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UMS Concert Program, Tuesday Mar. 24 To 29: University Musical Society: 1997-1998 Winter - Tuesday Mar. 24 To 29 --

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

of the Un iversity of Michigan, Ann Arbor
The 1998 Winter Season
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1996-97 season. A member of Steve Turre's Shell Choir plays his conch shell as part of the Blues, Roots, Honks and Moans concert, mezzo-soprano Ewa Podls performs in Hill Auditorium and dancers perform the snow scene from The Harlem Nutcracker at the Power Center.
4 Letter from the President
5 Corporate UnderwritersFoundations
9 UMS Board of DirectorsSenate
StaffAdvisory Committees
10 General Information
13 Ticket Services
14 UMS History
15 UMS Choral Union
16 Auditoria Burton Memorial Tower
20 Education and Audience Development
22 Season Listing
Concert Programs begin after page 26
28 Volunteer Information
30 Hungry
30 Restaurant & Lodging Packages
32 The UMS Card
32 Gift Certificates
34 Sponsorship and Advertising
37 Group Tickets
37 Advisory Committee
37 Acknowledgments
38 Ford Honors Program
40 UMS Contributors
49 UMS Membership
50 Advertiser Index

Dear Friend,
Thanks very much for attending this perfor?mance and for supporting the University Musical Society (UMS) by being a member of the audience. I'd like to invite you to become even more involved with UMS. There are many ways you can do this, and the rewards are great.
Educational Activities. This season UMS is hosting more than 150 performance-related educational events, nearly all of them free and open to the public. Want to learn from a member of the New York City Opera National Company what it's like to be on the road for four months, or find out from Beethoven scholar Steven Whiting why the composer's music, beloved by today's audi?ences, was reviled by many in Beethoven's own time Through our "Master of Arts" interview series, Performance-Related Educational Presentations (PREPs), post-per?formance chats with the artists, and a variety of other activities, I invite you to discover the answers to these and other questions and to deepen your understanding and appreciation of the performing arts.
UMS Choral Union. Does singing with an outstanding chorus appeal to you UMS' own 180-voice chorus, which performs annu?ally on the UMS series and as guest chorus with leading orchestras throughout the region, invites you to audition and to experience the joys of musicmaking with the wonderful people who make up the chorus.
Volunteering. We couldn't exist with?out the marvelous work of our volunteers. I invite you to consider volunteering -usher?ing at concerts, staffing the information kiosk in the lobby, serving on the UMS Advisory Committee, helping prepare our artists' welcome packets, offering your special talent to UMS, etc. -and joining the more than 500 people
who make up this absolutely critical part of the UMS family.
Group Activities. If you are a member of a service club, youth group, religious orga?nization, or any group that enjoys doing things together, I invite you to bring your group to a UMS event. There are terrific dis?counts and other benefits, not to mention the fun your group can have before, during, and after a UMS event.
UMS Membership. If you're not already a UMS member, I hope you'll consider becoming one. Not only do you receive the satisfaction of knowing that your financial support is helping us bring the world's best artists to our community, but there are numerous benefits to enjoy, including advance ticket purchase, invitations to special events, opportunities to meet artists, and more.
You can obtain further information about all of these opportunities throughout this pro?gram book and on our website ( You can also stop by the information kiosk in the lobby or come and talk to me directly. I'd love to meet you, answer any questions you might have, and, most importantly, learn of anything we can do at UMS to make your concertgoing experience the best possible. Your feedback and ideas for ways we can improve are always welcome. If you don't happen to catch me in the lobby, please call me at my office in Burton Tower at 734.647.1174, or send an e-mail message to
Kenneth C. Fischer President
Thank You, Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of local?ized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cornerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University
Musical Society.
F. Bruce Kulp
Chair, UMS Board of Directors
Sam Edwards
Resident, 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."
Chairman of the Hoard and Chief Executive Officer, Con tin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Conlin Travel
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."
Oumm, Curtin if 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.I.. 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."
Edward Surovell
Tite Edward Surovcll
"It is an honor for
Edward Surovell
Company to be able
to support an insti-
tution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS1 fiiture."
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, 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."
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. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
WILLIAM S. HANN President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients"
Miller, Canjield,
Paddock and Stone,
Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community.
First Vice President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity"
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."
Chairman and CEO, The Trwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 83 years, and UMS has been here for 119, we can still appreci?ate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
Sue S. Lee
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organi?zation as the Musical
Society at the University of Michigan."
The University Musical Society of the university of Michigan
F. Bruce Kulp, chair
Marina v.N. Whitman, vice chair
Stuart A. Isaac, secretary
Elizabeth Yhouse, treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Lee C. Bollinger
Janice Stevens Botsford
Paul C. Boylan Barbara Everitt Bryant Lctitia J. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Robert F. DiRomualdo David Featherman Beverley B. Gcltner
Walter L. Harrison Norman G. Herbert Alice Davis Irani Thomas E. Kauper Earl Lewis Rebecca McGowan Lester P. Monts Joe E. O'Neal lohn Psarouthakis
Richard H. Rogel George I. Shirley John O. Simpson Herbert Sloan Carol Shalita Smokier Peter Sparling Edward D. Surovell Susan B. Ullrich Iva M. Wilson
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Richard S. Berger Carl A. Brauer Allen P. Britton Douglas Crary John D'Arms lames 1. Duderstadt Robben W. Fleming
Randy J. Harris Harlan H. Hatcher Peter N. Heydon Howard Holmes Kay Hunt David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long Judythe H. Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector lohn 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
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald . 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 J. Thad Schork, Gift Processor Anne Griffin Sloan, Assistant
Director -Individual Giving
Education Audience Development Ben lohnson, Director Yoshi Campbell, Manager
MarketingPromotion Sara Billmann, Director Sara A. Miller, Advertising and
Promotion Coordinator lohn Peckham, Marketing
Gus Malmgren, Director
Emily Avers, Artist Services and
Production Coordinator Kathi Reistcr, Head Usher Paul (omantas, Assistant Head
Michael Kondziolka, Director
Kate Remen, Manager
Work-Study Laura Birnbryer Rebckah 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
Gregg Alf
Martha Ause
Paulctt Banks
Kathleen Beck
Janice Stevens Botsford
Jeannine Buchanan
Letitia J. Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
H. Michael Endres
Don Faber
[Catherine Hilboldt Farrell
Penny Fischer
Sara Frank
Barbara Gelchrter
Beverlcy B. Geltner
Joyce Ginsberg
Linda Greene
Dianne Harrison Debbie Herbert Tina Goodin Hertel Matthew Hoffmann Maureen Isaac Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Beth LaVoie Barbara Levitan Doni Lystra Esther Martin Margie McKinley Jeanne Merlanti Scott Mere 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 Janet Shatusky Meg Kennedy Shaw Aliza Shcvrin Loretta Skcwes Cynny Spencer Ellen Stross Kathleen Treciak Susan B. Ullrich Dody Viola David White lane Wilkinson
Fran Ampey
Kitty Angus
Gail Davis Barnes
Alana Barter
Elaine Bennett
Letitia J. Byrd
Diane Davis
John Littlejohn
Dan Long
Laura Machida
Ken Monash
Gayle Richardson
Karen Schulte
Helen Siedel
Sue Sinta
Sandy Trosien
Linda Warrington
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, sex or handicap. Tile University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Museum of Art: A coat closet is located to the right of the lobby gallery, near the south stair?case.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213.
For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby.
Power Center: Pay phones are available in the ticket office lobby.
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of the Michigan League. St. Francis: There are no public telephones in the church. Pay phones are available in the Parish Activities Center next door to the church.
Museum of Art: No public phones are avail?able at the Museum of Art. The closest public phones are located across the street in the basement level of the Michigan Union.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in
the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first bal?cony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A Wheelchair-accessible restroom is located on the north side of the main lobby and off of the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main
floor seating area.
St. Francis: Men's and women's rooms are
located in the basement at the bottom of the
front lobby stairs.
Museum of Art: Women's rooms are located
on the first floor near the south staircase.
Men's rooms are located on the basement level
near the south staircase.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 for details.
UMSMember Information Booth
A wealth of information about UMS events, restaurants and the like is available at the information booth in the lobby of each audi?torium. UMS volunteers can assist you with questions and requests. The information booth is open thirty minutes before each concert, during intermission and after the concert.
Ticket Services
Phone orders and information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313 and 734 area codes,
call toll-free
M-F 10 a.m. to 6 p.m. Sat. 10 a.m. to 1 p.m. Order online at the UMS Website
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices open 90 minutes before the performance time.
Returns If you are unable to attend a con?cert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
University Musical Society
of the University of Michigan
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse 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.
BMS Choral lion
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 Aleksattdr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union entered into an artistic association with the Toledo Symphony,
inaugurating the partnership with a performance of Britten's War Requiem, and continuing with performances of the Berlioz Requiem, Bach's Mass in b minor and Verdi's Requiem. Last sea?son, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presen?tation of Mahler's Symphony No. 8.
In this, its 119th season, the Choral Union will present Mendelssohn's Elijah with the Ann Arbor Symphony Orchestra under the direction of Thomas Sheets. The chorus will also perform Porgy and Bess with the BirminghamBloomfield Symphony Orchestra and The Dream ofGerontius with the Toledo Symphony.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, this impressive structure has served as a showplace for a variety of impor?tant debuts and long relationships throughout the past 84 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orches?tras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an addi?tional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's ever-popular Symphony No. 5.
The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conve?niences.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill
Auditorium), Hill Auditorium, Newberry Hall and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the
study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses the 1,129-seat Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate stud?ies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts was bred from a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interest?ed, realizing that state and federal government were unlikely to provide financial support for
the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the sec?ond floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the bal?cony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and fourty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Auditoria, continued
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new pro?grammatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series. This year's series cele?brates the alto voice with recitals by Marilyn Home, David Daniels, and Susanne Mentzer.
U-M Museum of Art
The University of Michigan Museum of Art houses one of the finest university art col?lections in the country and the second largest art collection in the state of Michigan. A community museum in a university set?ting, the Museum of Art offers visitors a rich and diverse permanent collection, supple?mented by a lively, provocative series of special exhibitions and a full complement of inter?pretive programs. UMS presents two special concerts in the Museum in the 1997-98 season.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the box office and administra?tive location for the University Musical Society.
Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30 pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown signifi?cantly. With a goal of deepening the under?standing of the importance of live performing arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collaborations and part?nerships to reach into the many diverse com?munities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) performances. This year, more than 6,000 stu?dents will attend the Youth Performance Series, which includes The Harlem Nutcracker, Chick Corea and Gary Burton, the New York City Opera National Company, Los Munequitos de Matanzas, and STREB.
The University Musical Society and the Ann Arbor Public Schools are members of the Kennedy Center Performing Arts Centers and Schools: Partners in Education Program.
Some highlighted activities that further the understanding of the artistic process and appreciation for the performing arts include:
Master of Arts Interview Series
In collaboration with Michigan Radio WUOM WFUMWVGR, the Institute for the Humanities, and the Institute for Research on Women and Gender, UMS presents a series of informal and engaging dialogues with UMS Artists.
The American String Quartet will be interviewed in conjunction with the Beethoven the Contemporary Series and will discuss their commitment to contemporary classical music and its future.
MacArthur "Genius" grant winner Elizabeth Streb discusses her unique choreographic vision with UMS' Director of Education and Audience Development, Ben Johnson.
Terri Sarris and Gaylyn Studlar, U-M Film
and Video Studies, will interview filmmaker Ngozi Onwurah, Artist in Residence for the Institute for the Humanities and the Paula and Edwin Sidman Fellow in the Arts.
PREPs (Performance-Related Educational Presentations)
Attend lectures and demonstrations that sur?round UMS events. PREPs are given by local and national experts in their field, and some highlights include:
Richard LeSueur, Vocal Arts Information Services, will conduct PREPs on vocal music before David Daniels, Susanne Mentzer, and the New York City Opera National Company.
Alberto Nacif, Cuban music expert, will share his knowledge of Afro-Cuban Music and his personal experiences with the members of Los Munequitos de Matanzas.
Glenn Watkins and Travis Jackson of the U-M School of Music will talk about Wynton Marsalis' world premiere being paired with Stravinsky's L'histoire du Soldat in "Marsalis Stravinsky," a joint project with the Chamber Music Society of Lincoln Center and Jazz at Lincoln Center.
A special concertgoer's tour of the new U-M Museum of Art Monet exhibit "Monet at Vetheuil" prior to Jean-Yves Thibaudet's recital.
And many other highlighted PREPs featur?ing Ellwood Derr, Andrew Lawrence-King, Ohad Naharin, and Helen Siedel.
Teacher Workshop Series
A series of workshops for all K-12 teachers, these workshops are a part of UMS' efforts to provide school teachers with professional development opportunities and to encourage on-going efforts to incorporate the arts in the curriculum.
Space, Time and the Body: STREB Workshop Leader: Hope Clark, Associate Artistic Director of STREB and Director of KidACTION. Monday, January 12, 4:00 6:00pm, Washtenaw Intermediate School District, Grades K-12.
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
Friday, January 9,8pm
Mendelssohn Theatre
PREP "David Daniels and His Program"
Richard LeSueur. Vocal Arts Information
Services. Fri, Jan 9, 7pm, Rackham Assembly
Hall, 4th floor.
This performance is presented through the
generous support of Maurice and Linda Binkow.
ISRAEL PHILHARMONIC ZUBIN MEHTA, CONDUCTOR Saturday, January 10, 8pm Hill Auditorium
Sunday, January i 1,4pm
Rackham Auditorium
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 Musicotogy, with U-M School of Music students. Fri. Jan 30, 6:30pm, Rackham Assembly Hall.
Meet the Artists Post-performance dialogue from the stage, with composer George Tsontakis. Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the 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 America's Presenter-Community Residency Program fund?ed by the Lila Wallace-Reader's Digest Fund.
Saturday, January 31,8pm Rackham Auditorium PREP "When Two Movements are Enough: Lyricism, Subversion, Synthesis" Steven Whiting, U-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 Teacher's 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 Musk Recital Hall Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR.
DALE WARLAND SINGERS Thursday, February 5,8pm St. Francis of Assisi Catholic Church Conducting Seminar Conductor Date Warland and U-M conductors, Feb 6, 1 lam, U-M School of Music Recital Halt Chamber Choir Master Class Conductor Dale Warland works with the U-M Chamber Choir, Feb 6,1:30pm, U-M School of Music Recital HalL
Friday, February 6,8pm Hill Auditorium Sponsored by NBD.
Sunday, February 8,4pm
Hill Auditorium
Co-sponsored by First of America and Miller,
Canfietd, Paddock, and Stone, PLC.
Friday, February 13, 8pm
Rackham Auditorium
Presented with support from media partner
CHEN ZIMBALISTA, PERCUSSION Saturday, February 14, 8pm Rackham Auditorium This program is part of the Mid EastWest Fest International Community of Cultural Exchange sponsored by Amstore Corporation, W.K. Kellogg Foundation, Lufthansa, the Ministry for Foreign Affairs of Israel Cultural Department and Ben Teitel Charitable Trust, Gerald Cook Trustee.
Thursday, February 19,8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, February 20, 8pm
Michigan Theater
Presented with support from media partners
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Katherine Larson, soprano
Jaync Sleder, mezzo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22,4pm
Hill Auditorium
PREP "Felix MendelssohnBartholdy. 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 Isabelle Brauer.
Master of Arts Ngozi Onwurah, filmmaker and Institute for the Humanities artist-in-residence and the Paula and Edwin Sidman Fellow for the Arts, interviewed by Lecturer Terri Sarris and Director Gaylyn Studlar of the U-M Program in Film & Video Studies. Mar 9, 7pm, Rackham Amphitheatre
Look for valuable information about UMS, the 199798 season, our venues, educational activities, and ticket information. -
Tuesday, March 10, 8pm
U-M Museum of Art
PREP A concert goer's lour of "Monet at
Vilheuil: The Turning Point" Tue. Mar 10,
6:30pm, West Gallery, 2nd Floor, U-M
Museum of Art. Concert ticket required for
Presented with the generous support of
Dr. Herbert Sloan.
Thursday, March 12, 8pm
Friday, March 13,8pm
Saturday, March 14,2pm (75-minute
Family Performance) Saturday, March 14,8pm Power Center
PREP "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, VMS 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 Rackham Auditorium Complimentary Admission
LOS MUNEQUITOS DE MATANZAS Wednesday, March 18, 8pm Power Center
PREP "Los Munequitos: Cuban Ambassadors of the Rumba," Alberto Nacif, Musicologist and Host ofWEMU's "Cuban Fantasy," Wed. Mar 18, 7pm, Michigan League Hussey Rm. Presented with support from media partner WEMU.
Ohad Naharin, artistic director
Saturday, March 21, 8pm
Sunday, March 22,4pm
Power Center
Master class Advanced Ballet with Alexander
Alexandrov, company teacher. Sat. Mar 21,
I2:30-2:00pm, Dance Gallery, Peter Sparling &
Co. Studio. Call 734.747.8885 to register.
PREP "Vie Batsheva Dance Company" Ohad
Naharin, Artistic Director, Sal. Mar 21, 7pm
Michigan League Michigan Room.
Sponsored bythe University of Michigan with
support from Herb and Carol Amster.
Tuesday, March 24,8pm
Hill Auditorium
Sponsored by Kathleen G. Charla Associates
with support from Conlin Travel and British
Wednesday, March 25, 8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, March 27, 8pm
Rackham Auditorium
University Hospital's Gifts of Art free concert
performed by Ursula Oppens in the University Hospital Lobby, Thu. Mar 26, 12:10 pm. LectureDemonstration "Piano Music: 1945 to the Present" Ursula Oppens, Thu. Mar 26, 3pm, U-M School of Music Recital Hall PREP "Motivic Comedies, Moonlit Fantasies and 'Passionate Intensity'" Steven Whiting, U-M Asst. 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 hlu Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR.
Saturday, March 28, 8pm
Hill Auditorium
Presented with support from media
partner WEMU.
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET Sunday, March 29,4pm Rackham Auditorium PREP "From Romeo to Lenore: The Operatic Quartet" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music students. Sun Mar 29,2:30pm, Michigan 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 Surovelt Co. Realtors. Additional funding provided by the l.ilu 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 America s 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, VMS Director of Education and Audience Development, Thu. Apr 2, 7pm, Rackham Amphitheatre. Meet the Artists Post-performance dialogue from the stage, both evenings. Master Class FamilyACTtON: 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 Pop ACTION: Master Class, Wed. Apr 1, 7pm, Dance GalleryPeter Sparling & Co. Studio. PopACTlON technique class led by members of STREB. Call 734.747.8855 to register. Presented with support from media partner WDET, Arts Midwest, New England Foundation for the Arts and the National Endowment for the Arts.
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.
Monday, April 13,8pm
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Thursday, April 23,8pm
Mendelssohn Theatre
PREP Andrew Lawrence-King, Artistic
Director of The Harp Consort, Tlw. Apr 23,
7pm, Michigan League Koessler Library.
