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UMS Concert Program, Saturday Oct. 24 To Nov. 01: University Musical Society: 1998-1999 Fall - Saturday Oct. 24 To Nov. 01 --

UMS Concert Program, Saturday Oct. 24 To Nov. 01: University Musical Society: 1998-1999 Fall - Saturday Oct. 24 To Nov. 01 --  image UMS Concert Program, Saturday Oct. 24 To Nov. 01: University Musical Society: 1998-1999 Fall - Saturday Oct. 24 To Nov. 01 --  image UMS Concert Program, Saturday Oct. 24 To Nov. 01: University Musical Society: 1998-1999 Fall - Saturday Oct. 24 To Nov. 01 --  image UMS Concert Program, Saturday Oct. 24 To Nov. 01: University Musical Society: 1998-1999 Fall - Saturday Oct. 24 To Nov. 01 --  image UMS Concert Program, Saturday Oct. 24 To Nov. 01: University Musical Society: 1998-1999 Fall - Saturday Oct. 24 To Nov. 01 --  image UMS Concert Program, Saturday Oct. 24 To Nov. 01: University Musical Society: 1998-1999 Fall - Saturday Oct. 24 To Nov. 01 --  image UMS Concert Program, Saturday Oct. 24 To Nov. 01: University Musical Society: 1998-1999 Fall - Saturday Oct. 24 To Nov. 01 --  image UMS Concert Program, Saturday Oct. 24 To Nov. 01: University Musical Society: 1998-1999 Fall - 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Day
24
Month
October
Year
1998
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University Musical Society
OCR Text

Season: 1998-1999 Fall
University Of Michigan

St. Petersburg Philharmonic Gidon Kremer 3 o h n W i University Musical Society of the University of Michigan Fall 1998 Season 1i pi to I Steps 6u, uartet Bill T.
rnieZane Dance Company Budapest Festival Ore he si [ldras Schiff David Daniels La Capella Reial de Catalun; ichigan Chamber Players Kirov Orchestra Vienna Vi jizz Tap Summit Am y Quartet Mitsuko U
ssad Brothers a A HueyP, Newton S
merson String Quartet The Harlem Nutcrack and el's M e s s i a Irish Dance Compan
e r s h w i n: Sung and Unsung Rertee Fleming The Gosp : Colonus Anne Sofie von Otter Chamber Music Socie f Lincoln Center Merce Cunningham Dance Compai axim Vengerov Orpheus ChaTflber Orchesti
eryl Tankard Austra
I e y psy eve t i n
ches
University Musical Society
of the University of Michigan The 1998-99 Fall Season
4 Letter from the President
5 Corporate LeadersFoundations
9 UMS Board of DirectorsSenate
StaffAdvisory Committees
10 General Information
12 Ticket Services
14 UMS History
15 UMS Choral Union
16 Auditoria Burton Memorial Tower
20 Education and Audience Development
22 Season Listing
Concert Programs begin after page 26
28 Volunteer Information
30 Hungry
30 UMS Dining Experiences
Restaurant & Lodging Packages
32 Gift Certificates
32 The UMS Card
34 Sponsorship and Advertising
34 Acknowledgments
37 Advisory Committee
37 Group Tickets
38 Ford Honors Program
40 UMS Contributors
49 UMS Membership
50 Advertiser Index
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1997-98 season: Celia Cruz in her long-awaited UMS debut; Christoph Eschenbach leading the Chicago Symphony Orchestra.
A Letter from the President
Welcome to this University Musical Society performance. Thank you for supporting UMS and the performing arts in our community by attending this event. The 1998-99 season is one of our most exciting ever. So diverse in its scope, it is impossible for me to zero in on just one event. Complementing our continued focus on music of all kinds, I would like to make special mention of our emphasis on dance and dance audience development this season. As our 1998-99 dance promotional campaign states, UMS is "simply committed to the best in dance for Michigan."
We're very pleased that you're at this event and hope you'll consider attending other UMS performances as well as some of the educational and social events surrounding our concerts.
You'll find listings of all of these events in this program book on page 22 through 25.
I'm privileged to work with a dedicated and talented staff. One of them, box office representative Sally Cushing, is celebrating 30 years with UMS this season, representing the longest-serving employee among our current staff. The entire UMS family joins me in thanking Sally for her loyalty, friendli-l 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 kenfisch@umich.edu.
Sincerely,
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 net Systems, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that
by supporting UMS, I am helping perpet?uate the tradition of bringing outstanding musical talent to the community and also providing education and enrichment for our young people."
Habte Dadi Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the commu?nity that sustains our business. We are
proud to support an organization that provides such an important service to Ann Arbor."
WILLIAM BROUCEK 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."
Sam Edwards
President, Beacon Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adven?turous, more enjoyable city."
David G. Loesel
President, T.M.L. Vetitures. Inc. "Caft Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
KATHLEEN G. CHARLA President, Charla Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charla Breton Associates is pleased
and honored to support the University Musical Society and its great offering of gifts to the community."
Anthony F. Earley, Jr.
Chairman, President and Chief Executive Officer, Detroit Edison "By bringing the joy of the performing arts into the lives of com?munity residents, the
University Musical Society provides an important part of Ann Arbor's uplifting cul?tural identity, offers our young people tremendous educational opportunities and adds to Southeastern Michigan's reputation as a great place to live and work."
Peter Banks
President, ERIM
International.
"At ERIM International,
we are honored to
support the University
Musical Society's
commitment to pro-
viding educational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a life?time."
L. THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University
Musical Society."
EDWARD SUROVELL President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution as distinguished as the
University Musical Society. For over a cen?tury it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
Douglas d. freeth
President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community which
perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
JOSEPH J. YARABEK Office Managing Partner, Deloitte & Touche
"Deloitte & Touche is pleased to support the University Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our lives!"
LEO LEGATSKI President, Elastizelt 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."
john psarouthakis, Ph.D.
Chairman and Chief
Executive Officer,
JPEinc.
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural contribu?tion it makes to the community."
JORGE A. SOUS First Vice President and Manager, FCNBD Bank "FCNBDBankis honored to share in the University Musical Society's
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
President,
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."
proud tradition of musical excellence and artistic diversity."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 84 years, and UMS has been here for 120, we can still appreci?ate the history they have with the city -and we are glad to be part of that history."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities
for supporting the University Musical Society and its continuing success in bring?ing high level talent to the Ann Arbor community." ,i
Erik H. Serr
Principal
Miller, Canfield,
Paddock and Stone,
P.L.C.
"Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
JOE E. O'NEAL 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-Davisis 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, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
MICHAEL STAEBLER
Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters"
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:
Arts Midwest
Benard l. maas foundation
Chamber Music America
The heartland Fund
KMD Foundation
lila 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
lanice 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 Smokier Peter Sparling Edward D. Surovell Susan B. Ullrich Iva M. Wilson
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Richard S. Berger Carl A. Brauer Allen P. Britton Douglas Crary John D'Arms lames J. Duderstadt Robben W. Fleming Randy J. Harris
Walter L. Harrison Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick B. Long Judythe H. Maugh
Paul W. McCracken Alan G. Mcrten 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 J.ilin, Assistant to
the President John B. Kennard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant Manager and Group Sales
Choral Union
Thomas Sheets, Conductor
Edith Lcavis Bookstein,
Co-Manager
Kathleen Operhall, Co-Manager Donald Bryant, Conductor
Emeritus
Development
Catherine S. Arcure, Director Elaine A. Economou, Assistant
Director--Corporate Support Susan Fitzpatrick,
Administrative Assistant Lisa Michiko Murray, Advisory
Liaison I Thad Schork, Direct Maii
Gift Processor Anne Griffin Sloan, Assistant
Director--Individual Giving
EducationAudience Development
Ben Johnson, Director Kate Remen, Manager Susan Ratcliffe, Assistant
MarketingPromotion Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Manager
Production
Gus Malmgren, Director Emily Avers, Production and Artist Services Coordinator Eric Bassey, Production Associate Bruce Oshaben, Front of House
Coordinator
Kathi Reister, Head Usher Paul Jomantas, Assistant Head Usher
Programming
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Work-Study Laura Birnbryer Rebckah Camm Jack Chan Nikki Dobell Mariela Flambury Bert Johnson Melissa Karjala Un Jung Kim Beth Meyer Amy Tubman
Interns
Laura Birnbryer Carla Dirlikov Laura Schnitker
President Emeritus Gail W. Rector
1998-99 ADVISORY COMMITTEE
Len Niehoff, Chair Maureen Isaac, Co-Chair leva Kasmussen, Secretary
Treasurer
Lisa Murray, Staff Liaison Gregg Alf Martha Ause Paulelt Banks Kathleen Beck leannine Buchanan Letitia ). Byrd Betty Byrne Phil Cole Mary Ann Daane H. Michael Endres Don Faber Penny Fischer Sara Frank Barbara Gelehrter Bcvcrley B. Geltner
Joyce Ginsberg Linda Greene Debbie Herbert Tina Goodin Hertel Darrin Johnson Barbara Kahn Mercy Kasle Steve Kasle Maxine Larrouy Beth Lavoie Doni Lystra Esther Martin Margie McKinley Jeanne Merlanti Scott Merz Ronald Miller Robert Morris Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin
Mary Pittman
Nina Hauser Robinson
Maya Savarino
Meg Kennedy Shaw
Aliza Shevrin
Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Kathleen Treciak Van Dam
Dody Viola
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 Callic Jefferson Deborah Katz Dan Long Laura Machida Ed Manning Glen Matis Ken Monash Gaylc 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.
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby.
Power Center: Pay phones are available in the box office lobby.
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of the Michigan League. St. Francis: There are no public telephones in the church. Pay phones are available in the Parish Activities Center next door to the church.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Restrooms
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off of the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main floor seating area.
St. Francis: Men's and women's rooms are located in the basement at the bottom of the front lobby stairs.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Tours
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.
Ticket Services
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
734764.2538
From outside the 313 and 734 area codes,
call toll-free
1.800.221.1229
Mon-Fri 10 a.m. to 6 p.m. Sat. 10 a.m. to 1 p.m.
Order online at the UMS Website
www.ums.org
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices open 90 minutes before the performance time.
Returns
If you are unable to attend a 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 of Gerontius 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.
Auditoria
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, this impressive structure has served as a showplace for a variety of impor?tant debuts and long relationships throughout the past 84 years. With acoustics that highlight everything from the softest 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.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses the 1,129-seat Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate stud?ies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interest?ed, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based
on the novel by Truman Capote). No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the balcony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was bro?ken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the
Auditoria, continued
acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series.
Detroit Opera House
The Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musi?cians and an acoustical virtue to rival the world's great opera houses, the 2,800-seat facil?ity has rapidly become one of the most viable and coveted theatres in the nation. In only two seasons, the Detroit Opera House became the foundation of a landmark programming col?laboration with the Nederlander organization and Olympia Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 performers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the box office and administrative location for the University Musical Society. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30 pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the impor?tance of live performing arts as well as the major impact the arts can have in the com?munity, UMS now seeks out active and dynamic collaborations and partnerships to reach into the many diverse communities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) perfor?mances. This year, more than 7,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Trinity Irish Dance Company, The Gospel at Colonus, Orpheus Chamber Orchestra with Pepe Romero, Kodo, and Alvin Ailey American Dance Theater. In addition to the Youth Performance Series, UMS inaugurates its new First Acts program, bringing school children to regularly sched?uled evening and weekend performances and providing educational contexts. For more information on UMS youth education pro?grams, please call 734.647.6712.
The University Musical Society and the Ann Arbor Public Schools are members of the Kennedy Center Performing Arts Centers and Schools: Partners in Education Program. UMS is also recognized as a "Partner in Excellence" by the Ann Arbor Public Schools.
The Youth Performance Series is sponsored by
Other activities that further the understanding of the artistic process and appreciation for the performing arts include:
MASTER OF ARTS INTERVIEW SERIES
Now entering its third year, this series is an oppor?tunity to showcase and engage our artists in infor?mal, yet in-depth, dialogues about their art form, their body of work and their upcoming perfor?mances. This year's series includes interviews with:
Maestro Valery Gergiev of the Kirov Orchestra of St. Petersburg
Jazz Tap Summit dancers and choreographers
Pianist Mitsuko Uchida
Choreographer Merce Cunningham
Composer Steve Reich and Filmmaker Beryl Korot.
Kimberly Camp, Director of the Museum of African American History in Detroit, inter?views choreographer Donald Byrd
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
RESIDENCY ACTIVITIES
UMS residencies cover a diverse spectrum of artis?tic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemon?strations, in-class visits, master classes, workshops, seminars, symposia, and panel discussions. Most activities are free and open to the public and occur around the date of the artist's performances. Major residencies for the 9899 season are with:
Jazz Tap Summit
American String QuartetBeethoven the Contemporary Series
A Huey P. Newton Story
The Gospel at Colonus
ImMERCEsion: The Merce Cunningham Dance Company
For detailed Residency Information, call 734.647.6712.
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:
www.ums.org
1998-99 UMS Season
Look for related Educational Events listed in blue.
SEPTEMBER
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 Dance Department. Call 734-763-5460 to register. Brown Bag Lunch Video talk led by Eiko and Koma of their "Environmental Trilogy: Land, Wind and River'' Friday, September 11,12 noon, U-M Institute tor the Humanities.
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.
OCTOBER
JUAN D'MARCOS-AFRO-CUBAN ALL STARS
Friday, October 9,8 P.M.
Michigan Theater
Sponsored by Charles Hall with additional
support from AAA Michigan. Media partner
WEMU.
ST. PETERSBURG PHILHARMONIC
YURI TEMIRKANOV. CONDUCTOR
GIDON KREMER. VIOLIN
Saturday, October 10, 8 P.M.
Hill Auditorium
Sponsored by Charla Breton Associates.
Media Partner WGTE.
JOHN WILLIAMS, GUITAR
Wednesday, October 14,8 P.M.
Rackham Auditorium
Sponsored by Red Hawk Bar & Grill and
Zanzibar.
CAPITOL STEPS
Friday, October 16,8 P.M.
Michigan Theater
Presented in partnership with the U-M
Institute for Social Research in Celebration
oj its 50th Anniversary. Media Partner WEMU.
GUARNERI STRING QUARTET Sunday, October 18 P.M. Rackham Auditorium Sponsored by Deloitte & Touche.
BILL T. JONESARNIE ZANE DANCE COMPANY WE SET OUT EARLY... VISIBILITY WAS POOR
Friday, October 23, 8 P.M.
Power Center
Master Class led by Janet Wong, Company
Rehearsal Director. Wednesday, October
21,7 p.m.. Dame GalleryPeter Sparling &
Co. Call 734-747-8885 to register.
Master Classes led by Janet Wong,
Company Rehearsal Director and dancer
Alexandra Beller. Ten participant and ten
tree observer places per class open to the
public. Thursday, October 22, 11 a.m.
and 12:45 p.m., U-M Dance Deptarment
Call 734-763-5460 to register.
PREP Video talk of Bill T. lories' work.
Friday, October 23, 7 p.m., MI League
Koesster Library.
Meet the Artists Post-performance dialogue
Ironi the stage.
Media Partner WDET.
BUDAPEST FESTIVAL ORCHESTRA
IVAN FISCHER. CONDUCTOR
ANDRAS SCHIFF, PIANO
Saturday, October 24,8 P.M.
Hill Auditorium
PREP "Hartok and Stravinsky at the
Crossroads" Glenn Watkins, Earl V. Moore
Professor Emeritus of Musicology.
Saturday, October 24, 7 p.m., MI League
Koessler 1 ibrary.
Sponsored by Thomas B. McMullen Co.
Media Partner WGTE
DAVID DANIELS, COUNTERTENOR WITH THE ARCADIAN ACADEMY NICHOLAS MCGEGAN. DIRECTOR AND HARPSICHORD
Tuesday, October 27,8 P.M. Lydia Mendelssohn Theatre Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
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
I'RIIP (ireg Hamilton of the Academy of
Early Music interviews [ordi SavaU.
Friday, October 30, 7 p.m., St. Francis
School Music Room.
NOVEMBER
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 dcrgiev 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. Hill Auditorium
Photo Exhibit "Plenty of Good Women 1 lancers: African American Women Hoofers from Philadelphia." October 19-Novcniber 13, Ann Arbor District Library, Main Branch.
Gifts of Art Local and national tap artists perform. Thursday, November 5, 12 noon, U-M Hospital Main Lobby. Master of Arts Interview with artists from fazzTap Summit Friday, November 6, 7 p.m., Ml League Hussey Room. Master Classes with tap artists featured in lazz Tap Summit. For information and registration, call Susan Filipiak of Swing City Dance Studio, 734-668-7782. l.u Tap LectureDemonstration by I tianne Walker. Saturday, November, 7, 1 p.m., Ann Arbor District Library. Tap am Saturday, November 7, 7 p.m., Hill Auditorium plaza. Sponsored by ElastizdL 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.
http:www.ums.org ?-
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 Siring Quartet cooks tor UMS palrons .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 Surovetl 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., I'M Schoolol Music Recital Hall. Media Partner WGTE.
ASSAD BROTHERS
WITH BADI ASSAD
Thursday, November 12,8 P.M.
Rackham Auditorium
Sponsored by NBD. Additional support
provided by Crown House of Gifts.
SEQUENTIA
HILDEGARD VON BINGEN'S ORDO
VIRTUTUM (PLAY OF THE VIRTUES)
A FULLY STAGED SACRED-MUSICAL
DRAMA
Friday, November 13,8 P.M.
St. Francis of Assisi Catholic Church
PREP Benjamin Bagby, director ol Onto
Vtrtutum. Friday, November 13, 7 p.m.,
Si. 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.
Trueblood Theatre
Lecture Ahmed Rahman, l'h.l). student in
history. Thursday, November 19, 5 p.m.,
CAAS Lounge. 209 West Hall.
Meet the Artists Post-performance dialogue
from the static alter each performance.
Media Partner WEMU.
EMERSON STRING QUARTET
WITH MENAHEM PRESSLER, PIANO
Sunday, November 22,4 p.m.
Rackham Auditorium
Meet the Artists Post-performance
dialogue from the stage.
PREP "The Trials .ind Tribulations of
Brahms' Piano Quintet" U-M Professor
Ellwood Derr, Sunday, November 22,3
P.M. MI League, Vandenberg Room.
Sponsored by Bank of Ann Arbor.
NOVEMBERDECEMBER
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 1421)8. 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.
HANDEL'S MESSIAH
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.
Hill Auditorium
Presented with the generous support of
Jim and Millie Irwin.
JANUARY
TRINITY IRISH DANCE COMPANY
Friday, January 8,8 P.M.
Power Center
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by First of America Bank.
GEORGE GERSHWIN:
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,
PIANO
Saturday, January 9,8 P.M.
Sunday, January 10,4 P.M.
Lydia Mendelssohn Theatre
Sponsored by KeyBank with additional
support from Maurice and Linda Binkow.
Media Partner WGTE.
RENEE FLEMING. SOPRANO Thursday, January 14,8 P.M. Hill Auditorium
PREP Naomi Andre, U-M Assistant Professor of Music History and Musicology. Thursday, January, 14,
7 p.m., MI League Hussey Room. Sponsored by Pepper, Hamilton and Scheetz, L.L.P. Media Partner WGTE.
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
CHOIR
Friday, January 15 Saturday, January 16,
8 P.M.
Sunday, January 17,3 P.M. Monday, January 18,3 P.M. Choir Workshop with the music director til The (Gospel tit (olonus. Saturday, November 1 ?!, Museum of African American Histoy in Detroit. Call 734-647-6712 for information and registration. Community Gospel Sing Along with the casi ol The Gospel at Cohnus. Wednesday, lanuary 13, 7 p.m. Call 734-647-6712 lor 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.
continued ..
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Thursday, January 28, 8 P.M. Rackham Auditorium Sponsored by Edward Surovcll Realtors with support from the Lila Wallace-Readers 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 SOFIE VON OTTER, MEZZO-SOPRANO CHAMBER MUSIC SOCIETY OF LINCOLN CENTER
DAVID SHIFRIN, ARTISTIC DIRECTOR BENGT FORSBERG, PIANO Friday, lanuary 29,8 P.M. Lydia Mendelssohn Theatre PREP Richard LeSueur, Vocal Arts Information Services, Friday, January 29, 7 p.m.. Ml 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, lanuary 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.
FEBRUARY
AMERICAN STRING QUARTET
BEETHOVEN THE CONTEMPORARY
Sunday, February 7,4 P.M.
Rackham Auditorium
PREP Steven Whiting, I'M Assistant
Professor of Musicology with U-M School
of Music student musicians. Sunday,
February 7, 3 p.m., Ml League Vandenberg
Room.
Meet the Artists Post-performance dia-
logue from the stage with the ASU and
composer Kenneth Fuchs.
Lecture by composer Kenneth Fuchs.
Monday, February S, 12 m.....
School of Music, Room 2033. Panel Discussion "Interdisciplinary Creativity in the Arts" moderated by U-M F.nglish Professor Julie Ellison, in conjunction with the Beethoven the Contemporary and Merce Cunningham Residencies.
[liesday, February v. 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.
