Arbor Symphony Orchestra, and directed two performances of Bach's Mass in b minor with the Toledo Symphony. In February of 1996, he led the Choral Union and the University of Michigan Dance Company in four performances of Orff's Carmina Burana.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William Hall Chorale and the Master Chorale of Orange County, both conducted by his mentor, the distinguished choral conductor William Hall. During that time, he assisted in preparing all the major choralorchestral works in the current international repertoire, in some instances for performances led by Robert Shaw, Jorge Mester, Joann Faletta and Michael Tilson-Thomas. As chorusmaster in 1988 for Long Beach Opera's highly-acclaimed American premiere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four continents. He was engaged in the same role in 1992 for that company's avant-garde staging of Simon Boccanegra, where the chorus again received singular plaudits.
Thomas Sheets is also Music Director of the 120-voice Toledo Symphony Chorale. He received the degree Doctor of Musical Arts from the University of Southern California and has held appointments as Director of Choral Activities at several colleges and uni?versities. Dr. Sheets is a frequent conference leader and clinician; his editions of choral music are published by Augsburg-Fortress, and he is a regular contributor of articles on choral music performance.
This performance marks Thomas Sheets' thirteenth appearance under UMS auspices.
Early in his career Gary Relyea's voice was described by critic Andrew Porter of the New Yorker as "a baritone of uncommon beauty...a name to note." Through the years Mr. Relyea has established himself as one of the most distinguished vocal artists on the musical scene today.
Mr. Relyea has shone in such works as Britten's War Requiem, Handel's Messiah, Mahler's Symphony No. 8, and Verdi's Requiem with prestigious orchestras includ?ing the Baltimore, Calgary, Cleveland, Detroit, Mondreal, Ottawa, National Arts Centre, Toronto and Vancouver.
This season Mr. Relyea's concert engagements include Beethoven's Symphony No. 9 with the Detroit Symphony, Bruckner's Mass in f minor with the Montreal Symphony, Janacek's Glagolitic Mass with the Toronto Symphony, Bach's St. Matthew
Passion with the Buffalo Philharmonic Orchestra, Berlioz' L'Enfance du Christ with the National Arts Centre Orchestra, and Verdi's Requiem with the New Mexico Symphony.
Mr. Relyea has been featured in Toronto by the Canadian Opera Company in the roles of the Prince de Bouillon with Dame Joan Sutherland in the title role of Cilea's Adrianna Lecouvreur, Prince Yeltsky in Tchaikovsky's Queen of Spades, Germont in Verdi's La Traviata, Rangone in Musorgsky's Boris Godunov and Crespel in Offenbach's Tales of Hoffmann.
Mr. Relyea's opera performance at the National Arts Centre have included Marcello in Puccini's La Boheme, Prince Yeletsky in Tchaikovsky's Queen of Spades, Demetrius in Britten's Midsummer Night's Dream, Harlequin in Strauss' Ariadne aufNaxos and Dr. Bartolo in Le Nozze di Figaro. Appearances in eight seasons with the Guelph Spring Festival opera productions have included the Traveller in Britten's Curlew River and the Father in Britten's The Prodigal Son. With Vancouver Opera, Mr. Relyea was last heard as the Music Master in Strauss' Ariadne aufNaxos.
Operatic performances last season included Mozart's Don Giovanni with Opera Atelier of Toronto, and the role of Elder MacLean in Vancouver Opera's production of Susannah. Last summer he performed Britten's The Prodigal Son, Berlioz's L'Enfance du Christ and Don Giovanni all with the National Arts Centre's Festival Ottawa. In the fall of 1997 Mr. Relyea performed Mahler's Symphony No. 8 with the Toronto Symphony Orchestra. This season Mr. Relyea performs Elijah in this Ann Arbor performance and also with the Kitchener-Waterloo Philharmonic Choir, Richard Eaton Singers and the Peterborough Singers.
Mr. Relyea's opera appearances on CBC-TV include the role of Smirnov in Walton's The Bear.
This performance marks Gary Relyea's second appearance under UMS auspices.
Katherine Larson's dramatic portrayals of Puccini and Verdi heroines have won many national and international awards and her
performance reviews have been nothing less than stellar. Following Ms. Larson's appear?ance as Madama Butterfly for Indiana Opera North, the South Bend Tribune described her performance as: "astonishing -a powerful high range that topped the orchestra's for?tissimo and delicate pianissimos that could be heard in the back row. Not only could she sing, but she could act, as well."
Performance highlights include the title role of Tosca with Lincoln Opera of Chicago and OPERAlLenawa in Adrian, Michigan; Madama Butterfly with Indiana Opera North; and most recently performances of the Verdi
Requiem with the Toledo Symphony and the Illinois Symphony. She has also been a featured soloist for the UMS Choral Union, the Toledo Opera, the Comic Opera Guild of Ann Arbor, Northwestern University Orchestra,
South Bend Symphonic Choir, Indiana University Philharmonic Orchestra and the Perrysburg Symphony.
In April of this year, Ms. Larson will per?form Strauss's Vier Letzte Lieder as the sea?son finale for the Ann Arbor Symphony.
Ms. Larson is the recipient of numerous national and international awards, including the National Friedrich Schorr Memorial Competition, the International Licia Albanese-Puccini Foundation Competition in New York, and the National Bel Canto Competition. She was also a finalist in the Queens Opera Competition and the Lyric Opera of Chicago Center for American Artists competition.
Ms. Larson studied language at the Goethe Institute in Rothenburg, Germany, and the British Institute in Florence, Italy.
This performance marks Katherine Larson's debut under UMS auspices.
Celebrated both at home and in Europe, mezzo-soprano Jayne Sleder has established herself as a commanding presence on the orchestral stage and is recognized for the diversity of her oratorio and symphonic repertoire. A Michigan native, Ms. Sleder has returned to the United States after spending several seasons in Europe per?forming on operatic and symphonic stages in such cities as Berlin, Weimar, Mannheim and Avignon. Her operatic repertoire includes a variety of roles such as Fricka, Dalila, Charlotte, and Puline from Tschaikowsky's Pique Dame. Praised by the critics for her "exquisite oratorio singing," Ms. Sleder has frequently graced the stages of Dallas, Austin, Santa Barbara, Chicago, and Cincinnati with her oratorio perfor?mances.
A frequent performer with the Grand Rapids Symphony, recent appearances have included the Durufle Requiem and Mahler's
Symphony No. 2 and Symphony No. 8 under the baton of Catherine Comet. Other highlights include Verdi's Requiem with the Mannheim Akademische Orchestra and Stralsund Staatstheater
Orchestra, a performance of Chausson's Chanson Perpetualle with the Leontovych String Quartet, and the Mozart Requiem conducted by Ransom Wilson with the Tuscaloosa Symphony.