Presented with support from media partner
continued ...
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 ofMusicology and Music History, and Glenn Watkins, Earl V. Moore Professor ofMusicology, Fri. Apr 24, 7pm, MI League Henderson Rm. Co-Sponsored by Butzel-Long Attorneys and Ann Arbor TemporariesPersonnel Systems Inc. with additional support by media partner WDET
Wednesday, April 29, 8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, NW' Hill Auditorium
featured artist will be announced in
February, 1998
Saturday, May 9,6pm
Hill Auditorium
Sponsored by Ford Motor Company.
Dniversity Musical Society
of the University of Michigan 1997-1998 Winter Season
Event Program Book Tuesday, March 24,1998 through Sunday, March 29,1998
General Information
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompa?nying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: Electronic beeping or chiming digi?tal watches, beeping pagers, ring?ing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat loca?tion and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS perfor?mances included in this editon. Thank you for your help.
Russian National Orchestra 3
Mikhail Pletnev, conductor Gil Shaham, violin Tuesday, March 24, 8:00pm Hill Auditorium
Australian Chamber Orchestra 13
Richard Tognetti, conductor Steven Isserlis, cello Wednesday, March 25, 8:00pm Rackham Auditorium
Ursula Oppens 21
Friday, March 27, 8:00pm Rackham Auditorium
Paco de Lucia and Sextet 31
Saturday, March 28, 8:00pm Hill Auditorium
American String Quartet 35
Sunday, March 29,4:00pm Rackham Auditorium
Russian National Orchestra
Mikhail Pletnev, Conductor Gil Shaham, Violin
Kathleen G.
Charla Associates
Dmitri Kabalevsky
Sergei Prokofiev
Tuesday Evening, March 24, 1998 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Overture to Colas Breugnon, Op.24
Violin Concerto in C Major, Op. 48
Allegro molto e con brio Andantino cantabile Vivace
Symphony No. 5 in B-flat Major, Op. 100
Andante Allegro marcato Adagio Allegro giocoso
Fifty-fifth Concert ofthe 119th Season
119th Annual Choral Union Series
This performance is sponsored by Kathleen G. Charla Associates. Additional support is provided by Conlin Travel and British Airways.
Large print programs are available upon request.
Overture to Colas Breugnon, Op.24
Dmitri Kabalevsky
Born on December 30, 1904 in St. Petersburg
Died on February 14, 1987 in Moscow
"Life is good; its only flaw is that it is too short" -declares the proud Burgundian Colas Breugnon, the hero of the 1914 novel by Romain Rolland (1866-1944). Set in the sixteenth century, the novel is cast in the form of a diary, in which we meet Colas Breugnon of Clamecy. Colas, a master car?penter, free thinker and incurable optimist, takes life's trials in stride, without ever los?ing his taste for good wine and a good laugh. This "simple child of the people" seemed to have all the qualities Soviet cul?tural politics could have asked for in the 1930s, the turbulent decade that saw the scandal over Shostakovich's Lady Macbeth of the Mtsenk District. Therefore, Dmitri Kabalevsky's idea to write an opera based on Rolland's book was not as far-fetched as it might have seemed at first sight. Of course, the subject had to be treated with a certain freedom, if only because the diary-novel lacked a consistent dramatic plot. Kabalevsky's collaborator, Vladimir Bragin, tried to make up for that, to the point where Rolland himself hardly recognized his book in the libretto when his Russian-born wife translated it for him. But Rolland did like Kabalevsky's music, as he had an occasion to tell the composer in person during his visit to Russia. (A great admirer of the Soviet Union, he was also an old friend of Maxim Gorky). Kabalevsky's studies of French folk music had not been in vain: Rolland, who was also an important musicologist, played through the piano score and approvingly noted the "French" character of the music. After the 1938 premiere (under the title The Master of Clamecy), Kabalevsky tried to bring his work closer to Rolland's original; subjected to repeated revisions, the opera
did not receive its definitive form until 1968.
By that time, the opera was internation?ally known through the concert suite Kabalevsky had drawn from it, and in par?ticular the overture which had been intro?duced to the United States by Arturo Toscanini and the NBC Symphony in 1943.
In the melodies of this spirited work, major and minor variants of the same motivic material alternate playfully -Kabalevsky often used this device in his works, from instructive piano pieces to the Violin Concerto. In the Colas Breugnon overture, this playful theme contrasts with a more regular diatonic melody, yet it domi?nates most of the piece right up to the high?ly comical ending.
Violin Concerto in C Major, Op.48
Dmitri Kabalevsky
Among the Russian composers of his gener?ation, no one was more interested in the musical education of children than Kabalevsky. He wrote numerous songs for schools and summer camps many of which became immensely popular. But he was equally interested in the gifted young professionals, trained in such large numbers at Russia's great conservatories. Between 1948 and 1952, he wrote three concertos (for violin, cello, and piano, respectively) for young artists -attractive performance pieces on a technical level less demanding than the con?certos his colleagues were writing for giants such as David Oistrakh or Mstislav Rostropovich.
The relative technical simplicity of these works is matched by their straightfor?ward, populist musical style. Written the year of the 1948 Party resolution which con?demned "formalism" and urged composers to adopt an accessible, melodious musical idiom, the Violin Concerto is an "optimistic"
work if ever there was one. Three bright and sunny movements without so much as a passing cloud, clear classical form schemes and melodies made to be hummed as you leave the concert -this is a real "people's concerto." Some people would probably sneer at this concept, yet Kabalevsky cer?tainly made it work. The main tonality of the concerto is C Major, but there are fre?quent modulations to distant keys, giving the music a measure of unpredictability. The second movement is, surprisingly, in b-flat minor: it has a lyrical main theme and a caprkcioso middle section in A Major. The finale, with a typical Kabalevskyan major-minor melody, includes a partially accompa?nied cadenza in which a solo flute takes over the melody while the violinist plays rapid figurations. The work ends with a fiery (con fuoco) coda.
Symphony No.5 in B-flat Major, Op.100
Sergei Prokofiev
Born on April 27, 1891 in Sontsovka, Ukraine Died on March 5, 1953 in Nikolina Gora, near Moscow
In the nineteenth century, symphonies were often conceived and perceived as instrumen?tal dramas, with forces of "darkness," "light," "fate," "longing" etc. either explicitly or implicitly present in the music. In the twen?tieth, many composers turned away from this intense emotionality, including the young Prokofiev, who in his Classical Symphony (1917) had adopted an eigh?teenth-century formal framework, rejecting Romanticism, and poking gentle fun at the classics.
Much water had passed under the bridge since that youthful tour deforce. After years of revolution, emigration and homecoming, the fifty-year-old Prokofiev
found himself in a politically repressive Soviet Union ravaged by World War II and had to be evacuated from his Moscow home. In addition, Prokofiev's marriage had recently broken up and the composer was now living with a woman many years his junior. It was under these circumstances that Prokofiev returned to symphonic form for the first time in fourteen years. (His Symphonies Nos. 2-4 had been written in emigration between 1924 and 1930.)
It may have been, at least in part, the war experience that enabled Prokofiev to connect with the symphonic tradition of the nineteenth century and to embrace its dra?maturgy. In Prokofiev's Symphony No. 5, the traditional symphonic struggle ends with a complete victory, consistent with Soviet expectations, which for once coincided with Prokofiev's own personal feelings: the symphony was written at the exact time when the Red Army was liberating Russia from the Nazi invaders. Together with other prominent composers including Shostakovich and Kabalevsky, Prokofiev was staying at a vacation home owned by the Composers' Union where he and his colleagues followed a strict regime (imposed, in fact, by Prokofiev himself) of composing and showing one another their work at day's end.
Prokofiev's Symphony No. 5 is an emi?nently melodic piece. Each of its four movements is full of singing themes and expansive lyrical phrases. The first move?ment has two lyrical and introspective themes and a faster-moving third one that is closer to a scherzo character.
The second movement is a scherzo in all but name. Its main melody, in the droll vein that is so typical of Prokofiev, is first played by the solo clarinet to a violin accompaniment that keeps repeating a sin?gle two-note pattern. The middle section is a fast dance in 34 time, framed by a haunt?ing woodwind melody in a slower tempo.
The scherzo music then returns, shriller and more energetic than the first time.
The third-movement Adagio is the emotional centerpiece of the symphony. It begins with an expressive melody that develops towards a climax of great intensity. In the middle section, there appears a new figure that gives the section a firm and res?olute character. The slightly modified reca?pitulation ends abruptly after a powerful crescendo.
The finale opens with a short introduc?tion based on reminiscences of the first movement. The main theme is presented by the clarinet to a march-like ostinato (rhyth?mically unchanging) accompaniment. The relaxed and easy-going mood of the move?ment becomes more exuberant towards the end. The growing role of the percussion instruments is to a large part responsible for the increase in excitement that culminates in the last measures of the symphony.
Program notes by Peter Laki.
' ikhail Pletnev is an artist who defies simple classification, although his early career matched the musical establishment's expectations for a virtuoso pianist of the Russian School, k While pursuing a high-profile career as a concert pianist, he made his debut as a conductor in the Soviet Union in 1980 and went on to make guest appearances with many of the leading orchestras there. Born in Archangel, Russia, in 1957, the child of musicians, he grew up in Kazan. At the age of thirteen he transferred to the Central School of Music and, in 1974, entered the Moscow Conservatory, studying under Jacob Flier and Lev Vlasenko.
Mr. Pletnev was the Gold Medal and First Prize winner at the 1978 Tchaikovsky International Piano Competition in Moscow
when he was only twenty-one. His prize resulted in early international recognition and, in 1988, an invitation from President Mikhail Gorbachev to perform at the superpower summit in Washington. The ensuing
friendship with President Gorbachev gave Mr. Pletnev the historic opportunity in 1990 to realize his long-held dream of forming an orchestra independent of the government. Attracted by Mr. Pletnev's reputation and his vision of a new model for the perform?ing arts in Russia, many of the finest musi?cians in the country offered their services: the Russian National Orchestra was born. Since its inception, Mr. Pletnev has served as the RNO's music director and principal conductor.
While Mr. Pletnev's conducting career is primarily focused on the RNO, he also makes appearances as guest conductor with such prestigious orchestras as the Philharmonia, the London Symphony Orchestra, the City of Birmingham Symphony Orchestra and the Los Angeles Philharmonic.
Firmly established as one of the great pianists of our time, Mikhail Pletnev con?tinues to perform regularly as soloist and recitalist in the music capitals and major festivals of Europe, Asia and his native Russia. He has appeared with Bernard Haitink, Riccardo Chailly, Kurt Sanderling, Neeme Jarvi, Herbert Blomstedt, Lorin Maazel and the Bayerischer Rundfunk Symphony Orchestra, Christian Thielemann and the Israel Philharmonic, Daniele Gatti and the Santa Cecilia Orchestra, Libor Pesek and the Czech Philharmonic, Carlo Maria Giulini and the Chamber Orchestra of
Europe, and Claudio Abbado and the Berlin Philharmonic at the New Year's Eve Concert 1997 in Berlin.
Mikhail Pletnev's creativity extends to composing. His works include Triptych for Symphony Orchestra, Fantasy on Kazahk Themes for Violin and Orchestra and Capricciofor Piano and Orchestra. He has made piano arrangements of Tchaikovsky's Nutcracker Suite and Sleeping Beauty.
His stature in Russia has been recog?nized by President Yeltsin, who in 1995 awarded Mr. Pletnev the first State Prize of the Russian Federation, an honor that was again bestowed on him in 1996.
This performance marks Mikhail Pletnev's debut under UMS auspices.
At age twenty-six, violinist Gil Shaham is internationally recognized by noted critics and leaders of the world's most celebrated symphonic ensembles as a veteran virtuoso of the instrument. Since his 1981 debut with the Jerusalem Symphony con?ducted by the late Alexander Schneider, he has been acclaimed consistently for his per?formances with the New York Philharmonic, the Boston Symphony, the Cleveland Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, and the San Francisco, Montreal and Detroit symphonies, among other major North American orchestras. Internationally, his achievements are equally outstanding, covering concerts with the Berlin Philharmonic, the Orchestre de Paris, the Hamburg Philharmonic, the Israel Philharmonic, the Bavarian Radio Orchestra, Japan's NHK Symphony, the Royal Philharmonic, the Philharmonia Orchestra and the London Symphony, with which, under the baton of Michael Tilson Thomas, he made two dramatic, highly praised appearances in 1989 as substitute,
on a day's notice, for an ailing Itzhak Perlman. Recitals and other orchestral engagements have taken him to music capi?tals worldwide, and his summer festival appearances have included the Hollywood Bowl, Tanglewood, Ravinia, Aspen, Schleswig-Holstein, and Lincoln Center's Mostly Mozart Festival.
His 1997-98 season is highlighted by appearances with the Berlin Philharmonic, the Boston Symphony Orchestra, the Cleveland Orchestra, the Israel Philharmonic, the London Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Rotterdam Philharmonic, and many other ensembles. He joins the Minnesota Orchestra on its European tour and gives an extensive American tour with the Russian National Orchestra under Mikhail Pltetnev. His engagements abroad also include several weeks of European recitals as well as appearances in Japan and Korea.
An exclusive Deutsche Grammophon artist, Gil Shaham has recorded concertos by Mendelssohn, Bruch, Paganini, Saint-
Saens, Tchaikovsky and Sibelius with Giuseppe Sinopoli leading the Philharmonia Orchestra and the New York Philharmonic; Wieniawski's Concertos Nos. 1 & 2 and Sarasate's Zigeunerweisen with Lawrence Foster and
the London Symphony; and solo discs devot?ed to music by Schumann, Richard Strauss, Elgar, Ravel, Franck, Kreisler, Paganini, Saint-Saens and Sarasate.
Mr. Shaham was born in Champaign-Urbana, Illinois, in 1971. In 1973 he moved with his parents to Israel where at the age of seven he began violin studies with Samuel
Bernstein of the Rubin Academy of Music and was immediately granted annual schol?arships by the America-Israel Cultural Foundation. In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year he began his studies with Dorothy DeLay and Jens Ellerman at Aspen. In 1982, after taking first prize in Israel's Claremont Competition, he became a scholarship student at Juilliard, where he has worked with Ms. DeLay and Hyo Kang.
Mr. Shaham was awarded the presti?gious Avery Fisher Career Grant in 1990. He is a graduate of the Horace Mann School in New York City and has also attended Columbia University. He plays the 1699 "Countess Polignac" Stradivarius.
This performance marks Gil Shaham's third appearance under UMS auspices.
In the brief span of just seven years, the Russian National Orchestra (RNO) under the baton of Mikhail Pletnev has established itself at the very front rank of world ensembles. Founded in 1990 following sweeping changes in the for?mer U.S.S.R., the RNO includes many players from the principal ranks of the major Soviet orchestra, most of them soloists in their own right.
The RNO's first concert in November 1990 was met with tremendous public and critical acclaim. Representatives of a Western record label were in attendance and offered the RNO a recording contract on the spot. This led to the RNO's first compact disc, Tchaikovsky's Symphony No. 6, "Path?tique," released in 1991.
The RNO was in immediate demand throughout the music world and became the first Russian orchestra to play at the Vatican and to tour Israel. Other touring
engagements have taken the RNO to the United States, Asia and Europe, and to major music festivals from Edinburgh to Athens to Sydney. The RNO made a stun?ning appearance at the 1996 Olympic Arts Festival in Atlanta, where the capacity audi?ence awarded it a standing ovation. Of the Orchestra's 1996 debut at the BBC Proms in London one critic wrote,".. .they played with such captivating beauty that the audi?ence gave an involuntary sigh of pleasure." In 1993 the RNO signed an exclusive recording agreement with Deutsche Grammophon which has resulted in a series of highly acclaimed recordings of works by Russian and European composers. The RNO is privately funded and free of government control. It is governed by a board of trustees consisting of members of leading multina?tional and Russian companies. The RNO has won the hearts, and the support, of a growing number of companies and individ?uals throughout the world. It has been called "the most persuasive ambassador of Russia's new age" by the Washington Times and classical music's "feel-good story of the decade" by International Arts Manager.
This performance marks the Russian National Orchestra's debut under UMS auspices.
Russian National Orchestra
Mikhail Pletnev, Music Director and Principal Conductor
First Violin
Alexei Bruni, Concert master
Vladimir Loukianov,
Associate Concertmaster Elena Adjemova Natalia Anurova Margarita Peletsis Konstantin Komissarov Fedor Shevrekuko Kutiii.i Efimova Igor Akimov Leonid Akimov Azer Lyutfaliev Alexander Polyakov Sania Kashkarova Natalia Fokina Edvard Yatsun Igor Tikhonov Viacheslav Mikhaylov Miroslav Maksimyuk
Second Violin
Sergey Starcheus, Principal
Konstantin Stolyarevsky,
Associate Principal Vladimir Lundin Pavel Gorbenko Irina Simonenko Ludmila Murina Marina Slutskaya Alexey Morilov Alexander Kulnitskiy Andrey Nikulin Olga Kiseleva Mikhail Simski Evgeny Feofanov Evgeny Durnovo Vladimir Shchetinin
Alexandre Bobrovski, Principal
Alexander Petrov, Associate Principal
Kirill Belotsvetov
Sergey Dubov
Sergey Bogdanov
Olga Souslova
1 .u is.i Ogandzhanova
Stanislav Koryakin
Alexander Zhulev
Lev Leushin
Maria Goryunova
Valentin Krasilnikov
Ernst Pozdeev, Principal
Alexander Gotgelf, Associate Principal
Alexander Goryunov
Nikolay Silvestrov
Mikhail Mostakov
Alexander Ostroukhov
Igor Sitnikov
Igor Labutin
Oleg Smirenkov
Sergey Naumov
Roustem Gabdullin, Principal
Nikolay Gorbunov, Associate Principal
Sergey Kornienko
Ivan Amosov
Aare Suss
Gennady Krutikov
Alexander Agadzhanov
Sergey Bubnov, Principal Igor Kotov, Associate Principal Andrei Shatski Oleg Khudyakov
Vladimir Tambovtsev, Principal
English Horn
Vladimir Gavrilov, Soloist
Igor Panasyuk, Principal Igor Eremin Vladimir Zverev Eugeny Kamyshev Lev Leushin
Alexander Petrov, Principal
Alexey Sizov
Gennady Shamin
Boris Zotov
Igor Makarov, Principal Alexander Raev, Asisstant Principal Victor Bushuev Askar Bisembin Vladimir Slabtchouk Vladimir Pavliouk
Evgeny Fomin, Principal
Vladimir Pushkarev, Associate Principal
Ivan Maloshtanov
Andrey Ikov
Anatoly Skobelev, Principal Valery Golikov, Associate Principal Igor Bakanov
Bass Trombone
Viatcheslav Patchkaev, Soloist
Alexander Kazachenkov, Soloist
Svetlana Paramonova
Keyboards Leonid Ogrinchuk
Timpani Valery Polivanov
Valery Polivanov, Principal
Alexander Suvorov, Assistant Principal
Yury Gridasov
Leonid Lysenko
Victor Smolyaninov
Vladimir Kalabanov
Russian National Orchestra Management Sergei Markov, Executive Director Patricia Ciraulo, External Relations Alevtina Bassunova, Development Officer Tatiana Evstifcyeva, Executive Secretary Oleg Poltevsky, Concert Manager Sergei Frolov, Logistics Manager Valentin Teslya, InspectorLibrarian Nadejda Markova, Tours & Projects Manager Tatiana Zhukova, Visas Olga Rodzevich, Executive Secretary Amir Iliyasov, Technician Vladimir Kireev, Technician Alexei Dragoun, Technician
ICM Artists Touring Division Byron Gustafson, Director and
Senior Vice President Leonard Stein, General Manager and
Vice President Tania Jastrebov, Company Manager
This performance made possible in part by the generous support of Friends of the Russian National Orchestra.
