UMS Concert Program, Thursday Apr. 23 To 29: University Musical Society: 1997-1998 Winter - Thursday Apr. 23 To 29 --

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

University
Musical Society
of the University of Michigan, Ann Arbor
THE 1998 WINTER SEASON
University
Musical Society
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 Podles 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 Under writersFoundations
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 (www.ums.org). You can also stop by the information kiosk in the lobby or come and talk to me directly. I'd love to meet you, answer any questions you might have, and, most importantly, learn of anything we can do at UMS to make your concertgoing experience the best possible. Your feedback and ideas for ways we can improve are always welcome. If you don't happen to catch me in the lobby, please call me at my office in Burton Tower at 734.647.1174, or send an e-mail message to kenfisch@umich.edu.
Sincerely,
@@@@Kenneth C. Fischer President
Thank You, Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of local?ized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cornerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University
Musical Society.
@@@@F. Bruce Kulp
Chair, UMS Board of Directors
SAM EDWARDS President, Beacon Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adven?turous, more enjoyable city."
L.THOMAS CONLIN Chairman of the Board and Chief Exeat five Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Carl A. Brauer, Jr. Oitmer, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
Joseph Curtin and gregg alf
Owners, Curtin & Alf "Curtin &Alfs 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, Inf. "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
President,
The Edward SurovtU
Co.Realtors
"It is an honor for
Edward Surovell
Company to be able
to support an insti-
tution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
JOHN PSAROUTHAKIS, PH.D.
Chairman and Chief
Executive Officer,
IPEinc.
"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-Aim Arbor "We are proud to be a part of this major cultural group in our community which
perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
KATHLEEN G. CHARLA President, Kathleen G. Charta Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Kathleen G. Charla Associates is
pleased and honored to support the University Musical Society and its great offerings of gifts to the community."
Thomas b.
mcmullen
President, Thomas B. McMulkn Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
WILLIAM S. HANN President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients"
Erik H. Serr
Principal
Miller, Canfield,
Paddock and Stone,
P.L.C.
Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community.
JORGE A. SOUS First Vice President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
RONALD M.
Cressweu, Ph.D.
Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associat?ed with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
DR. JAMES R. IRWIN Chairman and CEO, The Invin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 83 years, and UMS has been here for 119, we can still appreci?ate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
JOE E. O'NEAL
President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
SUE S. LEE
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organi?zation as the Musical
Society at the University of Michigan."
Thank You, Foundation Underwriters and Government Agencies
DAVID. E. ENGELBERT HIRAM A. DORFMAN
Co-chairmen
Benard L. Maas
Foundation
The Benard L. Maas
Foundation is proud
to support the
Benard L Maas
University Musical Society in honor of its beloved founder: Benard I. Maas February 4, 1896 May 13, 1984.
We also gratefully acknowledge the support of the following foundations and government agencies listed here:
ARTS MIDWEST
Benard L. Maas Foundation
Chamber Music America
The Grayling Fund
The herrick Foundation
kmd foundation
llla wallace-reader's digest fund
michigan council for the arts
and cultural affairs Mosaic Foundation National endowment for the arts new England Foundation for
the Arts World Heritage Foundation
The University Musical Society of the University of Michigan
BOARD OF DIRECTORS
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. Geltner
Walter L. Harrison Norman G. Herbert Alice Davis Irani Thomas E. Kauper Earl Lewis Rebecca McGowan Lester P. Monts Joe E. O'Neal John Psarouthakis
Richard H. Rogel George I. Shirley John O. Simpson Herbert Sloan Carol Shalita Smokier Peter Sparling Edward D. Surovell Susan B. Ullrich Iva M. Wilson
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Richard S. Berger Carl A. Brauer Allen P. Britton Douglas Crary John D'Arms James J. Duderstadt Robben W. Fleming
Randy J. Harris Harlan H. Hatcher Peter N. Heydon Howard Holmes Kay Hunt David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long Judythe H. Maugh Paul W. McCracken Alan G. Mertcn lohn 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
STAFF
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 I. Reid, Assistant Manager and Croup Sales
Choral Union Thomas Sheets, Conductor Edith Leavis Bookstein, Manager Donald Bryant, Conductor Emeritus
Development
Catherine S. Arcure, Director
Elaine A. Economou, Assistant
Director -Corporate Support Susan Fitzpatrick,
Administrative Assistant Lisa Murray, Advisory Support ]. Thad Schork, Gift Processor Anne Griffin Sloan, Assistant
Director -Individual Giving
EducationAudience Development Ben lohnson, Director Yoshi Campbell, Manager
MarketingPromotion
Sara Billmann, Director
Sara A. Miller, Advertising and
Promotion Coordinator ohn Peckham, Marketing Coordinator
Production
Gus Malmgren, Director
Emily Avers, Artist Services and
Production Coordinator Kathi Reistcr, Head Usher Paul Jomantas, Assistant Head
Usher
Programming
Michael Kondziolka, Director
Kate Remen, Manager
Work-Study Laura Birnbryer Rebekah Camm Danielle DeSwert Nikki Dobell Ron Dolen Mariela Flambury Amy Hayne Sara lenscn
Bert Johnson Melissa Karjala Un lung Kim Adrienne Levengood Beth Meyer Albert Muzaurieta Rebekah Nye Tansy Rodd
Interns
Laura Birnbryer Jack Chan Carla Dirlikov Colin Myscuwuec Amy Tubman
President Emeritus Gail W. Rector
1997-98 ADVISORY COMMITTEE
Gregg Alf
Martha Ause
Paulett Banks
Kathleen Beck
Janice Stevens Botsford
leanninc Buchanan
Letitia J. Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
H. Michael Endres
Don Faber
Katherine Hilboldt Farrell
Penny Fischer
Sara Frank
Barbara Gdehrter
Beverley B. Geltner
Joyce Ginsberg
Linda Greene
Dianne Harrison Debbie Herbert Tina Goodin Hertel Matthew Hoffmann Maureen Isaac Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Beth LaVoie Barbara Lcvitan Doni Lystra Esther Martin Margie McKinley Jeanne Merlanti Scott Mere Ronald G. Miller Robert B. Morris
Lcn Niehoff Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmussen Nina Swanson Robinson Maya Savarino Janet Shatusky Meg Kennedy Shaw Ah.i Shcvrin Loretta Skewes Cynny Spencer Ellen Stross Kathleen Treciak Susan B. Ullrich Dody Viola David White lane Wilkinson
UMS TEACHER ADVISORY
COMMITTEE
Fran Ampey
Kitty Angus
Gail Davis Barnes
Alana Barter
Elaine Bennett
Letitia J. Byrd
Diane Davis
Deb Kate
lohn 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. The University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Museum of Art: A coat closet is located to the right of the lobby gallery, near the south stair?case.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213.
For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
Parking
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
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.
Restrooms
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.
Tours
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 for details.
UMSMember Information Booth
A wealth of information about UMS events, restaurants and the like is available at the information booth in the lobby of each audi?torium. UMS volunteers can assist you with questions and requests. The information booth is open thirty minutes before each concert, during intermission and after the concert.
University Musical Society
of the University of Michigan
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 119 years, strong leader?ship coupled with a devoted community have placed UMS in a league of internationally-recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied his?tory, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the next millenium. Every day UMS seeks to cultivate, nurture and stim?ulate public interest and participation in every facet of the live arts.
The Musical Society grew from a group of
local university and townspeople who gath?ered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. The Musical Society included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, com?missioning of new works, youth programs, artists residencies and other collaborative pro?jects, UMS has maintained its reputation for quality, artistic distinction and innovation. The Musical Society now hosts over 70 concerts and more than 150 educational events each season. UMS has flourished with the support of a generous community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, the Museum of Art and the Lydia Mendelssohn Theatre.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, the Musical Society is a separate not-for-profit organization, which supports itself from ticket sales, corporate and individual contribu?tions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
For more information about the UMS Choral Union, please call 734.763.8997.
Throughout its 119-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orches?tras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah. Four years ago, the Choral Union further enriched that tradition when it began appearing in concert with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and Meadowbrook for subscrip?tion performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union entered into an artistic association with the Toledo Symphony,
inaugurating the partnership with a performance of Britten's War Requiem, and continuing with performances of the Berlioz Requiem, Bach's Mass in b minor and Verdi's Requiem. Last sea?son, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presen?tation of Mahler's Symphony No. 8.
In this, its 119th season, the Choral Union will present Mendelssohn's Elijah with the Ann Arbor Symphony Orchestra under the direction of Thomas Sheets. The chorus will also perform Porgy and Bess with the BirminghamBloomfield Symphony Orchestra and The Dream ofGerontius with the Toledo Symphony.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
Auditoria
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, this impressive structure has served as a showplace for a variety of impor?tant debuts and long relationships throughout the past 84 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orches?tras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an addi?tional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's ever-popular Symphony No. 5.
The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conve?niences.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill
Auditorium), Hill Auditorium, Newberry Hall and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the
Hill Auditorium
study or human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses the 1,129-seat Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate stud?ies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts was bred from a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interest?ed, realizing that state and federal government were unlikely to provide financial support for
the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the sec?ond floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the bal?cony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and fourty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
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Auditoria, continued
.............................................................................................
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new pro?grammatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series. This year's series cele?brates the alto voice with recitals by Marilyn Home, David Daniels, and Susanne Mentzer.
U-M Museum of Art
The University of Michigan Museum of Art houses one of the finest university art col?lections in the country and the second largest art collection in the state of Michigan. A community museum in a university set?ting, the Museum of Art offers visitors a rich and diverse permanent collection, supple?mented by a lively, provocative series of special exhibitions and a full complement of inter?pretive programs. UMS presents two special concerts in the Museum in the 1997-98 season.
............................................................................................
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the box office and administra?tive location for the University Musical Society.
Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30 pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown signifi?cantly. With a goal of deepening the under?standing of the importance of live performing arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collaborations and part?nerships to reach into the many diverse com?munities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) performances. This year, more than 6,000 stu?dents will attend the Youth Performance Series, which includes The Harlem Nutcracker, Chick Corea and Gary Burton, the New York City Opera National Company, Los Munequitos de Matanzas, and STREB.
The University Musical Society and the Ann Arbor Public Schools are members of the Kennedy Center Performing Arts Centers and Schools: Partners in Education Program.
Some highlighted activities that further the understanding of the artistic process and appreciation for the performing arts include:
Master of Arts Interview Series
In collaboration with Michigan Radio WUOM WFUMWVGR, the Institute for the Humanities, and the Institute for Research on Women and Gender, UMS presents a series of informal and engaging dialogues with UMS Artists.
The American String Quartet will be interviewed in conjunction with the Beethoven the Contemporary Series and will discuss their commitment to contemporary classical music and its future.
MacArthur "Genius" grant winner Elizabeth Streb discusses her unique choreographic vision with UMS' Director of Education and Audience Development, Ben Johnson.
Terri Sarris and Gaylyn Studlar, U-M Film
and Video Studies, will interview filmmaker Ngozi Onwurah, Artist in Residence for the Institute for the Humanities and the Paula and Edwin Sidman Fellow in the Arts.
PREPs (Performance-Related Educational Presentations)
Attend lectures and demonstrations that sur?round UMS events. PREPs are given by local and national experts in their field, and some highlights include:
Richard LeSueur, Vocal Arts Information Services, will conduct PREPs on vocal music before David Daniels, Susanne Mentzer, and the New York City Opera National Company.
Alberto Nacif, Cuban music expert, will share his knowledge of Afro-Cuban Music and his personal experiences with the members of Los Munequitos de Matanzas.
Glenn Watkins and Travis Jackson of the U-M School of Music will talk about Wynton Marsalis' world premiere being paired with Stravinsky's L'histoire du Soldat in "Marsalis Stravinsky," a joint project with the Chamber Music Society of Lincoln Center and Jazz at Lincoln Center.
A special concertgoer's tour of the new U-M Museum of Art Monet exhibit "Monet at Vetheuil" prior to Jean-Yves Thibaudet's recital.
And many other highlighted PREPs featur?ing Ellwood Derr, Andrew Lawrence-King, Ohad Naharin, and Helen Siedel.
Teacher Workshop Series
A series of workshops for all K-12 teachers, these workshops are a part of UMS' efforts to provide school teachers with professional development opportunities and to encourage on-going efforts to incorporate the arts in the curriculum.
Space, Time and the Body: STREB Workshop Leader: Hope Clark, Associate Artistic Director of STREB and Director of KidACTION. Monday, January 12, 4:00 6:00pm, Washtenaw Intermediate School District, Grades K-12.
A Master Class with Marilyn Home working with U-M Graduate Student. Sylvia Twine.
Scientific Thought in Motion
Workshop Leader: Randy Barron, Kennedy Center Arts Educator. Monday, January 26, 4:00 7:00 pm, Washtenaw Intermediate School District, Grade level: K-12
Infusing Opera into the Classroom: New York City Opera National Company's Daughter of the Regiment
Workshop Leader: Helen Siedel, Education Specialist, UMS. Monday, February 9, 4:00 -6:00 pm, Washtenaw Intermediate School District, Grade Level: 4-6
Rhythms and Culture of Cuba: Los Munequitos de Matanzas
Workshop Leader: Alberto Nacif, Musicologist, educator and host of WEMU's "Cuban Fantasy" Tuesday, February 17, 4:00 -6:00 pm, Washtenaw Intermediate School District, Grade Level: K-12
To Register or for more information, call 734.763.3100.
Beethoven the Contemporary
We are in the first of three seasons in this historic residency comparing the formidable legacy of Beethoven with the visions of many contemporary composers. Some residency highlights include:
Brown Bag lunches and lectures by three of the featured composers whose contempo?rary works are featured as part of this dynamic series: Kenneth Fuchs, Amnon Wolman, and George Tsontakis.
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students which precede all six concerts by Ursula Oppens and the American String Quartet.
A variety of interactive lecturedemon?strations by Ursula Oppens and the American String Quartet on these and other important contemporary composers and Beethoven's canon of works.
Other Educational Highlights
World renowned choral conductor Dale Warland (Dale Warland Singers) will lead conducting seminars and chamber choir mas?ter classes.
Many post-performance Meet the Artists have been planned for concerts including the Petersen Quartet, Hagen Quartet, Susanne Mentzer, STREB, the Australian Chamber Orchestra, Ursula Oppens and the American String Quartet, and Christopher Parkening.
STREB will be in residency for one week for many interactive activities, discussions, and master classes.
For detailed Residency Information, call 734.647.6712.
Information on the above events can be found in the season listing in the following pages of this program book, the UMS Brochure, or on the UMS Website: www.ums.org
For Master of Arts Interviews, free tickets (limit two per person) are required. Call or stop by the UMS Box Office: 734.764.2538.
The 1998 Winter Season
JANUARY
DAVID DANIELS. COUNTERTENOR MARTIN KATZ. PIANO JEANNE MALLOW, VIOLA
Friday, January 9,8pm
Mendelssohn Theatre
PREP "David Daniels and His Program"
Richard LeSueur, Vocal Arts Information
Services. Fri. fan 9, 7pm, Rackham Assembly
Hall, 4th floor.