Ms. Sleder's musical studies began at Michigan State University and continued at University of Texas and the Cincinnati Conservatory of Music. She has also stud?ied extensively throughout Europe and was a student of renowned baritone Tito Gobbi. Ms. Sleder currently resides in Traverse City
where she has recently joined the voice fac?ulty at Northwestern Michigan College.
Jayne Sleder was a soloist in the 1997 UMS presentation of Mahler's Symphony No. 8. This performance marks her second appear?ance under UMS auspices.
American tenor Richard Fracker enjoys a career as operatic and oratorio tenor having sung throughout the world in works from Bach to Beethoven to Puccini to Philip Glass.
The versatile American tenor spent much of 1995-96 at the Metropolitan Opera for Die Meistersinger and Un Ballo in Maschera. In addition to singing the lead tenor role in the Metropolitan's production of Philip Glass' The Voyage, Mr. Fracker made his Carnegie Hall debut as the tenor lead in Glass' The Civil Wars, both under the baton of Dennis Russell Davies. Later in the sea?son he debuted at the Bilbao Festival in Spain as Nadir in Les Pecheurs de Perles, traveled to Japan with Seiji Ozawa for Les Mamelles de Tiresias, sang Faust in Michigan, the Duke of Mantua in Mississippi, and returned to the Met in the Parks for Turandot. Last season Mr. Fracker returned to the Met for new productions of Fedora and Wozzeck, as well as the acclaimed pro?duction of Billy Budd, and sang his first Mahler's Symphony No.8 with the Grand Rapids Symphony in Grand Rapids and Ann Arbor led by Catherine Comet.
This season Mr. Fracker returns to the Metropolitan as Pong in Turandot, to the Grand Rapids Symphony for Mendelssohn's Elijah, and to the Lansing Symphony for Beethoven's Symphony No. 9.
Other recent operatic engagements have included Fracker's debut with the Atlanta Opera as Nadir in Les Pecheurs de Perles, Tonio in The Daughter of the Regiment for the Chautauqua Festival, Orlando Opera, and the Wildwood Festival, the title role in The Tales of Hoffmann with the opera com-
panies of Indianapolis, Syracuse, Memphis, and Lansing, and his debut at the Central City Opera as The Student Prince. Mr. Fracker was heard at the New York City Opera as Beppe in Pagliacci and Iliodor in Jay Riese's Rasputin.
He created the leading tenor roles in the world premieres of Philip Glass' Orfee at the American Repertory Theater and at BAM, as well as The Hydrogen Jukebox at the Spoleto Festival USA and Italy and the American Music Festival in Philadelphia.
Mr. Fracker has made a specialty of con?temporary roles. In addition to his extensive work with Philip Glass, the tenor has essayed Peter Maxwell Davies' The Lighthouse and Benjamin Britten's Albert Herring for the Chicago Opera Theater, Janacek's Diary of the One Who Vanished for the Long Beach Opera, Street Scene for the Chautauqua Festival, Amahl and the Night Visitors with the Little Orchestra Society at Lincoln Center, and Henrik in A Little Night Music for Opera Carolina.
Richard Fracker made his Metropolitan Opera debut in 1989 in Trittico, followed by performances of Rigoletto and La Traviata. He has repeatedly returned to the Met for Andrea Chenier, Un Ballo in Maschera, Parsifal, I Puritani, Le Nozze di Figaro, Rigoletto, and La Traviata. He made his pro?fessional debut in Die Fledermaus for the Toledo Opera and his international debut as Edgardo in Lucia di Lammermoor for the Islendik Opera in Reykjavik. Early in his career he performed extensively as Edgardo in Lucia di Lammermoor and Alfredo in La Traviata for Opera Omaha's Nebraska Opera Theater and Nanki-Poo in The Mikado for a debut with the Kentucky Opera.
Mr. Fracker has performed the major
concert works throughout the US, specializ?ing in the oratorios of Bach, Britten, Handel and Mozart. The tenor holds four degrees from the University of Michigan at Ann Arbor, and was an international finalist in the 1985 Pavarotti Competition.
Richard Fracker performed as a soloist in the 1988 UMS presentation oMessiah and in the 1997 UMS presentation of Mahler's Symphony No. 8. This performance marks his fifth appearance under UMS auspices.
Described by American Record Guide as "one of America's superior organists," Janice Beck is widely known for her recordings and solo recitals in both North America and Europe. While a Fulbright Scholar in Paris studying with Jean Langlais, she presented the world premiere of his American Suite. During recent tours of Europe she has presented concerts in Coventry Cathedral, Southwell Minster, Westminster Abbey and St. David's
Hall, Cardiff in the United Kingdom, Oliwa Cathedral, Gdansk and the International Festival of Organ and Chamber Music, Szczecin, in Poland. She concer-tizes throughout North America and has presented recitals recently at First
Congregational Church, Los Angeles, Christ Church Cathedral, Ottawa, and Duke University.
Her recordings include the six organ sonatas of Mendelssohn and the Vierne Sixieme Symphonic for Arkay Records, and works of Marcel Dupre, recorded in the Cathedral of St. Etienne, Auxerre, for the French company, REM Editions.
Forthcoming engagements during 1998 include recitals in Chelmsford Cathedral,
England; St. Michael's Church, Olomouc, Czech Republic; St. Martin's Church, Bad Orb, Germany; St. Elizabeth Cathedral, Kosice, Slovakia and St. Matyas Church, Budapest, Hungary.
Janice Beck studied with Catharine Crozier, her major teacher, Marilyn Mason at the University of Michigan and in Paris with Jean Langlais and Nadia Boulanger. She is recipient of the Algernon Sydney Sullivan Award, presented by Rollins College "for leadership, great achievement in one's chosen field, and service to others." Locally, she is organist at the First United Methodist Church of Ann Arbor.
Janice Beck performed in the UMS productions oMessiah in 1995,1996 and 1997. This is her seventh performance under UMS auspices.
Paul Dennison, soprano, is ten years old and attends Trombly Elementary school in Grosse Pointe. He sings with the Men and Boys' Choir of Christ Church in Grosse Pointe. Last summer he toured England, Scotland and Wales with the choir. Paul has also performed in local operettas and musi?cals; in his spare time he plays cornet and enjoys a game of baseball.
This performance marks Paul Dennison's debut under UMS auspices.