Exclusive Tour Management
ICM Artists, Ltd.
Lee Lamont, Chairman
David V. Foster, President and CEO
A member of ICM Holdings Inc.
Australian Chamber Orchestra
Richard Tognetti, Conductor Steven Isserlis, Cello
George Frideric Handel
Franz Joseph Haydn
Erik Satie
arr. for strings by
Richard Tognetti
Karol Szymanowski arr. Tognetti
Wednesday Evening, March 25, 1998, at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Concerto Grosso in G Major, Op. 6, No. 1
A tempo giusto
Allegro (Menuet)
Cello Concerto in C Major
Finale: Allegro molto
Steven Isserlis INTERMISSION
Choses vues a droite et a gauche (sans lunettes)
Chorale hypocrite Fugue a tatons Fantaisie musculaire
String Quartet No. 2
Moderato dolce e tranquillo Vivace, scherzando Lento
George Crumb
Black Angels
(Thirteen Images from the Dark Land)
Threnody I: Night of the Electric Insects
Sounds of Bones and Flutes
Lost Bells
Danse Macabre
Pavana Lachrymae
Threnody II: Black Angels
Sarabanda de la Muerte Oscura
Lost Bells (Echo)
Ancient Voices
Ancient Voices (Echo)
Threnody I: Night of the Electric Insects
Fifty-sixth Concert of the 119th Season
Thirty-fifth Annual Chamber Arts Series
Immediately following the performance you are invited to remain in the concert hall for a brief question and answer session with the artists.
Large print programs are available upon request.
Concerto Grosso in G Major, Op.6, No.1
George Frideric Handel
Born on February 23, 1685 in Halle, Germany
Died on April 14, 1759 in London
The London Daily Post announced to its readership on October 29, 1739:
This day are published proposals for printing by subscription with His Majesty's royal license and protection, Twelve Grand Concertos in seven parts, for four violins, a tenor [viola], a violon?cello, with a thoroughbass for the harpsi?chord. Composed by Mr. Handel. Price to subscribers two guineas. Ready to be delivered April next. Subscriptions are taken by the author at his house in Brook Street, Hanover Square.
As Christopher Hogwood writes in his Handel monograph (Thames&Hudson, 1984), the concerti grossi "were deliberately designed to compete in a field dominated by Corelli's Op.6." The concerto form perfected by Arcangelo Corelli (1653-1713), which combined a three-member concertino with the larger instrumental group, was extremely popular in England, where one of Corelli's most distinguished pupils, Francesco Geminiani (1687-1762), lived. Handel, too, had known Corelli in person, having met him in Rome in 1707. There is an amusing story of how the twenty-two-year-old Handel grabbed the fifty-four-year-old Corelli's violin and showed him how he wanted a certain passage to be executed. The older man apol?ogized with typical understatement: "But my dear Saxon, this music is in the French style, which I do not understand!" (The music was Handel's overture to II Trionfo del Tempo ["The Triumph of Time"]).
Thirty years later, Handel took a break from the writing of monumental oratorios to compose his Op.6, in which he both com-
peted with and paid homage to Corelli, while carrying the Corellian concerto grosso idea a great deal further in diversity of structure, character, and texture.
The first concerto is in five movements. The first ("A tempo giusto"), relatively short, is but an introduction that leads into an "Allegro" whose memorable ritornello theme returns in different keys throughout the movement. The third movement is an Adagio in the rhythm of a Sarabande dance, the fourth a lively fugue, and the fifth a fast gigue.
Cello Concerto in C Major
Franz Joseph Haydn
Born on March 31, 1732 in Rohrau,
Lower Austria Died on May 31, 1809 in Vienna
Of the three Viennese classical masters, Haydn -who otherwise had much less interest in the concerto than either Mozart or Beethoven -was the only one to write works for cello and orchestra. The most likely explanation is that, as Kapellmeister to Prince Nikolaus Esterhazy, Haydn worked closely with many excellent instrumentalists in the Prince's orchestra. Concertos were welcome additions to the programs of the twice-weekly musical "academies" for which so many of Haydn's symphonies were written. (It should be noted that many of Haydn's earlier symphonies also contain extended, almost concerto-like, instrumental solos.)
The Concerto in C Major, the first of Haydn's two cello concertos, was written about two decades before the better-known D Major work. For many years, this concerto was thought to be lost; only its first two measures were known from the handwritten catalog Haydn kept of his own works. Even more frustrating, this catalog contained not one but two incipits (opening measures) for cello concertos in C Major that looked almost identical. In 1961, Czech scholar
Oldrich Pulkert discovered a set of parts in Prague that corresponded to one of the two incipits. It was published and, of course, immediately taken up by cellists everywhere. As for the other C-Major incipits, it must have been either a duplicate entry for the same concerto or a discarded variant.
On stylistic grounds, scholars have dated the C-Major concerto from between 1762 and 1765; it is certainly an early work, from the first years of Haydn's tenure with Prince Esterhazy (1761-1790). It belongs to that transitional period between Baroque and Classicism whose greatest representative, Carl Philipp Emanuel Bach (1714-1788), had a strong influence on the young Haydn. The continuity of the rhythmic pulse and the numerous identical repeats of the first movement's main theme are definitely Baroque features, while the shape of the musical gestures points to the emergence of a new style that would later become known as Classicism.
The original cello part shows that the soloist was expected to play along with the orchestra during tutti passages, reinforcing the bass line. The solo part is extremely demanding, with rapid passagework that frequently ascends to the instrument's high register. The second-movement Adagio, in which the winds are silent, calls for an exceptionally beautiful tone, and the finale for uncommon brilliance and stamina. Surely the first cellist of Prince Esterhazy's orchestra, Joseph Weigl, must have been one of the outstanding players of his time.
Choses vues a droite et a gauche (sans lunettes)
(Things Seen Right and Left [without Glasses]) Erik Satie
Born on May 17,1866 in Honfleur, Normandy Died on July 1, 1925 in Paris
Underneath the clown mask he often wore, Erik Satie was an artist who was painfully aware of the contradictions that bedeviled the music of his time, and reacted to them in very unusual ways, prescribed by his rebellious personality. Faced with the musical authoritarians and politicians of his day, Satie, always one to do the unexpected, retreated into his personal world, where shocking simplicity, iconoclasm, and militant anti-emotionalism were the rules. A rigor?ously trained composer (at the age of forty, he went back to school and subjected him?self to three years of counterpoint at the Paris Schola Cantorum), he spent most his time writing what largely seem, at first sight, inconsequential trifles and reveal their more profound meaning only after a number of hearings. The reception of his late master?piece, Socrate, definitely suffered from Satie's reputation as a perennial joker. Yet late in life he was "discovered" by the young Jean Cocteau and his friends in the group of composers known as "Les Six," and out of the seeds he (perhaps unwittingly) planted grew an important movement in twentieth-century music.
The three short movements of Choses vues a droite et a gauche (sans lunettes) were written, originally for violin and piano, in January 1914. The first movement, "Choral hypocrite" (Hypocritical Chorale), is only ten measures long. It has the even quarter-note motion of Bach's chorales, harmonized in a most un-Bachian way. Satie, who was fond of unusual performance instructions, noted "Hands on the conscience," and "slow down with kindness" at specific points in the score. After the chorale, he added: "My chorales equal those of Bach, except for the fact that they are more scarce and less pre?tentious."
The second movement, "Fugue a tatons," (Groping Fugue) is based on a theme that sounds intentionally childish (Satie instructs: "with a silly but convenient
naivete"). The development of the fugue is "calm as batiste," and have to be played "with tenderness and fatality," and "with dry and distant bones." For the grandiose con?clusion, one's "head gets bigger."
Finally, a "Fantaisie musculaire" (Muscular Fantasy) in which another unpre?tentious little melody is treated in the man?ner of a virtuoso concerto, complete with harmonics, glissandos and a dazzling caden?za. It may be a parody of a famous star vio?linist of the time, but it is definitely also an autonomous musical statement that has its own inner logic and even contains its own miniature drama, without making reference to anything external.
String Quartet No. 2, Op.56
Karol Szymanowski
Born on October 6, 1882 in Timoshovka,
Ukraine Died on March 28, 1937 in Lausanne,
Szymanowski, the greatest Polish composer between Chopin and Lutoslawski, created his unique personal style out of many dif?ferent sources of inspiration: French impres?sionism, post-Wagnerian chromaticism, Oriental scales, and Polish folk music, espe?cially from the Carpathian region where the composer spent so many happy hours. His greatest compositios are probably his sym?phonies, concertos and stage works, but his chamber music (numerous violin works and two string quartets) certainly deserve more attention than they have been getting out?side Poland.
The String Quartet No. 2 was written in 1927, for a competition held by the Musical Fund Society in Philadelphia. (The two first prizes at the competition were won by Bela Bartok, with his String Quartet No. 3, and Alfredo Casella, with his Serenade for Five Instruments).
Szymaowski's quartet is in three move?ments: an opening in modified sonata form is followed by a scherzo and a fugal finale that begins Lento and becomes faster and faster to the end. The first movement begins with a lyrical theme played in octaves to the accompaniment of tremolo figurations between the two melodic voices. Even though the note G retains its central importance for the entire movement, the melodies and har?monies are intensely chromatic and the tonal focus shifts almost every moment. The sec?ond and third movements were influenced by the folk music of Poland's Carpathian mountains, although Szymanowski did not borrow any melodies literally, choosing instead to adopt selected rhythmic and melodic elements freely and to combine them with materials of different origin. The vigorous rhythms of the Scherzo and the expressive melody on which the third-movement fugue is built are both part of an attempt to synthesize folklorism and neo-classicism, two important trends in the music of the 1920s.
Black Angels
(Thirteen Images from the Dark Land) George Crumb
Born on October 24, 1929 in Charleston, West Virginia
George Crumb wrote Black Angels, for elec?tric string quartet, in 1970, on commission from the University of Michigan, where the new work was premiered by the Stanley Quartet. Crumb himself had been a resident of Ann Arbor from 1953 to 1959, the year he earned his doctorate in music from the University. Black Angels became one of the most important American compositions of the period, and one of the works that estab?lished Crumb's world reputation (along with Ancient Voices of Children, completed the same year).
The score is dated "Friday the Thirteenth, March, 1970" and inscribed in tempore belli (in times of war). The following remarks by the composer are included in the published score:
Black Angels (Thirteen images from the Dark Land) was conceived as a kind of parable on our troubled contemporary world. The numerous quasi-programmatic allusions in the work are therefore sym?bolic, although the essential polarity -God versus Devil -implies more than a purely metaphysical reality. The image of the "black angel" was a conventional device used by early painters to symbolize the fallen angel.
The underlying structure of Black Angels is a huge arch-like design which is suspended from the three "Threnody" pieces. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption).
The numerological symbolism of Black Angels, while perhaps not immedi?ately perceptible to the ear, is nonetheless quite faithfully reflected in the musical structure. These "magical" relationships are variously expressed, e.g., in terms of phrase-length, groupings of single tones, durations, patterns of repetition, etc. An important pitch element in the work-ascending D-sharp, A and E --also symbolizes the fateful numbers 7-13. At certain points in the score there occurs a kind of ritualistic counting in various languages, including German, French, Russian, Hungarian, Japanese, and Swahili.
There are several allusions to tonal music in Black Angels: a quotation from Schubert's Death and the Maiden quartet (in the Pavana Lachrymae and also faintly echoed on the last page of the
work); an original Sarabanda, which is stylistically synthetic; the sustained B-major tonality of God-Music, and several refer?ences to the Latin sequence Dies Irae ("Day of Wrath"). The work abounds in conventonal musical symbolisms such as the Diabolus In Musica (the interval of the tritone) and the Trillo Di Diavolo (the "Devil's trill" after Tartini).
The amplification of the stringed instruments in Black Angels is intended to produce a highly surrealistic effect. This surrealism is heightened by the use of certain unusual string effects; e.g. pedal tones (the intensely obscene sounds of the Devil-Music); bowing on the "wrong" side of the strings (to pro?duce the viol-consort effect); trilling on the strings with thimble-capped fingers. The performers also play maracas, tam?tams and wate-tuned crystal glasses, the latter played with the bow for the "glass-harmonica" effect in God-Music.
Program notes by Peter Laki.
Richard Tognetti studied at the Sydney Conservatorium of Music with Alice Waten and the Berne Conservatory with Igor Ozim where he was awarded the Tschumi prize in 1989. He took up the posi?tion of Artistic Director and Leader of the Australian Chamber Orchestra in 1989. Since assuming the role, Mr. Tognetti's leadership has instilled in the Orchestra's playing a new life, vitality and spirit.
He has developed a keen sensibility for the performance of music on period, modern and electric instruments with a sense of the pioneering quest exhibited by early music performers in the 1970's. His arrangements of works by Janacek, Szymanowski, Paganini, Ravel and Satie have served to
expand the chamber orchestra repertoire.
In conjunction with wine maker Bob Roberts, Tognetti is the Artistic Director of the annual Huntington Festival held in the Huntington Winery at Medgee, a country town northwest of Sydney. The festival is highly renown for its approach to program?ming, presentation and engagement of artists. Each year, the festival sells out before the artists and program are announced.
Mr. Tognetti has directed the ACO and appeared as soloist on fourteen internation?al tours covering eighteen countries. Amongst the highlights have been the Orchestra's concert for the Musikverein's International Chamber Orchestra Series, the BBC Proms at Royal Albert Hall, the Concertgebouw Summer Festival and the ACO's debut performances at Carnegie Hall and Teatro Colon in Buenos Aires.
Mr. Tognetti has directed the ACO on six recordings for Sony Music. The first of these recordings won the Australian Record Industry Award for the best classical album in 1992 and the following two were both nominated for the 1993 Award. In 1996 the ACO was awarded with its second Australian Record Industry Award (ARIA) for its recording of Peter Sculthorpe's Music for Strings, which further won both the ABC Classic FM Record of the Year Best Australian Recording and ABC 24 Hours
Listeners' Choice for Best Australian Recording.
Richard Tognetti has performed as soloist with the Berne and Melbourne Symphony Orchestras.
Mr. Tognetti performs on a 1724 Gagliano violin using raw gut on the two middle strings. The violin was bought by the commonwealth Bank of Australia for its Fine Art collection an has been lent to Richard Tognetti on a semi-permanent basis.
This performance marks Richard Tognetti's second appearance under UMS auspices.
A glance at Steven Isserlis's cultural background is fascinating: his grandfather was the Russian pianist and composer Julius Isserlis, while older branches of his own family tree seem to have been intertwined with others as diverse as those of Mendelssohn and Karl Marx. Today his artistic profile has strong personal charac?teristics: a uniquely beautiful sound -due in part to the gut strings to which he is committed; diversity in his choice of reper?toire; a passion for musicological detective work which allows him to resurrect pieces previously unheard for decades; a talent for devising performances in which he gathers around him friends and musical colleagues such as Joshua Bell, Pamela Frank, Stephen Hough, Olli Mustonen and Tabea Zimmermann; and above all a palpable commitment to and passion for the music he plays.
His eminence is recognized internation?ally: in 1993 he was honored in the United States with the Piatigorsky Artist Award; and in Britain with the Royal Philharmonic Society's Instrumentalist of the Year Award for "performances with a quality of commit?ment that linger in the memory, and for an
unfailing gift for communicating the mean?ing of the music to the audiences." His busy international concert schedule is peppered with invitations from the greatest orchestra and conductors: Chicago Symphony, Cleveland Orchestra, London Symphony Orchestra, Philharmonia Orchestra, Deutsches Symphonie-Orchester Berlin, Vladimir Ashkenazy, Sir Colin Davis, Christoph Eschenbach and Sir Georg Solti are among his collaborators.
Isserlis's interest in performing with period ensembles is reflected in his appearances alongside John Eliot Gardiner with the European Baroque Soloists and Orchestre Revolutionnaire et Romantique; and with the London Classical PlayersRoger Norrington. He also gives recitals with Melvyn Tan on Fortepiano and with Maggie Cole on harp?sichord. The breadth of his musical com?mitment extends to education. He is Artistic Director of the international master class and chamber music forum IMS Prussia Cove.
The chamber music series of Isserlis's devising are renowned, often appearing as a "festival within a festival," such as his Mendelssohn project for the Salzburgh Festival in 1997. Schumann is a special passion for Isserlis, hence his Schumann Festival at the Wigmore Hall in 1989; plus a new film about Schumann which features him as presenter and performer, focusing particularly on the composer's late works. Isserlis is an articulate and persuasive pres?ence on television and radio. He was featured soloist in the Emmy Award winning series "Concerto!" with Michael Tilson Thomas and Dudley Moore. He also enjoys writing about music, regularly penning concert pro?gram and CD sleeve notes, as well as being co-author with Gabriel Woolf of an evening of words and music describing the life of Robert Schumann.
His exclusive recording contract with RCA Victor Red Seal allows him to bring to the broadest public a continually varied and
challenging array of repertoire. Releases of new works by John Tavener sit alongside concertos by Haydn (with Roger Norrington -to be released this Spring) and Schumann, while gems from the nine?teenth century enjoy
pride of place in this recording catalogue as well as in his recital programs. Several of his recordings have featured on the best-seller charts and have won prizes such as International Gramophone Awards and the Deutsche Schallplattenpreis.
This performance marks Steven Isserlis' UMS debut.
Founded in 1975, The Australian Chamber Orchestra is a national orchestra with an international rep?utation for artistic excellence. It is a colorful and vibrant ensemble com?posed of some of the finest young musicians in Australia. The Orchestra consists of a core group of seventeen string players and, depending on repertoire, is aug?mented by special players and soloists.
The Orchestra's national program of activities is extensive and includes subscrip?tion series in Sydney, Melbourne, Perth, Adelaide, Canberra, Brisbane, and Hobart. The Orchestra also plays in regional centers on a regular basis. This national profile is the direct result of the Orchestra's commit?ment to the goal of providing Australia with a world class chamber orchestra.
The Australian Chamber Orchestra is Australia's most travelled cultural organiza?tion, having toured frequently throughout
Europe, Asia, North and South America and the Pacific. It appears each summer season at the Concertgebouw in Amsterdam and at other major concert halls throughout the world, including Carnegie Hall, New York, Royal Albert Hall, London, the Musikverein, Vienna, The Kennedy Center, Washington and Teatro Colon, Buenos Aires.