This performance is presented through the
generous support of Maurice and Linda Binkow.
ISRAEL PHILHARMONIC ZUBIN MEHTA. CONDUCTOR Saturday, January 10,8pm Hill Auditorium
CHRISTOPHER PARKENING, GUITAR A CELEBRATION OF ANDRES SEGOVIA
Sunday, January 11,4pm
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 YVDET. 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. Ian 28, 7pm, Rackham Amphitheatre.
University Hospital's Gifts of Art free concert by the American String Quartet in the University Hospital Lobby, Thu. Ian 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. fan 30, 12 noon, Michigan League Vandenberg Rm. PREP "Compliments and Caricatures; or Beethoven Pays His Respects" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music students. Fri. Ian 30, 6:30pm, Rackham Assembly Hall.
Meet the Artists Post-performance dialogue from the stage, with composer George Tsontakis. Sponsored by the Edward Surovelt 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. Tfie University Musical Society is a grant recipient of Chamber Music Americas Presenter-Community Residency Program fund?ed by the Lila Wallace-Readers Digest Fund.
BEETHOVEN THE CONTEMPORARY URSULA 0PPEN5, PIANO
Saturday, January 31, 8pm Rackham Auditorium PREP "Wlien Two Movements are Enough: Lyricism, Subversion, Synthesis" Steven Whiting, U-M Asst. Professor of Muskology, with U-M School of Music students. Sat. Jan 31, 6:30pm, Michigan League Hussey Rm. Meet the Artist Post-performance dialogue from the stage, with composer Amnon Wolman. LectureDemonstration "The Adventure of Contemporary Piano Music" Ursula Oppens, Sun. Feb 1, 3pm, Kerrytown Concert House. In collaboration with the Ann Arbor Piano Teachers Guild.
LectureDemonstration with Ursula Oppens and composer Amnon Wolman, Mon. Feb 2, 12:30pm Room 2043, U-M School of Music. Piano Master Class with Ursula Oppens and School of Music students, Mon. Feb 2, 4:30pm, U-M School of Music Recital Hall Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMWVGR.
FEBRUARY
DALE WARLAND SINGERS Thursday, February 5, 8pm St. Francis of Assisi Catholic Church Conducting Seminar Conductor Dale Warland and U-M conductors, Feb 6, 11am, U-M School of Music Recital Hall. Chamber Choir Master Class Conductor Dale Warland works with the U-M Chamber Choir, Feb 6,1:30pm, U-M School of Music Recital HalL
SAINT PAUL CHAMBER ORCHESTRA
HUGH WOLFF, CONDUCTOR
EMANUEL AX, PIANO
DALE WARLAND SINGERS
Friday, February 6,8pm
Hilt Auditorium
Sponsored by NBD.
CANADIAN BRASS
Sunday, February 8,4pm
Hill Auditorium
Co-sponsored by First of America and Miller,
Canfield, Paddock, and Stone, PLC.
ROYAL CONCERTGEBOUW
ORCHESTRA OF AMSTERDAM RICCARDO CHAILLY, CONDUCTOR
Wednesday, February 11, 8pm Hill Auditorium
JUAN-JOSE MOSALINI AND HIS GRAND TANGO ORCHESTRA
Friday, February 13,8pm
Rackham Auditorium
Presented with support from media partner
WEMU.
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.
PETERSEN QUARTET
Thursday, February 19, 8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
CHICK COREA, PIANO AND
GARY BURTON. VIBES
Friday, February 20, 8pm
Michigan Theater
Presented with support from media partners
WEMU and WDET.
UMS CHORAL UNION
MENDELSSOHN'S ELIJAH
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Katherine Larson, soprano
Jayne Sleder, mezzo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22, 4pm
Hill Auditorium
PREP "Felix Mendelssohn-Bartholdy: Felicitous
Choral Conductor and Choral Composer,"
Ellwood Den, U-M Professor of Music, Feb 22,
3pm, MI League Koessler Library.
This performance is presented through the
generous support of Carl and Isabetle Brauer.
MARCH
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
CHECK OUT THE UMS WEBSITE!
JEAN-YVES THIBAUDET, PIANO
Tuesday, March 10, 8pm
U-M Museum of Art
PREP A concert goer's tour of "Monet at
Vitheuil: The Turning Point" Tue. Mar 10,
6:30pm, West Gallery, 2nd Floor, U-M
Museum of Art. Concert ticket required for
admission.
Presented with the generous support of
Dr. Herbert Sloan.
NEW YORK CITY OPERA NATIONAL COMPANY DONIZETTI'S DAUGHTER OF THE REGIMENT
Thursday, March 12, 8pm
Friday, March 13,8pm
Saturday, March 14, 2pm (75-minute
Family Performance) Saturday, March 14, 8pm Power Center
PREP "The Comic Donizetti" Richard LeSueur, Vocal Arts Information Services, Thu. Mar 12, 7pm, Michigan League, Koessler Library. PREP Member of the New York City Opera National Company, Fri. Mar 13, 7pm, Michigan League Vandenberg Rm. PREP for KIDS "Know Before You Go: An Introduction to Daughter of the Regiment" Helen SiedeU UMS Education Specialist, Sat. Mar 14, 1:15 pm, Michigan League, Hussey Room.
Sponsored by TriMas with support from the National Endowment for the Arts.
MICHIGAN CHAMBER PLAYERS Sunday, March 15, 4pm 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.
BATSHEVA DANCE COMPANY OF ISRAEL
Ohad Naharin, artistic director Saturday, March 21, 8pm Sunday, March 22,4pm Power Center
Master class Advanced Ballet with Alexander Alexandrov, company teacher, Sat. Mar 21, I2:30-2:00pm, Dance Gallery, Peter Sparling & Co. Studio. Call 734.747.88S5 to register. PREP "Vie Batsheva Dance Company" Ohad Naharin, Artistic Director, Sat. Mar 21, 7pm Michigan League Michigan Room. Sponsored bythe University of Michigan with support from Herb and Carol Amster.
RUSSIAN NATIONAL ORCHESTRA
MIKHAIL PLETNEV, CONDUCTOR
GIL SHAHAM, VIOLIN
Tuesday, March 24,8pm
Hill Auditorium
Sponsored by Kathleen G. Charla Associates
with support from Conlin Travel and British
Airways
AUSTRALIAN CHAMBER ORCHESTRA
RICHARD TOGNETTI, CONDUCTOR
STEVEN ISSERLIS, CELLO
Wednesday, March 25,8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
URSULA OPPENS, PIANO
Friday, March 27,8pm
Rackham Auditorium
University Hospital's Gifts of Art free concert
performed by Ursula Oppens in the University
Hospital Lobby, Thu. Mar 26, 12:10pm.
LectureDemonstration "Piano Music: 1945
to the Present" Ursula Oppens, Thu. Mar 26,
3pm, U-M School of Music Recital Hall
PREP "Motivic Comedies, Moonlit Fantasies
and 'Passionate Intensity'" Steven Whiting,
U-MAsst. Professor of Musicology, with U-M
School of Music students, Fri. Mar 27, 6:30pm,
Michigan League Vandenberg Rm.
Meet the Artist Post-performance dialogue
from the stage
Sponsored by the Edward Surovell Co.
Realtors. Additional funding provided by the
Lila Wallace-Reader's Digest Arts Partners
Program, the National Endowment for the Arts
and media partner Michigan Radio, WUOM
WFUMAWGR.
PACO DE LUCIA AND HIS
FLAMENCO SEXTET
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-MAsst. 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 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, WVOM WFUM WVGR. The University Musical Society is a grant recipient of Chamber Music Americas Presenter-Community Residency Program fund?ed by the Lila Wallace-Readers Digest Fund.
APRIL
STRE8
Friday, April 3,8pm Saturday, April 4,8pm Power Center
Master of Arts Choreographer and 1997 MacArthur "Genius" Grant recipient Elizabeth Streb, interviewed by Ben Johnson, UMS Director of Education and Audience Development, Thu. Apr 2, 7pm, Rackham Amphitheatre. Meet the Artists Post-performance dialogue from the stage, both evenings. Master Class FamityACTION: Movement Class for Families, Tue. Mar 31, 7pm, Dance GalleryPeter Sparling & Co. Studio. For par?ents and children ages 4 and up, led by Hope Clark, Associate Artistic Director. Call 734.747.8855 to register. Master Class PopACTION; Master Class, Wed. Apr 1, 7pm, Dance GalleryPeter Sparling & Co. Studio. PopACTION technique class led by members of STREB. Call 734.747.8855 to register. Presented with support from media partner WDET, Arts Midwest, New England Foundation for the Arts and the National Endowment for the Arts.
SUSANNE MENTZER, MEZZO-SOPRANO CRAIG RUTENBERG, PIANO
Tuesday, April 7, 8pm
Mendelssohn Theatre
PREP "Susanne Mentzer: Vie Recital" Richard
LeSueur, Vocal Arts Information Services, Tue.
Apr 5, 2pm, Ann Arbor District Library.
Meet the Artist Post-performance dialogue
from the stage.
EVGENY KISSIN, PIANO
Monday, April 13,8pm
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research.
LUZ Y NORTE
THE HARP CONSORT
Thursday, April 23,8pm
Mendelssohn Theatre
PREP Andrew Lawrence-King, Artistic
Director of The Harp Consort, Tim. Apr 23,
7pm, Michigan League Koessler Library.
Presented with support from media partner
WEMUcontinued...
World Premiere! MARSALIS STRAVINSKY A joint project of the Chamber Music Society of Lincoln Center, David Shifrin, Artistic Director and Jazz at Lincoln Center, Wynton Marsalis, artistic director Friday, April 24, 8pm Rackham Auditorium PREP "Marsalis and Stravinsky: A Dialogue" Travis Jackson, U-M Professor of Musicology and Music History, and Glenn Watkins, Earl V. Moore Professor of Musicology, Fri. Apr 24, 7pm, MI League Henderson Rm. Co-Sponsored by Butzel-Long Attorneys and Ann Arbor TemporariesPersonnel Systems Inc. with additional support by media partner WDET.
HAGEN QUARTET
Wednesday, April 29,8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
MAY
THE MET ORC SIR GEORG
Friday, W Hill Auditorium
FORD HONORS PROGRAM
featured artist will be announced in
February, 1998
Saturday, May 9,6pm
Hill Auditorium
Sponsored by Ford Motor Company.
Educational Programming
Performance Related Educational Presentations (PREPs) All are invited, free of charge, to enjoy this series of pre-performance presentations, featuring talks, demonstrations and workshops.
Meet the Artists All are welcome to remain in the auditorium while the artists return to the stage for these informal post-performance discussions.
Master of Arts A free UMS series in collaboration with the Institute for the Humanities and Michigan Radio, engaging artists in dynamic discussions about their art form. Free tickets required (limit 2 per person), available from the UMS Box Office, 734.764.2538.
A Master of Arts interview with
Celia Cruz, interviewed by Alberto Nacif
University Musical Society
of the University of Michigan 1997-1998 Winter Season
Event Program Book Thursday, April 23, 1998 through Wednesday, April 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.
Luz y Norte 3
The Harp Consort
Thursday, April 23, 8:00pm Lydia Mendelssohn Theatre
MarsalisStravinsky 17
Friday, April 24, 8:00pm Rackham Auditorium
Hagen Quartet 25
Wednesday, April 29,8:00pm Rackham Auditorium
UMS COOKBOOK COMMITTEE SEEKING ARTFUL RECIPES
Funiraising on the Front Burner
$ UMS is writing a cookbook--and not just any ordinary cookbook. This one will feature the favorite recipes of UMS artists past and present. It will also include photos, quotes, reminiscences, and perhaps--just perhaps--a recipe and anecdote from you. Maybe it's the soup you always serve your family the night of UMS performances. Maybe it's the souffle that was such a big hit at the Delicious Experience dinner you hosted. Maybe it's the pasta dish you created after meeting Cecilia Bartoli at an artist's recep?tion. If you have a much-loved recipe with some tie to UMS events, we'd like to hear about it...along with the accompanying story. f" Submissions should be addressed to: Cookbook Editor, UMS Development, Burton Memorial Tower, 881 N. University Avenue, Ann Arbor, Michigan 48109-1011. Be sure to include any anec?dotes or background information that will make the recipe especially meaningful to UMS fans along with your name, address and phone number (which will be treated confi?dentially). Also, if you're interested in volunteering some time to the project, please let us know by calling (734) 936-6837 or writing to us at the Burton Tower address.
University
Musical
Society
presents
The Harp Consort
Andrew Lawrence-King, Director
Liliana Mazzarri, Mezzo-soprano, Guitar
Steve Player, Dancer, Guitar
Hille Perl, Viola da gamba, Lirone, Guitar
Paul O'Dette, Theorbo, Guitar
Michael Metzler, Percussion
Andrew Lawrence-King, Spanish harp
Program Thursday Evening, April 23, 1998 at 8pm
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Luz y ISforte (Madrid 1773
Lucas Ruiz de Ribayaz y Foncea
Dances, fantasias and ballads from Spain, Italy,
South America and Africa
Cabanilles Corrente Italiana:
Despacio con ayre aprisa y con ayre
Mudarra Fantasia de Luduvico
Santiago deMurcia Zarambeques
Improvised after Ribayaz Galliarda italiana (El gran duque)
Ortiz Recercada de canto llano
Anon (17th-century Peru) Ballad: Marizapalos bajo una tarde Ortiz Recercada de tenore
Murcia Cumbees
Improvised after Murcia Canarios
CabezonHenestrosa Tiento XVIII
Torrejdn Venus attacked by the Beast
from La purpura de la rosa Ribayaz Tarantela
Improvised after Ribayaz Paradetas
INTERMISSION
Ribayaz Gaitas
Improvised after Ribayaz Pasacal les
Ribayaz Luz y Norte:
Espaholetas Folias Xdcaras Galliardas
Juan Aranes Chaconas:
Un Sarao de la Chacona
Ribayaz Torneo
Torrejdn Venus' Lament for Adonis
from La purpura de la rosa Improvised after Marais Les Folies d'Espagne
Anon Chinfonia
from La purpura de la rosa
Sixty-fourth Concert of the 119th Season
Six Strings Series
Special thanks to Professor Louise K. Stein, University of Michigan, for provision of musical and literary materials.
Presented with support from media partner WEMU, 89.1, public radio from Eastern Michigan University.
Special thanks to Andrew Lawrence-King for leading this evening's Pre-Performance Educational Presentation.
The Harp Consort appears by arrangement with Aaron Concert Artists Division, Trawick Artists, Ltd., New York, NY.
Large print programs are available upon request.
Luz y Worte (Madrid ism
A Lantern and Guiding Star, by which one may walk through the music of the Spanish Guitar and Harp...with a brief Exposition of the Art.
The title of Lucas Ruiz de Ribayaz y Fonceu's collection of Spanish, Italian, South American and African dance-music evokes the spirit of exploration and enlightenment as well as a more mystical imagery of astrology and the art of navigation. His book records the stan?dard repertoire of a seventeenth-century Spanish dance-band, ranging from the fash?ionable xdcaras, which imitates the arrogant, street-wise swagger peculiar to the urban sub-culture of the Jacques, or punks, to the courtly elegance of the Gran Duque, first heard as the finale to the 1589 Florentine Intermedi.