MMERCESOU: THE MERCE CUNNINGHAM DANCE COMPANY Friday, February 12 Saturday, February 13,8 P.M. Power Center
Mini-Course I'M students can earn 2 credit hours in a mursc drawn from the L7MS residency. Information session held in January. ( 734-763-5460 tor infbrmanoa Brown Bag Lunch about Merce Cunningham Tuesday, January 12,12 noon, LJ-M Institute for the Humanities. Cunningham Company Family Event Parents and their children (ages 7 and up explore visual an, dance and music in a workshop which culminates in a tree per?formance and reception at the Power ( enter on Wednesday, February 10. Workshop held Saturday, February h, 4 p.m. at the Ann Arbor Ait Center and Dance GalleryPeter Sparling & Co. Call 9-1-8004 xlOl for information and [ration, or walk-in registration at the Ann Arbor Art Center.
Youth and Adult Art Classes with con?nections io the ()unningham (lompan) held in the fall and winter. ( H004 jcIOI for information and regiMra-linn, or walk-in registration at the Ann Arbor Art Center.
Lobby Exhibit Art from the youth dflss at the Ann Arbor Art Center on display February 1-14, Power Center Lobby. Brown Bag Lunch on John Cage's Cartridge Music, presented by Laura Kuhn, Director of the fohn Cage Trust, and U-M Professor Stephen Rush. Tuesday, February 9, 12 noon, U-M Institute tor the Humanities.
Music and Dance lor choreographers and composers, with Laura Kuhn, Directoi ol the John Cage Trust and L'-M Protessor Stephen Rush. 'Tuesday, February 9, 2:45 p.m., U-M Dance Huilding 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., I'M Dance Building, Hetty 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, I M Dance Dept. Call 734-763-5460 to register.
Advanced Technique Master Class taught by Meg Harper. Saturday, February 13, 10:30 a.m., Dance GalleryPeter Sparling & Co. Call 734-747-8885 to register. Study Day Cunningham Company Archivist David Vaughan leads class and discussions of Cunningham and his col?laborators' works at an open class and company rclK-.irs.il. Saturday, February 13, 11 a.m.. Power Center balcony. ( all 734-647-6712 lor information and regis tration.
PREPCompan) Archivist David Vaughan leads a video discussion of ()unningham works. Friday, February 12,7p.m., Modern Languages Building Lecture Room. Meet the Artists Post-performance dia?logue from the stage, Friday, February 12. PREP (lompany Archivist U.ivid Vaughan leads a video discussion of Cunningham works. Saturday, February 13, 7 p.m., MI League I lusscy 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 DANCE THEATRE FURIOSO
Friday, February 19 Saturday, February 20, 8 P.M. Power Center
PREP Video talk of Meryl Tankard's work. Friday, February I1), 7 p.m., Ml League llus'.ey Room.
PREP Video talk ol Meryl Tarkard's work. Saturday, February 20, 7 p.m., MI League Koessler Library.
Meet the Artists Post-performance dia?logue from the stage. Media Partner WDET.
MICHIGAN CHAMBER PLAYERS FACULTY ARTISTS OF THE UNIVERSITY OF MICHIGAN SCHOOL OF MUSIC
Sunday, February 21,4 P.M. Rackham Auditorium Complimentary Admission
KODO
Tuesday, February 23 Thursday,
February 25, 8 P.M.
Power Center
Sponsored by NSK Corporation with support
from Beacon Investment Company and the
Blue Nile Restaurant. Media Partner WDET.
MARCH
JAMES GALWAY, FLUTE
PHILLIP MOLL, PIANO
Thursday, March 11,8 P.M.
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research. Media Partner WGTE.
ABBEY LINCOLN
WITH MARC CORY, PIANO
MICHAEL BOWIE, BASS
ALVESTER GARNETT, DRUMS
Friday, March 12,8 P.M.
Michigan Theater
Sponsored by Miller, Canfield, Paddock and
Stone, L.L.P. Media Partner WEMU.
TAKACS QUARTET Thursday, March 18, 8 P.M. Rackham Auditorium
ALVIN AILEY AMERICAN DANCE THEATER
Friday, March 19 Saturday, March 20,
8 P.M.
Sunday, March 21,4 P.M. Power Center
PREP Video talk of signature Ailcy pieces. Friday, March 19. 7 p.m., Ml League Vandenberg Room.
PREP Video talk ol signature Ailcy pieces. Saturday, March 20, 7 p.m., MI League I lussey Room.
Sponsored by Forest Health Services and Mr. and Mrs. Randall Pittman. Media Partner WDET.
THE TALLIS SCHOLARS PETER PHILLIPS, DIRECTOR Wednesday, March 24, 8 P.M. St. Francis of Assisi Catholic Church
GYPSY CARAVAN
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.
Hill Auditorium
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 ot 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
APRIL
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, lime 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. Hill Auditorium
Sponsored by Edward Surovell Realtors. Media Partner WGTE.
LATIN BALL
WITH ICUBANISMOI
FEATURING JESUS ALEMANY
Friday, April 16,8 P.M.
Michigan Theater
Media Partner WEMU.
EWA PODLES, CONTRALTO JERZY MARCHWINSKI, PIANO Saturday, April 17,8 P.M. Lydia Mendelssohn Theatre
PREP by Richard 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
ROBERT WILSON
PERFORMED BY THE PHILIP GLASS
ENSEMBLE
Thursday, April 22, 8 P.M.
Michigan Theater
Media Partner WDET.
LINCOLN CENTER JAZZ ORCHESTRA WITH WYNTON MARSALIS A CENTENNIAL CELEBRATION OF DUKE ELLINGTON
Friday, April 23, 8 P.M. Hill Auditorium
PREP Kenn Ox, Professor of Musk ;il 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.
Hill Auditorium
Sponsored by Trimas Corporation with
additional support from Weber's Inn.
Media Partner WGTE.
MAY
FORD HONORS PROGRAM Featuring the presentation of the 1999 UMS Distinguished Artist Award (Artist to be announced in January, 1999) Saturday, May 8,6 P.M. Hill Auditorium and Michigan League. Sponsored by the Ford Motor Company Fund.
Event Program Book
University Musical Society
of the University of Michigan 1998-1999 Fall Season
Saturday, October 24 through Sunday, November 1, 1998
General Information
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompa?nying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: Electronic beeping or chiming digi?tal watches, beeping pagers, ring?ing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat loca?tion and ask them to call University Security at 734-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS perfor?mances included in this editon. Thank you for your help.
Budapest Festival Orchestra 3
Ivan Fischer, music director and conductor Andras Schiff, piano
Saturday, October 24, 8:00pm Hill Auditorium
Arcadian Academy 17
David Daniels, countertenor Nicholas McGegan, harpsichord
Tuesday, October 27, 8:00pm Lydia Mendelssohn Theatre
La Capella Reial de Catalunya and 23
Hesperion XX
Jordi Savall, viola de gamba Montserrat Figueras, soprano
Friday, October 30, 8:00pm
St. Francis of Assisi Catholic Church
Michigan Chamber Players 41
Sunday, November 1, 4:00pm Rackham Auditorium
University
Musical
Society
and
Thomas B.
McMullen
Company
present
Budapest Festival Orchestra
Ivan Fischer, Music Director and Conductor Andras Schiff, Piano
Program
Igor Stravinsky
Bela Bartok
Stravinsky
Saturday Evening, October 24,1998 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Jeu de Cartes
First Deal Second Deal Third Deal
Piano Concerto No. 2, Sz. 95
Allegro
Adagio-Presto-Adagio Allegro molto
ANDRAS SCHIFF,pl'flrtO INTERMISSION
Petrushka (1947) Burlesque in Four Scenes
The Shrove-Tide Fair
Petrushka's Cell
The Blackmoor's Cell
The Shrove-Tide Fair
Tenth Performance of the 12O'h Season
120 Annual Choral Union Series.
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Tom McMullen for his generous support through the Thomas B. McMullen Company. Additional support is provided by media partner WGTE
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Special thanks to Glenn Watkins for serving as the speaker for this evening's Pre-performance Educational Presentation (PREP).
Exclusive Representation for Ivan Fischer: HarrisonParrott Ltd.
Exclusive Representation for Andras Schiffi Shirley Kirshbaum & Associates, Inc.
Maestro Fischer and the Budapest Festival Orchestra record exclusively for the Philips label.
Mr. Schiff has recorded for Denon, Fidlio, ISM and LondonDecca Records and records for Atlantic ClassicsTeldec label.
Large print programs are available upon request.
Bartok in Performance
By Andrds Schiff
Bela Bartok, like J.S. Bach before him, gave a great deal of thought to the musical edu?cation of children. In Bach's Notenbuchlein for Anna Magdalena and Wilhelm Friedemann Bach, containing twoand three-part Inventions, we find the finest examples of great music for children; and, more than two centuries later, these are echoed by Bartok's four-volume work Gyermenkeknek (For Children) and his six-volume Mikrokosmos. His younger son Peter was taking piano lessons and through Mikrokosmos he gave him music that was simple, educational and modern at the same time.
When I started taking piano lessons with Elizabeth Vadasz in 1959, she almost imme?diately gave me pieces by Bartok to learn. This was one of the few positive features of post-Stalinist Hungary: an excellent system of music education (free of charge), a system in which, even though Bartok only died in 1945, his music has found a firm place. Being confronted with the particular har?monic, melodic and rhythmic elements of this music, a musical child could absorb this "language" as naturally as he could his mother tongue.
Gyermekeknek is a collection of folksong arrangements (from Hungary and Slovakia), the texts of which can be found at the end of each volume. It was a pleasure to play and sing these simultaneously (although one was slightly puzzled by the occasional remark: "text is not printable").
Mikrokosmos, on the other hand, although it uses material that is not directly based on folk music, thus making it much harder to comprehend, is, however, a won?derful introduction to the Bartokian sytle and language. Its volumes contain pieces of progressive difficulty so that a student can spend many years with them. Indeed, the
last two books are of such complexity that they cannot really be considered as educa?tional pieces.
From these two cycles, though, one can understand all the other major piano works, the most important of which being the Sonata and Out of Doors, both written in the crucial year of 1926. These, together with the Piano Concerto No. 1, are the most radi?cally dissonant pieces, in which Bartok first discovered the special sonorities of percus?sion instruments. Indeed, in the solo works, we seem to hear their sound without them being there.
Let me now try and say something about Bartok the pianist. Of all performers -past or present -none has impressed me as much as he did. Even on records (I am too young to have heard him in person) his artistry is overwhelming. It is a great privi?lege that he left a relatively large number of recorded documents from which we can study the authentic Bartok style. And although, even today, many people think of him as a percussive pianist, this is sheer nonsense. While his rhythm is rock-solid, he never produces an ugly sound, he never bangs. He is capable of a great lyricism and tenderness that is most touching, yet he never falls into the trap of sentimentality. And perhaps most important is his use of
rubato (or parlando), a speaking way of play?ing.
Bartok was a composer who was meticu?lous about detailed notation: he writes metronome markings everywhere, he times every little segment of a piece, and each score is covered by hundreds of dynamic, phrasing and articulation markings. In lis?tening to him play a piece we can hear that he observes these markings, but the notation and the sound experience hardly resemble each other. Indeed, Bartok's use of agogics is so subtle that our present notational system is inadequate to convey it. But, let's face it, isn't this true of all great composers When we are taught that in classical music four semiquavers must be played absolutely equally, then we are far removed from the truth.
Bartok's qualities as a performer are also obvious when he plays Bach, Mozart, Beethoven, Chopin or Brahms. He was also a marvelous ensemble player, his partnerships with the Hungarian-born violinist Joseph Szigeti and contralto Maria Basilides are leg?endary.
It is impossible, however, to imitate another artist; it is also somehow wrong. And imitations soon turn into caricatures. Yet it is obvious that Bartok's way of playing his own music is right. It is also obvious that, as a performer, I have to follow him with my own personality, something which I cannot hide.
This music could not be more Hungarian, but you do not have to be Hungarian to play it well. It is essential, though, to recognize the idiom, which is as closely related to the language as is Schubert's to German, Janacek's to Czech, and Debussy's to French. The per?former of these composers' works must, therefore, be familiar with the character of their languages. It only remains for us to hope that the world will soon understand that Bart6k's music is neither brutal nor percussive: it only seems so in certain perfor?mances.
Jeu de Cartes
(The Card Game, 1936)
Igor Stravinsky
Born June 17, 1882 in Oranienbaum near
St. Petersburg Died April 6, 1971 in New York
Stravinsky, who had established his world reputation with three Russian-inspired bal?lets, remained partial to danced theater for the rest of his life. In his ppst-Rite of Spring ballet scores, he strove in general for lighter themes and more grace than high drama onstage. In Apollon Musagete, he created a model of calm and clarity. Le baiser de la fee (The Fairy's Kiss) is a romantic tribute to Tchaikovsky. And in Jeu de cartes {The Card Game, sometimes known as The Card Party) the cards in a deck come alive and act out their struggle during a game of poker.
The idea for a poker ballet came from Stravinsky, who was an avid poker player. He suggested it to Lincoln Kirstein's American Ballet when the company commissioned a new work from him. He worked out the sce?nario with M. Malaieff, a friend of his older son's. The action of the ballet was set forth in the preface to the printed score:
The characters in this ballet are the chief cards in a game of Poker, disputed between several players on the green cloth of a card-room. At each deal the situation is complicated by the endless guiles of the perfidious Joker, who believes himself invincible because of his ability to become any desired card. During the first deal, one of the players is beaten, but the other two remain with even "straights", although one of them holds the Joker.
In the second deal, the hand that holds the Joker is victorious, thanks to four Aces who easily beat four Queens. Now comes the third deal. The action becomes more and more acute. This time
it is a struggle between three "flushes." Although at first victorious over one adversary, the Joker -strutting at the head of a sequence of Spades -is beaten by a "Royal Flush" in Hearts. This puts an end to his malice and knavery.
The music of the ballet, which is in three "deals", is played without pause. Each of the "deals" begins with the same fanfare-like music. The first "deal" contains a pas d'action in which the game begins. In its middle is the agitated "Dance of the Joker," which is followed by a "waltz-coda."
In the second "deal" we hear a "March of Hearts and Spades" and then a set of vir-tuosic variations in which each of the four Queens comes forward for a solo. In these solos, commentators have heard echoes of well-known classical works such as Beethoven's Symphony No. 8 and Johann Strauss's Fledermaus. This "deal" also contains numer?ous allusions to some of Stravinsky's own compositions including the Capriccio for piano and orchestra, the opera Mavra, and many more. The second "deal" concludes with a pas de quatre and another march.
The third "deal" has a waltz that plays with motifs from Ravel's La Valse, and a "Presto" (the battle of the Hearts and Spades) that sounds a lot like the Overture to Rossini's Barber of Seville. The final dance happily celebrates the victory of the Hearts. At the very end, the opening fanfare is trans?formed into what begins to recall the final scene of Petrushka -but the same motif that sounded menacing in the earlier work is now little more than the cards of the deck taking their last bow.
Jeu de cartes was premiered at New York's Metropolitan Opera House in April 1937, with choreography by George Balanchine. It shared a triple bill with Apollon Musagete and The Fairy's Kiss. Stravinsky's second ballet trilogy -a neo-Classical one this time -was thus complete.
Piano Concerto No. 2, Sz. 95 (1931)
Bela Bartok
Born March 25, 1881 in Nagyszentmiklds, Hungary (now Sinnicolau Mare, Romania) Died September 26, 1945 in New York
"I wrote my First Concerto for Piano and Orchestra in 1926," Bela Bartok recollected in 1939. "I consider it a successful work although its writing is a bit difficult -one might even say very difficult! -as much for orchestra as for audience. That is why some years later (1930-31), while writing my Second Concerto, I wanted to produce a piece which would contrast with the first: a work which would be less bristling with difficul?ties for the orchestra and whose thematic material would be more pleasing. This inten?tion explains the rather light and popular character of most of the themes of my latest concerto: a lightness that sometimes almost reminds me of one of my youthful works, the First Suite for Orchestra (Op.3)."
To us today, Bartok's often-reprinted words about his Concerto No. 2 are not a description of the work so much as an inside view of it, an interesting complement to what the concerto has come to mean to audiences of our time. During the last sixty years, after all, many listeners (to say nothing of orchestras) have gotten used to the "diffi?culties" of the Concerto No. 1, but not many people today have ever heard the First Suite, a fifty-minute composition of 1905 which combined a strong dose of Richard Strauss's influence with the Hungarian popular style that Bartok turned away from after 1907, having discovered the authentic peasant music of the coutryside. It is interesting that Bartok should even bring up this once-successful work in 1939, three years after a rather uncomfortable incident involving it. In 1936, a Hungarian literary and cultural society presented Bartok with a medal, specifically for the First Suite. Offended by the way his whole mature oeuvre was
ignored by the society, Bart6k refused to accept the honor, and wrote a sharply-word?ed open letter to make his point.
Of course, Bartok did say in the letter: "I do very much like this work of mine; it is really an outstanding achievement for a young man twenty-four years of age." Still, even if Bartok wanted to recapture the "lightness" of his early work, he did so by entirely different stylistic means.
It is impossible to miss the neo-Classical tendencies of the work. Possibly influenced by Stravinsky's Concerto for Piano and Winds (1924), Bartok scored the orchestral accompaniment of the first movement for winds alone. The Bachian ostinato rhythms may also have come to Bartok via his Russian contemporary, though he himself turned increasingly to the study of Baroque keyboard music during these years. The most conspicuous Stravinsky reference occurs at the beginning of the Concerto: the first six notes of the opening trumpet theme are identical (though in a different rhythm) to the famous Russian theme from The Firebird. In Bartok's hands, however, all these borrowed elements turn into some?thing only he could have written. More interested in variation technique and large-scale structural symmetries than Stravinsky, Bartok wove The Firebird theme into the fabric of the whole piece by deriving numerous other motifs from it in the first and third movements, which are structurally related. His elaborate contrapuntal methods included inverse and retrograde motion, as he himself pointed out in his analytical guide to the Concerto.
The work's heartpiece is the "Adagio", which incorporates a scherzo as its middle section. The "Adagio" begins with a mysteri?ous chorale, in six-part harmony made up of layers of perfect fifths superimposed on one another, and played by the muted strings. The chorale alternates with the gen?tle theme of the piano, until both are sud-
denly displaced by the whirlwind "Presto", after which the "Adagio" returns in a varied form.
The finale adds one significant new theme to the ones taken over from the first movement: a motif based on an ascending minor third (an interval that figures promi?nently in many Bartokian themes!) shared by the solo piano and the timpani. In addi?tion, the six notes from The Firebird return in many new guises, including a dreamy, romantic version with poetic piano arpeggios. The ending, however, is firm and decisive. The brass end their last phrase with the typi?cal descending-fourth cadence known from so many Hungarian folksongs; the piano and the rest of the orchestra respond by a few modal chords that are closer to Kodaly than to Stravinsky, to create the "light" ending Bartok had desired.
Petrushka (1947 version)
Burlesque in Four Scenes Igor Stravinsky
After the resounding success of The Firebird in 1908, Stravinsky had become an instant celebrity in Paris. His name was now insepa?rable from the famous Ballets Russes, whose director, Sergei Diaghilev, was anxious to continue this most promising collaboration. Plans were almost immediately underway for what eventually became The Rite of Spring. But events took a slight detour: in the sum?mer of 1910, Stravinsky began writing a piece for piano and orchestra in which the piano represented for him "a puppet, sud?denly endowed with life, exasperating the patience of the orchestra with diabolical cas?cades of arpeggios." The puppet was none other than Petrushka, the popular Russian puppet-theatre hero, the equivalent of Punch in "Punch and Judy" shows.
When Diaghilev visited Stravinsky in Lausanne later in the summer, he expected
his friend to have made some progress with The Great Sacrifice (the working title of The Rite); instead, he found him engrossed in a completely different composition. Diaghilev immediately saw the dramatic potential of Stravinsky's concert piece, and persuaded the composer to turn it into a ballet. (The soloistic handling of the piano in the final version is a reminder of the origins of the piece.) Alexandre Benois, a Russian artist and a longtime Diaghilev collaborator, wrote the scenario with Stravinsky, and designed the sets and costumes for the performance.
Petrushka was described by a famous carnival showman as "a devil-may-care odd?ball, a wisecracker and disturber of the peace." As Richard Taruskin has pointed out in his recent book on Stravinsky, however, the hero of the ballet has little to do with that characterization. It is, rather, a reincar?nation of Pierrot, the sad-eyed clown with a white face and wearing a white suit with large black buttons. The plot was not based on the Russian Petrushka plays but rather on the classical love triangle involving Pierrot, Colombine and Harlequin. Yet in the first and last scenes, Benois re-created the atmos?phere of the old shrove-tide fairs in St. Petersburg, a tradition that had already dis?appeared but one he still remembered from his childhood. The structure of the ballet, then, with two outer scenes depicting a fair in Old Russia and two inner scenes representing a love story that transcends time and place, is more than a neat symmetrical device. It expresses a contrast between things Russian and international, between the public and the private spheres, and between the worlds of humans and puppets. As Taruskin has observed, however,
the "people"...are represented facelessly by the corps de ballet. Only the puppets have "real" personalities and emotions. The people in Petrushka act and move mechanically, like toys. Only the pup?pets act spontaneously, impulsively -in a word, humanly.
