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UMS Concert Program, Sunday Sep. 27 To Oct 10: University Musical Society: 1998-1999 Fall - Sunday Sep. 27 To Oct. 10 --

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University Musical Society
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Season: 1998-1999 Fall
University Of Michigan

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University Musical Society
of the University of Michigan
The 1998-99 Fall Season
4 Letter from the President
5 Corporate LeadersFoundations
9 UMS Board of DirectorsSenate
StaffAdvisory Committees
10 General Information
12 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 UMS Dining Experiences
Restaurant & Lodging Packages
32 Gift Certificates
32 The UMS Card
34 Sponsorship and Advertising
34 Acknowledgments
37 Advisory Committee
37 Group Tickets
38 Ford Honors Program
40 UMS Contributors
49 UMS Membership
50 Advertiser Index
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1997-98 season: Celia Cruz in her long-awaited UMS debut; Christoph Eschenbach leading the Chicago Symphony Orchestra.
A Letter from the President
Welcome to this University Musical Society performance. Thank you for supporting UMS and the performing arts in our community by attending this event. The 1998-99 season is one of our most exciting ever. So diverse in its scope, it is impossible for me to zero in on just one event. Complementing our continued focus on music of all kinds, I would like to make special mention of our emphasis on dance and dance audience development this season. As our 1998-99 dance promotional campaign states, UMS is "simply committed to the best in dance for Michigan."
We're very pleased that you're at this event and hope you'll consider attending other UMS performances as well as some of the educational and social events surrounding our concerts.
You'll find listings of all of these events in this program book on page 22 through 25.
I'm privileged to work with a dedicated and talented staff. One of them, box office representative Sally Cushing, is celebrating 30 years with UMS this season, representing the longest-serving employee among our current staff. The entire UMS family joins me in thanking Sally for her loyalty, friendli?ness, and commitment to providing outstanding service to all of our patrons. Say "hi" to Sally
when you next call or stop by the box office. I hope we have a chance to meet. I'd like to hear your thoughts about this performance. I'd also be pleased to answer any questions and to learn 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 we don't see each other in the lobby, please call my office at Burton Tower on the campus (734-647-1174) or send me an e-mail message at
Kenneth C. Fischer, President
Sally Cushing with Ken Fischer
Thank You, Corporate Leaders
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
JEANNE MERLANTI Presidetit, Arbor TemporariesPerson nel Systems, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that
by supporting UMS, I am helping perpet?uate the tradition of bringing outstanding musical talent to the community and also providing education and enrichment for our young people."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the commu?nity that sustains out business. We are
proud to support an organization that provides such an important service to Ann Arbor."
William broucek
{'resident and CEO, Bank of Ann Arbor. "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrich-
ment that the University Musical Society brings to our community."
CARL A. BRAUER, JR. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
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."
David G. loesel
President, T.M.L Ventures, Inc. "Cafe" Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
Kathleen G. Charla
President, Charla Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charla Breton Associates is pleased
and honored to support the University Musical Society and its great offering of gifts to the community."
Anthony F. Earley, Jr.
Chairman, President and Chief Executive Officer, Detroit Edison "By bringing the joy of the performing arts into the lives of com?munity residents, the
University Musical Society provides an important part of Ann Arbor's uplifting cul?tural identity, offers our young people tremendous educational opportunities and adds to Southeastern Michigan's reputation as a great place to live and work."
Peter Banks
President, ERIM
"At ERIM International,
we are honored to
support the University
Musical Society's
commitment to pro-
viding educational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a life?time."
L. THOMAS CONLIN Chairman of the Hoard and Chief Executive Officer, Contin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
EDWARD SUROVELL President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution as distinguished as the
University Musical Society. For over a cen?tury it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
Douglas D.Freeth President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community which
perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
JOSEPH J. YARABEK Office Managing Partner, Deloitte & Touche
"Deloitte & Touche is pleased to support the University Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our lives!"
Leo Legatski
President, Elastizcll Corporation of America "A significant charac?teristic of the University Musical Society is its ability to adapt its menu to
changing artistic requirements. UMS involves the community with new concepts of educa?tion, workshops, and performances."
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."
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural contribu?tion it makes to the community."
First Vice President and Manager, FCNBD Bank "FCNBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
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."
Mechanical Dynamics. "Beverly Sills, one of our truly great per?formers, once said that 'art is the signature of civilization.' We believe
that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark--with a flourish."
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 84 years, and UMS has been here for 120, we can still appreci?ate the history they have with the city -and we arc glad to be part of that history."
I Dennis Serras
President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities
for supporting the University Musical Society and its continuing success in bring?ing high level talent to the Ann Arbor community." oz
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."
Joe e. O'Neal
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
RONALD M. CRESSWELL. PH.D. Chairman, Parke-Davis Pharmaceutical "I'arkc-Davisisvcry 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."
Thomas B.
President, Thomas B. Me Mullen 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."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the Universitv 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."
Brian Campbell
President, TriMas Corporation "By continuing to support this out?standing organiza?tion, I can ensure that the southeastern
Michigan region will be drawn to Ann Arbor for its rich cultural experiences for many years to come."
JOSEPH SESI President, Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our com?munity. The Sesi
Lincoln Mercury team is delighted to sponsor such a fine organization."
DR. JAMES R.IRWIN Chairman and CEO, Tltc Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
Thank You, Foundation Underwriters & Government Agencies
David. E. Engelbert Hiram A. Dorfman
Bt'tuini L SUuis
"The Benard L Maas
Foundation is proud
to support the
sily Musical Society in honor of its Moved founder Bcnard L KfttS February 4,18 May 13,1984."
Benard L Maas
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Arts Midwest
Benard L. Maas Foundation
Chamber Music America
The Heartland Fund
kmd foundation
Liu Wallace-Reader's Digest Fund
Michigan Council for the Arts
and cultural affairs national endowment for the arts Rosebud Foundation
University Musical Society of the university of Michigan
F. Bruce Kulp, Chair
Marina v.N. Whitman, Vice Chair
Stuart A. Isaac, Secretary
Elizabeth Yhouse, Treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Lee C. Bollinger
Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Letitia ). Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Robert F. DiRomualdo
David Featherman Beverley B. Geltner Norman G. Herbert Alice Davis Irani Thomas E. Kauper Earl Lewis Rebecca McGowan Lester P. Monts
loe E. O'Neal Richard H. Rogel George I. Shirley Herbert Sloan Carol Shalita Smokier Peter Sparling Edward I . 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 . Duderstadt Robben W. Fleming Randy). Harris
Walter L. Harrison Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick B. Long ludythe H. Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont lohn Psarouthakis Gail W. Rector John W. Reed Harold T. Shapiro Ann Schriber
Daniel H. Schurz John O. Simpson Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Wciser Gilbert Whitaker
UMS STAFF AdministrationFinance Kenneth C. Fischer, President Elizabeth Jahn, Assistant to
the President John B. Kennard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant Manager and Group Sales
Choral Union
Thomas Sheets, Conductor
Edith Leavis Bookstcin,
Kathleen Operhall, Co-Manager Donald Bryant, Conductor
Catherine S. Arcure, Director Elaine A. Economou, Assistant
Director--Corporate Support Susan Fitzpatrick,
Administrative Assistant Lisa Michiko Murray, Advisory
Liaison J. Thad Schork, Direct Mail
Gift Processor Anne Griffin Sloan, Assistant
Director--Individual Giving
EducationAudience Development
Ben Johnson, Director Kate Remen, Manager Susan Ratcliffe, Assistant
MarketingPromotion Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Gus Malmgren, Director Emily Avers, Production and Artist Services Coordinator Eric Bajsty, Production Associate Bruce Oshaben, Front of House
Kathi Reister, Head Usher Paul Jomanlas, Assistant Head Usher
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Work-Study Laura Birnbryer Rcbekah Camm lack Chan NikkiDobeU Mariela Flambury Ben Johnson Melissa Karjala Un Jung Kim Beth Meyer Amy Tubman
Laura Birnbryer Carla Dirlikov Laura Schnitker
President Emeritus Gail W. Rector
Len Niehoff, Chair Maureen Isaac, Co-Chair leva Rasmussen, Secretary
lisa Murray, Staff Liaison Gregg Alf Martha Ause Pauletl Banks Kathleen Beck leannine Buchanan Letitia J. Byrd Betty Byrne Phil Cole Mary Ann Daane H. Michael Endres DonFaber Penny Fischer Sara Frank Barbara Gelehrtcr Beverley B. Geltner
Joyce Ginsberg Linda Greene Debbie Herbert Tina Goodin Hertel Damn lohnson Barbara Kahn Mercy Kasle Steve Kasle Marine Larrouy Beth Lavoie Doni Lystra Esther Martin Margie McKinley Jeanne Merlanti SconMerz Ronald Miller Robert Morris Nancy Nieboff Karen Koykka O'Neal Marys ia Ostafin
Mary Piltman
Nina Haiuer Robinson
Maya Savarino
Meg Kennedy Shaw
Aliza Shevrin
Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Kathleen Trecialc Van Dam
Dody Viola
UMS TEACHER ADVISORY COMMITTEE Fran Arnpey Kitty Angus Gail Dmi Barnes Alana Barter Elaine Bennett Lynda Berg Barbara Boyce
Lclilia I. Byrd
Naomi Corcra
Carolyn Hanum
Taylor Jacobscn
Callie Jefferson
Deborah Katz
Dan Long
Laura Machida
Ed Manning
Glen Matu
Ken Monash
f ,aylc Richardwn
Karen Schulte
Helen Siedel
Sandy Trosien
Melinda Trout
Barbara Hertz Wallgrcn
Jeanne Weinch
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, gender 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.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby.
Power Center: Pay phones are available in the box 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.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony 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.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 for details.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each auditorium.
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University Musical Society
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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 120 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 millennium. Every day UMS seeks to cultivate, nurture and stim?ulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university
and townspeople who gathered 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 perfor?mance 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. UMS included the Choral Union and University Orchestra, and through?out the year presented a series of concerts fea?turing 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. UMS now hosts over 80 performances 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 Lydia Mendelssohn Theatre, and Nichols Arboretum.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation, which supports itself from ticket sales, corporate and individual contributions, foun?dation 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 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conduc?tors.
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 each December. Four years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for sub?scription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, and Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugu?rating the partnership with a performance of Britten's War Requiem, and continuing with per?formances of Berlioz' Requiem, Elgar's The Dream ofGerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include perfor?mances with the Grand Rapids Symphony, join?ing with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Evidence of the Choral Union's artistic range can be found in the breadth of repertoire from the 1997-98 season: on one hand, the singers gave acclaimed performances of Mendelssohn's Elijah and Handel's Messiah in Hill Auditorium, and on the other, equally successful concert pre?sentations of Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical theatre favorites with Erich Kunzel and the DSO at Meadow Brook.
This season, the UMS Choral Union will perform in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra and Neeme Jarvi, including perfor?mances of Brahms' A German Requiem, Kodaly's Psalmus Hungaricus, and Rachmaninoff's mon?umental The Bells. Other programs include Handel's Messiah and Mozart's Requiem with the Ann Arbor Symphony Orchestra, and Carmina Burana 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
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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 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 additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra perform-
ing Beethoven's Symphony No. 5. The auditorium seated 4,597 when it first opened; sub?sequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased
Hill Auditorium
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, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses the 1,129-seat Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate stud?ies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of 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 second 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 balcony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was bro?ken 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 forty-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
Auditoria, continued
acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series.
Detroit Opera House
The Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musi?cians and an acoustical virtue to rival the world's great opera houses, the 2,800-seat facil?ity has rapidly become one of the most viable and coveted theatres in the nation. In only two seasons, the Detroit Opera House became the foundation of a landmark programming col?laboration with the Nederlander organization and Olympia Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 performers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the box office and administrative 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 significantly. With a goal of deepening the understanding of the impor?tance of live performing arts as well as the major impact the arts can have in the com?munity, UMS now seeks out active and dynamic collaborations and partnerships to reach into the many diverse communities 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) perfor?mances. This year, more than 7,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Trinity Irish Dance Company, The Gospel at Colonus, Orpheus Chamber Orchestra with Pepe Romero, Kodo, and Alvin Ailey American Dance Theater. In addition to the Youth Performance Series, UMS inaugurates its new First Acts program, bringing school children to regularly sched?uled evening and weekend performances and providing educational contexts. For more information on UMS youth education pro?grams, please call 734.647.6712.
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. UMS is also recognized as a "Partner in Excellence" by the Ann Arbor Public Schools.
The Youth Performance Series is sponsored by
Other activities that further the understanding of the artistic process and appreciation for the performing arts include:
MASTER OF ARTS INTERVIEW SERIES Now entering its third year, this series is an oppor?tunity to showcase and engage our artists in infor?mal, yet in-depth, dialogues about their art form, their body of work and their upcoming perfor. mances. This year's series includes interviews with:
Maestro Valery Gergiev of the Kirov Orchestra of St. Petersburg
Jazz Tap Summit dancers and choreographers
Pianist Mitsuko Uchida
Choreographer Merce Cunningham
Composer Steve Reich and Filmmaker Beryl Korot.
Kimberly Camp, Director of the Museum of African American History in Detroit, inter?views choreographer Donald Byrd
This series of pre-performance presentations fea?tures talks, demonstrations and workshops designed to provide context and insight into the performance. Led by local and national experts in their field, all PREPs are free and open to the public and begin one hour before curtain time. Some highlights from this year's series include:
Greg Hamilton of the Academy of Early Music hosts a brief interview with Jordi Savall, violist and Music Director of Hesperion XX.
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students precedes three of the four concerts by the American String Quartet.
David Vaughan, company archivist for the Merce Cunningham Dance Company, leads talks on Cunningham's 50-year body of work.
Professor Kenn Cox interviews members of the Lincoln Center Jazz Orchestra,
And other highlighted PREPs featuring Naomi Andre, Richard LeSueur and other experts.
Dr. Alberto Nacif leads a demonstra?tion before the per?formance by Los Mufiequitos de Mantanzas
RESIDENCY ACTIVITIES UMS residencies cover a diverse spectrum of artis?tic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemon?strations, in-class visits, master classes, workshops, seminars, symposia, and panel discussions. Most activities are free and open to the public and occur around the date of the artist's performances. Major residencies for the 9899 season are with:
Jazz Tap Summit
American String QuartetBeethoven the Contemporary Series
A Huey P. Newton Story
The Gospel at Colonus
ImMERCEsion: The Merce Cunningham Dance Company
For detailed Residency Information, call 734.647.6712.
The Meet the Artist Series provides a special oppor?tunity for patrons who attend performances to gain additional understanding about the artists, perfor?mance and art form. Each Meet the Artist event occurs immediately after the performance, and the question-and-answer session takes place from the stage. This year, patrons will have the opportunity to meet, among others:
Choreographers Bill T. Jones, Merce Cunningham and Meryl Tankard
Members of the a cappella group Sweet Honey in the Rock
Actor Roger Guenveur Smith
The American String Quartet and composer Kenneth Fuchs
The Emerson String Quartet with pianist Menahem Pressler
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. This year's workshops include three by Kennedy Center educa?tors and three led by local experts tailored to UMS performances:
Bringing Literature to Life. Workshop Leader: Leonore Blank Kelner, Kennedy Center Arts Educator, Monday, October 12, 4-7 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-5.
The Gospel at Colonus. Tuesday, December 8,4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Kodo. Monday, January 25, 4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Alvin Ailey American Dance Theater. Tuesday, February 2, 4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Storytelling: Involving Students in African Tales. Workshop leader: Dylan Pritchett, Kennedy Center Arts Educator, Monday, March 8, 4-7 p.m., Balas II building, Ann Arbor, Grades 1-6
Special Education: Movement Strategies for Inclusion. Workshop leader: Eric Johnson, Kennedy Center Arts Educator, Monday, March 22, 4-7 p.m. Washtenaw Intermediate School District, Ann Arbor, Grades K-8.
The Teacher Workshop Series is made possible in part by the generous support of the Charles Reinhart Realty Company.
Information on the above events can be found in the season listing in the following pages, the UMS Fall and Winter brochures, the Fall and Winter Education Listings or on the UMS Website at:
1998-99 UMS Season
Look for related Educational Events lislcl in blue.
EIKO & KOMA: RIVER Friday, September 11, 8:15 P.M. Saturday, September 12, 8:15 P.M. Seating on the banks of the Huron River in the Nichols Arboretum. Master Classes taught by Eiko. Ten places per class open to the public, no oberservers. Thursday, September 10, 11 a.m. and 12:45 p.m., I'M Dance Department. Call 734-763-5460 to register. Brown Bag Lunch Video talk led by Eiko and Koma of their "Environmental Trilogy: Land, Wind and River" Friday, September 11, 12 noon, U-M Institute for the Humanities.
Delicious Movement Class for dancers, musicians, singers, actors and visual artists taught by F.iko and Koma. Saturday, September 12, 12 noon, Dance Gallery Peter Sparling & Co. Call 734-747-8885 to register.
Sponsored by McKinky Associates. Media Partner WGTE.
Friday, October 9,8 P.M.
Michigan Theater
Sponsored by Charles Hall with additional
support from AAA Michigan. Media partner
Saturday, October 10, 8 P.M.
Hill Auditorium
Sponsored by Charla Breton Associates.
Media Partner WGTE.
Wednesday, October 14, 8 P.M.
Rackham Auditorium
Sponsored by Red Hawk Bar & Grill and
Friday, October 16,8 P.M.
Michigan Theater
Presented in partnership with the U-M
Institute for Social Research in Celebration
of its 50th Anniversary. Media Partner WEMU.
GUARNERI STRING QUARTET Sunday, October 18 P.M. Rackham Auditorium Sponsored by Deloitte & Touche.
Friday, October 23,8 P.M.