University Musical Society Choral Union
Throughout its 119-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual performances of Handel's Messiah each December. Four years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Prokofiev's Aleksandr Nevsky, and has recorded Tchaikowsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem, and continuing with performances of the Berlioz Requiem and Verdi's Requiem. Last season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining them in a rare presenta?tion of Mahler's Symphony No. 8 (Symphony of a Thousand).
In this, its 119th Season, the Choral Union will perform Handel's Messiah and Mendelssohn's Elijah with the Ann Arbor Symphony Orchestra, Porgy and Bess with the Birmingham-Bloomfield 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.
For more information about the UMS Choral Union, please call 313.763.8997 or e-mail email@example.com
The UMS Choral Union began performing in 1879 and has presented Messiah in annual performances. This performance marks its 372nd appearance under UMS auspices.
The Ann Arbor Symphony Orchestra
What began in 1928 as an all-volunteer orchestra, performing a brief season of community concerts, has grown sixty-eight years later into an all-professional, resident orchestra which annually presents six main-stage and two youth concerts in the historic Michigan Theater. In addition, the ASO serves as the orchestra in residence for The University Musical Society's Messiah and was the orchestra for the 1994 UMS presen?tation of the Martha Graham Dance Company's, In the American Grain. The ASO is now the largest arts employer in Washtenaw County, and thrives on a combi?nation of ticket sales and private develop?ment, receiving only 6 of its funding from public money.
The ASO's Education and Outreach Programs reach more than 25,000 young people annually through a number of unique initiatives. Among these, the Mentorship Program for youth at risk pro?vides concert tickets for 133 economically at risk youngsters and their families in a pro?gram sponsored jointly by the A2SO and area businesses; the Daytime Youth Concerts
serve thirty-three area school districts for 3,400 students; the Youth Soloist Competition allows Michigan youngsters under twenty to compete for the honor of performing a complete Mozart concerto with the Ann Arbor Symphony Orchestra as part of our subscription series concerts; the free Preconcert Lectures are presented by . Music DirectorConductor Samuel Wong, and average 200 500 people per lecture.
Under the direction of Maestro Samuel Wong, a protege of both Kurt Masur and Zubin Mehta, the ASO has grown in musi?cal stature, receiving national recognition as one of the very best regional orchestras.
The Ann Arbor Symphony Orchestra has per?formed in the UMS presentation oMessiah every year since 1988. This performance marks their twenty-seventh appearance under UMS auspices.
The UMS Choral Union
Thomas Sheets, Conductor
Steven Bizub and Justin Rossow, Assistant conductors
Donald Bryant, Conductor Emeritus
Jean Schneider-Claytor, Accompanist
Edith Leavis Bookstein, Chorus Manager
The Concordia Choir
Kurt E. vonKampen, Conductor
Yi-Li Lin, Accompanist
Edith Lcavis Bookstein
Susan F. Campbell
Marie Ankenbruck Davis
Kathy Neufeld Dunn
Kathryn Foster Elliott
Mary Kay Lawless
Margaret Dearden Petersen
Judith A. Premin
Linda Kaye Woodman
Soprano II Debra Joy Brabenec Ann Burke Cheryl D. Clarkson Patricia Forsberg-Smith Mary L. Golden Deirdre Hamilton Elizabeth E. Jahn MeredyTh Jones Loretta Lovalvo Melissa Hope Marin Linda Marshall Marilyn Meeker Sara Peth Virginia J. Reese Mary A. Schieve Sue Ellen Straub Barbara Hertz Wallgren Rachelle Barcus Warren Kathleen Young Liza Q. Wirtz
Mary Jo Baynes Myrna Berlin Paula Brostrom Lori Cheek Laura Clausen Kathryn Coon Dolores Davidson Deborah Dowson Anna Egert
LeAnn Eriksson Guyton Carol Milstein Joan L. Morrison Holly Ann Muenchow Lisa Michiko Murray Carren Sandall Elizabeth Suing
Alto II Joan Cooper Marilyn Finkbeiner Sarah Gross Hilary Haftel Nancy Ham Carol Hohnke Jean Leverich Cynthia Lunan Kathleen Operhall Lynn Powell Miriam Rossow Beverly N. Slater Amy J. Smith Cynthia Sorensen Gayle Stevens Cheryl Utiger
Fr. Timothy J. Dombrowski
John W. Etsweiler III
Steven J. Hansen
Matthew J. Rush
Tenor II Chris Bartlctt Fred L. Bookstein Philip Enns Albert P. Girod Jr Roy Glover Henry Johnson Douglas Keasal Robert Klaffke William Ribbens Scott Silveira Samuel C. Ursu James Van Bochove
Harvey Bertcher John M. Brueger Benjamin Cohen David Hoffman George Lindquist Lawrence Lohr Charles Lovelace Joseph D. McCadden Kevin Miller Michael Pratt William Premin Frederic Rohrbach Sheldon Sandweiss John T. Sepp Jayme Stayer Jack R. Waas Benjamin Williams Jeffrey Williams
Bass II Harry Bowen Kee Man Chang Dan Davidson George Dentel Don Faber Philip Gorman Donald L. Haworth Charles T. Hudson Gerald Miller Bradley Pritts Marshall S. Schuster William A. Simpson Jeff Spindler Robert Stawski Robert D. Strozier Terril O. Tompkins John Van Bolt
Sopranos Julie Bacon Megan Bolt Annie Brazinski Stephanie Davis Sara DePrekel Stephanie Gledhitl Liz Helmreich Katrina Helmreich Tanya Kleimola Lisa Kunze Laura Nestell Jamie Peterson Jacalyn Sherouse Kathryn Simon Katie Stahl Angela Thompson Kristel VanDeMoortell
Jessica Aldrich Lori Bosma Jennifer Brauer Megan Gallagher Elizabeth Gentsch Natalie Haupt Ruth Hessler Bekah Holmes Tamica Jenkins Natalie Palmiter Laura Pingel Lindsay Rossow Leah Sallach Heather Schepmann Heather Shirley Christi VVarsinski Mandy Wells Emily Wentzel
Ann Arbor Symphony Orchestra
Stephen Shipps, Concertmaster
Barbara Sturgis-Everett Philip Ficsor Priscilla Johnson Alexandra Tsilibes Beth Kirton
Kathleen Grimes Barbara Zmich Nathan Peters Steven Ewer Carolyn Tarzia
Sarah Cleveland Vladimir Babin Alison Badger Marolin Bellefleur
Gregg Emerson Powell Jennifer Bilbie Kenneth Marrs
Flute Penelope Fisher
Clarinet Marlena Palma Kimberly Aseltine
Willard Zirk Bernice Schwartz Michael Lipham Breda Anderson
Christopher Hart Christopher Bubolz
Trombone I. Michael Hall Scott Hartley Greg 1.1111
Dr. Herbert Sloan
Tuesday Evening, March 10,1998 at 8:00
University of Michigan Museum of Art, Ann Arbor, Michigan
Pavane pour une infante defunte Jeux d'eau
Une barque sur l'ocean
Alborada del gracioso
La Vallee des cloches
12 Preludes, Book II
II Feuilles mortes
III La puerta del Vino
IV "Les fees sont d'exquises danseuses"
VI "General Lavine -excentric"
VII La Terrasse des audiences du clair de lune
IX Hommage a Samuel Pickwick, Esq., P.P.M.P.C.
