UMS Concert Program, Wednesday Oct. 14 To 23: University Musical Society: 1998-1999 Fall - Wednesday Oct. 14 To 23 --
Season: 1998-1999 Fall
University Of Michigan
St. Petersburg Philharmonic Gidon Kremer John Willia University Musical Society of the University of Michigan Fall 1998 Season jpitol Steps Guarneri String Quartet Bill T. Jone
Vengerov Tankard A
erce i unn i ngnam uance i Orpheus Chamber 0 red '0 a n c ek Theatre T a k a c Quartet jTallis S Hqney
University Musical Society
of the University of Michigan
The 1998-99 Fall Season
Letter from the President Corporate LeadersFoundations 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
UMS Dining Experiences Restaurant & Lodging Packages
The UMS Card
Sponsorship and Advertising
Ford Honors Program
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1997-98 season: Cclia 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 firstname.lastname@example.org.
Kenneth C. Fischer, President
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 President, 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."
Personnel Systems Arbor Temporaries
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the commu?nity that sustains our business. We are
proud to support an organization that provides such an important service to Ann Arbor."
President 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."
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." BEACON
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."
CHARLA BRETON ASSOCIATES
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."
"At ERIM International,
we are honored to
support the University
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 Board and Chief Executive Officer, Contin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
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, Dcloitte & 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!"
President, Elastizeil 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
"Our community is
enriched by the
Society. We warmly support the cultural events it brings to our area."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural contribu?tion it makes to the community."
JORGE A. SOUS
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"
Michael e. korybalski
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."
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 are glad to be part of that history."
DENNIS SERRAS President, Mainstnet 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." ,z
Erik H. Serr
Paddock and Stone,
Paddock and Stone
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
JOE E. O'NEAL President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
RONALD M. CRESSWELL, PH.D. Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associat?ed with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor"
THOMAS B. MCMULLEN President, Tfwmas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
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, The 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 Co-chairmen Benard L. Maas Foundation "The Benard L. Maas Foundation is proud to support the
University Musical Society in honor of its beloved founder: Benard L. Maas February 4,1896 May 13,1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
benard L. Maas foundation
Chamber Music America
The Heartland Fund
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
BOARD OF DIRECTORS
F. Bruce Kulp, Chair
Marina v.N. Whitman, Vice Chair
Stuart A. Isaac, Secretary
Elizabeth Yhouse, Treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Lee C. Bollinger
Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Letitia J. 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
Joe E. O'Neal Richard H. Rogel George I. Shirley Herbert Sloan Carol Shalita Smokle Peter Sparling Edward D. Surovell Susan B. Ullrich Iva M. Wilson
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Richard S. Berger Carl A. Brauer Allen P. Britton Douglas Crary John D'Arms James J. Duderstadt Robben W. Fleming Randy . Harris
Walter L. Harrison Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. KJnnear Patrick B. Long ludythe H. Maugh ......................................
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont John 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 Weiser Gilbert Whitaker
UMS STAFF AdministrationFinance Kenneth C. Fischer, President Elizabeth Jahn, Assistant to
the President John B. Kcnnard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant Manager and Group Sales
Thomas Sheets, Conductor Edith Leavis Bookstein,
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
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 Bassey, Production Associate Bruce Oshaben, Front of House
Kathi Reister, Head Usher Paul Jomanlas, Assistant Head Usher
Michael). Kondziolka, Director Mark Jacobson, Programming Coordinator
Work-Study Laura Birnbryer Rebekah Camm lack Chan Nikki Dobell Mariela Flambury Bert Johnson Melissa Karjala Un Jung Kim Beth Meyer Amy Tubman
Laura Birnbryer Carla Dirlikov Laura Schnitker
President Emeritus Gail W. Rector
1998-99 ADVISORY COMMITTEE
Len Niehoff, Chair Maureen Isaac, Co-Chair leva Rasmussen, Secretary
Lisa Murray, Staff Liaison Gregg Alf Martha Ause Paulett Banks Kathleen Beck Jeannine Buchanan Letitia J. Byrd Betty Byrne Phil Cole Mary Ann Daanc H. Michael Endres Don Faber Penny Fischer Sara Frank Barbara Gelehrter Beverley B. Geltner
Joyce Ginsberg Linda Greene Debbie Herbert Tina Goodin Herlel Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Beth Lavoie Doni Lystra Esther Martin Margie McKinley Jeanne Merlanti Scott Mere Ronald Miller Robert Morris Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin
Nina Hauser Robinson
Meg Kennedy Shaw
Susan B. Ullrich
Kathleen Treciak Van Dam
UMS TEACHER ADVISORY COMMITTEE Fran Ampey Kitty Angus Gail Davis Barnes Alana Barter Elaine Bennett Lynda Berg Barbara Boyce
Letitia J. Byrd Naomi Corera Carolyn Hanum Taylor Jacobsen Callie Jefferson Deborah Katz Dan Long Laura Machida Ed Manning Glen Matis Ken Monash Gayle Richardson Karen Schulte Helen Siedel Sue Sinta Sandy Trosien Melinda Trout Barbara Hertz Wallgren 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.
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.
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Hill Auditorium: A wheelchair-accessible pub?lic telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby.
Power Center: Pay phones are available in the 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.
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.
Phone orders and information
University Musical Society Box Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
on the University of Michigan campus
From outside the 313 and 734 area codes,
Mon-Fri 10 a.m. to 6 p.m. Sat. 10 a.m. to 1 p.m.
Order online at the UMS Website
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices open 90 minutes before the performance time.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
University Musical Society
of the University of Michigan
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 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.
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
the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conve?niences.
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, 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.
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
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, Oipheus 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.
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
PREPS (PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS)
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 Munequitos de Mantanzas
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.
MEET THE ARTISTS: POST-PERFORMANCE DIALOGUES
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
TEACHER WORKSHOP SERIES
A series of workshops for all K-12 teachers, these workshops are a part of UMS' efforts to provide school teachers with professional development opportunities and to encourage on going efforts to incorporate the arts in the curriculum. 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 listed 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., U-M Dante Department Call 734-763-5460 to register. Brown Bag Lunch Video talk led by liiko and Koma of their "Environmental Trilogy: Land, Wind and River" Friday, September 11,12 noon, U-M Institute for the I Iumanities.
Delicious Movement Class for dancers, musicians, singers, actors and visual artists taught by Eiko and Koma. Saturday, September 12, 12 noon. Dance Gallery Peter Sparling & Co. Call 734-747-8885 to register.
SAN FRANCISCO SYMPHONY MICHAEL TILSON THOMAS. CONDUCTOR AND PIANO Sunday, September 27,4 P.M. Hill Auditorium
Sponsored by McKinley Associates. Media Partner WGTE.
JUAN D'MARCOS' AFRO-CUBAN ALL STARS
Friday, October 9,8 P.M.
Sponsored by Charles Hall with additional
support from AAA Michigan. Media partner
ST. PETERSBURG PHILHARMONIC
YURI TEMIRKANOV. CONDUCTOR
GIDON KREMER, VIOLIN
Saturday, October 10, 8 P.M.
Sponsored by Charla Breton Associates.
Media Partner WGTE.
JOHN WILLIAMS. GUITAR
Wednesday, October 14,8 P.M.
Sponsored by Red Hawk Bar & Grill and
Friday, October 16,8 P.M.
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.
BILL T. JONESARNIE ZANE
WE SET OUT EARLY...
VISIBILITY WAS POOR
Friday, October 23,8 P.M.
Master Class led by lanet Wong, Company
Rehearsal Director. Wednesday, October
21,7 p.m., Dance GalleryPeter Sparling &
Co. Call 734-747-8885 to register.
Master Classes led by lanet V
Company Rehearsal Director and dancer
Alexandra Beller. Ten participant and ten
free observer places per class open to the
public. Thursday. October 22, 11 a.m.
and 12:45 p.m., I'M Dance Deptarment.
Call 734-763-5460 to register.
PREP Video talk of Bill T. lones' work.
Friday, October 23, 7 p.m., MI League
Koessler I ibrary.
Meet the Artists Post-performance dialogue
from the stage.
Media Partner WDET.
BUDAPEST FESTIVAL ORCHESTRA IVAN FISCHER, CONDUCTOR ANDRAS SCHIFF. PIANO
Saturday, October 24, 8 P.M.
PREP Bartok and Stravinsky at the
Crossroads" Glenn Watkins, Earl V. Moore
Professor Emeritus of Musicology.
Saturday, October 24, 7 p.m., MI League
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 WCTE.
LA CAPELLA REIAL DE CATALUNYA
AND HESPERION XX
JORDI SAVALL. VIOLA DA GAMBA
MONTSERRAT FIGUERAS, SOPRANO
Friday, October 30,8 P.M.
St. Francis of Assisi Catholic Church
PRF.P (ireg I lamilton of the Academy of
Early Music interviews lordi Savall.
Friday, October 30, 7 p.m.. Si. Francis
School Music Room.
MICHIGAN CHAMBER PLAYERS FACULTY ARTISTS OF THE UNIVERSITY OF MICHIGAN SCHOOL OF MUSIC Sunday, November 1,4 P.M. Rackham Auditorium Complimentary Admission
KIROV ORCHESTRA OF ST. PETERSBURG VALERY GERGIEV, CONDUCTOR Monday, November 2,8 P.M. Hill Auditorium
Master of Arts Interview and Open Rehearsal Conductor Valery Gergiev interviewed by Ann Arbor Symphony Orchestra Conductor Sam Wong. Monday, November 2, 1 p.m.. Hill 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.
JAZZ TAP SUMMIT
AN ALL-STAR CELEBRATION
OF TAP DANCING
Saturday, November 7,8 P.M.
Photo Exhibit "Plenty of Good Women
Dancers: African American Women
Hooters nom Philadelphia." October 19-
November 13, Ann Arbor District library,
Gifts of Art local and national tap artists
perform. Thursday, November 5, 12
noon, U-M I lospital Main Lobby.
Master of Arts Interview with artists
from fazz Tap Summit. Friday, November
(, 7 p.m.. Ml League Hussey Room.
Master Classes with tap artists featured
in fazz Tap Summit For information and
registration, call Susan 1 ilipiak of Swing
City Dance Studio, 734-668-7782.
Jazz Tap LectureDemonstration by
Dianne Walker. Saturday, November, 7,
1 p.m., Ann Arbor District Library.
Tap Jam Saturday, November 7, 7 p.m.,
I lill Auditorium plaza.
Sponsored by Elasti&IL Media Partner WEMU.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, November 8,4 P.M. Rackham Auditorium PREP Steven Whiting, U-M Assistant Professor of Musicology, with U-M School
Look for valuable information about UMS, the 199899 season, our venues, educational activities, and ticket information.
CHECK OUT THE UMS WEBSITE!
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 .is a part of the UMS Delicious Experience series. Monday, November 10. For infor?mation and reservations call 734-936-6837. Brochure available in late 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.,
hool of Music Recital Hall. Media Partner WGTE.
WITH BADI ASSAD
Thursday, November 12, 8 P.M.
Sponsored by NBD. Additional support
provided by Crown House of Gifts.
HILDEGARD VON BINGEN'S ORDO
VIRTUTUM (PLAY OF THE VIRTUES)
A FULLY STAGED SACRED-MUSICAL
Friday, November 13,8 P.M.