In composing the music of Petrushka, Stravinsky made use of an unusually large number of pre-existent melodies -either Russian folk music or popular songs of the time. These came to Stravinsky from
a wide variety of sources, ranging from the first scientific collections of folk music, recorded with the then-new phonograph, to urban songs that were "in the air." His treat?ment of these sources was far more radical, as far as harmonies are concerned, than it had been in The Firebird; especially in the second scene, "Chez Petrouchka," we see significant departures from the nineteenth-century Russian tradition that Stravinsky had learned from his teacher Rimsky-Korsakov and that he had been following much more closely in his first ballet.
The first of the four tableaux ("The Shrove-Tide Fair") is shaped by an alternation between the noise of the crowd and numbers played by street musi?cians. At first we hear a flute signal accom?panied by rapid figurations that evoke the bustle of the fair. Soon the entire orchestra breaks into a boisterous performance of a Russian beggars' song, followed by the entrance of two competing street musicians, a hurdy-gurdy player and one with a music box. Of the two popular tunes, heard first in succession and then simultaneously, one is a Parisian street tune about the famous actress Sarah Bernhardt who had a wooden leg ("Elle avait un jambe en bois" "She had a wooden leg"). This song, by a certain Mr.
Spencer, was protected by copyright, although Stravinsky didn't realize this at the time of composition. As a result, a percent?age of the royalties from every performance of Petrushka all over the world has been going to the author of the song or to his heirs. The other song was a well-known Russian melody, sometimes set to bawdy lyrics, that Stravinsky remembered from his youth.
The competition of the street musicians suddenly stops and the beggars' song returns as a general dance. The signal from the beginning closes the first half of the tableau. Now the puppet theatre opens, and the Showman, playing his flute, introduces Petrushka, the Ballerina, and the Moor to the audience. As he touches them with his flute, the three puppets begin the famous "Russian Dance" in which the piano plays a predominant part. (This was one of the two sections in Stravinsky's Konzertstiick.) The irresistible force of this passage lies in the varied repetitions of short rhythmic figures and simple melodies harmonized with repeated or parallel-moving chords. These features became important hallmarks of Stravinsky's style in later years. The dance has a lyrical middle section where the same melody is played more softly by the piano, acoompanied by the harp and winds. Finally, the loud version returns; the dance and the tableau end with a bang.
The second tableau is a reworking of what was originally called "Petrushka's Cry" in the concert piece for piano and orchestra. It starts with the sonority that has become emblematic of the work: two clarinets play?ing in two different keys at the same time. After a short piano cadenza, we hear a theme giving vent to Petrushka's anger and despair at his failure to win the Ballerina's heart. His fury suddenly changes into quiet sadness in the following slow pseudo-folk?song, played by the duo of the first flute and the piano with only occasional interjections
from other instruments. The Ballerina enters, and Petrushka becomes highly agitat?ed. Then she leaves, and the earlier despair motif closes the tableau.
The third tableau takes place in the Moor's room. His slow dance is accompa?nied by bass drum, cymbals, and plucked strings, whose off-beat accents impart a distinctly Oriental flavor to the music. The melody itself is played by a clarinet and a bass clarinet pitched two octaves apart. Soon the Ballerina comes in ("with cornet in hand", according to the instructions), and dances for the Moor as the trumpet (which in the 1947 version replaces the cornet of the original) plays a rather simple tune accompanied only by the snare drum. She then starts waltzing to two melodies by Viennese composer Joseph Lanner (1801-1843, a forerunner of the great Strauss dynasty), while the Moor continues his own clumsy movements (for a while, the two melodies are heard simultaneously). The waltz is abruptly interrupted as Petrushka enters to motifs familiar from the second tableau. His fight with the Moor is expressed by excited runs that, like Petrushka's earlier music, are "bitonal" in the sense that the same melodic lines are played in two keys at the same time. The orchestra plays some violent, repeated fortis?simo chords as the Moor pushes Petrushka out the door.
The fourth and last tableau brings us back to the fair, where, as the evening draws closer, more and more people gather for the festivities. A succession of numbers is per?formed by various groups taking turns at center stage. A group of nursemaids dances to the accompaniment of two Russian folk?songs which, according to a technique already seen several times, are heard first in succession and then simultaneously. Next, a peasant enters with a bear that dances to the peasant's pipe (the pipe is represented by the shrill sounds of two clarinets playing in
their highest register). After this, a drunken merchant comes in: his tune is played in unison by the entire string section, with fre?quent glissandos, against a motley succession of ascending and descending runs in the woodwinds and brass. Two Gypsy girls per?form a quick dance whose melody is given to the oboes and the english horn, with harps and plucked strings in the back?ground, and then both the merchant's tune and the Gypsy dance are repeated.
The Russian folksong of the coachmen and stable boys comes next, scored mainly for brass; that of the nursemaids, which began the whole scene, returns on clarinets and bassoons. The coachmen's dance is taken over by the full orchestra, only to be suddenly displaced by the mummers, who, in their funny masks, jest and dance with the crowd to some loud and highly rhyth?mic music in which the brass predominates.
Suddenly the celebration is disrupted by a scream coming from the side of the theatre. Petrushka rushes in, pursued by the Moor who soon overtakes him and strikes him down. The two clarinets, whose disso?nant intervals have followed Petrushka throughout the piece, emit a final piercing shriek that fades away in a pianissimo as the hero expires. Some soft woodwind solos, accompanied by high-pitched violin tremo?los, lament Petrushka's death. But as the Showman arrives to pick up the puppet and take him back to the theatre, Petrushkas's ghost appears overhead as two trumpets intone his melody in a tone that is aggres?sive, mocking and menacing at the same time. There are only a few string pizzicatos as the curtain falls; the last event in the piece is the resurgence of Petrushka the invincible, thumbing his nose at the magi?cian and at the entire world, which had been so hostile to his pure and sincere feelings.
Program notes by Peter Laki.
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Budapest Festival Orchestra
hen in 1983 conductor Ivan Fischer and pianist Zoltan Kocsis decided to establish a new orchestra, no one guessed that this was the beginning of one of the most successful and exciting musical ventures on the Hungarian and international music scene.
After nine successful years of a few con?certs every season in 1992 it became the permanent orchestra of Budapest. The painstaking preparations the musicians under the leadership of Ivan Fischer made for their productions created a new standard in the concert hall of Hungary.
Today, the Budapest Festival Orchestra is not only Hungary's finest and most popular symphonic orchestra (its concerts, as a rule, are sold out), but one of the most successful musical ensembles internationally. It is a welcome guest at leading music festivals (Salzburg, Lucerne, Paris, London, Bruxelles, Los Angeles, Hong Kong etc.), as it is in the most prestigious concert halls, from the Viennese Musikvereinsaal and Konzerthaus to Carnegie Hall in New York, the Theatre des Champs-Elysees in Paris and the Concertgebouw in Amsterdam.
Guest artists regularly appearing with the Budapest Festival Orchestra include some of the finest musicians of our times: Kurt Sanderling, Lord Yehudi Menuhin, Gidon Kremer, Andras Schiff, Heinz Holliger, Radu Lupu, Lynn Harrell, Marek Janowski, Charles Dutoit, Eliahu Inbal, Robert Holl, Rudolf Barshai, Helen Donath, Agnes Baltsa, Pinchas Steinberg, Edith Mathis, Jund Anderson, Ida Haendel, Martha Argerich, and David Zinman. Sir George Solti was Conductor Emeritus of the orchestra until his untimely death in 1997.
The orchestra's opera projects also receive great acclaim {Cosifan tune 1992, Idomeneo 1993, Turco in Italia and Orfeo ed Euridice 1996). The orchestra's special cycles are reg-
ularly presented in leading musical centers and concert series of the world: Bartok-cycle 1995 (New York, Paris, Cologne, Frankfurt, Brussels), Brahms-cycle 1997 (Flanders Festival, France), Bart6kStravinsky-cycle 199798 (Edinburgh, London), Mahler-cycle (Vienna, Frankfurt, Athens).
In addition to its concert series at the prestigious Liszt Academy of Music in Budapest, in this 1998 season the BFO has appeared in concert at the Theatre des Champs Elysees, Paris; Auditorium Ravel, Lyon; also Toulouse, Duisburg, Munich, Vienna, Frankfurt, Le Mans, Helsinki, the Hollywood Bowl, Salzburg and Bucharest.
Upcoming engagements in 1999 include a tour of England, Holland and France fol?lowed by invitations to Bergen Festival, the Tonhalle of Zurich, the Festival of Saarland, Bad Kissingen, Weimar, the Festival of Radio France, the Festival of La Rogue d'Atheron, Flanders Festival, Beethoven Festival of Bonn, Vienna, Rome and the Alte Oper of Frankfurt.
In order to ensure its musicians' versatile artistic development, the BFO also organizes a chamber music concert series, concerts for children, and runs a special project for music education. It has also established its own post-graduate orchestral academy for young musicians.
The Budapest Festival Orchestra under Music Director Ivan Fischer signed an exclusive contract with Philips Classics in 1995. Several recordings had already been made for the company -Bartok's Piano Concertos, Ravel and Debussy Piano Concertos. The first releases under the new contract have been orchestral works by Bartok and the Faust Symphony by Liszt, followed in 1998 by Liszt's Hungarian Rhapsodies and the third volume of Bartok's orchestral works.
As a pioneering venture in Hungarian cultural life, the orchestra is supported by the city of Budapest together with the
Budapest Festival Orchestra Foundation established in 1992 with money from a num?ber of Hungarian and foreign corporations.
This performance marks the Budapest Festival Orchestra's second appearance under UMS auspieces.
One of the most renowned conduc?tors of today's world of classical music, Ivan Fischer was born into a musical Hungarian family in 1951. He attended the Bela Bartok Conservatory in Budapest where he studied piano, violin, cello and composition. He continued his musical studies in Vienna, where he graduated in Hans Swarowsky's famous conducting class. He became inter?ested in early music and worked closely with
Nikolaus Harnoncourt as harpsichordist and conductor.
His international career began at the age of twenty-five when Mr. Fischer won the BBC's Rupert Foundation Conducting Competition and with it invitations to con?duct the major British orchestras.
Extremely active in opera, Fischer was music director of the Kent Opera from 1984 until 1989 and has also conducted produc?tions at the Royal Opera House Covent Garden, the Vienna State Opera, the Bastille Opera of Paris and the opera houses of Zurich, Frankfurt, Stockhome, Brussels and Budapest.
In 1983, Maestro Fischer founded the Budapest Festival Orchestra together with his colleague and friend, pianist Zoltan Kocsis. The success of this new orchestra was quickly recognized by audiences and critics throughout the world and invitations to prestigious festivals and concert series were forthcoming.
Ivan Fischer is in great demand as a conductor with many of Europe's major orchestras, including the Berlin
Philharmonic, Royal Concertgebouw Orchestra, Israel Philharmonic, Bayerischer Rundfunk Orchester, Chamber Orchestra of Europe, NHK Tokyo, Orchestre National de France and the Orchestra of the Age of Enlightenment.
Principal Guest Conductor 1989-1996 of the Cincinnati Symphony Orchestra, Mr. Fischer has conducted numerous orchestras in North America, including the Baltimore Symphony, Montreal Symphony, Pittsburgh Symphony, Chicago Symphony, Los Angeles Philharmonic, Toronto Symphony, St. Paul Chamber Orchestra, St. Louis Symphony, San Francisco Symphony, Philadelphia Symphony and the Cleveland Symphony Orchestra.
Ivan Fischer, now an exclusive artist of Philips Classics, has recorded extensively for Philips, CBS, Sony, Decca, Hungaroton and Quintana.
This performance marks Ivan Fischer's second appearance under UMS auspices.
Pianist Andras Schiff is recognized worldwide for his thoughtful and inspired interpretations in recital and concerto performance, cham?ber music and recording. Born in Budapest, Hungary in 1953, he began piano lessons at age five with Elisabeth Vadasz and continued his musical studies at the Ferenc Liszt Academy with Professor Pal Kadosa, Gyorgy Kurtag and Ferenc Rados; he also worked with George Malcolm in London.
Today, Mr. Schiff occupies a prominent position among the world's leading musi?cians. He has performed concertos with the major orchestras of Europe, North America, Japan and Israel and appears regularly at the festivals of Salzburg, Vienna, Lucerne, Edinburgh and Schubertiade Feldkirch. Recitals and special projects take him to all of the international music capitals and
include many special cycles, most notably the major keyboard works of Bach, Haydn, Mozart, Schubert and Bartok. Mr. Schiff has also begun conducting Bach, Beethoven and Mozart programs from the keyboard. Since childhood, Andras Schiff has enjoyed playing chamber music and he continues to do so in different capacities with close friends and colleagues. From 1989 to 1998, Mr. Schiff was artistic director of Musiktage Mondsee, which he founded near Salzburg, Austria.
Andras Schiff's 1998-99 North American engagements begin in October on tour with Ivan Fischer and the Budapest Festival Orchestra. They will visit Berkeley, Ann Arbor, Iowa City and New York's Carnegie Hall. Programs will feature orchestral works of Stravinsky and the three piano concertos of Bartok. Mr. Schiff returns to North America in March for solo recitals in Philadelphia, Ft. Worth, Toronto, Minneapolis, Urbana and New York's Carnegie Hall. He joins Mariss Jansons and the Pittsburgh Symphony Orchestra and Bernard Haitink and the Boston Symphony
Orchestra in performances of
Beethoven's Piano Concerto No. 4. He
will also perform Bach's Concerto in d
minor and Beethoven's Piano Concerto
No. 5 (Emperor) with the
Minnesota
Orchestra
and Eiji
Oue.
Both Mr. Schiff and Mr. Oue will conduct portions of the performance.
Andras Schiff has made several record?ings, many of which have received interna?tional prizes. His most important record?ings are for LondonDecca: the keyboard works and concertos of J. S. Bach, the Mozart piano concertos with Sandor Vegh and the Camerata Academica Salzburg and the complete Schubert piano sonatas. For the Teldec label, Mr. Schiff has released the five Beethoven piano concertos with Bernard Haitink and the Staatskapelle Dresden, the Bartok piano concertos with Ivan Fischer and the Budapest Festival Orchestra and several albums of music by Schumann.
Among other high distinctions, Andras Schiff was awarded the Bartok Prize in 1991 and the "Claudio Arrau Memorial Medal" from the Robert Schumann Society in Dusseldorf in 1994. In March 1996 he was awarded the highest Hungarian distinction, the "Kossuth Prize" and in May 1997, he received the "Leonie Sonnings Music Prize" in Copenhagen.
This performance marks Andrds Schijf's debut under UMS auspices.
Budapest Festival Orchestra
Ivan Fisher, Music Director and Conductor
I Violin Tamas Major Bence Asztalos Agnes Biro Laszl6 Cser Galina Danyilova Maria Gal-Tamasi Radu Hrib Istvan Kadar Erno Kiiss
Peter Kostyal (Chair Sponsored
by Revai Nyomda) Ildiko Nemes Gyongyver Olah Laszlo Paulik Janos Selmeczi Peter Sziits Tamas Zalay
II Violin Tamas Szabo Balazs Bozzai Gyorgyi Czirok Zsolt Czutor Gabor Fias Tibor Gatay Yoshiko Hagiwara Krisztina Hajak Pal Jasz
?va Nadai Bertold Oppitz Natasa S6s Levente Szab6 Zsolt Szefcsik
Viola
Peter Lukacs
Miklos Banyai
Judit Bende
Cecilia Bodolai
Andras Bolyki
Laszlo Bolyki
Agnes Csoma (Chair Sponsored by
Associated Newspapers Ltd.) Zoltan Fekete Barna Juhasz Nikoletta Reinhardt Nik61etta Szoke Nao Yamamoto
Violoncello Gyorgyi Eder Laszl6 Bank Eszter Barati Lajos Dvorak ?va Eckhardt Gyorgyi Kertesz Gabriella Liptai Koussay Hussain Mahdi Gyorgyi Marko Rita Sovany
Contrabass Zsolt Fejervari Bence HorvSth Karoly Kaszas Geza Lajho Laszlo Levai Laszlo Pge Istvan Toth
Flute
Erika Sebok Gabriella Pivon Annett Jdfoldi
Oboe
Dudu Carmel Beata Beata Bela Horvath
Clarinet Zsolt Szatmari Akos Acs Laszlo Gy. Kiss
Bassoon
J6zsef Vajda Sandor Patk6s Zsanett Pfujd
Horn
Laszld Rakos Laszlo Gal Tibor Maruzsa David Bereczky Gergely Sugar
Trumpet Adam Rixer Zsolt Czegl?di Jozsef Boros Zoltan Sziics
Trombone Ferenc Koczias Peter I. Balint Jozsef Ronyecz
Tuba
Jozsef Bazsinka
Timpini Zoltan Rikz
Percussion Karoly Bojtos Aurel Hollo Zoltan Vaczi Gergely Bird
Harp
Margit Bognar
Piano
Zoltan Lengyel
Celesta Kyrylo Karabyts
Executive Director: Tomds Kb'rner Orchestra Manger: Friderika Lukdcs Tour Manager: Ann Woodruff Travel Arrangements: Ken Grundy, Maestro Travel
Budapest Festival Orchestra Cultural Ambassador of Hungarian Tourism
University
Musical
Society
and KeyBank
present
David Daniels with the Arcadian Academy
David Daniels, Countertenor Nicholas McGegan, Harpsichord
Elizabeth Blumenstock, Violin Lisa Weiss, Violin Phoebe Carrai, Cello David Tayler, Lute
Program
Marco Uccellini Salamone Rossi Biagio Marini Giovanni Battista Fontana Alessandro Scarlatti
Arcangelo Correlli
Nicola Matteis Bernado Pasquini Scarlatti
Tuesday Evening, October 27, 1998 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
La Bergamasca
Sonata in dialogo detta la Viena Sonata a 3 "La Foscarina" Sonata 11
Infirmata Vulnerata (Cantata) David Daniels, Countertenor
Ciaconna detta La Virginia
INTERMISSION
Suite in E minormajor
Partite Sopra La follia (for solo harpsichord)
Perche tacete (Cantata)
David Daniels, Countertenor
Eleventh Performance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Bill Hann, President of KeyBank, for his generous support of the Song Recital Series through KeyBank.
We are also grateful to UMS board member Maurice and Linda Binkow for their enthusiastic support of this series.
Additional support is provided by media partner, WGTE.
The Arcadian Academy is represented by Schwalbe and Partners.
David Daniels appears courtesy of Columbia Artists Management Inc., New York City.
Large print programs are available upon request.
The seventeenth century was a time of great experimentation in music, and nowhere more so than in northern Italy. This period saw the development of opera and its sister form the cantata. Composers wrote the first virtuoso sonatas and trios for the violin, an instrument which had previously only been used for dance music. In Venice there were publishers to disseminate the music, and in Cremona were the makers of the violins that continue to be the most prized in the world. By the end of the century some structure and tradition had been established, but tonight's program draws on composers and performers who explored all the exciting, new possibilities coming their way.
Marco Uccellini spent much of his working life in Modena at the court of the Este family. For a time he was head of instrumental music and later he became maestro di cappella at the cathedral. His last years were spent at the Farnese court in Parma where he wrote operas and ballet music which have not survived. Seven books of violin music have come down to us and they reveal a composer of vivid imagination and formidable technique. In his solo sonatas he explores extreme keys and pushes the range of the violin even higher. In his trio sonatas his counterpoint is elegant and rhythmically intricate. Aria sopra la Bergamasca, like several of his works, is a set of variations on popular songs and dances and here Uccellini concentrates on brilliance.
Salamone Rossi lived in Mantua and must have met his great contemporary Monteverdi at the court of the Gonzagas. His violin music is less adventurous than Uccellini's but is very passionate, even operatic. Besides his four books of instrumental music he also published a book of Hebrew psalm settings.
Little is known of the life of Biagio Marini; he was born in Brescia c. 1587, apparently of a well-to-do family, and died in Venice in 1663. Marini traveled extensively and held positions throughout Europe. Only about half of his compositions survive; the most important collections of solo and trio sonatas are Op. 1, 8, and 22, of which Op. 8 is the most extensive. Many of the pieces in these collections were smaller dance movements, arrangements of popular songs and variations which could be strung together to form suites.
Virtually nothing is known of the life of Giovanni Battista Fontana; only a single posthumous book of his music survives which was published in Venice in 1641. Nonetheless there are six solo sonatas and twelve trio sonatas of fine quality. Fontana's music has a very distinctive sound due to his inventive use of the trio sonorities and his sophisticated use of rhythm in develop?ing melodic ideas.
Alessandro Scarlatti was the most widely performed Italian composer of vocal music, with more than sixty operas (produced in Rome, Naples and Florence) to his credit and well over six hundred cantatas, which, being more concentrated, were regarded as the higher artistic form. Scarlatti wrote his cantatas for private performance before his aristocratic Roman patrons, principally the influential cardinals Benedetto Pamphili and Pietro Ottoboni and the exiled Queen Christina of Sweden, whose interest in the composer had been aroused by his first opera, performed in 1679. He was a mem?ber of the original Arcadian Academy under the name of "Terpandro."