XI Les Tierces alternees
XII Feux d'artifice
Forty-sixth Concert of the 119th Season
This performance is presented with the generous support of Dr. Herbert Sloan
Large print programs are available upon request.
Impressionism: Ravel and Debussy
Impressionism in both music and the visual arts has proven almost impossible to define in brief, simple terms. Yet there is undoubt?edly something new in the works by Ravel and Debussy, just as there is in the canvasses of Monet, Manet, and Renoir, that suggests a fresh, entirely modern aesthetic. In the most general sense, these artists share a par?ticular interest in color and light. For the painters, new chemical pigments available at the end of the nineteenth century allowed a greater intensity of color, eliciting new impressions of familiar landscapes and scenes. The musical equivalent is found in Debussy's and Ravel's interest in harmonic color, the use of exotic scales (especially pentatonic and whole-tone scales), and greater fluidity of rhythm, in pieces that often included a strongly pictorial element as well. Many of the works performed on tonight's program exemplify this joint impressionist aesthetic as they evoke a variety of scenes, landscapes and images, some even inspired directly by specific works of art.
Born on March 7, 1875 in Ciboure, France Died on December 28, 1937 in Paris
Maurice Ravel's Pavane pour une infante defunte, composed in 1899, blends mod?ernism with the neo-classical inspiration of an archaic dance form. The composer once claimed that the title is meaningless and that he added it simply because he liked the sound of the alliteration, but he may have done this only to forestall an overly senti?mental or nostalgic interpretation. The Pavane was never intended to be a funeral lament; Ravel described it simply as a pavane "that a little princess might, in for?mer times, have danced at the Spanish
court" (possibly having in mind one of the numerous Infanta portraits by the seventeenth-century Spanish painter Velazquez). The composer's own recording of the work is noticeable for its sparing use of the sustain pedal, creating a somewhat dry and detached effect that imitates the plucked lute accompaniment. It was not until he arranged the Pavane for orchestra in 1910 that it became, as far as he was concerned, embarrassingly popular.
Jeux d'eau (1901), Ravel's next work for solo piano, was conceived in a very different style to the quaintly archaic Pavane, as he began to explore an entirely new pianistic idiom. Again, a pictorial element influenced the composer -he noted that the work was "inspired by the bubbling of water and the musical sounds of fountains, waterfalls, and streams," and the result is certainly evoca?tive. In its virtuosity and subject matter, Jeux d'eau recalls Liszt, particularly his Les jeux d'eau a la Villa d'Este. But where Liszt's piece is really a religious allegory, Ravel's is a celebration of the purely physical sensation of water in motion, and in that regard it shares an affinity with impressionist paint?ing (which also took the play of light on water as a favorite theme). He uses whole tone, pentatonic, and chromatic scales, with a generous use of the sustain pedal to por?tray the mists, droplets, splashes, and bub?bles, each characterized with naturalistic precision. The changing light and wind is reflected in the subtle harmonic and rhyth?mic distortions. In its published form, the piece is prefaced with a quotation from a poem by Henri de Regnier that also sum?mons an impressionistic image: "The river god, laughing from the water that tickles him."
Ravel observed that the change in his style from Jeux d'eau to Miroirs (Mirrors), written in late 1904 and 1905, was suffi?ciently pronounced to bemuse those who had formerly claimed to understand his
music. He declared as he began work on the new set, "I would really like to do something to free myself from Jeux d'eau" Miroirs did mark the start of a new period of creativity for Ravel -as Hans Heinz Stuckenschmidt noted, "the uncomplicated, shining world of his youth had disappeared" -but the work was not immediately successful. Each of the five pieces that constitute Miroirs was dedi?cated to one of Ravel's friends from the artistic clique known as "Les Apaches," but despite the dedications to his colleagues, only the pianist Ricardo Vines showed unqualified enthusiasm for them at the time. The title of Miroirs suggests that these are scenes with a little more definition than is usual for an impressionist work. These are not images viewed through the stereo?typical morning mists or gauzy afternoon haze; they are reflections, images with sharp outlines, though, as with a mirror, the image is more distant and unreal than it seems.
Apart from the first piece in the collec?tion, the works were composed in the same order as they appear in the final arrange?ment; "Noctuelles" (Night Moths) was the last written, but Ravel chose it to open the set. In this bizarre and sometimes grotesque dance, the unpredictable harmonic motion and sputtering rhythms reflect the beating of the moths' wings as they reel clumsily from one light to another. "Oiseaux tristes" evokes "birds lost in the torpor of a dark forest at the hottest time of summer." One of Ravel's gloomiest and most desolate works, it consists of an obsessively repeated note (B-flat) and a rapid ornament (mimic?king the call of the blackbird) played rubato, occasionally whirling aimlessly to the forest floor. The harmonies are somewhat adven?turous, even for Ravel. The third piece in the set, "Une barque sur l'ocean," is water music on a grand scale, expanding the play?ful splashes of Jeux d'eau into a fully-real?ized seascape. Gentle arpeggios at the start suggest a small boat rocking in the safety of
a harbor, but energetic double trills in the right hand soon carry it away into a surging swell. The performance directions point to an almost orchestral conception, imitating harp and wind sonorities. "Alborado del Gracioso," the first of Ravel's major Spanish pieces to be given a Spanish title, translates as "Dawn Song of the Jester." Similarly orchestral in its textures, it has become more famous in Ravel's own arrangement for orchestra. It is perhaps a little out of place in this set, being the only piece with a human presence, yet the jester's role in treading a fine line between parody and serious thought parallels the dawn, where distinctions between light and dark, con?scious and subconscious, are similarly ambiguous. The final work in Miroirs, "La Vallee des cloches" (Valley of the Bells) is unusual in that it is written on three staves (prefiguring Debussy's use of three staves in the second set of Images, published later the same year). Ravel had experimented with imitating bell sonorities earlier in his Entre Cloches (for two pianos) from 1897, but what was an experiment then is here given more mature expression. Each stave repre?sents a set of bells pealing at varying dis?tances, lending this piece a recognizably spa?tial aspect: an impressionistic sound-sculp?ture.