St. Francis of Assisi Catholic Church
PREP Benjamin Bagby, director ofOrdo
Virtutum. 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.
A HUEY P. NEWTON STORY CREATED AND PERFORMED BY ROGER GUENVEUR SMITH LIVE SOUND DESIGN BY MARC ANTHONY THOMPSON
Wednesday, November 18 Saturday,
November 21,8 P.M.
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 WEMU.
EMERSON STRING QUARTET
WITH MENAHEM PRESSLER, PIANO
Sunday, November 22,4 p.m.
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. Ml 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-pcrformance 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.
UMS CHORAL UNION
ANN ARBOR SYMPHONY ORCHESTRA
KATHLEEN BRETT, SOPRANO
ELLEN RABINER, CONTRALTO
GORDON GIETZ, TENOR
DEAN PETERSON, BASS
THOMAS SHEETS, CONDUCTOR
Saturday, December 5,8 P.M.
Sunday, December 6, 2 P.M.
Presented with the generous support of
Jim and Millie Irwin.
TRINITY IRISH DANCE COMPANY
Friday, January 8,8 P.M.
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by First of America Bank.
SUNG AND UNSUNG
NEW YORK FESTIVAL OF SONG
STEVEN BLIER AND MICHAEL
BARRETT, ARTISTIC DIRECTORS
DANA HANCHARD, SOPRANO AND
TED KEEGAN. TENOR
STEVEN BLIER AND JOHN MUSTO,
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 WCTE.
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 Husscy Room. Sponsored by Pepper, Hamilton and Scheetz, LLP. Media Partner WGTE
THE GOSPEL AT COLONUS
FEATURING J.D. STEELE AND
SPECIAL GUEST JEVETTA STEELE
CLARENCE FOUNTAIN AND THE
BLIND BOYS OF ALABAMA
THE ORIGINAL SOUL STIRRERS
REVEREND EARL MILLER
THE DUKE ELLINGTON CENTENNIAL
Friday, January 15 Saturday, January 16,
Sunday, January 17,3 P.M. Monday, January 18,3 P.M. Choir Workshop with the music director of The Gospel at Colonus. Saturday, November 14, Museum of African American Histoy in Detroit. Call 734-647-6712 for information and registration. Community Gospel Sing Along with the i.ist of The Gospdat Colonus. Wednesday, January 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 Center. 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.
AMERICAN STRING QUARTET 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.
ANNE 5OFIE VON OTTER. MEZZO-SOPRANO CHAMBER MUSIC SOCIETY OF LINCOLN CENTER
DAVID SHIFRIN, ARTISTIC DIRECTOR BENGT FORSBERG, PIANO Friday, January 29, 8 P.M. Lydia Mendelssohn Theatre PREP Richard LeSueur, 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.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY ONE-HOUR FAMILY PERFORMANCE 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 1-uchs. Lecture by composer Kenneth Fuchs. Monday, February 8, 12 noon, U-M School of Music, Room 2033. Panel Discussion "Interdisciplinary Creativity in the Arts" moderated by U-M English Professor Julie Ellison, in conjunction with the Beethoven the Contemporary and Mcrce Cunningham Residencies.
Tuesday, February 9, 7 p.m., Rackham Amphitheater.
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.
THE MERCE CUNNINGHAM
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 IMS residency. Information session held in fanuary. Gil! 734-7(3-5460 for information. Brown Bag Lunch about Merce Cunningham. Tuesday, lanuary 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 music in a workshop which culminates in a free per formance and reception at the Power Center on Wednesday, February 10. WorkshophcldSaturd.lv. Februar) 6,4 p.m. at the Ann Arbor Art Center and 1 ance GalleryPeter Sparling & Co. Call 734-994-800-1 ,101 for information and regis?tration, or walk-in registration at the Ann Arbor Art (ienter.
Youth and Adult Art Classes with con?nections to the Cunningham Company held in the fall and winter. Call 734-994-8004 xlOl for information and registra?tion, or walk-in registration at the Ann Arbor Art Center.
Lobby Exbibit Art from the youth class .it the Ann Arbor Art Center on display February 1-14, Power Center Lobby. Brown Bag Lunch on Mm I Cartridge Music, presented by Laura Kuhn, Director of the Iphn Cage Trust, and U-M Professor Stephen Rush. Tuesday, February 9, 12 noon, U-M Institute for the Humanities.
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, Betty Pease Studio. Advanced Technique Master Classes taught by Meg Harper. Ten participant and ten free observer places per class open
to the public, with eight classes available. Tuesday, February 9 Friday, February 12, U M Dance Dept ( all 734-763-5460 to register.
Advanced Technique Master Class taught by Meg Harper. Saturday, February 13, 10:30 a.m., Dance (ialleryPeter 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, 11 a.m., Power Center balcony. Call 734-647-6712 lor information and regis?tration.
PREP ( ompany Archivist I )avid Yaughan leads a video discussion ot Cunningham works. Friday, February 12, 7 p.m., Modern Languages Building Lecture Room. Meet the Artists Post-performance dia?logue from the stage, Friday, February 12. PREP (lompany Archivist I tavid Vaughan leads a video discussion of Cunningham works. Saturday, February 13, 7 p.m., MI league 1 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
MERYL TANKARD AUSTRALIAN
Friday, February 19 Saturday,
February 20, 8 P.M.
PREP Video talk of Meryl Tankard's work.
Friday, February IV, 7 p.m., MI League
1 lussey Room.
PREP Video talk of Meryl Tarkard's work.
Saturday, February 20, 7 p.m., MI League
Meet the Artists Post-performance dia
logue from the stage.
Media Partner WDET.
MICHIGAN CHAMBER PLAYERS FACULTY ARTISTS OF THE UNIVERSITY OF MICHIGAN SCHOOL OF MUSIC Sunday, February 21,4 P.M. Rackham Auditorium Complimentary Admission
Tuesday, February 23 Thursday,
February 25,8 P.M.
Sponsored by NSK Corporation with support
from Beacon Investment Company and the
Blue Nile Restaurant. Media Partner WDET.
JAMES GALWAY, FLUTE
PHILLIP MOLL, PIANO
Thursday, March 11,8 P.M.
Sponsored by Parkc-Davis Pharmaceutical
Research. Media Partner WGTE.
WITH MARC CORY, PIANO
MICHAEL BOWIE, BASS
ALVESTER GARNETT, DRUMS
Friday, March 12,8 P.M.
Sponsored by Miller, Canfield, Paddock and
Stone, LLP. Media Partner WEMU.
Thursday, March 18,8 P.M. Rackham Auditorium
ALVIN AILEY AMERICAN DANCE
Friday, March 19 Saturday, March 20,
Sunday, March 21,4 P.M. Power Center
PREP Video talk of signature Ailey pieces. Friday, March 19, 7 p.m., Ml League Vandenberg Room. PR?P Video talk of signature Ailey Saturday, March 20, 7 p.m., MI League I lusscy 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
GYPSY CULTURE FROM INDIA TO
EASTERN EUROPE AND IBERIA
Thursday, March 25,8 P.M. Michigan Theater
Presented with support from Republic Bank. Media Partner WDET.
SWEET HONEY IN THE ROCK
Friday, March 26,8 P.M.
Meet the Artists Post-performance
dialogue from the stage.
Presented with support from Comerica
Bank 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 of 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.
MOZARTEUM ORCHESTRA OF SALZBURG
HUBERT SOUDANT. CONDUCTOR TILL FELLNER, PIANO KATHARINE GOELDNER, MEZZO-SOPRANO
Thursday, April 15,8 P.M.
Sponsored by Edward Surovell Realtors.
Media Partner WGTE.
FEATURING JESUS ALEMANY
Friday, April 16,8 P.M.
Media Partner WEMU.
EWA PODLES, CONTRALTO JERZY MARCHWINSKI. PIANO Saturday, April 17,8 P.M. Lydia Mendelssohn Theatre
PREP by Richard LeSueur, 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.
ANONYMOUS 4 AND LIONHEART
Sunday, April 18,8 P.M.
St. Francis of Assisi Catholic Church
MONSTERS OF GRACE
A DIGITAL OPERA IN 3-DIMENSIONS
MUSIC BY PHILIP GLASS
DESIGN AND VISUAL CONCEPT BY
PERFORMED BY THE PHILIP GLASS
Thursday, April 22,8 P.M.
Media Partner WDET.
LINCOLN CENTER JAZZ ORCHESTRA
WITH WYNTON MARSALIS
A CENTENNIAL CELEBRATION OF
Friday, April 23,8 P.M.
PREP Kcnn Cox, Professor of Music at
Michigan State and Wayne State Universities,
interviews members of the Lincoln Center
Jazz Orchestra. Friday, April 23, 7 p.m.,
MI League Hussey Room.
Co-sponsored by Arbor TemporariesPersonnel
Systems, Inc. and Mechanical Dynamics
with support from the Lila Wallace-Reader's
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.
NHK SYMPHONY ORCHESTRA OF TOKYO
CHARLES DUTOIT, CONDUCTOR SARAH CHANG, VIOLIN KAZUE SAWAI, KOTO
Sunday, April 25,4 P.M.
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
University Musical Society
of the University of Michigan 1998-1999 Fall Season
Event Program Book
Wednesday, October 14 through Friday, October 23, 1998
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All 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.
Wednesday, October 14, 8:00pm Rackham Auditorium
The Capitol Steps 9
Friday, October 16, 8:00pm Michigan Theatre
Guarneri String Quartet 11
Sunday, October 18,4:00pm Rackham Auditorium
Bill T. JonesArnie Zane Dance Company 17
Friday, October 23,8:00pm Power Center
Red Hawk Bar &
Grill and Zanzibar
(arr. John Williams)
Antonio Vivaldi (trans. John Williams)
(trans. John Williams)
Wednesday Evening, October 14,1998 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Aeolian chant Saltarello I Lamento di Tristan Ductia Saltarello II
Concerto in D Major, Op. 3, No. 9 ("L'Estro armonico")
from Suite Espanola, Op. 47
El Decameron Negro
El arpa del guerrero
(The Harp of the Warrior)
La huida de los amantes por el valle de los ecos
(The Lover's Flight into the Valley of Echoes)
Balada de la doncella enamorada
(Ballad of the Lady in Love)
Stele" Dervish Bronze Apollo Web
No. 3 No. 4 No. 5
Sixth Performance of the 120th Season
Special thanks to Dick Schubach and Roger Hewitt for their generous support through Red Hawk Bar & Grill and Zanzibar.
Large print programs are available upon request.
The first piece in this group was written by a friend of mine a few years ago; it sounds like a medieval chant and it happens to be in the Aeolian mode (one of the Greek modes on which the classical European scales are based). The "Lamento di Tristan" comes from an anonymous fourteenth-century Italian collection of single-line melodies consisting of songs and instrumental dances. I have added harmony to this beautiful tune only where it seems implied. Other instruments would certainly have joined in, especially for dance pieces like the "Saltarellos", which are from the same collection. The "Ductia" however, is from an early English collection.
