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UMS Concert Program, Monday Nov. 02 To 11: University Musical Society: 1998-1999 Fall - Monday Nov. 02 To 11 --

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

St. Petersburg Philharmonic Gidon Kremer John Williai University Musical Society of the University of Michigan Fall 1998 Season spitol Steps Guarneri String Quartet Bill T. Jons rnie Zane Dance Company Budapest Festival Orchest ldras Schiff David Daniels La Capella Reial de Catalun ichigan Chamber Players Kirov Orchestra Vienna Virtuo J izz Tap Summit American String Quartet Mitsuko Uchi issad Brothers Sequentia A Huey P. Newton Stor Emerson String Quartet The Harlem Nutcrack I andel's Messiah Trinity Irish Dance Compar Gershwin: Sung and Unsung Renee Fleming The Gosp Colonus Anne Sofie von Otter Chamber Music Socie o Lincoln Center Merce Cunningham Dance Compa f a x i m Vengerov Or pheus C h a Tff b e r Orchest eryl Tankard A u s t r a I i mlJ) ancA Theatre Ko(
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University Musical Society
of the University of Michigan The 1998-99 Fall Season
4 Letter from the President
5 Corporate LeadersFoundations
9 UMS Board of DirectorsSenate
StaffAdvisory Committees
10 General Information
12 Ticket Services
14 UMS History
15 UMS Choral Union
16 Auditoria Burton Memorial Tower
20 Education and Audience Development
22 Season Listing
Concert Programs begin after page 26
28 Volunteer Information
30 Hungry
30 UMS Dining Experiences
Restaurant & Lodging Packages
32 Gift Certificates
32 The UMS Card
34 Sponsorship and Advertising
34 Acknowledgments
37 Advisory Committee
37 Group Tickets
38 Ford Honors Program
40 UMS Contributors
49 UMS Membership
50 Advertiser Index
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1997-98 season: Celia Cruz in her long-awaited UMS debut; Christoph Eschenbach leading the Chicago Symphony Orchestra.
A Letter from the President
Welcome to this University Musical Society performance. Thank you for supporting UMS and the performing arts in our community by attending this event. The 1998-99 season is one of our most exciting ever. So diverse in its scope, it is impossible for me to zero in on just one event. Complementing our continued focus on music of all kinds, I would like to make special mention of our emphasis on dance and dance audience development this season. As our 1998-99 dance promotional campaign states, UMS is "simply committed to the best in dance for Michigan."
We're very pleased that you're at this event and hope you'll consider attending other UMS performances as well as some of the educational and social events surrounding our concerts. You'll find listings of all of these events in this program book on page 22 through 25.
I'm privileged to work with a dedicated and talented staff. One of them, box office representative Sally Cushing, is celebrating 30 years with UMS this season, representing the longest-serving employee among our current staff. The entire UMS family joins me in thanking Sally for her loyalty, friendli?ness, and commitment to providing outstanding service to all of our patrons. Say "hi" to Sally when you next call or stop by the box office.
I hope we have a chance to meet. I'd like to hear your thoughts about this performance. I'd also be pleased to answer any questions and to learn anything we can do at UMS to make your concertgoing experience the best possible. Your feedback and ideas for ways we can improve are always welcome. If we don't see each other in the lobby, please call my office at Burton Tower on the campus (734-647-1174) or send me an e-mail message at
Kenneth C. Fischer, President
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. Oivnrr, 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.1
DAVID G. LOESEL President, T.M.I.. Ventures. Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry fonvard 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 Hoard 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 Surovcll 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."
Office Managing Partner, Deloitte & Touche
"Deloitte & Touche is pleased to support the University Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our lives!"
LEO LEGATSKI President, Elastizcll Corporation of America "A significant charac?teristic of the University Musical Society is its ability to adapt its menu to
changing artistic requirements. UMS involves the community with new concepts of educa?tion, workshops, and performances."
Alex Trotman
Chairman, Chief Executive Officer, Ford Motor Compaty "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
Chairman and Chief
Executive Officer,
McKinley Associates,
"McKinley Associates
is proud to support
the University
Musical Society and the cultural contribu?tion it makes to the community."
JORGE A. SOUS First Vice President and Manager, FCNBD Bank "FCNBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
William S. Hann
President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients."
Mechanical Dynamics. "Beverly Sills, one of our truly great per?formers, once said that 'art is the signature of civilization.' We believe
that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark--with a flourish."
Larry McPherson
President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 84 years, and UMS has been here for 120, we can still appreci?ate the history they have with the city -and we 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
Miller, Canfield,
Paddock and Stone,
"Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
JOE E. O'NEAL President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
RONALD M. CRESSWELL, PH.D. Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associat?ed with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Thomas b. mcmullen
President, 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."
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, 1 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
Benard L. Maas
"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
Liu Wallace-reader's Digest Fund
Michigan Council for the Arts
and cultural affairs national endowment for the arts
University Musical Society of the university of Michigan
F. Bruce Kulp, Chair
Marina v.N. Whilman, Vice Chair
Stuart A. Isaac, Secretary
Elizabeth Yhouse, Treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Lee C. Bollinger
Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Robert F. DiRomualdo
David Featherman Beverley B. Geltner Norman G. Herbert Alice Davis Irani Thomas E. Kauper Earl Lewis Rebecca McGowan Lester P. Monts
Joe E. O'Neal Richard H. Rogel George I. Shirley Herbert Sloan Carol Shalita 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 Marian H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick B. Long Judythc H. Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Picrpont John Psarouthakis Gail W. Rector John W. Reed Harold T. Shapiro Ann Schriber
Daniel H. Schurz John O. Simpson Lois U. Stcgeman E. Thurston Thicme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
UMS STAFF inn 1 hl.llUf
Kenneth C. Fischer, President Elizabeth lahn, Assistant to
the President John B. Kennard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant Manager and Group Sales
Choral Union
Thomas Sheets, Conductor
Edith Leavis Bookstein,
Kathleen Operhall, Co-Manager Donald Bryant, Conductor
Catherine S. Arcure, Director
Elaine A. Economou, Assistant
Director--Corporate Support Susan Fitzpatrick,
Administrative Assistant Lisa Michiko Murray, Advisory
Liaison J. Thad Schork, Direct Mail,
Gift Processor Anne Griffin Sloan, Assistant
Director--Individual Giving
EducationAudience Development
Ben Johnson, Director Kate Rcmen, Manager Susan Ratcliffe, Assistant
Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Gus Malmgren, Director Emily Avers, Production and Artist Sen'ices Coordinator Eric Bassey, Production Associate Bruce Oshaben, Front of House
Kathi Reister, Head Usher Paul Jomantas, Assistant Head
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Work-Study Laura Birnbryer Rebekah ( .mini Jack Chan Nikki Dobell Mariela Flambury Bert Johnson Melissa K.u Un lung Kim Beth Meyer Amy Tubman
Laura Birnbryer Carla Dirlikov Laura Schnitker
President Emeritus Gail W. Rector
Lcn Nichoff, Chair Maureen Isaac, Co-Chair leva Rasmussen, Secretary
Lisa Murray, Staff Liaison Gregg Alf Martha Ause Paulctt 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 Beverlcy 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 Callie Jefferson Deborah Katz Dan Long Laura Machida Ed Manning Glen Matis Ken Monash Gayle Richardson Karen Schulte Helen Siedel Sue Sinla Sandy Trosien Mclinda 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 is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby.
Power Center: Pay phones are available in the box office lobby.
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of the Michigan League. St. Francis: There are no public telephones in the church. Pay phones are available in the Parish Activities Center next door to the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off of the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main floor seating area.
St. Francis: Men's and women's rooms are located in the basement at the bottom of the front lobby stairs.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 for details.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each auditorium.
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
From outside the 313 and 734 area codes,
call toll-free
Mon-Fri 10 a.m. to 6 p.m. Sat. 10 a.m. to 1 p.m.
Order online at the UMS Website
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices open 90 minutes before the performance time.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
University Musical Society of the university of Michigan
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 120 years, strong leader?ship coupled with a devoted community have placed UMS in a league of internationally-recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied his?tory, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the next millennium. Every day UMS seeks to cultivate, nurture and stim?ulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university
and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perfor?mance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through?out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, com?missioning of new works, youth programs, artists residencies and other collaborative pro?jects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 80 performances and more than 150 educational events each season. UMS has flourished with the support of a generous community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, the Lydia Mendelssohn Theatre, and Nichols Arboretum.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation, which supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
For more information about the UMS Choral Union, please call 734.763.8997.
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conduc?tors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Four years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for sub?scription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, and Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugu?rating the partnership with a performance of Britten's War Requiem, and continuing with per?formances of Berlioz' Requiem, Elgar's The Dream ofGerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include perfor?mances with the Grand Rapids Symphony, join?ing with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Evidence of the Choral Union's artistic range can be found in the breadth of repertoire from the 1997-98 season: on one hand, the singers gave acclaimed performances of Mendelssohn's Elijah and Handel's Messiah in Hill Auditorium, and on the other, equally successful concert pre?sentations of Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical theatre favorites with Erich Kunzel and the DSO at Meadow Brook.
This season, the UMS Choral Union will perform in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra and Neeme Jarvi, including perfor?mances of Brahms' A German Requiem, Kodaly's Psalmus Hungaricus, and Rachmaninoff's mon?umental The Bells. Other programs include Handel's Messiah and Mozart's Requiem with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
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:
Now entering its third year, this series is an oppor?tunity to showcase and engage our artists in infor?mal, yet in-depth, dialogues about their art form, their body of work and their upcoming perfor?mances. This year's series includes interviews with:
Maestro Valery Gergiev of the Kirov Orchestra of St. Petersburg
Jazz Tap Summit dancers and choreographers
Pianist Mitsuko Uchida
Choreographer Merce Cunningham
Composer Steve Reich and Filmmaker Beryl Korot.
Kimberly Camp, Director of the Museum of African American History in Detroit, inter?views choreographer Donald Byrd
This series of pre-performance presentations fea?tures talks, demonstrations and workshops designed to provide context and insight into the performance. Led by local and national experts in their field, all PREPs are free and open to the public and begin one hour before curtain time. Some highlights from this year's series include:
Greg Hamilton of the Academy of Early Music hosts a brief interview with Jordi Savall, violist and Music Director of Hesperion XX.
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students precedes three of the four concerts by the American String Quartet.
David Vaughan, company archivist for the Merce Cunningham Dance Company, leads talks on Cunningham's 50-year body of work.
Professor Kenn Cox interviews members of the Lincoln Center Jazz Orchestra,
And other highlighted PREPs featuring Naomi Andre, Richard LeSueur and other experts.
Dr. Alberto Nacif leads a demonstra?tion before the per?formance by Los 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.
The Meet the Artist Series provides a special oppor?tunity for patrons who attend performances to gain additional understanding about the artists, perfor?mance and art form. Each Meet the Artist event occurs immediately after the performance, and the question-and-answer session takes place from the stage. This year, patrons will have the opportunity to meet, among others:
Choreographers Bill T. Jones, Merce Cunningham and Meryl Tankard
Members of the a cappella group Sweet Honey in the Rock
Actor Roger Guenveur Smith
The American String Quartet and composer Kenneth Fuchs
The Emerson String Quartet with pianist Menahem Pressler
A series of workshops for all K-12 teachers, these workshops are a part of UMS' efforts to provide school teachers with professional development opportunities and to encourage on going efforts to incorporate the arts in the curriculum. This year's workshops include three by Kennedy Center educa?tors and three led by local experts tailored to UMS performances:
Bringing Literature to Life. Workshop Leader: Leonore Blank Kelner, Kennedy Center Arts Educator, Monday, October 12, 4-7 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-5.
The Gospel at Colonus. Tuesday, December 8,4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Kodo. Monday, January 25,4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Alvin Ailey American Dance Theater. Tuesday, February 2,4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Storytelling: Involving Students in African Tales. Workshop leader: Dylan Pritchett, Kennedy Center Arts Educator, Monday, March 8,4-7 p.m., Balas II building, Ann Arbor, Grades 1-6
Special Education: Movement Strategies for Inclusion. Workshop leader: Eric Johnson, Kennedy Center Arts Educator, Monday, March 22,4-7 p.m. Washtenaw Intermediate School District, Ann Arbor, Grades K-8.
The Teacher Workshop Series is made possible in part by the generous support of the Charles Reinhart Realty Company.
Information on the above events can be found in the season listing in the following pages, the UMS Fall and Winter brochures, the Fall and Winter Education Listings or on the UMS Website at:
1998-99 UMS Season
Look for related Educational Events listed in blue.
EIKO & KOMA: RIVER Friday, September 11,8:15 P.M. Saturday, September 12, 8:15 P.M. Seating on the banks of the Huron River in the Nichols Arboretum. Master Classes taught by I-ikn. 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 1 iko and Koma of their "Environmental Trilogy: Land, U'imand River." Friday, September 11,12 noon, U-M Institute for the Humanities.
Delicious Movement Class for dancers, musicians, singers, actors and visual artists taught by Eiko and Koma. Saturday, September 12, 12 noon, Dance Gallery Peter Sparling & Co. Call 734-747-8885 to register.
Sponsored by McKinley Associates. Media Partner WGTE.
Friday, October 9,8 P.M.
Michigan Theater
Sponsored by Charles Hall with additional
support from AAA Michigan. Media partner
Saturday, October 10, 8 P.M.
Hill Auditorium
Sponsored by Charla Breton Associates.
Media Partner WGTE.
Wednesday, October 14,8 P.M.
Rackham Auditorium
Sponsored by Red Hawk Bar & Grill and
Friday, October 16, 8 P.M.