Born on August 22, 1862 in
St-Germain-en-Laye, France Died on March 25, 1918 in Paris
Toward the end of his career, Claude Debussy composed two sets of twelve Preludes for the piano (published in 1910 and 1913). These collections are every bit as painterly as Monet's impressionist canvases, evoking in a sponta?neous manner rather than describing in detail. Debussy's ideal was, after all, "music so free in form that it seems improvised," as
if it were "torn from a sketchbook." The picturesque titles to these preludes appear unobtrusively at the end of each work rather than at the beginning, leading many writers to speculate what Debussy might have intended by this curious practice. Perhaps he was merely imitating the artist, who leaves a painting's title off the canvas entire?ly, or displays it unobtrusively below the art?work when exhibited. Extending this analo?gy, the Preludes are a kind of one-man retro?spective of Debussy's musical style; in them we find all the techniques, gestures, musical colors and textures that are commonly asso?ciated with the composer, in music for solo piano, the instrument with which Debussy felt most at ease. Still, he was not entirely pleased with the Preludes and claimed with self-deprecating modesty, "they are not all good."
The first prelude in Book 2, "Brouillards" (Mists), shows the composer in a typically impressionistic mood. Through the use of both pedals, one to soften the notes and the other to sustain them, Debussy creates a halo of piano sound which, like a mist, dif?fuses the outlines of the music's shape and form. The whole-tone inflections and par?allel chords also veil the tonal center: a com?bination of C and D-flat triads. "Feuilles morts" (Dead Leaves) is a miniature land?scape, capturing in music some of the same feelings of decay and melancholy that inform Monet's paintings from Vetheuil. The title is also the French term for the color russet, lending this piece a subtle visu?al hue as well. "La Puerta del vino" refers to the famous gate that guards the Alhambra palace in Grenada. The sultry and volup?tuous music, with its alternating passages of languor and violence, undulates under habanera dance rhythms and Moorish arabesques. "Les Fees sont d'exquises danseuses" (Fairies are exquisite dancers) is also dance music, but of a very different kind. The title comes from an illustration
by Arthur Rackham for a scene from one of J.M. Barrie's Peter Pan stories. Here all is gossamer lightness, as the almost invisible creatures dart around in waltz filled with trills and flourishes.
"Bruyeres" (Briars) is less directly evoca?tive than some of the other works in this set, yet Debussy still uses familiar devices to suggest the interplay of air, light, and shade. The imitative writing might infer the dap?pled sun through over-head leaves, and their shadowy image on the woodland floor. "General Lavine -excentric" was a vaude-villian character created by the famous American clown, Edward Lavine, who made an appearance in Paris just before Debussy wrote this prelude. His act was full of jug?gling, slapstick, clumsy pratfalls and mishaps. For his portrayal of the General, Debussy's cakewalk (a dance that has its ori?gins in the march and is therefore entirely suited to this clownsoldier) imitates the graceless antics, and includes a reference to Foster's "Camptown Races." As if to demonstrate the wide range of subjects that were suited to his style, Debussy follows music-hall humor with an evocation of India with all its mystery and moon-drenched exoticism in "La Terrasse des audi?ences au clair de lune." Faint hints of bitonality, occasional touches of whole-tone melody, and the soft descent of the musical contour paint a scene of evanescent stillness.
"Ondine," the water sprite, allows Debussy the opportunity to portray one of the favorite subjects of both musical and painterly impressionism, the play of light on water. Again influenced by one of Rackham's illustrations, Debussy's "Ondine" is not quite as iridescent as Ravel's later incarnation, though still elegant and graceful. She whirls an exquisite dance amid the watery spills and cascades that have become so closely associated with Debussy and Ravel's music. As one writer has suggested, "Hommage a S. Pickwick, Esq., P.P.M.P.C."
has amused French admirers of Dickens more generally than it has English and American. The comic element seems to vary according to national outlook, as English audiences are not likely to find much humor in a grotesque parody of their national anthem, "God Save the King" (a tune also recognizable to American audi?ences as patriotic). Debussy's intention was certainly not, however, to cause offense, but merely to highlight Pickwick's ludicrous pomposity. Just to assure the listener that it is all in jest, the composer includes small touches of tenderness among the abundant wit.
"Canope" again carries the listener away to an exotic locale. The opening chords, repeated at the conclusion, are reminiscent of Satie's Rosicrucian works, and bring with them similar echoes of ancient mystery. This is serious music, grave and melancholy but without lapsing into sentimentality. The next prelude is the only one of this set that does not carry a picturesque title; "Tierce alternees" (Alternating Thirds) is a purely technical exercise, an etude designed to test the second and third fingers of each hand. While the title and musical content seem to avoid any pictorial evocation, Debussy still manages to conjure the impression of the early French davecinistes in this work.
Debussy saves his most pictorial prelude for last. "Feux d'artifice" (Fireworks) pre?sents a kaleidoscopic rendition in music of the gyrating pinwheels, rockets, and Roman candles. At the end, as the glowing embers begin to cool, a faint recollection of the Marseillaise locates the festivity in a Bastille Day celebration. (With World War I on the horizon, and the European continent already in a state of political unrest by 1913, this overtly patriotic touch assumes extra significance.) "Feux d'artifice" is a virtuoso showpiece for the pianist, a brilliant work in all senses of the word.
L'isle joyeuse, one of only two works for piano completed by Debussy in 1904, was inspired by Antoine Watteau's painting L'Embarquement pour Cythere. But there may have been a second, more personal inspiration as well. In the summer of 1904, just as he was reworking this piece into its final form, Debussy's first marriage col?lapsed, and he decided to elope with Emma Bardac to Jersey in the English Channel Islands. Subsequently, Debussy used the English spelling in the title -"isle" rather than the French "ile" -suggesting that Jersey was Debussy's personal "happy island". Throughout the opening passages, snatches of a jaunty dotted-note tune alter?nate with shimmering watery figurations. These give way in the central section to a noble melody that speaks of contentment and inward joy. The dotted rhythms and water imagery return before a series of fan?fares announce the noble theme again, this time in a grand and brilliant fortissimo.
Program notes by Luke Howard.