Concerto in D Major, Op. 3, No. 9 ("L'estro armonico")
Born March 4, 1678 in Venice
Died July 28,1741 in Vienna
This particular concerto comes from a group of twelve entitled "L'estro armonico" (fickle or animated harmony) and was dedicated to Ferdinando III, Grand Duke of Tuscany. It was written for solo violin, strings, and continue
Historians say that Vivaldi's popularity is due to J.S. Bach's use of his concertos as models in writing his own keyboard concer?tos, and that Vivaldi was of mediocre talent. They even went so far as to say that of the 400 instrumental concertos he wrote, he composed but one, and the other 399 works are but copies. One might get that impression if one had to listen to all 400 concertos in one sitting. Be that as it may, this concerto does reflect cross-pollenization of operatic fragments, especially the second movement and its "lament" air, whilst the first and third movements demonstrate a repetitiveness in thematic material.
(from Suite Espanola, Op. 47)
Born May 29, 1860 in Camprodon Died May 18, 1909 in Cambd-les-Bains (Pyrenees)
In his early years, Albeniz was an adventurer who studied in France and Belgium, became a pupil of Liszt in Germany, ran away to Puerto Rico and Cuba, crossed the United States on a concert tour that took him as far as San Francisco, and worked as a bar-room entertainer on the New York waterfront. He earned fortunes and lost them as a pianist, became a successful composer of operettas for the London theater, and finally settled in Paris to live and work as a serious musician. Like many other Spanish composers, he was born in Catalonia, in the northeastern region of the Iberian peninsula. But he soon fell
under the spell of the folk and popular music of Andalusia in the south, and his success in adapting its colorful idiom to concert music soon defined it as typically Spanish for the rest of the musical world.
Originally written for the piano, we hear tonight John Williams' transcription of one of the pieces in the Suite Espanola. Asturias is a hilly region along the Bay of Biscay in the north and center of the Spanish coal mining industry. The area has produced many haunting folk-songs and this piece is subtitled leyenda (legend).
El Decameron Negro
Born March 1, 1939 in Havana, Cuba
Leo Brouwer's original career as a guitarist was shared with a growing interest in com?position, and this became his main vocation. Brouwer's works for guitar are a major part of the instrument's twentieth-century reper?toire, but are only a small proportion of his total output, which includes choral, vocal, chamber, and orchestral works, and so far, more than sixty film scores.
Early influences were Bartok and Stravinsky, and Brouwer has been continually interested in the developing language of com?position over the years through the "avant-garde" period of the 1960s and 1970s, in which his aleatoric pieces show lasting imagination and creativity in the use of minimalist ideas. Today, Brouwer describes his language as a "sort of neo-romanticism", with nationalist Afro-Cuban influences not far behind.
El Decameron Negro (1981) was inspired by a collection of traditional African tales collected by the anthropologist Leo Frobenius at the end of the ninteenth-century. The evocative titles -The Harp of the Warrior, The Lover's Flight into the Valley of Echoes, and the Ballad of the Lady in Love -are the starting point of a wonderfully imaginative piece which seems to unfold as a single story.
Born April 26, 1954 in Melbourne, Australia
Phillip Houghton was a relative latecomer to classical music -his early musical interests being rock, jazz, and folk music. Although he has written in both acoustic and electronic media for theatre, film and dance, the guitar remains his first love and his music seems to add a new sense of time and space to the sound of the instrument. Phillip Houghton writes:
"Stele is strongly influenced by Greek art and mythology and the Grecian landscape. The word stele itself describes a headstone or monument, often erected on the coastline in memoriam of sailors and travellers lost at sea, or those never to return to their homeland. In a sense, they were beacons for lost souls. The Stele of Demokleides -which depicts the image of a lost sailor seated alone on a cliff, his head buried in his hands -provided great inspiration for the entire work and, in particu?lar, the first movement. The next movement, 'Dervish', is based on the statue of the mad galloping horse and jockey or Artemission, its musical form being a response to the ecstatic dance of the Whirling Dervishes. The third movement,'Bronze Apollo,' (in two sections, (a) Premonition and (b) Arpeggio, and inspired by the magnificent early bronze figure Piraeus Apollo), bears the subtitle 'Copper, Bronze, Water, Air, Green, Perfume.' 'Web', a short, relentless drone that compresses and weaves elements used in the preceding three movements, closes the solo."
Born July 29,1925 in Chios
The Greek composer Mikis Theodorakis began the movement which transformed and revitalized Greek popular music in the 1960's. This combines elements of the old Byzantine traditions, based on church
plainsong and the Greek modes, with folk music and its more recent vocal and instru?mental styles, which altogether give us that recognizable "Greek" sound -lyrical and passionate melodies supported by driving rhythms and simple but strong harmonies. The other elements in this "new" popular music were the lyrics and poetry which grew from the social and political events of the time; (Theodorakis himself was tortured and imprisoned by the military dictatorship in 1967 and exiled in 1970). For his songs, Theodorakis is most often inspired by poetry about love and loneliness, freedom and oppression, and he has set both the Spanish poet Garcia Lorca and the Irish writer Brendan Behan to music. These three Epitafios are arrangements from a song cycle setting the lyrics of the Greek poet Ritsos.
Carlo Domeniconi is an Italian guitarist and composer who spent many years living and teaching in Istanbul. The influence of Turkish music plays a large part in his compositions, particularly in this piece. (Koyunbaba is an area of southwest Turkey and it also means shepherd.) Domeniconi writes here for the guitar to be tuned in c-sharp minor, totally different from normal, and the sound is rich and exotic. Based on fantasy and variation, the music gradually builds during the work's four continuous sections, using the special tuning as a hyp?notic effect in creating musical intensity and excitement.
Program notes by John Williams.
John Williams was born in Australia in 1941 and began to learn the guitar at the age of four, receiving lessons from his father. The family moved to London in 1952, where he met and studied with Andres Segovia and on his recommendation entered the Accademia Musicale di Siena in Italy, where he studied on a scholarship for five years. At the request of his fellow students, he received the unpre?cedented honor of giving the first complete solo recital by a student of any instrument. Back in England he attended the Royal College of Music, where he studied piano and music theory.
John Williams made his London debut at the Wigmore Hall in 1958, then in Paris and Madrid, followed by visits to the Soviet Union and Japan. He became a regular visitor to the U.S. where he gained an exclusive recording contract with CBS Records (now Sony Classical). Many
of his recent record?ings, including John Williams Plays Vivaldi Concertos and the solo album Iberia, are best-sellers. John Williams now performs all over the world.
Many composers have written for him, including Thereby, Stephen Dodgson and Andre Previn.
In 1984 he performed the premiere of Vers Varc-en-ciel by the late Toro Takemitsu, with Sir Simon Rattle and the City of Birmingham Symphony Orchestra. Other premieres include Sculthorpe's Guitar Concerto No. 2 with the Australian Chamber Orchestra, Nigel Westlake's Antartica with the LSO and Kent Nagano, Richard Harvey's Concerto Antico with the Bournemouth Sinfonietta and Leo Brouwer's Guitar Concerto No. 4.
John Williams has appeared on many
series for Granada Television, including the television shows of Val Doonican, Eric Sykes and Nana Mouskouri and appeared with friends such as Julian Bream, Paco Pena, Barny Kessel, Itzhak Perlman and Andre Previn. He strongly believes that music should be accessible to everyone. He was one of the first classical musicians to play at Ronnie Scott's Jazz Club, and in 1979 he formed the group SKY with four other musicians. After leaving SKY in 1994, John Williams divided his time between classical concerts and working from time to time with his group John Williams and Friends. Their CBS record The Guitar is the Song was released in 1983.
John Williams was Artistic Director of the South Bank Summer Music Festival for two years and in 1987 he was Artistic Director of the Melbourne Arts Festival. During 1992 he formed a new group, John Williams ATTACCA, constituting seven Australian and British musicians who toured the UK that summer, performing specially
commissioned contemporary music. During 1993 Williams worked extensively on a documentary film about his life and work, which was transmitted on London Weekend Television's South Bank Show. It is now available on CD, video and laser disk.
Recent recordings for Sony include music by Agustin Barrios Mangoro, The Mantis and the Moon with Australian duo partner Timothy Kain and John Williams Plays the Movies. The latest recording of music by Brouwer was released in September 1997.
Last season John Williams' schedule included recital tours of Germany and the U.S., a recital at the Bridgewater Hall, John Williams Plays the Movies at the Royal Festival Hall and visits to festivals in Darwin, Copenhagen and Liege. His schedule for the 199899 season includes visits to Japan and America, alongside extensive recitals throughout Europe.
This evening's recital marks John Williams' fourth appearance under UMS auspices.
The Capitol Steps
Andy Clemence, Ann Johnson, Elaina Newport, Mike Tilford, Jamie Zemarel Lenny Williams, piano
Friday Evening, October 16,1998 at 8:00 Michigan Theatre, Ann Arbor, Michigan
Tonight's program will be announced from the stage.
Please see the special programs provided
by The Capitol Steps for tonight's performance.
This performance marks The Capitol Steps' debut under UMS auspices.
Seventh Performance of the 120th Season
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
The University Musical Society is grateful to the University's Institute for Social Research (ISR) not only for its participation as a sponsor of this event with The Capitol Steps but also for its support through ISR Director and UMS Board Member David Featherman and ISR Senior Research Scientist Richard Price for their role in two audience development projects. ISR is one of the nation's leading social science research centers and a pioneer in survey research. Its resources and expertise are providing a key component of our effort to measure changes in attitudes and behaviors related to our chamber music and our African-American and Latino programming.
Large print programs are available upon request.
Guarneri String Quartet
Arnold Steinhardt, Violin lohn Dalley, Violin Michael Tree, Viola David Soyer, Cello
Sunday Afternoon, October 18,1998 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
String Quarter No. 2 in A Major
Allegro con brio
Andante ma non troppo: Allegro
String Quartet, Op. 3
Langsam Massiger viertel
String Quaret in g minor. Op. 27
Un poco Andante; Allegro molto ed agitato Romanze: Andantino Intermezzo: Allegro molto marcato Finale: Lento; Presto al Saltarello
Eighth Performance of the 120th Season
36th Annual Chamber Arts Series
Special thanks to Joe Yarabek for his generous support through Deloitte & Touche.
The Guarneri String Quartet is represented by Herbert Barrett Management, Inc. and records exclusively for RCA Victor and Philips Classics.
Large print programs are available upon request.
String Quartet No. 2, in A Major
Juan Crisostomo de Arriaga Born January 27, 1806 in Rigoitia,
near Bilbao, Spain Died January 17, 1826 in Paris
Juan Crisostomo de Arriaga's musical talent was obvious at an early age. Accepted into the Paris Conservatoire at the age of fifteen (after very little formal training in his native Spain), he mastered the violin, as well as counterpoint and fugue, in two years. The following year, he was appointed tutor for a class in harmony and counterpoint at the Conservatoire. But just before his twentieth birthday Arriaga died of a chest ailment, with only one composition published during his shortened career: a set of three string quartets.
Arriaga's music was largely forgotten for the next several decades, but with the rise of Spanish nationalism at the end of the nineteenth century, his legendary precocious talent and tragic death inspired some Mozartian parallels. Over-zealous admirers of his works even dubbed him "El Mozart espanol" (The Spanish Mozart), though this is clearly a romanticization of both Arriaga's life and compositional style.