Lucas Ruiz de Ribayaz y Foncea
Ribayaz was born in Santa Maria de Ribarredonda, near Burgos in northern Spain in 1626. A minor aristocrat presumably without independent means, he followed a career as a theologian. He was not a profes?sional musician, but a keen amateur with well-founded practical and theoretical knowledge of the art. Ribayaz traveled to South America with Tomas de Torrejon y Velasco, the composer of La purpura de la rosa, the first opera to be performed in the New World. Little else is known about his life, except that he later held a post in Villafranca del Bierco in the province of Leon.
Pasacalles and Diferencias
The 'brief Exposition of the Art' included within Luz y Norte gives valuable hints on performance practice. Ribayaz apologizes for explaining ideas 'known to every child on the streets of Madrid', but much of this information is not to be found in more
'advanced' treatises of the period. Since his tablature for the harp contains no rhythm signs, he discusses the typical Spanish triple metre with its strong second beat in terms of guitar-strumming. A full chord on the harp corresponds to a down-stroke on the guitar, and an up-stroke is represented by a single note in the right hand. This parallel is also to be found in Baroque treatises on percussion, which link the highand low-pitched castanets to upand down-strokes on the guitar. Ribayaz also includes fingerings and a kind of basso continue) notation for the harp.
As a prelude to their performance, seventeenth-century harpists and guitarists would play the pasacalles, a simple chord sequence that defined the tonality and metre of the following piece. The pasacalles could be adapted to correspond to the characteris?tic pattern of particular dances, and could also be extended by means of improvised variations. The basic harmonies of the pasacalles were restated in different registers, decorated melodically with the bell-like descending scales of the campanela, subjected to rhythmic variation and transformed by shocking falsas. The deliberate use oifalsas, wrong notes, allowed the player to demon?strate musical virtuosity by extricating him?self from the maze of discord in accordance with the rules of harmony. Falsas appear first in Mudarra's Fantasia de Luduvico, written in imitation of the improvising style of a famous sixteenth-century harpist, and became a popular preluding style for keyboardand guitar-players.
In common with many sixteenthand seventeenth-century tutors, Ribayaz's Luz y Norte goes beyond explaining the technicali?ties of the harp and guitar to teach how to create new music by the Baroque practice of spontaneous ornamentation. The pieces that he entabulates are not only repertoire to be performed; they are also examples of the diferencia method to be imitated in impro-
visation. Our improvised diferendas are closely modeled on original sources contemporary with Luz y Norte, such as the guitar-books of Gaspar Sanz and Santiago de Murcia, as well as incorporating elements derived from earlier Spanish music and traditional South American folk-music.
Most of the dances in Luz y Norte include a number of variations or diferendas over the ostinato of a ground bass. Usually, Ribayaz begins with a chordal statement of the theme, in the rasgueado (strumming style) so typical of the guitar. Melodic varia?tions correspond to the guitar's punteado (plucking style), proceeding from treble to bass, or from simple to more complex fig?ures. In the same way that the melodies could be ornamented by dividing the long notes into groups of short notes, the rhythm could be decorated with faster strumming patterns. This simultaneous use of punteado and rasgueado divisions can be heard in the galliardas.
Bailes and Danzas
Seventeenth-century dance masters divided their repertoire into three main genres: French courtly dances (the minuet, and such Parisian adaptations of Spanish models as Les Folies d'Espagne); Spanish formal dances or danzas {El gran duque and the folias); and the exuberant, exotic bailes (such as the chaconas, fandangos, and tarantelas). Most of the South American dances were of the baile type, in which certain 'violent steps' were permitted, such as the high-kicking bolero, the sudden stops of the paradetas or the rhythmic foot-work of the canarios. lust as the instrumentalists improvise diferendas over the written bass-lines, so the dancer improvises his mudanzas, linking together steps from period dance tutors into choreo?graphies in the same theme and variation form as the music.
La purpura de la Rosa (The Blood of the Rose)
La purpura de la rosa, the first New World opera, performed in Lima, Peru in 1701, presents the story of Venus and Adonis in characteristically Hispanic style. Calderon's dramatic verse is poetry of a quality rarely to be found in an opera libretto, and Torrejon's music sets the text not as recitative but as strophic variations in Spanish dance-metres, accompanied by a continuo-band of guitars, lirone and harp. The tragedy of the final scene, in which Adonis' blood stains the white roses red, is resolved into a happy ending: the power of love overcomes jealous anger, and Venus and Adonis ascend to the heavens (she as the evening star, he as a flower) while the setting sun stains the white clouds as red as the blood of the rose.
The Harp Consort's recording of Luz y Norte is avail?able on CD from BMG records on the DHM label, under the title Spanish Dances.
Andrew Lawrence-King
The Harp Consort is a group of musicians who specialize in impro?visation within the various styles of baroque and medieval music. The original harp consort was created in seventeenth-century England at the court of King Charles I. Unlike the string orchestra (also formed at this time) in which many musicians played the same kind of instrument, the harp consort brought together diverse types of solo instru?ments to create new sounds, following the italianate fashion for colourful combina?tions of harp, lutes, keyboards and strings. Like the seventeenth-century consort, The Harp Consort is formed around the accompanying instruments of the basso continue Although continuo-players have a written bass-line, they must improvise har?monies and melodic figures on different instruments and in the appropriate style for the period and country. The Harp Consort takes continuo as a model for all kinds of performance, combining the spontaneity of improvisation with careful attention to the particular colours of each repertoire.
This performance marks The Harp Consort's debut under UMS auspices.
An imaginative and virtuosic harp soloist and a uniquely versatile continuo-player, Andrew Lawrence-King is recognized as one of the world's leading early music artists. His musical career began as Head Chorister at the Cathedral and Parish Church of St. Peter Port Guernsey, where he won an Organ Scholarship to Cambridge, completing his studies at the London Early Music Centre. He rapidly established him?self as continuo-player to Europe's foremost specialist ensembles and in 1988 founded and co-directed the continuo-group Tragicomedia. He joined Jordi Savall's Hesperion XX as harp soloist, and was appointed Professor of Harp and Continuo
at the Akademie fur Alte Musik, Bremen.
In 1994, Andrew Lawrence-King formed his own ensemble, The Harp Consort, to record the Spanish, South American and African dance-music of Ribayaz's Luz y Norte, beginning an associa?tion with DHM which continues with Carolan's Harp (baroque Irish Music); Italian Concerto (Bach, Handel, Vivaldi); Vivaldi's Four Seasons and with the solo albums, La Harpe Royale and Die Davidsharfe. He now divides his time between solo recitals, tours with The Harp Consort, and appearances as guest director for orchestras, choirs and Baroque operas throughout Europe and Scandinavia.
This season's engagements include Carnegie Hall, the Berlin Philharmonic, Tokyo's Casals Hall, the Vienna Musikverein, London's Wigmore Hall, Sydney's Opera House and the first perfor?mance of the 1589 Florentine Intermedi in Helsinki. Andrew Lawrence-King has also directed The Harp Consort in recordings of the medieval Ludus Danielis and the first New World opera La purpura de la rosa, which was also performed at the Utrecht Early Music Festival. Andrew recently gained the Royal Yachting Association's cov?eted Yachtmaster certificate, and spends most of his free time aboard his boat, "Continuo".
Liliana Mazzarri was born in Venezuela where she completed her BA in music at the Universidad Central de Venezuela. She came to London in 1990 having won a scholar?ship to study post graduate Early Music and Vocal Training courses at the Guildhall School of Music and Drama where she was awarded the Celia Bizony Prize for three consecutive years. Liliana was a prize winner at the Van Wassenaer International Competition in Amsterdam (1994) and the Van Vlaanderen Competition in Brugge (1996), both for early music ensemble. She
has performed worldwide with many lead?ing early music ensembles, such as the New London Consort, Combattimento, the Brandenburg Consort, Camerata de Caracas, Circa 1500 and Jordi Savall's Hesperion XX.
She also has recorded music by Thomas Linley with the Musicians of the Globe, can?tatas by Giovanni Felice Sances with Musica Fabula, and Spanish and Latin American early music with the Camerata de Caracas.
During this year she will record music by Luigi Rossi with the Carolinian Consort for ASV and seventeenthand eighteenth-century Latin American music with Chatham Baroque for Dorian Records.
Michael Metzler was born in Leipzig, Germany. He studied percussion at the Leipzig College of Music, with Hermann Naehring (Berlin). He subsequently special?ized in ethnic percussion, working with Ahmed Subhy in Cairo and Glen Velez in New York. He has made numerous CD, radio and television recordings and given guest performances in Europe, Asia and America with ensembles such as loculatores, Les haulz et les bas, The Harp Consort, Svargod and others. Michael Metzler also teaches historical percussion at the Schola Cantorum Basiliensis in Switzerland.
Hille Perl was born in 1965 in Bremen into a family of musicians. Her training on the viol began at the age of five. She studied in Hamburg, Germany with Pere Ros and Ingrid Stampa and pursued advanced stud?ies at the Academy for Early Music in Bremen with Jaap ter Linden and Sarah Cunningham. She earned a degree in per?formance in 1990.
Hille Perl has performed numerous concerts and made many recordings all over the world, both as soloist and ensemble musician. She has performed with such groups as the Berlin Philharmonic, Circa
1500, Tragicomedia, Hesperion XX and Fiori Musicali. She is a regular member of The Harp Consort and duopartner of the lutenist and composer Lee Santana. A solo CD with compositions by Monsieur de Sainte-Colombe has appeared on dhmBMG under the title Seven Strings & More.
Born in 1959, Steven Player received a BFA from the Falmouth School of Art, and then attended the Royal College of Music in London, where he studied lute with Jakob Lingberg.
During his music studies he also became interested in the relationship between music and dance, and began to study early dance with major exponents in the field. He now specializes in the music and dance of the Renaissance and Baroque periods. In addition to various lutes, he also plays Renaissance and Baroque guitars and various types of bagpipe.
Steven has worked with the Royal Shakespeare Company at Stratford-upon-Avon, The Barbican Centre, and on tour with various Shakespeare productions. He appears regularly as a musician and dancer with the groups Tragicomedia, Kithara, Circa 1500, and The Harp Consort. In addi?tion to these groups, he has appeared with a variety of early music ensembles and at many international music festivals.
Supplementing his musical perfor?mances, Player has also made many televi?sion appearances on BBC and taught dance and given professional dance workshops throughout Europe. His musical recordings include Three, Four, and Twenty Lutes on the Bis label, Musk From Hampton Court on Cantorus Records, and Luz y Norte with The Harp Consort on Deutsche Harmonia Mundi.
Paul O'Dette has been called "the clearest case of genius ever to touch his instrument" (Toronto Globe and Mail). His performances
at the major international early music festi?vals in Boston, Los Angeles, Vancouver, Berkeley, Utrecht, London, Bath, Paris, Montpellier, Munich, Berlin, Vienna, Prague, Barcelona, Copenhagen, Oslo, and Daroca, have often been singled out as the highlight of those events. Though best known for his recitals and recordings of virtuoso solo lute music, Paul O'Dette maintains an active international career as an ensemble musi?cian as well, performing with Gustav Leonhardt, Nikolaus Harnoncourt, Jordi Savall, William Christie, Christopher Hogwood, Sylvia McNair, Andrew Parrott, Nicholas McGegan, Nigel Rogers, Tragicomedia, Tafelmusik, The Parley of Instruments and The Harp Consort. He is co-director of The Musicians of Swanne Alley, an Elizabethan consort highly-acclaimed for its performances of the virtu?oso broken consort literature.
Paul O'Dette has made more than 100 recordings, several of which have been nom?inated for Gramophone's "Record of the Year" Award. Recent releases include The Complete Lute Music of John Dowland (a 5-CD set for harmonia mundi usa), which has been awarded the prestigious Diapason D'or du l'annee, Dolcissima et Amorosa -Early Renaissance Italian Lute Music (harmonia mundi usa) which received a "Choc du Monde de la Musique", The Echoing Air -Songs of Henry Purcell with Sylvia McNair (Philips) which recently won a Grammy, The Royal Consorts of William Lawes with The Purcell Quartet (Chandos), Hark Hark the Lark and The Broken Consorts of Matthew Locke with the Parley of Instruments (Hyperion) to name a few. Mr. O'Dette has performed in countless interna?tional radio and television broadcasts.
In addition to his activities as a performer, Paul O'Dette is an avid researcher, having worked extensively on the performance and sources of seventeenth-century Italian and English solo song, continuo practices and
lute technique, the latter resulting in a forthcoming book co-authored by Patrick O'Brien. He has published numerous articles on issues of historical performance practice. Paul O'Dette has served as Director of Early Music at the Eastman School of Music since 1976 and is Artistic Director of the Boston Early Music Festival. This past year he has conducted Baroque operas in Boston, Tanglewood and at the Drottningholm Court Theater in Stockholm.
Song Texts
Marizapalos bajo una tarde
Marizapalos bajo una tarde
al verde sotillo de Vacia-Madrid,
porque entonces, pisandole ella,
no hubiesse mas Flandes que ver su Pais.
Estampando su breve chinela, que tiene ventaja mayor que chapin, por bordar con sus perlas las flores, el raso del campo se hizo tabi.
Marizapalos era muchacha y enamorada de Pedro Martin, por sobrina del cura estimada, la gala del pueblo, la flor del Abril.
Al sotillo la bella rapaza de su amartelado se dejo seguir, y llevando su nombre en la boca, toda su alegria se le volvio anis.
Al volver la cabeza la nina, fingio de repente el verle venir y fue tanto su gusto y su risa, que todo el recato se llevo tras si.
Recibiole con rostro sereno y, dandole luego su mano feliz, aguardarle en la palma le ofrece toda la victoria cifrada en jazmin.
Dijo Pedro, besando la nieve, que ya por su causa miro derretir: "En tus manos mas valen dos blancas que todo el Ochavo de Valladolid."
Merendaron los dos en la mesa que puso la nina de su faldellin, y Perico, mirandole verde, comio con la salsa de su perejil.
Marizapalos went down one afternoon
Marizapalos went down one afternoon to the little green grove of Vacia-Madrid, so that then, as she stepped on it, there would be no more Flanders than seeing her own countryside.
Stamping her small slippers, that have great advantages over wooden clogs, by embroidering the flowers with her pearls, the flat countryside was made moir.
Marizapalos was a young girl and in love with Pedro Martin, as the niece of the esteemed priest, [she was] the finery of the town, the flower of April.
To the grove the beautiful young girl let herself be followed by her lover and carrying his name in her mouth, all her happiness turned to sugar-coated aniseed.
Upon turning her head the girl pretended sud?denly that she saw him coming and such was her delight and her laughter, that she brought all caution behind her.
Receiving him with a serene face and, giving him later her contented hand, she offers to expect from him in the palm all the victory in ciphers of jasmine.
Said Pedro, kissing the snow, that already he saw melting on his account: "In your hands two blancas are worth more than all the brass coinage in Valladolid."
The two had a snack on the table that the girl made of her underskirt, and Perico, seeing her green, ate with the sauce of her parsley.