Jean-Yves Thibaudet is recognized world-wide as a virtuosic, master interpreter of piano literature. His poetic interpretations, along with his ability to evoke the colors, textures and moods of the music he plays, have won him a following through?out the United States, Canada, Europe, Australia and the Far East. Over the past sixteen years, he has performed with virtual?ly every major orchestra in the United States and abroad, including the Boston Symphony, Chicago Symphony, Cincinnati Symphony, Montreal Symphony, Toronto Symphony, London Philharmonic, London Symphony, Royal Philharmonic, BBC Symphony, Royal Concertgebouw Orchestra, Orchestra del Teatro alia Scala, Orchestre National de
France, Hong Kong Philharmonic, NHK Symphony, St. Petersburg Philharmonic, Rotterdam Philharmonic and the Sydney Symphony. Among the conductors with whom he appears are Vladimir Ashkenazy, Herbert Blomstedt, Riccardo Chailly, Andrew Davis, Charles Dutoit, Valery Gergiec, Mariss Jansons, Raymond Leppard, James Levine, Yuri Temirkanov, Michael Tilson Thomas and Edo de Waart.
Elegant and engaging, Mr. Thibaudet has performed in solo recitals from London's Wigmore Hall to Paris' Musee du Louvre to New York's Avery Fisher Hall. A sought-after collaborator, he performs with singers Cecilia Bartoli and Angelika Kirchschlager, and has performed with Olga Borodina, Dmitry Hvorostovsky and Brigitte Fassbaender, as well as violinist Joshua Bell and cellist Truls Mork. A regular at the summer festivals, he has performed for six?teen consecutive seasons at Italy's Spoleto Festival and for seven consecutive seasons at the London Proms (of which three perfor?mances have been live television broad?casts). Other festivals include Tanglewood, Ravinia, Blossom, Caramoor, Grant Park, Mann Music Center, Saratoga, Hollywood Bowl, Schleswig-Holstein, Casals, Prades, Pacific Music Festival, Istanbul, Prague, Stavanger and Adelaide.
This season has Mr. Thibaudet traversing the globe with orchestra and in solo and duo recital performances. Fall 1997 orches?tral appearances in North America include the Philadelphia Orchestra and the New World Symphony, as well as the symphony orchestras of San Francisco, Montreal and Atlanta. He appears in solo recital at the San Francisco Jazz Festival, the Iowa State Center and in duo recitals with soprano Angelika Kirschlager in Vancouver, Toronto, California, Missouri and Washington, DC. Jean-Yves Thibaudet, a long time champion of Classical Action: Performing Arts Against Aids, can be heard in three benefit perfor-
mances: Cleveland, Pensacola, and San Francisco. Internationally, Mr. Thibaudet performs with the Royal Concertgebouw, NHK Symphony, Deutsches Symphonie Orchester Berlin, St. Petersburg Philharmonic and Gewandhaus orchestras. At the end of November, he travels to Japan for a solo recital tour and orchestral appear?ances with the NHK Symphony, Charles Dutoit conducting.
North American appearances during early 1998 are highlighted by Mr. Thibaudet's only orchestral appearance in New York, which is with the San Francisco Symphony, conducted by Michael Tilson Thomas at Carnegie Hall. Other orchestral performances include the Minnesota Orchestra and the symphony orchestras of Colorado, Toronto and Montreal, with solo recital appearances in this Ann Arbor con?cert as well as in Philadelphia, Laguna Beach, and Columbus. In March 1998, Mr. Thibaudet joins the BBC Symphony and Andrew Davis on a ten city tour of California, Florida and Massachusetts. 1998 international orchestral performances include the Monnaie (in Brussels), Danish Radio and BBC symphony orchestras, as well as the Royal Scottish National Orchestra, Oslo Philharmonic Orchestra, Swiss Italian Orchestra, Frankfurt Radio Symphony Orchestra and Residentie Orchestra (the Hague). In April, Mr. Thibaudet performs Bernstein's Age of Anxiety in Paris, London and Amsterdam with the London Symphony Orchestra, Michael Tilson Thomas conducting. Solo recitals in 1998 include Vienna's Musikverein, Glasgow's Royal Concert Hall, Belfast's Waterfront Hall, Birmingham's Symphony Hall and London's Wigmore Hall, as well as in the Hague, Netherlands and the Al Bustan Festival in Lebanon.
An exclusive recording artist for LondonDecca Records, with over twenty classical CDs to his credit, Mr. Thibaudet
expanded his recording repertoire to include a 1997 release of the compositions of the late jazz great Bill Evans. Further expanding his audience, he was featured on the sound track for the motion picture Portrait of a Lady, staring Nicole Kidman, in which he played two Schubert Impromptus. Going back to 1992, he made a landmark two-CD set of the complete piano works of Ravel, which won Germany's prestigious Schallplattenpreis and received a Grammy nomination. For his debut album on the LondonDecca label, Mr. Thibaudet joined the Montreal Symphony and Charles Dutoit in the two Liszt concerti, coupled with the Totentanz and Hungarian Fantasy. Other recordings include d'Indy's Symphony on a French Mountain Air with the Montreal Symphony and Dutoit; sonatas for violin and piano by Debussy, Faure and Franck with the violinist Joshua Bell; Chausson and Ravel with Mr. Bell, cellist Steven Isserlis and the Takacs Quartet; and a recital album of Liszt's songs with Brigitte Fassbaender. Jean-Yves Thibaudet recorded Olivier Messiaen's gigantic Turangalila Symphony in 1992 with the Royal Concertgebouw orches?tra conducted by Riccardo Chailly; this CD received the Edison Prize in the Netherlands and the Diapason d'Or Award in France. His virtuosic disc of Liszt Opera Transcriptions was released to critical acclaim in 1994, and a disc with Miss Fassbaender of Wolf's Morike Lieder was nominated for a 1993 Gramophone Award and an Edison Prize. Recent releases include Debussy Preludes Books I and II, (complete works for solos piano, Vol. 1) which received the Diapason d'Or award, a Brahms Schumann record?ing, as well as recordings of Rachmaninoff's complete piano concertos (Concerto No. 4 to be released with solo piano works in March 1998) with the Cleveland Orchestra and Vladimir Ashkenazy, and both Ravel concer?tos with the Montreal Symphony and Charles Dutoit. To be released at later dates,
Mr. Thibaudet has recorded Debussy's com?plete works for solo piano, Volumes II and III; and with Herbert Blomstedt and the Leipzig Gewandhaus Orchestra, the two Mendelssohn concerti, coupled with the sextet.
Of French and German heritage, Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. His principal studies were with Lucette Descaves, a friend and collaborator of Ravel, and he entered the Paris Conservatory at age twelve, where he also studied with Aldo Ciccolini. At age fifteen he won the Premier Prix du Conservatoire, and three years later won the 1981 Young Concert Artists Auditions in New York. Mr. Thibaudet makes his home in both Paris and New York.
This performance marks Jean-Yves Thibaudet's debut under UMS auspices.