During his brief career, Arriaga com?posed several quasi-operatic works, some sacred choral pieces and chamber works, but his reputation rests almost exclusively on the three published string quartets. Though they are based on classical models and follow strongly in the tradition of Haydn and Mozart, the quartets reveal a unique compositional voice that combines the orthodoxy of Conservatoire training with personal elegance and flair.
The String Quartet No. 2, in A Major, begins very much in the classical mold, with the instrumental roles divided between melody, bass-line and inner-voice harmony. Arriaga's penchant for slightly unusual rhythmic effects appears early in the first theme, when the cello responds to the violin's
light-hearted statement with its own "lopsided" answer that extends for several unexpected beats. In traditional fashion the exposition moves to the dominant key, E Major, but at the start of the development, the harmony shifts abruptly to C Major -a median relationship more akin to Schubert. The remainder of the sonata-allegro movement unfolds according to classical expectations.
The theme of the second movement continues the textures heard at the opening of the first, with a melody that is almost banal in its simplicity and inner voices fill?ing in the harmonies. A short unison passage provides some contrast, but the real interest is in the variations that follow. Two of the variations demonstrate Arriaga's particular individuality. The fourth, played pizzicato, recalls the strumming of a Spanish guitar, lending the movement a hint of exoticism, while the sixth and final variation is a stately fugato that curiously seems to fade away rather than reach a cadential finality.
The composer gives the third movement a tempo marking of "scherzo", yet it has neither the vigor nor energy that character?izes Beethoven's scherzo movements, with which it is contemporary. Despite its label, this movement still has clear affinities with the late eighteenth-century minuet. The trio -usually an opportunity for some kind of textural or expressive contrast -continues in a similar vein, with only a change of key to indicate the new section.
The finale opens in curious fashion, with what sounds like a slow introduction leading into a rollicking rondo theme. But then both sections are repeated, disrupting the listener's expectations of classical form. Only at the conclusion does it become clear that the movement is a kind of extended binary form that uses tempo changes to mark the sections. Though an obvious departure from the classical formal model, this finale still retains its feeling of elegance and proportion.
String Quartet, Op. 3
Born February 9, 1885 in Vienna
Died December 24, 1935 in Vienna
With the last of his Four Songs, Op. 2 (1909-10), the young Alban Berg signaled his com?plete break with functional tonality. His next published work, the String Quartet, Op. 3 (1910), would be his first to fully inhabit the new world of post-tonal writing, and indicated not only a new direction of musical expression, but also the emergence of a major compositional talent.
Berg told the philosopher Adorno that he wrote the quartet in a mood of defiance after a publisher had rejected his Piano Sonata. Yet he also apparently regarded it as a gift to his wife, arranging for its premiere by an ad hoc ensemble the week before their wedding in 1911. The first professional per?formance did not take place until 1923 at a chamber music festival in Salzburg, where it was received with rapturous approval by the audience.
Unlike Schoenberg, his teacher, Berg was not himself a string player, yet this quartet demonstrates a precocious eloquence in the contrapuntal intricacies of string writing. It is a difficult work to perform, employing the full range of specialized string techniques, such as playing on the fingerboard and near the bridge, harmonics, pizzicato, non-vibrato, and some very dramatic bowings. But per?haps the greatest difficulty is the constant and extreme rubato; rarely does a measure maintain a single tempo throughout.
This quartet has only two movements. Though the first is marked "Langsam" (Slow), there is sufficient activity and detail that it doesn't sound like a slow movement. In the exposition, Berg contracts the musical themes into brief motifs, which are then varied and developed continuously as they pass contrapuntally from one instrument to the next. This process of developing varia-
tion, and the work's extreme linearity, are one of the Schoenberg's more obvious influ?ences on his student's work. A short devel?opment section avoids the opening themes altogether, though they are further devel?oped in the heavily re-written recapitula?tion. The slower coda introduces new motifs that move downward -one way of suggest?ing finality without resorting to cadential harmony.
The second movement begins in a more aggressive and ferocious manner. Like the first movement, it uses a non-serial ordering of the twelve chromatic pitches as base material. Combining elements of both rondo form and sonata-allegro, it gradually elucidates thematic connections with the first movement, fleetingly at first, but with each episode the references become increas?ingly stronger.
String Quartet in g minor. Op. 27.
Born June 15, 1843 in Bergen, Norway
Died Spetember 4, 1907 in Bergen, Norway
The career of Norway's most famous com?poser, Edvard Grieg, is marked by an ironic struggle between nationalistic pride and the desire to be respected as a serious composer. Grieg's early training at the conservatory in Leipzig left him embittered and cynical. He scorned the traditional disciplines and musical orthodoxy promoted by that insti?tution, seeking instead for an expressive musical voice that would capture the essen?tial quality of his Norwegian heritage. In his own words, "I longed to find a way to express something good in me that was a thousand miles away from Leipzig and its spirit." Yet he was dissatisfied with his com?positions that were most closely associated with Norwegian culture -in particular, his
incidental music for Sigurd Jorsalfar and Peer Gynt -labeling them "trashy occasional pieces." So much composing for popular tastes had led him to the verge of stagnation.
Despite Grieg's loathing for "that damned Leipzig conservatory, where I learned absolutely nothing," he felt the need to write a substantial, "respectable" work that would prove (if only to himself) his musical maturity, self-discipline and mastery of materials: the hallmarks of a conservatory education. He chose the string quartet as his medium, one of the most conventional and tradition-bound genres, and began work on it in the summer of 1877.
The task was all the more daunting, as Grieg was not himself a string player, and his prior experience with chamber composi?tion was limited to two violin sonatas and some abandoned sketches from his Leipzig years. (In later years he wrote a third violin sonata and a cello sonata.) Apart from these chamber pieces, his only full-length works were an early piano sonata, an unpublished symphony, and the famous Piano Concerto. He seems, then, to have set himself a particularly challenging task, and was aware of the effort it would involve. As he began work on the quartet, he confided to a close friend, "I will accomplish some?thing big, whatever the price." He finished the quartet a year later, claiming it was "not for the shallow public" and indicating he hoped it would mark a new direction for his music.
The quartet opens with a motto theme borrowed from one of Grieg's own songs, "The Minstrel's Song," played in a bold, uni?son statement by the whole group. A restless figure then launches the first theme group in this sonata-allegro movement. By having all the instruments periodically play double stops (two strings at the same time), Grieg effectively turns the quartet into a chamber orchestra, which he can then contrast with the smaller, more intimate passages of the
movement. The second theme, in the relative major key of B-flat, is related to the opening motto theme, and bears some resemblance to passages from the composer's Piano Concerto in its tunefuleness and melodic contour. The remainder of the sonata-allegro movement follows traditional procedures of development and recapitulation.
The second-movement, "Romanze," alternates a lilting B-flat melody with an "allegro agitato" in the parallel minor key that includes hints of the work's opening motto. In the third movement, the rhythmic vitality and earthy vigor demonstrate Grieg's continuing fascination with Norwegian folk culture and music, even as he strove to write a "serious" piece untainted by nationalist popularity. Again, a varied version of the motto begins the movement, leading into an earnest folk-dance that, while spirited, is somewhat humorless. Occasional light-hearted interludes provide some respite, but they are only brief.
The original motto, treated contrapun-tally, opens the final movement, before shift?ing into a lively "presto al saltarello" based on the sixteenth-century Italian dance. Near the end of the work, Grieg includes hints of various themes from earlier movements as a unifying device, and the motto returns one final time in the coda.
Program notes by Luke Howard.
Founded in 1964, the Guarneri String Quartet is an amazing achievement of four diverse person?alities, all original members, and is the longest continuing artistic collaboration of any quartet in the world. They have circled the globe countless times together, playing the world's most prestigious halls in North and South America, Mexico, Europe, the Far East, and Australia. In their
home town of New York City, they have maintained their recital programs at the Metropolitan Museum of Art (since 1965) and presented their special series, "Guarneri and Friends" at Lincoln Center (1973-1997.)
The international demand to hear the Guarneri String Quartet reflects the eminence in which the Quartet is held in North America. It was well defined by the Los Angeles Times in reviewing an all-Beethoven recital: "Beethoven was more than well-served. He was revitalized by playing that probed into dark corners and illuminated hidden mysteries. It was the sort of thing that can occur at any time but that rarely happens. It cannot be ordered or commanded; hard work can hasten its advent, but cannot guarantee its presence. It seemingly has to come from some other worldly source. Whatever its origin it had the Guarneri players firmly under its spell. They looked like hardworking musicians, but they played like angels."
The anatomy of a string quartet is best summed up by violinist Arnold Steinhardt in a paper he wrote on his memories after
twenty years with the Quartet: "There will be hours and hours of brute labor involved in the technical problems of intonation, ensemble, and the critical shadings of four like-sounding instruments. More important will be the uncharted process in which four people let their individual personalities shine while finding a unified quartet voice. There will be endless musings, discussions, and criticisms that will finally end up as an interpretation -that almost mystical amalgam of the four players that hovers somewhere in between their music stands."
The Quartet has been featured on many television and radio specials, documentaries and educational presentations both in North America and abroad. It was interviewed by Charles Kuralt on CBS' nationwide television program, Sunday Morning, in the summer of 1990. A full-length film entitled High Fidelity The Guarneri String Quartet was released nationally, to great critical and pub?lic acclaim, in the fall of 1989. (The film was directed and produced by Allan Miller who was also the directorproducer of the Academy Award-winning documentary, From Mozart to Mao, which dealt with Isaac Stern's visit to China.) The Quartet is also subject of several books including Quartet by Helen Drees Ruttencutter (Lippincott & Crowell, 1980) and The Art of Quartet Playing: The Guarneri in Conversation with David Blum (Alfred A. Knopf, 1986).
In 1982 Mayor Koch presented the Quartet with the New York City Seal of Recognition, an honor awarded for the first time. The Quartet is on the faculty of the University of Maryland. It was awarded Honorary Doctorate degrees by the University of South Florida (1976) and the State University of New York (1983). In 1992 the Guarneri String Quartet became the only quartet to receive the prestigious Award of Merit from the Association of Performing Arts Presenters.
The Guarneri String Quartet has recordings on the Philips and Arabesque labels. Their most recent release on the Arabesque label is that of Schubert's Quartets Nos. 13 in a minor, Op. 29, and 14 in d minor, D. 810 (Death and the Maiden). Several of their recordings on both RCA Red Seal and Philips have won international awards, including their recording of Juan Crisostomo de Arriaga's String Quartets Nos. 1-3 (Philips), which won the 1996 Deutsche Schallplattenkritik Award in Germany. Among their other award-winning record?ings are collaborations with such artists as Artur Rubinstein, Pinchas Zukerman; and Boris Kroyt and Mischa Schneider of the Budapest Quartet.
The Dallas Morning News summed up the Guarneri when it headlined the review "Quartet is Really Quite Perfect," and went on, "The men of the Guarneri are today's aristocrats of the chamber music world. There was never a forced phrase or a hint of harshness, while interpretatively there was a certainty and urbanity to the performances that made everything during the evening ring with inevitability. It is this sort of atten?tion to detail, this sort of preparation that tells the tale of a Guarneri performance. Yet for all the meticulousness of its perfor?mances, what one departs with is a flowing, ebbing impression of the music, not the thought that went into it. And where does that leave someone paid to write about such a concert Feeling like a fifth leg on a table -absolutely dispensable."