Pretendiendo de su garabato hurtar las pechugas con salto sutil, respondio Marizapalos jzape! Uevando sus voces carinos de jmiz!
Al ruido que hizo en las hojas de las herraduras de cierto rocin, el Adonis se puso en huda, temiendo los dientes de algn javali.
Era el cura que al soto venia y, si poco antes aportara alii, como sabe gramatica el cura, jpudiera cogerlos en el mal latin!
Venus attacked by the Beast
Venus' nymphs:
jAl bosque, al bosque monteros
que osadamente veloz
va en alcance de una fiera
la hermosa madre de Amor!
jVentores al valle al valle que empenado su valor se fia en que la hermosura vence mas que el arp6n!
jAl monte al monte sabuesos Que bien tendra su esplendor contra los hombres poder mas contra los brutos no!
jLebreles al llano, al llano que del cerdoso terror errado el tiro embestida peligra su perfeccion!
Venus:
jAy infelice! t No hay
quien me de amparo y favor
?tvo hay quien me socorra, cielos,
en tan fiero lance
Intending with his hook to steal the breasts with a subtle leap, Marizapalos responded "zape!" as her voices soothed with affection saying "kitty"
To the sound that was made in the leaves by the horseshoe of a certain old hack, the Adonis made himself flee, fearing the teeth of some wild boar.
It was the priest who came to the grove and, if he had by chance arrived there a little earlier, as the priest knows grammar, he could have caught them in bad Latin!
Venus' nymphs:
To the woods, to the woods, hunters!
for with daring speed,
the beautiful mother of Love
chases the wild beast...
To the valley, to the valley, hounds!
for assured in her valour,
she knows that beauty
conquers even more surely than the spear...
To the mountains, to the mountains, beagles!
for her splendour
may well have power over men,
but not against beasts...
To the plain, to the plain, greyhounds! for the terrible boar, wounded by the errant shot, threatens her perfection...
Venus:
Alas, unhappy me! Is there nobody to help me, nobody to save me in this terrible, critical moment
Venus:
Un Adonis, jay de mi! Como, soberanos dioses cielo, sol, luna y estrellas, riscos, selvas, prados, bosques, aves, brutos, fieras, peces, troncos, plantas, rosas, flores, fuentes, rios, lagos, mares, ninfas, deidades y hombres, sufris tal estrago
Un sarao de la chacona
Se hizo el mes de las rosas Huvo millares de cosas
Y la fama lo pregona. A la vida vidita bona Vida vaamonos a Chacona
Porque se caso Almadan Se hizo un bravo sarao Dancaron hijas de Anao Con los nietos de Milan Un suegro de Don Beltran
Y una cunada de Orfeo ComenAaron un guineo
Y acabolo una amaAona
Y la fama lo pregona...
Salio la Raza y la Traza Todas tomadas de orin,
Y danzando un matachin El Onate y la Viaraza Entre la Raza y la Traza Se levanto tan gran lid, Que fue menester que el Cid Les bailase una Chacona
Y la fama lo pregona...
Venus:
Adonis, alas!
How, sovereign gods,
heaven, sun, moon and stars,
cliffs, forests, meadows, woods,
birds, animals, wild beasts, fish
tree-trunks, plants, roses, flowers,
fountains, rivers, lakes, seas,
nymphs, deities and men,
how can you allow such wickedness
There was a Chacona soiree
held in the month of roses. They did thousands of things and everyone talks about it... Here's to life, and the good life! Let's go to the Chacona!
Since Almadan was to be married they held an elegant soiree. The daughters of Anao danced With the nephews of Milan. Don Beltran's father-in-law danced with Orpheus' cousin. A Guinean began it And a Amazon ended it and everyone talks about it...
Raza and Traza came Enflamed with lust. And old Onate danced a matachin with crazy Miss Viaraza. There was such a quarrel between Raza and Traza, that it was necessary for El Cid himself to dance a Chacona for them and everyone talks about it...
Salio una carga de Aloe Con todas sus sabandijas; Luego vendiendo alejijas Salio la Gruella en un pie. Un Africano sin fe Un Negro y una Gitana Cantando la dina dana
Y el Negro la dina dona
Y la fama lo pregona...
Entraron treinta Domingos Con veinte lunes a cuestas
Y cargo con esas cestas Un asno dando respingos. Juana con Tingolomingos Salio las bragas enjutas
Y mas de cuarenta putas Huyendo de Barcelona.
Y la fama lo pregona...
There came a load of Aloes
full of creepy-crawlies,
Then out hopped Miss Stork
selling rye fritters.
A heathen African,
A Negro and a Gypsy-girl
Singing fala lay
And the Negro fala laid her
and everyone talks about it...
Thirty Sunday-monks came with twenty Monday-girls on their backs to be loaded up and rocked to and fro like a stubborn donkey. Juana with Tingolomingos came out tight-fitting shorts And more than forty whores arrived from Barcelona and everyone talks about it...
i Eiko and Koma River
i San Francisco Symphony Michael Tilson Thomas, conductor and piano
i Afro-Cuban All Stars
i St. Petersburg Philharmonic Yuri Temirkanov, conductor Gidon Kremer, violin
i John Williams, guitar
i Capitol Steps
i Guarneri String Quartet
i Bill T. JonesArnie Zane Dance Company
We Set Out Early... Visibility Was Poor
i Budapest Festival Orchestra Ivan Fischer, conductor Andras Schiff, piano
i David Daniels, countertenor with The Arcadian Academy Nicholas McGegan, director and harpsichord
? La Capella Reial de Catalunya and Hesperion XX with Jordi Savall, viola da gamba and Montserrat Figueras, soprano
? Kirov Orchestra of St Petersburg Valery Gergiev, conductor
? Vienna Virtuosi Principal Members of the Vienna Philharmonic
Ernst Ottensamer, clarinet
? Jazz Tap Summit: An All-Star Celebration of Tap Dancing featuring tap legends Jimmy Slyde, Dianne Walker, LaVaughn Robinson, Germaine Ingram, Brenda Bufalino, members of the American Tap Orchestra and special guest Yvette Glover
? American String Quartet
Beethoven the Contemporary series
? Mitsuko Uchida, piano
? Assad Brothers with Badi Assad
i Sequentia Hildegard von Bingen's
Ordo Virtutum (Play of the Virtues)
i A Huey P. Newton Story
Created and performed by Roger Guenveur Smith with live sound design by Marc Anthony Thompson
i Emerson String Quartet with Menahem Pressler, piano
i The Harlem Nutcracker Donald ByrdThe Group
i Handel's Messiah UMS Choral Union Ann Arbor Symphony Orchestra Thomas Sheets, conductor
i Trinity Irish Dance Company
i George Gershwin: Sung and Unsung New York Festival of Song
Steven Blier and Michael Barrett, artistic directors Dana Hanchard, soprano and Ted Keegan, tenor
University M
isial Society
i Renee Fleming, soprano
i The Gospel at Colonus featuring The Steele Family Clarence Fountain and The Blind Boys of Alabama The Original Soul Stirrers Reverend Earl Miller UMS' Gospel at Colonus Chorus
i American String Quartet
Beethoven the Contemporary series
i Anne Sofie von Otter, mezzo-soprano
Bengt Forsberg, piano Chamber Music Society of Lincoln Center
i Beethoven the Contemporary Family Performance
With the American String Quartet
I ImMERCEsion: The Merce Cunningham Dance Company Residency
? Maxim Vengerov, violin
Igor Uryash, piano
? Orpheus Chamber Orchestra with Pepe Romero, guitar
? Meryl Tankard Australian Dance Theatre
Furioso
u Kodo
? James Galway, flute
? Abbey Lincoln
? Takacs Quartet
? Alvin Ailey American Dance Theater
? The Tallis Scholars
? Gypsy Caravan
Gypsy Culture from India to Eastern Europe and Iberia
m Sweet Honey in the Rock
? American String Quartet
Beethoven the Contemporary series
? Trio Fontenay
? Steve Reich Ensemble
? Mozarteum Orchestra of Salzburg
Hubert Soudant, conductor Till Fellner, piano Katharine Goeldner, mezzo-soprano
? Ewa Podles, contralto
Jerzy Marchwinski, piano
? Anonymous 4 and Lionheart
? Monsters of Grace
A Digital Opera in 3 Dimensions Music by Philip Glass Design and Visual Concept by Robert Wilson
? Lincoln Center Jazz Orchestra with Wynton Marsalis
A Centennial Celebration of Duke Ellington
? NHK Symphony Orchestra of Tokyo
Charles Dutoit, conductor Sarah Chang, violin Kazue Sawai, koto
University
Musical
Society
Arbor Temporaries Personnel Systems
and
Butzel Long
present
MarsalisStravinsky
U.S. Tour April-May 1998
a joint project of
The Chamber Music Society of Lincoln Center David Shifrin, Artistic Director
and
Jazz At Lincoln Center Wynton Marsalis, Artistic Director
Andre De Shields, Narrator David Shifrin, Clarinet Milan Turkovic, Bassoon Wynton Marsalis, Trumpet
"Artist Member of the Chamber Music Society
David Taylor, Trombone Ida Kavafian, Violin Edgar Meyer, Bass Stefon Harris, Percussion
Program
Friday Evening, April 24, 1998 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Igor Stravinsky Histoire du soldat (The Soldier's Tale)
(Original text by C.F. Ratnuz; English version by Sheldon Harnick)
part i The Soldier's March
Music for Scene I: Airs by a Stream
Music for Scene II: Pastorale
Music for Scene III: Airs by a Stream (reprise)
part ii The Soldier's March (reprise) The Royal March The Little Concert
Three Dances: Tango--Valse--Ragtime The Devil's Dance Little Choral The Devil's Songs Great Choral Triumphant March of the Devil
INTERMISSION
Wynton Marsalis A Fiddler's Tale
World Premiere Performance (Text by Wynton Marsalis)
Sixty-fifth Concert of the 119th Season
Special thanks to Jeanne and Ernie Merlanti for their continued support through Arbor TemporariesPersonnel Systems, Inc. and to Len Niehoff for support through Butzel Long Attorneys.
Presented with support from media partner WDET, 101.9, Detroit Public Radio.
Special thanks to Glenn Watkins and Travis Jackson for leading this evening's Pre-Performance Educational Presentation.
Underwriting for the Chamber Music Society's touring has been generously provided by the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Reader's Digest Association, Inc.
Jazz at Lincoln Center is sponsored by Discover CardO.
The Chamber Music Society has recordings on the Musical Heritage Society, MusicMasters, Omega Record Classics, Arabesque, and Delos labels.
Wynton Marsalis records exclusively for Columbia Records and Sony Classical. Jazz at Lincoln Center recordings are available exclusively on ColumbiaSony Music.
Visit the Chamber Music Society on the Internet at www.chambermusicsociety.org and Jazz at Lincoln Center at www.jazzatlincolncenter.org
For the Chamber Music Society: Jacqueline M. Taylor, Executive Director. For Jazz at Lincoln Center: Rob Gibson, Executive Producer and Director.
Large print programs are available upon request.
Histoire du soldat (The Soldier's Tale)
Igor Stravinsky
Born on June 17, 1882 in St. Petersburg
Died on April 6,1971 in New York
Histoire du soldat was completed in 1918 and premiered on September 28, 1918 in Lausanne, Switzerland conducted by Ernest Ansermet.
After soaring to international fame in 1910 with The Firebird, Igor Stravinsky became a citizen of the world, living in Switzerland during the autumn and winter months, returning to Russia for the summers, and descending on Paris to oversee the produc?tions of Petrushka, The Rite of Spring and Le Rossignol. With the outbreak of the First World War in 1914, however, his travel was restricted, and he settled full-time in Switzerland, near Lausanne, where he remained until moving to France in 1920. Among his closest friends during the War was Ernest Ansermet, then conductor of the symphony concerts in Geneva and founder (in 1918) of the Orchestre de la Suisse Romande based in Lausanne. It was through Ansermet's introduction that Stravinsky met the Swiss novelist and poet Charles Ferdinand Ramuz late in 1915. Stravinsky invited Ramuz to help prepare French versions of the Russian texts for Reynard and Les Noces, and the col?laboration went so well that they agreed to undertake a new joint project in 1917. Given the difficulty of theater production during the War, they realized that only a very small company could be assembled, perhaps one which could play in almost any hall and easily tour Switzerland. Ramuz, not being a dramatist, suggested that he write a story which could be presented on stage as a kind of acted narration, something "to be read, played and danced." It was agreed that Stravinsky's music would be an accompani?ment to the action, arranged so that it could
be performed either on stage or independently in concert. For a subject, they settled on a story from a collection of Russian tales compiled by Alexander Afanasiev which concerned, according to Stravinsky, "a Soldier who tricks the Devil into drinking too much vodka. He then gives the Devil a handful of shot to eat, assuring him it is caviar, and the Devil greedily swallows it and dies." Stravinsky and Ramuz incorporated other episodes from Afanasiev's stories into their scenario, notably one which featured a "Soldier who deserts and the wily Devil who infallibly comes to claim his soul."
A Narrator would tell the following Soldier's Tale while performers portraying the characters danced and mimed to Stravinsky's music:
A Soldier, granted ten days leave, marches home to his family's village. He rests along the way, takes out his fiddle, and plays. The Devil, disguised as an old man with a butterfly net, persuades the Soldier to trade his fiddle for a magic book. He invites the Soldier to spend two days of his leave with him, when he will show him how to earn immense wealth from the book. Arriving at his village after their encounter, the Soldier discovers that not two days but twenty years have passed. He tries to console himself with the wealth obtained through the book, but can find no peace, and wanders into another king?dom. The Princess of the land is ill, and the King has promised her hand in mar?riage to anyone who can cure her. The Soldier determines to try. The Devil appears, playing the Soldier's violin. The Soldier challenges him to a game of cards. The Soldier loses his wealth to the Devil, whose power over him is thus ended. When the Devil collapses, the Soldier reclaims his violin, and plays the Princess back to health. She dances a tango, a waltz and a ragtime. The Devil reappears,
the Soldier fiddles him into contortions, and the Soldier and the Princess drag his body into the wings. The Devil swears vengeance. Some years after his marriage, the Soldier wants to visit his village. The Narrator counsels him not to seek the old, lost happiness of his youth now that he has found married happiness in a new home with the Princess. Refusing the advice, the Soldier sets out. When he crosses the frontier, however, he again falls under the mastery of the Devil, who takes his violin and leads him away, powerless to resist.
The Soldier's Tale signaled an important change in Stravinsky's musical style, away from the orchestral opulence of his early ballet scores toward a more economical, neo-Classical, international manner of expression. He later explained:
My choice of instruments was influenced by a very important event in my life at that time, the discovery of American jazz.... The Histoire ensemble resembles the jazz band in that each instrumental category--strings, woodwinds, brass, percussion--is represented by both bass and treble components. The instruments themselves are jazz legitimates, too, except the bassoon, which is my substitution for the saxophone.... The percussion part must also be considered as a manifestation of my enthusiasm for jazz. I purchased the instruments from a music shop in Lausanne, learning to play them myself as I composed. To bang a gong, bash a cymbal, clout a woodblock (or a critic) has always given me the keenest satisfac?tion.... My knowledge of jazz was derived exclusively from copies of sheet music [brought back from America by the con?ductor Ernest Ansermet.] As I had never actually heard any of the music performed, I borrowed its rhythmic style not as played, but as written. I could imagine jazz sound, however, or so I liked to think. Jazz meant,
in any case, a wholly new sound in my music, and Histoire marks my final break with the Russian orchestral school in which I had been fostered.