Power Center
Master Class led by anet Wong, Company
Rehearsal Director. Wednesday, October
21,7 p.m., Dance GalleryPeter Sparling &
Co. .ill 734-747-8885 to register.
Master Classes led by lanet Wong,
(lompany Rehearsal I )irector and dancer
Alexandra Heller. Ten participant and ten
tree observer places per class open to the
public. Thursday,October 22, 11 a.m.
and 12:45 p.m., I'-M Dance Deptarmenl.
Call 734-763-5460 to register.
PREP Video talk of Bill T. lones' work.
Friday, October 23, 7 p.m., MI League
Koessler Library.
Meet the Artists Post-performance dialogue
from the stage.
Media Partner WDET.
Saturday, October 24,8 P.M.
Hill Auditorium
PREP "Bartok and Stravinsky at the
lads" i ilenn Watkins, Earl V. Moore Professor Emeritus of Musicology. Saturday, October 24, 7 p.m., MI League Koessler library.
Sponsored by Thomas B. McMullen Co. Media Partner WGTE.
DAVID DANIELS, COUNTERTENOR WITH THE ARCADIAN ACADEMY NICHOLAS MCGEGAN, DIRECTOR AND HARPSICHORD Tuesday, October 27,8 P.M. Lydia Mendelssohn Theatre Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
Friday, October 30,8 P.M.
St. Francis of Assisi Catholic Church
PREP (Ireg I lamilton of the Academy of
Early Music interviews lordi Savall.
1 riday, October 30, 7 p.m., St. Francis
School Music Room.
Master of Arts Interview and Open Rehearsal Conductor Valery Gergiev interviewed by Ann Arbor Symphony Orchestra Conductor Sam Wong. Monday, November 1, 1 p.m., ilill Auditorium. Presented with the generous support of Dr. Herbert Sloan. Media Partner WGTE.
VIENNA VIRTUOSI PRINCIPAL MEMBERS OF THE VIENNA PHILHARMONIC ERNST OTTENSAMER, CLARINET Thursday, November 5, 8 P.M. Rackham Auditorium Presented with support from Butzel Long, Attorneys and Counselors.
Saturday, November 7, 8 P.M.
Hill Auditorium
Photo Exhibit ?'Plenty of (iood Women
Dancers: African American Women
I [oofers from Philadelphia." October 19-
November 13, Ann Arbor District Library,
Main Rranch.
Gifts of Art Local and national tap artists
perform. Thursday, November 5,12
noon, U-M Hospital Main I obby.
Master of Arts Interview with artists
from )az Tap Summit. Friday, November
6, 7 p.m., Ml League Hussey Room.
Master Classes with tap artists featured
in la Tap Summit. For information and
registration, call Susan iilipiak of Swing
City Dance Studio, 734-668-7782.
lazzTap LectureDemonstration by
Dianne Walker. Saturday, November, 7,
1 p.m., Ann Arbor District Library.
Tap Jam Saturday, November 7, 7 p.m.,
Hill Auditorium plaa.
Sponsored by ElastaclL Media Partner WEMU.
BEETHOVEN THE CONTEMPORARY Sunday, November 8, 4 P.M. Rackham Auditorium PREP Steven Whiting, I'M Assistant
r of Musicology, with V-K School
of Music student musicians. Sunday, Nov?ember 8, 3 p.m., Rackham Assembly Hall. Meet the Artists Post-performance dialogue from the stage,
Delicious Experience The American String Quartet cooks for UMS patrons as a part of the UMS Delicious Experience series. Monday. November 10. For infor?mation and reservations call 734-936-6837. Brochure available in laic September. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
MITSUKO UCHIDA. PIANO Wednesday, November 11,8 P.M. Hill Auditorium
Master of Arts Interview with Mitsuko Uchida. Tuesday, November 10, 7 p.m., U-M Schoo) of Music Recital Hall. Media Partner WGTE.
Thursday, November 12,8 P.M.
Rackham Auditorium
Sponsored by NBD. Additional support
provided by Crown House of Gifts.
Friday, November 13,8 P.M. St. Francis of Assisi Catholic Church PREP Benjamin Bagby, director of Ordo Virtututn. Friday, November 13, 7 p.m., St. Francis School Music Room. Presented with support from the Consulate General of the Federal Republic of Germany. Media Partner WDET.
Wednesday, November 18 Saturday,
November 21, 8 P.M.
Trueblood Theatre
Lecture Ahmed Rahman, Ph.D. student in
history. Thursday, November 19, 5 p.m.,
CAAS Lounge, 209 West Hall.
Meet the Artists Post-performance dialogue
from the stage after each performance.
Media Partner WEMV.
Sunday, November 22,4 p.m.
Rackham Auditorium
Meet the Artists Post-performance
dialogue from the stage.
PREP "The Trials and Tribulations of
Brahms' Piano Quintet" U-M Professor
Ellwood Derr, Sunday, November 22, 3
P.M. MI League, Vandenberg Room.
Sponsored by Bank of Ann Arbor.
THE HARLEM NUTCRACKER DONALD BYRDTHE GROUP MUSIC BY DUKE ELLINGTON AND DAVID BERGER Friday, November 27 Sunday, December 6 12 performances, Detroit Opera House. Co-presented with the Detroit Opera House and The Arts League of Michigan Youth Gospel Choirs Pre-performance songs by area youth gospel choirs sung in the lobby of the Detroit Opera House. Lobby Exhibit Photo exhibit of local African American family life in the 1920s. Detroit Opera House lobby. Sponsored by the University of Michigan with additional support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Arts Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner WMXD.
Saturday, December 5,8 P.M.
Sunday, December 6, 2 P.M.
Hill Auditorium
Presented with the generous support of
Jim and Millie lrwin.
Friday, January 8,8 P.M.
Power Center
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by First of America Bank.
Saturday, January 9, 8 P.M. Sunday, January 10, 4 P.M. Lydia Mendelssohn Theatre Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
RENEE FLEMING. SOPRANO Thursday, January 14, 8 P.M. Hill Auditorium
PREP Naomi Andre", U-M Assistant Professor of Music History and Musicology. Thursday, January, 14.
7 p.m., MI League Hussey Room. Sponsored by Pepper, Hamilton and Scheetz, L.L.P. Media Partner WGTE.
Friday, January 15 Saturday, January 16,
8 P.M.
Sunday, January 17,3 P.M. Monday, January 18, 3 P.M. Choir Workshop with the music director of The Gospel at i'vlonus. Saturday, November 14, Museum of African American Histoy in Detroit. Call 734-647-6712 for information and registration. Community Gospel Sing Along with the cast of The Gospel at Coionus. Wednesday, lanuary 13, 7 p.m. Call 734-647-6712 for information and registration. Family Performance Special one-hour performance for parents and their children. Saturday, January 16, 2 p.m.. Power -enter. Sponsored by NBD. Co-presented with the Office of the Provost of the University of Michigan and presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Arts Fund, the National Endowment for the Arts, and the Michigan Council for Art and Cultural Affairs. Media Partner WEMU.
continued ...
BEETHOVEN THE CONTEMPORARY Thursday, January 28, 8 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
DAVID SHIFRIN, ARTISTIC DIRECTOR BENGT FORSBERG, PIANO Friday, January 29,8 P.M. Lydia Mendelssohn Theatre PREP Richard LeSucur, Vocal Arts Information Services, Friday, January 29, 7 p.m., MI League Hussey Room. Sponsored by KeyBank with additional sup?port from Maurice and Linda Binkow and STM, Inc. Media Partner WGTE.
Saturday, January 30, 2 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, February 7,4 P.M. Rackham Auditorium PREP Steven Whiting. U-M Assistant Professor of Musicology with U-M School of Music student musicians. Sunday, February 7, 3 p.m.. Ml League Vandcnberg Room.
Meet the Artists Post-performance dia?logue from the stage with the ASQ and composer Kenneth Fuchs. Lecture by composer Kenneth Fuchs. Monday, February 8,12 noon, U-M School of Music, Room 2033. Panel Discussion "Interdisciplinary Teativity in the Arts" moderated by U-M English Professor Julie Ellison, in conjunction with the Beethoven the Contemporary and Merce Cunningham Residencies.
Tuesday, February 9, 7 p.m., Rackharo Amphitheater.
Sponsored by Edward Suroveil Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
Friday, February 12 Saturday, February 13,8 P.M. Power Center
Mini-Course U-M students can earn 2 credit hours in a course drawn from the I'MS residency. Information session held in January. C'-ill 734-763-5460 for information. Brown Bag Lunch about Merce Cunningham. Tuesday, [anuary 12,12 noon, U-M Institute for the Humanities. Cunningham Company Family Event Parents and their children (ages 7 and up) explore visual art. dance and musii workshop which culminates in a fi formance and reception at the Power ( enter cm Wednesday, February 10. Workshop held Saturday, February 6,4 p.m. at the Ann Arbor Art Center ami Dance GalleryPeter Sparling Sc Co. Call 734-994-8004 xlOl for information and regis?tration, or walk-in registration at the Ann Arbor Art Center.
Youth and Adult Art Classes with con?nections to the Cunningham Company held in the fall and winter. Call 734-994-8004 x 101 for information and registra?tion, or walk-in registration at the Ann Arbor Art Center.
Lobby Exhibit Art from the youth class at the Ann Arbor Arl (lenter on display February 1-14, Power ('enter Lobby. Brown Bag Lunch on John I ('aririilge Music, presented by Laura Kuhn, Director of the John Cage Trust, and U-M Professor Stephen Rush. Tuesday, February!), 12 noon, U-M Institute for the I [umanities.
Music and Dance for choreographers and composers, with Laura Kuhn, Director of the John Cage Trust and U-M Professor Stephen Rush. Tuesday, February 9, 2:45 p.m., U-M Dance Building Studio A. Master of Arts Interview Choreographer Merce Cunningham is interviewed by Roger Copeland with video clips of his work. Thursday, February 11,7 p.m., U-M Dance Building, Hetty I'ease Studio. Advanced Technique Master Classes taught by Meg Harper. Ten participant .mil ten free observer places per class open
to the public, with eight classes available. Tuesday, February l) Friday, February 12, U-M Dance 1 lept Call 734-763-5460 to register.
Advanced Technique Master Class taught by Meg Harper. Saturday, February 13, 10:30 a.m.. Dance GalleryPeter Sparling & Co. Call 734-747-8885 to register. Study Day Cunningham Company Archivist David Vaughan leads class and discussions of Cunningham and his col?laborators' works at an open class and company rehearsal. Saturday, February 13, II a.m.. Power Center balcony. Call 734-647-6712 lor information and regis?tration.
PREP Company Archivist 1 )avid Vaughan leads a video discussion of Cunningham works. Friday, February 12,7 p.m., Modern 1 anguages Huilding Lecture Room. Meet the Artists Post-performance dia?logue from the stage, Friday, February 12. PREP Company Archivist David Vaughan leads a video discussion of Cunningham works. Saturday, February 13, 7 p.m.. MI League I lussey Room. Media Partner WDET.
MAXIM VENGEROV, VIOLIN IGOR URYASH, PIANO Sunday, February 14, 4 P.M. Hill Auditorium
Sponsored by Sesi Lincoln-Mercury. Media Partner WGTE.
ORPHEUS CHAMBER ORCHESTRA PEPE ROMERO. GUITAR Monday, February 15,8 P.M. Rackham Auditorium
Friday, February 19 Saturday, February 20,8 P.M. Power Center
PREP Video talk of Meryl Tankard's work. Friday, February !9, 7 p.m., MI League I lussey Room.
PREP Video talk of Meryl Tarkard's work. Saturday, February 20, 7 p.m., MI League Koessler Library.
Meet the Artists Post-performance dia?logue from the stage. Media Partner WDET.
Sunday, February 21,4 P.M. Rackham Auditorium Complimentary Admission
Tuesday, February 23 Thursday,
February 25,8 P.M.
Power Center
Sponsored by NSK Corporation with support
from Beacon Investment Company and the
Blue Nile Restaurant. Media Partner WDET.
Thursday, March 11, 8 P.M.
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research. Media Partner WGTE.
Friday, March 12,8 P.M.
Michigan Theater
Sponsored by Miller, Canfield, Paddock and
Stone, L.L.P. Media Partner WEMU.
TAKACS QUARTET Thursday, March 18, 8 P.M. Rackham Auditorium
Friday, March 19 Saturday, March 20,
8 P.M.
Sunday, March 21,4 P.M. Power Center
PREP Video talk of signature Ailev I riday, March 19, 7 p.m., MI League Vjndenbcrg Room.
PREP Video talk of signature Ailey pieces. Saturday, March 20, 7 p.m., MI League ! lussey Room.
Sponsored by Forest Health Services and Mr. and Mrs. Randall Pittman. Media Partner WDET.
THE TALLIS SCHOLARS PETER PHILLIPS, DIRECTOR Wednesday, March 24,8 P.M. St. Francis of Assisi Catholic Church
Thursday, March 25,8 P.M. Michigan Theater
Presented with support from Republic Bank. Media Partner WDET.
Friday, March 26, 8 P.M.
Hill Auditorium
Meet the Artists Post performance
dialogue from the stage.
Presented with support from Comerica
hank and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media Partner WEMU.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, March 28,4 P.M. Rackham Auditorium Beethoven the Contemporary Symposium Papers, panel discussion, and keynote speaker Michael Steinberg on Beethoven and contemporary composers. Saturday, March 27, 2 p.m., U-M School of Music Recital Hall PREP Steven Whiting. U-M Assistant Professor of Musicology, with U-M School ot Music student musicians. Sunday, March 28, 3 p.m., Rackham Assembly Hall.
Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
TRIO FONTENAY Tuesday, March 30,8 P.M. Rackham Auditorium
STEVE REICH ENSEMBLE Saturday, April 10, 8 P.M. Michigan Theater
Master of Arts Interview Composer Steve Reich and Filmmaker Beryl Korot inter?viewed by Mark Stryker. Friday, April 9, time and location TBD. Media Partner WDET.
Thursday, April 15,8 P.M.
Hill Auditorium
Sponsored by Edward Surovell Realtors.
Media Partner WCTE.
Friday, April 16,8 P.M.
Michigan Theater
Media Partner WEMU.
EWA PODLES, CONTRALTO JERZY MARCHWINSKI, PIANO Saturday, April 17, 8 P.M. Lydia Mendelssohn Theatre
PREP by Richard LcSucur, Vocal Arts Information Services. Saturday, April 17, 7 p.m., Modern Languages Building
Lecture Room.
Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
Sunday, April 18,8 P.M.
St. Francis of Assisi Catholic Church
Thursday, April 22,8 P.M. Michigan Theater Media Partner WDET.
Friday, April 23, 8 P.M. Hill Auditorium
PREP Kenn Cox, Professor of Music at Michigan State and Wayne State Universities, interviews members of the Lincoln (nter Jazz Orchestra. Friday, April 23, 7 p.m., Ml League Hussey Room. Co-sponsored by Arbor TemporariesPersonnel Systems, Inc. and Mechanical Dynamics with support from the Lila Wallace-Readers Digest Audiences for the Performing Arts Network, the Heartland Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner WDET.
Sunday, April 25,4 P.M.
Hill Auditorium
Sponsored by Trimas Corporation with
additional support from Weber's Inn.
Media Partner WGTE.
FORD HONORS PROGRAM Featuring the presentation of the 1999 UMS Distinguished Artist Award (Artist to be announced in January, 1999) Saturday, May 8,6 P.M. Hill Auditorium and Michigan League. Sponsored by the Ford Motor Company Fund.
University Musical Society
of the University of Michigan 1998-1999 Fall Season
Event Program Book Sunday, September 27 through Saturday, October 10, 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 734-763-1131.
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.
San Francisco Symphony 3
Michael Tilson Thomas, conductor and piano Sunday, September 27,4:00pm Hill Auditorium
Afro-Cuban All Stars 13
Friday, October 9,8:00pm Michigan Theatre
St. Petersburg Philharmonic Orchestra 19
Yuri Temirkanov, conductor Gidon Kremer, violin Saturday, October 10, 8:00pm Hill Auditorium
San Francisco Symphony
Michael Tilson Thomas, Music Director and Piano San Francisco Symphony 1998 Visa National Tour
Sunday Afternoon, September 27,1998 at 4:00 Hill Auditorium, Ann Arbor, Michigan
George Gershwin
Second Rhapsody for Orchestra with Piano
Michael Tilson Thomas,piano
An American in Paris
Gustav Mahler
Symphony No. 1 in D Major
Langsam. Schleppend. Im Anfang sehr gemachlich Kraftig bewegt, doch nicht zu schnell --
Trio. Recht gemachlich Feierlich und gemessen, ohne zu schleppen Sturmisch bewegt
Third Performance of the 120th Season
120th Annual Choral Union Series
Visa is the official touring partner of the San Francisco Symphony for the 1998-99 Season.
Special thanks to Ron and Eileen Weiser for their generous and continued support through McKinley Associates.
Additional support for this performance is provided by media partner, WGTE.
The Yamaha piano used in this evening's performance is made possible by King's Keyboard of Ann Arbor and Mary and William Palmer.
Michael Tilson Thomas and the San Francisco Symphony record together exclusively for BMG ClassicsRCA Red Seal. The Orchestra may also be heard on Deutsche Grammophon, ECM, London, Nonesuch, Philips, and Telarc records.
David M. Wu, a University of Michigan inteflex M.D.Ph.D. student in neuroscience, played the pre-concert recital on the Charles Baird Carillon.
Large print programs are available upon request.
Second Rhapsody for Orchestra with Piano
An American in Paris
George Gershwin
Born September 26, 1898 in Brooklyn,
New York. Died July 11, 1937 in Hollywood, California.