Infirmata, vulnerata, dated 16 October 1702, is an extreme rarity in that, though a Latin motet, it is not (unlike Scarlatti's other motets) on religious words but on amatory sentiments. Scored for two violins
and basso continuo, it begins with a sober Largo aria, introduced by a long ritornello, with the violins imitating and overlapping one another and the voice taking up their initial phrases; chromatically falling and ris?ing sequences disturb the otherwise even harmonic flow. Like the other arias in this work, this is in da capo form. Chromatic falls in the following recitative intensify the meaning of crudelem and in the succeeding aria (which changes to triple metre) the long suffering (pati) of the lover's torments. An entirely diatonic aria, with continuo alone until a final ritornello, it is remarkable in that it is built on a seven-bar ground bass. The work continues with a vigorous Allegro in which the singer firmly protests the perma?nence of his beloved's attraction by the constant repetition of the word semper (always).
Correlli was the most famous of all the violin virtuosi in the second half of the century, by which time a more restrained elegance and structural formality had replaced the wilder experiments of the earlier generation. He was one of the central musical members of the original Arcadian Academy under the name of "Arcomelo Erimanteo."
Nicola Matteis was a Neapolitan but he spent most of his working life in England. The diarist John Evelyn heard him play in 1674:
... I heard that stupendious Violin Signor Nicholao whom certainly never mortal man Exceeded on that instrument: he had a stroak so sweete, and made it speake like the Voice of a man.. .nothing approch'd the Violin in Nichol's hand...
He was by all accounts a difficult character -"inexpugnably proud" Roger North called him. By 1700 he no longer performed in public, indeed he was presumed to be dead but in reality he had married a rich widow and was living in comfortable ease in
Norfolk. His music is a good combination of Italian and English elements -flashy toccatas and fugues are mixed with English ground basses -even his titles are bilingual.
Bernardo Pasquini was born in Florence but spent much of his adult life in Rome. His many operas and oratorios are well-regarded, but his collections of harpsichord music are generally considered to be more significant. He was known for his improvisation on the organ and the harpsichord, and the piece on today's program is based on the famous "Follies of Spain". Pasquini belonged to the original Arcadian Academy, under the name "Protico Azeriano".
Scarlatti's Perche tacete appears to be a rela?tively early work. A composition date of 1694 has been postulated based on the can?tata's lengthier structure, comparatively few chromaticisms (except briefly in the first recitative, which turns into an arioso) and other internal evidence. In the first place, the cantata is preceded by a three-movement instrumental introduction (like that of the sinfonias in Venetian operas), of which the first, and particularly the slow third, move?ments are permeated with pathetic suspen?sions after the manner of Corelli (whom Scarlatti knew well), while the central move?ment is a breezy Allegro whose initial fugato style is soon abandoned in favour of short imitative cells, and whose second half is subject to rhythmic hiccups. The first three of the four arias are cast in two strophes, each of which, however, is in ternary form: the first and third arias are accompanied solely by the continuo, the two violins join?ing in only for a ritornello at the end of each strophe. In the Alia mano che dotta aria there is expressive vocal enlargement at pic?torial words like scherza, sferza, amor, dolor, desir and sospir. The strings are employed intermittently in the second aria, often
echoing the vocal phrase; but it is only in the concluding aria that they are given their heads and allowed energetically independent parts.
Program notes by Nicholas McGegan and Lionel Salter.
The Arcadian Academy takes its name from the original Accademia dell'Arcadia, which was founded in Rome in 1690 as a society of artists, musicians and writers dedicated to the reform of Italian culture. The Accademia grew out of the circle surrounding the flam?boyant Queen Christina of Sweden, who, following her abdication in 1654, took up residence at the Palazzo Riaro in Rome, living in the greatest style from 1659 until her death in 1689. After her death, this brilliant circle was formalised and the society became an intellectual community
that was the envy of Europe. To the members of the Accademia, ancient Greek Arcadia was synonymous with pastoral content?ment, innocence,
peace and simplicity -an environment where music and poetry could flourish. They therefore took pan-pipes for their emblem, the late Queen Christina for their empress, and the infant Jesus for their protector (humble shepherds having been the first to learn of the nativity). Corelli and Alessandro Scarlatti were among the most famous musical members; Handel and Domenico Scarlatti both performed at the Accademia's concerts. The modern
Arcadian Academy has performed through?out the United States and Europe, and has made several prize-winning recordings including two discs of works by Nicola Matteis (both of which won the Diapason d'Or), one disc of Marco Uccellini, and another featuring the soprano Christine Brandes in works by Purcell and Blow. Their debut recording for Conifer Classics -A. Scarlatti cantatas with soprano Christine Brandes -was named "Recording of the Month" and "Editors Choice" by Gramophone Magazine. The second disk in the Scarlatti series, with countertenor David Daniels, has just been released.
This performance marks the Arcadian Academy's debut under UMS auspices.
Nicholas McGegan has been music director of Philharmonia Baroque Orchestra in San Francisco since 1985. In 1990 he assumed the artistic directorship of the Gottingen Handel Festival in Germany, and from 1992 to 1998 was prin?cipal guest conductor of Scottish Opera. In 1999 he becomes Baroque Series Director for the Saint Paul Chamber Orchestra. From 1993 to 1996 he was also principal conduc?tor of the Drottningholm Court Theatre in Sweden. Nicholas McGegan conducts both modern and period-instrument orchestras, and regularly appears with the world's major symphony orchestras and at summer festivals. In 1997 he made his debut at the Royal Opera House, Covent Garden, and at the Edinburgh Festival in a new production of Rameau's Platee, which he subsequently conducted at its U.S. premiere at the Berkeley Early Music Festival in May 1998. Nicholas McGegan has received two Gramophone Awards and two Diapasons d'Or, and has
also been awarded the Handel Prize from the Halle Handel Festival in Germany and the Drottningholmsteaterns Vanners Hederstecken, the honorary medal of the Friends of the Drottningholm Theatre.
This performance marks Nicholas McGegan s debut under UMS auspices.
Since singing Nero in Monteverdi's L'incoronazione di Poppea at Glimmerglass Opera in 1994, David Daniels has performed the same role at San Francisco Opera, the Florida Grand Opera and the Munich Staatsoper. He is now in great demand internationally, particularly as a Handel interpreter, and has sung Sesto in Giulio Cesare at Covent Garden (in which role he makes his debut at the Metropolitan Opera in 1999), Didymus in Theodora at Glyndebourne, the title role in Tamerlano and Arsace in Partenope at Glimmerglass, and Arsamene in Serse at the New York City
Opera. For English National Opera he has sung the part of Oberon in Britten's A Midsummer Night's Dream. As a recitalist he has appeared at Lincoln Center in New York and the Wigmore Hall in London, among other important places. He has also sung with orchestras in New York, Vienna, at the Salzburg Festival and in other major American and European musical centers. David Daniels has recently released a com?plete CD of Scarlatti cantatas with Nicolas McGegan and the Arcadian Academy on BMG. He appears courtesy of Virgin Classics. This special tour takes him to Berkeley, Ann Arbor, New York, London, Paris, and Vienna.
This performance marks David Daniels' sixth appearance under UMS auspices including four appearances as countertenor soloist with the UMS Choral Union's presentation of Handel's Messiah.
Mr. Daniels is a graduate of the University of Michigan School of Music.
Elizabeth Blumenstock has been a member of Philharmonia Baroque Orchestra since its first season and often serves as concertmas-ter or soloist. She is also a founder-member of Concerto Amabile and the Artaria Quartet, and has performed with the Boston Early Music Festival Orchestra, American Bach Soloists, the Mostly Mozart Festival, the Bach Ensemble, the Santa Fe Chamber Music Festival, the Rotterdam Philharmonic Orchestra and the Oakland Symphony.
Lisa Weiss grew up in the San Francisco Bay Area and studied in Santa Cruz, San Francisco and New York. She has been per?forming with chamber ensembles for more than twenty years and is co-concertmaster of Philharmonia Baroque Orchestra, American Bach Soloists and Archangeli Strings. She has received numerous awards and scholarships for chamber music perfor?mance and has appeared at the Marlboro and Cabrillo festivals, Monadnock Music and Chamber Music West.
Phoebe Carrai performs internationally with many ensembles, including the Handel and Haydn Society, Philharmonia Baroque Orchestra, Arcadian Academy, Concert Royal and the Bach Chamber Soloists. For ten years she was a member of Musica Antiqua, Koln. She earned her Bachelor's and Master's degrees at the New England Conservatory and has studied with
Lawrence Lesser and Nikolaus Harnoncourt. She is a founder-member of both the Van Swieten Quartet and the International Baroque Institute at Longy. In addition to posts on the faculties of the Longy School of Music in Cambridge, Massachusetts and the Berlin Conservatory, Phoebe Carrai also tours and teaches widely in North America, Europe, Asia and Australia.
David Tayler is a member of the Philharmonia Baroque Orchestra and a founder-member of the Arcadian Academy, Ensemble Pandore and Capriole Baroque Dance Ensemble. He has appeared with numerous ensembles in the United States and Europe, including American Bach Soloists, Tafelmusik, the San Francisco Symphony, the Dallas Bach Society, the Oregon Bach Festival and the Freiburger Barockorchester. A specialist in early seven?teenth-century art song, David Tayler has performed in lute song recitals throughout Europe and the United States, and has recorded more than forty discs. In addition to directing the Collegium Musicum and the Baroque Orchestra at the University of California at Berkeley, he is also assistant director of the Amherst Early Music Festival.
University
Musical
Society
presents
La Capella Reial de Catalunya and Hesperion XX
La Capella Reial de Catalunya
Montserrat Figueras, Soprano
Rosa Dominguez, Mezzosoprano
Carlos Mena, Countertenor
Lambert Climent, Francese Garrigosa, Tenor
Daniele Carnovich, Bass
Hesperion XX
Jordi Savall, Sergi Casademunt, Sophie Watillon, Juan-Manuel Quintana, Violas de Gamba; Jean-Pierre Canihac, Cornetto; Alfredo Bernardini, Chirimia; Daniel Lassalle, Tenor Sackbut, Josep Borras, Bassoon; Rolf Lislevand, Vihuela de Mano and Guitar; Michael Behringer, Organ and Harpsichord; Pedro Estevan, percussion
Direction: Jordi Savall
Program
Friday Evening, October 30, 1998 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Luces y sombras del Siglo de Oro
Musica en el tiempo de Felipe II (1527-1598)
(Lights and Shadows of the Golden Century Music from the era of Philip II)
I. De los Romances antiguos a las Musicas de Palacio
Juan de Leyva
Pedro Guerrero
Juan del Enzina
Anon.
Juan del Enzina
Diego Ortiz Juan Bias de Castro Francisco de la Torre Pedro Ruimonte Mateo Flecha
Danzas y Romances
Romance a la muerte de Don Manrique de Lara
Moresca (instr.)
Romance de la Reconquista de Granada
Tres morillas m'enamoran (villancico)
Levanta Pascual
La musica de Palacio
II Re di Spagna: Basse dance (instr.)
Desde las torres del alma
II Re di Spagna: Danza alta (instr.)
Madre de mi madre
Dindirindin (De la Ensalada "La Bomba")
II. Batallas & Diferencias, Tonos Divinos & Tonos Humanos
Francisco Correa deArrauxo Francisco Correa de Arrauxo Tomds Luis de Victoria Bartomeu Carceres
Mateu Flecha Anon, (improvisations) Francisco Guerrero Juan Arahes
Musicas espirituales
Batalla de Morales (instr.)
Canto llano de la Inmaculada Concepcion
O magnum mysterium
Tau garco la durundena (De la Ensalada "La Trulla")
Diferencias & Tonos Humanos
;Que farem del pobre Joan Danza del Hacha-Canarios (instr.) Si la noche haze escura Chaconna: A la vida bona
Twelfth Performance of the 12O'h Season
Special thanks to Greg Hamilton of the Academy of Early Music and Jordi Savall for their Pre-performance Educational Presentation (PREP).
Hesperion XX appears by arrangement with Aaron Concert Artists Division, Trawick Artists Ltd, New York, NY.
Large print programs are available upon request.
Four hundred years after his death, the much romanticized image of Philip II has been renovated. Historians no longer think of him as a withdrawn and neurotic monarch, an intolerant religious fanatic who worked and worshipped in solitude, preferring the shadowy hallways of his monastery-palace at El Escorial to a more conventionally Renaissance court. Ruler of an enormous and polyfacetic empire, Philip II was not the shadowy hero of the "black legend." He sincerely and fervently defend?ed his faith and his territories, keeping a close watch on administrative matters for most of his reign. When he established his court in Madrid in 1561, the Alcazar palace became the official royal residence, and its renovation and decoration were of immedi?ate importance. The very construction of El Escorial, an architectural wonder, reminds us that Philip's great projects involved the arts, though his piety and sense of filial duty motivated him to build the Escorial with an imperial crypt for the body of his father, Charles V, at its center. The shadows of El Escorial vere dispelled by its splendid deco?ration with exquisite paintings by a dazzling array of Flemish, Italian, and Spanish mas?ters. Magnificent gardens and fountains sur?rounded the Escorial and other royal resi?dences where songs, dances, and musical-theatrical entertainments of all sorts were performed for the court and royal family. Philip was devoted to his gardens and archi?tecture was his passion. Though he was not a mecaenas of music and musicians, he was an enthusiastic and informed patron who cared about the careful administration of his musical establishment. His court in Madrid included a very large chapel whose singers, players, and composers were among the best in Europe.
Music-making at Philip's court and at the Escorial was governed by the same princely decorum and uncomplicated ele-
gance that characterized the royal taste in painting and architecture. Musical enter?tainments indulged in the sacred and the secular, the pious and the profane, the high and the low styles, the popular and the sub?lime, just as did the selection of paintings commissioned and collected by the king. Like most other Renaissance sovereigns, Philip II lived within the protocols of his social and political position, yet enjoyed the richness of musical creation in his time, with its diverse flavors, colors, lights, and sounds.
Music was a part of Philip's early edu?cation. At the age of seven his dancing lessons began. We can imagine that at this age the prince enjoyed dancing the slightly pantomimic moresca more than some of the staid and stately court dances that were the required repertoire of the aristocracy throughout Europe. The Castilian musical and poetic form of the romance played a special role in the prince's education as well. With their historical and heroic focus, the romances helped the prince to understand his inheritance. The "Romance a la muerte de Don Manrique de Lara" places us square?ly into the Renaissance court with its chival-ric values and veneration for the heroic deeds of venerable men. This is an historical ballad with many strophes of text that tell of the glory and bravery with which the hero, Manrique de Lara, Count of Paredes, fought against the Moors and defended the Catholic Monarchs Ferdinand and Isabella. Philip would have learned about such Castilian heroes and their deeds in part through listening to or singing and reciting romances.
One especially large and important group of romances are called the romances de mows because they narrate, recreate, commemorate, and invite reflection on the defeat of the Moslem kingdom of Granada in 1492. Juan del Encina's "Romance de la Reconquista de Granada" with its famous
Musical entertainments indulged in the sacred and the secular, the pious and the profane, the high and the low styles, the popular and the sublime.
opening question "Qu'es de ti, desconsola-do" addresses the conquered Moorish king and respectfully asks that he renounce his religion, explaining that his defeat has come about through Queen Isabel's prayers and ' Fernando's armies, though "the acts of God are so great that defense was useless..." The young poet-composer Juan del Encina composed and performed both sacred and profane songs, poems and plays for the entertainment of the Duke and Duchess of Alba from 1492 to 1498. The anonymous "Tres morillas m'enamoran" inspired by Christian Spain's contact with Moslem culture, with its simple melody, declamatory text setting, and elegantly light polyphony, sings of earthly love and desire inspired by the beauty of the Moorish ladies, rather than glory and religious con?quest. Del Encina's "Levanta Pascual" cele?brates the fall or "liberation" of Granada through the eyes and ears of two shepherds who have just heard the good news and dream of journeying to Granada with the court in all its miraculous glory, as the crosses appear on hills and towers to honor the victory of Ferdinand and Isabella. This villancico, a product of courtly culture cele?brating a royal victory, nevertheless brings us the pseudo-popular style as cultivated by Encina and others. With its refrain and imi?tative polyphony, it combines the high art of contrapuntal elaboration with rhythms and lyrics that reinforce the presence of the lowly peasants or villanos in the text.
By the time of Philip II's maturity, the songs of Juan del Encina were somewhat old-fashioned, though romances and villan-cicos were still the principal kinds of secular
vocal music cultivated in 16th-century Spain. The repertory of the romance grew with the contributions of a new generation of poets and composers. The romances cir?culated widely, in manuscripts and in print?ed editions large and small. Poets and musi?cians alike perfected the art of glosas and diferencias, glosses, variations, and new set?tings of the well-known tunes and texts. We find sixteenthand seventeenth-century romances and villancicos arranged for many voices or as solo songs with accompani?ment. The plucked and strummed instru?ments -vihuelas, harps, and guitars -were the favorite accompaniment instru?ments in Spain and Latin America and pro?vided the realization of the basso continuo or guion for solo songs and polyphonic works both sacred and profane. Wind instruments were especially important in royal celebrations and ceremonial, and in Spanish cathedrals they were consistently used to double, reinforce, or substitute for voices.
As for the dances, those called danzas were reserved for courtly settings, such as intimate private dancing parties for the queen and infantas, royal entertainments prepared by the pages and the dancing mas?ters, and court balls or saraos in which the royal family and invited members of the court danced to display their grandeur and elegance. Depending on the occasion and the physical setting for these dances, loud instruments (instrumentos altos), such as cornettos, shawms (chirimias), and sack-butts (sacabuches), or soft instuments (instrumentos bajos) such as viols {vihuelas de arco), lutes, recorders, or vihuelas accom-
panied the dancers. Beginning in the reign of Philip III, violins were also incorporated into the musical life of the royal court, and their brilliance brought a new dimension to royal entertainments.
The danzas by Diego Ortiz and Francisco de la Torre are typical of the sort of dance music that was performed at Spanish courts, and they demonstrate the technique of composed or improvised varia?tions and glosses on standard patterns. The Trattado de glosas (Rome, 1553) by Ortiz is the first printed manual on ornamentation intended for players of bowed string instru?ments; it includes a number of ornamented versions of the bass pattern known as "La Spagna." The treatise was issued in Italian and in Spanish, just prior to Ortiz's appointment as chapelmaster to the third Duke of Alba at the viceregal court in Naples. Francisco de la Torre had served in Naples well before Ortiz, for he sang in the Aragonese court chapel in Naples for over fifteen years beginning in 1483, until he decided to return to Spain to become a singer in the chapel at Seville cathedral.
Just as Ortiz composed settings of "La Spagna" over a conventional pattern, so composers such as Juan Bias de Castro, Pedro Ruimonte, and Mateo Flecha designed polyphonic settings based on well-known tunes. Deemed a "twice divine Orpheus" by his colleague and friend the poet and dramatist Lope de Vega Carpio, Juan Bias de Castro was a prolific composer of songs whose music was commissioned and collected by the Duke of Alba and then by King Philip IV. Lope de Vega came to know Juan Bias when they were both employed by the Duke of Alba in Alba de Tormes (near Salamanca). The composer's "Desde las torres del alma" preserved in the Cancionero de Sablonara, a musical anthol?ogy copied at the royal court in Madrid for a visiting German prince in 1624-5, shows
the musical romance (now as a secular song or tono humano) as it was cultivated at the royal court in the early seventeenth century. The texts are typical of the courtier poets who exchanged verses and wrote entertain?ments for the young Philip IV, as they exude a certain amorous artificiality through a rich vocabulary and exaggerated metaphor. Juan Bias's musical setting includes a straightfor?ward set of declamatory coplas or strophes, together with an affectively charged and more elaborate estribillo (refrain). The estri-billo is a triumph of convention in its use of the "concitato" syle in association with the call to arms {stile concitato was the term coined by Claudio Monteverdi in the pref?ace to his Eighth Book of Madrigals of 1638).
The Aragonese composer Pedro Rimonte (also Ruimonte) served as master of chamber music to the court of Philip II's daughter, Isabel Clara Eugenia and her hus?band the Archduke Albert in the early sev?enteenth century. His collection Parnaso espanol de madrigales y villanckos was pub?lished in Antwerp in 1614 and contains a magnificent setting of a simple popular tune with the seguidilla text "Madre, la mi madre." This serves as the estribillo (in this case a refrain functioning as a ritornello) in a large-scale villancico structure with coplas for two voices and a responsory for five. This well-known text and tune were called for in plays by Miguel de Cervantes and Lope de Vega, and Lope's palace play El mayor imposible (cl614-5) is exactly con?temporary with Rimonte's publication. Of course, in the theaters romances were more typically performed as songs with guitar and harp accompaniment, not as elaborate vil?lanckos.
Formal flexibility and constant inter?change of musical and poetic materials among genres and settings destined for court, theater, church, and tavern are among the principal features of Spanish music in
the late sixteenthand early seventeenth-centuries. Ensaladas are through-composed textual quodlibets filled with fragments of popular music, street songs, dramatic exchanges, bits of satire, and quotations from scripture, the liturgy and Classical authors. These clever and amusing inven?tions on the everyday life of late Renaissance Spain were composed especially by Aragonese, Catalonian, and Valencian com?posers, many of them associated with the court of the Duke of Calabria at Turia (Valencia). The most characteristic examples are those by Mateo Flecha "el viejo," pub?lished in a collection prepared by his nephew, Mateo Flecha the younger, and published in Prague in 1581. Two villancicos from ensaladas, Flecha's "Dindirindin" from La bomba and Bartomeu Carceres' "Tau garco, la durundena," from La trulla cele?brate Christmas with popular texts, tunes, and characters. In performance, these rau?cous, festive delights call for a range of instrumental and vocal colors to capture the popular spirit and many loud, happy sounds that accompanied spontaneous street cele?brations.