Michigan Theater
Presented in partnership with the U-M
Institute for Social Research in Celebration
of its 50th Anniversary. Media Partner WEMU.
GUARNERI STRING QUARTET Sunday, October 18 P.M. Rackham Auditorium Sponsored by Deloitte & Touche.
Friday, October 23,8 P.M.
Power Center
Master Class led by land Wong, Company
Rehearsal Director. Wednesday, October
21,7 p.m.. I lance GalleryPeter Sparling &
Co. Call 734-747-8885 to register.
Master Classes led by anel Wong,
Company Rehearsal Director and dancer
Alexandra Heller. Ten participant and ten
tree observer places per class open to (lie
public. Thursday, October 22. II a.m.
and 12:45 p.m., I'M Dance Deptarmenl.
Call 734-763-5460 to register.
PREP Video talk of Bill T. lone-' work.
Friday, October 23, 7 p.m., MI League
Koessler Library.
Meet the Artists Post-performance dialogue
from the stage.
Media Partner WDET.
Saturday, October 24,8 P.M.
Hill Auditorium
PREP "Bartrik and Stravinsky at the
(xossroads" (ilenn Watkins, Earl V. Moore
Professor Emeritus of Musii i
Saturday, October 21, 7 p.m.. Ml League
Koessler Library.
Sponsored by Thomas B. McMullen Co.
Media Partner WGTE.
Tuesday, October 27,8 P.M. Lydia Mendelssohn Theatre Sponsored by KeyBank with additional support from Maurice and Linda Bitikow. Media Partner WGTE.
Friday, October 30,8 P.M.
St. Francis of Assisi Catholic Church
PREP Greg I lamilton of the Academy of
Early Music interviews lordi Savall.
Friday, October 30,7 p.m., St. Francis
School Music Room.
Master of Arts Interview and Open Rehearsal (lonductor Valery iergiev interviewed by Ann Arbor Symphony Orchestra Conductor Sam Wong. Monday, November Z. 1 p.m.. Kill Auditorium. Presented with the generous support of Dr. Herbert Sloan. Media Partner WGTE.
VIENNA VIRTUOSI PRINCIPAL MEMBERS OF THE VIENNA PHILHARMONIC ERNST OTTENSAMER, CLARINET Thursday, November 5, 8 P.M. Rackham Auditorium Presented with support from Butzel Long, Attorneys and Counselors.
Saturday, November 7,8 P.M.
Hill Auditorium
Photo Hxhibit "Plenty ol iood Women
Dancers: African American Women
Hoofers from Philadelphia. October 19-
November 13, Ann Arbor histrkt Library,
Main Branch.
Gifts of Art Local and lap artists
perform. Thursday November 5t 12
noon. I'M Hospital Main Lobby. Master of Arts Interview with artists from Jazz Tap Summit. Friday, November 6, 7 p.m.. MI League Hussey Room. Master Classes with tap artists featured in la Tap Summit. For information and registration, call Susan lilipiak of Swing City Dance Studio, 734-668-7782. Jazz Tap LectureDemonstration by Dianne Walker. Saturday, November, 7, 1 p.m., Ann Arbor District I ibrary. Tap Jam Saturday, November 7, 7 p.m., I lill Auditorium plaza. Sponsored by ElasrizelL Media Partner WEMU.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, November 8, 4 P.M. Rackham Auditorium PREP Steven Whiting, I'M Assistant Professor of Musicology, with U-M School
Look for valuable information about UMS, the 199899 seasor our venues, educational activities, and ticket information. ??
of Music student musicians. Sunday, Nov?ember 8, 3 p.m., Rackham Assembly Hall. Meet the Artists Post-performance dialogue Irom the stage.
Delicious Experience The American String Quartet cooks tor I'MS patr a part of the I'MS Delicious Experience
mber 10. For infor-
mation and reservations call 734-936-6837. Brochure available in late September. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
MITSUKO UCHIDA, PIANO Wednesday, November 11,8 P.M. Hill Auditorium
Master of Arts Interview with Mitsuko Uchidfl ovember 10. 7 p.m.,
I'M School of Music Recital Hall. Media Partner WGTE.
Thursday, November 12,8 P.M.
Rackham Auditorium
Sponsored by NBD. Additional support
provided by Crown House of Gifts.
Friday, November 13, 8 P.M. St. Francis of Assisi Catholic Church PREP Benjamin Bagby, director of Onlo Virtittum. Friday, November 13,7 p.m., St. Francis School Music Room. Presented with support from the Consulate General of the Federal Republic of Germany. Media Partner WDET.
Wednesday, November 18 Saturday,
November 21,8 P.M.
Trueblood Theatre
Lecture Ahmed Rahman, Ph.D. student in
IiMorv. Thursday, November 19, 5 p.m.,
CAAS Lounge, 209 West Hall.
Meet the Artists Post-performance dialogue
from the stage alter each performance.
Media Partner WEMU.
Sunday, November 22, 4 p.m.
Rackham Auditorium
Meet the Artists Post-performance
dialogue from the stage.
PREP "The Trials and Tribulations of
Brahms' Piano Quintet" U-M Profi
Ellwood Derr, Sunday, November 22, 3
P.M. Ml League,Vandenberg Room.
Sponsored by Bank of Ann Arbor.
THE HARLEM NUTCRACKER DONALD BYRDTHE GROUP MUSIC BY DUKE ELLINGTON AND DAVID BERGER Friday, November 27 Sunday, December 6 12 performances, Detroit Opera House. Co-presented with the Detroit Opera House and The Arts League of Michigan Youth Gospel Choirs Pre-performance songs by area youth gospel choirs sung in the lobby of the Detroit Opera House. Lobby Exhibit Photo exhibit of local African American family life in the Detroit Opera Hous Sponsored by the University of Michigan with additional support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Arts Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner WMXD.
Saturday, December 5,8 P.M.
Sunday, December 6,2 P.M.
Hill Auditorium
Presented with the generous support of
Jim and Millie Irwin.
Friday, January 8,8 P.M.
Power Center
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by First of America Bank.
Saturday, January 9,8 P.M.
Sunday, January 10,4 P.M.
Lydia Mendelssohn Theatre
Sponsored by KeyBank with additional
support from Maurice and Linda Binkow.
Media Partner WGTE.
RENEE FLEMING. SOPRANO Thursday, January 14, 8 P.M. Hill Auditorium
PREP N.iomi Andre, I -M Assistant Professor ol Music History and Musicology. Thursday, January, 14,
7 p.m., MI League I kisses' Room. Sponsored by Pepper, Hamilton and Scheetz, L.L.P. Media Partner WGTE.
Friday, January 15 Saturday, January 16,
8 P.M.
Sunday, January 17,3 P.M. Monday, January 18,3 P.M. Choir Workshop with the music director
ospelal Column. Saturday, November 14, Museum of African American Histoy in Detroit. Call 734-647-6712 for information and registration. Community Gospel Sing Along with the cist of The Gospel at ('olonus. Wedn January 13, 7 p.m. Call 734-647-6712 lor information and registration. Family Performance Special one-hour performance tor parents and their children. Saturday, January 16,2 p.m., Powei ? 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 Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
DAVID SHIFRIN, ARTISTIC DIRECTOR BENGT FORSBERG, PIANO Friday, January 29,8 P.M. Lydia Mendelssohn Theatre PREP Richard 1 eSueur, 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, January 30,2 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, February 7, 4 P.M. Rackham Auditorium PREP Steven Whiting, U-M Assistant Professor of Musicology with I'M School ol 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 ASQ and composer Kenneth Fuchs. Lecture by composer Kenneth Fuchs. Monday, February 8,12 noon, U-M School of Music, Room 2033. Panel Discussion "Interdisciplinary Creativity in the Arts" moderated by U-M English Professor Julie Ellison, in conjunction with the Beethoven the Contemporary and Merce Cunningham Residencies.
Tuesday, February 9,7 p.m., Kackham 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.
IMMfflCESION: THE MERCE CUNNINGHAM DANCE COMPANY Friday, February 12 Saturday, February 13,8 P.M. Power Center
Mini-Course U-M students can e.irn 2 credit hours in a course drawn from the UMS residency. Information session held in January. Gill 734-763-5460 for information. Brown Bag Lunch alxmt Merce Cunningham. luesday, lanuary 12, 12 noon, I'M Institute (or the i lumanities. Cunningham Company Family Event Parents and their children (ages 7 and up) explore visual art, dance and music in a workshop which culminates in a tree per?formance and reception at the Power Center on Wednesday, February 10. Workshop held Saturday, 1 ebruary (, 4 p.m. at the Ann Arbor Art Center and I lance (ialleryPeter Sparling & Co. Call 994-8004 xlOl for information and regis?tration, or walk-in registration at the Ann Arbor Art ("enter.
Youth and Adult Art Classes with con?nections to the Cunningham Company held in the fall and winter. Call 734-994 8004 xlOl for information and registra?tion, or walk-in registration at the Ann Arbor Art Center.
Lobby Exhibit Art from the youth das', it the Ann Arbor Art Center on display February 1-14, Power Center Lobby. Brown Bag Lunch on John Cage's Cartridge Music, presented by l.aura Kuhn, Director of the John Cage Trust, and U-M Professor Stephen Rush. Tuesday, February 9, 12 noon, U-M Institute for the Humanities.
Music and Dance for choreographers and composers, with Laura Kuhn, Director of the lohn ("age Trust and U-M Professor Stephen Rush. Tuesday, February 9, 2:45 p.m., U-M Dance Building Studio A. Master of Arts Interview Choreographer Mcrcc Cunningham is interviewed by Roger Copcland with video clips of his work. Thursday, February 11, 7 p.m., U-M Dance Building, Betty Pease Studio. Advanced Technique Master Classes taught by Meg Harper. Ten participant and ten free observer places per class open
to the public, with eight classes available. Tuesday, February 9 Friday, February 12, U-M Dance Dcpt. Call 734-763-5460 to register.
Advanced Technique Master Class taught by Meg 1 larpcr. Saturday, February 13, 10:30 a.m., Dance GalleryPeter Sparling & Co. (:.ill 734-747-8885 to register. Study Day Cunningham Company Archivist David vaughan leads class and discussions of Cunningham and his col?laborators' works at an open class and company rehearsal. Saturday, February 13, 11 a.m., Power Center balcony. Call 734-647-6712 for information and regis?tration.
PREP Company Archivist David Vaughan leads ,i video discussion of Cunningham works. Friday, February 12, 7 p.m., Modem I anguages Building Lecture Room. Meet the Artists Post-performance dia?logue from the stage, Friday, February 12. PREP("oinpain Archivist David Vaughan leads a video discussion of (Cunningham works. Saturday, February 13,7 p.m., Ml League Hussey Room. Media Partner WDET.
Sunday, February 14, 4 P.M. Hill Auditorium
Sponsored by Sesi Lincoln-Mercury. Media Partner WGTE.
ORPHEUS CHAMBER ORCHESTRA PEPE ROMERO, GUITAR Monday, February 15, 8 P.M. Rackham Auditorium
Friday, February 19 Saturday, February 20, 8 P.M. Power Center
PREP Video talk of Meryl Tankard's work. Friday, February 14, 7 p.m.. Ml League Hussey Room.
PREP Video t.ilk of Meryl Tarkard's work. Saturday, February 20, 7 p.m., MI League Koessler Library.
Meet the Artists Post-performance dia?logue from the stage. Media Partner WDET.
Tuesday, February 23 Thursday,
February 25,8 P.M.
Power Center
Sponsored by NSK Corporation with support
from Beacon Investment Company and the
Blue Nile Restaurant. Media Partner WDET.
Thursday, March 11,8 P.M.
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research. Media Partner WGTE.
Friday, March 12,8 P.M.
Michigan Theater
Sponsored by Miller, Canfield, Paddock and
Stone, LLP. Media Partner WEMU.
TAKACS QUARTET Thursday, March 18, 8 P.M. Rackham Auditorium
Friday, March 19 Saturday, March 20,
8 P.M.
Sunday, March 21,4 P.M. Power Center
PRF.P Video talk of signature Ailey pieces. Friday, March I1), 7 p.m.. Ml League Vandenberg Room.
PREP Video talk of signature Ailey pieces. Saturday, March 20, 7 p.m., MI League 1 lussey Room.
Sponsored by Forest Health Services and Mr. and Mrs. Randall Pittman. Media Partner WDET.
THE TALLIS SCHOLARS PETER PHILLIPS, DIRECTOR Wednesday, March 24, 8 P.M. St. Francis of Assisi Catholic Church
Thursday, March 25,8 P.M. Michigan Theater
Presented with support from Republic Bank. Media Partner WDET.
Friday, March 26, 8 P.M.
Hill Auditorium
Meet the Artists Post-performance
dialogue from the stage.
Presented with support from Comcrka
Bank and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media Partner WEMU.
BEETHOVEN THE CONTEMPORARY Sunday, March 28,4 P.M. Rackham Auditorium Beethoven the Contemporary Symposium Papers, panel discussion, and keynote speaker Michael Steinberg on Beethoven and contemporary composers. Saturday, March 27, 2 p.m., U-M School of Music Recital Hall. PREP Steven Whiting, U-M Assistant Professor of Musicology, with U-M School of Music student musicians. Sunday, March 2X, 3 p.m., Rackham Assembly i [all.
Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
TRIO FONTENAY Tuesday, March 30,8 P.M. Rackham Auditorium
STEVE REICH ENSEMBLE Saturday, April 10,8 P.M. Michigan Theater
Master of Arts Interview Composer Steve Reich and Filmmaker Beryl Korot inter?viewed by Mark Stryker. I;riday, April 9, time and location TBD. Media Partner WDET.