Almost from his birth, George Gershwin was torn between the refined tastes and manners of the "better class" of Americans and the sassy vitality of popular music. His earliest musical memory, he said once, was of an automatic piano in a penny arcade on New York's 125th Street, playing Anton Rubinstein's Melody in F. "The peculiar jumps in the music," Gershwin recalled, "held me rooted." The five-year-old future composer had discovered the way that wide melodic skips intensify feeling and make a tune memorable.
Popular music was everywhere then, of course, but so were the classics. By age fourteen, George was attending recitals by celebrated soloists such as Efrem Zimbalist, Josef Lhevinne, and Leopold Godowsky; playing piano in the Beethoven Society Orchestra at Public School 63; and taking lessons with Charles Hambitzer in piano and Edward Kilenyi in music theory -two champions of twentieth-century music. George was just fifteen when he quit school to become, as he said, "probably the youngest piano pounder ever employed in Tin Pan Alley." In those days before demo discs, George's assignment was to travel from music store to music store, selling sheet music by performing it -in his own "improved" versions, of course. Playing all day, every day, George continued to grow and develop as a pianist, mastering all the current styles from waltzes to ragtime. A nervous, anything-goes era swept the country after World War I. The Yanks returning from Europe reported that "jazz,"
meaning syncopated rhythms and blues har?monies, was suddenly the rage on the conti?nent, adding its coloration to works by Ravel, Stravinsky, and many others, while Americans returned the compliment with a booming interest in old-world culture on the radio. Inevitably, the sort of experiments we today might call "third stream" or crossover began to appear: The Broadway extravaganza George White's Scandals of 1922 included the one-act "opera" Blue Monday, composed by the noted young songwriter and author of the colossal hit "Swanee," George Gershwin. When bandleader Paul Whiteman, the self-crowned "King of Jazz," heard about these experiments, he proposed that Gershwin write a "jazz concerto" for his dance orches?tra. The resulting piece, Rhapsody in Blue, was introduced in February 1924, dazzling a Carnegie Hall audience that included many of the leading musicians of the day. It was a breakthrough event. George Gershwin, song-plugger and tunesmith, was a hit in the concert hall.
In the 1931 movie Delicious, starring Janet Gaynor and Charles Farrell, a composer with a Russian accent introduces his "New York Rhapsody" at the piano with the fol?lowing dialogue: "It begins like we all see the city first: the great towers almost in the clouds. Down below, in the long furrows, human seeds trying to grow to the light. And noise: riveters drumming your ear
from every side__And this is the night
motif: night, silencing the rivets." The shot dissolves into a montage of crowd scenes, and the music spins out for about eight minutes over views of the cityscape. George Gershwin, the real-life Russian-American composer of that piece, did not know at first whether it would have a life in the concert hall. But then he heard from the distinguished Russian emigre conductor of the Boston Symphony Orchestra, Serge Koussevitzky. This champion of America's
most highbrow composers had never com?missioned a work from Gershwin, son of Tin Pan Alley. Now he was inquiring whether Gershwin had a new work he could present in Boston. Gershwin returned to his "New York Rhapsody." Although the manu?script contains the inscription "Finished May 23,1931," Gershwin continued to work on it, expanding it in anticipation of the Boston premiere on January 29, 1932, an event that, in his mind, carried considerable prestige. No doubt this is why, after consid?ering the title "Rhapsody in Rivets," he set?tled on the more classical Second Rhapsody. The Second Rhapsody was not published in score until the 1950s, when the publishers decided to edit and reorchestrate the work. Michael Tilson Thomas was a key player in recovering the original version, which we hear at this concert.
After a rhapsodic piano introduction, the riveters start to hammer away. Other distinctive motifs are stirred into the mix, reflecting Gershwin's study of counterpoint around the time he composed this piece. The rivet theme is often set to a 3+3+2 rumba beat. The music is nervous, brilliant?ly scored, and endlessly mutable. Even the tender, lyrical theme, with its Rachmaninoff-like swell and climax, constantly probes and expands its harmonic range. The long, whimsical coda is still more adventurous, beginning with a transformation of the repeated-note theme into a satirical little march, and closing with ironic "nyaah-nyaah" phrases in the strings. This acerbic music shows a new, more modern Gershwin refin?ing his art in the later stages of his brief career.
By January 1928, Gershwin had come to feel confident enough to compose an orchestral work without a piano solo part for himself. He had created two hit shows, Funny Face and Rosalie, that were now running in New York at the same time, and he was ready for
a change of scene. An invitation from friends in Paris to visit that city started him think?ing about a "rhapsodic ballet," which acquired its title almost immediately: An American in Paris.
Already a connoisseur of everything French, Gershwin wasted no time getting started on his new piece. When the composer and his brother Ira boarded a steamer for Europe that March 9, George had already laid out the work in versions for one and two pianos. His stay in Paris, which lasted from late March to early June, was a happy whirl of parties, museums, and sightseeing. Through it all, George worked steadily on An American in Paris, reconciling the Paris of his imagination with the real thing. His hostess Mabel Schirmer took him on a shopping trip to the auto supply stores on the Grande Armee, where he tooted every horn in stock before selecting several to experiment with as he composed; four of the horns went with him back to New York, and they would add local color to the work's premiere, which Walter Damrosch conducted with the New York Symphony Orchestra on December 13, 1928.
In painting his French scene, Gershwin helped himself to the moody impressionism of Debussy and the sassy, jazzy boulevardier idiom of Poulenc and Milhaud. To an inter?viewer, Gershwin offered a few fanciful images to guide the listener through the piece. The bustling first section, he said, portrays "the impressions of an American visitor in Paris as he strolls about the city, listens to various street noises, and absorbs the French atmosphere.
"Our American friend," Gershwin went on, "perhaps after strolling into a cafe and having a few drinks, suddenly succumbs to a spasm of homesickness. The harmony here is both more intense and simple than in the preceding pages." This paradoxical descrip?tion covers not only the work's signature tune, a finely sculpted blues melody, but the
hot number in Caribbean rhythm (derived from the work's opening theme) that inter?rupts it. The big tune reaches several climaxes before the American, "having left the cafe and reached the open air, has downed his spell of blues and once again is an alert spectator of Parisian life." All the themes come back for a bow -and some witty new combinations -in the ebullient coda.
Based on notes by David Wright
David Wright is currently writing a biography of American composer William Schuman. These notes copyright O1998 by David Wright.
Symphony No. 1 in D Major
Gustav Mahler
Born July 7, 1860 in Kalischt (Kaliste), near
Humpolec, Bohemia. Died May 18, 1911 in Vienna.
Mahler composed this symphony, the most original first symphony since the Berlioz Symphonic Fantastique, in high hopes of being understood. But he enjoyed public success with the work only in Prague in 1898 and in Amsterdam five years later. The Viennese audience in 1900, musically reactionary and anti-Semitic to boot, was vile in its behavior.
The work even puzzled its own com?poser. He was unsure whether he was offer?ing a symphonic poem, a program sympho?ny, or just a symphony. He did most of the work on this score in February and March 1888 and revised it extensively on several occasions. The work is played at this after?noon's concert according to the second, and last, edition published during Mahler's life?time and dated 1906.
When Mahler conducted the first perfor?mance with the Budapest Philharmonic on November 20,1889, he billed it as a "sym?phonic poem" whose two parts consisted of the first three and the last two movements.
(At that time, the first movement was fol?lowed by a piece called Blumine, which Mahler later dropped.) A newspaper article the day before the premiere outlined a pro?gram whose source can only have been Mahler himself and which identifies the first three movements with spring, happy day?dreams, and a wedding procession, the fourth as a funeral march representing the burial of the poet's illusions, and the fifth as a hard-won progress to spiritual victory. When Mahler revised the score in January 1893, he called it a symphony in five move?ments and two parts, also giving it the name Titan -not for the violent figures of Greek mythology, but for the eponymous novel by Jean Paul (Johann Paul Friedrich Richter, 1763-1825), a key figure in German literary Romanticism and one of Mahler's favorite writers. But by October he announced the work as TITAN, a Tone Poem in the Form of a Symphony.
Before the Vienna performance in 1900, Mahler again leaked a program to a friendly critic, and it is a curious one. First comes the rejection of the Titan program, as well as "all other titles and inscriptions, which, like all 'programs,' are always misinterpreted. [The composer] dislikes and discards them as 'antiartistic' and 'antimusical.'" There fol?lows a scenario that reads much like an elaborated version of the original one for Budapest. During the nineties, when Richard Strauss's Till Eulenspiegel, Also sprach Zarathustra, Don Quixote, and Ein Heldenleben had come out, program music had become a hot political issue in the world of music. Mahler saw himself as living in a very different world from Strauss, and he wanted to establish a distance between him?self and his colleague. At the same time, the extra-musical ideas would not disappear, and he seemed now to be wanting to have it both ways. There was no pleasing the critics on this issue. In Berlin he was faulted for omitting the program and in Frankfurt for keeping it.
Mahler writes "Wie ein Naturlaut" (like a sound of nature) on the first page, and in a letter to the conductor Franz Schalk we read, "The introduction to the first movement sounds of nature, not music!" Fragments detach themselves from the mist, then coa?lesce. Among these fragments are a pair of notes descending by a fourth, distant fan?fares, a little cry of oboes, a cuckoo call (by the only cuckoo in the world who toots a fourth rather than a third), a gentle horn melody. Gradually the tempo quickens to arrive at the melody of the second of Mahler's Wayfarer Songs. Mahler's wayfarer crosses the fields in the morning, rejoicing in the beauty of the world and hoping that this marks the beginning of his own happy times, only to see that spring can never bloom for him. But for Mahler the song is an evocation and a musical source, and he draws astounding riches from it by a process, as Erwin Stein put it, of constantly shuffling and reshuffling its figures like a deck of cards. The movement rises to one tremen?dous climax, and the last page is wild.
The scherzo is the symphony's briefest and simplest movement, and the only one that the first audiences could be counted on to like. The trio, set in an F Major that sounds very mellow in the A Major context of the scherzo itself, contrasts the simplicity of the rustic Austrian material with the art?fulness of its arrangement.
The funeral music that follows was what most upset audiences. The use of ver?nacular material presented in slightly per?verted form (the round we have all sung to the words "Frere Jacques but set by Mahler in a lugubrious minor), the parodic, vulgar music with its lachrymose oboes and trum?pets, the boom-chick of bass drum with cymbal attached, the hiccupping violins, the appearance in the middle of all this of part of the last Wayfarer song -people did not know what to make of this mixture, whether to laugh or cry or both. They sensed some-
thing irreverent, new, and ominous, that these collisions of the spooky, the gross, and the vulnerable were uncomfortably like life itself.
Mahler likened the opening of the finale to a bolt of lightning that rips from a black cloud. Transforming material from the first movement, he takes us, in the terms of his various programs, on the path from annihi?lation to victory, while in musical terms he engages us in a struggle to regain D Major, the main key of the symphony, unheard since the first movement ended. When at last he reenters that key, he does so by way of a stunning and violent coup de theatre, only to withdraw from the sounds of victory and to show us the hollowness of that tri?umph. He then goes back to the music with which the symphony began and gathers strength for a second assault that opens the doors to a heroic ending and a hymn-like celebration in which the horns, now on their feet, are instructed to drown out the rest of the orchestra, "even the trumpets."
--Michael Steinberg
Michael Steinberg is Program Annotatorfor the San Francisco Symphony and the New York Philharmonic. Copyright O 1998 San Francisco Symphony.
Michael Tilson Thomas assumed his post as San Francisco Symphony (SFS) Music Director in 1995, consolidating a relationship with the Orchestra that began with his SFS debut in 1974. A Los Angeles native, he studied with John Crown and Ingolf Dahl at the University of Southern California, becoming Music Director of the Young Musicians Foundation Debut Orchestra at nineteen and working with Stravinsky, Boulez, Stockhausen, and Copland on premieres of their compositions. He was pianist and conductor for Piatigorsky and Heifetz's master classes and, as a student
Michael Tilson Thomas
of Friedelind Wagner, an assistant conductor at Bayreuth. In 1969, at twenty-four, Mr. Tilson Thomas won the Koussevitzky Prize and was appointed Assistant Conductor of the Boston Symphony. Ten days later he came to international recognition, replacing Music Director William Steinberg in mid-concert at Lincoln Center. He went on to become the BSO's Associate Conductor, then Principal Guest Conductor, and he has also served as Music Director of the Buffalo Philharmonic and a Principal Guest Conductor of the Los Angeles Philharmonic. He became Principal Conductor of the London Symphony Orchestra in 1988 and now serves as Principal Guest Conductor. He is co-Artistic Director of the Pacific Music Festival, which he and Leonard Bernstein inaugurated in Sapporo, Japan in
1990, and he continues as Artistic Director of the New World Symphony, which he founded in 1988. Michael Tilson Thomas's record?ings have won numerous international awards, including the Grammy for Best Orchestral Recording of 1996 for Scenes from Prokofiev's Romeo and Juliet with the SFS. The breadth of his recorded repertory reflects wide-ranging interests arising from his work as conductor, composer, and pianist. He led the televised New York Philharmonic Young People's Concerts from 1971 to 1977 and has also been featured on television with the London Symphony Orchestra, distinguished soloists, and host Dudley Moore in the series Concerto! His compositions include From the Diary of Anne Frank, narrated by actress Audrey Hepburn in its first performances and since performed worldwide, and ShowaShodh, commemorating the 50th anniversary of the bombing of Hiroshima. Viva Voce, his volume of conversations with critic Edward Seckerson, was published in 1994. Mr. Tilson Thomas' many honors include Columbia University's Ditson Award for services to American music, the 1995 Conductor of the Year by Musical America, and a Chevalier des Arts et des Lettres of France.
This performance marks Michael Tilson Tlwmas' sixth appearance under UMS auspices.
The San Francisco Symphony gave its first concerts in 1911 and over the years has grown in acclaim under a succession of music direc?tors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jorda, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt (now Conductor Laureate), and, since 1995, Michael Tilson Thomas. In recent seasons the San Francisco Symphony has won some
of the world's most prestigious recording awards, including Japan's Record Academy Award, France's Grand Prix du Disque, Britain's Gramophone Award, and the United States's Grammy for Carmina Burana, Brahms' German Requiem, and scenes from Prokofiev's Romeo and Juliet -the first recording by Michael Tilson Thomas and the Orchestra under their exclusive contract with BMG ClassicsRCA Red Seal, a collabo?ration that has produced a series of record?ings that includes Mahler's Das klagende Lied, Copland the Modernist, Berlioz's Symphonie fantastique, and a just-released two-CD set of Gershwin's music that includes works heard at this concert. Earlier this week, Michael Tilson Thomas and the San Francisco Symphony celebrated the Gershwin centenary with an all-Gershwin program at Carnegie Hall's opening gala. This will be telecast nationally on PBS's Great Performances on September 30.
Since 1986 the Orchestra has made three tours of Asia, four tours of Europe -including a stunning debut at the 1990 Salzburg Festival -and has performed throughout the US. Some of the most important conductors of our time have been guests on the San Francisco Symphony podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein, Sir Georg Solti, and Kurt Masur, and the list of composers who have led the Orchestra is a who's who of twentieth-century music, including Stravinsky, Prokofiev, Ravel, Schoenberg, Copland, and John Adams.
In 1980, the Orchestra moved into the newly built Louise M. Davies Symphony Hall. 1980 also saw the founding of the San Francisco Symphony Youth Orchestra. The SFS Chorus has been heard around the world on recordings and on the soundtracks of three major films, Amadeus, The Unbearable Lightness of Being, and Godfather III.
Through its radio broadcasts, the first in America to feature symphonic music when they began in 1926, the San Francisco Symphony is heard throughout the US, con?firming an artistic vitality whose impact extends throughout American musical life.
This performance marks the San Francisco Symphony's fourth appearance under UMS auspices.