In addition to international touring, the ACO has gained an international reputation for its recordings. The ACO has fifteen com?pact disc releases, and a seven-year contract with Sony Music has insured a further two CD releases per year. The first CD, released in 1992, broke classical music sales records for an Australian ensemble and won the Australian Record Industry Award (ARIA) for the Best Australian Classical Album in 1992. In October 1996 the ACO was award?ed its second ARIA for its recording of Peter Sculthorpe's Music for Strings on ABC Classic under Capricorn label. This record?ing has further won both the ABC Classic FM Record of the Year Best Australian Recording and ABC 24 Hours Listener's Choice for Best Australian Recording. The Orchestra's most recent CD, Tramonto, was released at the end of last year and fea?tures American mezzo-soprano Lorraine Hunt.
Over the years the ACO has worked with some of the world's most distinguished con?ductors including Sir Charles Mackerras, Frans Bruggen, Ton Koopman, Richard Hickox, Marc Minkowski and Christopher Hogwood, and has attracted many leading soloists such as Gidon Kremer, Steven Isserlis, John Williams, Thomas Zehetmair, Anthony Halstead, Yvonne Kenny, Barry Tuckwell, Christian Lindberg, Robert Levin and Lorraine Hunt.
The return of the highly talented and dynamic young Australian violinist Richard Tognetti, to assume the position of Orchestra Director in 1989, opened up an exciting chapter in the ACO's artistic history.
Regarded as "... one of the world's finest small orchestras..." (Washington Post) the ACO is now celebrating its twenty-second year with outstanding guest artists such as guitarist Slava Grigoryan, the Stockholm Bach Choir, conductor Anthony Halstead, guest leader Stephanie Gonley, early music soprano Maria Zadori, cellist Pieter Wispelwey, clarinettist Catherine McCorkill, and Portuguese pianist Pedro Burmester.
This performance marks the Australian Chamber Orchestra's second appearance under UMS auspices.
Australian Chamber Orchestra
Richard Tognetti Zoe Black Helena Rathbone Alice Evens Lorna Cumming Christopher Latham Elizabeth Jones Yi Wang Sarah Curro Jemima Littlemore
Neal Peres Da Costa
Dorothea Vogel David Wicks Ian Rathbone
Cameron Retchford Molly Kadarauch Melissa Barnard
Ciro Vigilante
The Australian Chamber Orchestra is represented by Herbert Barrett Management in North America and records exclusively for Sony Music.
Beethoven the Contemporary
Ursula Oppens
Edward Surovell
Ludwig van Beethoven
Milton Babbitt
Friday Evening, March 27,1997 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Sonata in A Major, Op. 2, No. 2
Allegro vivace Largo appassionato Scherzo, Allegretto Rondo, Grazioso
Three Compositions for Piano
Sonata in c-sharp minor. Op. 27 No. 2 "Sonata quasi una fantasia"
Adagio sostenuto (Si deve suonare tutto questo pezzo
delicatissimamente a senza sordini) Allegretto; Trio Presto agitato
William Bolcom
Sonata in F Major, Op. 10, No. 2
Graceful Ghost Rag Dead Moth Tango
Sonata in f minor. Op. 57 "Appassionata'
Allegro assai
Andante con moto -attaca:
Allegro ma non troppo -Presto
Fifty-seventh Concert of the 119th Season
Beethoven the Contemporary Series
Immediately following the performance you are invited to remain in the concert hall for a brief question and answer session with the artist.
Special thanks to Ed Surovell for his continued support through the Edward SurovelJ Co.Realtors and to media partner, Michigan Radio
Special thanks to Steven Whiting, Anton Nel, University of Michigan Hospital's Gifts of Art, and the School of Music for their involvement in this residency.
The Beethoven the Contemporary Series is made possible in part by a grant from the Lila Wallace-reader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters.
This project is supported in part by a grant from the National Endowment for the Arts.
UMS is a grant recipient of Chamber Music America's Presenter-Community Residency Program funded by the Lila Wallace Reader's Digest Fund.
The University Musical Society is honored to be part of tonight's memorial tribute to Susan Lipschutz, who, as a much-loved and respected member of the University of Michigan family, was a very special friend of UMS.
Large print programs are available upon request.
Sonata in A Major, Op. 2, No. 2
Ludwig van Beethoven
Born on December 15 or 16, 1770 in Bonn,
Germany Died on March 26, 1827 in Vienna
In the second half of the eighteenth century, when musical works were often published in sets of three or six, it was understood that each work would contribute to a larger whole. With Beethoven's first published piano works, the three sonatas Op. 2 (he had earlier composed three unpublished sonatinas), he broke from this particular Classical tradition -as Philip Downs has noted, never did Haydn or Mozart "group together three works more different from each other and so remote from what has preceded them."
The Op. 2 sonatas are dedicated to Haydn, Beethoven's first and most impor?tant teacher in Vienna, and were published in 1796 when Beethoven's career as a virtu?oso performer seemed assured. These sonatas come from a period in his life when composition was little more than a side interest. But it is thought that some time during 1796 Beethoven contracted the dis?ease (probably typhus) that eventually lead to his deafness, dramatically altering his career path.
In the first movement of the Sonata in A Major, No. 2, much of the writing is linear and contrapuntal, perhaps a legacy of Beethoven's studies with Albrechtsberger (one of the greatest contrapuntists of his day) in 1794-95. There is hardly a first theme to speak of in this movement, not even a motif. The opening material is simply contrasting contours decorated with flour?ishes: descending lines pitted against ascending lines. The second theme moves to the dominant minor key (a bold departure from standard practice at the time), and immediately modulates to even more distant realms: G Major, B-flat Major. The second theme group is cast in the more
texture of melody and accompaniment. The quicker note values, and the twisting, turning motives contrast with the straight lines of the movement's opening. A long, imitative section in the development shows how Beethoven allowed his own pianistic virtu?osity to influence his early compositional style. The recapitulation follows standard conventions, with the second theme group appearing in the tonic minor.
The solemnity of the Largo appassionato movement in D Major provides a reprieve from the energy and brilliance of the first movement. Yet the composer was still clearly concerned with musical line, at least in the main theme. The staccato bass-line beneath held chords was something of a novel effect; on Beethoven's piano, where the decay of sound was more rapid than on the modern concert grand, the bass line probably seemed even more halting and mysterious. Periodically, the main theme returns with curious sforzandi marked on the second beat in this slow triple meter. After a con?trasting middle section, with a texture more like a string quartet, the main theme returns. But just as it seems the movement is winding to a close, a surprise fortissimo statement in tonic minor launches the coda, and leads into another variation in which an inner-voice accompaniment in sixteenth notes gently unravels the tension.
The third-movement Scherzo begins with an upward-pouncing arpeggio figure as the principal gesture. It is replaced by a more gentle theme in the second section that gradually runs out of steam, and the sprightly figure returns. Here the composer makes much use of weak-beat accents and surprise pauses to reinforce the movement's playful nature.
The Op. 2 finale has been called the most Mozartian of Beethoven's sonata movements. Though Mozart may not have begun with an opening flourish that covers three and half octaves (four and a half octaves
on subsequent repetitions!), followed by a large downward leap, the ensuing grazioso melody has the kind of quaint simplicity often associated with the genteel Classicism of earlier decades. A stormy central episode in a minor departs from Mozartian deco?rum and is clearly the product of Beethoven's own ingenuity, but the piece concludes gently and graciously.
Three Compositions for Piano
Milton Babbitt
Born in May 10, 1916 in Philadelphia, Pennsylvania
With Milton Babbitt's early training in mathematics it's only appropriate that he should become known as the pioneer of total serialism in music: a technique of organizing all musical parameters according to clearly defined and precise operations. The Three Compositions for Piano (written in 1947-48) were Babbitt's first works for the piano, and the first large-scale adapta?tion of serial technique to other elements of music besides pitch (including duration, dynamics, texture, and register). The impli?cations of serial pitch organization on other musical parameters had earlier been recog?nized by Webern, but Babbitt took the next logical step and codified these relationships systematically. As well as using a 12-note row to organize pitch, he uses a 4-step "row" to order durations and dynamics. The use of various piano registers is also connected with the different row forms. Like Schoenberg, Babbitt used conservative formal structures when experimenting with a new composi?tional language. Though the musical materi?als are innovative, there is nothing especially revolutionary about the arrangement of these three works into a fastslowfast pat?tern, nor in the simple time signatures, even phrasing, and clearly articulated textures.
Much of the first piece is cast in two-voiced counterpoint with a more chordal central section. The durational "set" (a series of 5, 1,4, and 2 sixteenth-notes) is inter?preted in various ways throughout the piece; sometimes it is applied to rhythmic groups, sometimes expressed through patterns of accentuation in a series of even note-values, in some passages it applies to attack rather than duration. Babbitt added a curious foot?note to the published score, suggesting that the rapid tempo for this piece (as well as the final piece) could be slowed somewhat in performance, presumably because of its technical difficulty.
The second piece is the longest of the three, and serves as a slow movement. Gently lyrical with a certain elan, it sounds more like Messiaen than Schoenberg (inde?pendently of Babbitt, Messiaen was simulta?neously exploring the idea of serializing other musical parameters). Light ornamen?tal figures in the upper registers recall chim?ing bells or distant bird calls. When the music becomes more excited in the central section, calm is restored as quickly as it was disturbed. This piece alone is evidence that although Babbitt's works were constructed with mathematical precision, they need not sound clinical and emotionless.
The final piece is a dance-like scherzo, jaunty and mercurial, showing that the arch-serialist does indeed have a sense of humor. Rapidly repeated chords jibe play?fully with a similar kind of perpetual coun?terpoint to that found in the first piece, and there is some recollection of bell-like sonorities from the second. It sparkles and shimmers in a way that may remind some listeners of Debussy's water-inspired works. The end arrives unexpectedly, announced simply by a final-sounding chord.
Sonata in c-sharp minor. Op. 27, No. 2
"Sonata quasi una fantasia"
Ludwig van Beethoven
The so-called "Moonlight" Sonata is undoubtedly the most famous piano sonata of all time, though the vast majority of its fans are familiar with only the first move?ment. The nickname was coined by the nineteenth-century music critic Rellstab, who claimed that the first movement reminded him of the reflection of moonlight on Lake Lucerne. Beethoven probably com?posed the work in 1801, the same period during which he penned the now-infamous love letter to his "Immortal Beloved." For many years it was thought that the dedicatee of this sonata, Countess Giulietta Guicciardi, may have been the "Immortal Beloved," but more recent thought has dismissed that pos?sibility, one reason being that Beethoven did not particularly care for this work (and so would probably not have dedicated it to his greatest love).
Many scholars have noted how the improvisatory nature of the famous first movement, with its continuous triplet fig?ures and slowly unfolding harmonic pro?gression, was revolutionary for its time. It hints at the freely rhapsodic works of Chopin, Schubert, and Mendelssohn that were to follow, but also recalls some of the non-thematic preludes from Bach's Well-Tempered Clavier (the first prelude from Book 1, perhaps as famous as this sonata movement, similarly maintains a constant arpeggiated texture throughout the entire piece). Beginning a sonata with a slow movement marked sempre pianissimo was indeed unusual; it lulls the listener into an intimate, almost secretive sound world not normally associated with a first movement. But the "quasi fantasia" subtitle is also a mask; the first movement is actually one of
the nearest examples to text-book sonata form that Beethoven ever wrote for the piano. The ear is simply side-tracked by the uniformity of gesture and texture. But as William Drabkin has remarked, the fantasia element in the whole sonata, not just the first movement, has less to do with form and more to do with the narrow range of affective expression within each movement.
Though the second movement minuet and trio explore an entirely different emo?tional world than the first, the tonic note remains the same, simply switching from the minor to major mode, and re-notated in D-flat instead of C-sharp for ease of read?ing. The minuet follows immediately from the end of the Adagio (attacca subito il seguente), making the harmonic connection even more clear. The two sonatas in Op. 27 are the first in Beethoven's oeuvre to elide movements in this manner, suggesting that this connectedness is an integral part of their "quasi fantasia" quality. As with the first movement, the minuet and trio are remarkably consistent in texture and emo?tion; the entire movement is made of up short, two-bar phrases. Perhaps the only deviation from formal expectation is the first section of the minuet, which does not repeat.
The finale, like the first movement, is in sonata-form, and there are clear parallels between the two movements. Both begin with athematic arpeggios in the same key, the development section in both starts in f-sharp minor, thematic material appears in the left hand during each coda, and both maintain a consistent rhythmic profile throughout. But unlike the opening, the presto agitato finale is wild and frenzied music, unrelenting in its forward inertia. Two ominous bars near the end of the cadenza, marked adagio, break the momen?tum briefly, but they are merely a temporary pause before the coda rushes to its powerful conclusion.
Sonata in F Major, Op. 10, No. 2
Ludwig van Beethoven
The three sonatas that make up Beethoven's Op. 10 were composed between 1795 and 1797, and published in 1798. The second, in F Major, is the briefest and most humorous of the set. It was Beethoven's first sonata to begin with a light-hearted movement and the first not to include a slow movement, contributing to its more whimsical disposi?tion. The resulting irony is that the only "serious" movement in this sonata is the scherzo (literally, "a joke").
Kenneth Drake describes the first movement as a "patchwork quilt" of melodic bits and pieces, figurations that are dropped as quickly as they appear, and rapid modu?lations. A triplet figure in the opening motif returns transformed throughout the move?ment, sometimes accompanimental, other times as a melodic turn. The transition to the second key area suggests a cadence in a minor, but the new theme begins in C Major (the traditional second key area for a movement in F) without any harmonic preparation at all. This makes the C Major passage both unexpected and entirely con?ventional at the same time. The development section actually is a misnomer in this case, as neither of the main themes from the exposition are recalled. A pause indicates the beginning of the recapitulation, but Beethoven wittily returns to the main theme in D Major instead of the tonic F. Twelve measures into the recapitulation, the "mis?take" is realized, and just as if an actor had delivered the wrong lines at a crucial moment, the characteristic triplet fades in embarrass?ment, then tentatively starts up again in the "right" key (this is precisely the kind of musical game favored by Haydn, a composer whose influence on Beethoven's early writing is undeniable). There is substantial recom-position of the remaining themes, and the movement ends economically with no coda.
The second movement is a scherzo and trio, though not named as such in the score. Beethoven stays in the key of F for this movement, switching to the minor mode. It begins with a furtive melody in octaves that quickly modulates to the relative major, A flat. In the second section a brief passage of canonic imitation lends the movement some surface refinement, but it is not sus?tained. In fact, the scherzo ends rather curi?ously. Just as a new musical idea is presented, Beethoven cuts it off mid-phrase with a simple, two-chord cadence. The trio begins calmly enough in d-flat minor, but soon cross-accents in the left hand disturb the tranquility. The return of the scherzo is also subjected to rhythmic disruption as the right hand plays a half-beat ahead of the left (Beethoven would later use this device in the first movement of the Op. 27, No. 1 sonata). This disjunction continues for the remainder of the movement, making the final cadence, which at first seemed merely curious, appear positively rude in its abruptness.
The presto finale begins with a playful theme that could easily lend itself to a rondo treatment. But Beethoven then adds a second imitative voice, and while a fugal finale doesn't eventuate it effectively upsets any preconceived notions of what form the last movement will take. A transition to C Major could possibly indicate some kind of sonata form, but there is no real second theme, only a cadential figure that is repeated in the new key. The brevity of the exposition and the speed with which it unfolds is reminis?cent of Domenico Scarlatti's keyboard sonatas. The development, on the other hand, is relatively extensive, with highly elaborate contrapuntal figurations. When the recapitulation arrives, it has been so heavily recomposed that it is hardly recog?nizable. But Beethoven has a knack for com?pensating when his music is at its most erratic, and while the form of the finale is
thoroughly idiosyncratic, there is an unde?niable wholeness and unity in its construct. Drake calls it "the continuity of the incon?gruous."
Graceful Ghost Rag Dead Moth Tango
William Bolcom
Born on May 26, 1938 in Seattle, Washington
Just as Brazilian dance and folk rhythms suffuse the music of Darius Milhaud -William Bolcom's composition teacher at Mills College and later in Paris -Bolcom's fascination with ragtime and popular song emerges as a recurring element in his own music. The goal of breaking down artificial divisions between styles, of combining "seri?ous" and popular genres, is a fundamental preoccupation for Bolcom, and it is for this reason he reveres Scott Joplin as "the Chopin of America." Bolcom admits to having "caught rag fever" sometime in the mid-1960s. In 1967 he began writing his own, exchang?ing them with "co-ragger" William Albright. Both composers were seminal figures in the ragtime revival of the late 60s and early 70s, recording old works as well as contributing numerous newly-composed rags to the repertoire.
"Graceful Ghost Rag," the first of Three Ghost Rags, was written in 1970 and pre?miered by the composer in December that year. It is a reminiscence of Bolcom's father who had died a few months earlier, but the composer remarked, "In it I have tried to imagine an extension of [nineteenth-centu?ry rag composer] Louis Chauvin's gentle French-Creole quality." Indeed, the "ghost" of the title might also refer to Chauvin, a close associate of Joplin, who died tragically young at age twenty-six after composing only three works. Like "Graceful Ghost," Chauvin's rags exhibit a degree of amiable
suaveness not often found in ragtime.
The soft chromaticism and slow, gentle swinging of "Graceful Ghost" may evoke a nostalgia, but it's not cheap nostalgia. There is immense respect and sincere feeling expressed in this piece, not merely an attempt to re-create an effect. It has proven over the years to be one of Bolcom's most famous rags and has been recorded numer?ous times. Twyla Tharp used it in her dance piece The Raggedy Dances (1972), it has been played as theme music for radio pro?grams, and has been arranged for player piano and various other instrumental ensembles. Bolcom himself wrote a later version for piano and solo violin.
"Dead Moth Tango," the first of the Three Dance Portraits, was written for Dennis Russell Davies, Bolcom's close friend and the conductor who premiered his Songs of Innocence and Experience in 1984. For two of these Dance Portraits, Bolcom turned to the tango, the fiery and dramatically sensu?ous ballroom dance that originated in South America and became internationally popular at the start of the twentieth century. He describes "Dead Moth Tango" as "one of those really bloody Argentine tangos where ... you see the nails scratching across the face." The title, however, is anything but fiery and passionate. As Susan Feder reports, this work was named (somewhat whimsically) "for the creature that met its demise during the creation of the manuscript."