Thursday, April 15,8 P.M. Hill Auditorium
Sponsored by Edward Surovell Realtors. Media Partner WGTE.
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 LcSueur, Vocal Arts Information Services. Saturday, April 17, 7 p.m.. Modern Languages Building Lecture Room.
Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
Sunday, April 18,8 P.M.
St. Francis of Assisi Catholic Church
Thursday, April 22, 8 P.M. Michigan Theater Media Partner WDET.
Friday, April 23, 8 P.M. Hill Auditorium
PREP Kenn Cox, Professor of Music at Michigan State and Wayne State Universities, interviews members of the Lincoln 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.
Sunday, April 25,4 P.M.
Hill Auditorium
Sponsored by Trimas Corporation with
additional support from Weber's Inn.
Media Partner WGTE.
Featuring the presentation of the 1999
UMS Distinguished Artist Award
(Artist to be announced in January, 1999)
Saturday, May 8,6 P.M.
Hill Auditorium and Michigan League.
Sponsored by the Ford Motor Company
University Musical Society
of the University of Michigan 1998-1999 Fall Season
Event Program Book
Monday, November 2 through Wednesday, November 11,1998
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.
Kirov Orchestra of the 3
Mariinsky Theatre, St. Petersburg
Valery Gergiev, Music Director Monday, November 2, 8:00pm Hill Auditorium
The Vienna Virtuosi 11
Members of the Vienna Philharmonic Ernst Ottensamer, clarinet Thursday, November 5, 8:00pm Rackham Auditorium
Jazz Tap Summit: 19
An All-Star Celebration of Tap Dancing
Saturday, November 7, 8:00pm Hill Auditorium
American String Quartet 27
Beethoven the Contemporary Sunday, November 8, 4:00pm Rackham Auditorium
Mitsuko Uchida, piano 33
Wednesday, November 11, 8:00pm Hill Auditorium
Dr. Herbert Sloan
Kirov Orchestra
of the Maninsky Theatre, St. Petersburg
Valery Gergiev, Music Director
Pyotr Ilyich Tchaikovsky
Monday Evening, November 2,1998 at 8:00 Hill Auditorium, Ann Arbor, Michigan
The Nutcracker, Op. 71
The Christmas Tree March
Little Galop and Entrance of the Guests
Dance Scene: Distribution of the Presents
Scene and Grandfather's Dance
Scene: Guests Depart
Scene: Battle between the Nutcracker and the Mouse King
Scene: Pine Forest in Winter
Waltz of the Snowflakes
Scene: The Magic Castle
Clara and the Nutcracker Appear
Chocolate (Spanish Dance)
Coffee (Arabian Dance)
Tea (Chinese Dance)
Trepak (Russian Dance)
Dance of the Mirlitons
Clowns' Dance
Waltz of the Flowers Pas de Deux:
Variation 1 (Tarantelle)
Variation 2 (Dance of the Sugar-Plum Fairy)
Coda Final Waltz and Apotheosis
Fourteenth Performance of the 12O'h Season
120th Annual Choral Union Series
This performance is presented with the generous support of Dr. Herbert Sloan. Special thanks to Dr. Sloan for his continued support of UMS.
Additional support is provided by media partner WGTE.
Special thanks to Maestro Sam Wong of the Ann Arbor Symphony Orchestra for serving as interviewer of Maestro Gergiev for the Master of Arts Interview Series.
Valery Gergiev and the Kirov Orchestra record exclusively for Philips.
Large print programs are available upon request.
The Nutcracker, Op. 71
Pyotr Ilyich Tchaikovsky
Born May 7, 1840, in Kamsko-Votkinsk,
Vyatka province, Russia Died November 6, 1893, in St. Petersburg
With some trepidation, Tchaikovsky agreed to appear as a conductor in the inaugural concert of New York's Carnegie Hall on May 5,1891. Perhaps he felt that even the sea?sickness, homesickness, and stage fright that awaited him on his trip to America might be preferable to the uncongenial assignment that now lay on his desk. He had played no part in choosing the subject of his ballet The Nutcracker -the Director of the Imperial Theater had done that -and now the enig?matic fantasy tale by E.T.A. Hoffmann had been reduced to a confused, stop-and-start libretto bristling with loose ends. Furthermore, before composition even began, the celebrated choreographer Marius
Petipa had presented Tchaikovsky with pages of instructions, specifying the mood, the sounds, and even the exact number of bars of music he wanted for each section of the ballet. The composer resolved to make the best of the situation. "I am laboring with all my might, and am beginning to be reconciled to the subject of the ballet," he wrote his brother Modest. "I think I shall finish a good deal of it before my departure."
In April, with Act I mostly written, Tchaikovsky departed for Paris, where he first heard a celesta, the new instrument that would help create the magical atmosphere of The Nutcracker, especially in the Sugar-Plum Fairy scenes. He wrote to his publisher Jurgenson in Moscow with instructions to buy a celesta: "I don't want you to show it to anybody, for I'm afraid that Rimsky-Korsakov or Glazunov will smell it out and take advantage of its unusual effects before me." Then it was on to New York (and
Baltimore, Washington, Philadelphia, and Niagara Falls), where he basked in lavish American hospitality ("there is nothing like it save, perhaps, in our own country," he wrote to Modest) and admiration of his music ("It seems I am ten times better
known in America than I am in Europe__
They have played the Fifth Symphony two years running. Isn't this funny!!!").
Reinstalled in his country house near St. Petersburg, and perhaps buoyed by his successes abroad, he finished The Nutcracker in two weeks, at first glumly calling it "infi?nitely worse than The Sleeping Beauty" his acclaimed ballet of the year before, but admitting a few weeks later that "authors are often wrong in evaluating their works while in the throes of creation.. .now it seems to me that the ballet is good."
Apparently Tchaikovsky's music was the best thing about this ballet. Critics mocked the dancers, the plot, and the costumes, but
they admired the composer's
melodies and, in some cases, his k "symphonic" style. Even before the first stage performance, the composer compiled and con?ducted The Nutcracker Suite
that would keep this music familiar to concertgoers for nearly a century. In recent years, countless ballet companies have discovered the complete ballet's matchless properties as a Christmas
spectacle, box-office attraction and bridge-builder to youthful and family audiences.
As a result of this latest trend, the music of the complete ballet is not so unfamiliar as it once was. Nevertheless, it's good to sit in a concert hall, away from extravagant costumes and settings, and focus our attention on the enormous creativity that Tchaikovsky has lavished on seemingly simple themes, evok?ing the vibrant imagination and complex emotions of childhood.
Since the music was composed to
accompany dramatic action, some play-by?play description is called for. The Overture is in toy-symphony style, cunningly scored for only the higher-pitched strings and winds, with only a tinkling triangle to suggest mili?tary percussion. The stage curtain then rises on the Silberhaus family's Christmas party, with many greetings and dances for the whole ensemble. The elderly "Uncle" Drosselmayer arrives, bearing gifts for all the children, including a nutcracker for daughter Clara and her brother Fritz, which the latter breaks while playing with it. A rocking string theme accompanies the gradual departure of the party guests and the children's going off to bed. The darkness of night -evoked in the empty sonic space between very high and low instruments -settles on the scene, and Clara returns for one last look at the nut?cracker. Drosselmayer's face appears in the clock as it strikes midnight. Mice scurry around the room; Clara tries to flee, but instead collapses in a chair. Now the world of fantasy takes over, as a long orchestral crescendo depicts the family Christmas tree growing to enormous size.
The mice return, and the toy soldiers around the tree rise up to do battle with them, in a sort of weightless parody of Tchaikovsky's own 1812 Overture. At first, the toys are getting the worst of it, but then the Nutcracker enters the fray, engaging the Mouse King in single combat. At a crucial moment, Clara saves the Nutcracker's life by throwing her slipper at the Mouse King. The battle music halts, to be replaced by swelling, romantic melody as the Nutcracker reveals himself to be a handsome Prince, who invites Clara to visit his kingdom. They jour?ney to this snow-covered landscape, then watch the flutter and swirl of the falling snow, as represented by the corps de ballet in the Waltz of the Snowflakes. On this serene note, Act I comes to a quiet close.
As Act II begins, Clara and the Prince are on their way again, accompanied by the
sort of delicate, harpand ceesta-colored music that suits a fantasy journey. They arrive in the land of the Sugar-Plum Fairy -the Confiturembourg, literally the "Jam Mountain" -where the Prince recounts how Clara saved his life (in a short recapitulation of themes from Act I) and a banquet table is spread for the guests. The divertissement, or entertainment, consists of brief, fanciful dances on Spanish, Arabian, Chinese, and Russian themes (the long-familiar music of The Nutcracker Suite), a Dance of Mirlitons (which means both a kind of cookie and a small flute), and the famous Waltz of the Flowers, written to Petipa's precise specifica?tions and yet overflowing with spontaneous melodies. The next-to-last section is the romantic climax of the ballet, its first and only pas de deux. In dramatic terms, the moment should belong to Clara and her Prince, but in productions (including the original one) where a child dancer plays Clara, the Sugar-Plum Fairy and her consort do the honors. This number is itself in four sections: the fervent Entrata, featuring a patented Tchaikovsky love theme, overflow?ing with passion yet tinged with tragedy in its falling phrases, a foretaste of the Pathetique Symphony; a tarantella variation; the Sugar-Plum Fairy's variation, matching the magic of the celesta with the humor of the bass clarinet; and a brilliant coda. After one more waltz for the company, Clara and her Prince board a boat and sail away into the sky.
Copyright O 1998 by David Wright
The Kirov Orchestra has a long and distinguished history as one of the oldest musical institutions in Russia. Founded in the eighteenth century during the reign of Peter the Great, it was known before the revolution as the Russian Imperial Opera Orchestra. Housed in St. Petersburg's famed Mariinsky Theatre (named for the favorite daughter of Czar Nicholas I) since 1860, the Orchestra entered
its true "golden age" during the second half of the nineteenth century under the music direction of Eduard Napravnik (1839-1916). Napravnik single-handedly ruled the Imperial Theatre for more than half a century (from 1863-1916) and under his leadership, the Mariinsky Orchestra was recognized as one of the finest in Europe. He also trained a generation of outstanding conductors, devel?oping what came to be known as "the Russian school of conducting."
The Mariinsky Theatre has also been the birthplace of numerous operas and ballets which have come to be regarded as master?pieces of the nineteenth and twentieth cen?turies. World premiere performances at the theatre include Glinka's Life of a Tsar and Ruslan and Lyudmila; Borodin's Prince Igor; Mussorgsky's Boris Godunov and Khovanshchina; Rimsky-Korsakov's Maid of Pskov, The Snow Maiden and Legend of the Invisible City ofKitezh, among others; Tchaikovsky's Queen of Spades, Iolanta, Swan Lake, The Nutcracker and Sleeping Beauty; Prokofiev's The Duenna; as well as operas by Shostakovich and ballets by Khachaturian.
Peter Ilyich Tchaikovsky was closely associated with the Mariinsky Theatre, not only conducting the orchestra but also pre-miering his Symphony No. 5, fantasy overture Hamlet and Symphony No. 6. Serge Rachmaninoff conducted the Orchestra on numerous occa?sions, including premieres of his cantata Spring and symphonic poem, The Bells. In addition, he was highly regarded as an inter?preter of Russian composers and led notable performances of Tchaikovsky's Queen of Spades and Prokofiev's Sinfonietta. The Orchestra also premiered the music of the young Igor Stravinsky, including his Scherzo Fantastique and suite from The Firebird ballet.
Throughout its history, the Mariinsky Theatre has presented works by Europe's leading opera composers -Handel, Rossini, Gounod and Wagner. In 1862, Verdi's La Forza del Destino was given its world premiere
at the theatre in the presence of the composer. Wagner was a favorite at the Mariinsky Theatre, where his operas were frequently performed from the nineteenth through the beginning of the twentieth centuries, includ?ing the first Russian performances of the complete Ring cycle, Tristan und Isolde, Die Meistersinger and Parsifal. The Ring cycle was conducted by Hans Richter, who was the first to conduct the complete Ring in Bayreuth and at Covent Garden.
The Mariinsky Orchestra also gave the first Russian performances of Richard Strauss' Elektra, Salome and Der Rosenkavalier, and Berg's Wozzeck in a production that took place two years after its world premiere in Berlin and twenty years before its premiere in Vienna.
By 1917 the orchestra's name had changed to The Royal Imperial Theatre Orchestra, and was regarded as St. Petersburg's most renowned symphony orchestra. Its repertoire -operatic and orchestral -has traditionally encompassed not only music of Russian composers but also that of European composers, both classical and contemporary. Numerous internationally famous musicians conducted the Orchestra, among them Hans von Bulow, Felix Mottl, Felix Weingartner, Alexander von Zemlinsky, Otto Nikisch, Willem Mengelberg, Otto Klemperer, Bruno Walter and Erich Kleiber.
On two occasions, 1847 and 1867, Hector Berlioz led performances of his own works, including Damnation of Faust, Romeo and Juliet, Symphony fantastique and Harold in Italy. Berlioz wrote in his memoirs, "Such an orchestra! Such precision! Such an ensemble!" And in a letter dated December 1867, he wrote, "I don't think Beethoven had a better performance of his compositions!" In March and April 1863, Richard Wagner visited St. Petersburg and led the Royal Imperial Theatre Orchestra in six programs of Beethoven symphonies and his own com?positions, plus the world's first concert per-
formance of the "Prelude" and "Liebestod" from Tristan und Isolde. Gustav Mahler appeared with the Orchestra in both 1902 and 1907, conducting five concerts, includ?ing a performance of his Symphony No. 5. In 1912, Arnold Schoenberg conducted the premiere of his symphonic poem, Pelleas et Me'lisande.