The most obvious evidence of the influ?ence of jazz and modern dance styles on the work are the "Tango" and "Ragtime" danced by the Princess. (Stravinsky so liked the rag idiom that he wrote an independent Ragtime for Eleven Instruments as soon as he had fin?ished the score for Histoire.) Concerning the dramatic use of his instrumental ensemble, Stravinsky noted, "If every good piece of music is marked by its own characteristic sound, then the characteristic sounds of Histoire are the scrape of the violin and the punctuation of the drums. The violin is the Soldier's soul and the drums are the diablerie"
Program notes O Dr. Richard E. Rodda
Andre De Shields is an actor, a director and an educator. His recent role in the Broadway musical PLAY ON! earned him the 1997 Tony, Drama Desk and FANY (Friends of the New York Theatre) Award nominations for Best Performance by a Featured Actor in a Musical. Currently, he may be seen in the recurring role of the Rev. Calvin Dansby on the popular CBS daytime drama As the World Turns. His Broadway credits include The Wiz (title role), Ain't Misbehavin' (Drama Desk nomination) and Harlem Nocturne. Off-Broadway he has appeared in Dancing on Moonlight (New York Shakespeare Festival), Lonnie Carter's Gulliver Trilogy (La MaMa E.T.C.) and Neil Simon's The Good Doctor (Melting Pot Theatre, NY). His performances in regional theatre include Arthur Miller's Death of a Salesman (Willie Loman), Brecht's Caucasian Chalk Circle and Loni Berry's Love, Langston! Mr. De Shields has appeared in the films Extreme Measures with Hugh Grant and Prison. His TV credits include NBC's Ain't Misbehavin' (Emmy Award), PBS' Alice in Wonderland (Tweedledum),
Igor Stravinsky, Wynton Marsalis and David Shifrin
NBC's Dream ofjeannie--15 Years Later (Haji, King of the Genies), Another World and Law & Order. Mr. De Shields won Chicago's Jeff Award for his direction of George C. Wolfe's The Colored Museum (Victory Gardens Theatre Co.) He has also won three AUDELCO Awards for off-Broadway productions of Blackberries and Saint Tous. On the concert stage he has performed in Stravinsky's Histoire du Soldat at Carnegie Hall and William Bolcom'5 Songs of Innocence and Experience with the BBC Symphony Orchestra. Also an educator, Mr. De Shields has been the Dr. Martin Luther King, Jr. Rosa ParksCesar Chavez Visiting Professor at the University of Michigan, and the Algur H. Meadows Distinguished Visiting Professor of Theatre in the Meadows School of the Arts at Southern Methodist University. He received his BA in English from the University of Wisconsin in Madison and his MA in African-American studies from New York University, Gallatin School of Individualized Study.
Stefon Harris is a percussionist, vibraphon-ist and composer. He made his jazz debut at fifteen as a featured artist and composer on Clyde Criner's The Color of Dark and has since recorded with Wynton Marsalis, Steve
Turre and Tim Warfield. He has also per?formed with Max Roach, Tony Williams and Bobby Watson, and with his own ensemble, Ashanti. Mr. Harris attended the Eastman School of Music and received a full Merit Scholarship to attend the Manhattan School of Music, where he premiered Mattus' Concerto for Percussion under Kurt Masur. As a classical percussionist he has performed with the Albany Symphony, Berkshire Symphony and Lancaster Festival Orchestra. Mr. Harris was selected by Jazz at Lincoln Center for the 1997 Martin E. Segal Award presented annually to promising young artists associated with Lincoln Center. He teaches at Jazzmobile, the Manhattan School of Music and the Drummers Collective as well as in the Albany and New York City public schools. Mr. Harris's debut solo album will be released on Blue Note Records this year.
The versatile violinist Ida Kavafian has appeared as a soloist with leading orchestras nationally and internationally, including those of New York, Boston, Pittsburgh, Detroit, St. Louis, Montreal, Minnesota, Tokyo, Hong Kong, Buenos Aires, and London. Among the composers she has worked closely with are Toru Takemitsu, who wrote a concerto for her, and jazz great Chick Corea, with whom she has toured and recorded. As the violinist of the renowned Beaux Arts Trio, Ms. Kavafian has many recordings, including the Beethoven "Triple" Concerto on Philips Classics. She has also toured and recorded with the Guarneri String Quartet and was a founding member more than twenty years ago of the innovative chamber group Tashi. She also established two highly successful summer festivals: Music From Angel Fire, for which she has been Artistic Director for fourteen years, and Bravo! Colorado, for which she was Music Director for ten years. Ms. Kavafian is also a member of several boards, including Chamber Music America. She rejoined the Chamber Music Society of Lincoln Center as an Artist Member in 1996, having previously been a member
from 1989-1993. Ms. Kavafian was born in Istanbul of Armenian descent and arrived in this country at the age of three. After earn?ing her MM with honors from The Juilliard School, she was a winner of the Young Concert Artists International Auditions and a recipient of an Avery Fisher Career Grant. Ms. Kavafian performs on a 1751 J.B. Guadagnini violin.
Wynton Marsalis is Artistic Director of America's foremost jazz institution--Jazz at Lincoln Center, conductor of the Lincoln Center Jazz Orchestra, a Grammy Award-winning virtuoso on trumpet, and a Pulitzer Prize-winning composer. As a performer he is at home in a wide range of styles, from Baroque to the avant garde. Mr. Marsalis began his classical music training at age twelve in New Orleans, and at seventeen entered The Juilliard School. That same year, 1979, he honed his jazz skills by joining Art Blakey and the Jazz Messengers. In 1982 he made his recording debut and has since built a catalogue of more than thirty jazz and classical recordings that have garnered eight Grammy Awards. In 1983 he became the only artist to win classical and jazz Grammy Awards in one year, and repeated the feat in 1984. In 1997 he was awarded the Pulitzer Prize for his composition Blood on the Fields. Mr. Marsalis's works include Sweet Release for Alvin Ailey American Dance Theater; Jazz: Six Syncopated Movements for Jazz at Lincoln Center and New York City Ballet Master-in-Chief Peter Martins; Jump Start for choreographer Twyla Tharp; Citi MovementGriot New York, created in collab?oration with choreographer Garth Fagan; and In This House, On This Morning, based on a traditional gospel service, for Jazz at Lincoln Center. His string quartet At the Octoroon Balls was premiered by the Orion String Quartet for The Chamber Music Society of Lincoln Center. Mr. Marsalis has been Artistic Director of Jazz at Lincoln Center since its inception. He has received honorary doctorates from eleven colleges and universities including Yale, Princeton, Brown, Columbia, Johns
Hopkins, Howard and Amherst. He regularly conducts master classes and has appeared in several radio and television productions on music education. In 1996 he was named one of "America's 25 Most Influential People" by Time and one of "The 50 Most Influential Boomers" by Life.
Bass player Edgar Meyer is an instrumentalist and composer known in both the classical and bluegrass communities. He was a mem?ber of the progressive bluegrass band Strength in Numbers and has recorded with such artists as Mary Chapin Carpenter, Garth Brooks, and The Chieftains. He has been featured as a performer and composer at the Aspen, Chamber Music Northwest, Marlboro, and Tanglewood festivals, and from 1985-1993 was the regular bass player for the Santa Fe Chamber Music Festival, for which he wrote six works. Mr. Meyer pre?miered his Bass Concerto with the Minnesota Orchestra in 1993; his Double Concerto for Cello and Bass in 1994 with cellist Carter Brey, for which he received a grant from the Meet the ComposerReader's Digest Commissioning Program; and his Bass Quintet with the Emerson String Quartet in 1995. Recently, Mr. Meyer, Yo-Yo Ma, and violinist Mark O'Connor released Appalachia Waltz, which topped the charts for sixteen weeks and still remains in the top-100. The trio toured extensively and was featured on Late Show with David Letterman, the tele?vised 1997 Presidential Inaugural Gala, and a State Dinner at the White House. In con?junction with the release of Uncommon Ritual in October, Mr. Meyer toured with banjo player Bela Fleck and mandolin player Mike Marshall in concerts that married bluegrass, classical and other traditional forms. As a solo artist, Mr. Meyer records exclusively for Sony Classical. He has been an Artist Member of the Chamber Music Society since 1994.
Clarinetist David Shifrin has been Artistic Director of The Chamber Music Society of Lincoln Center since 1992. Mr. Shifrin is in
demand as a soloist with orchestras all over the world and appears frequently with ensembles such as the Emerson, Guarneri and Tokyo quartets. Among Mr. Shifrin's recordings are the Copland Clarinet Concerto (AngelEMI), which received a 1989 Grammy nomination, and the Mozart Clarinet Concerto with the Mostly Mozart Orchestra coupled with Mozart's Clarinet Quintet with Chamber Music Northwest (Delos), which was named Record of the Year by Stereo Review in 1987. Most recently he is featured on a disc of chamber music by Carl Maria von Weber on Delos. Mr. Shifrin has made significant con?tributions to the clarinet repertoire through the commissioning and premiering of new works by composers such as John Corigliano, Joan Tower, Ellen Taaffe Zwilich, and Peter Schickele. Many of these works were com?missioned by The Chamber Music Society of Lincoln Center and Chamber Music Northwest, the summer festival in Portland, Oregon, of which Mr. Shifrin is also artistic director. He premiered Stephen Albert's Wind Canticle for Clarinet and Orchestra with the Philadelphia Orchestra, Ezra Laderman's Clarinet Concerto with the Fort Worth Symphony, and Lalo Schifrin's Clarinet Concerto with the Kansas City Symphony. This season, Mr. Shifrin will premiere Bruce Adolphe's Clarinet Concerto, commissioned for him by the Wichita Symphony, through?out the United States. Mr. Shifrin was a recipient of an Avery Fisher Career Grant and a Solo Recitalists Fellowship from the National Endowment for the Arts. A member of the faculty of Yale University, he has been an Artist Member of the CMS since 1989.
Bass trombone virtuoso David Taylor per?forms and records jazz, chamber music and symphonic music with equal versatility. He has recorded four solo albums and was the first bass trombonist to receive the Most Valuable Player Award from the New York chapter of the National Academy of Recording Arts and Sciences, which he has won five times. Mr. Taylor received his BM and MM degrees in music from The Juilliard
School and his teaching certification from :he New York College of Music. He is cur?rently working on his PhD in the aesthetics Df visual arts at New York University. Mr. Taylor teaches at the Manhattan School of Music, State University of New York at Purchase and Mannes College of Music.
Bassoonist Milan Turkovic left his position as principal bassoonist with the Vienna Symphony in 1984 to devote himself com?pletely to solo playing and teaching. Since then he has become recognized as one of the world's few bassoonists with an interna?tional career. He is a member of Ensemble Wien-Berlin--a woodwind quintet he formed with principal players of the Berlin and Vienna Philharmonics--and a member of Concentus Musicus of Vienna. Mr. Turkovic has performed as a soloist with the Mostly Mozart Festival at Avery Fisher Hall, Chicago Symphony Orchestra at the Ravinia Festival, and the St. Louis Symphony. He has also appeared at the Marlboro, Sarasota, Pacific Music, Kusatsu (Japan), and Zurich festivals. Mr. Turkovic conducts chamber orchestras and large wind ensembles in Europe and Japan and in 1997 conducted The Juilliard Winds at Alice Tully Hall. His extensive discography consists of fifteen solo bassoon works, including the Carl Maria von Weber concerti (with Sir Neville Marriner), five Vivaldi concerti with Solisti Italiani, and more than 200 recordings with Concentus Musicus. He is the only artist to have recorded the Mozart Bassoon Concerto in four different versions, one of which features an original seven-key period instrument. Mr. Turkovic is from an Austro-Croation background and currently resides in Vienna, where for two years he hosted a classical music program on Austrian Television. A teacher at the Vienna Hochschule, he has been an Artist of the CMS since 1993.
The founding of The Chamber Music Society of Lincoln Center in 1969 was the realization of the dream of William Schuman, Alice Tully, and Charles Wadsworth to
establish a constituent of Lincoln Center devoted to the outstanding performance and creation of chamber music. Its pioneer?ing structure--a core of Artist Members augmented by invited guests--allows Artistic Director David Shifrin to present concerts of every instrumentation, style, and historical period at Lincoln Center, on national and international tours, and on national television via Live from Lincoln Center. The CMS offers a variety of programs in addition to its core series of concerts at Alice Tully Hall, includ?ing a family concert series called Meet the Music! and a professional development pro?gram for outstanding emerging artists enti?tled Chamber Music Society Two. The CMS discography includes recent recordings of Dvorak's Serenade and Quintet, Beethoven's Septet, music by Carl Maria von Weber fea?turing clarinetistArtistic Director David Shifrin, Bach's Brandenburg Concertos, and Walton's Facade with Lynn Redgrave as nar?rator. In its twenty-eight years, the CMS has commissioned over a hundred new works from a formidable array of composers and continues to support the work of living composers by awarding the Elise L. Stoeger Prize, a $10,000 award given annually to each of two outstanding composers of cham?ber music. The Chamber Music Society has been guided by three Artistic Directors: founding Artistic Director Charles Wadsworth; Fred Sherry; and, since 1992, David Shifrin, who became an Artist Member in 1989.
On July 1, 1996, Jazz at Lincoln Center (J@LC) became the twelfth constituent of Lincoln Center for the Performing Arts, joining the other companies as a financially and artistically independent member of the Lincoln Center family. Jazz music now has a permanent and prominent home at one of America's most venerable performing arts institutions. "The affirmation of Lincoln Center as a place where swinging is recog?nized is an important step forward," stated Jazz at Lincoln Center Artistic Director Wynton Marsalis. J@LC is a year-round
comprehensive organization that produces concerts, lectures, film programs, record?ings, radio broadcasts, international tours, and educational programs for adults and children, anchored by the distinguished Lincoln Center Jazz Orchestra, and featuring a host of remarkable guests. Under the artis?tic leadership of Wynton Marsalis, this pro?gram has risen to international prominence since its inception in 1987. In January 1991, after the consistent success of the summer concert series called Classical Jazz, Lincoln Center announced the formation of a year-round jazz department, the first of its kind at a major performing arts institution. Five successful seasons later, J@LC became a constituent organization at Lincoln Center. During its 1997-98 season, J@LC will present over 150 concerts, lectures, film programs, master classes, workshops for children, and special events throughout the world. Jazz at Lincoln Center aspires to reach and educate the public and maintain jazz at the forefront of America's cultural consciousness through performance, education, and preservation.
Tonight's collaboration between the Chamber Music Society of Lincoln Center and Jazz at Lincoln Center is the culmination of a rich and varied history between the University Musical Society and both institutions.