Sonata in f minor. Op. 57 "Appassionata"
Ludwig van Beethoven
Composed in 1804-05 and published the following year, Beethoven's "Appassionata" sonata is dedicated to Count Franz von Brunswick, brother of Theresa (the dedicatee of the Op. 78 piano sonata and possibly the
composer's "Immortal Beloved"). The nick?name "Appassionata," coined by its publisher, is more appropriate than many others applied to Beethoven's compositions. Certainly there is great passion in the outer movements; it is one of the most bravura works in the repertoire. And it has a reputa?tion as a crowd-pleaser. Even a merely com?petent performance will bring an audience to its feet, believing they have witnessed true profundity. But most of that can be attrib?uted to Beethoven's keen sense of pianistic stagecraft and dramatic pacing. The excep?tional performance, on the other hand, results when the interpreter is sensitive to the tragedy inherent in the more subdued moments. The stormy sections will take care of themselves; it is the rest of the sonata -the passages where the music seems to circle aimlessly, waiting for direction, or the mid?dle movement that periodically borders on the banal -that are the key to unlocking this work's real depth.
The first movement's emotional intensi?ty lies in the interval of the half-step, both melodically and as a basis for harmonic motion. But this intensity is counterbalanced by a lyricism latent in the opening f minor arpeggio (and more patent in the inversion of this theme for the second subject, in A flat Major). For the first time in a sonata-form movement, Beethoven does not repeat the exposition. Instead, the music surges head?long into the development section, drawing on all the themes heard in the exposition. The passionate fervor increases until all details become smothered by diminished-seventh arpeggios. A subterranean dominant pedal accompanies the recapitulation, which proceeds conventionally. The lengthy coda continues to animate the wildly varied themes, reaching its peak in a passage of turbulent rhythmic distortion, before it collapses in utter exhaustion.
The second movement, marked Andante con moto, presents a theme with four variations. The opening two variations
follow well-established procedures for this kind of movement: the first introduces a simple syncopation between the hands, and the second turns the right-hand melody into flowing sixteenths. In the third variation, each of the repeats is composed slightly dif?ferently (the melody moving into the left hand each time), and gradually rises in reg?ister. The final variation is played without repeats, making it half as long as the others. It is almost identical to the original theme, and the sudden reversion to longer note values helps give the material greater clarity, but there is no final tonic chord. Instead, an interrupted cadence leads to another dimin?ished-seventh chord, reiterated with greater force, and a transition to the final movement follows immediately.
The finale begins with a murmuring theme in f minor that ripples and swirls like ominous gusts of wind from an approaching gale. But the storm itself doesn't arrive until the very end. Carl Czerny advised that this finale should not be played too quickly (it is marked, after all, ma non troppo) and only infrequently "stormy." The second subject, in c minor, continues the moto perpetuo with a minimum of contrast and moves seamlessly into the development section. As in the first movement, there is no repeat of the exposition, but here Beethoven introduces yet another formal innovation. No other sonata movement before this had ever repeated its second half without repeating the first. The periodic pauses in the second half, rather than acting as moments of rest, only accentuate the dramatic tension, and their appearance in both developmental and referential sections further disorients the listener. The rapid figurations and relentless minor key obsession propel the finale toward a presto coda which should be played, according to Czerny, "with all the force that can be elicited from the fortepiano through all one's means."
Program notes by Luke Howard
Drsula Oppens has won equal acclaim as an interpreter of the established repertoire and as a champion of contemporary music. Her performances are marked by a powerful grasp of the composer's musical intentions and an equally powerful command of the keyboard.
This season, Ursula Oppens begins an unprecedented three-year project with the University Musical Society in which she plays the complete Beethoven piano sonatas coupled with notable compositions by American composers in a series of nine recitals, which will also be performed at Columbia University's Miller Theatre in New York and at Northwestern University in Illinois. In concert, Ms. Oppens presents concertos by Beethoven, Mozart, Ravel, MacDowell, Elliot Carter, and Joan Tower with orchestras, including the Chicago Symphony Orchestra, the Phoenix Symphony Orchestra and the American Symphony Orchestra. She performs also with the American, Vermeer and Mendelssohn string quartets. In recital, Ms. Oppens appears at the National Gallery in Washington DC, Purdue University, the University of Notre Dame, the University of Washington in Seattle, and Brandeis University.
Last season, Ms. Oppens returned to Carnegie Hall to perform on its distinguished Keyboard Virtuoso Series in a program of works by Beethoven, Tobias Picker and Rachmaninoff. Highlights of the program included her interpretation of Beethoven's monumental Hammerklavier Sonata and a world premiere performance of Tobias Picker's Etudes. Other engagements included performances of Lou Harrison's Piano Concerto with the Stuttgart Chamber Orchestra and Dennis Russell Davies at Lincoln Center; Mozart Concert K. 449 and Alvin Singleton's BluesKonzert with the Detroit Symphony; Mozart K. 382 and Ligeti's Piano Concerto with Maestro Davies
and the Saint Paul Chamber Orchestra; Rachmaninoff's Rhapsody on a Theme by Paganini, Op. 43 with the Syracuse Symphony and in Europe, Ms. Oppens played the Lou Harrison Concerto with the ORF Symphony in Vienna.
This past summer, she performed a recital at the Tanglewood Music Festival and performed Brahms and Dvorak at the Santa Fe Chamber Music Festival. In Europe, Ms. Oppens played concerts in Germany and appearaed at the Kuhmo and Aldeburgh festivals in works by Beethoven and contem?porary American composers.
Ursula Oppens has appeared as a soloist with the leading orchestras of the US including the New York Philharmonic, the Los Angeles Philharmonic, the Cleveland Orchestra, the Boston Symphony, the Chicago Symphony, the Baltimore, Seattle, Atlanta, San Francisco, Milwaukee and Cincinnati symphonies, the American Composers Orchestra and the Los Angeles Chamber Orchestra. With the Houston Symphony, she premiered BluesKonzert which was co-commissioned by the Houston, Kansas City and Detroit symphonies.
Ms. Oppens has been heard in recital and concerto performances overseas, per?forming at many major European music
centers, including the London Proms with the London Philharmonic; the BBC Broadcasting House in London and the piano series at the Queen Elizabeth Hall, at the Theatre des Champs-Elysees in Paris and in Stockholm, Brussels, Geneva, Bonn, Vienna and Barcelona. With the Vienna Radio Orchestra she performed the Ravel Concerto for Left Hand under the baton of Michael Gielen.
She has played at many of the world's major festivals including Tanglewood, Mostly Mozart, Santa Fe, Aspen, Ojai, Bear Valley, New Hampshire, Edinburgh, Bonn, Stresa and Bath.
Her commitment to contemporary repertoire has led Ms. Oppens to premiere and commission many compositions. In 1971, she co-founded Speculum Musicae, an ensemble dedicated to bringing contempo?rary music to modern audiences. Ms. Oppens has premiered works by Carla Bley, Anthony Braxton, Elliott Carter, Anthony Davis, John Harbison, Julius Hemphill, Bun-Ching Lam, Tania Leon, Witold Lutoslawski, Gyorgi Ligeti, Conlon Nancarrow, Tobias Picker, Frederick Rzewski, Alvin Singleton, Francis Thorne, Joan Tower, Lois V Vierk, Christian Wolff, Amnon Wolman and Charles Wuorinen.
Ursula Oppens has received several awards including first prize at the 1969 Busoni International Piano Competition, the 1970 Diploma d'Honore of the Accademia Chigiana, an Avery Fisher Career Grant in 1976 and the 1979 Record World Award for her recording of Rzewski's The People United Will Never Be Defeated, which was re-released on CD in 1993 by Vanguard Classics and also received a Grammy nomination.
A native New Yorker, Ursula Oppens studied piano with her mother, Edith Oppens, as well as with Leonard Shure and guido Agosti, and received her Master of Music degree at the Juilliard School, where she studied with Felix Galimir and Rosina Lhevinne. A prominent graduate of Radcliffe,
where she studied English literature and economics, Ms. Oppens went on to become the first woman Chief Marshal at Harvard's 1990 commencement exercises. Under the auspices of Young Concert Artists, she made her New York debut in 1969 at Carnegie Recital Hall.
Ursula Oppens currently holds the position of the John Evans Distinguished Professor of Music at Northwestern University in Evanston, Illinois.
This performance marks Ursula Oppens' fourth appearance under UMS auspices.
Paco de Lucia and Sextet
Paco de Lucf a, Guitar Ramon de Algeciras, Guitar Juan Cortes Santiago, Vocals Juan Manuel Canizares, Guitar Jorge Pardo, Sax, Flute Rubem Dantes, Percussion Carlos Benavent, Electric bass Joaquin Grilo, Dancer
Saturday Evening, March 28, 1998 at 8:00 Hill Auditorium, Ann Arbor, Michigan
This evening's concert will be announced from the stage.
Fifty-eighth Concert of the 119th Season
World Culture Series
Tonight's concert remembers Juan Llobell whose love of music, life, and people made him a special friend of the University Musical Society. We honor his memory with this concert, and we welcome his wonderful family as our special guests.
Support for this performance is provided by WEMU, 89.1 FM public radio from Eastern Michigan University.
Large print programs are available upon request.
Paco de Lucia, one of the greatest living guitarist in the world, was born Francisco Sanchez Gomez in Algeciras, a city in the province of Cadiz, in the Southernmost tip of Spain on December 21st, 1947. His stage name is an homage to his mother Lucia Gomez.
His father, Antonio Sanchez, a day laborer, played guitar at night as a way to supplement his income. He, Paco's elder brother Ramon de Algeciras and flamenco master Nino Ricardo were De Lucia's main influences. His first performance was on Radio Algeciras in 1958. The brothers Ramon, Pepe (a singer) and Paco now com?promise half of the Paco de Lucia sextet. The training ground for a flamenco guitarist, De Lucia once said, "is the music around you, made by people you see, the people you make music with. You learn it from your family, from your friends, in la juerga (the party) drinking. And then you work on technique. Guitarists do not need to study. And, as it is with any music, the great ones will spend some time working with the young players who show special talent. You must understand that a Gypsy's life is a life of anarchy. That is a reason why the way of flamenco music is a way without discipline as you know it. We don't try to organize things with our minds, we don't go to school to find out. We just live... music is everywhere in our lives."
The origins of the word flamenco are somewhat in dispute. Some argue that the word refers to the Flemish people who arrived in Spain in the sixteenth Century and once meant simply foreigner or non-Spanish. Others suggest that the word derives from the Arabic phrase "felah mengu," meaning pleasant in flight.
What is indisputable is that flamenco is a blend of the many cultures -Gypsy, Muslim, Jewish -that at one time settled in Andalusia, in the South of Spain. Their
influences can be heard distinctively in the melisma of the singer, the rhythms, the slowly curling harmonic lines of the guitars.
Flamenco is, like the blues to which it is often compared, the music of a poor, disen?franchised minority. But it is also a complex art form that combines guitar playing, singing and dancing, setting off layers of powerful rhythms and emotions. Paco de Lucia was able to grasp these nuances at a very early age.
In 1958, at only age eleven, De Lucia made his first public appearance and a year later he was awarded a special prize in the Jerez flamenco competition. At fourteen he was touring with the flamenco troupe of dancer Jose Greco. He worked with Greco for three seasons.
It was while on tour with Greco in the United States that De Lucia met the great Sabicas, an influential guitarist whose name became synonymous with flamenco in the US, who encouraged him to pursue a more personal style. De Lucia would follow Sabicas' advice a few years later in his debut at Carnegie Hall in 1970.
"In flamenco, the guitarist first and foremost, must not get in his way of the singer," De Lucia once explained. "There is a dialogue going on. The cantaor (singer) sings the words. There are no songs per se in flamenco, just short lyrics, so the guitarist follows the call of the singer. Part of the tra?dition in flamenco is not playing too hard or too much. You need to support the singer, help him."
Back in Spain, he joined Festival Flamenco Gitano, an annual flamenco show?case tour that lasted for seven years, and recorded his first album in 1965, at the age of eighteen.
With La Fabulosa Guitarra de Paco de Lucia, released in 1967, De Lucia began to distance himself from the influence masters such as Ricardo and Mario Escudero and by Fantasia Flamenca, recorded in 1969, he had
defined his own style. His superb technique was displayed in well structured pieces that departed from the flamenco tradition of theme and variations.
In 1968, he met Camaron de la Isla, one of the premier flamenco singers. Their asso?ciation has been chronicled on more than ten records. In fact, their album Potro de Rabia y Miel (1991), the first by them since 1984, was perhaps the last release by Camaron de la Isla, who died in 1992.
De Lucia's new style became more evi?dent in El Duende Flamenco (1972). Fuente Y Caudal (1973) (which included the hit Entre Dos Aguas) and Altnoraima (1976) which some consider a masterpiece. They were followed by Paco de Lucia Interpreta a Manuel de Falla (1980), a superb tribute to the classical composer who was an admirer of flamenco music, and, in 1981, Solo Quiero Caminar.
He has been criticized by flamenco die hards for his forays into other styles (his own sextet, organized in 1981, includes bass, drums, and saxophone) and his high profile collaborations, especially with jazz musicians, most notably with pianist Chick Corea and fellow guitarist John McLaughlin, Larry Coryell and Al DiMeola. But the often dazzling results of these collaborations have been documented in several releases including
the guitar trio albums Castro Marin (1979), Passion Grace and Fire (1982) and Friday Night in San Francisco (1981). He has also recorded soundtracks for films such as Carlos Saura's Carmen, Borau's La Sabina, and the ballet Los Tarantos, presented at Madrid's prestigious Teatro de la Zarzuela in 1986.
However, as if to make a point, De Lucia returned to pure flamenco with a vengeance in the spectacular Siroco (1987), a brilliant summations of his style, and then zigzagged back towards fusion with Zyryab (1990), which featured his sextet augmented by pianist Chick Corea.
De Lucia shrugs off the complaints or the concerns that he might lose his roots or betray the essence of flamenco. "I have never lost my roots in my music, because I would lose myself," he once said. "What I have tried to do is have a hand holding onto tradition and the other scratching, digging in other places trying to find new things I can bring into flamenco."
"There was a time when I was concerned about losing myself," he added, "but not now. I've realized that, even if I wanted, I couldn't do anything else. I am a flamen?co guitarist. If I tried to play anything else it would still sound like flamenco."
-Fernando Gonzales
Rob Griffin, Tour Manager Jose Navarro, Manager Manuel Cervera, Technician Keith Yetton, Design & Lights Pepe Cervera, Sound Engineer
Tour Coordinated by: International Music Network AnneMarie Southard
Beethoven the Contemporary
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello
Edward Surovell Co.Realtors
Kenneth Fuchs
Sunday Afternoon, March 29,1998 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Quartet in F Major, Op.18, No.1
Allegro con brio
Adagio affetuoso ed appassionato
Scherzo; Allegro molto
Quartet No.3 "Whispers of Heavenly Death'
After Poems by Walt Wlutman Allegro agitato Largo misterioso: Introduzione; Poco pui mosso:
Tema con varizainoi; Affrettando Gioioso
Quartet in e minor. Op.59, No.2
Allegro Molto adagio Allegretto Finale: Presto
Fifty-ninth Concert of the 119th Season
Beethoven the Contemporary Series
Immediately following the performance you are invited to remain in the concert hall for a brief question and answer session with the artists and with composer Kenneth Fuchs.
Special thanks to Ed Surovell for his continued support through the Edward Surovell Co.Realtors and to media partner Michigan Radio.
Special thanks to Steven Whiting, Julie Ellison, Year of Humanities and Arts, Kim Mobley, Ann Arbor School for the Performing Arts, Michigan American String Teachers Association, Kerrytown Concert House, Sue Sinta and the UM School of Muisc for their involvement in this residency.
The Beethoven the Contemporary Series is made possible in part by a grant from the Lila Wallace-Reader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters.
The University Musical Society is a grant recipient of Chamber Music America's Presenter-Community Residency Program funded by the Lila Wallace-Reader's Digest Fund.
This project is supported in part by a grant from the National Endowment for the Arts.
Large print programs are available upon request.
Quartet in F Major, Op. 18, No. 1
Ludwig van Beethoven
Born on December 15 or 16, 1770 in Bonn,
Germany Died on March 26, 1827 in Vienna
Although the earlier string trios (Op.9) show Beethoven's remarkable facility for chamber writing, his first attempts at the string quar?tet genre apparently did not flow so easily from his pen. Two years after he completed the quartet in F Major in 1799 (published as Op. 18 No. 1, though thought to be the sec?ond quartet composed) Beethoven wrote to his friend and the quartet's dedicatee, Karl Amenda, "Don't let anyone see your quartet as I have greatly changed it. I have just learned how to write quartets properly." The voluminous sketches, and this major revision of the F Major quartet, testify to the com?poser's initial doubts about Op. 18. But it was not the weight of eighteenth-century tradition or the shadows of Mozart of Haydn that caused this hesitation. More likely it was a question of Beethoven learning to trust his own technique. In these quartets, for instance, he gives each instrument greater independence than Mozart or Haydn ever did, liberating the viola and cello in particu?lar from their traditional accompanimental roles, and opening new realms of passion for the traditionally-staid genre.
The F Major quartet is the biggest, most impressive, and consequently the best-known of the six quartets in Op. 18. Because of its later revision in 1801 it is also more varied in expression and masterly in design than the others. Louis Spohr even considered it the ideal model of the string quartet genre.
In early sketches for the first movement, Beethoven appears to have conceived it in 44 instead of 34, but eventually decided that the extra beat was superfluous. Sixteen pages of sketches were required to produce a single rhythmic kernel that contained with-
in it the material for a whole movement. This brisk, fragmentary theme, stated at the outset in octaves, entirely overpowers the charming and light second subject. The rhythmic motto recurs over one hundred times throughout the movement, but despite this pervasive motif, the movement as a whole based on contrasts of modulation, dynamics, attack, texture.
For the second movement, in the relative minor key, Beethoven had in mind the final burial-vault scene from Shakespeare's Romeo and Juliet (over one of the sketches for this movement he even wrote, "les derniers soupirs" -"the last sighs"). The movement takes the form of a dramatic scene, but without following the narrative too explicitly. As Joseph Kerman suggests, perhaps it is emotionality rather than raw emotion being expressed in this movement. Sometimes the gestures are little too melo?dramatic to be genuinely tragic, but the mastery of form and medium is formidable, and certainly an indication that Beethoven had broken with eighteenth-century models of expressive restraint in the string quartet.
After such a dramatic Adagio, the Scherzo that follows could hardly be of the light and inconsequential variety. The strongly chromatic element, rapid figuration in the violins, and shifting accents give a feeling of unrest to the movement. The trio, though nominally in the major mode, spends much of the time exploring minor-key areas.
The fourth-movement finale, a broad sonata-rondo, is designed to match the breadth of expression in the opening move?ments, retaining the sobriety but alleviating some of the outward passion. A lengthy developmental section delves into double counterpoint, but in this movement the composer seems content to relax the inten?sity of the preceding movements.
Quartet No.3 "Whispers of Heavenly Death"
After Poems by Walt Whitman
Kenneth Fuchs
American composer, conductor, and music administrator Kenneth Fuchs first collabo?rated with the American String Quartet in a celebration of the group's twentieth anniver?sary season in 1993-94. For the occasion, he wrote Where Have You Been (String Quartet No. 2 After Five Collages by Robert Motherwell) and, in the composer's words, the "joyous relationship" that resulted led immediately to another composition, Whispers of Heavenly Death (String Quartet No. 3 After Poems by Walt Whitman) written between September 1995 and October 1996. Fuchs has dedicated this work to the American String Quartet "with much affection."