Renamed the Kirov during the Soviet era, the orchestra continued to maintain its high artistic standards under the leadership of Evgeni Mravinsky and Yuri Temirkanov. Since Valery Gergiev became artistic director in 1988, the Kirov has forged important relationships with the world's great opera houses, among them London's Royal Opera House, the San Francisco Opera, Paris Opera de la Bastille, and the Metropolitan Opera. Soon after the city of Leningrad was renamed St. Petersburg, the Kirov Theatre reverted to its original title of the Mariinsky Theatre, home to the Kirov Opera, the Kirov Ballet, and the Kirov Orchestra.
This performance marks the Kirov Symphony Orchestra's second appearance under UMS auspices.
Valery Gergiev is Director of the Mariinsky Theatre in St. Petersburg, Russia, home to the Kirov Opera and Ballet, Principal Conductor of the Rotterdam Philharmonic Orchestra and Principal Guest Conductor of The Metropolitan Opera.
Mr. Gergiev is Artistic Director of the Stars of the White Nights Festival held annu?ally in St. Petersburg, presenting principal soloists of the Mariinsky Theatre and inter?national guest artists in opera, ballet, recital, symphonic and choral concerts. The Rotterdam PhilharmonicGergievPhilips Festival, for which he is Artistic Director, features performances by the Rotterdam Philharmonic and the Kirov Opera and Orchestra. He is Director and founder of the
Mikkeli International Festival in Finland, Peace to the Caucasus Festival, and the Red Sea International Music Festival in Eilat, Israel, all fea?turing the Kirov Opera and Orchestra and major soloists.
In 1998-99, Valery Gergiev and
the Kirov Orchestra make their first tour of China. They return to America for a national tour which includes this Ann Arbor concert and three concerts at Carnegie Hall featuring the later works of Tchaikovsky. Maestro Gergiev conducts Kovanshchina and Pique Dame at The Metropolitan Opera and returns to the San Francisco Opera for the Kirov production of Betrothal In A Monastery. He appears with the New York Philharmonic for two weeks, Philharmonia, Santa Cecilia Orchestra and makes his debut with the Philadelphia Orchestra.
During 1997-98, the Kirov Opera appeared in South America for the first time. They returned to the Theatre des Champs-Elysees in Paris presenting Boris Godunov and Betrothal in a Monastery. Their activities in London include concerts at the Barbican and Royal Festival Hall, and a Royal Gala perfor?mance of Boris Godunov at the Theatre Royal in the presence of The Prince of Wales. They presented Salome at the New Israeli Opera and appear at the Baden-Baden Festival with Pique Dame, The Gambler and symphonic programs. They opened EXPO 1998 in Lisbon, the last world's fair of the twentieth century, and tour extensively throughout Europe.
During the spring of 1998, Valery Gergiev and the Kirov were presented by The Metropolitan Opera for a three-week "Kirov Opera Festival" featuring Prince Igor, Ruslan and Lyudmila, Betrothal in a Monastery, Mazeppa and a Gala concert.
Mr. Gergiev appeared with the New York Philharmonic for two weeks, the London Philharmonic, Philharmonia, Royal Opera with concert performances of Tchaikovsky's The Enchantress, La Scala for Khovanshchina, The Metropolitan Opera for Boris Godunov and for the opening concert of the Baden-Baden Festival, he conducted an orchestra comprised of principal musicians from the leading orchestras of the world. Mr. Gergiev inaugurated the KirovPhilharmonia Festival at the Royal Festival Hall under the patronage of The Prince of Wales. He returned to the Salzburg Festival for appearances with the Vienna Philharmonic including Parsifal with Placido Domingo and Waltraud Meier in concert.
Born in Moscow to Ossetian parents, Mr. Gergiev studied conducting with Ilya Musin at the Leningrad Conservatory. At the age of twenty-three he won the Herbert von Karajan Conductors Competition in Berlin. He made his Kirov Opera debut in 1978 with War and Peace, later became Assistant Conductor to Yuri Temirkanov and was designated Artistic Director and Principal Conductor in 1988. In 1996, the Russian government appointed Valery Gergiev Director of the Mariinsky Theatre. He has appeared with the leading orchestras of the former Soviet Union and for four years was Chief Conductor of the Armenian State Orchestra.
Mr. Gergiev has guest conducted the major orchestras of the world, including the Los Angeles Philharmonic, New York Philharmonic, San Francisco Symphony, Royal Concertgebouw in Amsterdam, Royal Philharmonic, Santa Cecilia of Rome, Boston Symphony, Chicago Symphony, Cleveland Orchestra, London Philharmonic, London Symphony, NHK Symphony in Tokyo and Berlin Philharmonic.
Valery Gergiev has recorded exclusively for Philips Classics since 1989. His recordings include the complete operas Maid of Pskov, Khovanshchina, War and Peace, Sadko, Prince Igor, Pique Dame, Ruslan and Lyudmila,
Iolanta, Fiery Angel {Gramophone Magazine's 1996 selection for Opera recording of the year), La Forza del Destino and the complete ballets Romeo and Juliet and Sleeping Beauty. Releases of orchestral music include Rachmaninov's Symphony No. 2, Shostakovich's Symphony No. 8, Borodin Symphonies Nos. I and 2, a disc of Russian showpieces entitled White Nights as well as Tchaikovsky and Verdi arias with Galina Gorchakova and Mussorgsky's Songs and Dances of Death with Dmitri Hvorostovsky.
Current releases include The Gambler, Mazeppa, Kashchei the Immortal, Maid of Pskov, Betrothal in a Monastery, the complete cycle of Prokofiev piano concertos with Alexander Toradze with the Kirov, and Ivan the Terrible with the Rotterdam Philharmonic.
This performance marks Valery Gergiev's ond appearance under UMS auspices.
The Kirov Orchestra of the Mariinsky Theatre, St. Petersburg
Valery Gergiev, Music Director
First Violins
Yuri Zagorodniuk, Principal
Sergei Levitin, Principal
Rafael Khismatulin, Principal
Pavel Fainberg
Leonid Vexler
Anna Vaiman
Grigori Ounanian
Sergei Zakurin
Elena Berdnikova
Leonid Kirichenko
Boris Vassiliev
Tatiana Rusetskaia
Konstantin Soloviev
Vsevolod Vassiliev
Vladimir Podenkov
Lolita Silvian
Artour Dzhavadyan
Maria Safarova
Second Violins
Georgi Shirokov, Principal
Zumrad Ilieva, Principal
Janna Abdulaeva
Ildar Gatov
Alexander Soloviev
Svctlana luravkova
Alexander Vasiliev
Viktoria Shchoukiru
Ivan Krasilnikov
Mark Kogan
Nina Pirogova
Elena Khaitova
Viktor Zaitsev
Anna Gloukhova
Olga Kirillova, Principal Yulia Malkova, Principal Vladimir Litvinov Robert Pakkanen Viktor Zakharov Ekatcrina Garshina Svetlana Kozlova Irina Dikhtyar Sergei Evtikhov Dmitri Vassilevski Elena Solovieva Andrei Pavliutchenkov
Zenon Zalitsailo, Principal Yuri Loevski, Principal Alexander Ponomarenko Nikolai Vasiliev Vitaly Naidich Riza Gimaletdinov Boris Mejvinski Natalia Baykova Sarkis Guinosian Inna Zalitsailo Georgi Tleoubaev
Kirill Karikov, Principal Vladimir Shostak, Principal Alexander Alexeev Denis Kashin Alexandre Belokon Evgeni Mamontov Sergei Trafimovich Alexei Lavrov
Valentin Cherenkov Diana Tcherezova Ekaterina Rostovskaia Margarita Maistrova Polina Ivanova
Viacheslav Lupachev Alexander Trushkov Sergei Bliznetsov Pavel Terentiev Leonid Sirotkin
Ivan Terski Viktor Koulyk Vassili Zhouchenko Anatoly Shoka Yuri Zyuryaev Dmitri Kharitonov
Bassoons Igor Gorbunov Alexei Dmitriev Valentin Kapustin Arseni Makarov Alexander Sharykin
Dmitri Vorontsov
Igor Prokofiev Vladimir Smirnov Valery Papyrin Andrei Antonov Viatcheslav Kuznetsov Leonid Kiselev Vyacheslav Minnikov
Trumpets Yuri Fokin Sergei Kriutchkov Gennadi Nikonov Konstantin Baryshev Alexander Smirnov Vitali Zaitsev
Trombones Andrei Smirnov Igor Yakovlev Mikhail Seliverstov Alexei Repnikov Nikolai Timofeev
Nikolai Slepnev Valentine Awakumov
Percussion Sergei Antochkin Valeri Zhavnerchik Andrei Khotin Yuri Alexeev Mikhail Peskov Yuri Mishchenko
Odarka Voshchak
Elizaveta Alexandrova
Piano, Celeste
Natalia Arzumanova Valeria Roumiantseva
Orchestra Director
Vladimir Ivanov
Librarians Elena Shostak Natalia Morozova
Stage Managers Vladimir Guliaev Petr Smirnov
Managers Alisa Meves Dennis Kalashnikov
Columbia Artists Management Inc. R. Douglas Sheldon Mary Jo Connealy Karen Kloster Vivian T. Chiu
Tour Staff Maria Keith Harry Rakowski Michael Cooney
The Vienna Virtuosi
Members of the Vienna Philhamonic Ernst Ottensamer, Clarinet
Franz Bartolomey, Cello Richard Beene, Bassoon Dieter Flury, Flute Martin Gabriel, Oboe Rainer Honek, Violin Bryan Kennedy, Horn
Tobias Lea, Viola Gerhard Muthspiel, Doublebass Erich Schagerl, Violin Stepan Turnovsky, Bassoon Wolfgang Vladar, Horn
Wolfgang Amadeus Mozart
Thursday Evening, November 5, 1998 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Contredanses, K. 106 (K. 588a) and 101 (K. 250a)
K. 106: Overture Contredanse 1 Contredanse 2 Contredanse 3
K. 101:
Contredanse Andantino Presto Gavotte
Clarinet Concerto in A Major, K. 622 (arr.) Allegro Adagio Rondo: Allegro
Ernst Ottensamer
Ludwig van Beethoven ()
Johann Strauss, Jr.
Franz Schubert Fritz Kreisler
Johann Strauss, Sr.
Three Modlinger Dances, WoO. 17
Menuetto [sic] Waltz
Kaiserwaltzer, Op. 437
Tik-Tak Polka, (on themes from Die Fledermaus), Op. 365
Stadtund Landpolka, Op. 322
Gratzer Galop, D. 925 (arr.)
Tamborin chinois. Op. 3 Syncopation
Chinese Galop, Op. 20
Fifteenth Performance of the 120 Season
36th Annual Chamber Arts Series
Support for this performance is provided in part by Butzel Long Attorneys. Special thanks to Len Niehoff for his continued support of UMS through Butzel Long.
The Vienna Virtuosi are represented in North America by Shupp Artist Management.
U-M School of Music faculty member who joins The Vienna Virtuosi for the Mozart Clarinet Concerto.
Large print programs are available upon request.
Contredanses, K. 106 and K. 101 (K. 588a)
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna
One theory on the origins of the contredanse is that it is a continental variation of the English "country dance." Another claims it is a bastardization of "counter-dance," in which the partners stand across from each other, as opposed to a "round dance." By Mozart's time, the term was applied generi-cally to a variety of dance types, and usually referred to instrumental pieces (whether intended to accompany dancing or not) rather than the dance itself.
Mozart composed his first set of four contredanses (K. 101) in early 1776, scoring them for doubled winds and a small string section. Apparently the second and third pieces in this set were drawn from a separate collection of twelve contredanses, now lost. But the combination that constitutes K. 101 is fortuitous in that, when played as a group, it blends aspects of the dance suite with the early Classical symphony. Mozart may not have intended this parallel, but the outer pieces nevertheless establish a tonic key for the set (F Major), and the second piece (Andantino) assumes the role of a slow movement.
Despite the closeness of Kochel number (referring to the chronological catalog of Mozart's works), the K. 106 contredanses were written much later than K. 101, and date from 1790 when Mozart was in Vienna. (Consequently, they have been assigned a new Kochel number, K. 588a, in the revised catalog). The scoring is similar to the first set, but the key relationships and ordering of sections are more heterogeneous. An Overture in D Major introduces the three contredanses -in the keys of D Major, A Major, and B-flat Major respectively. As expected in works of such folk-like simplicity,
the melodies are evenly-phrased, mostly tri-adic, and the harmonies keep mostly to the primary triads.
Clarinet Concerto in A, K. 622 (arr.)
Wolfgang Amadeus Mozart
Mozart first heard the clarinet played in 1764, when it was already a regular part of the wind section in London orchestras. He was attracted to it again in Milan in 1771, and Mannheim (where he heard the famous orchestra) in 1777. But it wasn't until his Vienna years when he befriended Anton Stadler, clarinetist in the Viennese court orchestra, that Mozart began to exploit the instrument's full potential, and in that regard he was a pioneer. His Clarinet Quintet (K. 581) of 1789, written for Stadler, was one of the first works by any major composer to treat the instrument soloistically, utilizing its characteristic agility and the warmth of its middle register. In several regards this quintet was also a study, in preparation for Mozart's only fully-fledged orchestral work to feature a solo clarinet (and the last concerto he com?posed), the Clarinet Concerto in A, K. 622.
Though Mozart composed this concerto for Anton Stadler, the original version was not for clarinet. Stadler also played the basset horn, a similar instrument (now rarely heard) but with a range that extended a few notes lower. In the first edition, published after Mozart's death, the lower passages were transposed up to conform to the clarinet's range, and since that time the work has been considered a fundament of the clarinet repertoire.