Jean-Yves Thibaudet's Representative: J. F. Mastroianni Associates, Inc. New York City
Mr. Thibaudet records exclusively for DeccaLondon Records.
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).
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.
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.
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 tfj
MET OujQlEMtfbir 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. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity ol 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 deliciou: 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 awa) The University Musical Society is pleased to announce their cooperative ventures with the following local establishments:
I 3411 Washtenaw Road, Ann Arbor. Reservations: 734.971.0484
Bun. Feb. 22 Mendelssohn's Elijah
wiu. Mar. 24 Russian National OrchestraGil Shaham, violin
fccm. Apr. 13 Evgeny Kissin, piano
Package price $52 per person (with tax & tip incorporated)
Includes: Guaranteed dinner reservations (select any item from
Jhc special package menu) and reserved "A" seats on the main
Boor at the performance for each guest.
The Artful Lodger Bed & Breakfast
I 1547 Washtenaw Avenue, Ann Arbor. Reservations: 734.769.0653 nin Ann Arbor's most theatrical host & hostess, Fred & Edith leavis Bookstein, for a weekend in their massive stone house built in the mid1800s for U-M President Henry Simmons Frieze. This jistoric house, located just minutes from the performance halls, flas been comfortably restored and furnished with contemporary Irt and performance memorabilia. The Bed & Breakfast for Music Ind Theater Lovers!
Iackage price ranges from $200 to $225 per couple depending npon performance (subject to availability) and includes: two nights' ay, 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 line dining and elegant accommodations, along with priority Bating to see some of the world's most distinguished performing artws. add up to a perfect overnight holiday. Reserve space now Bt a European-style deluxe guest room within walking distance of Be performance halls and downtown shopping, a special performance inner menu at the Escoffier restaurant located within the Bell Tower Miitel, and great seats to the show. Beat the winter blues in style!
wi. Jan. 9 David Daniels, countertenor
mt. Ian. 10 Israel Philharmonic Orchestra
?x Jan. 30 Beethoven the Contemporary: American String Quartet
Mi. Feb. 13 Juan-Jose' Mosalini and His Grand Tango Orchestra it. Feb. 14 Chen Zimbalista, percussion i. Feb. 20 Chick Corea, piano and Gary Burton, vibes i. Mar. 13 New York City Opera National Company
Donizetti's Daughter of the Regiment if. Mar. 21 Batsheva Dance Company of Israel t. Mar. 28 Paco de Lucia and His Flamenco Orchestra ckage price $199 (+ tax & gratuity) per couple ($225 for the rael Philharmonic Orchestra) includes: valet parking at the iti-l, overnight accommodations in a deluxe guest room with a ntinental breakfast, pre-show dinner reservations at the coffier restaurant in the Bell Tower Hotel, and two performance kets with preferred seating reservations.
326 S. Main Street, Ann Arbor. Reservations: 734.663.5555
in. Jan. IS Boys Choir of Harlem
u. Feb. 19 Petersen Quartet
i. Mar. 12 New York City Opera National Company
Donizetti's Daughter of the Regiment Ji. Apr. 3 STREB
Hckage price $45 per person includes: guaranteed reservations for .i pre-show dinner (select any item from the menu plus a non-Bohnlic beverage) and reserved "A" seats on the main floor at the ?rformance.
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 DMS Card
The University Musical Society and the following businesses thank you for your generous UMS sup?port by providing you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality product 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
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 ma; apply. Call the UMS box office for more information
William D Revelli
The many faces of Hill
For over 80 years, Hill Auditorium has hosted great poets, great thinkers and great musical artists. But the years have taken their toll on this magnificent building. The Campaign for Hill is our chance to give something back...and assure that Hill Auditorium will face a bright and beautiful future.
Please, make your pledge today to the Campaign for Hill.
For information, call (313) 647-6065.
A Highlight of the Campaign for Michigan
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.
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.
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
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy Niehoff Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Helen Ziegler Mr. and Mrs. Ronald G. Zollars
Randall and Mary Pittman
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
Detroit Edison Foundation
Ford Motor Credit Company
JPEincThe Paideia Foundation
The Edward Surovell Co.Realtors
University of Michigan -
University Relations Wolverine Temporaries, Inc.
Lila Wallace-Reader's Digest
Audiences for the Performing
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
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
Joe and Karen Koykka O'Neal
Mrs. John F. Ullrich
Marina and Robert Whitman
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
ndividuals lobert and Martha Ause vlaurice and Linda Binkow Barbara Everitt Bryant Dr. and Mrs. James P. Byrne Edwin F. Carlson Mr. Ralph Conger Katharine and Jon Cosovich vlr. and Mrs.
Thomas C. Evans Ken, Penny and Matt Fischer ohn and Esther Floyd ue and Carl Gingles Mercy and Stephen Kasle ohn and Dorothy Reed 'rudence and
Amnon Rosenthal Don and
Judy Dow Rumelhart vlaya Savarino 'rofessor Thomas J. and
Ann Sneed Schriber Raymond Tanter Richard E. and
Laura A. Van House tlrs. 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
MaudesMain Street Ventures
t. Joseph Mercy Hospital
foundations he 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
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Ms. Donna Rhodes
fames and Helen Richards
Mrs. EE. Richart (Betty)
fohn and Marilyn Rintamaki
Mary Ann Ritter
Kathleen Roelofs Roberts
Peter and Shirley Roberts
Pave and loan Robinson
Janet K. Robinson, Ph.D.