These villancicos infused with the spirit of popular religious expression were written down and preserved as sophisticated Renaissance polyphony in printed collec?tions supported by kings, queens, dukes, and courtiers. The sacred pieces by Francisco Correa de Arauxo and Tomas Luis de Victoria remind us of the central role that sacred polyphony had in royal chapels and convents, where it elucidated Latin texts in a smooth but more severely contrapuntal style. Like the ensaladas, however, Correa de Arauxo's Tientos -"Todo el mundo en gen?eral," on a plainchant for the feast of the Immaculate Conception and "Batalla de Morales" -are contrapuntal pieces with many sections. Against the cantus firmus of the former, Correa places lyrical and delicate counterpoints in a flowing series of varia-
tions. In his contrapuntal exploration on the "Batalla de Morales," the composer not only reinterprets the central figure from the earli?er master's Mass, but explores his own series of contrapuntal figures and points of imita?tion as virtuoso display. The echo effects, use of divided registers (high against low), changes of rhythm, and lively, compact ges?tures that characterize this "batalla" are the hallmarks of the new tiento as cultivated by Correa and explained in his treatise on play?ing the organ, the Facultad Organica (1626). After a musical education in Seville, Spain's great center of musical humanism and reli?gious orthodoxy in the late sixteenth-centu?ry, Correa devoted his life to religious music and seems not to have served any earthly master.
Tomas Luis de Victoria, acknowledged as a genius among late Renaissance com?posers, wrote only sacred music in the ser?vice of his pastoral mission. After a lengthy stay in Rome, where much of his music was composed and published, he was called into royal service by none other than King Philip II. In the dedication to Philip II of his sec?ond book of Masses (1583), Victoria wrote that he wanted only to return to Spain and lead a life of religious service. Perhaps in answer to Victoria's homage, the king appointed him chaplain to his sister the Dowager Empress Maria of Hungary, an important patron of music and widow of Maximilian II, who had retired to the con?vent of the Descalzas Reales in Madrid in 1584. From 1587 Victoria remained with her and worked at this royal convent until his death in 1611.
Although it housed a strictly cloistered community of nuns, the Descalzas Reales convent was extremely well-endowed; its chapel was one of the royal chapels of Spain and its services were often attended by the royal household and Spanish noble families. The chapel choir was expected to meet the highest standards. Victoria had relatively
These pieces remind us that the royal court was itself a stage for amorous intrigue, forlorn lovers, and disgruntled courtiers in whose voices wit and satire were dangerous weapons.
free rein in adjusting or adding to the musi?cal forces of the chapel as his music required. The spacious opening imitation of his famous Christmas motet "O magnum mysterium" sounds seamless and full of mystery. Victoria varied the rhythmic pace and texture of his motet to bring out the rhetoric of the words, such that, for exam?ple, the reverent chordal salutation to the Virgin, "O beata Virgo," contrasts effectively with the previous section of imitative coun?terpoint, and with the conventional but impressive shift to triple time on the "Alleluia."
The final group on this program brings together "luces and sombras" tunes and poems both popular and courtly, in the high and the low styles, with the sublime removing its mask to reveal the extravagant?ly bawdy and joyfully erotic. Mateo Flecha's "iQue farem del pobre Joan" introduces the nosy neighbors who delight in singing about the horns placed on "poor John" the cuck?old's head by his saucy wife. The dignified "Danza del Hacha," the final torch dance and finishing touch of Spanish court balls or saraos, chases the peasants away. But this stately danza in turn introduces the exotic bailes of the canario and chacona, together with Francisco Guerrero's "Si la noche hace oscura". These pieces remind us that the royal court was itself a stage for amorous intrigue, forlorn lovers, and disgruntled courtiers in whose voices wit and satire were dangerous weapons. Bailes, such as the street and theatrical dances of African and New
World origin, involved indecent "wiggles" of the hips and arm movements. In particular the chacona was a scandalous dance. In six?teenth-century Peru it was associated with low and lazy types (in the Quechua lan?guage, yanaconas and chinaconas), an associ?ation that traveled with the chacona back to Europe through its late sixteenth-century introduction to the Iberian peninsula. In Madrid and other courts in Castile, chaconas with bitingly satirical texts were dangerous when sung by rowdy young aristocrats parading through the narrow, darkened streets singing defamatory coplas. Chaconas were dangerous as well when sung and danced in taverns and theaters by well-known actresses, turning the minds of oth?erwise respectable citizens to things "venere?al" and awakening "libidinous appetites." "Un sarao de la chacona" by the Aragonese composer Juan de Aranes sets a text both satirical and erotic to repeated statements of the chacona's harmonic pattern and synco?pated rhythms, yet it was published in Rome in 1624 as the grand finale of a collection dedicated to the Duke of Pastrana, Philip IV's ambassador to the Vatican. Such spicy adult material leaves us far away from the sombre romances and innocent moresca dance that Philip II had learned as a child, but gives us a glimpse of the more turbu?lent, cosmopolitan, and extravagant (some would say decadent) society that his grand?son Philip IV enjoyed while attempting to emulate the piety and decorum of his grandfather.
Program notes by Louise K. Stein.
Romance a la muerte de Don Manrique de Lara
A veynte y siete de marco la media noche seria en Barcelona la grande grandes llantos se hazian.
Los gritos llegan al cielo, la gente se amortecia por Don Manrrique de Lara que deste mundo partia,
Muerto lo traen a su tierra donde bivo sucedia; su bulto lleva cubierto de muy rica pedrerfa,
cercado d'escudos d'armas . de real genalogia, de aquellos alocos linages donde aquel senor venia.
Con el salen arcobispos con coda ia clerezia, Cavalleros traen sus andas, duques son su compania,
Lloralo el rey y la reyna como aquel que les dolfa, Ilora coda la corte, cada qual quien mas podia.
Quedaron todas las damas sin consuelo ni alegria; cada uno de los galanes con sus lagrimas dezia:
"El mejor de los mejores oy nos dexa en este dia;" hizo honra a los menores, a los grandes demasia,
parecia al duque su padre en todo cavalleria; solo un consuelo le queda a el que mas le queria,
que aunque la vida muriese su memomria quedaria. Pareciome Barcelona a Troya quando se ardia.
On the twenty-seventh of March,
about midnight,
in Barcelona, the great,
there was a great weeping.
The laments reached heaven, people were swooning for Don Manrique de Lara who had left this world.
He was carried dead to his land where alive he had been successful; his body is covered with rich gems
and with a coat of arms of royal pedigree of those high lineages from which he came;
With him go archbishops
and all the elergy.
He is born on the shoulders of the knights,
and dukes accompany him;
the king and the queen are crying for him
just like anyone who loved him;
all the Court is mourning,
and each one cries as much as he can.
All the ladies were left without comfort or joy; each one of the gallant men said through his tears:
The best of the best
has left us this day -
He honoured the humble ones
and also the great.
He was like his father the Duke, a gallant knight in everything; Only one consolation remained to the one who loved him most,
that even though his life had gone, his memory would remain. Barcelona seemed to me like Troy when it was burning.
Romance de la Reconquista de Granada
Qu'es de ti, desconsolado, qu'es de ti, rey de Granada Qu'es de tu tierra y tus moros, donde tienes tu morada Reniega ya ac Mahoma y de su seta malvada, que bivir en tal locura es una burla burlada. Torna, tonate, buen rey a nuestra ley consagrada, porque, si perdiste el reino, tengas el alma cobrada. De tales reyes vencido honra te deve ser dada. jO Granada noblecida, por todo el mundo nombrada. hasta aqui fueste cativa y agora ya libertada! Perdiote el rey don Rodrigo por su dicha desdichada, ganote el rey don Fernando con ventura prosperada, la reina dona Isabel, la mas temida y amada; ella con sus oraciones, y el con mucha gente armada. Segun Dios haze sus hechos la defensa era escusada, que donde el pone su mano lo impossible es easi nada.
What has become of you, unhappy one,
What has become of you, king of Granada
What has become of your land and of your Moors
And where do you now dwell
Reject now Mohammed
And his evil doctrine,
For to live in such folly
Is a ridiculous joke.
Return, good king, and restore
Our venerable laws
Because, even if you have lost your kingdom,
You can at least save your soul
For to accept defeat by such rulers
Would not be at all honourable.
Oh noble Granada,
Famed throughout the world.
Hence you have been captive
But now you can be free!
King Rodrigo lost you,
Such was his misfortune
King Ferdinand won you back
When fortunes prospered,
And our Queen Isabella;
Both feared and beloved:
She with her orations,
And he with his great army.
The acts of God are so great
That defence was useless,
For where he has lent a hand,
The impossible is almost nothing.
Tres morillas m'enamoran
Tres morillas m'enamoran
en Jaen
Axa et Fatima et Marien.
Tres morillas tan garridas yvan a coger olivas, y hallavanlas cogidas, en Jaen. Axa et Fatima y Marien.
Y hallavanlas cogidas, y tornavan desmaidas y las colores perdidas. en Jaen,
Axa et Fatima y Marien.
Tres moricas tan locanas yvan a coger mancanas
Y hallavanlas cogidas, en Jaen.
Axa y Fatima y Marien.
Levanta Pascual
-Levanta, Pascual, levanta, ahallemos a Granada,
que se suena qu'es tomada.
Levanta toste priado, toma tu perro y curron, tu camarra y camarron, tus albogues y cayado. Vamos ver el gasajado de aquella ciudad nombrada, que se suena qu'es tomada.
-Asmo cuidas que te creo. jjuro a mi que me chufeas! Si tu mucho lo desseas jsoncas! yo mas lo desseo. Mas alamiefe no veo apero de tal majada.
Que se suena qu'es tomada.
I am in love with three Moorish lasses
I am in love with three Moorish lasses
in Jaen
Axa, Fatima and Marien.
Three pretty Moorish lasses
went to pick olives,
and they found them already picked
in Jaen.
Axa, Fatima and Marien.
And they found them picked, and they came back dismayed, and their colour was gone in Jaen. Axa, Fatima and Marien.
Three such lively Moorish lasses
went to pick apples
and they found them already picked
in Jaen.
Axa, Fatima and Marien.
-Get up, Pascual, get up. Let's go to Granada.
The word is that it has fallen.
Get up, quick I beg you,
Take your dog and your panier,
Your greatcoat and your sheepskin.
Your pipes and your shepherd's crook.
Let's go and see the celebrations
In that famous city,
The word is that it has fallen.
-Do you think that I believe you I swear you are joking!
You love doing it to me, By God! And I love it even more.-But in faith, you never see Any smoke without a fire. The word is that it has fallen.
i Ora pese a diez contigo, siempre piensas que te miento! i Ahotas que me arrepiento porque a ti nada te digo! And'aca, vete comigo,
no te tardes mas tardada, que se suena qu'es tomada.
-Dexate desso, carillo: curemos bien del ganado, no se meta en lo vedado,
que nos prenda algiin morillo. Tafiamos el caramillo, porque todo lo otro es nada, Que se suena qu'es tomada.
-Yo te dire como fue: que nuestra reina y el rey, luzeros de nuestra ley, partleron de Santafe,
y partieron, soncas, que dizen que esta madrugada. Que se suena qu'es tomada.
Luego alia estaran ya todos melidos en las ciudad con muy gran solenidad con dulces cantos y modos. i O claridad de los godos, reyes de gloria nombrada! Que se suena qu'es tomada.
jQue consuelo y que conorte ver por torres y garitas alcar las cruzes benditas! jO que plazer y deporte! Y entraba toda la corte a milagro ataviada. Que se suena qu'es tomada.
Por veneer con tal vitoria los reyes nuestros senores, demos gracias y loores al eterno Rey de Gloria, que jamas quedo memoria de reyes tan acabada:
The devil take you and your suspicions. You always think that I am lying!
and I am certainly very sorry That I bother to tell you anything! Come on, let's go together. Get up without more delay, The word is that it has fallen.
-Give up the idea my dear: And let us take care of our sheep,
And make sure that they do not leave our fields, Lost any Moor should take them from us. Let us go and play our pipes, Anything else is of no interest. The word is that it has fallen.
-I'll tell you how it is.
Our sovereign lady and her king,
The light of our laws,
Have gone to Santafe,
They even say that they have left,
This very morning, by God!
The word is that it has fallen.
Down there no doubt they will All enter into the city With great solemnity, With sweet songs and music. Oh splendour of hte Goths, Monachs of worldwide glory! The word is that it has fallen.
What joy, what consolation
To see on all the towers and look-out posts
The blessed crosses going up!
Oh what pleasure there will be!
When the whole court has gone in.
Adorned in all its glory.
The word is that it has fallen.
For such a great victory Won by our lords King and Queen, Let us give thanks and homage To the eternal God of Glory, For never again shall any kings Have a more fitting memorial.
Desde las torres del alma
Desde las torres del alma, cercadas de mil enganos. al dormldo entendimiento la rason esta Ilamando.
Alarma, alarma, guerra, desenganos, que me Ileva el amor mis verdes afios.
Dicen que la ha dado sueno la voluntad de Belardo con la yerva de unos ojos tan hermosos como falsos.
Alarma, alarma, guerra, desenganos, que me Ileva el amor mis verdes anos.
From the towers of the soul, Assailed by a thousand deceptions. To sleeping understanding Reason is shouting.
Wake up, wake up, wage war on deception. Love has taken away my salad days.
They say that sleep has overcome, The will of Belardo, With the poison of those eyes As beautiful as they are false.
Wake up, wake up, wage war on deception. Love has taken away my salad days.
Madre de mi madre
Madre, la mi madre, guardarme quereis; mas si yo no me guardo, mal me guardareis, mas si yo no me guardo, mal me guardareis.
Como es el amor un fuerte guerrero, gusto de su ardor y abrile la puerta; si el la deja
quiso en mi el primero, mostrar su rigor; gusto de su ardor y abrile la puerta.
Mother, my mother, you wish to protect me; but if I do not protect myself, you will hardly protect me. but if I do not protect myself, you will hardly protect me.
Because love is
a strong warrior,
I enjoyed its zeal
and I opened the door to it;
if it could have
it wanted first of all
to show its harshness;
I enjoyed its zeal
and I opened the door to it.
Dindirindin
Ande, pues, nuestro apellido, el taner con el cantar Concordes en alabar a Jesus rezien nascido. Dindirindin, dindindin Bendito el que ha venido a librarnos de agonia, Dindirindin, dindindin Bendito sea este dia que nascio el contentamiento. Remedio su advenimiento mil enojos.
Dindirindin, dindindin Benditos scan los ojos que con piedad nos miraron y b.enditos, que ansi amansaron tal fortuna.
Let us go then, playing and singing
to celebrate all together,
in our name
the new-born Jesus
Dindinrindin, dindindin
Blessed is he who comes
to deliver us from our agony,
Dindrindin, dindindin
Blessed be this day
in which appeasement is ours.
His coming has healed
a thousand troubles
Dindirindin, dindindin
Blessed are these eyes
that looked upon us with compassion
and blessed are they that
calmed a destiny such as ours.
Canto llano de la Inmaculada Concepcion
Todo el mundo en general a vozes Reyna escongida, diga que soys concevida sin pecado original. Si mando Dios verdadero al padre y la madre orar lo que nos mando guardar, el lo quizo obrar primero y assiesta ley celestial en vos la dexo cumplida, pues os hizo concevida sin pecado original
Everyone together
will say out loud
that you have been
Oh, elected queen,
concieved without sin
If the true God commanded the Father and
Mother to pray
and commanded us to preserve this law,
he wished to bring about
this heavenly law
concieving you
without original sin.
O magnum mysterium
O magnum mysterium.
et admirabile sacramentum,
ut animalia viderent
Dominum natum.
iacentem in praesepio.
O beata Virgo,
cuius viscera meruerunt portare
Dominum Iesum Christum.
Alleluia, alleluia.
Oh great mistery
and amirable sacrament:
hat the living creatures saw
the newborn Lord
lying in a manger.
Oh blessed Virgin.
whose womb was worthy of bearing
Jesus Christ our Lord.
Alleluia, alleluia.
Tau Gar;6 la durundena
Tau garco la durundena tau garco la durundo e tan hillot, la durundo.
Tau garco la durundena tau Jesu la durundo e tau hillot, la durundo.
Tan chiquet e tan polit com t'es nat aquesta nit. Lucifer sera scarnit tot l'infern n'haura gran pena
Los angeus n'an gran plausir, vent complit nostre deusir que l'alt eel s'a de fornir de gascons per bella strena.
0 Jhesus e com miraveu corn los angelets baylaven dant en l'ayre, no tombaven ni cayen en l'arena.
1 ab ses veus tan angelines rausonaven les maytines
e tocaven les orguines
tot cantant ab veu gran plena.
E sonaven tots acords ab rebequins e manacors y ab veus autes grans e forts dansaven l'hauta serena.
Tot ensemps li fan la xiera en esta nit plazentiera davant la Vergen partiera que trau lo mn de cadena.
Tau garco la durundena tau garc6 la durundo e tan hillot, la durundo.
iQue Farem del pobre Joan
Que farem del pobre Joan' Sa muller se n'es anada jLloar sia Deu! ?tA hont la n'irem a sercar
Such a beautiful child, la durundena, such a beautiful child, la durundo, such a beautiful infant, la durundo.
Such a beautiful child, la durundena,
this Jesus, la durundo,
such a beautiful infant, la durundo.
So small and so lovely, he has been born tonight, Lucifer will be ridiculed, all of bell will grieve.
The angels are so pleased
to see our desire fulfilled,
that havens will be filled
with gascons for the beautiful premiere.
Oh Jesus, how will you watch! The angeles will dance up above, but they will neither fall from the sky nor drop to the earth.
With their beautiful heavenly voices they will sing the matins in tune, and play the organs, while singing at the top of their lungs.
And they will all sound in unison
rebecs and monochords,
with high-pitched, strong, and ambered voices
for the high serene dance.
They will all celebrate together,
in this pleasant night,
before the Virgin who has given birth
to the one who takes the chains off the world.
Such a beautiful child, la durundena, such a beautiful child, la durundo, such a beautiful infant, la durundo.
What shall we do with poor Joan!
His wife has left him
Praise be to God!
Where shall we go to look for her
A l'hostal de sa vehina
jLloat sia Deu!
Y digau lo meu vehi
ma muller, si l'haveu vista
jLloat sia Deu!
Per ma fe, lo meu vehi
tres jorns ha que no The vista jLloat sia Deu! Esta nit ab mi sopa
Y en tant s'es transfigurada
jLloat sia Deu!
Ell se'n torna a son hostal
troba sos infants que ploren.
jLloat sia Deu!
No ploreu, los meus infans
Oh, mala dona reprovada jLloat sia Deu!
Si la noche haze escura
Si la noche haze escura y tan corto es el camino, como no venis, amigo La media noche es pasada y el que me pena no viene.
Hazeme bivir penada y muestraseme enomigo: como no venis, amigo mi desdicha lo detiene que nasei tan desdichada.
To her neighbour's place
Praise be to God!
And tell me, my neighbour,
Have you seen my wife
Praise be to God!
Upon my word, neighbour of mine,
I have not seen her for thre days
Praise be to God!
This night she had dinner with me,
And she became transfigured
Praise be to God!
Then she went back home
And found her children crying Praise be to God! Don't cry, my children
O wicked, rebuked woman Praise be to God!
If the night has now follen
If the night has now fallen
and the road is short,
why do you not come, my friend
Midnight is now passed
and he who pains me does not come.
Because of you I live in pain and you show yourself as my foe, why do you not come, my friend My wretchedness deters him, Oh how wretched was I born.
Chaconna: A la vida bona
Un sarao de la chacona se hizo el mes de las rosas, huvo millares de cosas y la fama lo pregona. A la vida vidita bona, vida vamonos a Chacona.
Copla:
Porque se caso Almadan, se hizo un bravo sarao, danaron hijas de Anao con los lieros de Milan. Un suegro de Don Belrran y una cunada de Orfeo Cmencaron un guineo y acabolo un ama;ona y la fama lo pregona. A la vida vidita bona vida vamonos a Chacona.
Chaconne: To the good life
An evening of dance, the chaconne, took place in the month of the roses. It promised a thousand pleasures and its fame was wide proclaimed. To the good, the good sweet life, life, Let us go dance the Chaconne.
Verse:
Since Almaden was betrothed, a great soiree was planned. The daughters of Aneus danced with the sons of Milan, The father-in-law of Beltran and the sister-in-law of Orpheus began the steps of a Guinea that was cut short by an Amazon. And its fame was wide proclaimed. To the good, the good sweet life, life. Let us go dance the Chaconne.
Hesperion XX
Jordi Savall, director
Derived from hespera, the Greek word for "west," is Hesperia, the ancient name for the Italian and Iberian peninsulas in the western?most part of Europe. Inspired by the musical wealth of Hesperia, a group of virtuoso performers, including gambist Jordi Savall and soprano Montserrat Figueras, founded Hesperion XX in 1974. Their goal was to explore the vast repertoire of Western European music -Spanish music in particular -written before the nineteenth century.