The first movement follows the tradi?tional concerto form, with a complete ensemble exposition before the solo clarinet plays an embellished repeat of the themes. Immediately the clarinet demonstrates its dexterity in quick runs and rapid leaps, interspersed with passages of warm lyricism.
In the development section, Mozart treats the ensemble chamberistically, allowing the clarinet to occasionally accompany the ensemble, rather than vice versa.
The "Adagio" is one of the most poignant and affecting movements Mozart ever com?posed. By casting it in the form of a da capo aria, he creates an analogy with the human voice that highlights the clarinet's "singing" tone, as it unfolds a melodic line of unfettered profundity.
In the "Rondo" finale the soloist takes the lead. Though lively, this movement is not all light-hearted. Minor-key episodes in c-sharp and f-sharp relate back to the devel?opment section of the first movement, which also contained dramatic passages in those keys.
Three Modlinger Dances
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn
Died March 26, 1827 in Vienna
Today Modling is a suburb of Vienna, but in Beethoven's time it was a quaint resort town several miles from the edges of the city. Beethoven spent long stretches of time there between 1818 and 1820, and legend has it that in 1819 he wrote a set of eleven waltzes (subsequently lost) for a band at the local inn. When the music scholar Hugo Riemann found a set of parts for eleven dances in Leipzig in 1907, and observed that they were somewhat skillfully written, he concluded that they must be these lost dances by Beethoven. This collection of four waltzes, five minuets, and two Idndler were published two years later, and designated as the com?poser's WoO ("without opus") 17.
Scholars disagree on whether these dances are actually by Beethoven. They do not follow the typical arrangements found in Beethoven's other dance sets, and the key progressions from piece to piece are unchar?acteristically awkward. Yet several of the
dances share themes with other Beethoven works, including the Symphony No. 2 and the Op. 119 piano bagatelles. As there is no conclusive evidence either way, it is safe only to say that they are possibly spurious.
Emperor Waltz, Op. 437
Tik-Tak Polka, Op. 365
Stadtund Landpolka, Op. 322
Johann Strauss, Jr.
Born October 25, 1825 in Vienna
Died June 3, 1899 in Vienna
As the eldest son of one of Vienna's most popular dance orchestra leaders and com?posers, Johann Strauss Jr. was well-positioned to assume his father's legacy. But the elder Strauss was vehemently opposed to a musical career for his son, and steered him toward the banking profession instead. With his mother's help, the young Strauss secretly studied violin, until his father left the family in 1842. But by that time the young man's mind was made up, and a career in music was inevitable.
Though he actively avoided direct com?parisons with his father, Johann Strauss, Jr. was without doubt more musically prolific, wrote in a broader range of genres, and enjoyed an even greater popular reputation. Wagner claimed his was the most musical mind he had ever encountered. And by the end of the nineteenth century, he was with?out peer in the field of light music.
Strauss composed the Kaiserwalzer (Emperor Waltz) in 1888, for the fortieth anniversary of Austrian Emperor Franz Josef's reign. Rather than writing simply a dance tune, Strauss originally presented his hommage as an extended scene, with a march introduction, a moment of solemn preparation, and then an elegant waltz that William Ritter once desribed as "the most beautiful flower that the fantastic tree of
Strauss music had borne for seventy-five years."
Though he composed numerous operettas and music theater pieces, only two have remained in the performing repertoire: Die Fledermaus (The Bat), and The Gypsy Baron. Premiered in April 1873, Die Fledermaus was a failure in Vienna, but a huge success in Berlin and Paris later in the year. It became so popular that in 1874 Strauss wrote several independent dance pieces based on the operetta, including a Fledermaus Polka and a Fledermaus Quadrille. That same year he also wrote the Tik-Tak Polka, a frantic spree based on several of the operetta's most popular themes.
The Stadtund Landpolka (City and Country Polka), written in 1868, is actually a polka-mazurka: a variant in which the characteristic steps and rhythmic figures of the polka are adapted to the triple-time meter of the mazurka.
Gratzer Galop, D. 925 (arr.)
Franz Schubert
Born January 31, 1797 in Himmelpfortgrund
(now Vienna) Died November 19, 1828 in Vienna
During Schubert's final years, as he faced ill?ness, financial problems, and the pressures of Viennese social circles, he would find occasional respite in summer trips to Graz, a provincial capital in southern Austria. Though not always musically productive, these visits were therapeutic for the composer, and the few pieces he managed to write while in Graz are invariably high-spirited. In the summer of 1827, for instance, he composed several charming piano works -the twelve Gratzer waltzes (Op. 91) and the lively Gratzer Galop naming them gratefully after the town that was his haven from Vienna. The Gratzer Galop follows the standard ABA format, with repeating sixteen-measure sections, and a contrasting Trio section in
the dominant key. Widely-known also in a two-piano version (not by the composer), the Grdtzer Galop has since been arranged for numerous other instrumental ensembles.
Tambourin chinois. Op. 3 Syncopation
Fritz Kreisler
Born February 2, 1875 in Vienna
Died January 29, 1962 in New York
Though he was one of the most beloved violin virtuosos of the century, Fritz Kreisler's relationship with sections of the music com?munity was not always amicable. He was a victim of strong antiAustroGerman senti?ment (despite his wife being a U.S. citizen) that virtually kept him off the American concert stage during World War I. (A noted appearance during this period included a 1916 performance in Ann Arbor under University Musical Society auspices, one of over thirteen career concerts he gave before Ann Arbor audiences.) But decades later, after his reputation was solidly re-established, there were many who would also never for?give him for perpetuating a harmless hoax. In 1935 Kreisler admitted that several of his most popular recital pieces, which had been attributed to various early composers including Couperin, Stamitz, and Vivaldi, were actually fakes that he had composed himself. For thirty years he had fooled many of the most prominent musicologists, com?posers, critics, and supposed experts, who refused to believe that Kreisler had the com?positional skills to match his playing ability.
Tambourin chinois, one of Kreisler's most popular encores, is somewhat of an oxymoron. The tambourin is an old Provencal dance, but Kreisler combines its frenetic rhythms with a strongly pentatonic flavor intended to evoke the music of Asia. A tango-like piu lento section provides momentary
contrast. Syncopation was published with several other miniatures in a collection titled Apple Blossoms. As the name suggests, it is a delightfully virtuosic study in offset rhythms and cross accents.
Chinese Galop, Op. 20
Johann Strauss, Sr.
Bom March 14, 1804 in Vienna
Died September 25, 1849 in Vienna
The elder Johann Strauss' early musical training included a stint in Michael Pamer's dance orchestra -an ensemble that also included, for a time, Strauss' friend and col?league Joseph Lanner. Lanner and Strauss are credited equally with establishing the Viennese waltz as the mainstay of European entertainment establishments in the early nineteenth-century. Though his music is generally considered less inspired than that of his rival, Strauss' strength was his rhythmic ingenuity and vitality -a feature solidly evident in his most enduring work, the Radetzky March.
The Viennese light music made so pop?ular by Lanner, Strauss, and especially by Strauss' eldest son, Johann Jr., had it roots in the same folk materials that influenced the orchestral dances of Haydn, Mozart, Beethoven, Weber, and Schubert. But while these other composers sought to capture the spirit of the native folk through dance, Strauss saw an opportunity for invention. It was his inven?tive bent that produced, for example, the Chinese Galop, in which he blends the rapid 24 dance with faint hints of the exotic East.
Program notes by Luke Howard.
Born in Upper Austria, Ernst Ottensamer studied at the Bruckner Conservatory in Linz and with Professor Peter Schmidl at the Hochschule fur Musik in Vienna, where he graduated with honors in 1979. That same year, he joined the Vienna State Opera Orchestra, and has been a soloist with the Vienna Philharmonic since that time. Mr. Ottensamer is the founder of the Vienna Virtuosi and the Wiener Blaeserensemble. He has performed as soloist with the Vienna Chamber Orchestra, the Haydn Sinfonietta, the Budapest Philharmonic, the Tokyo Philharmonic Orchestra, the New Japan Philharmonic Orchestra, the Mozarteum Orchestra of Salzburg, the Bach Collegium Stuttgart, and the Vienna Philharmonic under Sir Colin Davis. He has recorded the Mozart and Weber clarinet concertos on Naxos.
The Vienna Virtuosi is a chamber ensemble composed of younger-generation players of the Vienna Philharmonic who occupy solo or first-chair positions in the orchestra. The ensemble was founded by Ernst Ottensamer, solo clarinettist of the orchestra, in 1990. It is a flexible group ranging in size from a small stringandor wind-ensemble to occasional chamber orchestra, and it offers works for smaller string or wind ensembles to octets, nonets, and even works for chamber orchestra or solo concertos. The repertoire spans from the Classical and Romantic to the Contemporary. The Vienna Virtuosi frequently invites world-renowned guest artists, such as Daniel Barenboim, Andre Previn, Rudolf Buchbinder and Stefan Vladar to join the group. The ensem?ble has its own concert cycle at the Musikverein Wien, appears at festivals such as Salzburg, Vienna and Ossiach, and regu?larly tours throughout Europe and Japan. In tonight's concert, U-M School of Music fac-
ulty members Richard Beene and Bryan Kennedy join the Vienna Virtuosi in the Mozart Clarinet Concerto.
Tonight's performance marks the debut of the Vienna Virtuosi under UMS auspieces.
"Simply committed to the Best in Dance for Michigan"
Elastizell Corporation
Jazz Tap Summit
An All-Star Celebration of Tap Dancing
Brenda Bufalino
and members of the American Tap Dance Orchestra:
Margaret Morrison and Tony Waag
LaVaughn Robinson and Germaine Ingram Jimmy Slyde
The Steppettes and Friends from Bruce Bradley's Creative Expressions, Flint, Michigan.
Straight No Chaser:
Parris Mann and Michael Minery
Dianne Walker Baakari Wilder
Dave Burrell, Piano; Paul Keller, Bass; Pete Siers, Drums
with special guests
Barry Harris, Pwno; Yvette Glover, Vocals; Andy McGhee, Saxophone
Eva Soltes, Producer
Jimmy Slyde and Dianne Walker, Artistic Advisors
Kathy Pryzgoda, Technical Director and Lighting Designer
Saturday Evening, November 7, 1998 at 8:00 Hill Auditorium, Ann Arbor, Michigan
In keeping with the improvisational nature of tap dance, the program order will be announced from the stage.
There will be one fifteen-minute intermission.
Sixteenth 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 Leo Legatski for his generous support of this performance through Elastizell Corporation.
Additional support for this performance is provided by media partner, WEMU.
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 Susan Filipiak, the students of Swing City Dance Studio, Brent Wagner, the U-M Hospital Gifts of Art program, and the Ann Arbor District Library for their involvement in this residency.
Large print programs are available upon request.
The spirit and joy of jazz tap has sur?vived over time through a trail of artists who have nurtured, supported and communed with one another, all the while, passing along this authentic American art form.
Tap dance began with the founding of the American colonies. During the 1600s Irish step, English clog, Native American, and African rhythm dance forms began to meld. Over time tap evolved. It is unique for its jazz rhythms which were contributed by its African heritage.
Tap dancers are percussionists, who use their feet to tell their own story from the cool swing style of Jimmy Slyde, the driving precision of LaVaughn Robinson and Germaine Ingram, the spirited bebop of Brenda Bufalino and the understated elegance of Dianne Walker -all different but with a clear emphasis on rhythm. Sometimes unac?companied and at others, performing as an instrument within the ensemble, jazz tap dancers interact with their musical partners improvising with one another and exchang?ing musical ideas.
Jazz tap, rhythm tap, or "hoofing" (some people even call it "story dancing",) emphasize rhythm, syncopation, melody and tone. Generally improvisational, but also choreo?graphic, each dancer has a distinct individual sound and presentation -unlike other dance forms that may feature uniformity and line. This diversity adds to the flavor and substance of the performance.
The artists in "Jazz Tap Summit" are special for the pure musical traditions they bring to the stage and how it has been passed on to them -not in a classroom or studio, but through the one-on-one mentorship of the tap artists who proceeded them. Not unlike storytellers who pass on cultural tales, each generation makes a new statement, always issuing from a recognizable "low-to-the-floor" style.
Tonight's performers are internationally
renowned masters who have graced theaters throughout the world and have appeared in productions such as Broadway's Black and Blue and in the movie Tap. They are distin?guished for their pure musical abilities and links to the lineage of late great dancers including Bill Robinson, Charles "Honi" Coles, Steve Condos and Leon Collins and for the new generations of dancers they have mentored who have in turn inspired the stunning performances in Jelly's Last Jam and Bring in Da Noise, Bring in Da Funk.
Four generations of masters and emerg?ing younger dancers share tonight's stage. Tap is unique among American dance forms in that like a good wine it ages well. Over time, talent, raw passion and energy transform into rich and subtle artistry in performance.
It is with great pleasure that I join the University Musical Society in bringing this historic "Jazz Tap Summit" to the University's concert stage. The distinguished, spirited and entertaining artists who will perform are true American cultural treasures who bring with them a rich legacy of dance as music.
Program note by Eva Soltes.
Tonight's performance marks the debut of the entire cast of this Jazz Tap Summit under UMS auspices.
Alfred Bruce Bradley, a protoge of the late Lloyd Storey, (The Detroit Sultans) traveled to Europe in 1996 to team with Lloyd in a smooth softshoe duet as a cast member in the world-renowned stage production of Black and Blue. A staff member of the Center for Creative Studies and adjunct faculty member of the University of Michigan-Flint as a tap instruc?tor, he is also a Co-director of the Creative Expressions Dance Studio which is dedicated to teaching dance to minority and disadvantaged youth.