Many of Fuchs's compositions take inspiration from extra-musical sources, and he often credits these sources directly in his titles (he has written, for example, a chamber concerto named after a painting by Robert Motherwell, and a number of his vocal works also name the poet directly in their titles). Perhaps it is appropriate that Fuchs's third string quartet should follow Beethoven's Op. 18, No. 1 on tonight's program, as the slow movement in Beethoven's work also has explicit connections with a literary "program."
The poetry of Walt Whitman has become something of a favorite among twentieth-century composers, from Hoist, Delius, Vaughan Williams and Hindemith to the post-minimalist John Adams. All have been responded to Whitman's eloquent sensitivity on themes of death and the afterlife. Fuchs's attachment to Whitman also runs deeply; the composer writes, "[Whitman's] Whispers of Heavenly Death has been a source of reflection and renewal throughout my adult life, and for several years I have wanted to compose a string quartet inspired by these
poems." All the poems from Whispers of Heavenly Death provided inspiration for the quartet, though Fuchs prefaces each of the three movements with quotations from only the first poem in the collection, "Darest Thou Now O Soul." Ralph Vaughan Williams's magnificent choralorchestral set?ting of this text is widely-known, but Fuchs's instrumental interpretation offers a different perspective, not just in the choice of performing ensemble but also in the emotional interpretation of the text.
The composer writes regarding this work:
The first movement ("Darest thou now O soul, Walk out with me toward the unknown region, where neither ground is for the feet, not any path to follow") begins with a forceful tutti state?ment that introduces the principal pitch class of the first and second movements, and the principle rhythmic pulse [a pro?gressive doubling of note durations] of the entire composition. The music is jagged and propulsive.
The second movement ("I know it not O soul, Nor dost thou, All is a blank before us, All waits undream'd of in that region, that inaccessible land") begins with a meditation suggested by the ethe?real mood of this verse and continues with an extended and searching theme and variations; an animated transition leads to the third and final movement.
Having resolved the tension and anxi?ety of the first two movements, the quartet now presents the melodic and thematic materials of the work in diatonic form. The finale ("Till when the ties loosen, All but the ties eternal, Time and Space ... Then we burst forth, we float") is buoyant and optimistic, affirming the power of life and death, and the triumph of the spirit and the soul.
Quartet in e minor. Op. 59, No. 2
Ludwig van Beethoven
By the time Beethoven composed the three "Rasumovsky" quartets (Op. 59) in 1806, he had established a secure, even comfortable career as a composer. Publishers were clam?oring for his works so they could satisfy the public's desire for new chamber music (which, according to Leonard Altman, had become a "major indoor sport" among the nouveaux riches in Vienna at the time). Consequently, Beethoven had no-one to please in compo?sition but himself. When Muzio Clementi made some unfavorable comments about the Op. 59 quartets, Beethoven simply responded, "Oh, they are not for you, but for a later age."
These three quartets, the first Beethoven had completed since Op. 18, were written on a commission from Count Rasumovsky, the Russian ambassador to Vienna (in respect of his patron, Beethoven promised to "weave a Russian melody into every quartet," though in the end only one movement in each of the first two quartets contains Russian material). The years between Op. 18 and Op. 59 witnessed remarkable developments in the composer's style. During that period he wrote the Second and Third ("Eroica") symphonies, the "Waldstein" and "Appassionata" piano sonatas, the Fourth Piano Concerto, and the first version of his opera Fidelio. All these works had broadened the scope and enlarged the boundaries of musical expressivity, and in composing the Op. 59 quartets Beethoven infused the genre with an unprecedented emotional power.
The second quartet of the group, in e minor, is the most intimate and least showy of the three, and hence is not programmed as often as the others. It begins with two dramatic chords and a measure of silence (both features recur throughout the move?ment). In earlier works such as Op. 7 piano sonata, Beethoven had discovered the power
of silence to create tension. Combined with unison passages that have a similarly potent effect, this movement is weighty and terse. Feelings of anxiety and sadness alternate with passages of consoling tenderness, but the move?ment ends with a pianissimo question mark
The second movement, in the parallel Major key of E, is marked "Si tratta questo an molto di sentimento" ("This piece must be played with great feeling"). It was report?edly inspired by the composer's experience of "gazing up at the stars and contemplating the music of the spheres." The main theme is derived also from the B-A-C-H motif, providing another extra-musical association -in the development section the cello even plays this motif at exact pitch. The chorale-like beginning establishes the mood of sub?lime repose, and the movement is remark?ably uniform, with minimal contrast.
In typical Beethoven fashion, the Scherzo uses syncoptaions and misplaced accents to break up the rhythmic continuity. As Basil Lam remarks, it is a "non-scherzando scherzo" in which there is little humor or lightness. The Trio quotes a Russian "slava" melody from Ivan Platsch's collection of Russian folk tunes, the same melody that Mussorgsky later used in the famous Coronation scene from Boris Godunov, and that Rimsky-Korsakov incorporated into his opera The Tsar's Bride. Beethoven, however, treats this melody Germanically, and casts it contrapuntally in the manner of a fugue. In a departure from conventional practice, the Trio section returns after the repeat of the Scherzo.
The last movement is arguably the most dazzling quartet finale ever written, suggest?ing the galloping rhythm of a cavalry charge. It begins in C Major, and only moves around to the tonic e minor rather late in the exposition of themes. The devel?opment section in the first movement had also emphasized a C Major passage, and making such harmonic connections between movements was one of Beethoven's
preferred methods for unifying multi-move?ment works. There is much playfulness in the finale's bounding rhythms, and the rush to the final cadence is high-spirited and spectacular.
Program notes by Luke Howard.
In the seasons since its inception, the American String Quartet has reached a position of rare esteem in the world of chamber msuic. Annual tours have brought the American to virtually every important concert hall in eight European countries and across North America. Renowned for fluent and definitive interpretations of a diverse repertory, the Quartet has received critical acclaim for its presentation of the complete quartets of Beethoven, Schubert, Schoenberg and Mozart, and for collaborations with a host of distin?guished artists.
Persuasive advocates for their art, the members of the Quartet are credited with broadening public awareness and enjoyment of chamber music across North America
through their educational programs, seminars, broadcast performances, and published articles.
They have enjoyed a long association with the Aspen Festival, the Taos School of Music, and Lincoln Center's Mostly Mozart Festival, to which they frequently return as featured artists. Among the first to receive a National Arts Endowment grant for their activites on college campuses, the members of the American String Quartet have also maintained a commitment to contemporary music, resulting in numerous commissions and awards, among them three prize-winners at the Kennedy Center Friedheim Awards. After ten years on the faculty of the Peabody Conservatory (where they initiated the pro?gram of quartet studies), they accepted the position of Quartet-in-Residence at the Manhattan School of Music in 1984, and in 1992 were invited to become the resident ensemble for the Van Cliburn International Piano Competition. Their Mozart Year per?formances were rewarded with an invitation to record the complete Mozart quartets on a set of matched Stradivarius instruments; Volumes I, II, and III have been released by MusicMastersMusical Heritage.
The four musicians studied at the Juilliard school, where the Quartet was formed in 1974, winning the Colemna Competition and the Naumburg Award that same year. Outside the Quartet, each finds time for solo appearances, recitals, and teaching.
The American String Quartet continues to reach a broader audience through record?ings of more than a dozen works, numerous radio and television broadcasts in thirteen countries, tours to Japan and the Far East, and recent performances with the Montreal Symphony, the New York City Ballet and the Philadelphia Orchestra. Entering its third decade, the Quartet embodies the challenges and satisfactions of more than twenty years of music making.
This performance marks the American String Quartet's third appearance under UMS auspices.
Like To Help Out
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activi?ties. We rely on volunteers for a vast array of activities, including staffing the education res?idency activities, helping at the UMS hospital?ity table before concerts and at intermissions, assisting in artists services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 734.936.6837 for more information.
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semester-and year-long internships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611 (Marketing Internships), 734.647.1173 (Production Internships) or 734.764.6179 (Education Internships).
College work-study
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 734.764.2538.
UMS Ushers
Without the dedicated service of UMS' Usher Corps, our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
Our ushers must enjoy their work because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. If you would like information about joining the UMS usher corps, leave a message for head usher Kathi Reister at 734.913.9696.
Camerata Dinners
presented by General Motors
Following last year's great success, the UMS Board of Directors and Advisory Committee are hosting another series of Camerata Dinners before many of the season's great performances. After taking your pick of prime parking spaces, join friends and fellow UMS patrons in the beautiful setting of the Alumni Center, a site within a short walking distance of Hill Auditorium. Our buffet will be open from 6:00 to 7:30 p.m. and costs $25 per person. Make your reser?vations by calling 734.764.8489. UMS members receive reservation priority.
Saturday, January 10
Israel Philharmonic OrchestraZubin Mehta, conductor
Friday, February 6
St. Paul Chamber OrchestraEmanuel Ax, piano
Wednesday, February 11
Royal ConcertgebouwRiccardo Chailly, conductor
Tuesday, March 24
Russian National OrchestraGil Shaham, violin
Monday, April 13
Evgeny Kissin, piano
Friday, May 1 p
MET OjitoSWrar 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 delicioui 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:
Paesano's Restaurant
I 3411 Washtenaw Road, Ann Arbor. Reservations: 734.971.0484
mtn. Feb. 22 Mendelssohn's Elijah
fur Mar. 24 Russian National OrchestraGil Shaham, violin
lion. Apr. 13 Evgeny Kissin, piano
Package price $52 per person (with tax & tip incorporated)
fticludes: Guaranteed dinner reservations (select any item from
Sic special package menu) and reserved "A" scats on the main
floor at the performance for each guest.
The Artful Lodger Bed & Breakfast
I 1547 Washtenaw Avenue, Ann Arbor. Reservations: 734.769.0653 Jim[i Ann Arbor's most theatrical host & hostess, Fred & Edith Scavis Bookstein, for a weekend in their massive stone house built li the mid1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, pas been comfortably restored and furnished with contemporary irt and performance memorabilia. The Bed & Breakfast for Music tnd Theater Lovers!
Kickage price ranges from $200 to $225 per couple depending upon 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 Fine dining and elegant accommodations, along with priority Bating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now fcr a European-style deluxe guest room within walking distance of c performance halls and downtown shopping, a special performance Sinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and great seats to the show. Beat the winter blues in style!
F' i Jan. 9 David Daniels, countertenor
Wat. Jan. 10 Israel Philharmonic Orchestra
mi. Ian. 30 Beethoven the Contemporary: American String Quartet
mi. Feb. 13 Juan-Josi Mosalini and His Grand Tango Orchestra
gat. 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 t. 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 ael Philharmonic Orchestra) includes: valet parking at the tel, overnight accommodations in a deluxe guest room with a ntincntal breakfast, pre-show dinner reservations at the coffier restaurant in the Bell Tower Hotel, and two performance kets with preferred seating reservations.
ratzi Restaurant
326 S. Main Street, Ann Arbor. Reservations: 734.663.5555 in. Jan. 18 Boys Choir of Harlem ru. Feb. 19 Petersen Quartet m. Mar. 12 New York City Opera National Company
Donizetti's Daughter of the Regiment i. Apr. 3 STREB
ckage price $45 per person includes: guaranteed reservations r a pre-show dinner (select any item from the menu plus a non-oholic beverage) and reserved "A" scats on the main floor at the rformance.
Gift Certificates
Looking for that perfect meaningful gift that speak 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.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 125,000 of southeastern Michigan's most loyal concertgoers.
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your investment For example, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image Launching new products
Cultivating clients
Developing business-to-business relationships Targeting messages to specific demographic
groups Making highly visible links with arts and
education programs Recognizing employees
Showing appreciation for loyal customers
For more information, call 734.647.1176
Advisory Committee
The Advisory Committee is a 53-member organi?zation which raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and preand post-concert events, and the Ford Honors Program Gala Dinner Dance. The Advisory Committee has pledged to donate $140,000 this current season. In addition to fundraising, this hard-working group generously donates valuable and innumerable hours in assisting with the educational programs of UMS and the behind-the-scenes tasks associated with every event UMS presents. If you would like to become involved with this dynamic group, please give us a call at 734.936.6837 for information.
Group Tickets
Organize the perfect outing for your group of friends, co-workers, religious congregation, class?mates or conference participants. The UMS Group Sales Office will provide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a facility that meets your group's culinary criteria.
When you purchase at least 10 tickets through the UMS Group Sales Office your group can save 10-25 off the regular ticket price for most events as well as receive 1-3 complimentary tickets for the group organizer (depending on the size of the group). Certain events have a limited number of discount tickets available, so call early to guarantee your reservation. Call 734.763.3100.
n an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary 4alls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies. Thanks to Ford Motor Company for the use }f a Lincoln Town Car to provide transportation or visiting artists.
Ford Honors Program
The Ford Honors program is made possible by a generous grant from the Ford Motor Company and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored and in 1997 UMS honored Jessye Norman.
This year's Ford Honors Program will be held Saturday, May 9. The recipient of the 1998 UMS Distinguished Artist Award will be announced in early February.
Thank You!
Great performances--the best in music, theater and dance--are pre?sented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, who constitute the members of the Society. The list below represents names of current donors as of November 1, 1997. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this right away. The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great traditions of the Society in the future.
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy Niehoff Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Helen Ziegler Mr. and Mrs. Ronald G. Zollars
Randall and Mary Pittman
Herbert Sloan
Paul and Elizabeth Yhouse
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical Research
Carl and Isabelle Brauer
Sally and Ian Bund
Kathleen G. Charla
Dr. and Mrs. James Irwin
Carol and Irving Smokier
Mrs. M. Titiev
Ronald and Eileen Weiser
Consumers Energy
Detroit Edison Foundation
Ford Motor Credit Company
JPEincThe Paideia Foundation
McKinley Associates
NSK Corporation
The Edward Surovell Co.Realtors
TriMas Corporation
University of Michigan -
University Relations Wolverine Temporaries, Inc.
Arts Midwest
Grayling Fund
KMD Foundation
Lila Wallace-Reader's Digest
Audiences for the Performing
Arts Network
Lila Wallace-Reader's Digest Arts
Partners Program Benard L. Maas Foundation Michigan Council for Arts
and Cultural Affairs National Endowment for the Arts New England Foundation for the Arts
Individuals Robert and Ann Meredith Prudence and Amnon Rosenthal Edward Surovell and Natalie Lacy
Businesses General Motors Great Lakes Bancorp
Herb and Carol Amster
Douglas Crary
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
Michael E. Gellert
Sun-Chien and Betty Hsiao
F. Bruce Kulp and Ronna Romney
Pat and Mike Levine
Mr. David G. LoeselCafe Marie
Charlotte McGeoch
Joe and Karen Koykka O'Neal
Mrs. John F. Ullrich
Marina and Robert Whitman
Roy Ziegler
Beacon Investment Company Curtin & Alf Violinmakers First of America Bank Ford Electronics Thomas B. McMullen Company Michigan Radio Miller, Canfield, Paddock and Stone, P.L.C.
The Monroe Street Journal O'Neal Construction Project Management
Associates WDET WEMU
Foundations Chamber Music America Herrick Foundation
Individuals Robert and Martha Ause Maurice and Linda Binkow Barbara Everitt Bryant Dr. and Mrs. James P. Byrne Edwin F. Carlson Mr. Ralph Conger satharine and Jon Cosovich Mr. and Mrs.
Thomas C. Evans (en, Penny and Matt Fischer ohn and Esther Floyd iue and Carl Gingles tlercy and Stephen Kasle ohn and Dorothy Reed 'rudence and
Amnon Rosenthal I ? m and
ludy Dow Rumelhart .laya Savarino 'rofessor Thomas J. and
Ann Sneed Schriber Raymond Tanter pichard E. and
Laura A. Van House Mrs. Francis V. Viola HI Marion T. Wirick and
lames N. Morgan
usinesses LAA of Michigan rbor Temporaries
Personnel Systems, Inc. utzel Long Attorneys ivironmental Research
Institute of Michigan eyBank
daudesMain Street Ventures t. Joseph Mercy Hospital arget Valdenbooks
oundations 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 Vajerie Bullcn Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Jean and Kenneth Casey Pat and George Chatas Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Susan and Arnold Coran Alan and Bette Cotzin Dennis Dahlman Peter and Susan Darrow Jack and Alice Dobson Jim and Patsy Donahey Jan and Gil Dorer Cheri and Dr. Stewart Epstein David and Jo-Anna Featherman Adrienne and Robert Feldstein Ray and Patricia Fitzgerald Richard and Marie Flanagan Robben and Sally Fleming Ilenc H. Forsyth Michael and Sara Frank Margaret Fisher and
Arthur French Mr. Edward P. Frohlich Lourdes and Otto Gago
Marilyn G. Gallatin Beverley and Gerson Geltner William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Enid M. Gosling Norm Gottlieb and
Vivian Sosna Gottlieb Ruth B. and
Edward M. Gramlich Linda and Richard Greene Frances Greer Susan R. Harris Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Dr. and Mrs. Sanford Herman Bertram Herzog Julian and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and loan F. Howe John and Patricia Huntington Keki and Alice Irani Stuart and Maureen Isaac Herbert Katz
Thomas and Shirley Kauper Emily and Ted Kennedy Bethany and
A. William Klinke II Michael and Phyllis Korybalski Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Bob and Laurie LaZebnik Elaine and David Lebenbom Carolyn and Paul Lichter Peter and Sunny Lo Robert and Pearson Macek Alan and Carla Mandel ludythe and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. and Mrs. Donald A. Meier Jeanne and Ernie Merlanti
Dr. H. Dean and
Dolores Millard Myrna and Newell Miller Andrew and Candice Mitchell Dr. and Mrs. Joe D. Morris George and Barbara Mrkonic Sharon and Chuck Newman William A. and
Deanna C. Newman Bill and Marguerite Oliver
(Pastabilities) Mark and Susan Orringer Constance L. and
David W. Osier Mr. and Mrs. William B. Palmer Dory and John D. Paul John M. Paulson Frances M. Pendleton Maxine and Wilbur K. Pierpont Donald H. Regan and
Elizabeth Axelson Professor and Mrs.
Raymond Reilly Glenda Renwick Molly Resnik and John Martin Jack and Margaret Ricketts Dr. Nathaniel H. Rowe Dick and Norma Sarns Rosalie and David Schottenfeld Janet and Mike Shatusky Dr. Hildreth H. Spencer Steve and Cynny Spencer Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. Isaac Thomas III &
Dr. Toni Hoover Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt John Wagner Elise and Jerry Weisbach Angela and Lyndon Welch Roy and JoAn Wetzel Douglas and Barbara White Elizabeth B. and
Walter P. Work, Jr.
4 2 Principals, continued
3M Health Care
Ann Arbor Public Schools
The Barfield CompanyBartech
Comerica Inc.