San Francisco Symphony
Michael Tilson Thomas, Music Director and Conductor Herbert Blomstedt, Conductor Laureate Alasdair Neale, Associate Conductor
First Violins
Nadya Tichman
-Acting Concertmaster
Saoum Blinder Chair James Buswcllt
?ducit Concertmaster Mark Volkerl
-Associate Concertmaster
-San Francisco Symphony
Foundation Chair Jeremy Constant
Assistant Concertmaster
?7Sth Anniversary Chair Mariko Smiley
-Katharine Hanrahan Chair Sharon Grcbanicr
-Catherine A. Mueller Chair Naomi Kazama Melissa Kleinbart Yukiko Suzanne Leon Diane Nicholeris Florin Parvulescu Victor Romasevich Dan Smiley . Catherine Van Hoesen Jonathan Wei Robin Sharpt John Chisholmt Rudolph Krcmert Connie Gantswegt
Second Violins
Paul Brancato
Acting Principal
?Dinner & Swig Families Chair Darlene Gray
Associate Principal Kum Mo Kim
-Audrey Avis Aasen-Hull Chair Margaret Bichteler Enrique Boccdi Bruce Freifeld Michael Gerling Yasuko Hattori Herbert Holtman Frances Jeffrey Chunming Mo Kobialka Daniel Kobialka Kelly Leon-Pearce Zoya Leybin Sarn Oliver
-Isaac Stern Chair Robert Zelnick Hyeonju Kim Philip Santost Daniel Bannert
Geraldine Walthcr
-lewett Chair Yun Jic Liu"
-Associate Principal Don Ehrlich
-Assistant Principal
John Schoening
Nancy Ellis Gina Feinaucr David Gaudry Leonid Gesin Christina Hyland Seth Mausner Wayne Rodcn Naiici Severance Roxann lacobsont Kalherine Johnkt
Michael Grebanier
?Philip 5. Boonc Chair Peter Shelton"
-Associate Principal David Teie
-Assistant Principal
Barrie Ramsay Zesiger Chair Margaret Tait Barbara Andres Barbara Bogatin Jill Rachuy Brindel David i JoiilH.itt Lawrence Granger Carolyn Mclntosh Anne Pinsker Richard Andeyat Stephen Harrison
Michael Burr
-Principal Larry Epstein
-Associate Principal
Stephen Tramontozzi
?Assistant Principal
-Richard & Rhoda Goldman Chair
William Ritchen Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus S. Mark Wright Kenneth Millert
Paul Renzi
-Caroline H.Hume Chair Robin McKcc
-Associate Principal
?Catherine & Russell Clark Chair Linda Lukas
-Alfred S. & Dede Wilsey Chair
Catherine Payne
William Bennett
?Edo de Waart Chair
Eugene Izotov
?Associate Principal Pamela Smith
-Dr. William D. Chntte Chair Julie Ann Giacobassi
?English Horn
?Joseph & Pauline Scafidi Chair
David Breeden
-Principal Luis Baez
?Associate Principal
-E-flat Clarinet David Ncuman Sheryl Renkt Donald Carroll
-Bau Clarinet Clark Fobest Kevin Stewartt
Stephen Paulson
?Principal Steven Dibner
-Associate Principal Rob Weir
?lacqueline & Peter Hoefer Chair Steven Braunstein
Horns Robert Ward
-Acting Principal
?Jeannik Mequet UnlefieU Chair Bruce Roberts
Act ing Associate Principal Doug Hullt
-Acting Assistant Principal Lori Wcstin
Richard B. Gump Chair Jonathan Ring A. David Krehbiclt Eric Achent lohn David Smitht Bethany Zaret
Trumpets Glenn Fischthal
?William G. Irwin
Charity Foundation Chair Craig Morris
-Associate Principal Chris Bogios John Kingt
Trombones Mark H. Lawrence
-Robert L Sautter Chair Paul Welcomer John Engelkes
?Bass Trombone Thomas Hornigt
Floyd Cooley -lames Irvine Chair
Douglas Rioth Karen Gottlicbt
Timpani David Herbert
Percussion Jack Van Geem
-Carol Franc Buck Foundation
Anthony J. Cirone Raymond Froehlich Tom Hcmphill Andrew Lewisf Arthur Storchf Victor Avdienkof
Robin Sutherland
John Van Winkle -Principal librarian
'On Leave
tActing member of the San Francisco Symphony
The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seals periodically.
Administration Nancy H. Bechtle
President Peter Pastreich
Executive Director Paul Meccham
General Manager Gregg Gleasncr
Director of Artistic Planning Christopher A. Hest
Director of Development (oshua Fcldman
Orchestra Personnel Manager John Engclkcs
Assistant Orchestra
Personnel Manager Karen Ames
Public Relations Director lohn Kieser
Director of Operations Rob Levin
Operations Manager James L. Carroll
Stage Manager Lurcc Baker
Stage Technician Dennis DeVost
Stage Technician
and Charles Hall
Afro-Cuban All Stars
"There are certain places that live and breathe song and dance, and then there is Cuba, the island synonymous with music." -Metro Times (Detroit), 1998
Tres and Band Leader Juan De Marcos Gonzalez
Ibrahim Ferrer Teresa Garcia Caturla Felix Valoy Manuel "Puntillita" Licea
Guillermo 'Rubalcaba' Gonzalez
Orlando 'Cachaito' Lopez, Double bass
Carlos Gonzalez, Bongos
Angel Terry Domech, Congas
Amadito Valdes, Timbales
Daniel Ramos Alayo, Trumpet 1 Alejandro Pichardo, Trumpet 2 Yanko Pisaco Pichardo, Trumpet 3 Jesus 'Aguaje' Ramos, Trombone 1 Alberto Munoz Matinez, Trombone 2
Program Friday Evening, October 9,1998 at 8:00
Michigan Theatre, Ann Arbor, Michigan
Title Lead Singer I Chorus
Clasiqueando ---
Chan Chan Ibrahim I Teresa, Valoy, Marcos
Amor Verdadero Puntiliita I Valoy, Marcos
Dos Gardenias Ibrahim
Gandinga Sandunga y Mondongo ---
El Mai de la Hipocresia Valoy I Teresa, Ibrahim
Los Tamalitos de Holga Teresa I Ibrahim, Valoy
Habana Del Este Marcos I Valoy, Ibrahim
Fiesta de la Rumba Valoy I Alayo, Redonet, Marco
Mami Me Gusto Teresa, Valoy I Ibrahim, Puntillita
Pio Mentirosa Marcos I --
Murmullo Ibrahim, Marcos I----
Huellas Del Pasado Puntillita I Valoy, Ibrahim, Teresa
In the spirit of creativity, the artists reserve the right to change any of the listed selections at any time before or during the performance.
Fourth Performance of the 120th Season
This performance is made possible with the generous support of Charles Hall. Additional support is provided by AAA Michigan and media partner, WEMU.
Large print programs are available upon request.
Afro-Cuban All Stars
Not since the 1950s has there been such a surge of Cubaphilia in American pop cul?ture. Part of Cuba's new appeal is the romantic but illusory notion that its isola?tion has made it a time capsule, maintaining styles that have been overrun by hectic com-merciality elsewhere. The music of the Afro-Cuban All Stars is rich in tenderness and nostalgia suggesting a world of tropical ease and pre-revolutionary innocence -a far cry from modern Cuba. The Afro-Cuban All Stars are a classic example of the excellent Cuban musicianship which due to embargo has gone unheard by most people of the United States. It is nonetheless a powerful evocation of the music written by a people who although forced to live under enforced economic strife and the hardship of daily life under communist rule manage to cele?brate life, love, beautiful women, and the pursuit of all things pleasurable. The Cuban ethos, in Che Guevara's phrase, is "socialism
with pachanga (rhythm)".
Brought together by musical director Juan de Marcos Gonzalez, the thir-teen-member Afro-Cuban All Stars are a multi-genera?tional mixture of the best musicians Cuba has turned out in the last half century. Gonzalez wanted to recreate the brassy sound of Cuban music's pre-revolutionary golden age by bringing together a creative explosion of legendary musicians of his youth (sparking friendly rivalries of years past) with rising stars from more con?temporary generations. This powerful and eclectic mix produced the much acclaimed and Grammy-
nominated debut album, A Toda Cuba he Gusta which runs through a great range of styles including Danzon, Son-Montuno, Guaguanco, Mozambique, Afro, Mambo and Guajira. The sound is acoustic but the atmosphere is electric -the entire album was recorded in six days and nights, creating an exuberant alternative to much of the modern music which Juan de Marcos finds tedious.
What makes this band so impressive are the life stories behind the musicians' faces. Imagine Billy Holiday, Louis Armstrong, Miles Davis, John Coltrane, and Thelonious Monk all in one ensemble, and you'll get the sense of each individual's amazing history and the colorful stories yet to be told by the members of the Afro-Cuban All Stars. It's their combined history and tremendous tal?ents that make them one of the front run?ners in Cuban music.
This performance marks the Afro-Cuban All Stars debut under UMS auspices.
Juan de Marcos Gonzalez
When Juan de Marcos Gonzalez was grow?ing up in Havana, the fashionable bands of the day were King Crimson, Yes and Jethro Tull. The young Marcos preferred son, guaracha and rumba and has been on a mis?sion to keep alive the best traditions of Cuban music ever since. His father, Marcos Gonzalez Mauriz, once sang with Arsenio Rodriguez, and Marcos' cradle rocked to the sound of Cuban rhythms. From an early age his parents looked after his musical educa?tion by taking him to "rumbas de solar" -all night rumba parties.
Since the late 1970s Marcos has played with the son group Sierra Maestra and at the same time began laying plans to achieve his dream. "I have always had the wish to reunite in one orchestra the major stars of the 1940s and 1950s who are still alive and in good voice with musicians from other generations, to play Cuban music on an album that would show the continuity of the tradition."
Ibrahim Ferrer
(Born Santiago 1927) Perhaps the most telling of stories is that of septuagenarian Ibrahim Ferrer who was born at a social club dance. He began singing professionally in 1941 with local Santiago groups, working wherever he could make a living by day and singing by night. By the 1950s he was established as the singer with Pacho Alonso's group and was able to con?centrate on music full time. Ferrer began guesting with Orquesta de Chepin and Benny More, two of the legendary names of Cuban music. Alonso's band moved to Havana in 1959, and Ferrer stayed with the group for more than twenty years. By the 1970s, the group had become known as Los Bocucos and pioneered the polon rhythm, which was reputedly based on the sound of pounding the coffee beans.
Musicians in Cuba have never been paid much and Ferrer is one of the remarkable number of vintage musicians who has been supported on a small state pension which he supplemented by the hard earned money he received by shining shoes. Ferrer lives in Old Havana in a tiny apartment within a crowd?ed and moldering nineteenth-century house with his wife and assorted junior relatives. As money is tight (the average monthly salary is $15), the older generations tend to conserve their small pensions by hanging out not far from their open doors. This is exactly where Ferrer was when destiny came knocking and is best explained in Ibrahim's own words, "An angel came and picked me up and said, 'Chico, come and do this record.' I didn't want to do it because I had given up on music. But now I have my own record, my first one ever, so I'm very happy. I don't have to shine shoes anymore."
Teresa Garcia Caturla
(Born San Juan de los Remedios, Villa Clara)
Teresa Garcia Caturla was inspired musically from a very early age by the influence of her father, the renowned composer Alejandro Garcia Caturla. She studied percussion at the Academia Municipal de Miisica in Remedios and went on to join the Banda de Miisica Municipal de Infantil. In 1958 Teresa (or Teresita as she is affectionately known) moved to Havana where she soon began her career as a singer at the Hotel Plaza. In 1960 she went on to work with the all-female Las Anacaonas Orchestra and with the Azuquita Quartet, Las d'Aida. Along with Elena Burke, Omara Portuondo and Moraima Secada, Teresita performed at the most cele?brated theatres (Nacional, Amadeo Roldan and Garcia Lorca) and clubs (Tropicana, Casino Parisien at the Hotel Nacional de Cuba, Salon Copa at the Havana Riveria Hotel) of the time. The group continued working and touring until Aida Diestro's untimely death in 1973, when Teresita took
over leadership of the quartet and took them on tour in Panama, the Caribbean, Mexico, Spain, Finland and Africa. In 1979 Teresita was featured on the classic Estrellas de Areito recordings and joined them live in Venezuela in 1981. She has worked with some of the biggest names in Cuban music and is featured on the forthcoming debut album by Ibrahim Ferrer (World Circuit Nonesuch).
Manuel "Puntillita" Licea
(Born Holguin, 1927)
"Puntillita" began singing at the age of seven and joined the Orchestra Licea in 1941. He went on to achieve huge popularity in the 1950s as lead singer with some of Havana's greatest bands including Adolfo Guzman, Roberto Faz and Cascarito. He also sang with legendary Sonora Matancera with whom Celia Cruz once sang and which has been in existence for almost seventy years. Puntillita recorded the hit "The Rooster, The Hen and The Horse" with the group. He has tackled the whole gamut of Cuban rhythms with his polished vocal styles, but he spe?cializes in the son and bolero.
Orlando "Cachaito" Lopez
(Born Havana 1933)
The Lopez family is virtually synonymous with bass playing in Cuba. Cachaito's father and uncle, Orestes and Israel, were both fine players, having learned the instrument from their father Pedro. In the 1930s the L6pez boys rewrote the book on bass playing. While Orestes along with Arsenio Rodgriguez helped create the mambo rhythm, Israel (known as "Cachao") played a key role in the development of the descarga style. As a young boy, Cachaito flirted with the violin but inevitably the lure of the bass was too strong.
His earliest love was danzon and by the age of twelve he had already played with
Orquesta Riverside, a hugely popular dance band of the time. He was then asked by his uncle to stand in with Arcana y sus Maravillas, a band that had been around since the 1930s. The teenage boy was so impressive that he was asked to stay.
As a musician of astonishing versatility, Cachaito started playing classical music with the Orquesta Sinfonica Nacional in the 1960s. He would play Beethoven in a concert hall in the early part of the evening and then move on to play electric bass in a club into the small hours of the morning. Yet his pre?ferred instrument is the acoustic bass and combined with his deep love of jazz influ?enced by Charles Mingus, he began to explore this instrument more. He played with Irakere in the 1960s, the group respon?sible for shaping modern Latin jazz, and he continues to play Cuban rhythms, classical and jazz with equal enthusiasm.
Felix Valoy
(Born Holguin 1944) Felix Valoy started his musical career in 1960 by studying percussion. By 1970 he had begun working as a professional singer with such groups as Chapottin, Cubalse, Conjunto Primavera, Combo Yarey and Chuqui. Since then he has worked with veteran timbales player Elio Reve and his Orquesta Reve, Son 14, and Adalberto y su Son, and has toured extensively in Europe and Latin America with the latter two groups. He once fronted his own band Valoy y su Talento Latino and in 1976, he made a film with Chapottin called Son o no Son. He cites Nino Bravo and Nat King Cole as his favorite singers and Benny More as his most important influence.
The American String Quartet Cooks!
Monday, November 9, 1998
Kick off the Delicious Experience season with a unique opportunity. Join the American String Quartet as they share their passion for cooking and prepare a lavish meal for a group of lucky music lovers. Dine with the Quartet as they make their culinary music an unfor?gettable evening of fabulous food, wine, art, and conver?sation.
Tea on a Train Car
Friday, November 13, 1998
Join us for tea and an elegant afternoon repast on the newly redecorated 'Babbling Brook', an actual sleeper loungeobservation car which ran on the 20th Century Limited train. Train buffs and tea lovers alike should mark their calendars for this afternoon of great fun.
An Elegant Christmas Season Dinner
December 1998 (date TBD)
Come for a rare chance to see one of Ann Arbor's finest homes magnificently decorated in holiday splendor. Originally built for Dean Bursley in the early 1900's, this historical site has been painstakingly restored to its previous glory. Join us for dinner and dessert in the original ballroom and Christmas cheer in the billiards
Big Band Dance
Friday, February 26, 1999
If you missed last season's Big Band party, here's your opportunity to dance, dance, dance! The popular Saline Big Band returns for an evening of dance and light refreshments at the Michigan League Ballroom. Bring your favorite partner, or come alone and meet new friends!
A Taste of Spring' Dinner Party
Saturday, May 22, 1999
Come for an evening of exquisite dining and good com?pany at the home of a long-time friend of UMS. Enjoy our host's spectacular rhododendron collection in bloom, then indulge in a spectacidar dinner accompanied by a grand selection of wines.
Charla Brenton
St. Petersburg Philharmonic Orchestra
Yuri Temirkanov, Conductor Gidon Kremer, Violin
Saturday Evening, October 10, 1998 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Dmitri Shostakovich Festive Overture, Op. 96
Violin Concerto No. 2 in c-sharp minor. Op. 129
Adagio -Allegro
Gidon Kremer, violin
Sergei Prokofiev
Symphony No. 7 in c-sharp minor. Op. 131
Moderato Allegretto Andante espressivo Vivace
Fifth Performance of the 120th Season
120th Annual Choral Union Series
Special thanks to Kathleen Charla for her generous support through Charla Breton Associates. Additional support for this performance is provided by media partner, WGTE.
Large print programs are available upon request.
Festive Overture, Op. 96
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg
Died on August 9, 1975 in Moscow
This delightful short work falls chronologi?cally between two of Shostakovich's most serious symphonies: Symphony No. 10, which contains a diabolical scherzo reputed to be a "portrait of Stalin," and Symphony No. 11, which commemorates the bloody events of the 1905 revolution. Shostakovich whipped it off, literally in one day, in response to a call from Vasili Nebolsin, a conductor at the Bolshoi Theater in Moscow, who urgently needed a festive piece for November 7, the anniversary of the Bolshevik revolution of 1? 1". 1 o 1 ehedinsky, a musicologist and close friend of the composer's during the 1950s, told the story in an interview with British cellist and author Elizabeth Wilson. Sec Wilson's fascinating Shostakovich; A life Remembered, Princeton University Press, 1994).
"Shostakovich composed the Festive Overture before my very eyes," recalled Lebedinsky, who happened to be in Shostakovich's apartment when a desperate Nebolsin arrived to announce an emergency. Lebedinsky watched as the composer sat down to compose the overture he had been asked for. Shostakovich kept talking to his friend and making jokes even as he was composing. As soon as he finished a page, a courier came and took it away to be copied, in an almost exact replay of how Rossini had written his famous overture to Lagazaa ladm in IS 17.
This amazing effortlessness can be heard in the light and carefree tone of the music, yet the quality of the musical ideas and the craftsmanship with which they are presented never let us suppose that the composer had no time at all to plan or even think about the piece. What Shostakovich did here is as dose to improvisation as a
symphonic composer can ever come: the conception and the realization of the piece were virtually simultaneous.
Of course, Shostakovich had the classi?cal sonata-form model to fall back on: after an introductory fanfare, he duly presents his two themes (the first consists mainly of rapid eighth-note passages, while the second has an expressive, singing character). The subsequent development, recapitulation and return of the opening fanfares as a conclud?ing section, were all part of the traditional framework that Shostakovich could well take for granted, like so many composers before him. But the freshness of the materi?als that fill in that framework, the brilliant orchestration, and the effervescence of the whole piece are true signs of genius. They explain why the Festive Overture, originally written to help out a colleague in a pinch, has entered the standard repertoire and held its place there for more than forty years.
Violin Concerto No. 2, Op. 129
Dmitri Shostakovich
With this concerto, Shostakovich completed a "quartet of concertos" two for violin and two for cello, written for two close friends (David Oistrakh and Mstislav Rostropovich) over a period of almost two decades. The quartet had begun in 1948 with the Violin Concerto No.l, an intensely dramatic piece written in the wake of the infamous Party resolution that condemned Shostakovich and others in the harshest possible terms. The popular Cello Concerto No. 1 followed in 1959, followed in 1966 by the Cello Concerto No. 2. The Violin Concerto No. 2, completed a year later, was in many ways modeled after the cello work which had preceded it.