Brenda Bufalino is a trailblazer in the renais?sance of jazz and tap dance. She performs and teaches throughout the US and in Israel, Italy,
England, Germany, France, and most recently in Australia. She has appeared as a guest soloist in such prestigious arenas as Carnegie Hall, Avery Fisher Hall, The Apollo Theater, the Brooklyn Academy of Music, the Smithsonian Institute, and the Kennedy Center in Washington DC. She also performed in concert with the late Charles "Honi" Coles, touring America, England, France, and appeared on BBC Television in England and on cable for Atlantic City Live. They also choreographed the Morton Gould Tap Concerto performing with the Brooklyn Philharmonic and the Norwalk Symphony. Recently Ms. Bufalino performed the Concerto as guest soloist with the Detroit Symphony. In 1986 Ms. Bufalino formed the American Tap Dance Orchestra. Using their feet the ATDO presents a new concept in tap ensembles by creating a spectrum of musical tones and rhythms in the manner of a conven?tional orchestra.
Dave Burrell has distinguished himself as a performing artist and composer on the inter?national contemporary music scene. During the last thirty years he has appeared on 100 recordings, numerous TV and radio broadcasts, and film soundtracks. He has received many awards including from the National Endowment for the Arts, Philadelphia Music Foundation, New York State Council on the Arts and recently was awarded the prestigious Pew Fellowship in the Arts in music composition. His dynamic compositions, with roots in blues and gospel, recall the tradition of Scott Joplin,
Jelly Roll Morton, Duke Ellington and reach forward to the next century. He has written operas, dance dramas and is currently devel?oping a jazz ballet in addition to working fre?quently with La Vaughn Robinson and Germaine Ingram.
Yvette Glover, like so many others, began her music career in the church where she sang gospel under the tutelage of her mother who was a minister of music. As time passed Yvette ventured out carrying gospel with her, but adding jazz, pop and rhythm and blues to her repertoire. She has given a command perfor?mance for King Hassan in Morocco, and now, along with her trio, is making appearances throughout the United States. In the Spring of 1996 Yvette made her acting debut, to critical acclaim, in David Rousseve's Urban ScenesCreole Dreams during an international tour, followed by Rousseve's The Whispers of Angels at the Brooklyn Academy of Music. Her love of tap dancing has allowed her to travel around the country as guest vocal artist with such tap giants and legends as Jimmy Slyde, Gregory Hines, Buster Brown, Dianne "Lady Di" Walker, Ted Levy, Brenda Bufalino and two of her three sons Savion and Abron Glover. Her third son Carlton is Savion's technical director. Yvette Glover is fondly nick-named "The Tap Mom" and thanks God for her achievements.
Barry Harris known as the "keeper of the bebop flame," has devoted his life to the advancement of jazz. He is a living legend in
the field and has been recognized with many awards including the 9697 "Living Legacy Jazz Award," a Lifetime Achievement Award from the International Association for Jazz Educators, and a special tribute at New York's Town Hall on National Tap Dance Day for his contributions to this field. He was born in Detroit. He was taught piano by his mother; played in a Baptist church at four, with Gene Ammons at fourteen, and soon after with all the jazz musicians who passed through the area. He moved to New York in 1960 playing with Cannonball Adderly, Yusef Lateef and Coleman Hawkins. In addition to a phenome?nally busy performing calendar he has been firmly committed to preserving jazz through education and performance. In the early 1980s Mr. Harris founded the Jazz Cultural Center laying the foundation for many of today's young jazz performers.
Germaine Ingram fell under the spell of jazz tap in the early 1980s when she began intensive study with internationally acclaimed tap artist and teacher La Vaughn Robinson. She has pur?sued tap's call through performance, choreog?raphy, teaching, oral history, film making, and stage production. She began performing with Robinson in 1985 and appeared with him in the Emmy-Award winning television special, Gregory Hines' Tap Dance In America, where they were dubbed "the fastest taps in the busi?ness." Her choreographic credits include com?missions for Manhattan Tap and Washington-based Tappers with Attitude, and works for
musical theater. Her work in documenting the lives and artistic styles of veteran African-American tap dancers in Philadephia resulted in Plenty of Good Women Dancers, a video and exhibition. Germaine Ingram earned a law degree from the University of Philadelphia and is currently CEO for the School District of Philadelphia.
Paul Keller is one of the busiest bassists in the Detroit area. He leads the sixteen-piece Bird of Paradise Orchestra which plays original, obscure and classic big band material collected from all periods of jazz history. Under Paul's leadership, the BOPO has garnered critical and popular acclaim, winning the 1995 Ann Arbor Annie Arts Award, as well as the 1995 Detroit Music Award for "Best Traditional Act." Paul is also the co-leader of the KellerKocher Quartet in addition to heading the Paul Keller Ensemble, a three horn sextet featuring some of the best Ann Arbor and Detroit area musicians. Paul is a prolific composer and arranger for these three groups and they are all regulars at the Montreaux Detroit Jazz Festival. In addition, Paul plays with many different groups at the festival and was voted MVP in 1994. In 1997 he won the Detroit Music Award for best bass player.
Andy McGhee, saxophone has enjoyed a long and fruitful career as a professional musician and educator. He graduated from the New England conservatory of Music and was a pro?fessor at Berklee School of Music for thirty-two years. He performed and toured with
Lionel Hampton for seven years and was a fea?tured saxophone with Woody Herman. In the 1990s he toured Europe with the "Golden Men of Jazz," including Clark Terry, Sweet Edison, Benny Goldson, Jimmy Woode, Julian Mann, Al Grey and Lionel Hampton. He most recent?ly returned from a tour of Switzerland, Austria and Germany and performed at the Jacob's Pillow dance festival with dancers including Gregory Hines, Jimmy Slyde, and Dianne Walker.
Margaret Morrison is a founding member and featured soloist with the American Tap Dance Orchestra, one of today's most innovative and exciting tap companies, directed by the inter?nationally renown tap artist Brenda Bufalino. With the ATDO Margaret has performed throughout Europe, Bermuda, and the United States, appearing at Lincoln Center, the Joyce Theater, the Apollo, and on the PBS Television Special, Tap Dance in America. Her dance credits include the comic duo of Tribble & Morrison, Tap Express, Vanaver Cravan, Foot & Fiddle Dance Company, and a national commercial for Seagrams. As a soloist, Margaret has per?formed in many New York City venues and, since 1993, she has collaborated with percus?sionists Robin Burdulis on pieces interweaving tap, percussion, poetry and humor.
La Vaughn Robinson has danced with Billie Holiday, Cab Calloway, Tommy Dorsey, Ella Fitzgerald, Maynard Ferguson, and Charlie Parker. He learned to dance in the early twen?tieth century and as a child performed on the
street corners of South Philadelphia where it was possible to walk the twenty blocks of South Street and encounter a different style of tap on each corner along the way. In 1988 Mr. Robinson received the distinguished National Heritage Fellowship Award from the National Endowment for the Arts and in 1989 partici?pated in an artistic exchange with the Soviet Union sponsored by the Smithsonian Institution. He frequently performs as a duo with his protegee Germaine Ingram.
Pete Siers, a Michigan native, is one of Southeast Michigan's busiest drummers. He is a vital member of the Bird of Paradise Orchestra, the KellerKocher Quartet and the Ron Brooks Trio. Pete also has played with jazz legends such as Russell Malone, Mulgrew Miller, Mose Allison, Doc Cheetham and Frank Morgan. Pete has integrated music philosophy from lessons with Jeff Hamilton, Adam Nussbaum, and Kenny Werner into his own teaching methods. In addition to his busy performing schedule he currently teaches at Washtenaw Community College and The Ann Arbor Academy for Performing Arts.
Jimmy Slyde is without question one of the greatest "rhythm" dancers in tap history. His performance is total improvisation. Mr. Slyde has appeared in the films Tap, The Cotton Club and Round Midnight. He starred in both the Paris and Broadway productions of Black and Blue. Mr. Slyde has performed internationally in some of the world's great dance festivals
and at major jazz festivals including Newport, North Sea, Umbria and Pourri. His legendary reputation for elegant movement and his char?acteristic slides were developed when he per?formed with Jimmy Mitchell as The Slyde Brothers.
The Steppettes and fellow tappers come through the Creative Expressions Dance Studio in Flint, Michigan. Co-founder and tap instructor Alfred Bruce Bradley has been dedi?cated for the past thirteen years to providing dance instruction to disadvantaged minority youths. Of the thousands of children served, many have competed in dance competitions and appeared in tap festivals throughout the country and have taken classes with master teachers including Dianne Walker, Ted Levy, Savion Glover, Robert Reed, Van Porter, Henry Letang and Lane Alexander. Most recently they were featured at the St. Louis Tap Festival, and in 1997 at the Human Rhythm Project in Chicago. They appeared on Showtime At The Apollo in New York, where the Stepettes, Rhythmettes, and the Taptations won and appeared several times on national television. Tonight's performance is choreographed by sixteen year-old Alexandria Bradley. She is joined by Frances Bradley, Kandee Hogan, Anthony Campbell, Natasha Graham, Alyse Jones, Dionte Lee, Shatarian Lee-Hall, Lucretia Lever, Troy Swanigan, Richard Swanigan, and Jarel Waters.
Straight No Chaser, the dance duo of Parris Mann and Michael Minery, are currently appearing on Broadway at the Supper Club in its production of The Joint is Jumpin', Parris and Michael have performed with Jimmy Slyde and Dianne Walker at the Jacobs Pillow Dance Festival; and with Buster Brown who was the honored guest of Dance Inn's Tap Dance Day 1998 in Boston. As dancers and choreog?raphers they have been featured with Manhattan Tap and the New Jersey Tap Ensemble at both the Joyce Theater and New Jersey Performing Arts Center. In 1997 this young duo toured France.
Tony Waag has performed in and choreographed for many concert, nightclub, stage, video and television productions throughout the US and abroad. Since 1986, he has been a featured dancer and the executive director for the American Tap Dance Orchestra. He has per?formed at the Apollo Theater, Joyce Theater, John F. Kennedy Center for the Performing Arts, Dance Theater Workshop, The Cotton Club, Town Hall and internationally in Turkey, Poland, Cypress, Germany, Italy and Moscow. Tony also teaches master classes and work?shops throughout New York City. He intro?duces new takes on comic hoofing through his special "comic and eccentric" tap classes.
Dianne Walker (Lady Di) is one of the few internationally recognized women in the field of tap dancing. For the Broadway production
of Black and Blue, she was the assistant chore?ographerdance captain and had the presti?gious honor of being the only female "hoofer" in the show. As a soloist, she has performed at jazz festivals including North SeaDen Haag, Festival American Cannes, JVCChicago and tap dance festivals (Colorado, Boston, Portland) with such notables as Jimmy Slyde, the Hoofers, the Copasetics, and Gregory Hines, to name a few. Ms. Walker was a featured dancer in the movie Tap, and her television appearances include a PBS Great Performances: Dance in America special. Dianne Walker is also a much sought master teacher.
Baakari Wilder is currently starring in the Broadway production of Bring in Da' Noise, Bring in Da' Funk. Mr. Wilder is also studying acting at New York University's Tisch School of the Arts. He has danced and acted profes?sionally since the age of nine, and his choreog?raphy has been featured in several concerts. Mr. Wilder tapped with Savion Glover and Friends at the Delacorte Theatre, in Cavalcade of Stars at Carnegie Hall and in Jazz Tap at the Kennedy Center. He has also performed in the National Tap Dance Gala at the Joyce Theatre and in the Memorial Tribute to "Honi" Coles at the Apollo. Television appearances include the Tony Awards, The Tonight Show with Jay Leno, The Today Show, The Kennedy Center Honors, The Rosie O'Donnell Show, and Live with Regis and Kathy Lee. He has taught tap classes in New York City and Washington, DC.
He is associated with Tappers With Attitude and the American Tap Dance Orchestra.
Eva Soltes has produced, directed and written over one thousand programs internationally for a variety of media including live perfor?mance, broadcast and print. Working with exceptional artists in the fields of music, the?ater and dance she began producing jazz tap tours with Carolyn Evans in the 1980s and was fortunate to work with some of the late great dancers including Charles "Honi" Coles, Steve Condos and Eddie Brown. Soltes' productions have been in a wide range of venues from the Lincoln and Kennedy Centers to universities and theaters around the country. Among her media credits are ProducerDirectorEditor for television and radio documentaries on arts subjects made for National Public Radio and BBC TV. Her award-winning documentaries have also aired on PBS stations and other broadcast networks world-wide.
Beethoven the Contemporary
Edward Surovell Realtors
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello
Ludwig van Beethoven
Richard Danielpour
Sunday Afternoon, November 8,1998 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Quartet in A Major, Op. 18, No. 5
Allegro Menuetto Andante cantabile Allegro
String Quartet No. 2 (Shadow Dances)
Stomping Ground The Little Dictator My Father's Song The Trickster
Quartet in F Major, Op. 59, No. 1
Allegretto vivace e sempre scherzando
Adagio molto e mesto
Theme Russe: Allegro
Please remain after the performance for a brief Meet the Artists session to be led from the stage.
Seventeenth Performance of the 120th Season
Beethoven the Contemporary Series
Special thanks to Ed Surovell for his continued and generous support of the Beethoven the Contemporary Series and this performance of the American String Quartet.
This project is also made possible in part by a grant from the Lila Wallace -Reader's Digest Arts Partners Program, which is administered by the Association of Performing Arts Presenters.
Additional support for this performance is made possible by the National Endowment for the Arts and media partner, Michigan Radio.
Special thanks to Steven Whiting and U-M School of Music, the Michigan American String Teachers Association, and Sara and Michael Frank for their involvement in this residency.