CMS marks its sixth appearance under UMS auspices; a history which began with their 1978 debut on the Chamber Arts Series. They were most recently seen in Ann Arbor as part of last season's Schubertiade.
Jazz at Lincoln Center has appeared under UMS auspices annually for the last five sea?sons presenting tributes to Louis Armstrong, Thelonius Monk, and Jelly Roll Morton. They last appeared in February 1997presenting Mr. Marsalis' Pulitzer-prize winning Blood on the Fields.
University
Musical
Society
presents
The Hagen Quartet
Lukas Hagen, Violin Rainer Schmidt, Violin Veronika Hagen, Viola Clemens Hagen, Cello
Program
Wednesday Evening, April 29,1998 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Arnold Schonberg
String Quartet No.3, Op.30
Moderato
Adagio
Intermezzo: Allegro moderato
Rondo: Molto moderato
INTERMISSION
Dmitri Shostakovich
String Quartet No.3 in F, Op.73
Allegretto
Moderato con moto Allegro non troppo Adagio Moderato
Sixty-sixth Concert of the 119th Season
Thirty-fifth Annual Chamber Arts Series
Immediately following tonight's performance you are invited to remain in the concert hall for a brief question and answer session with the artists.
The Hagen Quartet records exclusively for Deutsche Grammophon.
The Hagen Quartet is represented in North America by Shupp Artists Management, Inc., Port Jefferson, NY.
Large print programs are available upon request.
String Quartet No.3, Op.30
Arnold Schoenberg
Born September 13, 1874 in Vienna
Died July 13, 1951 in Los Angeles
Serial music has been receiving a lot of bad press lately, from critics and composers who feel that the twelve-tone method is too "cerebral" to be expressive of any emotions or too abstruse to be accessible to a listener who has not made this music a subject of in-depth study. These sentiments can be well understood in an era where second-and third-generation serialists have empha?sized the mathematical aspect of this method to the expense of all others. Yet an encounter with a work from the early days of serialism may well convince doubters that twelve-tone technique in no way precludes the writing of powerful and emotionally compelling music. Foreseeing the danger of such a misinterpretation, Arnold Schoenberg took pains to point out that his newer works were "twelve-tone compositions, not twelve-tone compositions." This warning was con?tained in a letter to Rudolf Kolisch, the leader of the famed Kolisch Quartet, then preparing for the first performance of Schoenberg's String Quartet No. 3.
Schoenberg developed the twelve-tone technique in the early 1920s, after a composing career of a quarter of a century, because he firmly believed the stylistic evolution of music called for a new system to replace that of classical tonality. For him, it was a matter of imposing rules on materials that had long since outgrown the principles underlying eighteenthand nineteenth-century music. He was able to do this, however, without sacrificing the immediacy and the commu?nicative power of his style. In the last years of his life, he would write a celebrated essay entitled Heart and Brain in Mtisic, and in his compositional practice, he brought about a perfect synthesis of the two.
Consider the first measures of the Third Quartet, with their palpitating rhythmic patterns serving as a backdrop to a non-traditional, yet strongly expressive lyrical melody. The elements introduced in this exciting beginning are developed with a cogent logic, yet full of unexpected twists that no serial theorist would ever be able to predict -particularly in the rhythm, where groups of four eighth-notes alternate with groups of three in rather fascinating ways. Despite its innovative sound, the movement basically follows classical sonata form, though the different thematic areas are unified by the pulsating eighth-notes which almost never stop, maintaining a high level of tension throughout the movement.
The second movement is a double varia?tion; that is, there are two themes, presented subsequently and then varied in turns. The first theme is a slow-moving "Adagio;" the second maintains the same tempo but the note-values used are much shorter, thereby creating faster motion. Each theme is pre?sented in three variations, preserving the principal features but enriching them with figurations and other ways of expanding upon the original forms.
The third movement is titled "Intermezzo," possibly in homage to Brahms. It is, for all intents and purposes, a scherzo. Its opening theme is dance-like in rhythm and serial in melody, consistently mixing familiar and unfamiliar procedures. The trio section abounds in violent rhythmic accents. As always in Schoenberg, the recapitulation is strongly modified, yet the dance-like main melody is clearly recongnizable.
The fourth-movement "Rondo" uses the same contrast between symmetrical rhythmic patterns and serial pitch structure as does the "Intermezzo." It is a piece characterized by great vigor and textural diversity that, after a powerful climax, ends surprisingly on a quiet, understated tone.
Schoenborji's Third Quartet was com-
missioned by Elizabeth Sprague Coolidge, the great American patroness of new music who championed the music of many of the century's greatest composers, including Webern, Bartok, Stravinsky and Prokofiev. The first performance was given by the Kolisch Quartet in Vienna on September 19,1927.
Program note by Peter Laki
String Quartet No.3 in F, Op.73
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg
Died August 9, 1975 in Moscow
By the time Shostakovich sat down to tackle his Third Quartet, World War II was finally over and the composer had resettled with his family in Moscow, where he took up a teaching position at the Moscow Conservatory. Shostakovich dedicated his new quartet, completed on August 2,1946, to the members of the Beethoven Quartet, who gave the premiere in Moscow on December 16,1946. The peaceful respite did not last long. Between the dates of comple?tion and premiere, Russia's artistic intelli?gentsia was shaken by fresh upheavals. The composer himself had renewed cause for alarm: though overshadowed by official decrees on literature and drama and by the vilification of writers Anna Akhmatova and Mikhail Zoshchenko, a ruthless attack on Shostakovich and his Symphony No. 9 appeared. Even after the Quartet No. 3 was suppressed in 1948 -along with most of his finest works -Shostakovich continued to regard it as one of his most successful compositions.
Like his Symphony No. 8 and his Symphony No. 9, Shostakovich cast the Quartet No. 3 in five movements. The struc?tural parallels with the former are particu?larly striking: while the opening movement
of the Quartet No. 3 has temperamental affinities with the Symphony No. 9, the inner movements -including a fourth-move?ment passacaglia -have their direct con?ceptual counterparts in the Symphony No. 8. The main theme of the Quartet's sonata-form first movement skips along like a care?free polka. Concerned lest the humor in this music be misinterpreted, Shostakovich instructed that the movement should be played not cockily, but with tenderness. Noteworthy in the second movement is the synchronous staccato "tiptoeing" of the four instruments in the middle section.
The effect of the brusque chords of the third movement, the aggressive, hard-edged insistence of its headlong drive (intensified here by the unpredictablility of alternating meters), is something that Shostakovich returns to in subsequent quartets. The dot?ted rhythms of the quasi-passacaglia (the repetitions of the theme are not entirely continuous), as well as the characteristic funeral march accompaniment that makes its appearance on the fourth repetition, also herald an obsession with the theme of death that will increase in later works. The final movement, to which the closing measures of the fourth movement lead without pause, has the character of a lilting barcarolle, with somewhat pensive overtones. At the emo?tional climax of the movement, Shostakovich brings back the passacaglia theme in canon between viola and cello (fjffexpressivo). Reminiscences of themes from earlier move?ments, as well as the seamless linking of movements, are among the composer's favorite techniques for achieving a sense of cyclic unity.
Program note by Laurel E. Fay
The Hagen Quartet began attracting attention while its members were still students at the Mozarteum in Salzburg. The young musicians (Lukas Hagen and Rainer Schmidt, violins; Veronika Hagen, viola; Clemens Hagen, cello; Rainer Schmidt joined the ensemble in 1987) received strong encouragement and inspira?tion for older colleagues such as Gidon Kremer, Walter Levin, Heinrich Schiff, Sandor Vegh and Nicholas Harnoncourt. Among the milestones of the ensemble's career are first prizes at the 1982 Portmouth and the 1983 Evian competitions.
Today, the Hagen Quartet belongs to the elite of international string quartets. It has developed a reputation for its bold interpretations and challenging program?ming, and for its flawless technique and ensemble work. The Hagen Quartet makes frequent appearances at all the major music centers of Europe, including Berlin, Vienna, London, Paris and Amsterdam. It has toured extensively in the United States, South America, Asia, and Australia. In addition,
the Quartet regularly performs at Europe's leading festivals, including annual apper-ances at the Salzburg and Lockenhaus Chamber Music Festivals.
Since 1985, the Hagen Quartet has held an exclusive contract with Deutsche Grammophon, one of only two string quar?tets to record presently with the esteemed company. Two of its many recordings have been awarded the Grand Prix International du Disque: their 1987 interpretation of Dvorak and Kodaly works, and their 1990 recordings of three Haydn Quartets. In addition, the group has twice been the recipient of the Prix Cecilia award, and in 1987 produced a film with Unitel.
This performance marks The Hagen Quartet's second appearance under UMS auspices.
Hagen String Quartet
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
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.
Hungry
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 q
MET QujBtfSMtfSir 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 of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 734.936.6837 for more information and to receive a brochure.
Restaurant & Lodging Packages
Celebrate in style with dinner and a show, or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening. Add luxury accommodations to the package and make it a complete get away. The University Musical Society is pleased to announce their cooperative ventures with the following local establishments:
Paesano's Restaurant
3411 Washtenaw Road, Ann Arbor. Reservations: 734.971.0484 Sun. Feb. 22 Mendelssohn's Elijah
Tue. Mar. 24 Russian National OrchestraGil Shaham, violin Mon.Apr. 13 Evgeny Kissin, piano
Package price $52 per person (with tax & tip incorporated) includes: Guaranteed dinner reservations (select any item from the special package menu) and reserved "A" seats on the main floor at the performance for each guest.
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue, Ann Arbor. Reservations: 734.769.0653 loin Ann Arbor's most theatrical host & hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes: two nights' stay, breakfast, high tea and two priority reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 S. Thayer, Ann Arbor. Reservations: 734.769.3010 Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style deluxe guest room within walking distance of the performance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and great seats to the show. Beat the winter blues in style!
Fri. Jan. 9 David Daniels, countertenor
Sat. Ian. 10 Israel Philharmonic Orchestra
Fri. Jan. 30 Beethoven the Contemporary: American String Quartet
Fri. Feb. 13 Juan-Jose' Mosalini and His Grand Tango Orchestra
Sat. Feb. 14 Chen Zimbalista, percussion
Fri. Feb. 20 Chick Corea, piano and Gary Burton, vibes
Fri. Mar. 13 New York City Opera National Company
Donizetti's Daughter of the Regiment Sat. Mar. 21 Batsheva Dance Company of Israel Sat. Mar. 28 Paco de Lucia and His Flamenco Orchestra Package price $199 (+ tax 8t gratuity) per couple ($225 for the Israel Philharmonic Orchestra) includes: valet parking at the lotel, overnight accommodations in a deluxe guest room with a :ontinental breakfast, pre-show dinner reservations at the Hscoffier restaurant in the Bell Tower Hotel, and two performance ickets with preferred seating reservations.
Sratzi Restaurant
326 S. Main Street, Ann Arbor. Reservations: 734.663.5555 Sun. Jan. 18 Boys Choir of Harlem Thu. Feb. 19 Petersen Quartet rhu. Mar. 12 New York City Opera National Company
Donizetti's Daughter of the Regiment cri. Apr. 3 STREB
3ackage price $45 per person includes: guaranteed reservations or a pre-show dinner (select any item from the menu plus a non-ilcoholic beverage) and reserved "A" seats on the main floor at the 'erformance.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
Make your gift stand out from the rest: call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
The UMS Card
The University Musical Society and the following businesses thank you for your generous UMS sup?port by providing you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Art Center Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc.
of Ann Arbor Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques
John Leidy Shop Kerrytown Bistro King's Keyboard House
LeDog
Marty's Menswear
Maude's
Michigan Car Services,
Inc. and Airport
Sedan, LTD Paesano's Perfectly Seasoned Regrets Only Ritz Camera One Hour
Photo
SKR Classical Schoolkids Records Shaman Drum Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at seventeen other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS box office for more information.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 125,000 of southeastern Michigan's most loyal concertgoers.
Advertising
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.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your investment. For example, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image Launching new products Cultivating clients
Developing business-to-business relationships Targeting messages to specific demographic
groups
Making highly visible links with arts and
education programs Recognizing employees Showing appreciation for loyal customers
For more information, call 734.647.1176
Eleanor Roosevelt
Robert Frost
Vladimir Horowitz
William D Revelli
Eugene Oimandy
Jessye Norman
The many faces of Hill
For over 80 years, Hill Auditorium has hosted great poets, great thinkers and great musical artists. But the years have taken their toll on this magnificent building. The Campaign for Hill is our chance to give something back...and assure that Hill Auditorium will face a bright and beautiful future.
Please, make your pledge today to the Campaign for Hill.
For information, call (313) 647-6065.
THE
CAMPAIGN
FOR
HILL
A Highlight of the Campaign for Michigan
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.
Acknowledgments
In an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary Halls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies. Thanks to Ford Motor Company for the use of a Lincoln Town Car to provide transportation for visiting artists.
Ford Honors Program
The Ford Honors program is made possible by a generous grant from the Ford Motor Company and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored and in 1997 UMS honored Jessye Norman.
This year's Ford Honors Program will be held Saturday, May 9. The recipient of the 1998 UMS Distinguished Artist Award will be announced in early February.
Thank You!
Great performances--the best in music, theater and dance--are pre?sented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, who constitute the members of the Society. The list below represents names of current donors as of November 1, 1997. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this right away. The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
BURTON TOWER SOCIETY
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great traditions of the Society in the future.
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy Niehoff Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Helen Ziegler Mr. and Mrs. Ronald G. Zollars
SOLOISTS
Individuals
Randall and Mary Pittman
Herbert Sloan
Paul and Elizabeth Yhouse
Businesses
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical Research
MAESTROS
Individuals
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
Businesses
Consumers Energy
Detroit Edison Foundation
Ford Motor Credit Company
JPEincThe Paideia Foundation
McKinley Associates
NBD
NSK Corporation
The Edward Surovell Co.Realtors
TriMas Corporation
University of Michigan -
University Relations Wolverine Temporaries, Inc.
Foundations
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
VIRTUOSI
Individuals Robert and Ann Meredith Prudence and Amnon Rosenthal Edward Surovell and Natalie Lacy
Businesses General Motors Great Lakes Bancorp
CONCERTMASTERS
Individuals
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
Businesses
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
LEADERS
Individuals Robert and Martha Ause Maurice and Linda Binkow Barbara Everitt Bryant Dr. and Mrs. James P. Byrne Edwin F. Carlson Mr. Ralph Conger Katharine and Jon Cosovich Mr. and Mrs.
Thomas C. Evans Ken, Penny and Matt Fischer lohn and Esther Floyd Sue and Carl Gingles Mercy and Stephen Kasle John and Dorothy Reed Prudence and
Amnon Rosenthal Don and
Judy Dow Rumelhart Maya Savarino Professor Thomas J. and
Ann Sneed Schriber Raymond Tanter Richard E. and
Laura A. Van House Mrs. Francis V.Viola III Marion T. Wirick and
James N. Morgan
Businesses AAA of Michigan Arbor Temporaries
Personnel Systems, Inc. Butzel Long Attorneys Environmental Research
Institute of Michigan KeyBank
MaudesMain Street Ventures St. Joseph Mercy Hospital Target Waldenbooks
Foundations The Mosaic Foundation (of Rita and Peter Heydon)
PRINCIPALS
Individuals
Dr. and Mrs. Gerald Abrams
Professor and Mrs.