This performance marks the Guarneri String Quartet's twenty-eighth appearance under UMS auspices.
Bill T. JonesArnie Zane Dance Company
Bill T. Jones, Choreographer and Director
Robert Wierzel, Lighting Design Bjorn G. Amelan, Set Design Liz Prince, Costume Design
Dancers: Miguel Anaya, Germaul Barnes, Alexandra Beller, Eric Bradley, Christian Canciani, Daniel Russell-Kubert, Rosalynde LeBlanc, Toshiko Oiwa, Odile Reine-Adelaide, Maya Saffrin
Friday Evening, October 23,1998 at 8:00 Power Center, Ann Arbor, Michigan
We Set Out Early... Visibility Was Poor
"On the TSN"
Music: L'Histoire Du Soldat composed by Igor Stravinsky.
Used by arrangement with G. Schirmer, Inc., agents in the United States
for I&W ChesterHansen London Ltd.ASCAP Publisher And Copyright Owner
Music: Empty Words, Sonata, and Music For Marcel Duchamp composed by John Cage.
Used by arrangement with C.F. Peters Corporation
Music: Stimmen composed by Peteris Vasks.
Used by arrangement with European American Music Distributors Corporation, sole U.S. and Canadian agent for B. Schott's Soehne, Publisher and Copyright Owner.
We Set Out Early...Visibility Was Poor is seventy minutes in length and performed in three sections with no intermission.
Program and cast subject to change
Ninth Performance of the 120th Season
Eighth Annual Dance Series
Support for this performance is provided by media partner, WDET.
Special thanks to Dance GalleryPeter Sparling & Co., the Michigan Dance Alliance, the University of Michigan Department of Dance, the University of Michigan Office of the President, and Shaman Drum Bookshop for their help with this residency.
Large print programs are available upon request.
Bill T. Jones on We Set Out Early... Visibility Was Poor
We Set Out Early... Visibility Was Poor uses its aggressively narrative title to frame the non-narrative, non-linear aspects of the piece and to poke gentle fun at the audience's expectations.
There are many stories told, however, in this work. For me, the creator of the piece, the most compelling story is how a personal, eclectic vocabulary like my personal dance-vocabulary is born out of a dialogue with music or a series of "problems." It is then captured through video, codified and shaped by my rehearsal director, Janet Wong, and myself and then shared through arduous rehearsals with the company where it undergoes more transformations.
The work is first and foremost an opportunity for contemplation offered in the spirit of love for movement and a trust that many of our questions about diversity, history and the place of art in society can be answered eloquently through energetic, accomplished performers. This material that they have helped shape carries resonance and meaning for them.
The decor's two elements are at once a subtle commentary on the historical dis?course on the nature of form. It is also a demonstration of purely textural counter?point between that which is hard, metallic and gleaming and that which is soft, fuzzy and glowing with warm light. In discussion with scenic designer Bjorn Amelan, my con?cern was that the decor not overwhelm the dance, be transformed over time and exist almost like a non-human protagonist.
Bill T. JonesArnie Zane Dance Company exists to express several beliefs that I have. First, that movement is a constant source of wonder and a flexible, vital language that changes as we do. Second, that although the company has the intent to do more interdis?ciplinary projects in the future (works that
are adaptations of theater classics, works involving actors, singers and musicians and works dealing with new media), movement will remain central to what we do.
Bill T. JonesArnie Zane Dance Company is committed to diversity within its ranks and is in pursuit of an identity as a viable artistic entity, able to discourse freely within the world of dance and more generally the global cultural environment.
--Bill T. Jones
We Set Out Early... Visibility Was Poor
Known for his explicitly "issue" driven choreography focusing frequently on race and sexuality, Jones departs from any one particular agenda in this piece. We Set Out Early... Visibility Was Poor is an evocative, symbolic journey through the twentieth-century. Musical and narrative references abound and the fragments play with the viewer's sense of being transported through the trajectory of the century. While most of the movement is abstract, the choreography is very tied to the music.
We Set Out Early... Visibility Was Poor is the third Ann Arbor appearance by the Bill T. JonesArnie Zane Dance Company. While watching the piece, you will see a variety of ethnicities, body-types and ages among the company dancers. Bill T. Jones has said, "The reason that the company is so varied is because I think that is true of the world. If you look at any gathering of people, proba?bly, there are short, tall, skinny, fat, black, white and Asian. There are a lot of combina?tions in our society. I want that to become the microcosm of my world." From this conglomeration of individuals, Jones creates a unified ensemble. You will notice how the piece continues Jones' interest in the indi?vidual's place within society, though in a less
explicitly narrative fashion than some of his previous works.
The piece is constructed in three parts without intermission. Stravinsky's Histoire du Soldat begins the work, which then moves to a transitional drumming piece by John Cage, and finally ends with a symphony for strings titled Stimmen (Voices) by Latvian composer Peteris Vasks.
The first section uses mechanized movement to reference the concerns with industrialism at the beginning of the century, but mixed within this first section are playful moments when the piece makes reference to the musical and popular dance trends of tango, waltz and ragtime.
The second section serves as a transition: the stage is dimly lit, the movement is slow and meditative. Two metal sculptures which are on stage for the first half are dismantled by the company and the symbolic image of a chrysalis floats across the back of the stage.
The final section is bright and optimistic, yet not without troubling moments when one dancer or a pair of dancers is isolated from the rest of the group. These moments bring up issues of identity and community: the continually shifting solos and duets are juxtaposed against the strong ensemble work.
At the end of the piece the chrysalis from the transition section re-emerges and clearly raises questions about re-birth and the coming millennium. As a whole, We Set Out Early... Visibility Was Poor is a piece that feels continually in motion, moving forward on the journey through the century, though it is clear that there are different paces, moments for action and moments for meditation.
Program note by Kate Remen.
The Bill T. JonesArnie Zane Dance Company was founded in 1982 and was the product of an eleven-year collaboration between Bill T. Jones and his late partner and fellow dancer Arnie Zane. A repertoire of more than fifty works, many of which have been described as a fusion of dance and theater, have been performed throughout the United States and in thirty foreign countries. Jones' choreography, while based in modern dance, also includes African dance idioms and has clearly been influenced by contact-improvisation, a popular form that he and Zane experimented with to create their memorable early duets. Bill T. Jones has created striking collaborations with visual artists, among them graffiti artist Keith Haring and fashion designer Willi Smith in Secret Pastures (1985) and sculptor Bjorn G. Amelan in We Set Out Early... Visibility Was Poor. Jones has received numerous awards for his performances, among them the MacArthur "Genius" Fellowship in 1994. To Jones, dance does not stop at the stage and it is not just a performance to be
enjoyed by the eyes and ears; dance is to be savored in the mind. It is an art form that should ask questions of its viewers, make them think, and make them question them?selves and their surroundings. This position is very clear to Michigan audiences who attended the company's two previous per?formances of Last Supper at Uncle Tom's Cabin (1990), which directly confronted the Harriet Beecher Stowe novel and its reper?cussions in race relations (presented by The Michigan Theater), or StillHere (1993), which wove the stories of people living with fatal illnesses into the choreography (pre?sented by UMS in 1995).
This performance marks the Bill T. JonesArnie Zane Dance Company's third appearance under UMS auspices.
Bill T. Jones, a 1994 recipient of a MacArthur Fellowship, began his dance training at the State University of New York at Binghamton (SUNY), where he studied classical ballet and modern dance. After living in Amsterdam, Mr. Jones returned to SUNY, where he became co-founder of the American Dance Asylum in 1973. Before forming Bill T. Jones Arnie Zane Dance Company (then called Bill T. JonesArnie Zane & Company) in 1982, Mr. Jones choreographed and performed nationally and internationally as a soloist and duet company with his late partner, Arnie Zane.
In addition to creating over fifty works for his own company, Mr. Jones has received many commissions to create dances for modern and ballet companies including Alvin Ailey American Dance Theater, Boston Ballet, Lyon Opera Ballet, Berkshire Ballet, Berlin Opera Ballet and Diversions Dance Company, among others. He has also received numerous commissions to create new works for his own company, including
premieres for the Next Wave Festival at the Brooklyn Academy of Music and for St. Luke's Chamber Orchestra. In July 1995, Mr. Jones directed and performed in a collaborative work with Toni Morrison and Max Roach, Degga, at Alice Tully Hall, com?missioned by Lincoln Center's Serious Fun Festival.
During the past few years, Mr. Jones has also begun to work with several opera com?panies around the world. In 1990, he chore?ographed Sir Michael Tippet's New Year under the direction of Sir Peter Hall for the Houston Grand Opera and the Glyndebourne Festival Opera. He conceived, co-directed and choreographed Mother of Three Sons, which was performed at the Munich Biennale, New York City Opera, and the Houston Grand Opera. He also directed Lost in the Stars for the Boston Lyric Opera. Mr. Jones' theater involvement includes co-directing Perfect Courage with Rhodessa Jones for Festival 2000, in 1990. In 1994, he directed Derek Walcott's Dream on Monkey Mountain for The Guthrie Theater in Minneapolis, MN.
Television credits for Mr. Jones include Fever Swamp , which was filmed for PBS's "Great Performances" series, and Untitled for "Alive from Off Center," which aired nationally on PBS in July 1989. In early 1992, a documentary on Bill T. Jones' Last Supper at Uncle Tom's CabinThe Promised Land was aired on Dance in America as part of PBS's "Great Performances" series. CBS Sunday Morning broadcasted two fea?tures on Mr. Jones' work, once in 1993 and again in 1994. StillHere was co-directed for television by Bill T. Jones and Gretchen Bender and aired nationally and interna?tionally. The making of StillHere was also the subject of a documentary by Bill Moyers and David Grubin entitled "Bill T. Jones: StillHere with Bill Moyers."
In addition to the MacArthur Fellowship, Mr. Jones has received several other prestigious awards. In 1979, Mr. Jones was granted the
Creative Artists Public Service Award in Choreography, and in 1980,1981 and 1982, he was the recipient of Choreographic Fellowships from the National Endowment for the Arts. In 1986, Bill T. Jones and Arnie Zane were awarded a New York Dance and Performance ("Bessie") Award for their Joyce Theater season, and in 1989, Mr. Jones was awarded another "Bessie" for his work, D-Man in the Waters. Mr. Jones, along with his collaborators Rhodessa Jones and Idris Ackamoor received an "Izzy" Award for Perfect Courage in 1990. Mr. Jones was honored with the Dorothy B. Chandler Performing Arts Award for his innovative contributions to performing arts in 1991. In 1993, Mr. Jones was presented with the Dance Magazine Award. Mr. Jones received an honorary doctorate from Bard College in 1996 and The Art Institute of Chicago in 1998.
Mr. Jones' memoirs, Last Night on Earth, were published by Pantheon Books in September 1995. An in-depth look at the work of Bill T. Jones and Arnie Zane can be found in Body Against Body: The Dance and Other Collaborations of Bill T. Jones and Arnie Zane, published by Station Hill Press. Mr. Jones is also proud to have contributed to the foreword of Philip Trager's book of photographs entitled, Dancers. Dance, a new children's book by Bill T. Jones and photog?rapher Susan Kuklin, will be published by Hyperion Books in the fall of 1998.