Large print programs are available upon request.
String Quartet in A, Op. 18, No. 5
Ludwig van Beethoven
Born December 15 or 16,1770 in Bonn
Died March 26, 1827 in Vienna
Beethoven's Op. 18 quartets, composed between 1798 and 1800, reflect a transition from Classical gentility to Romantic pas?sion, but it is not a smooth transition. As the composer worked on refining his own voice in this first set of quartets, his style alternated between acknowledgment of the genre's heritage and cultural magnitude, and the desire to forge new paths in music. The first quartet, for instance, is full of drama (and melodrama), and the kind of motivic intensity more associated with Beethoven's middle period works. While the sixth and final quartet's conclusion points propheti?cally to nineteenth-century Romanticism, the fifth is the most Mozartian Beethoven ever composed.
There is more to the Mozart legacy in Beethoven's Op. 18, No. 5 than simply the stylistic influence of a great master. Beethoven was especially impressed with Mozart's Quartet in A, K. 464, copying out two move?ments for himself by hand, and later exclaim?ing, "That's what I call a work!". It's no coin?cidence that this quartet, in the same key, draws several features directly from that work.
The first movement is a lilting, some?what gentle sonata form, with the unusual time signature (for a first movement) of 68. The opening theme has a delicacy not nor?mally associated with the name of Beethoven, though the unison statement of the second theme in e-minor infuses some extra intensity into the exposition. The development begins in c-sharp minor, and includes long passages in D, prefiguring the key of second movement. The modulation back to tonic takes place before the return of the first theme, making the arrival of the recapitulation a smooth elision rather than a distinct formal marker.
Just as Mozart did in his A-Major quar?tet, Beethoven switches the inner move?ments, placing the minuet first. Here the debt to Mozart is especially clear, as Beethoven rarely used the title "Minuet" (preferring the Scherzo instead), and even more rarely were they minuets in anything but name. This movement is one of the few exceptions. It begins with a duet between the violins in which the accompanying voice accents the second beat. In the trio section, where the tune resembles a theme from Haydn's Piano Sonata No. 58, the accent shifts to third beat, creating an effect that Melvin Berger has likened to "a poorly played accordion."
The third movement is not really a slow movement, despite the tempo marking "Andantino". But while the theme and five variations differ in tempi and rhythmic activity, the composer wrote the indication "pastoral" over the score, showing that he still intended it to have the function of a slow movement. The theme itself is little more than a scale pattern, harmonized in sixths. But because of its simplicity, it is eas?ily recognized in each of the variations, while allowing for a wider diversity of treat?ments. Beethoven maintains a democratic division among the instruments, with each of them given the chance to solo. But even in the variations where all play the theme together (the first -a fugato, and the fourth -a hushed chorale) he allows each instrument to make equal contributions. The fifth and final variation includes a sur?prisingly dramatic modulation to B-flat, and is followed by an expansive coda that recalls the simple opening.
Beethoven returns to a sonata form for the finale. The first theme is more of a suc?cession of agitated ornaments than a dis?tinct melody, and again the musical materi?als are equally divided among the four instruments. The composer recalls directly the Mozart model at the start of the second
key area, with its four-part chorale texture in long pianissimo notes (Beethoven also used the theme of this section in the rondo of his Pathetique sonata, Op. 13). The movement's rhythmic energy derived from a motif similar to the famous "fate" theme of the Symphony No. 5 -is dissipated by the coda, and the quartet concludes quietly.
String Quartet No. 2 (Shadow Dances)
Richard Danielpour
Born in New York City, January 28, 1956
Richard Danielpour, presently a member of the composition faculty at the Curtis Institute and the Manhattan School of Music, has in recent years cemented his place as one of America's foremost young composers. His major commissions include works for the orchestras of Pittsburgh, Baltimore, San Francisco, and New York, and his ballet score, Anima Mundi, has been widely acclaimed. One of his most-per?formed works, the Concerto for Orchestra, invites obvious comparisons with Bartok (a connection that also surfaces in Danielpour's chamber music), and he does?n't hesitate to admit a direct influence. He also gives credit in his music to other com?posers such as Shostakovich, Copland, and Stravinsky: "[They] can't help but be part of the brew."
For Danielpour, dance is one of the most important foundations of music. Even when not writing works intended to be choreographed, the relationship between music and dance affects his compositions. Danielpour sees this as a trait common to many American composers, claiming that the idiosyncratic relationship of movement and music is "part of what we are as Americans." But even more prominent than the dance influence is Danielpour's belief in
what he calls music's "internal memory," or the maintaining of an unbroken connection with earlier masters and masterworks. Though this suggests his aesthetic is neo-romantic, Danielpour is also something of a mystic, allowing his music to be influenced by dreams, premonitions, philosophies, viewing music as a vehicle through which we have access to the other-worldy.
In Danielpour's first book of Urban Dances (1988) for brass quintet, he titled the third piece Shadow Dance. On a commission from the Barlow Endowment, he reworked and expanded this piece (while reducing the size of the ensemble) in 1992 into the simi?larly-titled second string quartet. The origi?nal piece for brass is, in Danielpour's own words, "pre-occupied with the death, dying, and desolation" found in his native New York, while the string quartet explores "the shadowy aspects of our personalities." The combination of personal feeling, public expression, and a sense of foreboding recalls the music of Shostakovich (a connection that continues in Danielpour's Quartet No. 3 (Psalms of Sorrow) -a remembrance of the Holocaust that includes a part for bari?tone solo).
"Stomping Ground", the first move?ment of Shadow Dances, intersperses child?like play with moments of nostalgia. In the second movement, "The Little Dictator", a pungent scherzo-like march frames a middle section in which the nostalgia is further intensified.
"My Father's Song" is a true slow move?ment. Reflective and more intensely person?al than the rest of the work, its high registers culminate in an anguished climax that evokes Bartok's quartets. Bartok and Shostakovich both inform the energetic and wryly humorous finale, "The Trickster", though the dominant personality in this mix, as in the entire quartet, is clearly Danielpour himself.
String Quartet in F, Op. 59, No. 1
Ludwig van Beethoven
When Beethoven accepted the commission to write a set of three quartets for Count Razumovsky, the Russian ambassador to Vienna, he pledged to "weave a Russian melody into every quartet." In the end, only the finale of No. 1 and the third movement of No. 2 have Russian content. In each case, the strength and individuality of Beethoven's own voice completely subsumes the quoted folk tunes, making the "Razumovsky" quar?tets thoroughly Beethovenian in breadth, concept, and invention.
At the premiere in February 1807, the three Op. 59 quartets were not received with the same enthusiastic response that had greeted the Op. 18 quartets several years earlier. The performers themselves laughed at the pieces, thinking Beethoven was play?ing a joke on them. The violinist remarked, "Surely you do not consider this music," to which the composer replied, "Not for you, but for a later age." Indeed, later critics have praised them as masterworks giving them place alongside the "Eroica" symphony as crucial representatives of Beethoven's mid?dle period.
The formal design of the first quartet, in F-Major, is peculiar and without prece?dent in that all four movements are written in some kind of sonata form. The first movement is at once serene and noble. The first and second key areas abound with dis?tinctive melodies, and the exposition unfolds without any major surprises. But what sounds like a repeat of the exposition is actually one of the composer's boldest formal inventions. He disguises the fact that the exposition does not repeat by making the first four measures of the development section identical to it. The development itself is dominated by a central fugal section, and further development of themes takes place in the lengthy coda.
Beethoven again puts the dance move?ment before the slow movement in this quartet; even at this later stage of his musi?cal development that was a little unusual. But more odd (and to the quartet's first audience, particularly amusing), is the insis?tent drumming on one note that starts the movement. It creates a theme based not on melody or harmony, but purely on rhythm, and the emphasis on rhythmic development continues throughout. This light-hearted scherzo -the first movement so titled to be written in a sonata form omits the repeat of the exposition, and greatly telescopes the recapitulation.
Above the sketches for the third move?ment, Beethoven wrote, "A weeping willow or acacia tree upon my brother's grave." This lament of almost Shakespearian tragedy develops around two lyrical themes, both characterized by wide melodic leaps. After a florid and impassioned violin recita?tive, the fourth movement follows without a break.
The Russian tune in the finale (which, in its original form, was in a minor key and twice as slow) is not especially captivating. But here, as in Beethoven's music in general, it's not so much the tune itself as what he does with it that makes the difference. In Beethoven's hands it takes on added energy and brilliance, and when played off against the rhythmic motifs and lyricism of the sec?ond theme group, creates a wonderfully uni?fied and well-crafted whole. Although lively and brisk, this movement brings a relax?ation of emotional intensity to the quartet. Near the conclusion the Russian theme returns, re-harmonized and in a slower tempo, but before it has a chance to become nostalgic it is dismissed with a final presto flourish.
Program notes by Luke Howard.
In the seasons since its inception, the American String Quartet has reached a position of rare esteem in the world of chamber msuic. Annual tours have brought the American to virtually every important concert hall in eight European countries and across North America. Renowned for fluent and definitive interpretations of a diverse repertory, the Quartet has received critical acclaim for its presentation of the complete
quartets of Beethoven, Schubert, Schoenberg and Mozart, and for collaborations with a host of dis?tinguished artists.
Persuasive advocates for their art, the members of the Quartet are credited with broadening public awareness and enjoyment of chamber music across North America through their educa?tional programs, seminars, broadcast performances, and published articles.
They have enjoyed a long
association with the Aspen Festival, the Taos School of Music, and Lincoln Center's Mostly Mozart Festival, to which they fre?quently return as featured artists. Among the first to receive a National Arts Endowment grant for their activites on col?lege campuses, the members of the American String Quartet have also main?tained a commitment to contemporary music, resulting in numerous commissions and awards, among them three prize-win?ners at the Kennedy Centery Friedheim Awards. After ten years on the faculty of the Peabody Conservatory (where they initiated the program of quartet studies), they accept?ed the position of Quartet-in-Residence at the Manhattan School fo Music in 1984, and in 1992 were invited to become the resident ensemble for the Van Cliburn Internationl Piano Competition. Their Mozart Year per?formances were rewarded with an invitation
to record the complete Mozart quartets on a set of matched Stradivarius instruments; Volumes I, II, and III have been released by MusicMasters Musical Heritage.
The four musicians studied at The Juilliard School, where the Quartet was formed in 1974, winning the Colemna Competition and the Naumburg Award that same year. Outside the Quartet, each finds time for solo appearances, recitals, and teaching.
The American String Quartet continues to reach a borader audience through record?ings of more than a dozen works, numerous radio and television broadcasts in thirteen countries, tours to Japan and the Far East, and recent performances with the Montreal Symphony, the New York City Ballet and the Philadelphia Orchestra. Entering its third decade, the Quartet embodies the challenges and satisfactions of more than twenty years of music making.
This performance marks the American String Quartets third appearance under UMS auspices.
The American String Quartet is represented by Melvin Kaplan, Inc.
The American String Quartet records for CRI, Musical Heritage, Nonesuch, New World, and MusicMasters.
Mitsuko Uchida
Johann Sebastian Bach
Frederic Chopin
Wednesday Evening, November 11,1998 at 8:00 Hill Auditorium, Ann Arbor, Michigan
English Suite No. 3 in g minor, BWV 808
Gavotte and Musette
Two Nocturnes, Op. 62
No. 1 in B Major No. 2 in E Major
Polonaise-Fantaisie in A-flat Major, Op. 61
Twenty-Four Preludes, Op. 28
No. 1 in C Major
No. 2 in a minor
No. 3 in G Major
No. 4 in e minor
No. 5 in D Major
No. 6 in b minor
No. 7 in A Major
No. 8 in f-sharp minor
No. 9 in E Major
No. 10 in c-sharp minior
No. 11 in B Major
No. 12 in g-sharp minor
No. 13 in F-sharp Major No. 14 in e-flat minor No. 15 in D-flat Major No. 16 in b-flat minor No. 17 in A-flat Major No. 18 in f minor No. 19 in E-flat Major No. 20 in c minor No. 21 in B-flat Major No. 22 in g minor No. 23 in F Major No. 24 in d minor
Eighteenth Performance of the 120th Season
120lh Choral Union Series
This performance is made possible in part with support from media partner WGTE.
Special thanks to Susan Nisbett for serving as interviewer of Ms. Uchida for the Master of Arts Interview Series.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Large print programs are available upon request.
English Suite No. 3 in g minor, BWV 808
Johann Sebastian Bach
Born March 21, 1685 in Eisenach, Germany
Died July 28, 1750 in Liepzig
Musicians have been talking about Bach's six "English" and six "French" suites for over two centuries now, but the names have nothing to do with the composer. Bach him?self probably called them simply "suites for the harpsichord" or, in the case of the English suites, "suites with preludes." Stylistically, both the "English" and the "French" suites are French: a set of French dances Bach knew from the works of Francois Couperin, Charles Dieupart and others. Both the English and the French suites were written during the Kothen years (1717-1723), where Bach devoted his atten?tion primarily to instrumental music.
All six English suites begin with sub?stantial preludes that are often imitative, toccataor concerto-like, or contain diverse combinations of the above qualities. In the third suite, the prelude opens with a theme reminiscent of a horncall and a countersub-ject all of running sixteenth-notes. The two themes are developed in four-part fugal imi?tation, visiting a number of different keys before the final return to the main tonality. The "Allemande," a dance in a 44 meter of moderate tempo, has the usual, gently undulating sixteenth-note runs couched in a free, invention-like (rather than fugal) polyphony. There is a moment in it that has raised the eyebrows of every music profes?sor: a glaring parallel octave of the sort that is most strictly forbidden in every textbook. Yet this is one of those things that "offended every beginner in composition, but after?wards soon justified themselves," in the words of Johann Nicolaus Forkel, the author of the first Bach biography (1802). Also, it goes by so fast that it will be noticed only by the most attentive harmony student.