Gardner Ackley Or. and Mrs. Robert G. Aldrich Janet and Arnold Aronoff Mr. and Mrs. Max K. Aupperle Dr. Emily W. Bandera Bradford and Lydia Bates Raymond and Janet Bernreuter Joan A. Binkow Howard and Margaret Bond Jim Botsford and
Janice Stevens Botsford Jeannine and Robert Buchanan Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Jean and Kenneth Casey Pat and George Chatas Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Susan and Arnold Coran Alan and Bette Cotzin Dennis Dahlman Peter and Susan Darrow Jack and Alice Dobson Jim and Patsy Donahey Jan and Gil Dorer Cheri and Dr. Stewart Epstein David and Jo-Anna Featherman Adrienne and Robert Feldstein Ray and Patricia Fitzgerald Richard and Marie Flanagan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Margaret Fisher and
Arthur French Mr. Edward P. Frohlich Lourdes and Otto Gago
Marilyn G. Gallatin Beverley and Gerson Geltner William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Enid M. Gosling Norm Gottlieb and
Vivian Sosna Gottlieb Ruth B. and
Edward M. Gramlich Linda and Richard Greene Frances Greer Susan R. Harris Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Dr. and Mrs. Sanford Herman Bertram Herzog Julian and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Keki and Alice Irani Stuart and Maureen Isaac Herbert Katz
Thomas and Shirley Kauper Emily and Ted Kennedy Bethany and
A. William Klinke II Michael and Phyllis Korybalski Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Bob and Laurie LaZebnik Elaine and David Lebenbom Carolyn and Paul Lichter Peter and Sunny Lo Robert and Pearson Macek Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. and Mrs. Donald A. Meier Jeanne and Ernie Merlanti
Dr. H. Dean and
Dolores Mill.ml 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 Wetzd Douglas and Barbara White Elizabeth B. and
Walter P. Work, Jr.
4 2 Principals, continued
Businesses
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
Foundations
Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation The Power Foundation
BENEFACTORS
Individuals
Inn and Barbara Adams
Bernard and Raquel Agranoff
M. Bernard Aidinoff
Dr. and Mrs. Peter Aliferis
Dr. and Mrs. Rudi Ansbacher
Catherine S. Arcure
lames R. Baker, Jr., M.D. and
Lisa Baker
Robert and Wanda Bartlett Karen and Karl Bartscht Ralph P. Beebe Mr. and Mrs. Philip C. Berry Suzanne A. and
Frederick J. Beutler John Blankley and
Maureen Foley Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Tina Bowen Laurence Boxer, M.D.;
Grace J. Boxer, M.D. David and Sharon Brooks Kathleen and Dennis Cantwell Bruce and Jean Carlson Tsun and Siu Ying Chang
Mrs. Raymond S. Chase Sigrid Christiansen and
Richard Levey Roland J. Cole and
Elsa Kircher Cole lames and Constance Cook H. Richard Crane Alice B. Crawford William H. and
Linda J. Damon III Benning and Elizabeth Dexter Judy and Steve Dobson Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs. Cameron B. Duncan Dr. and Mrs. John H. Edlund Mr. and Mrs. Charles Eisendrath Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Mrs. Beth B. Fischer Daniel R. Foley Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox
Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach
Wood and Rosemary Geist Charles and Rita Gelman Henry and Beverly Gershowitz Margaret G. Gilbert Joyce and Fred M. Ginsberg Grace M. Girvan Paul and Anne Glendon Dr. Alexander Gotz Dr. and Mrs. William A. Gracie Elizabeth Needham Graham Jerry M. and Mary K. Gray Lila and Bob Green John R. and Helen K. Griffith Leslie and Mary Ellen Guinn Bita Esmaeli, M.D. and
Howard Gutstein, M.D. Mr. and Mrs. Elmer F. Hamel Mr. and Mrs. Ramon Hernandez Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNultv
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. Lcgatski Myron and Bobbie Levine Evie and Allen Lichter Dean and Gwen Louis Mr. and Mrs. Carl J. Lutkehaus Brigitte and Paul Maasscn John and Cheryl MacKrell Ken Marblestone and
Janisse Nagel
Hattie and Ted McOmber Ted and Barbara Meadows Walter and Ruth Metzger Mr. and Mrs. Francis L Michaels John and Michelle Morris Martin Neuliep and
Patricia Pancioli M. Haskell and
Jan Barney Newman Len and Nancy NiehofT Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell Mary R Parker William C. Parkinson Lorraine B. Phillips Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Richard L. Prager, M.D. Jerry and Lorna Prescott
Richard H. and Mary B. Price Tom and Mary Princing Mrs. Gardner C. Quartern William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Stephen and Agnes Reading Jim and Bonnie Reece La Vonne and Gary Reed Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Restuccia Katherine and William Ribbens Barbara A. Anderson and
John H. Romani Mary R. Romig-deYoung Gustave and Jacqueline Rosseels Mrs. Doris E. Rowan Sheldon Sandweiss Meeyung and Charles Schmitter Mrs. Richard C. Schneider Joseph and Patricia Settimi Helen and George Siedel Mrs. Charles A. Sink Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Mrs. Ralph L. Steffek Mr. and Mrs. John C. Stegeman Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Dr. and Mrs. E Thurston Thieme Joan Lowenstein and
Jonathan Trobe Herbert and Anne Upton Joyce A. Urba and
David J. Kinsella Don and Carol Van Curler Gregory and Annette Walker Dr. and Mrs. Andrew S. Watson 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
Businesses
The Ann Arbor News
The Ann Arbor District Library
B [-Because Company's Coming
Coffee Express Co.
General Systems Consulting
Group Jewish Federation of
Metropolitan Chicago Arbor TemporariesPersonnel
Systems, Inc.
St. Joseph Mercy Hospital United Jewish Foundation of
Metropolitan Detroit Van Boven Shoes, Inc.
Foundations Shiffman Foundation Trust
ASSOCIATES
Individuals
Anastasios AJexiou Christine Webb Alvey Dr. and Mrs. David G. Anderson Hugh and Margaret Anderson David and Katie Andrea Harlene and Henry Appelman Mr. and Mrs. Arthur J. Ashe Essel and Menakka Bailey Julie and Bob Bailey Gary and Cheryl Balint Lesli and Christopher Ballard John and Betty Barfield Norman E. Barnett Dr. and Mrs. Mason Barr, Jr. Leslie and Anita Bassett Astrid B. Beck and
David Noel Freedman Kathleen Beck Ncal Bedford and
Gerlinda Melchiori 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. Cordes
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 Joan and Emil Engel Don Faber and Jeanette Luton Dr. and Mrs. Stefan Fajans Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Dr. James F. Filgas Herschel and Annette Fink Joseph J. Fitzsimmons Stephen and Suzanne Fleming Jennifer and Guillermo Flores Ernest and Margot Fontheim James and Anne Ford Deborah and Ronald Freedman Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and Mrs.
David M. Gates
Thomas and Barbara Gelehrter Elmer G. Gilbert and
LoisM.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 Samuelson and Joel Howell Che C. and Teresa Huang Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Robert B. Ingling Professor and Mrs.
John H. Jackson
K. John Jarrett 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. Lapcza Ted and Wendy Lawrence John and Theresa Lee Richard LeSueur Jody and Leo Lighthammer Leslie and Susan Loomans Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Donald and Doni Lystra Jeffrey and Jane Mackie-Mason Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Edwin and Catherine Marcus Geraldine and Sheldon Markel Rhoda and William Martel Sally and Bill Martin Dr. and Mrs. Josip Matovinovic Mary and Chandler Matthews Mary Mazure and Andy Tampos Margaret E. McCarthy Kevin McDonagh and
Leslie Crofford Griff and Pat McDonald James and Kathleen McGauley Leo and Sally Miedler Jeanette and Jack Miller Dr. M. Patricia Mortell Sally and Charles Moss Dr. Eva L. Mueller Dr. and Mrs. Gunder A. Myran Marianne and Mutsumi Nakao Edward and Betty Ann Navoy Frederick C. Neidhardt and
Germaine Chipault Barry Nemon and
Barbara Stark-Nemon
44 Associates, continued
Mr. and Mrs. James O'Neill Mark Ouimet and
Donna Hrozencik Donna D. Park Shirley and Ara Paul Dr. Owen Z. and Barbara Perlman Margaret D. and John Petersen Frank and Nelly Petrock William and Barbara Pierce Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonne Plantinga Lana and Henry Pollack Stephen and Tina Pollock Bill and Diana Pratt Larry and Ann Preuss Charleen Price Wallace Prince
Mr. and Mrs. Millard H. Pryor J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Michael and Helen Radock Homayoon Rahbari, M.D. Anthony L. Reffells and
Elaine A. Bennett Constance Rinehart Ken and Nina Robinson Gay and George Rosenwald Jerome M. and Lee Ann Salle Gary and Arlene Saxonhouse Dr. Albert J. and Jane L. Sayed
David and Marcia Schmidt
Marvin and Harriet Selin
Howard and Aliza Shcvrin
George and Gladys Shirley
Alida and Gene Silverman
Scott and Joan Singer
John and Anne Griffin Sloan
Alene M. Smith
Carl and Jari Smith
Mrs. Robert W. Smith
Virginia B. Smith
Jorge and Nancy Solis
Dr. Elaine R. Soller
Lois and William Solomon
Katharine B. Soper
Dr. Yoram and Eliana Sorokin
Juanita and Joseph Spallina
L. Grasselli Sprankle
Barbara and Michael Steer
Dr. and Mrs. Stanley Strasius
Charlotte Sundelson
Brian and Lee Talbot
Ronna and Kent Talcott
Mary D. Teal
Lois A. Theis
Edwin J. Thomas
Mr. and Mrs. W. Paul Tippett
Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Trcciak Van Dam Hugo and Karla Vandersypen
Jack and Marilyn van der Velde
Michael L. Van Tassel
William C. VasseU
John and Maureen Voorhees
Sally Wacker
Ellen C. Wagner
Mr. and Mrs. Norman C. Wait
Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mrs. Joan D. Weber Deborah Webster and
George Miller Harry C. White and
Esther R. Redmount Janet F. White Shirley M. Williams Thomas and Iva Wilson Farris and Ann Womack Mr. and Mrs. A. C. Wooll Phyllis B. Wright Don and Charlotte Wyche Mr. and Mrs. Edwin H. Young Gail and David Zuk
Businesses
Atlas Tool, Inc.
Edwards Brothers, Inc.
Hagopian World of Rugs
John Leidy Shop, Inc.
Lewis Jewelers
Mariano Pallares, International
Translating Bureau, Inc. Scientific Brake and
Equipment Company University Microfilms
International
Foundations
Ann Arbor Area Community
Foundation Shlomo and Rhonda Mandell
Philanthropic Fund
ADVOCATES
Individuals
Jim and lamic Abelson
John R. Adams
Tim and Leah Adams
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. Allardycc
Michael AHemang
fames and Catherine Allen
Richard and Bcttyc Allen
Augustine and Kathleen Amaru
Helen and David AminofT
Dr. and Mrs. Charles T. Anderson
Howard Ando and Jane Wilkinson
Drs. James and
Cathleen Culotta-Andonian Catherine M. Andrea T. L. Andresen
Dr. and Mrs. Dennis L. Angcllis Elaine and Ralph Anthony Patricia and Bruce Arden Bert and Pat Armstrong Gaard and Ellen Arncson
Mr. and Mrs. Lawrence E. Arnett
Jeff and Deborah Ash
Mr. and Mrs. Dan E. Atkins III
Jim and Patsy Auiler
Eric M. and Nancy Auppcrle
Erik W. and Linda Lee Austin
Eugene and Charlene Axelrod
Shirley and Don Axon
Jonathan and Marlene Aycrs
Virginia and Jerald 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 Barera Cy and Anne Barnes Robert and Sherri Barnes Laurie and Jeffrey Barnett Donald C. Barnette, Jr. Mark and Karla Bartholomy Dorothy W. Bauer R. T. Bauer
Mr. and Mrs. Steven R. Beckert Marquita Bedway Waller and Antjc Benenson Merete and Eriing Blondal Bengtsson Bruce Benncr Linda and Ronald Benson Joan and Rodney Bentz Mr. and Mrs. Ib Bentzcn-Bilkvist Helen V. Berg Mr. and Mrs. S.E. Berki L. S. Berlin
Abraham and Thclma Bcrman Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Mark Bcrtz Bharat C. Bhushan William and Ilene Birge Elizabeth S. Bishop Art and Betty Blair Marshall and Laurie Blondy Henry Blosser Dr. George and Joyce Blum Beverly J. Bole
Mr. and Mrs. Mark D. Bomia Dr. and Mrs. Frank Bongiorno Rebecca and Harold Bonnell Ed and Luciana Borbcly Lola J. Borchardl Gil and Mona Borlaza Dr. and Mrs. David Bostian Bob and Ian Bower Melvin W. and Ethel F. Brandt Robert and Jacqueline Bree Professor and Mrs. Dale E. Briggs Allen and Veronica Britton Olin L. Browder Linda Brown and Joel Goldberg Molly and fohn Brueger 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 Canncll Dr. and Mrs. James E. Carpenter Ian and Steve Carpman Dennis B. and Margaret W. Carroll Carolyn M. Carty and Thomas H. Haug [ohn and Patricia Carver Kathran M. Chan William and Susan Chandler J. Wehrley and Patricia Chapman Dr. Carey A. Charles Joan and Mark Chester George and Sue Chism Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Robert . 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 Mariorie Comfort Kevin and Imlv Compton Patrick and Anneward Conlin Sandra S. Connellan Janet Cooke
Dr. and Mrs. William W. Coon Gage R. Cooper Mr. and Mrs. Herbert Couf Paul N. Courant and Marta A. Manildi Clifford and Laura Craig Marjorie A. Cramer Mr. Michael J. and Dr. loan Crawford Mr. and Mrs. Richard Crawford Lawrence Crochier Constance Crump and lay Simrod Mr. and Mrs. lames I. Crump, Jr. )ohn and Carolyn Rundell Culotta Richard J. Cunningham Mary R. and John G. Curtis Jeffrey S. Cutter
Roderick and Mary Ann Daane Marylce Dalton Lee and Millie Danielson Jane and Gawaine Dart Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Mr. and Mrs. Roy C. Davis David and Kay Dawson Joe and Nan Decker Lloyd and Genie Dethloff Elizabeth and Edmond DcVine A. Nelson Dingle Dr. and Mrs. Stephen W. Director Dr. and Mrs. Edward R. Doezema Fr. Timothy J. Dombrowski Hilde and Ray Donaldson Steven and Paula Donn Thomas Doran Dick and Jane Dorr Prof William Gould Dow Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Drcffs John Drydcn and Diana Raimi Jean and Russell Dunnaback Edmund and Mary Durfee John W. Durstinc Gloria Dykhousc George C. and Roberta R. Earl
Jacquelynne S. Ecclcs
Elaine Economou and Patrick Conlin
Mr. and Mrs. Richard Edgar
Mr. and Mrs. John R. Edman
Sara and Morgan Edwards
Rebecca Eisenberg and Judah Garber
David A. Eklund
Judge and Mrs. S.J. Elden
Sol and Judith Elkin
Ethel and Sheldon Ellis
James Ellis and Jean Lawton
Mrs. Genevieve Ely
Mackenzie and Marcia Endo
Jim and Sandy Eng
David and Lynn Engelbert
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.
lnk.i and David Felbeck
Reno and Nancy Feldkamp
Phil and Phyllis Fellin
Ruth Fiegel
Carol Finerman
Clay Finkbeiner
C. Peter and Bev A. Fischer
Mr. and Mrs. Gerald B. Fischer
Lydia H. Fischer
Patricia A. Fischer
Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher
Susan R. Fisher and John W. Waidley
Winifred Fisher
Barbara and James Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
David and Ann Flucke
Scott and Janet Fogler
Mr. and Mrs. George W. Ford
Susan Goldsmith and Spencer Ford
Bob and Terry Foster
Ronald Frackcr
Tom Franks, Jr.