This concerto was intended as a present for Oistrakh's sixtieth birthday. But Shostakovich wrote the piece a year early, so
Oistrakh was able to premiere it when he was only fifty-nine. (Incidentally, the pre?miere fell on Shostakovich's own sixty-first birthday.) A year later, Shostakovich surprised his friend with a violin sonata (Op.134), fin?ished just in time for the actual anniversary.
The Violin Concerto No. 2 follows the classical three-movement sequence of fast-slow-fast, with the last movement in rondo form, though the first movement (as often in Shostakovich) is in moderate rather than fast tempo. The thematic material is extremely simple, often consisting of the constant rep?etition of short melodic patterns. Also, the orchestra is considerably reduced; there are only double -not triple -woodwinds, no trumpets or trombones, and no percussion other than timpani and tom-tom. But Shostakovich used his restricted ensemble and his simple themes with great ingenuity, achieving expressive moments of great diversity and a surprisingly powerful sound at climactic moments, as in an especially dramatic passage in the first movement where the two clarinets play in their seldom-used, shrill and penetrating high register. Such passages alternate with more playful episodes, as in the second theme whose humoristic staccato theme at one point takes a sudden turn and begins to sound like a well-known Schubert march. After a brief cadenza (a much longer one will be heard in the third movement), this march tune is used as the ending of the first move?ment. It is played by the solo violin and fades out as the double basses play pianissi?mo to the accompaniment of the tom-tom.
The second movement is a single long melody for solo violin, combined with some exquisite woodwind solos. One of the most soulful moments comes at the end, where the first horn recapitulates the theme, trans?forming it into a lullaby, which leads into the third movement via a short bridge pas?sage for solo violin and two horns. The finale is based on a three-note rhythmic pat-
tern (short-short-long) already heard in the first movement. After a playful start, the tone of the music becomes more serious, even tragic at times. The tension gradually increases, and reaches a high point where a diabolical cadenza begins. The three-note rhythmic pattern dominates both the violin part and the orchestral accompaniment until the end of the work.
Symphony No. 7, Op. 131
Sergei Prokofiev
Born April 27, 1891 in Sontsovka, Ukraine
Died March 5,1953 in Moscow
Prokofiev's last years were anything but happy. Barely sixty years old, his health had already begun to decline. He suffered from a number of physical ailments, but the psy?chological consequences of the Communist Party attack of 1948 were at least equally serious. Prokofiev was devastated by the attack that had branded his music as "for-malistic." He was still officially acknowledged as the Soviet Union's greatest composer, but most of his works, including some of which he himself thought quite highly, could not be performed. For instance, he was never to see on stage his opera War and Peace, on which he worked, on and off, for the last twelve years of his life.
Prokofiev was sustained during these difficult years by only one thing: work. To the end of his life, he composed as prolifi-cally as he had always done: he completed his Piano Sonata No. 9 in 1947, a sonata for cello and piano in 1949, as well as numerous pieces d'occasion on official commissions. He also revised some of his earlier works such as the Symphony No. 4 or the Cello Concerto Op. 58 which became the Symphony-Concerto, generally considered the greatest work of Prokofiev's final period.
Symphony No. 7 was commissioned by a department within the Soviet national radio
whose task was to create musical programs for young people. Prokofiev wanted to write something light and simple for this occa?sion. But it wasn't going to be another Peter and the Wolf, the humor and immediacy of a children's story were replaced by a nostalgic view of youth from the perspective of old age. Prokofiev wanted to avoid complica?tions in his harmonic language so that he could be easily understood, even by children (inaccessibility was one of the charges lev?eled at him in 1948). As a result, the sym?phony is like a day of Indian summer; the sun, no longer scorching as in August, is mild and gentle, evoking feelings of warmth and serenity in the listener. Symphony No. 7 was to remain the last major work Prokofiev completed, and its first performance also marked his last appearance in public.
The symphony begins with an expres?sive melody Prokofiev develops by adding some fast-moving countersubjects in six?teenth-notes. A second theme follows, a broad legato melody in the Tchaikovsky-Rachmaninoff tradition that had been quite alien to Prokofiev's earlier style. A third idea, introduced staccato (short, separated notes) by the woodwind and bells, is more in character with the old Prokofiev. These three ideas, in more or less varied form, provide the material for a mostly lyrical and contemplative movement.
The second movement is a scherzo with many waltz elements. It starts with a leisurely "Allegretto" that escalates into "Allegro" and even "Piu mosso" (Faster) as the excitement gradually increases. The trio (middle section), by contrast, is more laid back: its expressive melody is played by muted violins and then by the solo oboe. The scherzo-waltz returns, with the addition of a new variation where the theme is reinforced by brass instruments. After a varied repeat of the trio, the waltz returns and develops into a frantic closing
section so that the climax of the movement comes at the very end.
The third-movement ("Andante espres-sivo") is again based on two contrasting ideas. The first is of a legato character, emphasizing long melodic phrases (Prokofiev's Soviet biographer, Israel Nestyev, was reminded of Friar Laurence's music from Romeo and Juliet). The second is staccato and uses rhythm as its primary propelling force. The two ideas are then combined, and the legato melody returns, played by the solo flute accompanied by piano and harp. A quiet brass chord (a major triad with a pungent major seventh) closes the movement.
The finale is full of typical Prokofievian humor, recalling the upbeat days of Lieutenant Kije, among other manifestations of Prokofiev's light side. The fun and frolic are, however, interrupted, as the broad Romantic theme from the first movement returns, followed by the staccato theme from the same movement. The music clearly receives a more serious turn at this point; the tempo slows down and the brass instru?ments play some forte notes in a low register that threaten to destroy the cheerful atmos?phere that has prevailed so far. The original ending of the symphony was accordingly soft and wistful. But, Nestyev tells us, during the rehearsals of the symphony, Prokofiev was persuaded (the word may be a euphemism in this case) to write an alterna?tive ending that brings back the playful first theme and ends the symphony on a happy note.
Program notes by Peter Laki
In the twenty-five-year course of his distinguished career, violinist Gidon Kremer has established a reputation worldwide as one of the most origi?nal and compelling artists of his gen?eration. He has appeared on virtually every major concert stage with the most celebrat?ed orchestras of Europe and America and has collaborated with today's foremost con?ductors and instrumentalists.
His repertoire is unusually extensive, encompassing all of the standard classical and Romantic violin works, as well as music by twentieth-century masters such as Henze, Berg and Stockhausen. He has also championed the works of living Russian and Eastern European composers and has performed many important new composi?tions, several of them dedicated to him. He has become associated with such diverse composers as Alfred Schnittke, Arvo Part, Sofia Gubaidulina, Valentin Silvestrov, Luigi Nono, Aribert Reimann, John Adams and Astor Piazzolla, bringing their music to audiences in a way that respects tradition yet remains contemporary.
Since making his Western debut, Mr. Kremer has appeared with the orchestras of Berlin, Boston, Amsterdam, Los Angeles, San Francisco, Philadelphia, New York, London, Paris and Vienna in collaborations with a distinguished roster of conductors that includes Leonard Bernstein, Herbert von Karajan, Carlo Maria Giulini, Eugen Jochum, Andre Previn, Claudio Abbado, James Levine, Lorin Maazel, Riccardo Muti, Nikolaus Harnoncourt, Zubin Mehta and Sir Neville Marriner.
Deeply committed to chamber music, Mr. Kremer devotes a portion of his sched?ule to recital appearances with partners such as Valery Afanassiev, Martha Argerich, Keith Jarrett, Oleg Maisenberg, Vadim Sakharov, Tatyana Grindenko, Misha Maisky and Thomas Zehetmair.
Gidon Kremer
An exceptionally prolific recording artist, Gidon Kremer has made more than 100 albums for Deutsche Grammophon, Teldec, Philips, ECM, Sony Classical, EMIAngel and Nonesuch. His recordings have garnered many awards, among them the prestigious Grand Prix du Disque and Deutsche Schallplattenpreis.
Since 1981, Mr. Kremer has been invit?ing a select group of artists to participate in the music festival he founded in the small Austrian village of Lockenhaus. For two weeks each summer, musicians from all parts of the world gather to perform in an intimate setting. The festival's emphasis is on the exploration of new repertoire, with unusual pairings of musicians who collabo?rate in an informal atmosphere conducive to discovery and communication. Lockenhaus is the realization of the violin?ist's belief that music can overcome all bar?riers of language and culture. Since 1992, musicians from Lockenhaus have been tour?ing throughout the world under the desig?nation KREMERata MUSICA. On the occa?sion of Franz Schubert's 200th birthday eel-
ebrations in 1997, they undertook a com?prehensive concert cycle devoted to Schubert throughout Europe, including appearances at the Salzburg Festival. Also in 1997, Mr. Kremer made a world tour with his "Hommage a Piazzolla" program.
In November 1996, Mr. Kremer founded the KREMERata BALTICA chamber orches?tra to foster outstanding young musicians from the three Baltic states. He will be undertaking regular concert tours with the orchestra, serving as Artistic Director and soloist. Since 1997 Mr. Kremer has also been the Artistic Director of the Musiksommer Gstaad in Switzerland, succeeding Lord Yehudi Menuhin.
Gidon Kremer was born in 1947 in Riga, Latvia. He began his study of the violin at age four with his father and grandfather, both of whom were accomplished string players. At seven, his formal education began with his entry into the Riga Music School as a student of Professor Sturestep. By the time he reached the eighth grade he was auditioning for competitions in Poland, Romania and France, and at sixteen was awarded the First Prize of the Latvian Republic. Two years later he successfully auditioned for David Oistrakh and became one of the few students selected to appren?tice under his mastery at the Moscow Conservatory.
In 1967 Mr. Kremer won his first inter?national prize: the Queen Elisabeth Competition in Brussels. Following this triumph, he took a prize in the Montreal Competition, top honors in the Paganini Competition in Genoa, and, finally, the coveted First Prize in the 1970 Tchaikovsky Competition.
Gidon Kremer plays a Guarnerius del Gesu, "ex-David," dated from 1730. He is also the author of three books, published in German, which reflect his artistic pursuits.
This performance marks Gidon Kremer's fifth appearance under UMS auspices.
In April 1988 Yuri Temirkanov was named Music Director and Principal Conductor of the St. Petersburg (formerly Leningrad) Philharmonic Orchestra, succeeding Evgeny Mravinsky. Prior to his appointment with that ensemble, he was Artistic Director and Chief Conductor of the Kirov Opera.
In the United States, where he is one of the most well-known and highly regarded Russian conductors, Mr. Temirkanov led the Philadelphia Orchestra regularly between 1975 and 1980. In January 1986, he made a historic appearance with the New York Philharmonic as the first Soviet conductor to visit the United States following the renewal of the SovietAmerican Cultural Exchange Agreement, winning exceptional critical acclaim. He has since returned many times to conduct not only the New York Philharmonic and the Philadelphia Orchestra, but also the Boston Symphony, the Los Angeles Philharmonic and the San Francisco Symphony. He was recently named Music Director of the Baltimore Symphony Orchestra, a post he formally takes up with the start of the 1999-2000 season. Also sought-after for opera engage?ments, he led an acclaimed production of Tchaikovsky's Eugene Onegin with the San Francisco Opera during the 1997-98 season. In Europe, Maestro Temirkanov has con?ducted all of the leading orchestras includ?ing the Berlin Philharmonic, the Vienna Philharmonic, the Dresden Staatskapelle, the Orchestre de Paris and the Royal Concertgebouw Orchestra. In 1977 he made his London debut with the Royal Philharmonic and starting with the 1979-80 season became its Principal Guest Conductor. After eleven years in that position, succeed?ed Andre Previn as Principal Conductor for several years beginning in September 1992. He is now Principal Guest Conductor of the Danish National Symphony Orchestra. In 1988 the conductor began a long-term
Yuri Temirkanov
exclusive relationship with BMG Classics RCA Victor Red Seal. His numerous releases include the complete Stravinsky ballets with the Royal Philharmonic Orchestra and works of Tchaikovsky, Shostakovich, Prokofiev and Rachmaninoff with the St. Petersburg Philharmonic Orchestra. Among his most recent releases are recordings with the St. Petersburg Philharmonic of Prokofiev's ora?torio On Guard for Peace and Shostakovich's Symphony No. 13.
This performance marks Yuri Temirkanov's third appearance under UMS auspices.
The St. Petersburg Philharmonic Orchestra is Russia's oldest sym?phony orchestra. It was formed out of the nineteenth-century "Imperial Music Choir" in 1882 but initially played only for the Imperial Court and in aristocratic circles. As early as October 19, 1917 the ensemble was declared a state orchestra, giving its first public concert in Soviet Russia shortly thereafter, on November 8th. A year later the orchestra was incorpo?rated into the newly founded Petrograd Philharmonic Society, the first concert orga?nization of the U.S.S.R. In 1991, just after its
home city was renamed, the Orchestra changed its name from the Leningrad Philharmonic to the St. Petersburg Philharmonic. Today it is internationally recognized as one of the world's premiere symphonic ensembles. The Philhar?monic's first principal con?ductors were Emil Cooper (1921-22) and Nikolai Malko (1926-29). During its earliest years, the orchestra was also conducted by Alexander Glazunov, Serge Koussevitsky, Gregor
Fitelberg and Nikolai Tcherepnin, as well as abroad by such figures as Bruno Walter, Oscar Fried, Erich Kleiber, Otto Klemperer and Hans Knappertsbusch. In the 1930s, the orchestra was headed by Alexander Gauk and the Austrian conductor Fritz Stiedry.
For fifty years, from 1938 to 1988, Evgeny Mravinsky was the orchestra's Music Director. During World War II, the orchestra continued to give concerts without inter?ruption, even as Leningrad was being evacu?ated. After 1945 the orchestra under Mravinsky was active in introducing to Russia important foreign composers and conductors, including Leopold Stokowski, Charles Munch, Andre Cluytens, Igor Markevitch, Josef Krips, Zoltan Kodaly and Benjamin Britten. In 1946 it undertook the first tour of the West by a Soviet orchestra, and since then has been acclaimed by the public and press alike in over thirty coun?tries throughout Europe, North and South America, and the Far East.
The St. Petersburg Philharmonic has played a major role in furthering the careers of Russian and Soviet composers. The orchestra premiered Shostakovich's Symphony No. 1 in 1926, bringing immedi?ate international attention to the nineteen-
year-old composer, whose close association with the orchestra--which went on to pre?miere seven of his subsequent symphonies --continued until his death in 1975.
In 1988 Yuri Temirkanov was appointed Music Director and Principal Conductor of the St. Petersburg Philharmonic with Mariss Jansons continuing as Associate Principal Conductor, a post he has held since 1985. Among the orchestra's recent tours have been visits to the major European festivals, including highly acclaimed performances in Salzburg, Lucerne, Edinburgh and London (at the Proms). It participated in many events marking the centennial of Tchaikovsky's death in 1993, including three concerts at Carnegie Hall as part of its American tour that year. The orchestra again toured the United States in 1996 giving three weeks of
concerts throughout the country, including returns to Ann Arbor, Boston, Chicago, Los Angeles, New York, San Francisco and Washington, D.C. Its extensive European touring has included recent residencies in Paris and Vienna, and concerts to inaugu?rate Belfast's Waterfront Hall. In April 1998, the orchestra made a highly acclaimed tour of South America.
The St. Petersburg Philharmonic has established an important relationship with BMG ClassicsRCA Victor Red Seal, which has released much of the central Russian repertoire by Tchaikovsky, Rachmaninoff, Prokofiev and Shostakovich conducted by Yuri Temirkanov. Among Maestro Temirkanov's recent recordings with the orchestra are Prokofiev's oratorio On Guard for Peace and Shostakovich's Symphony No. 13 and oratorio The Song of the Woods. The orchestra and Mariss Jansons have recorded the complete Rachmaninoff Symphonies and Piano Concertos (with Mikhail Rudy) for EMI.
This performance marks the St. Petersburg Philharmonic Orchestra's seventh appearance under UMS auspices, including four occasions under its former name of the Leningrad Philharmonic Orchestra.