Arnie Zane (1948-1988) was a native New Yorker born in the Bronx and educated at the State University of New York (SUNY) at Binghamton. In 1971, Arnie Zane and Bill T. Jones began their long collaboration in choreography and in 1973 formed the American Dance Asylum in Binghamton with Lois Welk. Mr. Zane's first recognition in the arts came as a photographer when he received a Creative Artists Public Service (CAPS) Fellowship in 1973. Mr. Zane was
the recipient of a second CAPS Fellowship in 1981 for choreography, as well as two Choreographic Fellowships from the National Endowment for the Arts (1983 and 1984). In 1980, Mr. Zane was co-recipi?ent, with Bill T. Jones, of the German Critics Award for his work, Blauvelt Mountain. Rotary Action, a duet with Mr. Jones, was filmed for television, co-produced by WGBH-TV Boston and Channel 4 in London.
The Alvin Ailey American Dance Theater commissioned a new work from Mr. Zane and Bill T. Jones, How to Walk an Elephant, which premiered at Wolftrap in August 1985. Mr. Zane (along with Mr. Jones) received a 1985-86 New York Dance and Performance ("Bessie") Award for Choreographer Creator.
Bjorn G. Amelan, Set Designer, was born in Haifa, Israel in 1955. After much traveling as a child, Mr. Amelan settled in Paris, France from 1973 to 1993. Bjorn Amelan was the partner of the late fashion designer Patrick Kelly from 1983 until Mr. Kelly passed away on January 1,1990. Bjorn Amelan moved to the United States when he began to collabo?rate with Bill T. Jones in 1993.
Miguel Anaya started his dance training in his hometown of Brownsville, Texas at the age of eighteen at Belles Artes Academy. He continued his studies, receiving scholarships at The Royal Winnipeg Ballet School, Joffrey Ballet School, Alvin Ailey American Dance Center and Perry Dance II. He has per?formed with Bolero de Montreal and Earl Mosley among others. Mr. Anaya joined the Bill T. JonesArnie Zane Dance Company in November, 1996.
Gregory Bain, Production Director, has been active in dance production and stage management, as well as audio and video recording, since 1971. He developed his the?ater artistry with and for a varied range of dance, music, film, theater artists, and pro?duction projects. During his career, Mr. Bain has toured as Stage Manager for many dance companies including Twyla Tharp's 1992 New York City Center Season and Japan Tour, Nikolais Dance Theatre, The Murray Louis Dance Company, Molissa Fenley, David Parsons, Les Ballets Trockadero de Monte Carlo, and Carlota Santana Spanish Dance. Between 1978 and 1986, he was the Technical Director for The American Dance Asylum, The Murray Louis Dance Company, The Vine Dance Theater, and J.R. Mitchell's Universal Jazz Orchestra. Mr. Bain joined Bill T. JonesArnie Zane Dance Company in 1986.
Germaul Yusef Barnes is a native of Phoenix, Arizona where he began dance training at South Mountain School of the Arts. From there, he went on to perform A Chorus Line and Guys and Dolls with the Pacific Conservatory of Performing Arts in California. Mr. Barnes continued his dance education at the University of the Arts in Philadelphia, after which he performed in Berlin, Germany for two years with Tola'da Dance Company. He has also performed with Movement Source Inc. Dance Company, Group Motions Dance Company and Cleo Parker Robinson Dance Ensemble. Mr. Barnes is honored to be dancing with Bill T. Jones Arnie Zane Dance Company.
Alexandra Beller, a native New Yorker, received her BFA in dance from the University of Michigan in 1994. Since then, she has danced in the companies of David Storey Danceworks, Smartdance: Maureen Janson and Dancers, Isadora's Dance Legacy and Rosa Mei and Dancers. She has also worked
with Beverly Brown, Gina Buntz, Bebe Miller, and Ann Carlson. Alexandra's choreography has been seen at venues throughout New York City and Michigan and she teaches in New York City. She thanks her mom, her kittens, her inspirational friends and Sheilagh for their support. Alex joined the Bill T. JonesArnie Zane Dance Company in 1995. These peformances are dedicated to Stefanie Jill Silverman.
Eric Bradley spent his early formative years in Plainwell, an island city in rural Michigan. Early involvement in vocal music and the?ater led to exploring movement through solo improvisation. Formal study regimens in dance were pursued at the University of Michigan (1985-1987) and then later at the Julliard School where he received his degree in 1991. Prior to joining the Bill T. Jones Arnie Zane Dance Company he worked mainly with CreachKoester and Sarah Skaggs Dance. Bradley continues to experi?ment with his own movementmaterial and with different training techniques and expe?riences.
Christian Canciani, a student at the choreo?graphic center of Toulouse, was awarded a French ministry of culture grant to fulfill his training at the Alvin Ailey American Dance Center after which he worked with Elisa Monte, Donald Byrd, Ballet Hispanico and Kevin Wynn, among others. He was a fea?tured soloist dancer in Carmina Burana for the Mostly Mozart Festival in San Juan, Puerto Rico. His theater credits include Fame, the Musical as well as numerous radio com?mercials, television and film appearances. He has assisted Blondel Cummings and Kevin Wynn and he teaches and choreographs internationally.
Daniel Russell-Kubert was born amidst prairie dogs and sorghum fields on the plains of Nebraska. Somehow along the way,
while wreaking havoc among the Willa Cather-ian inhabitants, Daniel formulated the notion that he should perform on Broadway in the feline romp, Cats. On his way to Broadway via regional productions of shows such as South Pacific, Oklahoma, and Hello Dolly, Daniel was introduced to Mr. Jones while in the Houston Grand Opera production of New Year, choreo?graphed by Mr. Jones. From that point on Daniel's dreams of grease paint and whiskers shifted to dreams of shape, form, and content. In 1992, Mr. Kubert found himself invited to work with the Bill T. JonesArnie Zane Dance Company. This is now Mr. Kubert's fifth year with the company (not including the year of absence when Daniel's brain stopped working and he flew the proverbial coop for San Francisco) and the place he feels most at home.
Rosalynde LeBlanc is from Baltimore, Maryland, where she started dancing with the Peabody Preparatory at age thirteen. In 1992, she received a second level performance award from the National Foundation for the Advancement in the Arts. Ms. LeBlanc joned the company in March of 1994 after gradu?ating with a BFA in dance from the State University of New York at Purchase.
Toshiko Oiwa was born in Saitama, Japan where she was trained in ballet, jazz and classical piano. Toshiko moved to the U.S. to study at the Juilliard School in 1992. After graduation with B.F.A. in Dance, Toshiko joined THARP! where she performed Twyla Tharp's works on tour during the 9697 sea?son. She has also performed with Stanley Love Performance Group, Neta Pulvermacher and Dancers and Maureen Fleming. She continues to study Ballet, Yoga, African Dance and Butoh in New York and Tokyo. This is her first season with Bill T. Jones Arnie Zane Dance Company.
Odile Reine-Adelaide is a recipient of a 1996 New York Dance and Performance Award (Bessie) for Sustained Achievement in Dance. Ms. Reine-Adelaide is originally from Paris, France, where she received her training in ballet, modern and jazz. She has worked with several choreographers includ?ing Alvin McDuffie, Bruce Taylor, Rick Odums, Jorma Votinen, Anne Dreyfus, Peter Goss, Isabelle Marteau, and Molissa Fenley. Ms. Reine-Adelaide has performed profes?sionally throughout Europe with Black Vibrations Dance Company, Roots Dance Theater, Les Ballets de Rheda, and Djazzex Modern Dance Company. In the States she has performed with IsaacsMcCaleb and Dancers in San Diego, CA. This is Ms. Reine-Adelaide's seventh season with Bill T. Jones Arnie Zane Dance Company.
Maya Saffrin, a native of Seattle, began her dance training at the University of Washington and later received her B.F.A. in Dance from Cornish Institute. She has performed with The Clive Thompson Dance Co., Deja Vu Dance Theater, JoAnna Mendl-Shaw, Ballet Hispanico, and Molissa Fenley. She was a featured soloist in the Munich Biennale, the New York City Opera, and the Houston Grand Opera productions of Mother of Three Sons, choreographed and directed by Bill T. Jones. She appeared in The Guthrie Theater production of Dream on Monkey Mountain, also directed by Mr. Jones. Most recently she co-directed with Bill T. Jones Lisbon, a fully company work which pre?miered in March 1997 in Boston. Ms. Saffrin joined Bill T. JonesArnie Zane Dance Company in 1989.
Robert Wierzel, Lighting Designer, has col?laborated with Bill T. Jones and Bill T. Jones Arnie Zane Dance Company for over ten years, on numerous projects including StillHere and Last Supper at Uncle Tom's CabinThe Promised Land, Dream on Monkey
Mountain, at The Guthrie Theater, as well as with the Boston Lyric Opera, Lyon Opera Ballet, the Welsh Dance Company DIVER?SIONS, London's Contemporary Dance Trust and the Deutsche Opera Berlin. Mr. Wierzel is the recipient of a 1993 Dance and Performance Award ("Bessie") for sustained achievement in Lighting Design for his work with the Company. He has also worked with Philip Glass on WOO Airplanes on the Roof and Hydrogen Jukebox, for which he is the 1991 recipient of the American Theater Wing Design Award, musicians Lou Reed and John Cale, The New York City Opera, The Houston Grand Opera, Glimmerglass Opera, the Canadian Opera, Seattle Opera, with choreographers Margo Sappington, Molissa Fenley and J. Fregalette-Jansen and with artists Red Grooms and Robert Longo. His extensive theater work in the States includes productions at the McCarter Theater, Center Stage, Actors Theater of Louisville, Hartford Stage, Yale Repertory Theater, and American Repertory Theater, among others. Mr. Wierzel has his under?graduate degree from the University of South Florida and his M.F.A. from the Yale School of Drama.
Janet Wong, Rehearsal Director, was born in Hong Kong and has been officially directing rehearsals since January 1996.
Bill T. JonesArnie Zane Dance Company Staff:
Artistic Director Executive Director Associate Director Director of Development Lighting Designer Production Director Rehearsal Director Office Manager Advisor to the Foundation Artistic Consultant
Bill T. Jones Jodi Pam Krizer Bjorn Amelan Shannon Snead Robert Wierzel Gregory Bain Janet Wong Leah T. Haynes Art Becofsky Bill Katz
We Set Out Early... Visibility Was Poor was co-commis?sioned by American Dance Festival, Brooklyn Academy of Music, Culturgest (Lisbon, Portugal), The John F. Kennedy Center for the Performing Arts, National Dance Project, the National Endowment for the Arts, North Carolina Museum of Art, Paris Autumn FestivalMaison des Arts de Creteil, Philip Morris Companies Inc., UCLA Center for the Performing Arts and University of California at Berkeley.
We Set Out Early... Visibility Was Poor is part of the Philip Morris New Works Fund, sponsored by Philip Morris Companies Inc.
We Set Out Early... Visibility Was Poor was developed at the Pepsico Theatre of the Performing Arts Center, Purchase College, State University of New York. Rehearsed (in part) at Joyce SoHo under the auspices of the Harkness Space Grant Program at Joyce SoHo. Rehearsal space grant by the New Dance Group Arts Center.
Major funding for the Bill T. JonesArnie Zane Dance Company provided by the Andrew W. Mellon Foundation and the Lila Wallace-Reader's Digest Fund Program for Leading Dance Companies.