Such a wide repertoire requires not only a high level of instrumental and vocal virtu?osity, but also a thorough knowledge of many styles and periods. Consequently, based on the requirements of each program, the core members of Hesperion XX invite
musical specialists of international stature to join them in performance.
Hesperion XX has introduced many previously unknown works to audiences across Europe and America. Frequently heard at major international festivals and on television and radio broadcasts, the ensem?ble has over two dozen recordings on EMI, Astree, Philips and Archiv.
Combining the imagination of twentieth-century musicians with the historical knowledge of scholars, the members of Hesperion XX have created an ensemble that is known for its dynamic performances and bold interpre?tations of an astonishing range of musical literature.
This performance marks Hesperion XX's debut appearance under VMS auspices.
Jordi Savall, born in 1941 in Barcelona, embodies the spirit of the rich Catalan culture in which he was raised. Inspired by another great Catalan artist, Pablo Casals, whom he heard perform at Prades, the young Jordi Savall realized that music could be more than just a profession -for him, it would become an all-consuming life's work. He completed his cello studies at the
Barcelona Conservatory
in 1965, and, seeking to broaden his musi?cal horizons, took an interest in early music. After deter?mining that his new?found interest could not be well served by the modern cello, he discovered the viola da gamba and the performance prac-
tices of an earlier period. Jordi Savall went [ on to study in Brussels and later attended the Schola Cantorum of Basel, where he studied with August Wenzinger. In 1974, he succeeded Wenzinger in the position of Professor of Viol and Ensemble at the Schola Cantorum.
Jordi Savall is widely credited with the rebirth of the viola da gamba, an instru?ment which has been all but ignored since I the late seventeenth-century -the period of its greatest exponents, Francois Couperin, Marin Marais and Antoine Forqueray. Savall's ongoing musicological research-uncovering works of previously unknown composers such as Coperario, Cererols, Ferrabosco, Ortiz, and Guerrero -has made him a major force in the revival of early music. In 1974, Jordi Savall and soprano Montserrat Figueras founded the ensemble Hesperion XX; and, upon his ; return to Barcelona in 1987, Savall founded La Capella Reial, a vocal and instrumental
group dedicated to the performance of Mediterranean, especially Hispanic, music. The ensemble's first recording of two masses by Joan Cererols won the prestigious "Grand Prix de l'Academie du Disque Francais." In 1989, Savall created Le Concert des Nations, (inspired by Couperin's Les Nations), dedi?cated to the presentation of French music -or, more precisely, music in the "French manner"-at its zenith in the Baroque period.
Increasingly active as a conductor, Jordi Savall has directed original instrument per?formances of J.S. Bach's B-Minor Mass, Christmas Oratorio, and Art of the Fugue; Monteveredi's Vespro alia Vergine; and the Missa de Batalla and Missa de Requiem of Cererols. Savall has more than eighty recordings to his credit, including several important series of French, English.Spanish,
Italian, and German music, on the Astr?e, EMI, Philips, and Archiv labels. In 1988 he was decorated as an Officier de I'Ordre des Arts et des Lettres by the French Minister of Culture. In 1992, Savall directed and inter?preted music for the soundtrack of Tons les matins du monde, the phenomenally successful film starring Gerard Depardieu, which celebrates the life and works of Marin Marais. The movie and music, all performed by Savall, have been the impetus for a French Baroque craze encompassing all of Europe. The soundtrack has sold 67,000 copies in the United States alone and over 500,000 worldwide, a sales mark which only a handful of classical recording ever reach.
This performance marks Jordi Savall's debut appearance under UMS auspices.
It was in her birthplace of Barcelona where Montserrat Figueras began voice studies and gave her first per?formances with the Alleluia Choir and the ensemble Ars Musicae. In 1968 she traveled to Basel to complete her musical studies, studying both at the Schola Cantorum and the Musik Akademie. In the course of her studies she was a pupil of Jordi Albareda, Kurt Widmer, Thomas Binkley, Andrea von Rahm and Eva Krasznai. Ms. Figueras was particularly interested in historical vocal performance techniques, dating from the medieval trou?badours to the eighteenth-century, the tra?ditional Catalan, Iberian and Mediterranean singing style, and the Spanish religious polyphony. She developed a very personal concept of this music by using vocal tech?niques exempted from any post-romantic influence and based upon the former ideal of rezitar cantando.
She has performed throughout Europe and the United States, both as soloist and with the ensemble Hesperion XX, of which
she is a founding member. Ms. Figueras also per?forms with La Capella Reial de Catalunya, formed in 1987 by Jordi Savall. Her wide range of early music expertise takes her from the Sybille's Chant to the Tonadilla and then
towards Mozartian programmes, an out?standing example of which was her 1991 portrayal of Lolla in Martin Soler's Una Cosa Rara ossia Bellezza ed Onesta at Liceu in Barcelona. In February 1995, Ms. Figueras performed in another Soler production: Burbero di Buon Cuore.
Since making her first record, El Barroco Espafwl, with Jordi Savall and Ton Koopman, Montserrat Figueras has made numerous recordings issued by EMI, Astree, Philips, Harmonia Mundi and Deutsche Grammophon Archiv-Produktion. She has made an important contribution to the interpretation of medieval and renaissance music with her recordings of Luis Mila, Tarquinio Merula and Alonso Mudarra. Among the distinctions received for her recordings are the Grand Prix of the French Record Academy, Grand Prix of the Charles Cros Academy, and Netherland's Edison Klassik prize.
This performance marks Montserrat Figueras' debut performance under UMS auspices.
Please Note
In this afternoon's performance, Samuel Barber's Summer Music (for Woodwind Quintet) will be replaced by:
Walter Piston
Three Pieces for Flute, Clarinet, and Bassoon (1926)
Allegro scherzando
Lento
Allegro
McGhee, Ormand, Bf.ene
University
Musical
Society
presents
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Richard Beene, bassoon Erling Bengtsson, cello Anthony Elliot, cello Arthur Greene, piano Paul Kantor, violin Martin Katz, piano
Lorna McGhee, flute Anton Nel, piano Fred Ormand, clarinet Stephen Shipps, violin Hong-Mei Xiao, viola
Program
Ludwig van Beethoven
Samuel Barber
Joaquin Turina
Cesar Franck
Sunday Afternoon, November 1, 1998 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Piano Trio in G Major, Op. 1 No. 2
Adagio; Allegro vivace Largo con espressione Scherzo: Allegro Finale: Presto
Kantor, Bengtsson, Nel Summer Music (For Woodwind Quintet)
Piano Trio No. 2, Op. 76
Lento; Allegro molto moderato Molto vivace Lento, Allegretto
Shipps, Elliott, Katz INTERMISSION
Piano Quintet in f minor
Molto moderato quasi lento; Allegro Lento, con molto sentimento Allegro non troppo, ma con fucco
Shipps, Kantor, Xiao, Bengtsson, Greene
Thirteenth Performance of the 120th Season.
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
Large print programs are available upon request.
Piano Trio in G Major, Op.1 No. 2
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn
Died March 26,1827 in Vienna
In the years immediately following Beethoven's move from Bonn to Vienna in 1792, he quickly established a reputation as a virtuoso pianist, but he also wanted to be known as a serious composer of merit. He had brought with him from Bonn some sketches for piano trio, which he continued to work on until he was satisfied they could serve as an introduction into the city's com?positional circles. In 1794, Beethoven's friend Prince Carl Lichnowsky arranged for his three new piano trios to be premiered at one of the popular subscription concerts held in his home. Many of Vienna's famous musicians were in attendance (including, most importantly, Haydn), and the trios were an immediate success.
Beethoven's Op. 1 piano trios differ from earlier Classical trios in both structure and scope. They are cast in four movements, like the string quartet or symphony, and last about a half-hour each. Mozart's and Haydn's piano trios were, on the other hand, usually twoor three-movement works that lasted little more than ten minutes. The expansion of proportions and the quasi-symphonic movement structure in such early works hint at the future directions Beethoven's music would follow.
The Trio No. 2 in G is perhaps the least known of the Op. 1 trios. It is the longest of the three, but despite it's length the compo?sitional style and emotional restraint place it firmly in the eighteenth-century tradition. The opening piano theme, derived from a motif in the Adagio introduction, borders on the banal, but Beethoven's renowned ability to make the most out of unassuming motifs is evident even at this early stage of his career. The remainder of the movement follows the traditional procedures of sonata-
allegro form, though what sounds at first like a final cadence turns out to be simply the start of sprightly coda.
The second movement is a delicate and lyrical aria of ravishing simplicity in the key of E Major (a third away from the tonic key). While in later works the indication "con espressione" was a sure sign of pro?found and often unsettling emotion, in this early work it indicates merely an expressive poignancy.
Compared to the extended scope of the first two movements, the final two are curi?ously brief. The scherzo has a strangely sub?dued character for what, literally, should be a rollicking musical "joke", and an appended coda ends the movement quietly. The last movement is an energetic sonata-form study in youthful exuberance that bears superficial similarities to Haydn's "Gypsy rondo" from his own G Major Trio (written soon after he had heard Beethoven's Op. 1). The repeated-note theme and unrelenting forward motion propel the movement toward its inevitably affirmative conclusion.
Piano Trio No. 2, Op. 76
Joaquin Turina (1882-1949) Born December 9, 1882 in Seville Died January 14, 1949 in Madrid
Joaquin Turina's life covered a period of intense Spanish nationalism, and his works are suffused with the spirit of Spanish folk music. But when Turina left his native Seville at the age of twenty and went to France for further training, the experience profoundly influenced the young Spanish student. He studied at the Schola Cantorum with one of the strongest advocates for French music of the time, Vincent dTndy. Turina's first published work, a piano quin?tet, was written in the manner of Cesar Franck's quintet. He also fell under the spell of Debussy, who exerted a noticeable influ-
ence on his chamber works.
More than any of his compatriots, Turina tried to excel in the traditional European forms, rather than having nation?alism as a primary goal (as for example, in the music of his close friend Manuel de Falla). So while the typically Spanish ele?ments of hemiola and gentle syncopation recur in his works, he rarely quotes actual Spanish melodies or dance rhythms.
Turina completed his Piano Trio, No. 2 in 1933, while he was a professor at the Madrid Conservatory. In this work, a brief Lento introduction leads into an Allegro first movement that is permeated with suave exoticism. But hidden beneath the swaying melodies and rippling piano accompani?ments is a traditional sonata form. Turina then switches the conventional order of the last two movements, inserting a brief Vivace between the first movement and the Lento finale. But even with a faster tempo mark?ing, the central movement actually unfolds at a somewhat leisurely pace, and recalls in a string duet passage the slower, contrasting theme of the first movement. The final movement begins in noble fashion with a stately piano chorale, punctuated by flour?ishes from the strings. Soon this develops into a more dance-like rhythm, the strings assume their duet functions from previous movements, and the work builds to an intense, dramatic close.
Piano Quintet in f minor
Cesar Franck
Born December 10, 1822 in Liege, France
Died November 8, 1890 in Paris
Cesar Franck's music -full of individuali?ty, passion, and innovation -is somewhat at odds with the public image of a quaint, aging, and conservative organist at the church of St. Clotilde in Paris. Though not a prolific composer, the intensity of Franck's
musical vision set French music on a new path in the last quarter of the nineteenth-century.
Like Beethoven, Franck's first published works were a set of piano trios. His last major work was the String Quartet in D, and in between he wrote what has become one of the most popular piano quintets in the repertoire. Franck completed his Piano Quintet in 1879, and dedicated it to Camille Saint-Saens, an old friend and colleague who played the piano part at the work's pre?miere in 1880. SaintSaens was not impressed with the piece (he had written two piano quintets of his own by this time), and after Franck gave him the manuscript in gratitude for his performance, Saint Saens intentionally left it behind. It was later found in a pile of trash. But the public response to the quintet was enthusiastic from the start.
This is undoubtedly a passionate work. The renowned twentieth-century pedagogue Nadia Boulanger even claimed that this quintet contained more pianissimo and for?tissimo markings than any other chamber piece. The powerful emotions expressed in it were possibly inspired by Franck's infatua?tion with one of his students, Augusta Holmes, which, if true, may also explain why his wife was not fond of the quintet. She declared, "His organ pieces are every?thing that is admirable; but that quintet! Ugh!"
The extremes of musical expression appear early in the first movement. The introduction pits a rather severe descending figure in the first violin against flowing triplets in the piano. In the "Allegro" that follows, the violin's dotted-figure seems to triumph as it leads into ardent dialogues with the piano. A sighing second theme continues the intensity, yet gentle motifs by the piano restore occasional calm throughout the movement. The main theme returns in a furious fortissimo at the start of the reca-
pitulation and again in the coda, but the movement ends with a resigned murmur -a brief sigh is all that remains.
Though the tempo marking for the a-minor second movement ("Lento") and the softer dynamic level suggest a change of emotional temperature, the contrast is not as great as one might expect. The strings continue to play a fervent and terse descending motif while the piano accompa?nies with triplet chords. As he develops and varies these themes, Franck makes subtle reference to materials from the first move?ment, and foreshadows a theme that will appear in the finale. A lyrical D-flat passage provides sporadic respite from the sighing motifs in this movement, but it eventually cadences back into a halting a-minor.
The Finale is written with the key sig?nature of f-minor, but persistent G-flats and A-naturals suggest that Franck used a kind of "gypsy" scale rather than a minor mode, and it lends the movement a slightly exotic touch. The second violin opens with a bustling chromatic pattern, juxtaposed with piano octaves. Gradually the piano theme gathers strength until all strings join in a unison statement while the piano takes over the moto perpetuo passage-work. Melodic snatches from previous movements are recalled in a passionate dialogue that leads to powerfully conclusive octaves on the tonic F.
Program notes by Luke Howard.
Richard Beene, bassoonist, enjoys an active career as an orchestral player, soloist, cham?ber musician and educator, and is a member of several faculty ensembles. He is also prin?cipal bassoonist with the Toledo Symphony Orchestra, where he has appeared numerous times as a soloist. Mr. Beene toured Europe in 1991 as solo bassoonist with the American Sinfonietta and toured Japan the
following year as a featured soloist with the Colorado Music Festival. In January 1994 he appeared as a soloist at the Festival de Musique de St. Barthelemy in the French West Indies. Chamber music and recital engagements have taken him to New York's Merkin Concert Hall and the Library of Congress in Washington, D.C., as well as Germany, Switzerland, Italy and Austria. More recently he was featured recitalist at the annual convention of the International Double Reed Society in Minneapolis. Summer festival engagements have included the Sunflower Music Festival in Kansas, the Basically Bach Festival in Anchorage, the Colorado Music Festival, the Arkansas Music Festival, Pennsylvania's Allegheny Music Festival, Washington's Centram Chamber Music Festival and the Bellingham Festival of Music. He holds degrees from the University of Wisconsin and Baylor University and has served previously on the faculties of Michigan State University and Wichita State University.
Erling Bengtsson, cellist, came to Michigan following a distinguished teaching and per?forming career in Europe. He began cello studies at age three with his father in Copenhagen and subsequently became a student of Gregor Piatigorsky at the Curtis Institute of Music, where he joined the fac?ulty immediately upon graduation. He later returned to his native Denmark as professor at the Royal Danish Conservatory of Music, serving for thirty-seven years. Concurrently he was teacher of cello at the Swedish Radio Music School of Advanced Instrumental Studies in Stockholm and at the Hochschule fiir Musik in Cologne. He has given count?less master classes throughout Scandinavia, England and the United States and at the Tibor Varga Festival in Sion, Switzerland. Mr. Bengtsson made his first concert appearance at age four and debuted as orchestral soloist at ten. Since then he has
enjoyed a busy schedule as recitalist and soloist with ensembles including the Royal Philharmonic, the BCC, English Chamber Philharmonic, Detroit Symphony Orchestra, Gulbenkian Orchestra (Lisbon) and Czech Philharmonic and the orchestras of Baden-Baden, Brussels, Cologne, Copenhagen, The Hague, hamburg, Helsinki, Leningrad, Oslo and Stockholm. Mr. Bengtsson has made more than fifty recordings, including highly praised performances of concertos by Boccherini, Haydn, Schumann, Dvorak, Tchaikovsky, Lalo, Saint-Saens and the com?plete Bach cello suites and Beethoven sonatas. In 1993, in recognition of his uni?versal contributions to the art and teaching of cello playing, he was awarded the title of Chavalier du Violoncello by the Eva Janzer Memorial Cello Center of the School of Music of Indiana University.
Anthony Elliott, cellist, has combined admirable careers in performance and teaching for three decades. A protoge of Janos Starker and Frank Miller, he won the Feuermann International Cello Solo Competition, which was followed by a high?ly successful New York recital. Mr. Elliott's students have won prizes in a significant number of competitions, and he has given master classes at most leading American conservatories. He is a frequent guest soloist with major orchestras, including those of Detroit, Minnesota, Vancouver, CBC Toronto and the New York Philharmonic. His compact disc of Kabalevsky, Martinu and Shostakovich sonatas received a rave review from Strad Magazine of London and was named a "Best Buy of 1991" by the Houston Post. Forthcoming releases include works by French and Russian composers. In demand as a chamber musician, Mr. Elliott has been a guest artist at the Sitka (Alaska) Summer Music Festival, the Seattle and Texas chamber music festivals, New York's Blossom Music Festival, Houston's Da
Camera Series and the Victoria International Festival. He has appeared as a member of Quartet Canada and as a guest artist with the Brunswick, Lyric Art and Concord string quartets. He devotes his summers to teaching and performing at the Aspen Music Festival and School. Mr. Elliott, who holds the performer's certificate and a bachelor of music degree with honors from Indiana University, joined the faculty in 1994.
Arthur Greene's dynamic and personal per?formances have won him accolades in con?cert halls and competitions throughout the world. His powerful mastery and interpre?tive sensibility have earned him Gold Medals in both the Gina Bachauer and William Kapell International Piano Competitions, and he was a top laureate at the Busoni International Competition. Mr. Greene came to Michigan in 1990 following great success as a concert performer throughout the United States, Europe and the Far East. He has appeared as soloist with the Philadelphia Orchestra, RAI Orchestra of Turin, the San Francisco, Utah and National Symphonies, the Czech National Symphony and in recital at Carnegie Hall, Kennedy Center, Tokyo Bunka Kaikan, Lisbon Sao Paulo Opera House, Hong Kong City Hall and concert houses in Shanghai and Beijing. He has performed the complete solo piano works of Johannes Brahms in a series of six programs in Boston. Mr. Greene toured Poland as a member of the Stony Brook Trio; he has performed recitals, con?certos and has given master classes in Japan during twelve tours there, and he presented recitals and lecture demonstrations throughout Portugal as a representative of the United States Artistic Ambassadors Program. He has a particular liking for the piano music of the esoteric Russian com?poser Alexander Scriabin and has recorded that composer's complete Etudes for Piano
on the Supraphone label, released in the United States by Koch in 1997. His record?ing of the Scriabin Piano Concerto wias also released in 1997. He has also recorded two solo discs for Denon. Mr. Greene received degrees from Yale, Juilliard and the State University of New York at Stony Brook. He studied with Dorothy Eustis and Martin Canin.
Paul Kantor, violinist and chair of the String Department, has appeared as concerto soloist with a dozen symphony orchestras; has served as concertmaster of several orchestral ensembles, including the New Haven Symphony, Aspen Chamber Symphony, Lausanne Chamber Orchestra and Great Lakes Festival Orchestra; and has been guest concertmaster of the New Japan Philharmonic and the Toledo Symphony Orchestra. He has been especially active as a chamber musician with such groups as the New York String Quartet, the Berkshire Chamber Players, the Lenox Quartet and the National Musical Arts Chamber Ensemble. His performances of the music of Bartok, Pearle and Zwilich may be heard on the CRI, Delos and Mark Records labels. Recognized as one of the principal violin pedagogues of the younger generation, Mr. Kantor held concurrent appointments at Yale University (1981-88), the New England Conservatory (1984-88), and Juilliard (1985-88). Since 1980 he has spent summers as a member of the artist-faculty at Aspen, where he was concertmaster of both the Chamber Symphony and the Festival Orchestra. Mr. Kantor attended the Juilliard School, where he earned both bachelor and master of music degrees and studied during the summers at both Aspen and Meadowmount. His principal teachers are Margaret Graves, Dorothy DeLay and Robert Mann. Mr. Kantor is a former member of the National Musical Arts chamber ensemble in Washington, D.C.
Martin Katz, heretofor dubbed "dean of accompanists" by The Los Angeles Times, is the first recipient of Musical America's newly created in 1998 "Accompaniest of the Year" award. He regularly collaborates in recitals and on records with artists including Marilyn Home, Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli and Jose Carreras. Highlights of Mr. Katz's more than thirty years of concertizing with the world's most celebrated vocal soloists include innu?merable recitals at Carnegie Hall, appearances at the Salzburg Festival, tours in Australia and Japan and performances at La Scala, the Paris Opera and the Edinburgh Festival. His concerts are frequently broadcast both nationally and internationally. His work has been recorded on the RCA, CBS, Cetra, BMG, Phillips and Decca labels. The Metropolitan, Houston and Ottawa operas have performed his editions of Baroque and bel canto operas of Handel, Vivaldi and Rossini. At the University of Michigan, in addition to over?seeing the various degrees in ensemble for pianists, Mr. Katz coaches singers and teaches courses in vocal repertoire. He is a frequent guest conductor of the School's opera pro?ductions.