St. Petersburg Philharmonic Orchestra
Yuri Temirkanov, Music Director and Principal Conductor
First Violins Serguei Girshenko, Concert Master Lev Klytchkov Alcxsandre Zololareov Serguei Teterine Valentin Loukine Natalia Sokolova Alexandre Rikhter Vadim Selitski Grigori Sedoukh Olga Rybaltchenko Vladimir Gouentzelt Natalia Kononova Tatiana Makarova Lia Melik-Mouradian Dmitry Petrov Konstantin Rassokhine Mikhail Rikhter Anna Kiprianova
Second Violins Mikhail Estrine, Principal Arkadi Naiman Boris Kouznetsov Arkadi Malein Lioudmila Odintsova Janna Proskourova Grigori Lutski Valentin Borissov Anatoli Babitski Vladimir Temirkanov Nikolai Tkatchenko Tatiana Chmeleva Nikolai Dygodiouk Tamara Tomskaia Olga Kotliarevskaia Iouri Uchtchapavski Dmitri Koriavko
Andrei Dogadine, Principal
Iouri Dmitriev
Artour Kossinov
Iouri Anikeev
Alexei Lioudevig
Vladimir Ivanov
Vissarion Soloviev
Grigori Meerovitch
Alexandre Chelkovnikov
Elena Panfilova
Alexei Bogorad
Dmitri Kossolapov
Roman Ivanov
Mikhail Anikeev
Anatoli Nikitine, Principal Valeri Naidenov Serguei Slovatchevski Serguei Tcherniadiev Alexei Vassiliev Vassili Popov Iossif Lcvinzon Anatoli Zadkov Iaroslav Tcherenkov Dmitri Eremine Kirill Timofeev Dinar Enikeev
Doublebasses Guerman Loukianine,
Principal Alexsandrc Chilo Rostislav lakovlev Oleg Kirillov Nikolai Tchaoussov Alexei Ivanov Alexei Tchoubathchine Nikolai Syrai
Marina Vorojtsova, Principal
Olga Viland
Oleg Khoudiakov
Oleg Mikhailovski
Khaniafi Tchinakaev,
Principal Serguei Lysenko Rouslan Khokholkov Ilia Iline
Andrei Kazakov, Principal Valentin Karlov Mikhail Kouniavski Igor Guerassimov Vladislav Verkovitch
Oleg Talypine, Principal Serguei Bajenov Stanislav Kotov Alexei Silioutine
Andrei Gloukhov, Principal
Stanislav Tses
Igor Karzov
Iouri Akimkine
Anatoli Moussarov
Pavel Gloukhov
Igor Charapov, Principal Mikhail Romanov Leonid Korkine Alexei Beliaev
Trombones and Tubas
Maxim Ignatiev, Principal Dmitri Zorkine Vitali Gorlitski Dmitri Antoniouk Valentine Galouzine
Anatoli Ivanov, Principal
Valeri Znamenski
Konstantine Soloviev
Rouben Ramazian
Alexandre Mikhailov
Stanislav Terekhov
Serguei Sheikin
Anna Makarova
Andres Izmailov
Valerian Vishnevski
Konstantin Serovatov
St. Petersburg Philharmonic Administration
Serguei Tcherniadiev,
Orchestra Director Alexandre Novikov,
Stage Technician Yuri Kouznezov,
Stage Technician Leonid Voronov, Librarian Valentin Oustinov, Costumcr
KM Artists Touring Division
Byron Gustafson, Director
and Senior Vice President Leonard Stein, General
Manager and Vice President Richmond Davis,
Stage Manager Lara Stokes,
Production Coordinator Geoffrey Holland, Tour
Program Coordinator
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, assisting in artists services and mailings, escorting students for our pop?ular youth performances and a host of other projects. Call 734.913.9696 to request more information.
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semesterand 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.
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.
If you would like information about join?ing the UMS usher corps, leave a message for front of house coordinator Bruce Oshaben at 734.913.9696.
UMS CAMERATA DINNERS Hosted by members of the UMS Board of Directors, UMS Camerata dinners are a delicious and conve?nient beginning to your concert evening. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per per?son. Reservations can be made by mail using the order form in this brochure or by calling 734.647.1175. UMS members receive reservation priority.
Saturday, October 10 St. Petersburg Philharmonic
Saturday, October 24 Budapest Festival Orchestra Note: This dinner will be held in the Hussey Room at the Michigan League.
Monday, November 2 Kirov Symphony Orchestra Wednesday, November 11 Mitsuko Uchida Thursday, January 14 Renee Fleming Tuesday, February 23 Opening Night of Kodo Thursday, March 11 James Galway
Friday, March 19 Opening Night of Alvin Ailey Note: This dinner will be held in the Power Center.
Thursday, April 15 Mozarteum Orchestra of Salzburg
Friday, April 23 Lincoln Center Jazz with Wynton Marsalis
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.
Celebrate in style with dinner and a show or stay overnight and relax in comfort! A deli?cious meal followed by priority, reserved seat?ing at a performance by world-class artists makes an elegant evening--add luxury accom?modations to the package and make it a com?plete get-a-way. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
Paesano's Restaurant
3411 Washtenaw Road 734.971.0484 for reservations
Thur. Jan. 14 Renee Fleming, soprano
Pre-performance dinner
Sun. Jan. 17 The Gospel at Colonus
Post-performance dinner
Sun. Feb. 7 American String Quartet
Post-performance dinner
Mon. Feb. 15 Orpheus Chamber Orchestra
with Pepe Romero Pre-performance dinner
Wed. Mar. 24 The Tallis Scholars
Pre-performance dinner
Package price $50.00 per person (tax & tip incorporat?ed) includes guaranteed dinner reservations (select any item from the special package menu, which includes entree, soup or salad, soft beverage or coffee, and fruity Italian ice for dessert) and reserved "A" seats on the main floor at the performance for each guest.
Groups of 50 or more receive an additional discount!
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue 734.769.0653 for reservations
Join 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 per?formance 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 South Thayer 734.769.3010 for reservations
Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished per?forming artists, add up to a perfect overnight holiday. Reserve space now for a European-style 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 priority reserved "A" seats to the show. Beat the winter blues in style! (All events are at 8pm with dinner prior to the performance)
Sat. Dec. 5 Handel's Messiah
Fri. Jan. 8 Trinity Irish Dance Company
Sat. Jan. 16 The Gospel at Colonus
Fri. Jan. 29 Anne Sofie von Otter, mezzo soprano
Fri. Feb. 12 ImMERCEsion: The Merce Cunningham
Dance Company Sat. Feb. 20 Meryl Tankard Australian Dance
Theatre: Furioso
Fri. Mar. 12 Abbey Lincoln
Sat. Mar. 20 Alvin Ailey American Dance Theater
Fri. Mar. 26 Sweet Honey in the Rock
Package price $209 per couple (not including tax 8c gratuity) includes valet parking at the hotel, overnight accommoda?tions in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 South Main Street 734.663.5555 for reservations
Wed. Oct. 14 John Williams, guitar
Pre-performance dinner
Thur. Nov. 12 Assad Brothers with Badi Assad, guitar Pre-performance dinner
Sun. Dec. 6 Handel's Messiah
Post-performance dinner
Mon. Jan. 18 The Gospel at Colonus
Pre-performance dinner
Tue. Feb. 23 Kodo
Pre-performance dinner
Sun. Mar. 28 American String Quartet
Post-performance dinner
Fri. Apr. 23 Lincoln Center Jazz Orchestra
with Wynton Marsalis Pre performance dinner
Package price $60 per person includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance.
Weber's Inn
3050 Jackson Road, Ann Arbor 734.769.2500 for reservations
Thur. Ian. 28 American String Quartet
Pre-performance dinner
Thur. Mar. 11 James Galway, flute
Pre-performance dinner
Fri. Mar. 19 Alvin Ailey American Dance Theater
Pre-performance dinner
Sun. Apr. 25 NHK Symphony Orchestra of Tokyo
Post-performance dinner
Package price $139 for a single and $213 for a double, deluxe standard (king or queen) includes overnight stay, guaranteed reservations for a preor post-show dinner (select any entree from the special package menu, non-alcholic beverage, and dessert, includes taxes & tip) and reserved "A" seats on the main floor at the performance.
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 80 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 Arts Center
Blue Nile Restaurant
Bodywise Theraputic
Massage Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc.
of Ann Arbor Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques
John Leidy Shop
John's Pack & Ship
Kerrytown Bistro
King's Keyboard House
Michigan Car Services
Paesano's Restaurant
Perfectly Seasoned
Regrets Only
Ritz Camera One Hour
Schoolkids Records
Shaman Drum Bookshop
SKR Classical
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 130,000 of southeastern Michigan's most loyal concertgoers.
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, diverse 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
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 Sesi Lincoln-Mercury for the use of a Lincoln Town Car to provide transportation for visiting artists.
Advisory Committee
The Advisory Committee is a 48-member organiza?tion which raises funds for UMS through a variety of projects and events: an annual auction, the cre?ative "Delicious Experience" dinners, the UMS Cookbook project, the Season Opening Dinner, and the Ford Honors Program Gala. The Advisory Committee has pledged to donate $175,000 this current season. In addition to fundraising, this hard-working group generously donates valuable and innumerable hours in assisting with the educa?tional 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
Many thanks to all of you groups who have joined the University Musical Society for an event in past seasons, and a hearty welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years and our success is a direct result of the wonder?ful leaders who organize their friends, families, con?gregations, students, and co-workers and bring them to one of our events.
Last season over 8,300 people, from as far away as California, came to UMS events as part of a group, and they saved over $40,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable (position of having the only available tickets to sold out events like Wynton Marsalis, Itzhak Perlman, David Daniels, Evgeny Kissin, and the Chicago Symphony Orchestra.
This season UMS is offering a wide variety of 'events to please even the most discriminating tastes, (many at a fraction of the regular price. Imagine yourself surrounded by 10 or more of your closest friends as they thank you for getting great seats to the ihottest shows in town. It's as easy as picking up the bhone and calling UMS Group Sales at 734.763.3100.

Ford Honors Program
The Ford Honors program is made possible by a generous grant from the Ford Motor Company Fund 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, with subsequent honorees being Jessye Norman and Garrick Ohlsson.
This season's Ford Honors Program will be held Saturday, May 8. The recipient of the 1999 UMS Distinguished Artist Award will be announced in January.
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 August 14, 1998. 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.
Randall and Mary Pittman
Herbert Sloan
Paul and Elizabeth Yhouse
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical
Research University of Michigan
Arts Midwest
Lila Wallace Reader's Digest
Audiences for the Performing
Arts Network Lila Wallace Reader's Digest
Arts Partners Program The Ford Foundation Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Sally and Ian Bund
Kathleen G. Charla
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
James and Millie Irwin
Elizabeth E. Kennedy
Leo Legatski
Richard and Susan Rogel
Carol and Irving Smokier
Ron and Eileen Weiser
Businesses Arbor Temporaries
Personnel Systems, Inc. Brauer Investments Detroit Edison Foundation Elastizell
JPEincThe Paideia Foundation KeyBank
McKinley Associates Mechanical Dynamics NBD Bank NSK Corporation The Edward Surovell Co.Realtors TriMas Corporation University of Michigan -
Multicutural Affairs WDET WEMU WGTE WMXD Wolverine Temporaries, Inc.
Foundations Benard L. Maas Foundation New England Foundation for the Arts, Inc.
Herb and Carol Amster
Edward Surovell and Natalie Lacy
Tom and Debbie McMullen
Beacon Investment Company First of America Bank General Motors Corporation Thomas B. McMullen company Weber's Inn
Individuals Michael E. Gellert Sun-Chien and Betty Hsiao F. Bruce Kulp and Ronna Romney Mr. David G. Loesel Robert and Ann Meredith Prudence and Amnon Rosenthal Marina and Robert Whitman Roy Ziegler
Bank of Ann Arbor
Blue Nile Restaurant
Cafi Marie
Deloitte & Touche
Michigan Radio
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
Sesi Lincoln-Mercury
University of Michigan -
School of Music Visteon
Foundations Chamber Music America Institute for Social Research
Individuals Martha and Bob Ause Maurice and Linda Binkow Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne Edwin F. Carlson Mr. Ralph Conger Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Mr. Edward P. Frohlich Beverley and Gerson Geltner Sue and Carl Gingles Norm Gottlieb and Vivian Sosna Gottlieb
Keki and Alice Irani ohn and Dorothy Reed lion and Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Loretta M. Skewes Mr. and Mrs.
John C Stegeman Richard E. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and
James N. Morgan
Businesses AAA of Michigan Alf Studios Butzel Long Attorneys Comerica
Crown House of Gifts Joseph Curtin Studios Environmental Research Institute of Michigan ERIM International Inc. Main Street Ventures Masco Corporation Red Hawk Bar and Grill Regency Travel Republic Bank STM, Inc. Target Stores Zanzibar
Foundations Ann Arbor Area
Community Foundation
Individuals Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Emily W. Bandera, M.D. Peter and Paulett Banks A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreuter Suzanne A. and
Frederick J. Beutler Joan A. Binkow Ron and Mimi Bogdasarian Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Jim Botsford and
Janice Stevens Botsford Laurence Boxer, M.D.;
Grace J. Boxer, M.D.

Barbara Everitt Bryant Jeannine and Robert Buchanan Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Cantwell Jean and Kenneth Casey Pat and George Chatas Mr. and Mrs. John Alden Clark David and Pat Clyde Maurice Cohen Alan and Bette Cotzin Peter and Susan Darrow Jack and Alice Dobson Elizabeth A. Doman Jan and Gil Dorer Mr. and Mrs. John R. Edman David and Jo-Anna Featherman Adrienne and Robert Feldstein Ken and Penny Fischer Ray and Patricia Fitzgerald David C. and Linda L Flanigan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Lourdes and Otto Gago Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Enid M. Gosling Linda and Richard Greene Frances Greer Alice Berberian Haidostian 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 Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman Thomas and Shirley Kauper Bethany and Bill Klinke Michael and Phyllis Korybalski Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Mr. and Mrs. Henry M. Lee Carolyn and Paul Lichter Peter and Sunny Lo Dean and Gwen Louis Robert and Pearson Macek John and Cheryl MacKrell Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Millard Andrew and Candice Mitchell Grant Moore
Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia A. Patton Moss George and Barbara Mrkonic
Mr. and Mrs. Homer Neal Sharon and Chuck Newman M. Haskell and
Jan Barney Newman William A. and
Deanna C. Newman Mrs. Marvin Niehuss Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mr. and Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and Wilbur K. Pierpont Stephen and Agnes Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Molly Resnik and John Martin Jack and Margaret Ricketts Barbara A. Anderson and
John H. Romani Dr. Nathaniel H. Rowe Rosalie and David Schottenfeld Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel Dr. Elaine R. Soller Steve and Cynny Spencer Judy and Paul Spradlin Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Don and Carol Van Curler Mary Vanden Belt Elise and Jerry Weisbach Angela and Lyndon Welch Roy and JoAn Wetzel Douglas and Barbara White Elizabeth B. and
Walter P. Work, Jr.
The Barfield CompanyBartech Dennis Dahlmann, Inc. Consulate General of the
Federal Republic of
Howard Cooper, Inc. The Monroe Street Journal O'Neal Construction Charles Reinhart Company
Shar Products Company Standard Federal Bank Swedish Office of Science
and Technology
Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation Nonprofit Enterprise at Work
The Power Foundation Rosebud Foundation
Carlene and Peter Aliferis
Dr. and Mrs. Rudi Ansbacher
Catherine S. Arcure
Janet and Arnold Aronoff
Max K. Aupperle
James R. Maker, Jr., M.D. and
Lisa Baker
Gary and Cheryl Balint Dr. and Mrs. Mason Barr, Jr. Robert and Wanda Bartlett Karen and Karl Bartscht Ralph P. Beebe RE. Bennett L. S. Berlin
Mr. and Mrs. Philip C. Berry John Blankley and
Maureen Foley Charles and Linda Borgsdorf David and Sharon Brooks F. Douglas Campbell Jean W. Campbell Bruce and Jean Carlson Janet and Bill Cassebaum Tsun and Siu Ying Chang Mrs. Raymond S. Chase Janice A. Clark Leon and Heidi Cohan Roland J. Cole and
Elsa Kircher Cole James and Constance Cook Susan and Arnold Coran Mary K. Cordes H. Richard Crane Alice B. Crawford William H. and
Linda J. Damon III Delia DiPietro and
Jack Wagoner, M.D. Molly and Bill Dobson Charles and Julia Eisendraft David and Lynn Engelbert Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Mrs. Beth B. Fischer Daniel R. Foley James and Anne Ford Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox
Wood and Rosemary Geist Charles and Rita Gelman Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Joyce and Fred M. Ginsberg Paul and Anne Glendon Dr. Alexander Gotz Dr. and Mrs. William A. Grade Elizabeth Needham Graham Jerry M. and Mary K. Gray Dr. John and Renee M. Greden Lila and Bob Green John and Helen Griffith Leslie and Mary Ellen Guinn Mr. and Mrs. Elmer F. Hamel Robert and Susan Harris Susan Harris
4 2 Benefactors, continued
Walter and Dianne Harrison Clifford and Alice Hart Taraneh and Carl Haske Bob and Lucia Heinold Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershenson Mrs. W.A. Hiltner Janet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and Gaye H. Humphrey John and Gretchen Jackson Wallie and Janet Jeffries James and Dale Jerome Billie and Henry Johnson Mr. and Mrs. Richard A. Jones Stephen Josephson and
Sally Fink
Susan and Stevo Julius Robert L. and Beatrice H. Kahn Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine Roby Klingler Philip and Kathryn Klintworth Jim and Carolyn Knake Charles and Linda Koopmann Samuel and Marilyn Krimm Helen and Arnold Kuethe Lee E. Landes
David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski
Myron and Bobbie Levine Evie and Allen Lichter Jeffrey and Jane Mackie-Mason Edwin and Catherine Marcus Marilyn Mason Joseph McCune and
Georgians Sanders Ted and Barbara Meadows Walter and Ruth Metzger Myrna and Newell Miller Lester and Jeanne Monts Dr. Eva L. Mueller Martin Neuliep and
Patricia Pancioli Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. James C. O'Neill Mark and Susan Orringer Mark Ouimet and
Donna Hrozencik Lorraine B. Phillips William and Betty Pierce Eleanor and Peter Pollack Stephen and Bettina Pollock Ricnard H. and Mary B. Price Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece La Vonne and Gary Reed Rudolph and Sue Reichert Glenda Renwick Maria and Rusty Restuccia Katherine and William Ribbens Ken and Nina Robinson
Gustave and Jacqueline Rosseels Mrs. Doris E. Rowan Maya Savarino and
Raymond Tanter Sarah Savarino David and Marcia Schmidt Mrs. Richard C. Schneider Edward and Jane Schulak Howard and Aliza Shevrin Sandy and Dick Simon Scott and Joan Singer George and
Mary Elizabeth Smith Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Allen and Mary Spivey Gus and Andrea Stager Mrs. Ralph L. Steffek Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey K. Stross Bob and Betsy Teeter James L. and Ann S. Telfer Dr. and Mrs.