Grateful appreciation is extended to the following funders who have supported Bill T. JonesArnie Zane Dance Company: Bloomberg News, The Chase Manhattan Foundation, Clicquot, Inc., Consolidated Edison, Eleanor Naylor Dana Charitable Trust, Friedman-Cohen Fund, The Fund for U.S. Artists at International Festivals and Exhibitions, The Howard Gilman Foundation, Gucci, The Harkness Foundation for Dance, Suzanne T. and Irving D. Karpas, Jr. Foundation, The Andrew Mellon Foundation, Merrill Lynch & Co., Inc., National Dance Project, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts, Philip Morris Companies Inc., Fan Fox and Leslie R. Samuels Foundation, Shiseido Cosmetics (America) Ltd., Susan Stein-Shiva Foundation, Sony Music Entertainment Inc., Time Warner Inc., Lila Wallace-Reader's Digest Fund Program for Leading Dance Companies, Warner Bros., The Robert Wishnick Foundation and the Friends of Bill T. JonesArnie Zane Dance Company..
Bill T. JonesArnie Zane Dance Company appears by arrangement through IMG Artists
This project was made possible through the National Dance Project of the New England Foundation for the Arts, with Funding from the National Endowment for the Arts, the Andrew W. Mellon Foundation, Philip Morris Companies Inc., and John S. and James L. Knight Foundation.
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).
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 734.764.2538.
Without the dedicated service of UMS' Usher Corps, our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books.
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
DINING EXPERIENCES TO SAVOR: THE FIFTH ANNUAL DELICIOUS EXPERIENCES
Wonderful friends and supporters of the UMS are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 734.936.6837 for more information and to receive a brochure.
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show or stay overnight and relax in comfort! A 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:
3411 Washtenaw Road 734.971.0484 for reservations
Thur. Jan. 14 Sun. Ian. 17 Sun. Feb. 7 Mon. Feb. 15
Wed. Mar. 24
Kenie Fleming, soprano Pre-pcrformance dinner
The Gospel at Colonus Post-performance dinner
American String Quartet Post-performance dinner
Orpheus Chamber Orchestra with Pepe Romero Pre-performance dinner
The Tallis Scholars Prc-pcrfonnance 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 ailililiomil 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 Fri. Jan. 8 Sat. Jan. 16 Fri. Jan. 29 Fri. Feb. 12
Sat. Feb. 20
Fri. Mar. 12 Sat. Mar. 20 Fri. Mar. 26
Trinity Irish Dance Company
The Gospel at Colonus
Anne Sofie von Otter, mezzo soprano
imMERCEsion: The Merce Cunningham
Meryl Tankard Australian Dance
Alvin Alley American Dance Theater
Sweet Honey in the Rock
Package price $209 per couple (not including tax & 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.
326 South Main Street 734.663.5555 for reservations
Wed. Oct. 14 Thur. Nov. 12 Sun. Dec. 6 Mon. Jan. 18 Tue. Feb. 23 Sun. Mar. 28 Fri. Apr. 23
John Williams, guitar Pre-performance dinner
Assad Brothers with Badi Assad, guitar Pre-performance dinner
Handel's Messiah Post-performance dinner
The Gospel at Colonus Pre-performance dinner
Kodo Pre-performance dinner
American String Quartet Post-performance dinner
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.
3050 Jackson Road, Ann Arbor 734.769.2500 for reservations
Thur. Jan. 28 Thur. Mar. 11 FrLMar. 19 Sun. Apr. 25
American String Quartet Pre-performance dinner
lames Galway, flute Pre-performance dinner
Alvin Ailey American Dance Theater Pre-performance dinner
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.
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.
Ann Arbor Acura
Ann Arbor Arts Center
Blue Nile Restaurant
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
King's Keyboard House
Michigan Car Services
Ritz Camera One Hour
Shaman Drum Bookshop
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
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.
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.
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 hottest shows in town. It's as easy as picking up the phone 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.
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
Paul and Elizabeth Yhouse
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical
Research University of Michigan
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
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
Deloitte & Touche
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
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 John and Dorothy Reed Don 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
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 I lull 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 Mill.ml 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
Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation Nonprofit Enterprise at Work
Fhe Power Foundation Rosebud Foundation
Carlene and Peter Aliferis
Dr. and Mrs. Rudi Ansbacher
Catherine S. Arcure
lanet and Arnold Aronoff
Max K. Aupperle
lames R. Baker, Jr., M.D. and
Gary and Cheryl Balint Dr. and Mrs. Mason Barr, Jr. Robert and Wanda Bartlett Karen and Karl Bartscht Ralph P. Beebe P.E. 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 Geiman 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. Gracie 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 lanet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and Gave 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
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 Kfingler 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
Georgiana 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 Richard 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
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 ana Annette Walker Willes and Kathleen Weber Karl and Karen Weick Raoul 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
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
St. Joseph Mercy Hospital
Arts Management Group Jewish Federation of
Metropolitan Chicago United Jewish Foundation of
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 Ardcn
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Jonathan and Marlene Ayers
Essel 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
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 Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton A. Joseph and Mary Jo 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 Lolagene 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 Fcagin and John Brown Reno and Nancy Feldkamp
Dede and Oscar Feldman Dr. James F. Filgas Carol Finerman Hcrschcl and Annette Fink Susan R. Fisher and
John W. Waidley lieth 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 Dcirdre Freiberg Lela J. Fuestcr
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
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 ll.ini.in.i Michael C. and Deanne A. Hardy Kenneth and Jeanne Heininger John L. and
Jacqueline 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 James and Jane Kister Dr. George Kleiber Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin
Dimitri and Suzanne Kosacheff Barbara and Charles Krause Konrad Rudolph and
Marie Kruger 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 )ohn and Theresa Lee Frank Legacki and Alicia Torres Richard LeSueur Jacqueline H. Lewis Lawrence B. Lindemer 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 Prcscott 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 James 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 Jari Smith Mrs. Robert W. Smith Virginia B. Smith Richard Soble and
Barbara Kessler Jorge and Nancy Solis Katharine B. Sopcr Dr. Ym.tm 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. Ion M. Wardner Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
Marcy and Scott Westerman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitchouse Thomas and Iva Wilson
Charlotte Wolfe Mr. and Mrs. A. C. Wooll Phyllis B. Wright MaryGrace and Tom York Mr. and Mrs. Edwin H. Young Ann and Ralph Youngren Gail and David Zuk
Atlas Tool, Inc. Coffee Express Co. Edwards Brothers, Inc. General Systems
Consulting Group The Kennedy Center lohn Leidy Shop, Inc. Scientific Brake and
The Sneed Foundation, Inc.
)ini and Limit Abelson
)ohn R. Adams
Irwin P. Adelson, M.D.
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. Allardyce
Richard and Bettye Allen
Helen and David AminofT
Dr. and Mrs. Charles T. Anderson
Catherine M. Andrea
Dr. and Mrs. Dennis L Angellis
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 Aupperle
Erik and Linda Lee Austin
Eugene and Charlene Axelrod
Shirley and Don Axon
Virginia and Jerald Bachman
Prof, and Mrs.). Albert Bailey
Doris I. Bailo
Robert L. Baird
Bill and )oann Baker
Dennis and Pamela (Smitter) Baker
Laurence R. and Barbara K. Baker
Maxine and Larry Baker
His. Helena and Richard Balon
John R. Barcham
David and Monika Barera
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Sherri H. Barnes
Donald C. Barnette, Jr.
Mark and Karta Bartholomy
Dorothy W. Bauer
James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert M. Beckley and Judy Duiesen Nancy Bender Walter and Antje Benenson Harry and Betty Bcnford Mcretc and Erling Blondal Bcngtsson Bruce Benner 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 Thclma Bcrman Harvey and Shelly Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bertcher Mark Bertz
K. Bezak and R. Halsiead li'hn and Marge Biancke Irene Bibcr Eric and Doris Billes lack and Anne Birchfield William and Ilene 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 Borbely Lola ). 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. Dale 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. Byerlein Patricia M. Cackowski, M.D. Joanne Cage H. D. Cameron Jenny Campbell (Mrs. D.A.) James and Jennifer Carpenter Jan and Steve Carpman Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carty and Thomas H. Haug ohn and Patricia Carver Dr. and Mrs. Joseph C. Cerny Kathran M. Chan William and Susan Chandler J. Wehrley and Patricia Chapman Joan and Mark Chester 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 )ay Simrod
Mr. and Mrs. James I. Crump
Margaret R. Cudkowicz
Richard J. Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
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
loe 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 DelhlofT
Don and Pam Devine
Elizabeth and Edmond DeVine
A. Nelson Dingle
Dr. and Mrs. Edward R. Doezema
Heather and Stuart Dombey
Fr. Timothy J. Dombrowski
Deanna and Richard Dorner
Dick and Jane Dorr
Paul Drake and Joyce Penner
Roland and Diane Drayson
Harry M. and Norrene M. Drefifs
John Dryden and Diana Raimi
Robert and Connie Dunlap
Jean and Russell Dunnaback
Edmund and Mary Durfee
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 Elkin
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
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. Faja Mark and Karen Falahee Elly and Harvey Falit Thomas and Julia Falk Richard and Shelley Farkas Edward Farmer
Mr. and Mrs. H. W. Farrington, Jr. Walter Federlcin Inka and David Felbeck Phil and Phyllis Fellin 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 lames Fitzgerald Linda and Thomas Fitzgerald Morris and Debra Flaum Mr. and Mrs. Kurt Flosky David and Ann Fluckc Maureen Forrest, M. D. and
Dennis Capozza Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and Joann Freethy Gail Fromes Jerry Frost
Bartlcy R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Jane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and Jack Garris Del and G. Louise Garrison Mr. James C. Garrison Janet and Charles Garvin All.ui and Harriet Gelfond lutta Gerber
Deborah and Henry Gerst Michael Gerstenberger W. Scott Gerstenberger and Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas Mr. Harlan Gilmore Beverly Jeanne Giltrow I Ian 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 Sin Gottlieb Michael L. Cowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Helen Graves and Patty Clare Pearl E. Graves
Dr. WUliam H. and Maryanna Graves Larry and Martha Gray Isaac and Pamela Green Jeff Green
Bill and Louise Gregory Linda and Roger Grekin Daphne and Raymond Grew Mr. and Mrs. James J. Gribble Mark and Susan Griffin Werner H. Grilk Margaret Grillot Laurie Gross
Richard and Marion Gross Dr. Robert and Julie GrunawaJt Kay Gugala
Carl E. and Julia H. Guldberg Arthur W. Gulick, M.D. Mr. and Mrs. Lionel Gurcgian Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hackctt Harry L and Mary L Hallock Mrs. William Halstead Sarah I. Hamcke Mrs. Frederick G. Hammitt Dora E. Hampel Lourdcs S. Bastos Hanscn Charlotte Hanson Herb and Claudia Harjes M. C. Harms Dr. Rena Harold Nile and Judith Harper Stephen G. and Mary Anna Harper Laurelynne Daniels and
George P. Harris
Ed Sarath and loan Harris
Robert and Jean Harris
Jerome P. Hartweg
Elizabeth C. Hassincn
James B. and Roberta Hause
Jeannine and Gary Hayden
Mr. and Mrs. Edward J. Hayes
Charles S. Heard
Derek and Cristina Heins
Mrs. Miriam Heins
Jim and Esther Hcitlcr
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
Peter G. Hinman and
Elizabeth A. Young Carolyn Hiss James C. Hitchcock Jane and Dick Hoerner Anne Hoff and George Villec Robert and Frances Hoffman Carol and Dieter Hohnke John and Donna Hollowed Howard L. and Pamela Holmes Ken and Joyce Holmes Arthur G. Homer, 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 1. 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 Winklcman 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 Imber Edward C. Ingraham Margaret and Eugene Ingram Perry Irish Judith G. Jackson Dr. and Mrs. Manuel Jacobs Robert and Janet lames Professor and Mrs. Jerome Jetinek Keith and Kay lensen JoAnn J. Jeromin Sherri Lynn Johnson Dr. Marilyn S. fones John and Linda Jonides Elizabeth and Lawrence Jordan Andrec Joyaux and Fred Blanck Tom and Marie luster Paul Kantor and Virginia Weckstrom Kantor
Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Alex F. and Phyllis A. Kato Maxine and David Katz Nick and Meral Kazan Julia and Philip Kearney William and Gail Kecnan 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 Kileny Andrew Kim Jeanne M. Kin William and Betsy Kincaid Shira and Steve Klein Drs. Peter and Judith Klcinman
fohn 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 Kotrc
Dick and Brenda Krachenberg
lean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krehbiel
Alan and Jean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
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. Rabaul-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 lane 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. Cart I. Lutkehaus Susan E. Macias Lois and Alan Macnce Walter A. Maddox Suzanne and Jay Mahler Ronald and Jill Donovan Maio Deborah Malamud and Neal Plotkin William and Joyce Malm Claire and Richard Malvin Melvin and lean Manis Pcari Manning Howard and Kate Market Lee and Greg Marks Alice and Bob Marks Rhoda and William Martel Ann W. Martin Rebecca Martin
Mr. and Mrs. Stephen D. Marvin Dcbra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard Micheline 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 Madelyn McMurtrie Nancy and Robert Meader Samuel and Alice Meisels Robert and Doris Melling Allen and Marilyn Menlo HelyA.Merle-Bcnner
Jill McDonough and Greg Mcrriman
Henry D. Messer Carl A. House
Robert and Bettic Metcalf
Lisa A. Mcts
Professor and Mrs. Donald Meyer
Suzanne and Henry J. Meyer
Shirley and Bill Meyers
Francis and Helen Michaels
William and Joan Mikkelsen
Carmen and Jack Miller
Robert Rush Miller
Dr. and Mrs. William G. Moller, Jr.