Richard C Rockwell
Mary Ann and Willard Rodgers
Marilyn L. Rodzik
Mr. and Mrs. Stephen J. Rogers
Mary F. Loeffler and
Richard K. Rohrer Elizabeth A. Rose Bernard and Barbara Rosen Drs. Stephen Rosenblum and
Richard Z. and Edie W. Roscnfeld Marilynn M. Rosenthal Michael and Margie Rudd Roger and O.J. Rudd Dr. and Mrs. Raymond W. Ruddon Samuel and Irene Rupert Robert and Beth Ruskin Mitchell and Carole Rycus Hllen and Jim Saalberg Theodore and loan Sachs Arnold SamerofTand
Susan McDonough Miriam S. loffe Samson Ina and Terry Sandalow lohn and Reda Santinga Sarah Savarino Hclga and Jochen Schacht Lawrence and Marilyn Schlack Courtland and Inga Schmidt Charlene and Carl Schmult, Jr. Thomas Schramm Carol Schreck
Gerald and Sharon Schrciber Sue Schroeder Albert and Susan Schultz Aileen 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 Darlcne Scovcll Michael and Laura Seagram E. J. 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. J. N. Shanberge Matthew Shapiro and
Susan Garetz, M.D. David and Etvera Shappirio Rev. William J. Sherzer Cynthia Shevel Drs. Jean and Thomas Shope Hollis and Martha Showalter Pam and Ted Shultz Ned Shurc and Jan Ondcr lohn and Arlene Shy Milton and Gloria Siegcl Eldy and Enrique Signori Drs. Dorit Adlcr and Terry Silver Costella Simmons-Winbush Sandy and Dick Simon Frances U. and Scott K. Simonds Michael and Maria Simontc
Robert and Elaine Sims
Donald and Susan Sinta
Mrs. Loretta M. Skewes
Irma J. SkJenar
Beverly N. Slater
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard Soble and Barbara Kessler
Richard and Julie Sohnly
James A. Somers
Mina Diver Sonda
Mrs. Herbert W. Spendlove (Anne)
Samuel T. and Randy Dean Stahl
David and Ann Staiger
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Ron and Kay Stefanski
Virginia and Eric Stein
William and Georgine 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
Anjanette 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 Jyengar
Bette M. Thompson
Mrs. Peggy Tieman
Mr. Andrew Tomasch
Dr. and Mrs. Merlin C. Townley
James W. Toy
Angie and Bob Trinka
Kenneth and Sandra Trosien
Luke and Mcrling Tsai
Marilyn Tsao and Steve Gao
Jeff and Lisa Tulin-SHver
Jan and Nub Turner
Dolores J. Turner
Dr. Hazel M. Turner
William H. and Gerilyn K. Turner
Ah an and Katharine UhJe
Mary L. Unterburger
Dr. and Mrs. Samuel C. Ursu
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Bram and Lia van Leer
Fred and Carole S. Van Reesema
Kate and Chris Vaughan
Sy and Florence Veniar
Alice and Joseph Vining
Jane and Mark Voget
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 Nadelman and
Sidney Warschausky Ruth and Chuck Watts Robin and Harvey Wax Barry and Sybil Wayburn Edward C. Weber Joan M. Weber
Leone Buyse and Michael Websler Jack and Jerry Weidenbach Donna G. Weisman Barbara Weiss Carol Campbell Welsch and
Rosemary and David Wcsenberg Mr. and Mrs. Peter Weslen Tim and Mim Westerdalc Ken and Cherry Westerman Susan and Peter Westernian Marjorie Westphal Paul E. Dufly and Marilyn L Wheaton 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 Sarajane Winkelman Beth and I. W. Winsten 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 Wyiic
Mr. and Mrs. R. A. Yagle
Sandra and Jonathan Yobbagy
Frank O. Youkstetter
James P. Young
Mr. John G. Young
Ann and Ralph Youngren
Dr. and Mrs. Joe H. Yun
Mr. and Mrs. F.L. Zeislcr
Peter and Teresa Ziolkowski
David S. and Susan H. Zurvalcc
Ann Arbor Bivouac, Inc. Garris, Garris, Garris &
Garris Law Office Loomis, Sayles and Co. L.P. Organizational Designs Alice Simsar Fine Art, Inc. University Bank
Alan and Marianne Schwartz-The Shapiro Foundation
lohn H. Bryant Margaret Crary Mary Crawford George R. Hunsche Alexander Krezel, Sr. Kathcrine Mabarak Frederick C. Matthaci, Sr. Steffi Reiss Ralph L. StefTek Clarence Stoddard William Swank Charles R. Tieman John F. Ullrich Ronald VandcnBclt Francis Viola III Carl H. Wilmot Peter Holderness Woods Helen Ziegler
Bernard and Ricky Agranoff Ann Arbor Symphony Orchestra Anncke's Downtown Hair
and Company Applause Salon Catherine Arcure The Ark
Bj Because Company's Coming Dr. Emily Bandera Paulett and Peter Banks Gail Davis Barnes Ede Bookstcin Janice Stevens Botsford The Boychoir of Ann Arbor Brewbakers Barbara Everitt Bryant Butzel Long
David G. LocselCafc Marie Tomas Chavez Chelsea Flower Shop i fu.iiin Tuscan Grill Elizabeth Coiburn i imlin 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 Farrcll JudyFikeofTCakes Beth and Joe Filzsimmons Guillermo and Jennifer Flores Ford Electronics Gallery Von Glahn The Gandy Dancer Beverly and Gerson Geltner Generations for Children Lee GillcsGreat Frame Up Renee GrammaticoVoila Linda and Richard Greene Daphne Grew fim Harbaugh Foundation Marilyn HarbcrGeorgctown Gifts Esther Heitlcr J. Downs Herold Matthew and Kerry Hoffmann Kim Hornbcrger Kay and Tom Huntzickcr Stuart and Maureen Isaac John Isles
Jeffrey Michael Powers Beauty Spa
Urban Jupena and Steve Levicki
Stephen and Mercy Kasle
Martha Rock Keller
Craig L. Kruman
Henry and Alice Landau
John Leidy Shop
Don and Gerri Lewis
Market Strategics, Inc.
Moe Sport Shops
Monahan's Seafood Market
Motif Hair by Design
The Moveablc Feast
Susan and Richard Nisbett
John and Cynthia Nixon
Baker O'BrienThe Labino Studio
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
Nina Hauscr Robinson
Richard and Susan Rogcl
Susan Tait of Fitness Success
Maya Savarino and Raymond Tantcr
Ann and Tom Schriber
Janet and Mike Shatusky
Aliza and Howard Shcvrin
Dr. Herbert Sloan
Deb Odom Stern
Nat Lacy and Ed Surovell
University of Michigan
Charlotte Van Curler
Kathleen and Edward VanDani
Warner Electric Atlantic
Ron and Eileen Wciscr
Marina and Robert Whitman
Young People's Theater
Ann and Ralph Youngren
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
II Chelsea Community
34 Chris Triola Gallery
38 The Dental Advisor
50 Dobb's Opticians
?17 Dough Boys Bakery
24 Edward Surovell Co.Realtors
31 Emerson School
15 Fraleighs Landscape Nursery
33 Ford Motor Company
46 Garris, Garris, Garris,
37 General Motors Corporation
27 Glacier Hills
42 Gubbins & McGlynn Law Offices 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
30 King's Keyboard House
3 Lewis Jewelers
39 Market Strategies
41 Michigan Media
12 Miller, Canfield, Paddock,
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
3 Seva Restaurant
25 SKR Classical
25 Sweet Lorraine's
15 Sweetwaters Cafe
31 Ufer and Company
46 U-M Matthaei Botanical
45 U-M Vocal Health Center
17 University Productions
13 Van Boven Shoes
51 Whole Foods Market