E. Thurston Thieme Sally Wacker Ellen C. Wagner Gregory and Annette Walker Willes and Kathleen Weber Karl and Karen Weick U.uml Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns B. Joseph and Mary White Clara G. Whiting Brymer and Ruth Williams Mrs. Elizabeth Wilson Frank E. Wolk J. D. Woods
Don and Charlotte Wyche Dr. and Mrs. Thomas Xydis Nancy and Martin Zimmerman
Bella Ciao Trattoria
Cooker Bar and Grille
Gandy Dancer Restaurant
Great Lakes Bancorp
Kerrytown Bistro
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
Perfectly Seasoned
St. Joseph Mercy Hospital
UVA Machine
Arts Management Group
Jewish Federation of
Metropolitan Chicago United Jewish Foundation of
Metropolitan Detroit
Michael and Suzan Alexander Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Jonathan and Marlene Ayers
Esse! and Menakka Bailey
Julie and Bob Bailey
Dr. and Mrs. Daniel R. Balbach
Lesli and Christopher Ballard
Cy and Anne Barnes
Norman E. Barnett
Leslie and Anita Bassett
Scott Beaman
Astrid B. Beck and
David Noel Freedman Kathleen Beck Neal Bedford and
Gerlinda Melchiori Linda and Ronald Benson Ruth Ann and Stuart J. Bergstein Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Mr. and Mrs. H. Harlan Bloomer Roger and Polly Bookwalter Gary Boren
Dr. and Mrs. Ralph Bozell Mr. Joel Bregman and
Ms. Elaine Pomcranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton A. Joseph and Mary o Brough Olin L. Browder June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Charles and Martha Cannell Jim and Priscilla Carlson Marchall F. and Janice L. Carr Jeannette and Robert Carr James S. Chen Don and Betts Chisholm Dr. Kyung and Young Cho Robert J. Cierzniewski John and Nancy Clark Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Cynthia and Jeffrey Colton Lolagenc C. Coombs Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Mary R. and John G. Curtis DASH
Ed and Ellie Davidson Laning R. Davidson, M.D. John and Jean Debbink Mr. and Mrs. Jay De Lay Louis M. DeShantz Elizabeth Dexter Gordon and Elaine Didier Steve and Lori Director Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Prof. William Gould Dow Jane E. Dutton Martin and Rosalie Edwards Dr. Alan S. Eiser Joan and Emil Engel Dr. and Mrs. John A. Faulkner Susan Feagin and John Brown Reno and Nancy Feldkamp
Dede and Oscar Feldman Dr. James F. Filgas Carol Fincrman Herschel and Annette Fink Susan R. Fisher and
John W. Waidley Beth and Joe Fitzsimmons Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Doris E. Foss
Howard and Margaret Fox Deborah and Ronald Freedman Andrew and Deirdre Freiberg Lela J. Fucster
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and Mrs.
David M. Gates
Steve Geiringer and Karen Bantel Thomas and Barbara Gelehrter James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Irwin J. Goldstein and
Marty Mayo
Steve and Nancy Goldstein Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Robert M. Grover Ken and Margaret Guire Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Yoshiko Hamano Michael C. and Deanne A. Hardy Kenneth and Jeanne Heininger lohn L. and
lacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Dr. and Mrs. Ronald W. Holz Dr. and Mrs. Joseph Houle Linda Samuelson and
Joel Howell Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Professor and Mrs.
John H. Jackson Harold and Jean Jacobson Mr. and Mrs. Donald L. Johnson Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Dr. and Mrs. Mark S. Kaminski Allyn and Sherri Kantor Mr. and Mrs. Norman A. Katz Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Emily and Ted Kennedy Donald F. and Mary A. Kiel Tom and Connie Kinnear Rhea and Leslie Kish Drs. Paul and Dana Kissner lames and Jane Kister Dr. George Kleiber Joseph and Marilynn Kokoszka i Melvyn and Linda Korobkin
Dimitri and Suzanne Kosacheff Barbara and Charles Krause Konrad Rudolph and
Marie Krugcr Thomas and Joy Kruger Bert and Catherine La Du John and Margaret Laird Henry and Alice Landau Mr. and Mrs. Henry M. Lapeza Jill Latta and David S. Bach John and Theresa Lee Frank Legacki and Alicia Torres Richard LeSueur Jacqueline H. Lewis Lawrence B. Lindemcr Vi-Cheng and Hsi-Yen Liu Rebecca and Lawrence Lohr Dan and Kay Long Leslie and Susan Loomans Charles and Judy Lucas Edward and Barbara Lynn Donald and Doni Lystra Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Richard Marcy Nancy and Philip Margolis Geraldine and Sheldon Markel Irwin and Fran Martin Sally and Bill Martin Dr. and Mrs. Josip Matovinovic Mary and Chandler Matthews Margaret W. Maurer Jeffrey and Sandra Maxwell Margaret E. McCarthy W. Bruce McCuaig Griff and Pat McDonald Charlotte McGeoch Terence McGinn Bernice and Herman Merte Deanna Relyea and
Piotr Michalowski Leo and Sally Miedler Jeanette and Jack Miller Dr. and Mrs. James B. Miner Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A.A. Moroun Dr. M. Patricia Mortell Brian and Jacqueline Morton Dr. and Mrs. Gunder A. Myran Frederick C. Neidhardt and Germaine Chipault Barry Nemon and Barbara Stark-Nemon Veltajean Olson and
D. Scott Olson Mrs. Charles Overberger Donna D. Park Shirley and Ara Paul Dr. Owen Z. and
Barbara Perlman Frank and Nelly Petrock Joyce H. and Daniel M. Phillips William and Barbara Pierce Frank and Sharon Pignanelli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince Bradley Pritts
J. Thomas and Kathleen Pustell Ldand and Elizabeth Quackenbush
Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Constance Rinehart lames and Alison Robison Mr. and Mrs. Stephen J. Rogers Mrs. Irving Rose Dr. Susan M. Rose Gay and George Rosenwald Drs. Andrew Rosenzweig and
Susan Weinman Craig and Jan Ruff Jerome M. and Lee Ann Salle Ina and Terry Sandalow Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Meeyung and Charles Schmitter Sue Schroeder Marvin and Harriet Selin Constance Sherman Alida and Gene Silverman Frances U. and Scott K. Simonds John and Anne Griffin Sloan Mrs. Alene M. Smith Carl and Smith Mrs. Robert W. Smith Virginia B. Smith Richard Soble and
Barbara Kessler Jorge and Nancy Solis Katharine B. Soper Dr. Yoram and Eliana Sorokin Jeffrey D. Spindler L. Grasselli Sprankle Francyne Stacey Dr. and Mrs. Alan Steiss Steve and Gayle Stewart Dr. and Mrs. Stanley Strasius Charlotte Sundelson Brian and Lee Talbot Ronna and Kent Talcott Eva and Sam Taylor Cynthia A. Terrill Paul Thielking Edwin J. Thomas Alleyne C. Toppin Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Treciak Van Dam Jack and Marilyn van der Velde Rebecca Van Dyke William C. Vassell Kate and Chris Vaughan Carolyn and Jerry Voight Warren Herb and Florence Wagner Wendy L. Wahl and
William R. Lee
Norman C. and Bertha C. Wait Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
George Miller
Marcy and Scott Westerman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitehouse Thomas and Iva Wilson
Charlotte Wolfe Mr.andMrs.A.CWooIl Phyllis B. Wright MaryGracc and Tom York Mr. and Mrs. Edwin H. Young Ann and Ralph Youngren Gail and David Zuk
Businesses Atlas Tool, Inc. Coffee Express Co. Edwards Brothers, Inc. General Systems
Consulting Group The Kennedy Center John Leidy Shop, Inc. Scientific Brake and
Equipment Company
The Sneed Foundation, Inc.
lim and Jamie Abelson
John R. Adams
Irwin P. Adetson, M.D.
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. Allardyce
Mike Allemang
Richard and Bcttye Allen
Richard Amdur
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Catherine M. Andrea
Dr. and Mrs. Dennis L Angcllis
Elaine and Ralph Anthony
Bert and Pat Armstrong
Thomas J. and Mary E. Armstrong
Gaard and Ellen Arneson
Mr. and Mrs. Lawrence E. Arnett
Mr. and Mrs. Dan E. Atkins III
Eric M. and Nancy Aupperlc
Erik and Linda Lee Austin
Eugene and Charlcne Axelrod
Shirley and Don Axon
Virginia and kr.iKl Bachman
Lillian Back
Jane Bagchi
Prof, and Mrs. J. Albert Bailey
Doris I. Bailo
Robert L. Baird
Bill and Joann Baker
Dennis and Pamela (Smitter) Baker
Laurence R. and Barbara K. Baker
Maxinc and Larry Baker
Drs. Helena and Richard Baton
John R. Bareham
David and Monika Barera
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Sherri H. Barnes
Donald C. Barnette, Jr.
Mark and Karla Bartholomy
Dorothy W. Bauer
Rosemarie Bauer
James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert M. Bcckley and Judy Dinesen Nancy Bender Walter and Antje Benenson Harry and Betty Bcnford Merete and Erling Blondal Bengtsson Bruce Benncr Joan and Rodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Barbara Levin Bergman Minnie Berki
4 4 Associates, continued
Abraham and Thelma Berman Harvey and Shelly Kovacs Bcrman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bertcher Mark Bertz
R. Bezak and R. Halstead John and Marge Bianckc Irene Biber Eric and Doris Billes lack and Anne Birchfield William and Ilenc Birge Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh George and Joyce Blum Beverly J. Bole Catherine I. Bolton Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonncll Ed and Luciana Borbcly Lola J. Borchardt Jeanne and David Bostian Bob and Jan Bower Dean Paul C. Boylan C. Paul and Anna Y. Bradley Enoch and Liz Brater Professor and Mrs. Date E. Briggs Patrick and Kyoko Broderick Dr. and Mrs. Ernest G. Brookfield Linda Brown and Joel Goldberg Cindy Browne Mary and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Phil Bucksbaum and Roberta Morris Dr. Frances E. Bull Margaret and John Burch Marilyn Burhop Judy and Bill Butler Robert A. Sloan and Ellen M. Bycrlcin Patricia M. Cackowski, M.D. Joanne Cage H. D. Cameron fenny Campbell (Mrs. D.A.) lames and Jennifer Carpenter Jan and Steve Carpman Deborah S. Carr
Dennis B. and Margaret W Carroll Carolyn M. Carty and Thomas H. Haug John and Patricia Carver Dr. and Mrs. Joseph C. Cerny Kathran M. Chan William and Susan Chandler J. Wehrley and Patricia Chapman Joan and Mark Chesler Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Nancy Cilley
Brian and Cheryl Clarkson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Howard and Vivian Cole Mr. and Mrs. Michael F. Collier Ed and Cathy Colone Edward J. and Anne M. Comeau Patrick and Anneward Conlin Nan and Bill Conlin Thomas Conner Donald W. Cook Gage R. Cooper Robert A. Cowles Clifford and Laura Craig Marjorie A. Cramer Dee Crawford
Richard and Penelope Crawford Charles and Susan Cremin Mary C. Crichton Lawrence Crochier Constance Crump and Jay Simrod
Mr. and Mrs. James I. Crump
Margaret R. Cudkowkz
Richard I. Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daanc
Mr. and Mrs. John R. Dale
Marylee Dalton
Robert and Joyce Damschroder
Lee and Millie Danielson
Jane and Gawaine Dart
Sunil and Merial Das
DarLinda and Robert Dascola
Ruth E. Datz
Dr. and Mrs. Charles Davenport
Mr. and Mrs. Arthur W, Davidge
David and Kay Dawson
Joe and Nan Decker
Dr. and Mrs. Raymond F. Decker
Rossanna and George DeGrood
Penny and Laurence B. Deitch
Elena and Nicholas Delbanco
William S. Demray
Lloyd and Genie Dethloff
Don and Pam Devine
Elizabeth and Edmond DeVine
A. Nelson Dingle
Dr. and Mrs. Edward R. Doezema
Jean Dolega
Heather and Stuart Dombey
Fr. Timothy J. Dombrowski
Thomas Doran
Deanna and Richard Dorner
Dick and Jane Dorr
Thomas Downs
Paul Drake and Joyce Penner
Roland and Diane Drayson
Harry M. and Norrene M. Dreffs
Janet Driver
John Dryden and Diana Raimi
Robert and Connie Dunlap
Jean and Russell Dunnaback
Edmund and Mary Durfec
John W. Durstine
Jacquelynne S. Eccles
Elaine Economou and Patrick
Mr. and Mrs. Richard Edgar
Sara and Morgan Edwards
Rebecca Eisenberg and Judah
David A. Eklund
Judge and Mrs. S. J. Elden
Sol and Judith 11 kin
Julie and Charles Ellis
Ethel and Sheldon Ellis
James Ellis and Jean Lawton
Jack and Wylma Elzay
Michael and Margaret Emlaw
Mackenzie and Marcia Endo
Jim and Sandy Eng
Patricia Enns
Carolyne and Jerry Epstein
Karen Epstein and
Dr. Alfred Franzblau Mr. and Mrs. Frederick A. Erb Stephen and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald F. Eschman Eric and Caroline Ethington Barbara Evans Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr. Barbara and Garry C. 1,11,1 Mark and Karen Falahee Elly and Harvey Falit Thomas and Julia Falk Richard and Shelley Parkas Edward Farmer
Mr. and Mrs. H. W. Farrington, Jr. Walter Federlein Inka and David Felbeck Phil and Phyllis Fcllin Larry and Andra Ferguson Karl and Sara Fiegenschuh Clay Finkbeiner C. Peter and Bev A. Fischer Gerald B. and Catherine L. Fischer Dr. Lydia Fischer Patricia A. Fischer Charles W. Fisher Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher Winifred Fisher Barbara and James Fitzgerald Linda and Thomas Fitzgerald Morris and Debra Flaum Mr. and Mrs. Kurt Flosky David and Ann Flucke Maureen Forrest, M. D. and
Dennis Capozza Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Frecth Richard and Joann Freethy Gail Fromes Jerry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Jane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and Jack Gams Del and C. Louise Garrison Mr. James C. Garrison Janet and Charles Garvin Allan and Harriet Gelfond Jutta Gerber
Deborah and Henry Gerst Michael Gerstenberger W. Scolt Gerstenberger and Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas Mr. Harlan Gilmore Beverly Jeanne Giltrow ll.m Gittlen
Peter and Roberta Gluck Mr. and Mrs. Robert Gockel Albert L. Goldberg Edward and Ellen Goldberg Ed and Mona Goldman Mr. and Mrs. David N. Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin William and Jean Gosling Charles Goss Naomi Gottlieb and
Theodore Harrison, DDS Siri Gottlieb Michael L. Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Helen Graves and Patty Clare Pearl E. Graves
Dr. William H. and Maryanna Graves Larry and Martha Gray Isaac and Pamela Green JefT Green
BUI and Louise Gregory Linda and Roger Grekin Daphne and Raymond Grew Mr. and Mrs. lames J. Gribble Mark and Susan Griffin Werner H. Grille Margaret Grillot Laurie Gross
Richard and Marion Gross Dr. Robert and Julie Grunawalt Kay Gugala
Carl E. and Julia H. Guldberg Arthur W. Gulick, M.D. Mr. and Mrs. Lionel Guregian Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hackett Harry L. and Mary L. Hallock Mrs. William Halstead Sarah 1. Hamcke Mrs. Frederick G. Hammitt Dora E. Hampel Lourdes S. Bastos Hansen Charlotte Hanson Herb and Claudia Harjes M. C. Harms Dr. Rena Harold Nile and Judith Harper Stephen G. and Mary Anna Harper Laurclynnc Daniels and
George P. Harris
Ed Sarath and ]oan Harris
Robert and Jean Harris
Jerome P. Hartweg
Elizabeth C. Hassincn
Ruth Hastie
James B. and Roberta Hause
Jeannine and Gary Hayden
Mr. and Mrs. Edward J. Hayes
Charles S. Heard
Derek and Cristina Heins
Mrs. Miriam Hcins
Jim and Esther Heitlcr
Sivana Heller
Margaret and Walter Helmreich
Paula B. Hencken
Karl Henkel and Phyllis Mann
Dr. and Mrs. Keith S. Henley
Bruce and Joyce Herbert
Roger F. Hewitt
Hiroshi Higuchi
Peter G. Hinman and
Elizabeth A. Young Carolyn Hiss James C. Hitchcock Jane and Dick Hoerner Anne Holland George Villec Robert and Frances Hoffman Carol and Dieter Hohnke John and Donna Hollowell Howard L. and Pamela Holmes Ken and Joyce Holmes Arthur G. Horner, Jr. Dave and Susan Horvath Dr. Nancy Houk Dr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C. Hubbs Charles T. Hudson Hubert and Helen Huebl Harry and Ruth Huff Mr. and Mrs. William Hufford Jane Hughes
Joanne Winkleman Hulce Kenneth Hulsing Ann D. Hungerman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brenda and
Jason Prouser Imbcr Edward C. Ingraham Margaret and Eugene Ingram Perry Irish Judith G. Jackson Dr. and Mrs. Manuel Jacobs Robert and Janet James Professor and Mrs. Jerome Jelinek Keith and Kay Jensen JoAnn J. leromin Sherri Lynn Johnson Dr. Marilyn S. Jones John and Linda Jonidcs Elizabeth and Lawrence lordan Andrec Joyaux and Fred Blanck Tom and Marie Juster Paul Kantor and Virginia Weckslrom Kantor
Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Alex F. and Phyllis A. Kato Maxine and David Katz Nick and Meral Kazan Julia and Philip Kearney William and Gail Keenan Janice Keller
James A. Kelly and Mariam C Noland John B. Kennard Bryan Kennedy Frank and Patricia Kennedy Linda Atkins and Thomas Kenney Paul and Leah Kilcny Andrew Kim Jeanne M. Kin William and Betsy Kincaid Shira and Steve Klein Drs. Peter and Judith Kleinman
lohii and Marcia Knapp
Sharon L. KnightTitle Research
Ruth and Thomas Knoll
Mr. and Mrs. lack Knowles
Patricia and Tyrus Knoy
Shirley and Glenn Knudsvig
Rosalie and Ron Koenig
Ann Marie Kolre
Dick and Brcnda Krachcnbcrg
lean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krehbiel
Sara Kring
Alan and Jean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
lane Laird
Mr. and Mrs. Seymour Lampert
Pamela and Stephen Landau
Patricia M. Lang
Lome L. Langlois
Carl F. and Ann L. La Rue
Beth and George Lavoie
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Moshin and Christina Lee
Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Diane and Jeffrey Lehman Ann M. Leidy
Mr. and Mrs. Fernando S. Leon Ron and Leona Leonard Sue Leong Margaret E. Leslie David E. Levine George and Linda Levy Deborah Lewis
Donald )? and Carolyn Dana Lewis Judith Lewis Norman Lewis Thomas and Judy Lewis Mark Lindley and Sandy Talbott Mr. Ronald A. Lindroth Dr. and Mrs. Richard H. Lineback Naomi E. Lohr Jane Lombard Patrick B. and Kathy Long Ronald Longhofer Armando Lopez R. Luisa Lopez-Grigera Richard and Stephanie Lord Robert G. Lovell Donna and Paul Lowry Mr. and Mrs. Carl J. Lutkehaus Susan E. Macias Lois and Alan Macnee Walter A. Maddox Suzanne and lay Mahler Ronald and Jill Donovan Maio Deborah Malamud and Neal Plotkin William and Joyce Malm Claire and Richard Malvin Melvin and Jean Manis Pearl Manning Howard and Kate Markel Lee and Greg Marks Alice and Bob Marks Rhoda and William Martel Ann W. Martin Rebecca Martin
Mr. and Mrs. Stephen D. Marvin Debra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard Michelinc Maynard LaRuth McAfee Thomas and Jackie McClain Dores M. McCree Jeffrey T.McDole James and Kathleen McGauley Eileen Mclntosh and
Charles Schaldenbrand Mary and Norman Mclvcr Bill and Virginia McKeachie Daniel and Madctyn McMurtrie Nancy and Robert Meader Samuel and Alice Meiscls Robert and Doris Melling Allen and Marilyn Menlo HelyA.Merle-Benner
Jill McDonough and Greg Merriman
Henry D. Mcsser Carl A. House
Robert and Bettie Metcalf
Lisa A. Mcts
Professor and Mrs. Donald Meyer
Suzanne and Henry ). Meyer
Shirley and Bill Meyers
Francis and Helen Michaels
William and loan Mikkelsen
Carmen and lack Miller
Robert Rush Miller
lohn Mills
Olga Moir
Dr. and Mrs. William G. Moller, Jr.