Richard and Joann Freethy
Andrew and Deirdre Freiberg
Otto W. and Helga B. Freitag
Gail Fromes
Philip And Rcnee Frost
Lela J. Fuester
Joseph E. Fugerc and
Marianne C. Mussett Ari and liana Garni Jane Galantowicz Thomas H. Galantowicz Arthur Gallagher Mrs. Shirley H. Garland Del and Louise Garrison Janet and Charles Garvin luit.i Gerber Ina Hancl-Gerdenich Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Gcnnc and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas flan 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
11 win J. Goldstein and Marty Mayo
Mrs. Esztcr Gombosi
Mitch and Barb Goodkin
Sclma and Albert Gorlin
William and lean 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 I. Gribble Werner H. Grilk Richard and Marion Gross Robert M. Grover Robert and Linda Grunawalt Dr. Robert and )ulie 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. Ham pel
Lourdes S. Bastos Hansen
Charlotte Hanson
Herb and Claudia Harjes
Dr. Rena Harold
Nile and Judith Harper
Stephen G. and Mary Anna Harper
Mr. and Mrs. Randy 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 Helmreich
Karl Henkel and Phyllis Mann
Margaret Martin Hermel
C.C. Herrington, M.D.
Carl and Charlene Hcrstein
Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Jacques Hochglaube, M.D., P.C. Jane and Dick Hocrner Anne Hoff and George Villec Bob and Fran Hoffman Carol and Dieter Hohnke
4 6 Advocates, continued
John 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 Jim and Wendy Fisher House Dr. and Mrs. Jeffrey Housner Helga Hover
Drs. Richard and Diane Howlin Charles T. Hudson Mr. and Mrs. William Hufford Joanne Winkleman Hulce Ann D. Hungerman Diane Hunter and Bill Zicgler 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 lacobson Marilyn G. Jeffs
Professor and Mrs. Jerome fclinck Keith Jensen JoAnn J. Jeromin
Paul and Olga Johnson Dr. Marilyn S. Jones Stephen G. Josephson and
Sally C. Fink Tom and Marie Juster 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 Maxinc and David Katz Nick and Meral Kazan Janice Keller
lames A. Kelly and Mariam C. Noland John 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 Castlcman 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 ). Bucci and lanet Kreiling
William G. Kring
Alan and (can Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs. lames Labes
Jane Laird
Mr. and Mrs. Seymour Lampert
lanet Landsberg
Patricia M. Lang
Lome L. Langlois
Carl and Ann La Rue
Ms. Jill 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 Jean Manis
Alice and Bob Marks
Ann W. Martin
Rebecca Martin
Mr. and Mrs. Stephen D. Marvin
Debra 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 Bill and Ginny McKeachie Fred McKenzie
Daniel and Madelyn McMurtrie Nancy and Robert Meader Anthony and Barbara Medeiros Samuel and Alice Meiscls Robert and Doris Melling Mr. and Mrs. Warren A. Merchant Debbie and Bob Merion Hely Merle
Bcrnice and Herman Merte
Russ and Brigcttc Merz
Henry D. Messcr Carl A. House
Ms. Anna Meyendorff
Professor and Mrs. Donald Meyer
Valerie Meyer
Shirley and Bill Meyers
Dr. William P. Mies
William and Joan Mikkclsen
Carmen and Jack Miller
Robert Rush Miller
Kathleen and fames Mitchiner
Mr. and Mrs. William G. Moller, Jr.
lini and Jeanne Montie
Lester and Jeanne Monts
Rosalie E. Moore
Mr. 1 i n ,111 R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley Paul and Terry Morris Robert C. Morrow Brian and Jacqueline Morton Cyril and Rona Moscow James and Sally Mueller Marci Mulligan and
Katie Mulligan (youth) Gavin Eadie and Barbara Murphy Laura and Charles Musil Linda M. Nadeau Rosemarie Nagcl Isabelle Nash
Randy and Margaret Nesse Susan and Jim Newton John and Ann Nicklas Mrs. Marvin Niehuss Shinobu Niga Susan and Richard Nisbett Laura Nitzberg and Thomas Carli Dr. Nicole Obregon John and Lexa O'Brien Patricia O'Connor Richard and )oyce Odell Mr. J.L.Oncley
Karen Koykka O'Neal and foe O'Neal Kathleen I. Operhall 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 ). Patterson Robert and Arlene Paup Hon. Steven and lanet 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 Randlc and James Eng Alfred and lackie Raphaelson Dr. and Mrs. Robert Rapp Mr. and Mrs. Douglas ). Rasmussen Mr. and Mrs. Robert H. Rasmussen Sandra Reagan Katherine R. Reebel Stanislav and Dorothy R. Rehak John and Nancy Reynolds
Alice Rhodes
Ms. Donna Rhodes
Paul Rice
lames and Helen Richards
Mrs. F.E. Richarl (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. Loeffler and
Richard K. Rohrcr Elizabeth A. Rose Bernard and Barbara Rosen Drs. Stephen Rosenblum and
Rosalyn Sarver
Richard Z. and Edie W. Rosenfdd Marilynn M. Rosenthal Michael and Margie Rudd Roger and O.J. Rudd Dr. and Mrs. Raymond W. Ruddon Samuel and Irene Rupert Robert and Beth Ruskin Mitchell and Carole Rycus Ellen and lim Saalberg Theodore and Joan Sachs Arnold Sameroff and
Susan McDonough Miriam S. JofFe Samson Ina and Terry Sandalow [ohn and Reda Santinga Sarah Savarino Helga and Jochen Schacht Lawrence and Marilyn Schlack Courtland and Inga Schmidt Charlene and Carl Schmult, Ir. Thomas Schramm Carol Schreck
Gerald and Sharon Schrcibcr Sue Schroeder Albert and Susan Schultz Aileen M. Schulze Drs. R. R. Lavelle and M. S. Schuster Alan S. and Sandra Schwartz Ed and Sheila Schwartz Jonathan Bromberg and
Barbara Scott David and Darlenc Scovell Michael and Laura Seagram E. J. Sedlander Sylvia and Leonard Scgel 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 Elvera Shappirio Rev. William J. Sherzer Cynthia Shevel Drs. Jean and Thomas Shope Hollis and Martha Showalter Pam and Ted Shultz Ned Shure and Jan Onder John and Arlene Shy Milton and Gloria Sicgcl Eldy and Enrique Signori Drs. Dorit Adler and Terry Silver Clostella Simmons-Winbush Sandy and Dick Simon Frances U. and Scott K. Simonds Michael and Maria Simonte
Robert and Elaine Sims
Donald and Susan Sinta
Mrs. Loretta M. Skewes
Irma J. Sklenar
Beverly N. Slater
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard Soble and Barbara Kcsslcr
Richard and Julie Sohnly
[ames A. Somers
Mina Diver Sonda
Mrs. Herbert W. Spendlove (Anne)
Jeff Spindler
Edmund Sprungcr
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 Stefanski
Virginia and Eric Stein
William and Georgine Steude
Barbara and Bruce Stevenson
Harold and Nancy Stevenson
Steve and Gaylc Stewart
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
W. E Stolper
Anjanette M. Stoltz, M.D.
Ellen M. Strand and Dennis C, Regan
Mrs. William H. Stubbins
Valerie Y. Suslow
Peg Talburtt and Jim Peggs
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Leslie and Thomas Tentler
George and Mary Tewksbury
Gauri Thergaonkar and Giri 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 MerlingTsai
Marilyn Tsao and Steve Gao
Jeff and Lisa Tulin-Silver
Jan and Nub Turner
Carol Turner
Dolores J. Turner
Dr. Hazel M. Turner
William H. and Gerilyn K. Turner
Taro Ueki
Alvan and Katharine Uhle
Mary L. Unterburger
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Bram and Lia van Leer
Fred and Carole S. Van Reesema
Kate and Chris Vaughan
Phyllis Vcgter
Sy and Florence Veniar
Alice and Joseph Vining
Jane and Mark Vogel
Carolyn and Jerry Voight
Wendy L. Wahl, M.D. and
William Lee, M.D. Jerry Walden and Julia Tiplady Richard and Mary Walker
Bruce and Raven Wallace Mr. and Mrs. Chip Warrick Lorraine 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 lack and jerry Weidcnbach Donna G. Weisman Barbara Weiss Carol Campbell Welsch and
John Welsch
Rosemary and David Wescnberg Mr. and Mrs. Peter Westen Tim and Miin Westerdale Ken and Cherry Westerman Susan and Peter Westerman Marjorie Westphal Paul L Duffy and Marilyn L Wheaton Ruth and Gilbert Whitaker B. Joseph and Mary White Iris and Fred Whitehouse Mr. and Mrs. Nathaniel Whitesidc Mr. and Mrs. Carl A. Widmann William and Cristina Wilcox Brymer and Ruth Williams Reverend Francis E. Williams Beverly and Hadley Wine Jan and Sarajane Winkelman Beth and I. W. Winsten Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Jeffrey and Linda Witzburg Charlotte Wolfe
47
Patricia and Rodger Wolff
Dr. and Mrs. Ira S. Wollner
Muriel and Dick Wong
Nancy and Victor Wong
I. D. Woods
Charles R. and lean L. Wright
Ben and Fran Wylie
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. Zeisler
Peter and Teresa Ziolkowski
David S. and Susan H. Zurvalec
Businesses
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
Foundations
Alan and Marianne Schwartz-The Shapiro Foundation
MEMORIALS
John H. Bryant Margaret Crary Mary Crawford George R. Hunsche Alexander Krezel, Sr. (Catherine Mabarak Frederick C. Matthaei, Sr. Steffi Reiss Ralph L. Steffek Clarence Stoddard William Swank Charles R. Tieman John F. Ullrich Ronald VandenBelt Francis Viola HI Carl H. Wilmot Peter Holderness Woods Helen Ziegler
IN-KIND GIFTS
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 Paulctt and Peter Banks Gail Davis Barnes Ede Bookstein Janice Stevens Botsford The Boychoir of Ann Arbor Brewbakers Barbara Everitt Bryant Butzcl 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 Caffcs Damian and [Catherine Farrell Judy Fike of J'Cakes Beth and Joe Fitzsimmons Guillermo and Jennifer Flores Ford Electronics Gallery Von Glahn The Gandy Dancer Beverly and Gerson Gcltner Generations for Children Lee GillesGreat Frame Up Renee GrammaticoVoila Linda and Richard Greene Daphne Grew Jim Harbaugh Foundation Marilyn HarberGeorgetown Gifts Esther Hcitlcr J. Downs Herald Matthew and Kerry Hoffmann Kim Hornberger Kay and Tom Huntzicker Stuart and Maureen Isaac John Isles
Jeffrey Michael Powers Beauty Spa
Urban Jupena and Sieve Levicki
Gerome Kamrowski
Stephen and Mercy Kaslc
(Catherine's Catering
Martha Rock Keller
Ed Klum
Craig L Kruman
Diane KurbatofT
Henry and Alice Landau
John Leidy Shop
Don and Gcrri Lewis
Stephanie Lord
Market Strategies, Inc.
Marty's Menswear
Michigan Theater
Ron Miller
Moe Sport Shops
Monahan's Seafood Market
Motif Hair by Design
The Moveable Feast
Rosemaric Nagcl
Susan and Richard Nisbett
John and Cynthia Nixon
Baker O'BrienThe Labino Studio
Christine Oldenburg
Karen Koykka O'Neal
Mary and Bill Palmer
Pen in Hand
Maggie LongPerfectly Seasoned
Chris W. Petersen
Mary and Randall Pittman
Polygram
Sharon and Hugo Quiroz
Radrick Farms Golf Course
leva Rasmussen
Regrets Only
Nina Hauscr Robinson
Richard and Susan Rogcl
Susan Tait of Fitness Success
Maya Savarino and Raymond Tanter
Sarah Savarino
Ann and Tom Schriber
Boris Sellers
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Aliza and Howard Shevrin
George Shirley
John Shultz
Dr. Herbert Sloan
David Smith
Steven Spencer
John Sprentall
Deb Odom Stern
Nat Lacy and Ed Surovell
Sweet Lorraine's
Tom Thompson
TIRA's Kitchen
Donna Tope
Tom TrocchioAtys
University of Michigan
Charlotte Van Curler
Kathleen and Edward VanDam
Karla Vandersypen
Warner Electric Atlantic
Emil Weddige
Ron and Eileen Weiser
Marina and Robert Whitman
Whole Foods
Sabrina Wolfe
Young People's Theater
Troubadours
Ann and Ralph Youngren
Zingerman's
Advertiser Index
42 Afterwords
27 Ann Arbor Acura
50 Ann Arbor Commerce Bank
12 Ann Arbor Reproductive
Medicine
32 Ann Arbor Symphony
Orchestra
39 Austin Diamond
S Bank of Ann Arbor
11 Beacon Investments
26 Blue Nile Restaurant
31 Bodman, Longley, and
Dahlini;
14 Butzel Long
50 Cafe Marie
26 Charles Reinhart Company
44 Chelsea Community
Hospital
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
47 ERIM
15 Fraleighs Landscape Nursery
33 Ford Motor Company
46 Garris, Garris, Garris,
& Garris
37 General Motors Corporation
: Glacier Hills
42 Gubbins & McGlynn Law
Offices
13 Harmony House
38 Harris Homes
35 Hill Auditorium Campaign
Howard Cooper Imports Individualized Home Care
Nursing
Interior Development lohn Leidy Shop, Inc. Kerrytown Bistro KeyBank
King's Keyboard House Lewis lewelers Market Strategies Maude's Michigan Media Miller, Canfield, Paddock,
& Stone
Mir's Oriental Rugs Mundus and Mundus NBD Bank Nina Howard Studio Performance Network Red HawkZanzibar Regrets Only Schwartz Investment
Council, Inc. Seva Restaurant SKR Classical Sweet Lorraine's Sweetwaters Cafe Ufer and Company U-M Matthaei Botanical
Gardens
U-M Vocal Health Center University Productions Van Boven Shoes WDET WEMU
Whole Foods Market WUOM