General Automotive
Corporation Hudson's
Jacobson Stores Inc. Kantner and Associates Michigan Car Service and Airport Sedan, LTD Mechanical Dynamics Pepper, Hamilton & Scheetz Riverview Lumber &
Building Supply Co., Inc. Shar Products Company Target
Harold and lean Grossman
Family Foundation The Lebensfeld Foundation The Power Foundation
Jim and Barbara Adams
Bernard and Raquel Agranoff
M. Bernard Aidinoff
Dr. and Mrs. Peter Aliferis
Dr. and Mrs. Rudi Ansbacher
Catherine S. Arcure
James R. Baker, Jr., M.D. and
Lisa Baker
Robert and Wanda Bartlett Karen and Karl Bartscht Ralph P. Beebe Mr. and Mrs. Philip C. Berry Suzanne A. and
Frederick J. Beutler John Blankley and
Maureen Foley Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Tina Bowen Laurence Boxer, M.D.;
Grace J. Boxer, M.D. David and Sharon Brooks Kathleen and Dennis Cantwell Bruce and Jean Carlson Tsun and Siu Ying Chang
Mrs. Raymond S. Chase Sigrid Christiansen and
Richard Levey Roland J. Cole and
Elsa Kircher Cole James and Constance Cook H. Richard Crane Alice B. Crawford William H. and
Linda J. Damon 111 Benning and Elizabeth Dexter Judy and Steve Dobson Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs. Cameron B. Duncan Dr. and Mrs. John H. Edlund Mr. and Mrs. Charles Eisendrath Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Mrs. Beth B. Fischer Daniel R. Foley Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox
Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach
Wood and Rosemary Geist Charles and Rita Gelman Henry and Beverly Gershowitz Margaret G. Gilbert Joyce and Fred M. Ginsberg Grace M. Girvan Paul and Anne Glendon Dr. Alexander Gotz Dr. and Mrs. William A. Gracie Elizabeth Needham Graham Jerry M. and Mary K. Gray Lila and Bob Green John R. and Helen K. Griffith Leslie and Mary Ellen Guinn Bita Esmaeli, M.D. and
Howard Gutstein, M.D. Mr. and Mrs. Elmer F. Hamel Mr. and Mrs. Ramon Hernandez Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty
Janet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and
Gaye H. Humphrey Gretchen and John Jackson Jim and Dale Jerome Ed and Juliette Jonna Robert L. and Beatrice H. Kahn Richard and Sylvia Kaufman Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Tom and Connie Kinnear Jim and Carolyn Knake Samuel and Marilyn Krimm Bert and Catherine La Du Lee E. Landes
David and Maxine Larrouy John K. Lawrence Leo A. Legatski Myron and Bobbie Levine Evie and Allen Lichter Dean and Gwen Louis Mr. and Mrs. Carl J. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Ken Marblestone and
Janisse Nagel
Hattie and Ted McOmber Ted and Barbara Meadows Walter and Ruth Metzger Mr. and Mrs. Francis L. Michaeb John and Michelle Morris Martin Neuliep and
Patricia Pancioli M. Haskell and
Jan Barney Newman Len and Nancy Niehoff Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'DeH Mary R Parker William C. Parkinson Lorraine B. Phillips Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Richard L. Prager, M.D. Jerry and Lorna Prescott
Richard H. and Mary B. Price Tom and Mary Princing Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Stephen and Agnes Reading Jim and Bonnie Reece La Vonne and Gary Reed Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Restuccia Katherine and William Ribbens Barbara A. Anderson and
John H. Romani Mary R. Romig-deYoung Gustave and Jacqueline Rosseels Mrs. Doris E. Rowan Sheldon Sandweiss Meeyung and Charles Schmitler Mrs. Richard C. Schneider Joseph and Patricia Settimi Helen and George Siedel Mrs. Charles A. Sink Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Mrs. Ralph L. Steffek Mr. and Mrs. John C. Stegeman Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Dr. and Mrs. E Thurston Thieme Joan Lowenstein and
Jonathan Trobe Herbert and Anne Upton Joyce A. Urba and
David J. Kinsella Don and Carol Van Curler Gregory and Annette Walker Dr. and Mrs. Andrew S. Watson Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns Marcy and Scott Westerman Mrs. Elizabeth Wilson Len and Maggie Wolin Frank E. Wolk Dr. and Mrs. Clyde Wu Nancy and Martin Zimmerman
The Ann Arbor News
The Ann Arbor District Library
Bj-Because Company's Coming
Coffee Express Co.
General Systems Consulting
Group Jewish Federation of
Metropolitan Chicago Arbor TemporariesPersonnel
Systems, Inc.
St. Joseph Mercy Hospital United Jewish Foundation of
Metropolitan Detroit Van Boven Shoes, Inc.
Shiffman Foundation Trust
Individuals Anastasios Alexiou Christine Webb Alvey Dr. and Mrs. David G. Anderson Hugh and Margaret Anderson David and Katie Andrea Harlene and Henry Appelman Mr. and Mrs. Arthur J. Ashe Essel and Menakka Bailey Julie and Bob Bailey Gary and Cheryl Balint Lesli and Christopher Ballard John and Betty Barlield Norman E. Barnett Dr. and Mrs. Mason Barr, Jr. Leslie and Anita Bassett Astrid B. Beck and
David Noel Freedman Kathleen Beck Neal Bedford and
Gcrlinda Melchioh Harry and Betty Benford P.E. Bennett
Ruth Ann and Stuart J. Bergstein Jerry and Lois Beznos John and Marge Biancke Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Ruth E. and Robert S. Bolton Roger and Polly Bookwalter C. Paul and Anna Y. Bradley Richard Brandt and
Karina Niemeyer Betsy and Ernest Brater Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Mary Jo Brough June and Donald R. Brown Morton B. and Raya Brown Arthur and Alice Burks Edward and Mary Cady Joanne Cage Jean W. Campbell Jim and Priscilla Carlson Marchall F. and Janice L. Carr Jeannette and Robert Carr Janet and Bill Cassebaum Andrew and Shelly Caughey James S. Chen Dr. Kyung and Young Cho Nancy Cilley Janice A. Clark Cynthia and Jeffrey Colton Edward J. and Anne M. Comeau Lolagene C. Coombs Mary K. Cordcs
Merle and Mary Ann Crawford Ed and Ellie Davidson Laning R. Davidson, M.D. John and Jean Debbink Elena and Nicholas Delbanco Louis M. DeShantz Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Cecilia and Allan Dreyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser loan and 1 mil Engel Don Faber and Jeanette Luton Dr. and Mrs. Stefan Fajans Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Dr. James F. Filgas Herschel and Annette Fink Joseph J. Fitzsimmons Stephen and Suzanne Fleming Jennifer and Guillermo Flores Ernest and Margot Fontheim James and Anne Ford Deborah and Ronald Freedman Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and Mrs.
David M. Gates
Thomas and Barbara Gelehrter Elmer G. Gilbert and
Lois M. Verbrugge James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod DASH
Mary L. Golden Dr. Luis Gonzalez and
Ms. Vilma E. Perez Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Mark and Susan Griffin Ken and Margaret Guire Philip Guire Don P. Haefner and
Cynthia J. Stewart George N. Hall Margo Halsted
Michael C. and Deanne A. Hardy M. C. Harms Clifford and Alice Hart Kenneth and Jeanne Heininger John L Henkel and
Jacqueline Stearns Bruce and Joyce Herbert Fred and Joyce Hershenson Herb and Dee Hildebrandt Louise Hodgson Dr. and Mrs. Ronald W. Holz John and Lillian H. Home Linda Samuclson and Joel Howcll Che C. and Teresa Huang Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Robert B. Ingling Professor and Mrs.
John H. Jackson
K. John larrett and
Patrick T. Sliwinski Wallie and Janet Jeffries Mr. and Mrs. Donald L Johnson Billie and Henry Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Steven R. Kalt and
Robert D. Heeren Dr. and Mrs. Mark S. Kaminski Allyn and Sherri Kantor Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Donald F. and Mary A. Kiel Rhea and Leslie Kish Paul Kissner M.D. and
Dana Kissner M.D. James and Jane Kister Dr. George Kleiber Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Dimitri and Suzanne Kosacheff Barbara and Charles Krause Doris and Donald Kraushaar Konrad Rudolph and
Marie Kruger Thomas and Joy Kruger Henry and Alice Landau Marjorie Lansing Mr. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence John and Theresa Lee Richard LeSueur Jody and Leo Lighthammer Leslie and Susan Loomans Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Donald and Doni Lystra Jeffrey and Jane Mackie-Mason Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Edwin and Catherine Marcus Geraldinc and Sheldon Markel Rhoda and William Martel Sally and Bill Martin Dr. and Mrs. Josip Matovinovic Mary and Chandler Matthews Mary Mazure and Andy Tampos Margaret E. McCarthy Kevin McDonagh and
Leslie Crofford Griff and Pat McDonald James and Kathleen McGaulcy Leo and Sally Miedler Jeanettc and Jack Miller Dr. M. Patricia Mortell Sally and Charles Moss Dr. Eva L Mueller Dr. and Mrs. Gundcr A. Myran Marianne and Mutsumi Nakao Edward and Betty Ann Navoy Frederick C. Neidhardt and
Germainc Chipault Barry Nemon and
Barbara Stark-Ncmon
4 4 Associates, continued
Mr. and Mrs. lames O'Neill Mark Ouimet and
Donna Hrozencik Donna D. Park Shirley and Ara Paul Dr. Owen Z. and Barbara Perlman Margaret D. and John Petersen Frank and Nelly Petrock William and Barbara Pierce Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonne Plantinga Lana and Henry Pollack Stephen and Tina Pollock Bill and Diana Pratt Larry and Ann Preuss Charleen Price Wallace Prince
Mr. and Mrs. H. Pryor J. Thomas and Kathleen Pustdl Leland and
Elizabeth Quackenbush Michael and Helen Radock Homayoon Rahbari, M.D. Anthony L. Reffells and
Elaine A. Bennett Constance Rinehart Ken and Nina Robinson Gay and George Rosenwald Jerome M. and Lee Ann Salle Gary and Arlene Saxonhouse Dr. Albert J. and Jane L. Sayed
David and Marcia Schmidt
Marvin and Harriet Selin
Howard and Aliza Shevrin
George and Gladys Shirley
Alida and Gene Silverman
Scott and loan Singer
lohn and Anne Griffin Sloan
Alene M. Smith
Carl and l.n i Smith
Mrs. Robert W. Smith
Virginia B. Smith
Jorge and Nancy Solis
Dr. Elaine R. Sollcr
Lois and William Solomon
Katharine B. Soper
Dr. Yoram and Eliana Sorokin
Juanita and (oseph Spallina
L. Grasselli Sprankle
Barbara and Michael Steer
Dr. and Mrs. Stanley Strasius
Charlotte Sundelson
Brian and Lee Talbot
Ronna and Kent Talcott
Mary D. Teal
Lois A. Theis
Edwin). Thomas
Mr. and Mrs. W. Paul Tippett
Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Frcdda Unangst Kathleen Treciak Van Dam Hugo and Karla Vandersypen
lack and Marilyn van der Veldc
Michael L. Van Tassel
William C. Vassell
lohn and Maureen Voorhees
Sally Wacker
Ellen C. Wagner
Mr. and Mrs. Norman C. Wait
Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mrs. loan D. Weber Deborah Webster and
George Miller Harry C. White and
Esther R. Redmount Janet F. White Shirley M. Williams Thomas and Iva Wilson Farris and Ann Womack Mr. and Mrs. A. C.Wooll Phyllis B. Wright Don and Charlotte Wyche Mr. and Mrs. Edwin H. Young Gail and David Zuk
Atlas Tool, Inc.
Edwards Brothers, Inc.
Hagopian World of Rugs
lohn Leidy Shop, Inc.
Lewis Jewelers
Mariano Pallares, International
Translating Bureau, Inc. Scientific Brake and
Equipment Company University Microfilms
Ann Arbor Area Community
Foundation Shlomo and Rhonda Mandell
Philanthropic Fund
Jim and Jamie Abelson
l"li:i R. Adams
Tim and Leah Adams
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. Allardyce
Michael Allemang
)ames and Catherine Allen
Richard and Bettye Allen
Augustine and Kathleen Amaru
Helen and David Aminofif
Dr. and Mrs. Charles T. Anderson
Howard Ando and lane Wilkinson
Drs. ]ames and
Cathleen Culotta-Andonian Catherine M. Andrea T. L Andresen
Dr. and Mrs. Dennis L. Angellis Elaine and Ralph Anthony Patricia and Bruce Arden Bert and Pat Armstrong Gaard and Ellen Arncson
Mr. and Mrs, Lawrence E. Arnctt
Jeff and Deborah Ash
Mr. and Mrs. Dan E. Atkins III
I u 11 and Patsy Auiler
Eric M. and Nancy Aupperle
Erik W. and Linda Lee Austin
Eugene and Charlene Axclrod
Shirley and Don Axon
lonathan and Marlcnc Ayers
Virginia and lerald Bachman
Jane Bagchi
Prof, and Mrs. J. Albert Bailey
Richard W. Bailey and
Julia Huttar Bailey Doris I. Bailo Robert L. Baird Bill and Joann Baker Laurence R. Baker and
Barbara K. Baker Drs. Helena and Richard Balon Dr. and Mrs. Peter Banks Barbara Barclay John R. Bareham David and Monika Barcra Cy and Anne Barnes Robert and Sherri Barnes Laurie and Jeffrey Barnett Donald C. Barncttc. r. Mark and Karla Bartholomy Dorothy W. Bauer R. T. Bauer
Mr. and Mrs. Steven R. Bcckert Marquita Bedway Walter and Antjc Bcnenson Merete and Erling Blondal Bengtsson Bruce Benner Linda and Ronald Benson Joan and Rodney Bcntz Mr. and Mrs. Ib Bcntzcn-Bilkvist Helen V. Berg Mr. and Mrs. S.E. Berki L. S. Berlin
Abraham and Thclma Berman Gene and Kay Bcrrodin Andrew H. Berry, D.O. Robert Hunt Berry Mark Bert Bharat C. Bhushan William and Ilcnc Birge Elizabeth S. Bishop Art and Betty Blair Marshall and Laurie Blondy Henry Blosser Dr. George and Joyce Blum Beverly J. Bole
Mr. and Mrs. Mark D. Bomia Dr. and Mrs. Frank Bongiorno Rebecca and Harold Bonnell Ed and Luciana Borbcly Lola J. Borchardt Gil and Mona Borlaza Dr. and Mrs. David Bostian Bob and Jan Bower Melvin W. and Ethel F. Brandt Robert and Jacqueline Brcc Professor and Mrs. Dale E. Briggs Allen and Veronica Britton Olin L. Browder Linda Brown and Joel Goldberg Molly and John Bruegcr Mrs. Webster Brumbaugh Dr. Donald and Lcla Bryant Phil Bucksbaum and Roberta Morris Trudy and Jonathan Bulkley Dr. Frances E. Bull Sherry A. Byrnes Louis and Janet Callaway Susan and Oliver Cameron Jenny Campbell (Mrs. D.A.) Mr. and Mrs. Robert Campbell
Charles and Martha Canned Dr. and Mrs. James E. Carpenter )an and Steve Carpman Dennis B. and Margaret W. Carroll Carolyn M. Carty and Thomas H. Haug John and Patricia Carver Kathran M. Chan William and Susan Chandler J. Wehrley and Patricia Chapman Dr. Carey A. Charles Joan and Mark Chesler George and Sue Chism Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Robert J, Cierzniewski Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Hubert and Ellen Cohen Hilary and Michael Cohen Lois and Avern Cohn Gerald S. Cole and Vivian Smargon Howard and Vivian Cole The Michael Collier Family Ed and Cathy Colone Wayne and Melinda Colquitt Gordon and Marjorie Comfort Kevin and Judy Compton Patrick and Anneward Conlin Sandra S. Connellan [.met Cooke
Dr. and Mrs. William W. Coon Gage R. Cooper Mr. and Mrs. Herbert Couf Paul N. Courant and Marta A. Manildi Clifford and Laura Craig Marjorie A. Cramer Mr. Michael . and Dr. Joan Crawford Mr. and Mrs. Richard Crawford Lawrence Crochier Constance Crump and Jay Simrod Mr. and Mrs. James I. Crump, Jr. )ohn and Carolyn Rundcll Culotta Richard I. Cunningham Mary R. and John G. Curtis Jeffrey S. Cutter
Roderick and Mary Ann Daanc Marylee Dalton Lee and Millie Danielson lane and Gawaine Dart Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Mr. and Mrs. Roy C. Davis David and Kay Dawson foe and Nan Decker Lloyd and Genie Dethloff Elizabeth and Edmond DeVine A. Nelson Dingle Dr. and Mrs. Stephen W. Director Dr. and Mrs. Edward R. Doezema Fr. Timothy J. Dombrowski Hilde and Ray Donaldson Steven and Paula Donn Thomas Doran Dick and Jane Dorr Pro! William Gould Dow Paul Drake and Joyce Pcnner Roland and Diane Drayson Harry M. and Norrene M. Drcffs John Dryden and Diana Raimi lean and Russell Dunnaback Edmund and Mary Durfee John W. Dursline Gloria Dykhouse George C. and Roberta R. Earl
Jacquelynne S. Ecdes
Elaine Economou and Patrick ConJin
Mr. and Mrs. Richard Edgar
Mr. and Mrs. John R. Edman
Sara and Morgan Edwards
Rebecca Eisenberg and ludah Garber
David A. Eklund
Judge and Mrs. S. J. Elden
Sol and )udith Elkin
Ethel and Sheldon Ellis
lames Ellis and lean Lawton
Mrs. Genevieve Ely
Mackenzie and Marcia Endo
Jim and Sandy Eng
David and Lynn Engelbert
Carolyne and Jerry Epstein
Stephen H. Epstein
Mr. and Mrs. Frederick A. Erb
Dorothy and Donald F. Eschman
James and Mary Helen Eschman
Eric and Caroline Ethington
Barbara Evans
Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr.
Barbara and Garry C. Faja
Elly and Harvey Falit
Richard and Shelley Farkas
Mr. and Mrs. H. W. Farrington, Jr.
Inka and David Fclbeck
Reno and Nancy Feldkamp
Phil and Phyllis Fellin
Ruth Fiegel
Carol Fincrman
Clay Finkbeiner
C. Peter and Bev A. Fischer
Mr. and Mrs. Gerald B. Fischer
Lydia H. Fischer
Patricia A. Fischer
Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher
Susan R. Fisher and John W. Waidley
Winifred Fisher
Barbara and lames Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
David and Ann Fluckc
Scott and Janet Fogler
Mr. and Mrs. George W. Ford
Susan Goldsmith and Spencer Ford
Bob and Terry Foster
Ronald Fracker
Tom Franks, Jr.