Jim and Jeanne Montie
Rosalie E. Moore
Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold ana 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 Muller Marci Mulligan and Katie Mulligan Gavin Eadie and Barbara Murphy Laura and Chuck Musil Rosemarie Nagel Penny H. Nasatir Isabelle Nash Susan and Jim Newton John and Ann Nicklas Shinobu Niga Susan and Richard Nisbett 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. J. L. Oncley Zibby and Bob Oneal Kathleen I. Operhall Dr. on Oscherwitz Mitchel Osman, M.D. Elisa A. Ostann 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 Hincs Robert and Mary Pratt Jacob M. Price Joseph and Mickey Price V. Charleen Price Ernst Pulgram Malayatt Rabindranathan Mr. and Mrs. Mitchell Radcliff Patricia Randle and James Eng Al and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Rasmussen
Maxwell and Marjorie Rcade
Gabriel M. Rebeiz
Katherine R. Reebel
Stanislav and Dorothy R. Rehak
lohn and Nancy Reynolds
James and Helen Richards
Elizabeth G. Richart
Dennis f. Ringlc
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 Edie W. Rosenfetd 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 Saalberg Theodore and Joan Sachs Miriam S. Joffe Samson Tito and Yvonne Sanchez Daren and Maryjo Sandberg lohn and Reda Santinga Mike and Christi Savitski Helga and Jochen Schacht Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L. Schmitt Charlenc and Carl Schmult Gerald and Sharon Schreibcr 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. I 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 J. N. Shanberge Brahm and Lorraine Shapiro Matthew Shapiro and
Susan Garetz, 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. Showalter Mary Alice Shulman John Shultz
Ned Shure and Jan Ondcr John and Arlene Shy Douglas B. Siders, M.D. Dr. Bruce M. Siegan Mr. and Mrs. Barry J. Siegel Milton and Gloria Sicgcl E!dy and Enrique Signori Drs. Dorit Adler and Terry Silver Michael and Maria Simonte Robert and Elaine Sims Alan and Eleanor Singer Donald and Susan Sinta Irma). Sklcnar Beverly N. Slater
J. Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
lames A. Somers
Judy Z. Somers
Mr. and Mrs. Edward J. Sopcak
luanita and Joseph Spallina
Mrs. Herbert W. Spendlove (Anne)
Charles E. Sproger
David and Ann Staiger
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Ronald R. Stempien
William and Georgine Steude
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. lames 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
Peg Talburtt and Jim Peggs
Mr. and Mrs. James R. Tamm
Jerry and Susan Tarpley
Margi and Graham Teall
Leslie and Thomas Tender
George and Mary Tewksbury
Catherine and Norman Thoburn
Bette M. Thompson
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townley
Angie and Bob Trinka
Luke and MerlingTsai
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
Hugo and Karia Vandersypen
Bram and Lia van Leer
Fred and Carole S. Van Reesema
J. Kevin and Lisa Vasconi
Sy and Florence Veniar
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 Wcidcnbach Carolyn J. Weiglc Gerane and Gabriel Weinreich Lawrence A. Weis Donna G. Weisman Barbara Weiss Carol Campbell Welsch and
John and Joanne Werner Rosemary and David Wescnberg Ken and Cherry Westerman Susan and Peter Westerman Paul E Duffy and Marilyn L. Wheaton
4 6 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 F. Williams Lois Wilson-Crabtree Beverly and Hadley Wine Dr and Mrs Jan Z. Winkelman Beth and 1. W. Winstcn Mr. and Mrs. Eric Winter Dr. and Mrs. Lawrence D. Wise Charles Witkc 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 lames and Gladys Young Mr. and Mrs. Robert Zager Dr. Stephen C. Zambito Phyllis .iwis.i Craig and Megan Zcchman 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 Sc
Garris Law Office Lewis Jewelers Organizational Designs Pen in Hand
Alice Simsar Fine Art, Inc. Zepeda and Associates
Schwartz Family Foundation
BURTON TOWER SOCIETY
The Burton Tower Society is a very special group of University Musical Society friends. Tftese 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
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
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy NiehofT 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. RonaJd G. Zollars
BUSINESS LEADERSHIP CIRCLE
Bank of Ann Arbor
Bar field CompanyBartech
Beacon Investment Company
Blue Nile Restaurant
Butzel Long Attorneys
Charles Reinhart Company
Joseph Curtin Studios
JPE Inc.The 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 McKinlcy Associates Mechanical Dynamics Miller, Canfield, Paddock and Stone NBD Bank NSK Corporation O'Neal Construction Parke-Davis Pharmaceutical Research
Pepper, Hamilton & Schcetz 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 Surovcll
Company Realtors Thomas B. McMullen Company Weber's Inn Wolverine Temporaries Zanzibar
John H. Bryant
George R. Hunsche
Alexander Krezel, Sr.
Frederick C. Matthaei, Sr.
Dr. David Peters
Emerson and Gwendolyn Powrie
Ralph L. Steffck
Charles R. Tieman
John F. Ullrich
Francis Viola III
Carl H. Wilmot
Peter Holderness Woods
Bernard and Ricky Agranoff
Ann Arbor Symphony Orchestra
Annckc's Downtown Hair and
Dr. Emily Bandera
Paulett and Peter Banks
Gail Davis Barnes
Janice Stevens Botsford
The Boychoir of Ann Arbor
Barbara Everitt Bryant
David G. Loesel, Cafe Marie
Chelsea Flower Shop
Chianti Tuscan Grill
Mary Ann and Roderick Daane
Peter and Norma Davis
Katy and Tony Derezinski
Dough Boys Bakery
Espresso Royale Caffes
Damian and (Catherine Farrcll
Judy Fike of I'Cakes
Beth and Joe Fitzsimmons
Guillermo and Jennifer Florcs
Gallery Von Glahn
The Gandy Dancer
Beverly and Gerson Geltner
Generations for Children
Lee Gilles of the Great Frame Up
Renee Grammatico of Viola
Linda and Richard Greene
Jim Harbaugh Foundation
Marilyn Harber, Georgetown Gifts
). Downs Herold
Kay and Tom Hunuicker
Stuart and Maureen Isaac
Jeffrey Michael Powers Beauty Spa
Urban Jupena and Steve Levicki
Stephen and Mercy Kasle
Martha Rock Keller
Craig L. Kruman
Henry and Alice Landau
John Lcidy Shop
Don and Gerri Lewis
Moe Sport Shops
Monahan's Seafood Market
Motif Hair by Design
The Moveable Feast
Susan and Richard Nisbett
John and Cynthia Nixon
Baker O'Brien The Labino Studio
Karen Koykaa O'Neal
Mary and Bill Palmer
Pen in Hand
Maggie Long, Perfectly Seasoned
Chris W. Petcrscn
Mary and Randall Pittman
Sharon and Hugo Quiroz
Radrick Farms Golf Course
Nina Hauscr Robinson
Richard and Susan Rogcl
Ann and Tom Schriber
Janet and Mike Shatusky
Ah.i and Howard Shevrin
Deb Odom Stern
Nat Lacy and Ed Surovcll
Susan Tait of Fitness Success
Tom Trocchio of Atys
Charlotte Van Curler
Kathleen and Edward VanDam
Andrea Van Houweling
Ron and Eileen Weiscr
Marina and Robert Whitman
Young People's Theater Troubadours
Ann and Ralph Youngren
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
Because Mudic Matters
UMS members have helped to make possible this 119th season of distinctive concerts. Ticket rev?enue covers only 61 of our costs. The generous gifts from our contributors continue to make the difference. Cast yourself in a starring role--become a UMS member. In return, you'll receive a variety of special benefits and the knowledge that you are helping to assure that our community will continue to enjoy the extraordinary artistry that UMS offers.
15 Ann Arbor Acura
35 Ann Arbor Reproductive
Medicine 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
33 Edward Surovell Co.Realtors 37 Emerson School
3 ER1M International 47 Ford Motor Company 50 Foto 1
12 Fraleigh's Nursery 26 Glacier HUls
19 Harmony House
37 Harris HomesBayberry Construction
28 Howard Cooper Imports
34 Individualized Home Care
Nursing 3 Kerrytown Bistro
26 King's Keyboard House 13 KeyBank
19 John Leidy Shops, Inc.
27 Lewis Jewelers
42 McGlynn & Gubbins Attorneys
35 Miller, Canfield, Paddock,
and Stone Mir's Oriental Rugs Mundus & Mundus NBD Bank Pen in Hand Performance Network Red HawkZanzibar SKR Classical Sweet Lorraine's Sweetwaters Cafe Ufer and Co. U-M Matthaei Botanical
48 University Productions Whole Foods WDET WEMU WGTE WMXD WUOM