Lorna McGhee, flutist, has, in addition to her work as co-principal flute of the BBC Symphony Orchestra in London, been a guest principal flutist with the Academy of St. Martin-in-the-Fields, the Royal Philharmonic, the City of Birmingham Symphony, the BBC National Orchestra of Wales, the Bournemouth Symphony, the Scottish Opera, the Northern Sinfonia, the Chamber Orchestra of Europe and the London Symphony. She has performed with the Chamber Orchestra of Europe, has toured with the European Soloists Ensemble, the Marais Ensemble and Mobius and has participated in chamber music in the Cheltenham Festival and the Edinburgh International Festival. She has made numer-
ous concerto appearances with the London Sympohony Orchestra and the Scottish Symphony Orchestra and has recorded on the Decca and EMI labels. She received her education at the Royal Scottish Academy of Music and the Royal Academy of Music.
Anton Nel's remarkable and versatile career has taken him around the globe since his auspicious debut at the age of twelve with Beethoven's C Major Concerto after only two years of study. Winner of the First Prize in the 1987 Naumburg International Piano Competition, he appears regularly as recital-ist, chamber musician and concerto soloist with distinguished orchestras in both the United States and abroad. Recent highlights in the U.S. include performances with the Cleveland Orchestra, San Francisco and Detroit Symphonies and the Boston Pops. Most noteworthy is his giving the American premiere of the recently discovered Piano Concerto No. 3 by Felix Mendelssohn in November 1997. His coast to coast recital appearances have included numerous per?formances on the Great Performers at Lincoln Center series, the Library of Congress and the Ambassador Auditorium in Pasadena. A favorite at summer festivals, he has performed with the Chicago Symphony at the Ravinia Festival, at Lincoln Center's Mostly Mozart Festival and at the Aspen Music Festival. He has also per?formed throughout Canada, Europe, Mexico and South America and has toured South Africa thirteen times. He records for Virgin Classics, EMI, MusicMasters, Bridge and Essay. Also a gifted and dedicated teacher, he served on the faculties of the University of Texas at Austin and the Eastman School of Music before coming to Michigan in 1992. The South African born Mr. Nel is a gradu?ate of the University of the Witwatersrand in Johannesburg and the University of Cincinnati. He is the recipient of many awards from both institutions; most recently
the University of Cincinnati honored him with a Distinguished Alumnus Award. His teachers include Adolph Hallis, Bela Siki and Frank Weinstock.
Fred Ormand, clarinetist, is a leading per?former, educator and scholar. He has played with the Chicago, Cleveland and Detroit Symphony orchestras and has performed as a soloist with orchestras in the United States, China and Europe. Hailed by the New York Times as "an excellent clarinetist" and by Maestro Mstislav Rostropovich as "a genius teacher", Professor Ormand founded and has toured extensively with the Interlochen Arts Quintet and the Dusha Quartet. Formerly a professor at several leading American universities, he was visit?ing professor at the Shanghai Conservatory in 1988, where he attracted students from across China. In 1995 his master classes in England, Denmark and Sweden received rave acclaim. Since 1988 he has been a member of the faculty of the Music Academy of the West Summer Festival in Santa Barbara, California. The outstanding record of his students includes positions in major symphony orchestras in the United States and Europe, service bands and on the faculties of universities throughout the United States. From 1990 to 1992 Professor Ormand served as president of the International Clarinet Association and is often invited to perform at the international conferences of this group. Recently he has been recognized in the United States and Italy for his editions of the music for winds of Amilcare Ponchielli. In 1996, with faculty colleagues, he released a compact disc on DANACORD Records titled Convegno, a premiere recording of Ponchielli's solo works for winds. He is often heard today in recital with his wife, soprano Julia Broxholm (BM 77, MM 79).
Stephen Shipps, violinist, studied with Josef Gingold at Indiana University, where he received a B.M., an M.M. with honors and a performer's certificate. He also studied with Ivan Galamian and Sally Thomas at the Meadowmount School and with Franco Gulli at the Academia Chigiana in Siena, Italy. He is a member of the Meadowmount Trio, a past member of the Fine Arts Quartet and the Amadeus Trio and has appeared as soloist with the symphony orchestras of Indianapolis, Dallas, Omaha, Seattle and Ann Arbor, as well as the Piedmont Chamber Orchestra and the Madiera Bach Festival. He has been a mem?ber of the Cleveland Orchestra, associate concertmaster of the Dallas Symphony and concertmaster of the Dallas Opera, concert-master and associate conductor of the Omaha Symphony and the Nebraska Sinfonia and guest concertmaster for the Seattle and Toledo symphonies. Mr. Shipps has recorded for American Gramophone, Bay Cities, NPR, RIAS Berlin, Hessiche Rundfunk of Frankfurt, MelodiyaRussian Disc and Moscow Radio and was recently awarded a dozen gold and two platinum records for his solo work on the Mannheim Steamroller Christmas Albums. His publish?ers are E.C. Schirmer of Boston and the American String Teachers Association Press. He has adjudicated major national and international competitions for almost two decades and is director of the American String Teachers Association National Solo Competition. Prior to joining the faculty in 1989 he served on the faculties of Indiana University, the North Carolina School of the Arts and the Banff Centre in Canada.
Hong-Mei Xiao, the first prize winner of the 1987 Geneva International Music Competition for Viola, was born in Tsing-Tao, China. She was also awarded the presti?gious Patek Philippe Grand Prize. She has appeared in recital and with orchestras in Switzerland, Belgium, Italy, Yugoslavia, Germany, Hong Kong and throughout the United States and China. She is a frequent soloist with L'Orchestra de la Suisse Romande, with which she gave a premiere performance of Schnittke's Viola Concerto. After graduating from the Shanghai Conservatory with highest honors, she con?tinued her studies with John Graham at the State University of New York at Stony Brooke, from which she received her M.Mus. Her recordings include Brahms' Sonata in f, Op 120; the Hindemith Sonata for Solo Viola, Op. 11, No. 5; and Frank Martin's Ballade for Viola and Orchestra.
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
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611 (Marketing Internships), 734.647.1173 (Production Internships) or 734.764.6179 (Education Internships).
College Work-Study
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 734.764.2538.
UMS Ushers
Without the dedicated service of UMS' Usher Corps, our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
If you would like information about join?ing the UMS usher corps, leave a message for front of house coordinator Bruce Oshaben at 734.913.9696.
Hungry
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 Alley 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!
(11 734.936.6837 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:
Paesano's Restaurant
3411 Washtenaw Road 734.971.0484 for reservations
Thur. Jan. 14 Sun. Jan. 17 Sun. Feb. 7 Mon. Feb. 15
Wed. Mar. 24
Ren?e Fleming, soprano Prc-performance 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 Pre-performance dinner
Package price $50.00 per person (tax & tip incorporat?ed) includes guaranteed dinner reservations (select any item from the special package menu, which includes entree, soup or salad, soft beverage or coffee, and fruity Italian ice for dessert) and reserved "A" seats on the main floor at the performance for each guest.
Groups of 50 or more receive an additional discount!
The Artful Lodger Bed & Breakfast
11547 Washtenaw Avenue
1734.769.0653 for reservations
loin Ann Arbor's most theatrical host & hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons
' Frieze. This historic house, located just minutes from the per?formance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The
j 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
1300 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 j reserved "A" seats to the show. Beat the winter blues in style! I (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
Handel's Messiah
Trinity Irish Dance Company
The Gospel at Colonus
Anne Sofie von Otter, mezzo soprano
ImMERCEsion: The Merce Cunningham
Dance Company
Meryl Tankard Australian Dance
Theatre: Furioso
Abbey Lincoln
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, I pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 South Main Street 734.663.5555 for reservations
Wed. Oct. 14 Thur. Nov. 12 Sun. Dec. 6 Mon. Jan. 18 Tue. Feb. 23 Sun. Mar. 28 Fri. Apr. 23
John Williams, guitar Pre-performame 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.
Weber's Inn
3050 Jackson Road, Ann Arbor 734.769.2500 for reservations
Thur. Jan. 28 Thur. Mar. 11 Fri.Mar. 19 Sun. Apr. 25
American String Quartet Pre-performaticc dinner
James 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.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
Make your gift stand out from the rest: call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
The UMS Card
The University Musical Society and the following businesses thank you for your generous UMS sup?port by providing you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe
Ann Arbor Acura
Ann Arbor Arts Center
Arriba
Blue Nile Restaurant
Bodywise Theraputic
Massage Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc.
of Ann Arbor Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques
John Leidy Shop
John's Pack & Ship
Kerrytown Bistro
King's Keyboard House
LeDog
Marty's
Michigan Car Services
Paesano's Restaurant
Perfectly Seasoned
Regrets Only
Ritz Camera One Hour
Photo
Schoolkids Records
Shaman Drum Bookshop
SKR Classical
Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at seventeen other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS box office for more information.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your investment. For example, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image
Launching new products
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic
groups Making highly visible links with arts and
education programs Recognizing employees
Showing appreciation for loyal customers
For more information, call 734.647.1176
Acknowledgments
In an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary Halls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies.
Thanks to Sesi Lincoln-Mercury for the use of a Lincoln Town Car to provide transportation for visiting artists.
Ldvisory Committee
The Advisory Committee is a 48-member organiza?tion which raises funds for UMS through a variety of projects and events: an annual auction, the cre?ative "Delicious Experience" dinners, the UMS Cookbook project, the Season Opening Dinner, and the Ford Honors Program Gala. The Advisory Committee has pledged to donate $175,000 this current season. In addition to fundraising, this hard-working group generously donates valuable and innumerable hours in assisting with the educa?tional programs of UMS and the behind-the-scenes tasks associated with every event UMS presents. If j you would like to become involved with this dynamic ! group, please give us a call at 734.936.6837 for [ information.
Group Tickets
Many thanks to all of you groups who have joined the University Musical Society for an event in past seasons, and a hearty welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years and our success is a direct result of the wonder?ful leaders who organize their friends, families, con?gregations, students, and co-workers and bring them to one of our events.
Last season over 8,300 people, from as far away as California, came to UMS events as part of a group, and they saved over $40,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events like Wynton Marsalis, Itzhak Perlman, David Daniels, Evgeny Kissin, and the Chicago Symphony Orchestra.
This season UMS is offering a wide variety of events to please even the most discriminating tastes, many at a fraction of the regular price. Imagine yourself surrounded by 10 or more of your closest friends as they thank you for getting great seats to the 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.
Thank You!
Great performances--the best in music, theater and dance--are pre?sented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, who constitute the members of the Society. The list below represents names of current donors as of August 14, 1998. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this right away. The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
SOLOISTS
Individuals
Randall and Mary Pittman
Herbert Sloan
Paul and Elizabeth Yhouse
Businesses
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical
Research University of Michigan
Foundations
Arts Midwest
Lila Wallace Reader's Digest
Audiences for the Performing
Arts Network Lila Wallace Reader's Digest
Arts Partners Program The Ford Foundation Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
MAESTROS
Individuals
Sally and Ian Bund
Kathleen G. Charla
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
James and Millie Irwin
Elizabeth E. Kennedy
Leo Legatski
Richard and Susan Rogel
Carol and Irving Smokier
Ron and Eileen Weiser
Businesses Arbor Temporaries
Personnel Systems, Inc. Brauer Investments Detroit Edison Foundation Elastizell
JPEincThe Paideia Foundation KeyBank
McKinley Associates Mechanical Dynamics NBD Bank NSK Corporation The Edward Surovell Co.Realtors TriMas Corporation University of Michigan -
Multicutural Affairs WDET WEMU WGTE WMXD Wolverine Temporaries, Inc.
Foundations Benard L. Maas Foundation New England Foundation for the Arts, Inc.
VIRTUOSI
Individuals
Herb and Carol Amster
Edward Surovell and Natalie Lacy
Tom and Debbie McMullen
Businesses
Beacon Investment Company First of America Bank General Motors Corporation Thomas B. McMullen company Weber's Inn
CONCERTMASTERS
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
Businesses
Bank of Ann Arbor
Blue Nile Restaurant
Cafe Marie
Deloitte & Touche
Michigan Radio
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
Sesi Lincoln-Mercury
University of Michigan -
School of Music Visteon
Foundations Chamber Music America Institute for Social Research
LEADERS
Individuals Martha and Bob Ause Maurice and Linda Binkow Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne Edwin F. Carlson Mr. Ralph Conger Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Mr. Edward P. Frohlich Beverley and Gerson Geltner Sue and Carl Gingles Norm Gottlieb and Vivian Sosna Gottlieb
Keki and Alice Irani )ohn and Dorothy Reed Don and Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Loretta M. Skewes Mr. and Mrs.
lohn C. Stegeman Richard E. and
Laura A. Van House Mrs. Francis V. Viola II] ohn Wagner Marion T. Wirick and
James N. Morgan
Businesses AAA of Michigan Alf Studios
Butzel Long Attorneys Comerica
Crown House of Gifts Joseph Curtin Studios Environmental Research Institute of Michigan ERIM International Inc. Main Street Ventures Masco Corporation Red Hawk Bar and Grill Regency Travel Republic Bank STM, Inc. Target Stores Zanzibar
Foundations Ann Arbor Area
Community Foundation
PRINCIPALS
Individuals Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranofif Dr. and Mrs. Robert G. Aldrich Emily W. Bandera, M.D. Peter and Paulelt Banks A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreuter Suzanne A. and
Frederick J. Beutler loan 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 lean 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 Ian and Gil Dorer Mr. and Mrs. John R. Edman David and Jo-Anna Featherman Adrienne and Robert Feldstein Ken and Penny Fischer Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Lourdes and Otto Gago Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Enid M. Gosling Linda and Richard Greene Frances Greer Alice Berberian Haidostian Debbie and Norman Herbert Dr. and Mrs. Sanford Herman Bertram Herzog Julian and Diane Hoff Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman Thomas and Shirley Kauper Bethany and Bill Klinke Michael and Phyllis Korybalski Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Mr. and Mrs. Henry M. Lee Carolyn and Paul Lichter Peter and Sunny Lo Dean and Gwen Louis Robert and Pearson Macek John and Cheryl MacKrell Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores 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
Ian 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.
Businesses
The Barfield CompanyBartech Dennis Dahlmann, Inc. Consulate General of the
Federal Republic of
Germany
Howard Cooper, Inc. The Monroe Street Journal O'Neal Construction Charles Reinhart Company
Realtors
Shar Products Company Standard Federal Bank Swedish Office of Science
and Technology
Foundations
Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation Nonprofit Enterprise at Work
The Power Foundation Rosebud Foundation
BENEFACTORS
Individuals
Carlene and Peter Aliferis
Dr. and Mrs. Rudi Ansbacher
Catherine S. Arcure
Janet and Arnold Aronoff
Max K. Aupperle
lames R. Baker, Jr., M.D. and
Lisa Baker
Gary and Cheryl Balint Dr. and Mrs. Mason Barr, Jr. Robert and Wanda Bartlett Karen and Karl Bartscht Ralph P. Beebe 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 Gelman Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Joyce and Fred M. Ginsberg Paul and Anne Glendon Dr. Alexander Gotz Dr. and Mrs. William A. Gracie Elizabeth Needham Graham Jerry M. and Mary K. Gray Dr. John and Rence 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. Hiltncr Janet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and Gaye H. Humphrey John and Gretchen Jackson Wallie and Janet Jeffries James and Dale Jerome Billie and Henry Johnson Mr. and Mrs. Richard A. Jones Stephen Josephson and
Sally Fink
Susan and Stevo Julius Robert L. and Beatrice H. Kahn Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine Roby Knngler 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
Gustavc 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 loan Singer George and
Mary Elizabeth Smith Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Allen and Mary Spivey Gus and Andrea Stager Mrs. Ralph L. Steffek Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey K. Stross Bob and Betsy Teeter )ames L. and Ann S. Telfer Dr. and Mrs.
E. Thurston Thieme Sally Wacker Ellen C. Wagner Gregory and Annette Walker Willes and Kathleen Weber Karl and Karen Weick 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
Businesses
Azure
Bella Ciao Trattoria
Cooker Bar and Grille
Gandy Dancer Restaurant
Gratzi
Great Lakes Bancorp
Kerrytown Bistro
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
Paesano's
Palio
Perfectly Seasoned
St. Joseph Mercy Hospital
UVA Machine
Foundations
Arts Management Group Jewish Federation of
Metropolitan Chicago United Jewish Foundation of
Metropolitan Detroit
ASSOCIATES
Individuals
Michael and Suzan Alexander Anastasios Alexiou
Christine Webb Alvcy
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlenc and Henry Appelman
Patricia and Bruce Ardcn
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashc, III
Jonathan and Marlcne 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
Scott Beaman
Astrid B. Beck and
David Noel Frecdman 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 (ames S. Chen Don and Belts 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 Dcbbink Mr. and Mrs. Jay Dc 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 1 mil Engel Dr. and Mrs. John A. Faulkner Susan Feagin and John Brown Reno and Nancy Feldkamp
Dede and Oscar Feldman Dr. J.imes F. Filgas Carol Finerman Herschel and Annette Fink Susan R. Fisher and
John W. Waidley Beth and Joe Fitzsimmons Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Doris E. Foss
Howard and Margaret Fox Deborah and Ronald Freedman Andrew and Deirdre Freiberg Lela I. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and lay Gardner Professor and Mrs.
David M. Gates
Steve Geiringer and Karen Bantel Thomas and Barbara Gclchrter James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Irwin J. Goldstein and
Marty Mayo
Steve and Nancy Goldstein Mrs. William Grabb Dr. and Mrs. Lazar ). Greenfield Carleton and Mary Lou Griffin Robert M. Grover Ken and Margaret Guire Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefner and
Cynthia . Stewart Helen C. Hall Yoshiko Hamano Michael C. and Deanne A. Hardy Kenneth and Jeanne Heininger John L. and
lacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Dr. and Mrs. Ronald W. Holz Dr. and Mrs. Joseph Houle Linda Samuelson and
Joel Howell Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Professor and Mrs.
John H. Jackson Harold and Jean Jacobson Mr. and Mrs. Donald L. Johnson Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiesc 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 lohn and Theresa Lee Frank Legacki and Alicia Torres Richard LeSueur facqudine 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 Market lrwin 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 Jeancttc 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 Vcltajean 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 Pignanclli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Prcuss Wallace and Barbara Prince Bradley Pritts
J. Thomas and Kathleen Pustell Leland and Elizabeth Quackcnbush
Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Constance Rinehart lames and Alison Robison Mr. and Mrs. Stephen I. Rogers Mrs. Irving Rose Dr. Susan M. Rose Gay and George Rosenwald Drs. Andrew Rosenzweig and
Susan Weinman Craig and Jan Hull Jerome M. and Lee Ann Salic Ina and Terry Sandalow Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Meeyung and Charles Schmittcr 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. Soper Dr. Yoram and Eliana Sorokin Jeffrey D. Spindler L. Grasselli Spranklc 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. Wallgrcn Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
George Miller
Marcy and Scott Westerman Harry C. White and
Esther R. Rcdmount Janet F. White Iris and Fred Whitehouse 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
Businesses
Atlas Tool, Inc. Coffee Express Co. Edwards Brothers, Inc. General Systems
Consulting Group The Kennedy Center John Leidy Shop, Inc. Scientific Brake and
Equipment Company
Foundations
The Sneed Foundation, Inc.
ADVOCATES
Individuals
Jim and Jamie Abetson
John R. Adams
lrwin P. Adclson. M.D.
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. Allardyce
Mike Allemang
Richard and Bcttye Allen
Richard Amdur
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Catherine M. Andrea
Dr. and Mrs. Dennis L. Angellis
Elaine and Ralph Anthony
Bert and Pat Armstrong
Thomas J. and Mary E. Armstrong
Gaard and Ellen Arncson
Mr. and Mrs. Lawrence E. Arnctt
Mr. and Mrs. Dan E. Atkins III
Eric M. and Nancy Aupperle
Erik and Linda Lee Austin
Eugene and Charlene Axclrod
Shirley and Don Axon
Virginia and Jcrald Bachman
Lillian Back
Jane Bagchi
Prof, and Mrs. J. Albert Bailey
Doris I. Baito
Robert L. Baird
Bill and loann Baker
Dennis and Pamela (Smittcr) Baker
Laurence R. and Barbara K. Baker
Maxine and Larry Baker
Drs. Helena and Richard Balon
John R. Barcham
David and Monika Barera
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Shcrri H. Barnes
Donald C. Barnette, Jr.