Richard and Joann Freethy
Andrew and Deirdre Freiberg
Otto W. and Helga B. Freitag
Gail Fromes
Philip And Rcnee Frost
Lcla J. Fuester
Joseph E. Fugere and
Marianne C. Mussett Ari and liana Gafni Jane Galantowicz Thomas H. Galantowicz Arthur Gallagher Mrs. Shirley H. Garland Del and Louise Garrison Janet and Charles Garvin Jutta Gcrber Ina Hanel-Gerdenich Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas II.m Gittlen
Peter and Roberta Gluck Sara Goburdhun Mr. and Mrs. Robert Gockel
Mr. and Mrs. Edward W. Godsalve
Albert L Goldberg
Dr. and Mrs. Edward Goldberg
Ed and Mona Goldman
Irwin J. Goldstein and Marty Mayo
Mrs. Eszter Gombosi
Mitch and Barb Goodkin
Selma and Albert Gorlin
William and Jean Gosling
Charles Goss
Naomi Gottlieb and
Theodore Harrison DDS Siri Gottlieb Michael L Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Dr. William H. and Maryanna Graves Alan Green and Mary Spence Jeff Green
Bill and Louise Gregory Daphne and Raymond Grew Mr. and Mrs. James J. Gribble Werner H. Grilk Richard and Marion Gross Robert M. Grover Robert and Linda Grunawalt Dr. Robert and Julie Grunawalt Arthur W. Gulick, M.D. Sondra Gunn Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hackett Helen C. Hall
Harry L. and Mary L Hallock Sarah I. Hamcke
Mrs. Frederick G. Hammitt
Dora E. Hampel
Lourdes S. Bastos Hanscn
Charlotte Hanson
Herb and Claudia Harjes
Dr. Rena Harold
Nile and Judith Harper
Stephen G. and Mary Anna Harper
Mr. and Mrs. Randy J. Harris
Robert and Susan Harris
Robert and lean Harris
Phyllis Harrison-Ross
M. Jean Harter
Jerome P. Hartweg
Elizabeth C. Hassinen
Harlan and Anne Vance Hatcher
Jcannine and Gary Hayden
Dr. Lucy K. Hayden
Mr. and Mrs. Edward J. Hayes
Charles S. Heard
Bob and Lucia Heinold
Mrs. Miriam Heins
Sivana Heller
Margaret and Walter Hclmreich
Karl Henkel and Phyllis Mann
Margaret Martin Hermel
C.C. Herrington. M.D.
Carl and Charlene Herstein
Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Jacques Hochglaube, M.D., P.C. jane and Dick Hoerner Anne Hoff and George Villec Bob and Fran Hoffman Carol and Dieter Hohnke
4 6 Advocates, continued
Inini and Donna Hollowell Arthur G. Homer, Jr. Dave and Susan Horvath George M. Houchens and Caroline Richardson Dr. Nancy Houk Dr. and Mrs. Joseph A, Houle Fred and Betty House lim and Wendy Fisher House Dr. and Mrs. Jeffrey Housner Helga Hover
Drs. Richard and Diane Howlin Charles T. Hudson Mr. and Mrs. William Hufford Joanne Winkleman Hulce Ann D. Hungerman Diane Hunter and Bill Ziegler Jewel and John C. Hunter Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. & Mrs. Jacob Hurwitz Eileen and Saul Hymans Edward Ingraham Margaret and Eugene Ingram Ann K. Irish Perry Irish Carol and John Isles Morito Ito Judith G. Jackson Dr. and Mrs. Manuel Jacobs Harold and Jean Jacobson Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek Keith Jensen JoAnn J. Jeromin
Paul and Olga lohnson Dr. Marilyn S. Jones Stephen G. losephson and
Sally C. Fink Tom and Marie luster Mary Kalmes and Larry Friedman Paul Kantor and
Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Bob and Atsuko Kashino Alex F. and Phyllis A. Kato Maxine and David Katz Nick and Mcral Kazan Janice Keller
James A. Kelly and Mariam C Noland lohn B. Kennard Frank and Patricia Kennedy Linda Atkins and Thomas Kenney Paul and Leah Kileny Andrew Kim
William and Betsy Kincaid Dr. David E. and
Heidi Castleman Klein Shira and Steve Klein Drs. Peter and Judith Kleinman Sharon L. KnightTitle Research Ruth and Thomas Knoll Rosalie and Ron Koenig Melvyn and Linda Korobkin Edward and Marguerite Kowaleski Richard and Brenda Krachenberg Jean and Dick Kraft
David and Martha Krehbiel
William 1. Bucci and Janet Kreiling
William G. Kring
Alan and Jean Krisch
Bert and Geraldine Krusc
Danielle and George Kuper
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs. James Labes
Jane Laird
Mr. and Mrs. Seymour Lampert
Janet Landsberg
Patricia M. Lang
Lome L. Langlois
Carl and Ann La Rue
Ms. fill Latta and Mr. David S. Bach
Beth and George Lavoie
Robert and Leslie Lazzerin
Chuck and Linda Leahy
Fred and Ethel Lee
Moshin and Christina Lee
Diane and Jeffrey Lehman
Mr. and Mrs. Fernando S. Leon
Ron and Leona Leonard
Sue Leong
Margaret E. Leslie
David E. Levine
Mr. and Mrs. Harry Levine, III
Deborah Lewis
Donald and Carolyn Dana Lewis
Jacqueline H. Lewis
Norman Lewis
Thomas and Judy Lewis
Lawrence B. Lindemer
Mark Lindley
Mr. Ronald A. Lindroth
Rod and Robin Little
Vi-Cheng and Hsi-Yen Liu
Naomi E. Lohr
Jane Lombard
Dan and Kay Long
Ronald Longhofer
Armando Lopez R.
Mr. and Mrs. Richard S. Lord
Joann Fawn Love
Ross E. Lucke
Pamela and Robert Ludolph
Fran Lyman
Susan E. Macias
Marcia MacMahan
Suzanne and Jay Mahler
Deborah Malamud and Neal Plotkin
Claire and Richard Malvin
Melvin and lean Manis
Alice and Bob Marks
Ann W. Martin
Rebecca Martin
Mr. and Mrs. Stephen D. Marvin
Dcbra Mattison
Margaret Maurer
Jeffrey and Sandra Maxwell
Mr. and Mrs. Donald C. May, Jr.
Mr. and Mrs. Brian McCall
Thomas and Jackie McClain
Margaret and Harris McClamroch
Dores M. McCree
Jeffrey T.McDole
Eileen Mclntosh and
Charles Schaldenbrand Mary and Norman Mclver BUI and Ginny McKeachie Fred McKenzie
Daniel and Madelyn McMurtrie Nancy and Robert Meader Anthony and Barbara Medeiros Samuel and Alice Meisels Robert and Doris Melling Mr. and Mrs. Warren A. Merchant Debbie and Bob Merion Hely Merle
Bernice and Herman Mcrtc
Russ and Brigctte Merz
Henry D. Messer Carl A. House
Ms. Anna Meyendorff
Professor and Mrs. Donald Meyer
Valerie Meyer
Shirley and Bill Meyers
Dr. William P. Mies
William and Joan Mikkelsen
Carmen and lack Miller
Robert Rush Miller
Kathleen and James Mitchiner
Mr. and Mrs. William G. Moller, Jr.
Jim and Jeanne Montie
Lester and Jeanne Monts
Rosalie E. Moore
Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morlcy Paul and Terry Morris Robert C. Morrow Brian and Jacqueline Morton Cyril and Rona Moscow James and Sally Mueller Marci Mulligan and
Katie Mulligan (youth) Gavin Eadie and Barbara Murphy Laura and Charles Musil Linda M. Nadeau Rosemarie Nagel Isabelle Nash
Randy and Margaret Nesse Susan and Jim Newton John and Ann Nicklas Mrs. Marvin Nichuss Shinobu Niga Susan and Richard Nisbett Laura Nitzberg and Thomas Carli Dr. Nicole Obregon )ohn and Lexa O'Brien Patricia O'Connor Richard and Joyce Odell Mr. J. L. Ondey
Karen Koykka O'Neal and Joe O'Neal Kathleen I. Opcrhall Dr. Jon Oscherwitz Lillian G. Ostrand Julie and Dave Owens Penny and Steve Papadopoulos Michael P. Parin Evans and Charlene Parrott Mr. and Mrs. Brian P. Patchen Mr. and Mrs. Ronald J. Patterson Robert and Arlene Paup Hon. Steven and Janet Pepe Susan A. Perry Ann Marie Petach Joyce and Daniel Phillips Joseph W. Phillips Mr. and Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Roy and Winnifred Pierce Dr. and Mrs. James Pikulski Martin Podolsky
Russell and Elizabeth Pollard Hincs Robert and Mary Pratt Jacob M. Price Ernst Pulgram
Mr. and Mrs. Mitchell Radcliff Patricia Randle and James Eng Alfred and Jackie Raphaelson Dr. and Mrs. Robert Rapp Mr. and Mrs. Douglas J. Rasmussen Mr. and Mrs. Robert H. Rasmussen Sandra Reagan Kathcrine R. Rccbel Stanislav and Dorothy R. Rehak John and Nancy Reynolds
Alice Rhodes
Ms. Donna Rhodes
Paul Rice
[ames and Helen Richards
Mrs. RE. Richart (Betty)
lohn and Marilyn Rintamaki
Sylvia Ristic
Mary Ann Ritter
Kathleen Roelofs Roberts
Peter and Shirley Roberts
Dave 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. Loefflcr and
Richard K. Rohrer Elizabeth A. Rose Bernard and Barbara Rosen Drs. Stephen Rosenblum and
Rosalyn Sarver
Richard Z. and Edie W. Roscnfeld Marilynn M. Rosenthal Michael and Margie Rudd Roger and O.I. Rudd Dr. and Mrs. Raymond W. Ruddon Samuel and Irene Rupert Robert and Beth Ruskin Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and loan Sachs Arnold Sameroff and
Susan McDonough Miriam S. JofTe Samson Ina and Terry Sandalow )ohn and Rcda Santinga Sarah Savarino Helga and Jochen Schacht Lawrence and Marilyn Courtland and Inga Schmidt Charlene and Carl Schmult, Jr. Thomas Schramm Carol Schreck
Gerald and Sharon Schreiber Sue Schrocder Albert and Susan Schultz Ailcen M. Schulze Drs. R. R. Lavclle and M. S. Schuster Alan S. and Sandra Schwartz Ed and Sheila Schwartz Jonathan Bromberg and
Barbara Scott David and Darlene Scovel) Michael and Laura Seagram E. I. 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 Eivcra Shappirio Rev. William J. Sherzer Cynthia Shcvd Drs. ]ean and Thomas Shope Hollis and Martha Showaller Pam and Ted Shultz Ned Shure and Jan Onder John and Arlene Shy Milton and Gloria Siegcl Eldy and Enrique Signori Ors. Dorit Adler and Terry Silver Costclla Simmons-Winbush Sandy and Dick Simon Frances U. and Scott K. Simonds Michael and Maria Simonte
Robert and Elaine Sims
Donald and Susan Sinta
Mrs. Loretta M. Skewes
Irma I. Sklenar
Beverly N. Slater
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard Soble and Barbara Kessler
Richard and Julie Sohnly
fames A. Somers
Mina Diver Sonda
Mrs. Herbert W. Spendlove (Anne)
Edmund Sprunger
Francyne Stacey
Samuel T. and Randy Dean Stahl
David and Ann Staiger
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Ron and Kay Stcfanski
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. lames 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
PegTalburtt and )im Peggs
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Leslie and Thomas Tender
George and Mary Tewksbury
Gauri Thergaonkar and Giri Iyengar
Paul Thielking
Bette M. Thompson
Mrs. Peggy Tieman
Mr. Andrew Tomasch
Dr. and Mrs. Merlin C. Townley
James W. Toy
Angie and Bob Trinka
Sarah Trinkaus
Kenneth and Sandra Trosien
Luke and Merling Tsai
Marilyn Tsao and Steve Gao
JcfTand Lisa Tulin-Silvcr
Jan and Nub Turner
Carol Turner
Dolores J. Turner
Dr. Hazel M. Turner
William H. and Gertlyn K. Turner
Taro Ucki
Alvan and Katharine Uhle
Mary L. Unterburger
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Bram and Lia van Leer
Fred and Carole S. Van Reesema
Kate and Chris Vaughan
Phyllis Vcgter
Sy and Florence Veniar
Alice and Joseph Vining
Jane and Mark Vogcl
Carolyn and Jerry Voight
Wendy L. Wahl, M.D. and
William Lee. M.D. Jerry Waldcn and Julia Tiplady Richard and Mary Walker
Bruce and Raven Wallace Mr. and Mrs. Chip Warrick Lorraine Nadelman and
Sidney Warschausky Ruth and Chuck Watts Robin and Harvey Wax Barry and Sybil Wayburn Edward C. Weber Joan M. Weber
Leone Buyse and Michael Webster fack and Jerry Weidenbach Donna G. Weisman Barbara Weiss Carol Campbell Welsch and
John Welsch
Rosemary and David Wescnbcrg Mr. and Mrs. Peter Westen Tim and Mim Westerdale Ken and Cherry Wcsterman Susan and Peter Westerman Marjorie Westphal Paid L Duffy 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 Winkclman 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
). D. Woods
Charles R. and Jean L. Wright
Ben and Fran Wylic
Mr. and Mrs. R.A.Yagle
Teruhiko Yamazaki
Toshihiko Yarita
Sandra and Jonathan Yobbagy
Frank O. Youkstetter
lames P. Young
Mr. John G. Young
Ann and Ralph Youngren
Dr. and Mrs. Joe H. Yun
Mr. and Mrs. F.L. Zcisler
Peter and Teresa Ziolkowski
David S. and Susan H. Zurvalec
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
ohn H. Bryant Margaret Crary Mary Crawford George R. Hunsche Alexander Krczel, Sr. Kathcrine Mabarak Frederick C. Matthaci, Sr. Steffi Reiss Ralph L. Steffek Clarence Stoddard William Swank Charles R. Tieman John F. Ullrich Ronald VandenBelt Francis Viola III Carl H. Wilmot Peter Holdcrness Woods Helen Zieglcr
Bernard and Ricky Agranoff Ann Arbor Symphony Orchestra Anneke'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 Bookstein lanice Stevens Botsford The Boychoir of Ann Arbor Brewbakers Barbara Everitt Bryant Butzel Long
David G. LoeselCafe Marie Tomas Chavez Chelsea Flower Shop Chianti Tuscan Grill Elizabeth Colburn Conlin Travel Curtin & Alf Violinmakers Mary Ann and Roderick Daane Sam Davis
Katy and Tony Derezinski Dough Boys Bakery Rosanne Duncan Einstein's Bagel Pat Eriksen
Espresso Royale Caffes ] i.iini.iii and {Catherine Farrcll Judy Fike of J'Cakes Beth and oe Fitzsimmons Guillermo and Jennifer Flores Ford Electronics Gallery Von Glahn The Gandy Dancer Beverly and Gerson Geltner Generations for Children Lee GillcsGreat Frame Up Rence GrammaticoVoila Linda and Richard Greene Daphne Grew Jim Harbaugh Foundation Marilyn HarberGeorgelown Gifts Esther Heitler J. Downs Herold Matthew and Kerry Hoffmann Kim Hornberger Kay and Tom Huntzicker Stuart and Maureen Isaac John Isles
Jeffrey Michael Powers Beauty Spa
Urban Jupena and Steve Levicki
Gerome Kamrowski
Stephen and Mercy Kasle
Katherine's Catering
Martha Rock Keller
Ed Klum
Craig L. Kruman
Diane KurbatofT
Henry and Alice Landau
John Leidy Shop
Don and Gerri Lewis
Stephanie Lord
Market Strategics, Inc.
Marty's Menswear
Michigan Theater
Ron Miller
Moe Sport Shops
Monahan's Seafood Market
Motif Hair by Design
The Moveable Feast
Rosemarie Nagel
Susan and Richard Nisbett
ohn and Cynthia Nixon
Baker O'BrienThe Labino Studio
Christine Oldenburg
Karen Koykka O'Neal
Mary and Bill Palmer
Pen in Hand
Maggie Long Perfectly Seasoned
Chris W. Petersen
Mary and Randall Pittman
Sharon and Hugo Quiroz
Radrick Farms Golf Course
leva Rasmussen
Regrets Only
Nina Hauser Robinson
Richard and Susan Rogcl
Susan Tait of Fitness Success
Maya Savarino and Raymond Tantcr
Sarah Savarino
Ann and Tom Schriber
Boris Sellers
Richard Shackson
lanct and Mike Shatusky
Aliza and Howard Shevrin
George Shirley
John Shultz
Dr. Herbert Sloan
David Smith
Steven Spencer
John Sprcntall
Deb Odom Stern
Nat Lacy and Ed Surovell
Sweet Lorraine's
Tom Thompson
TIRA's Kitchen
Donna Tope
Tom TrocchioAiys
University of Michigan
Charlotte Van Curler
Kathleen and Edward VanDam
Karla Vandersypen
Warner Electric Atlantic
Emil Weddige
Ron and Eileen Weiscr
Marina and Robert Whitman
Whole Foods
Sabrina Wolfe
Young People's Theater
Ann and Ralph Youngren
Because Miuiic Matters
UMS members have helped to make possible this 119th season of distinctive concerts. Ticket rev?enue covers only 65 of our costs. The generous gifts from our contributors continue to make the difference. Cast yourself in a starring role--become a UMS member. In return, you'll receive a variety of special benefits and the knowledge that you are helping to assure that our community will continue to enjoy the extraordinary artistry that UMS offers.
Advertiser Index
42 Afterwords
27 Ann Arbor Acura
50 Ann Arbor Commerce Bank
12 Ann Arbor Reproductive
32 Ann Arbor Symphony
39 Austin Diamond
8 Bank of Ann Arbor
11 Beacon Investments
26 Blue Nile Restaurant
31 Bodman, Longley, and
1-1 Butzel Long
50 Cafe Marie
26 Charles Reinhart Company
44 Chelsea Community
34 Chris Triola Gallery
38 The Dental Advisor
50 Dobb's Opticians
13 Dobson-McOmber
47 Dough Boys Bakery
24 Edward Surovell Co.Realtors
31 Emerson School
15 Fraleighs Landscape Nursery
33 Ford Motor Company
46 Garris, Garris, Garris,
& Garris
37 General Motors Corporation
27 Glacier Hills
42 Gubbins & McGlynn Law
13 WIIK.C5 Harmony House
38 Harris Homes
Hill Auditorium Campaign

28 Howard Cooper Imports 34 Individualized Home Care
13 Interior Development 50 John Lcidy Shop, Inc. 44 Kerrytown Bistro
18 KeyBank
30 King's Keyboard House 3 Lewis Jewelers 39 Market Strategies
19 Maudes
41 Michigan Media
12 Miller, Canfield, Paddock,
& Stone
52 Mir's Oriental Rugs 32 Mundus and Mundus
2 NBD Bank
34 Nina Howard Studio 39 Performance Network
12 Red HawkZanzibar
42 Regrets Only
27 Schwartz Investment Council, Inc.
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 48 WDET
51 Whole Foods Market

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