Patricia Montgomery
Jim and Jeanne Montic
Rosalie E. Moore
Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Paul and Terry Morris Melinda and Bob Morris Robert C. Morrow Cyril and Rona Moscow James and Sally Mueller Tom and Hedi Mulford Bern and Donna Mullcr Marci Mulligan and Katie Mulligan Gavin Eadie and Barbara Murphy Laura and Chuck Musil Rosemarie Nagel Penny H. Nasatir Isabellc Nash Susan and Jim Newton John and Ann Nicklas Shinobu Niga Susan and Richard Nisbelt Gene Nissen
Laura Nitzberg and Thomas Carli Donna Parmelee and William Nolting Richard S. Nottingham Steve and Christine Nowaczyk Dr. Nicole Obregon Patricia A. C. O'Connor C. W. and Sally O'Dell Nels and Mary Olson Mr. 11. Oncley Zibby and Bob Oneal Kathleen I. Opcrhall Dr. Jon Oscherwitz Mitchel Osman, M.D. Elisa A. (Matin Lillian G. Ostrand Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Penny and Steve Papadopoulos Michael P. Parin Bill and Katie Parker Evans and Charlene Parrott Maria and Ronald Patterson Nancy K. Paul P. D. Pawelski Edward J. Pawlak Sumer Pek and Marilyn Katz-Pek Dr. and Mrs. Charles H. Peller Donald and Edith Pelz William A. Penner, Jr. Steven and Janet Pepe Bradford Perkins Susan A. Perry Ann Marie Petach Margaret and jack Petersen Roger and Grace Peterson Jim and Julie Phelps Mr. and Mrs. Frederick R. Pickard Leonard M. and Loraine Pickering Nancy S. Pickus Robert and Mary Ann Pierce Roy and Winnifred Pierce Russell and Elizabeth Pollard Hines Robert and Mary Pratt Jacob M. Price Joseph and Mickey Price V. Charleen Price Ernst Pulgram Malayan Rabindranathan Mr. and Mrs. Mitchell Radcliff Patricia Randlc and James Eng Al and Jackie Raphaclson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. F
Maxwell and Marjoric Readc
Michael Ready
Sandra Reagan
Gabriel M. Rebeiz
Kathcrine R. Recbel
Slanislav and Dorothy R. Rchak
John and Nancy Reynolds
Alice Rhodes
James and Helen Richards
Elizabeth G. Richart
Dennis J. Ringje
John and Marilyn Rintamaki
Sylvia Cedomir Ristic
Kathleen Roelofs Roberts
Dave and Joan Robinson
Janet K. Robinson, Ph.D.
Mary Ann and Willard Rodgers
Thomas and Catherine Rodziewicz
Mary F. Loeffler and
Richard K. Rohrer Damian Roman Elizabeth A. Rose Bernard and Barbara Rosen William and Elinor Rosenberg Richard Z. and Edic W. Rosenfeld Marilynn M. Rosenthal Charles W. Ross Roger and O.J. Rudd Dr. and Mrs. Raymond W. Ruddon Dr. and Mrs. Robert Ruskin Bryant and Anne Russell Scott A. Ryan Mitchell and Carole Rycus Ellen and Jim Saalbcrg Theodore and Joan Sachs Miriam S. Jofle Samson Tito and Yvonne Sanchez Daren and Maryjo Sandberg John and Reda Santinga Mike and Christi Savitski Helga and Jochcn Schacht Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L Schmilt Charlenc and Carl Schmult Gerald and Sharon Schreiber David E. and Monica N. Schteingart Albert and Susan Schultz Aileen M. Schulze Alan and Marianne Schwartz Ed and Sheila Schwartz Ruth Scodel Jonathan Bromberg and
Barbara Scott
David and Darlene Scovell
Michael and Laura Seagram
E. J. Sedlander
John and Carole Segall
Richard A. Seid
Suzanne Selig
Janet C. Sell
Louis and Sherry L. Senunas
George H. and Mary M. Sexton
Ruth and f. N. Shanbergc
Brahm and Lorraine Shapiro
Matthew Shapiro and
Susan Garctz, M.D. David and Elvera Shappirio Maurice and Lorraine Sheppard Dan Sherrick and Ellen Moss Rev. William J. Shcrzer George and Gladys Shirley Jean and Thomas Shope Hollis and Martha A. Showaltcr Mary Alice Shulman John Shultz
Ned Shure and Jan Onder John and Arlene Shy Douglas B. Siders, M.D. Dr. Bruce M. Siegan Mr. and Mrs. Barry J. Siegel Milton and Gloria Siegel 1 My and Enrique Signori Drs. Dorit Adler and Terry Silver Michael and Maria Simonte Robert and Elaine Sims Alan and Eleanor Singer DonaJd and Susan Sinla It in.i J. Sklcnar Beverly N. Slater
Tad Slawecki
f. Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
fames A. Somers
Judy Z. Somers
Mr. and Mrs. Edward J. Sopcak
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Shawn Spillanc
Charles E. Sproger
Edmund Sprunger
Burnctte Staebler
David and Ann Staiger
Constance StankraufT
Betty and Harold Stark
Dr. and Mrs. William C. Stcbbins
Bert and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Ronald R. Stempicn
William and Georgine Steude
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. James L Stoddard
Robert and Shelly Stoler
Ellen M. Strand and Dennis C Regan
Mrs. William H. Stubbins
Dr. and Mrs. Samuel Stulberg
Donald and Barbara Sugerman
Richard and Diane Sullivan
Rebecca G. Sweet and Roland J. Loup
PegTalburtt and Jim Peggs
Mr. and Mrs. James R. Tamm
Jerry and Susan Tarpley
Margi and Graham Teal)
Leslie and Thomas Tender
George and Mary Tewksbury
Catherine and Norman Thoburn
Bette M. Thompson
Peggy Tieman
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townley
Jim Toy
Angie and Bob Trinka
Sarah Trinkaus
Luke and Merling Tsai
Marlene C. Tulas
Jeff and Lisa Tulin-Silver
Jan and Nub Turner
Dolores J. Turner
William H. and Gerilyn K. Turner
Alvan and Katharine Uhle
Mr. and Mrs. Bryan Ungard
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Hugo and Karla Vandersypen
Bram and Lia van Leer
Fred and Carole S. Van Reesema
Yvette VanRiper
I. Kevin and Lisa Vasconi
Phyllis Vegter
Sy and Florence Veniar
Elizabeth Vetter
Martha Vicinus and Bea Nergaard
Jane and Mark Vogel
Mr. and Mrs. Theodore R. Vogt
John and Jane Voorhorst
George S. and Lorraine A. Wales
Richard and Mary Walker
Lorraine Nadclman and
Sidney Warschausky Ruth and Chuck Watts Edward C. Weber Joan M. Weber Jack and Jerry Weidenbach Carolyn J. Wcigle Gcrane and Gabriel Weinreich Lawrence A. Weis Donna G. Weisman Barbara Weiss Carol Campbell Welsch and
John Welsch
John and Joanne Werner Rosemary and David Wesenberg Ken and Cherry Westerman Susan and Peter Westerman Paul E. Duffy and Marilyn L Wheaton
46 Advocates, continued
Mr. and Mrs. Nathaniel Whiteside William and Cristina Wilcox Honorable Kurtis T. and
Cindy M. Wilder Reverend Francis E. Williams John Troy Williams Shelly E Williams Lois Wilson-Crabtree Beverly and Hadley Wine Dr and Mrs Jan Z. Winkelman Beth and I. W. Winsten Mr. and Mrs. Eric Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Patricia and Rodger Wolff Wayne Wolfson Dr. and Mrs. Ira S. Wollner Richard E. and Muriel Wong Nancy and Victor Wong Stewart and Carolyn Work Charles R. and Jean L. Wright Fran and Ben Wylie Mr and Mrs. R. A. Yagle Sandra and Jonathan Yobbagy Mr. Frank Yonkstetter James and Gladys Young Mr. and Mrs. Robert Zager Dr. Stephen C. Zambito Phyllis Zawisza Craig and Megan Zechman David S. and Susan H. Zurvalec
Ann Arbor Bivouac, Inc. Ayse's Courtyard Cafe Bodywise Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Garris, Garris, Garris &
Garris Law Office Lewis Jewelers Organizational Designs Pen in Hand
Alice Simsar Fine Art, Inc. Zepeda and Associates
Schwartz Family Foundation
Tftc Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great traditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinncar Dr. Eva Mueller Charlotte McGcoch Len and Nancy Niehoff Dr. and Mrs. Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Roy and Joan Wetzel Mr. and Mrs. Ronald G. Zollars
AAA Michigan
Alf Studios
Arbor TemporariesPersonnel
Systems Inc.
Bank of Ann Arbor
Barfidd CompanyBartech
Beacon Investment Company
Blue Nile Restaurant
Brauer Investments
Butzcl Long Attorneys
Charles Rcinhart Company
Joseph Curtin Studios
JPE IncThe Paideia Foundation
Deloitte & Touche
Environmental Research Institute
of Michigan ERIM International First of America Bank Forest Health Services Corporation Ford Motor Company General Motors Corporation Howard Cooper, Inc. KeyBank
Main Street Ventures Masco Corporation McKinley Associates Mechanical Dynamics Miller, Canfield, Paddock and Stone NBD Bank NSK Corporation O'Neal Construction Parkc-Davis Pharmaceutical Research
Pepper, Hamilton & Scheetz Red Hawk Bar & Grill Regency Travel Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science
and Technology Target Stores The Edward Surovell
Company Realtors Thomas B. McMuIlcn Company Weber's Inn Wolverine Temporaries Zanzibar
John H. Bryant
Margaret Crary
Mary Crawford
George R. Hunsche
Alexander Krezcl, Sr.
{Catherine Mabarak
Frederick C. Matthaei, Sr.
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powrie
Steffi Reiss
Ralph L Steffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBelt
Francis Viola III
Carl H. Wilmot
Peter Holderness Woods
Helen Zicgler
Bernard and Ricky Agranoff
Ann Arbor Symphony Orchestra
Anneke's Downtown Hair and
Applause Salon
Catherine Arcure
The Ark
Dr. Emily Bandera
Paulett and Peter Banks
Gail Davis Barnes
Ede Bookstein
Janice Stevens Botsford
The Boychoir of Ann Arbor
Barbara Everitt Bryant
Butzel Long
David G. Loesel, Cafe Marie
Tomas Chavez
Chelsea Flower Shop
Chianti Tuscan Grill
Elizabeth Colburn
Conlin Travel
Mary Ann and Roderick Daane
Peter and Norma Davis
Sam Davis
Katy and Tony Derezinski
Dough Boys Bakery
Rosanne Duncan
Einstein's Bagel
Pat Eriksen
Espresso Royale Caffes
Damian and {Catherine Farrel!
Judy Fike of J'Cakes
Betn and Joe Fitzsimmons
Guillermo and Jennifer Flores
Gallery Von Glahn
The Gandy Dancer
Beverly and Gerson Geltner
Generations for Children
Lee Gilles of the Great Frame Up
Anne Glendon
Renee Grammatico of Viola
Linda and Richard Greene
Daphne Grew
Jim Harbaugh Foundation
Marilyn Harber, Georgetown Gifts
Jeanne Harrison
Esther Hcitler
J. Downs Herold
Kim Hornberger
Kay and Tom Huntzicker
Stuart and Maureen Isaac
John Isles
Jeffrey Michael Powers Beauty Spa
Urban Jupena and Steve Levicki
Gerome Kamrowski
Stephen and Mercy Kasle
Katherine's Catering
Martha Rock Keller
Ed Klum
Craig L. Kruman
Diane Kurbatoff
Bernice Lamey
Henry and Alice Landau
Maxine Larrouy
John Leidy Shop
Don and Gerri Lewis
Stephanie Lord
Mary Matthews
Marty's Menswear
Elizabeth McLeary
Charlotte McGeoch
Michigan Theatre
Ron Miller
Moe Sport Shops
Monahan's Seafood Market
Robert Morris
Motif Hair by Design
The Moveable Feast
Lisa Murray
Susan and Richard Nisbett
John and Cynthia Nixon
Baker O'Brien The Labino Studio
Christine Oldenburg
Karen Koykaa O'Neal
Mary and Bill Palmer
Pen in Hand
Maggie Long, Perfectly Seasoned
Chris W. Petersen
Mary and Randall Piltman
Pat Pooley
Sharon and Hugo Quiroz
Radrick Farms Golf Course
leva Rasmussen
Regrets Only
Nina Hauser Robinson
Richard and Susan Rogel
Anne Rubin
Maya Savarino
Sarah Savarino
Ann and Tom Schriber
Boris Sellers
Grace Shackman
Richard Shackson
fanel and Mike Shatusky
All.i and Howard Shevrin
George Shirley
lohn Shultz
Herbert Sloan
David Smith
Steven Spencer
lohn Sprentall
Deb Odom Stern
Nat Lacy and Ed Surovell
Susan Tait of Fitness Success
Tom Thompson
TIRA's Kitchen
Donna Tope
Tom Trocchio of Atys
Susan Ullrich
Charlotte Van Curler
Kathleen and Edward VanDam
Andrea Van Houweling
Karla Vandersypen
Emil Weddigc
Ron and Eileen Weiser
Marina and Robert Whitman
Sabrina Wolfe
Young People's Theater Troubadours
Ann and Ralph Youngrcn
Soloist $25,000 or more Maestro$10,000-24,999 Virtuoso $7,500 9,999 Concertmaster $5,000-7,499 Leader $2,500 4,999 Principal$1,000-2,499 Benefactor $500-999 Associate $250 499 Advocate$100-249 Friend $50 99 Youth $25
Advertiser Index
15 Ann Arbor Acura
35 Ann Arbor Reproductive
14 Ann Arbor Symphony
37 Arborcrest Memorial Park
27 Arriba
30 Azure Mediterranean Grille
18 Bank of Ann Arbor
27 Bodman, Longley, and
32 Butzel Long
39 Charles Reinhart Co.
38 Chelsea Community
34 Chris Triola Gallery
38 Comerica Bank
11 Dobbs Opticians
12 Dobson-McOmber
33 Edward Surovell Co.Realtors
37 Emerson School
3 ERIM International
47 Ford Motor Company
50 Fotol
12 Fraleigh's Nursery
26 Glacier Hills
19 Harmony House
37 Harris HomesBayberry
28 Howard Cooper Imports

34 Individualized Home Care
3 Kerrytown Bistro
26 King's Keyboard House
13 KeyBank
19 )ohn Leidy Shops, Inc.
27 Lewis Jewelers
42 McGlynn & Gubbins
35 Miller, Canfield, Paddock,
and Stone
52 Mir's Oriental Rugs
17 Mundus & Mundus
2 NBD Bank
42 Pen in Hand
26 Performance Network
35 Red HawkZanzibar
11 SKR Classical
17 Sweet Lorraine's
32 Sweerwaters CaK
38 Ufer and Co.
50 U-M Matthaei Botanical
48 University Productions
51 Whole Foods

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