Mark and Karla Bartholomy
Dorothy W. Bauer
Roscmarie Bauer
James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Bcckcrt Robert M. Beckley and Judy Dinesen Nancy Bender Walter and Ant uBenenson Harry and Betty Benford Merete and Erling Blondal Bcngtsson Bruce Benncr Joan and Rodney Bentz Mr. and Mrs. Ib Bcntzcn-Bilkvist Dr. Rosemary R. Bcrardi Barbara Levin Bergman Minnie Bcrki
44 Associates, continued
Abraham and Thelma Berman 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 Bcrtz
R. Bezak and R. Halstead lohn and Marge Bianckc Irene Biber Eric and Doris Billcs lack and Anne Birchfield William and Ilenc Birge Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Btondy Dennis Blubaugh George and Joyce Blum Beverly J. Bole Catherine I. Bolton Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonnell Ed and Luciana Borbely Lola J. Borchardt leanne and David Bostian Bob and )an 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. Ernes! 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 ludy 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 John and Patricia Carver Dr. and Mrs. Joseph C. Cerny Kathran M. Chan William and Susan Chandler J. Wehrley and Patricia Chapman Joan and Mark Chesler Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Nancy Cilley
Brian and Cheryl Clarkson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Howard and Vivian Cole Mr. and Mrs. Michael F. Collier Ed and Cathy Colone Edward J. and Anne M. Comeau Patrick and Anneward Conlin Nan and Bill Conlin Thomas Conner Donald W. Cook Gage R. Cooper Robert A. Cowles Clifford and Laura Craig Marjorie A. Cramer Dee Crawford
Richard and Penelope Crawford Charles and Susan Crcmin Mary C. Crichton Lawrence Crochier Constance Crump and Jay Simrod
Mr. and Mrs. James I. Crump
Margaret R. Cudkowicz
Richard . Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Marylee Dalton
Robert and Joyce Damschroder
Lee and Millie Danielson
Jane and Gawaine Dart
Sunil and Merial Das
DarLinda and Robert Dascola
Ruth E. Datz
Dr. and Mrs. Charles Davenport
Mr. and Mrs. Arthur W. Davidge
David and Kay Dawson
Joe and Nan Decker
Dr. and Mrs. Raymond F. Decker
Rossanna and George DeGrood
Penny and Laurence B. Deitch
Elena and Nicholas Delbanco
William S. Demray
Lloyd and Genie Dethloff
Don and Pam Devine
Elizabeth and Edmond DeVine
A. Nelson Dingle
Dr. and Mrs. Edward R. Doezema
lean Dolega
Heather and Stuart Dombey
Fr. Timothy J. Dombrowski
Thomas Doran
Dcanna and Richard Dorner
Dick and Jane Dorr
Thomas Downs
Paul Drake and Joyce Penner
Roland and Diane Drayson
Harry M. and Norrene M. Dreffs
Janet Driver
John Dryden and Diana Raimi
Robert and Connie Dunlap
Jean and Russell Dunnaback
Edmund and Mary Durfee
John W. Durstine
Jacquelynne S. Eccles
Elaine Economou and Patrick
Conlin
Mr. and Mrs. Richard Edgar
Sara and Morgan Edwards
Rebecca Eisenberg and Judah
Garber
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
Patricia Enns
Carolyne and Jerry Epstein
Karen Epstein and
Dr. Alfred Franzblau Mr. and Mrs. Frederick A. Erb Stephen and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald F. Eschman Eric and Caroline Ethington Barbara Evans Adclc Ewell
Mr. and Mrs. Robert B. Fair, Jr. Barbara and Garry C. Faja Mark and Karen Falahee Eliy and Harvey Falit Thomas and Julia Falk Richard and Shelley Farkas Edward Farmer
Mr. and Mrs. H. W. Farrington, Jr. Walter Federlein 1 nk.i and David Felbcck Phil and Phyllis Fcllin Larry and Andra Ferguson Karl and Sara Fiegenschuh Clay Finkbeiner C. Peter and Bev A. Fischer Gerald B. and Catherine L. Fischer Dr. Lydia Fischer Patricia A. Fischer Charles W. Fisher Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher Winifred Fisher Barbara and lames Fitzgerald Linda and Thomas Fitzgerald Morris and Dcbra Flaum Mr. and Mrs. Kurt Flosky David and Ann Flucke Maureen Forrest, M. D. and
Dennis Capozza Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and Inarm Freethy Gail Frames Jerry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussctt Jane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and Jack Garris Del and C. Louise Garrison Mr. fames C Garrison I.met and Gharles Garvin Allan and Harriet Gelfond lulu 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 Gil trow [km 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 lean 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. William 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. Cribble Mark and Susan Griffin Werner H. Grilk Margaret Grillot Laurie Gross
Richard and Marion Gross Dr. Robert and Julie Grunawalt Kay Gugala
Carl E. and Julia H. Guldberg Arthur W. Gulick, M.D. Mr. and Mrs. Lionel Guregian Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hacked Harry L. and Mary L. Hallock Mrs. William Halstead Sarah I. Hamcke Mrs. Frederick G. Hammitt Dora E. Hampcl Lourdes S. Bastos Hansen Charlotte Hanson Herb and Claudia Harjes M. C. Harms Dn Rena Harold Nile and Judith Harper Stephen G. and Mary Anna Harper Laurelynnc Daniels and
George P. Harris
Ed Sarath and Joan Harris
Robert and lean Harris
Jerome P. Hartweg
Elizabeth C. Hassincn
Ruth Hastic
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 Heitler
Sivana Heller
Margaret and Walter Helmrcich
Paula B. Hencken
Karl Henkel and Phyllis Mann
Dr. and Mrs. Keith S. Henley
Bruce and Joyce Herbert
Roger F. Hewitt
Hiroshi Higuchi
Peter G. Hinman and
Elizabeth A. Young Carolyn Hiss James C. Hitchcock Jane and Dick Hoerncr Anne Hoff and George Villec Robert and Frances Hoffman Carol and Dieter Hohnke John and Donna Hollowcll 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 Hclga Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C. Hubbs Charles T. Hudson Hubert and Helen Hucbl Harry and Ruth Huff Mr. and Mrs. William Hufford Jane Hughes
Joanne Winkleman Hulcc Kenneth Hulsing Ann D. Hungerman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brcnda and
Jason Prouser Imbcr Edward C. Ingraham Margaret and Eugene Ingram Perry Irish Judith G. Jackson Dr. and Mrs. Manuel Jacobs Robert and Janet James Professor and Mrs. Jerome Jelinek Keith and Kay Jensen JoAnn J. Jeromin Shcrri Lynn Johnson Dr. Marilyn S. Jones John and Linda fonides Elizabeth and Lawrence Jordan Andrcc Joyaux and Fred Blanck Tom and Marie Juster 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 Mcral Kazan Julia and Philip Kearney William and Gait Kecnan Janice Keller
James A. Kelly and Mariam C Noland John B. Kennard Bryan Kennedy Frank and Patricia Kennedy Linda Atkins and Thomas Kcnney Paul and Leah Kileny Andrew Kim Jeanne M. Kin William and Betsy Kincaid Shira and Steve Klein Drs. Peter and Judith Kleinman
John and Marcia Knapp
Sharon L KnightTitle Research
Ruth and Thomas Knoll
Mr. and Mrs. Jack Knowles
Patricia and Tyrus Knoy
Shirley and Glenn Knudsvig
Rosalie and Ron Koenig
Ann Marie Kotre
Dick and Brenda Krachenberg
Jean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krehbiel
Sara Kring
Alan and Jean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
lane Laird
Mr. and Mrs. Seymour Lampert
Pamela and Stephen Landau
Patricia M. Lang
Lome L. Langlois
Carl F. and Ann L. La Rue
Beth and George Lavoie
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Moshin and Christina Lee
Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Diane and Jeffrey Lehman Ann M. Lcidy
Mr. and Mrs. Fernando S. Leon Ron and Leona Leonard Sue Lcong Margaret E. Leslie David E. Levine George and Linda Levy Deborah Lewis
Donald J. and Carolyn Dana Lewis Judith Lewis Norman Lewis Thomas and Judy Lewis Mark Lindley and Sandy Talbott Mr. Ronaid A. Lindroth Dr. and Mrs. Richard H. Lineback Naomi E. Lohr Jane Lombard Patrick B. and Kathy Long Ronald Longhofer Armando Lopez R. Luisa Lopcz-Grigera Richard and Stephanie Lord Robert G. Lovell Donna and Paul Lowry Mr. and Mrs. Carl I. Lutkehaus Susan E. Macias Lois and Alan Macnee Walter A. Maddox Suzanne and )ay Mahler Ronald and Jill Donovan Maio Deborah Malamud and Neal Plotkin William and Joyce Malm Claire and Richard Malvin Melvin and Jean Manis Pearl Manning Howard and Kate Markcl Lcc and Greg Marks Alice and Bob Marks Rhoda and William Martcl Ann W. Martin Rebecca Martin
Mr. and Mrs. Stephen D. Marvin Debra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard Michelinc Maynard URmh McAfee Thomas and Jackie McClain Dores M. McCree Jeffrey T. McDole James and Kathleen McGauley Eileen Mclntosh and
Charles Schaldenbrand Mary and Norman Mclver Bill and Virginia McKeachie Daniel and Madelyn McMurtrie Nancy and Robert Meader Samuel and Alice Meisels Robert and Doris Mclling Allen and Marilyn Menlo HclyA.Mcrld-Benner
lilt McDonough and Greg Merriman
Henry D. Messer Carl A. House
Robert and Bcltic Mctcalf
Lisa A. Mets
Professor and Mrs. Donald Meyer
Suzanne and Henry J. Meyer
Shirley and Bill Meyers
Francis and Helen Michaels
William and loan Mikkelsen
Carmen and Jack Miller
Robert Rush Miller
John Mills
Olga Moir
Dr. and Mrs. William G. Moller, Jr.
Patricia Montgomery
Jim and Jeanne Montie
Rosalie E. Moore
Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Paul and Terry Morris Mclinda and Bob Morris Robert C. Morrow Cyril and Rona Moscow lames 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 Rosemaric Nagel Penny H. Nasatir Isabelle Nash Susan and Jim Newton John and Ann Nicklas Shinobu Niga Susan and Richard Nisbett Gene Nissen
Laura Nitzbcrg 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 Ncls and Mary Olson Mr.J. LOncley Zibby and Bob Oneal Kathleen I. Opcrhall Dr. Jon Oscherwitz Mitchel Osman, M.D. Elisa A. Ostafin 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). Pawlak Sumer Pek and Marilyn Katz-Pek Dr. and Mrs. Charles H. Pellcr Donald and Edith Pelz William A. Penner, Jr. Steven and Janet Pepe Bradford Perkins Susan A. Perry Ann Marie Pctach Margaret and Jack Pctersen Roger and Grace Peterson Jim and Julie Phclps Mr, and Mrs. Frederick R. Pickard Leonard M. and Lorainc Pickering Nancy S. Pickus Robert and Mary Ann Pierce Roy and Winnifrcd Pierce Russell and Elizabeth Pollard Hines 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 )ames Eng Al and Jackie Raphaclson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Rasmussen
Maxwell and Marjorie Rcade
Michael Ready
Sandra Reagan
Gabriel M. Rebeiz
Katherine R. Reebel
Stanislav and Dorothy R. Rehak
John and Nancy Reynolds
Alice Rhodes
James and Helen Richards
Elizabeth G. Richart
Dennis J. Ringle
John and Marilyn Rintamaki
Sylvia Cedomir Ristic
Kathleen Roelofs Roberts
Dave and Joan Robinson
Janet K. Robinson, Ph.D.
Mary Ann and Willard Rodgcrs
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. Rosenfeld Marilynn M. Rosenthal Charles W. Ross Roger and O.J. Rudd Dr. and Mrs. Raymond W. Ruddon Dr. and Mrs. Robert Ruskin Bryant and Anne Russell Scott A. Ryan Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and Joan Sachs Miriam S. Joffe Samson Tito and Yvonne Sanchez Daren and Maryjo Sandberg John and Reda Santinga Mike and Christi Savitski Helga and Jochen Schacht Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L. Schmitt Charlene 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 Scodcl Jonathan Brombcrg and
Barbara Scott David and Darlenc Scovell Michael and Laura Seagram E. J. Sedlander John and Carole Scgall Richard A. Scid 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 Sbcrrick and Ellen Moss Rev. William J. Sherzer 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 Arlcne Shy Douglas B. Siders, M.D. Dr. Bruce M. Sicgan Mr. and Mrs. Barry J. Siegel Milton and Gloria Siegel Eldy and Enrique Signori Drs. Dorit Adler and Terry Silver Michael and Maria Simonte Robert and Elaine Sims Alan and Eleanor Singer Donald and Susan Sinia Irma J. Sklenar Beverly N. Slater
Tad Slawecki
). Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
James A. Somers
Judy Z. Somers
Mr. and Mrs. Edward J. Sopcak
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Shawn Spillane
Charles E. Sproger
Edmund Sprunger
Burnettc Staebler
David and Ann Staiger
Constance StankraufT
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 Steudc
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
Ellen M. Strand and Dennis C Regan
Mrs. William H. Stubbins
Dr. and Mrs. Samuel Stulberg
Donald and Barbara Sugerman
Richard and Diane Sullivan
Rebecca G. Sweet and Roland J. Loup
PegTalburtt and Jim Peggs
Mr. and Mrs. James R. Tamm
Jerry and Susan Tarpley
Margi and Graham Teall
Leslie and Thomas Tentler
George and Mary Tcwksbury
Catherine and Norman Thoburn
Bette M. Thompson
Peggy Tieman
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townley
Jim Toy
Angie and Bob Trinka
Sarah Trinkaus
Luke and Merling Tsai
Marlene C. Tulas
Jeff and Lisa Tulin-Silver
Jan and Nub Turner
Dolores J. Turner
William H. and Gerilyn K. Turner
Alvan and Katharine Uhle
Mr. and Mrs. Bryan Ungard
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallicr
Hugo and Karla Vandersypcn
Bram and I i.i van Leer
Fred and Carole S. Van Reesema
Yvette VanRipcr
J. Kevin and Lisa Vasconi
Phyllis Vegter
Sy and Florence Veniar
Elizabeth Vetter
Martha Vicinus and Bca Ncrgaard
Jane and Mark Vogel
Mr. and Mrs. Theodore R. Vogt
John and ]ane Voorhorst
George S. and Lorraine A. Wales
Richard and Mary Walker
Lorraine Nadelman and
Sidney Warschausky Ruth and Chuck Watts Edward C. Weber Joan M. Weber Jack and Jerry Weidenbach Carolyn J. Weigle Gerane and Gabriel Weinrcich Lawrence A. Wcis Donna G. Weisman Barbara Weiss Carol Campbell Welsch and
John Welsch John and Joanne Werner Rosemary and David Wesenbcrg Ken and Cherry Wcsterman Susan and Peter Westerman Paul L Duffy and Marilyn L Whcaton
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 R Williams Lois Wilson-Crabtrcc Beverly and Hadley Wine Dr and Mrs Jan Z. Winkelman Beth and I. W. Winsten Mr. and Mrs. Eric Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Ailcen 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 lean L. Wright Fran and Ben Wylie Mr. and Mrs. R. A. Yagle Sandra and Jonathan Yobbagy Mr. Frank Yonkstetter James and Gladys Young Mr. and Mrs. Robert Zager Dr. Stephen C. Zambito Phyllis Zawisza Craig and Megan Zechman David S. and Susan H. Zurvalec
Businesses
Ann Arbor Bivouac, Inc. Aysc's Courtyard Cafe Bodywisc Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Garris, Garris, Garris &
Garris Law Office Lewis Jewelers Organizational Designs Pen in Hand
Alice Simsar Fine Art, Inc. Zepeda and Associates
Foundations
Schwartz Family Foundation
BURTON TOWER SOCIETY
Vie Burton Tower Society is a very special group of University Musical Society friends. Jliese people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great traditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Lcn 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. Ronald G. Zollars
BUSINESS LEADERSHIP CIRCLE
AAA Michigan
Alf Studios
Arbor TemporariesPersonnel
Systems Inc.
Bank of Ann Arbor
Barfield CompanyBartcch
Beacon Investment Company
Blue Nile Restaurant
Brauer Investments
Butzcl Long Attorneys
Charles Rcinhart Company
Realtors
Comerica
Joseph Curtin Studios
JPE Inc.Thc Paidcia Foundation
Deloitte & Touche
Elastizd]
Environmental Research Institute
of Michigan ERIM Internationa] First of America Bank Forest Health Services Corporation Ford Motor Company (icneral Motors Corporation Howard Cooper, Inc. KeyBank
Main Street Ventures Masco Corporation McKinley Associates Mechanical Dynamics Miller, Canfield, Paddock and Stone NBD Bank NSK Corporation O'Neal Construction Parkc-Davis Pharmaceutical Research
Pepper, Hamilton & Scheetz Red Hawk Bar & Grill Regency Travel Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science
and Technology Target Stores The Edward Surovcll
Company Realtors Thomas B. McMullcn Company Weber's Inn Wolverine Temporaries Zanzibar
MEMORIALS
John H. Bryant
Margaret Crary
Mary Crawford
George R. Hunsche
Alexander Krezel, Sr.
Katherinc Mabarak
Frederick C. Matthaei, Sr.
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powrie
Steffi Reiss
Ralph L. Steffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBelt
Francis Viola 111
Carl H. Wilmot
Peter Holderness Woods
Helen Ziegler
IN-KIND GIFTS
Bernard and Ricky Agranoff
Ann Arbor Symphony Orchestra
Anneke's Downtown Hair and
Company
Applause Salon
Catherine Arcure
The Ark
Dr. Emily Bandera
Paulcll and Peter Banks
Gail Davis Barnes
Ede Bookstein
Janice Stevens Botsford
The Boychoir of Ann Arbor
Brewbakers
Barbara Everitt Bryant
Icannine Buchanan
Butzel Long
David G. Loesel, Cafe Marie
Tomas Chavez
Chelsea Flower Shop
Chianti Tuscan Grill
Elizabeth Colburn
Conlin Travel
Mary Ann and Roderick Daane
Peter and Norma Davis
Sam Davis
Katy and Tony Derezinski
Dough Boys Bakery
Rosanne Duncan
Einstein's Bagel
Pat Erikscn
Espresso Royale Caffes
Damian ana Katherinc Farrell
Judy Fikc of J'Cakes
Beth and Joe Fitzsimmons
Gufllermo and Jennifer Flores
Gallery Von Glahn
The Gandy Dancer
Beverly and Gerson Geltner
Generations for Children
Lee Gillcs of the Great Frame Up
Anne Glendon
Renee Grammatico of Viola
Linda and Richard Greene
Daphne Grew
Jim Harbaugh Foundation
Marilyn Harber, Georgetown Gifts
Jeanne Harrison
Esther Heitler
J. Downs Herold
Kim Hornberger
Kay and Tom Huntzicker
Stuart and Maureen Isaac
John Isles
Jeffrey Michael Powers Beauty Spa
Urban Jupcna and Steve Lcvicki
Gerome Kamrowski
Stephen and Mercy Kasle
Katherine's Catering
Martha Rock Keller
Ed Klum
Craig L. Kruman
Diane Kurbatoff
Bern ice Lamey
Henry and Alice Landau
Maxine Larrouy
John Leidy Shop
Don and Gerri Lewis
Stephanie Lord
Mary Matthews
Marty's Menswear
Elizabeth McLeary
Charlotte McGeoch
Michigan Theatre
Ron Miller
Moe Sport Shops
Mini,ill,m Seafood Market
Robert Morris
Motif Hair by Design
The Moveable Feast
Lisa Murray
Susan and Richard Nisbett
John and Cynthia Nixon
Baker O'Brien The Labino Studio
Christine Oldenburg
Karen Koykaa O'Neal
Mary and Bill Palmer
Pen in Hand
Maggie Long, Perfectly Seasoned
Chris W. Peterson
Mary and Randall Fittman
Pal Pooley
Sharon and Hugo Quiroz
Radrick Farms Golf Course
leva Rasmussen
Regrets Only
Nina Hauscr Robinson
Richard and Susan Rogcl
Anne Rubin
Maya Savarino
Sarah Savarino
Ann and Tom Schriber
Boris Sellers
Grace Shackman
Richard Shackson
Janet and Mike Shatusky
Aliza and Howard Shcvrin
George Shirley
John Shultz
Herbert Sloan
David Smith
Steven Spencer
)ohn Sprcntall
Deb Odom Stern
Nat Lacy and Ed Surovell
Susan Tait of Fitness Success
Tom Thompson
TIRA's Kitchen
Donna Tope
Tom Trocchio of Atys
Susan Ullrich
Charlotte Van Curler
Kathleen and Edward VanDam
Andrea Van Houweling
K.it Li Vandcrsypen
End] Wcddigc
Ron and Eileen Wciser
Marina and Robert Whitman
Sabrina Wolfe
Young People's Theater Troubadours
Ann and Ralph Youngren
GIVING LEVELS
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
Join
Because Mimic 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.
Advertiser Index
15 Ann Arbor Acura
35 Ann Arbor Reproductive
Medicine 14 Ann Arbor Symphony
Orchestra
37 Arborcrest Memorial Park 27 Arriba
30 Azure Mediterranean Grille
18 Bank of Ann Arbor
27 Bodman, Longley, and
Dahling
32 Butzel Long 39 Charles Reinhart Co.
38 Chelsea Community
Hospital 34 Chris Triola Gallery
Comerica Bank
Dobbs Opticians
Dobson-McOmber
Edward Surovell Co.Realtors
Emerson School
ERIM International
Ford Motor Company
Fotol 12 Fraleigh's Nursery 26 Glacier Hills
19 Harmony House
37 Harris HomesBayberry Construction
28 Howard Cooper Imports
Individualized Home Care
Nursing
Kerrytown Bistro King's Keyboard House KeyBank
John Leidy Shops, Inc. Lewis (cwelers McGlynn & Gubbins
Attorneys 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
Gardens
University Productions Whole Foods WDET WEMU WGTE WMXD WUOM

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