The next movement, the "Courante," follows French models in its metrical com?plexity and contrapuntal interest (as opposed to the faster, simpler courantes of several of the French Suites which, ironical?ly, seem more Italianate in inspiration). The Sarabande -the slow movement of the set -is one of the most beautiful examples of its kind, with its expressive melody, daring modulations and highly chromatic har?monies. The ornaments, to be played at the repeats, were fully written out by Bach (not left to the performer's discretion). The fol?lowing dance is a Gavotte-Musette-Gavotte sequence, where melody and accompani?ment are, in accordance with custom, much simpler than in the preceding movements. The "Gavotte", in strictly two-part writing throughout, surprises by the drum-like bass that appears in the second half. The "Musette" evokes a different instrument, namely the bagpipe, by means of the pedal point that runs through the entire piece like a drone. As always, the "Gavotte" is repeated after the "Musette".
The Suite closes with a "Gigue", a quick dance Bach often treated contrapuntally. In this case he used strict fugal imitation in three parts, though the third part drops out soon after being introduced. The second half of the movement is a varied repeat of the first half, with inversion (the descending scale of the opening theme becomes an ascending one).
Two Nocturnes, Op. 62
Frederic Chopin
Born March 1, 1810 in Zelazowa Wola,
near Warsaw Died October 17, 1849 in Paris
These are the last two nocturnes Chopin wrote and published. The nocturne as a solo piano piece was a genre Chopin had inherit?ed from the Irish composer John Field
(1782-1837), yet he had made it thoroughly his own, and done so at the very beginning of his career. The sixteen nocturnes pub?lished before Op. 62 had created certain expectations regarding musical form and general mood; by adding another pair, Chopin did not contradict those expecta?tions, yet he managed to produce works with an individual phisiognomy (despite the strong family resemblance).
The first of the two nocturnes (B Major) retains the ABA form characteristic of the genre, but whereas in many of the earlier nocturnes the slow main section was followed by a middle part in a faster tempo, in the present piece both sections are slow (Andante and Sostenuto). They are, howev?er, contrasted in keys (B Major versus A-flat Major, with a clearly audible shift between the two). At the recapitulation, the first melody is embellished by an unbroken chain of trills, adding a special radiance to the music.
The second nocturne (E Major) has a slow principal melody and a faster middle section in the minor mode. The beautiful, almost operatic bel canto of the first theme is transformed, without any warning, into the turbulence of the "Agitato" section, whose theme is accompanied by a nervous syncopated motion. All tensions subside, however, when the calm opening melody returns.
Polonaise-Fantaisie in A-flat Major, Op. 61
Frederic Chopin
Just as the Op. 62 nocturnes are Chopin's last word on the nocturne, the "Polonaise-Fantaisie" is his final contribution to the polonaise genre. Yet, as its title suggests, this work transcends the scope of Chopin's earli?er polonaises in many important respects. It
is less a polonaise dance than a meditation on its melodic and rhythmic patterns. The suspenseful arpeggios of the beginning gradually lead into the section where the polonaise theme unfolds, but the exuber?ance of the earlier polonaises is always tem?pered by reflection, even -perhaps -nos?talgia. The range of tonalities employed is much wider than elsewhere, with the initial A-flat Major yielding to E and B-flat even before we reach the "Piii lento" middle sec?tion where the introduction of a new key would normally be expected. Halfway through this middle section -which start?ed as a quiet quasi-nocturne -the polon?aise rhythm returns, only to be interrupted by the meditative arpeggios from the work's opening. There is no recapitulation in the strict sense of the word; instead, the polon?aise theme is developed into a brilliant coda. Just before the end, however, we are remind?ed of the mysterious side of the composi?tion by a few introspective measures, with a few soft harmonies in the low register with a series of rumbling trills in the bass.
Twenty-Four Preludes, Op. 28
Frederic Chopin
Let us try to forget, for a moment, that these preludes belong to the best-known and most-beloved pieces in the piano repertoire, and pretend we are hearing them for the first time. The novelty, the boldness, and the utter unpredictability of these twenty-four small (and not so small) gems then become readily apparent.
One of the most puzzling aspects of the preludes is their extreme diversity in length and level of difficulty. Some are extremely brief (No. 7 is only sixteen measures long; No. 9 -in a slower tempo -just twelve), and others are quite elaborate (the D-flat major piece, No. 15, takes about six minutes to perform). Also, there are a few preludes
that even a beginner could tackle, while most present the performer with formidable technical challenges. Some of the preludes give the impression of being mere sketches, or the beginnings of longer pieces, while others might just as well be included among the nocturnes or etudes. Most of them focus on a single idea, rhythmic, harmonic, or technical; only a few include contrasting materials.
The twenty-four preludes were written in 1838-39, shortly after the beginning of Chopin's relationship with Aurore Dupin, the Baroness of Dudevant, better known under the pseudonym she used as a writer: George Sand. They spent the winter on the Spanish island of Majorca, but the compos?er was ill most of the time, having suffered the first attack of the tuberculosis that would carry him off ten years later. He worked on the preludes incessantly on Majorca, and was able to send them back to Paris in January, 1839. The preludes were published later the same year.
In the Baroque and Classical eras, a pre?lude was a keyboard work in a free form, often improvisational in its origin. It frequently served either as a pedagogical exercise or an introduction to another piece, as in Bach's preludes and fugues. Chopin was called (by his friend and colleague Franz Liszt) an "enthusiastic student of Bach." The preludes show Bach's influence more than any of Chopin's works. They cover all twenty-four major and minor keys in the traditional tonal system, similarly to Bach's Well-Tempered Clavier. In addition, many of the individual pieces can be shown to have special links to Bach. But whereas Bach arranged his preludes (and their fugues) in a chromatically ascending order (C Major, c minor, C-sharp Major, c-sharp minor, D Major, d minor, etc.), Chopin chose to follow the circle of fifths, starting with no key signatures, and adding more
and more sharps (C Major, a minor, G Major, e minor, D Major, b minor, etc.). Some have argued that this arrangement makes for a smoother transition between one prelude and the next, as the subsequent keys are more closely related to one another (having more notes in common) than they are in Bach's chromatic sequence.
No. 1 (C Major -Agitato -28). Like many of the preludes, the first one is domi?nated by a single, rather lively rhythmic idea that rises and then descends in both pitch and volume.
No. 2 (a minor -Lento -22) is, in the words of a recent biography by Jeremy Siepmann (Northeastern University Press, 1995), "one of the bleakest meditations ever entrusted to the piano." An enigmatic, open-ended melody is repeated three times over a disquieting, chromatic accompani?ment, and brought to a somewhat inconclu?sive ending.
No. 3 (G Major -Vivace -22) is cheerful and energetic, with a triumphant melody soaring above a fast-moving accompaniment. In No. 4 (e minor -Largo -22), a highly expressive but barely moving melody is set against an even pulse of chromatically descending chords. The dynamics reaches forte for a single measure, only to fall back into the subdued piano of the beginning. It is a mysterious and hauntingly beautiful piece. No. 5 (D Major -Allegro molto -38) is a study in perpetual motion for both hands, constantly mixing the "happy" major tonality with intruding notes from the "sad" minor. No. 6 (b minor -Lento assai -34). If Op. 25, No. 8 is called the "cello etude," then this must be the "cello prelude," as its beau?tiful melody, unfolding in the bass register, has the singing quality often associated with string instruments. After the beautiful melody has run its course, the piece ends with a sigh. No. 7 (A Major -Andantino -34). The
shortest of the preludes, this is a hint at a mazurka, with a delicate melody that flits by before we know it.
No. 8 (f-sharp minor -Molto agitato -44). A tempestuous and passionate piece, the most substantial of the preludes so far. Its simple theme, surrounded by virtuoso passagework in both hands, is subjected to some extremely bold modulations before reaching a singularly poignant conclusion. No. 9 (E Major -Largo -44). A funeral march in miniature, this piece has every?thing (development, climax, recapitulation) in just twelve measures, or about a minute in duration.
No. 10 (c-sharp minor -Allegro molto -34). Another miniature, this prelude is the first to make contrast its main concern: the fast descending scales of the right hand alternate with some soft chords in mazurka rhythm.
No. 11 (B Major -Vivace -68). The bubbling eighth-note runs in both hands keep both melody and accompaniment alive in this prelude, which is also among the shorter ones in the set. No. 12 (g-sharp minor -Presto -34). This prelude is fiery but also somewhat playful, as its impassioned chromatic melody is underpinned by the "oom-pah" of a waltz gone crazy.
No. 13 (F-sharp Major -Lento -64). The melody of this nocturne among the preludes moves along in sweet parallel thirds and sixths, floating above a gentle eighth-note accompaniment. Its tempo, slow to begin with, becomes even slower in the intensely lyrical (though short) middle sec?tion.
No. 14 (e-flat minor -Allegro -22). Chopin managed to build up enormous dramatic tensions in this prelude, although only 19 measures long. The two hands move in parallel octaves throughout, which means that they play exactly the same thing: bro?ken chords in triplet rhythm, chromatically
tinged and rising and falling in volume. How dry all this sounds when you put it into words! And how exciting when you hear the music!
No. 15 (D-flat Major -Sostenuto -44). This is undoubtedly the centerpiece of the set, the longest and weightiest of the pre?ludes. It is traditionally called the "Raindrop" prelude because a single note (A-flat) is heard, in repeated eighth-notes, almost constantly throughout the piece, resembling drops of rain beating against the windowpanes. The piece resembles many of Chopin's nocturnes in form and melodic style. It opens with a beautiful singing melody that eventually gives way to a myste?rious, dramatic middle section in the minor mode. During this section, the repeated eighth-notes become more and more intense and, at the climactic moment, move up a minor third to B natural, sending shiv-
ers down this listener's spine. The melody of the opening section returns, and the piece ends in a great calm.
No. 16 (b-flat minor -Presto con fuoco -22). Siepmann described this piece as "daz?zling, demoniacally exuberant; one of the most sheerly exciting exercises in bravura ever penned." He did not exaggerate. The relentless sixteenth-note cascades and the galloping chords in the accompaniment make this piece, which is longer than most in the set, stand out as a dramatic statement on a monumental scale. No. 17 (A-flat Major -Allegretto -68). A delightful "song without words," this piece is carried by a graceful melody, an active, insistent accompaniment, and intricate key changes of the kind only Chopin could write. We hear the main melody played both in a delicate pianissimo and a powerful for?tissimo: it is irresistible in each case. No. 18 (f minor -Allegro molto -22) bursts with energy and impulsiveness. The piece is all wild runs, abrupt chords and accents -Romanticism at its most extrava?gant.
No. 19 (E-flat Major -Vivace -34) is a study in fast triplet motion in both hands, like No. 14, but whereas the e-flat minor piece was tense and dramatic, the E-flat major has a gentle smile on its face -although it is fiendishly difficult to play. No. 20 (c minor -Largo -44). Here is another of Chopin's incredible miniatures. Eight measures of a funeral march (even more tragic than No. 9), with the second half repeated and a single closing chord: but what depth, what evocative power, and what a goldmine of harmonies in only two lines of printed music!
No. 21 (B-flat Major -Cantabile -34). Instead of indicating a tempo, Chopin marked this piece "Singing," which is in fact the most important characteristic of its beautiful main theme. But as the piece goes on, the faster accompaniment figures of the
left hand take over almost completely, out?weighing the main melody. No. 22 (g minor -Molto agitato -68). The melody is played by the left hand in thunderous octaves, with the right hand supplying the harmonies. The dynamics is forte or fortissimo throughout in this fireball of a piece.
No. 23 (F Major -Moderato -44). The figurations in this prelude resemble those in No. 3, but are now played by the right hand instead of the left. It is a calm and serene piece that, unlike most others, hardly leaves the home tonality at all. No. 24 (d minor -Allegro appassionato -68). In a total contrast after the preced?ing piece, the last prelude is as fervent as anything Chopin (or anyone else, for that matter) ever wrote. One of the longer pre?ludes, it has a vigorous melody punctuated by ascending scalar passages quick as light?ning. Far from abating, the excitement only increases toward the end. The prelude -and the set -ends in a rather dramatic way, with the fast passage turned upside down and leading into three solitary low D's played with a fierce emphasis.
Program notes by Peter Laki.
Mitsuko Uchida's inter?pretation of a wide ranging repertoire has gained her a formidable reputation as a pianist who brings intellectual activity and musical insight to her performances. She is particularly noted for her interpretations of Mozart, Beethoven, Schumann and Schubert but is also a dedicated performer of the music of Berg, Schoenberg and Messiaen. In May 1996 she gave the US premiere of Harrison Birtwistle's piano concerto Antiphonies with the Los Angeles Philharmonic and Pierre Boulez.
Mitsuko Uchida combined recently the music of Schubert and Schoenberg in a memorable series of
concerts which took place in London, New York, Tokyo, Amsterdam, Vienna and at the Salzburg Festival. In addition to tonight's Ann Arbor concert, Miss Uchida's 199899 season will include recitals in Carnegie Hall, Alice Tully Hall, Royal Festival Hall, Glyndebourne, Cite de la Musique (Paris), Concertgebouw (Amsterdam) and the Vienna Konzerthaus, as well as in Rome, Milan, Hamburg and Munich.
A regular guest with the world's leading orchestras Miss Uchida toured Japan with the Vienna Philharmonic and Bernard Haitink in October 1997. Upcoming concerts include appearances with the Los Angeles Philhar?monic, New York Philharmonic, Philadelphia Orchestra, Dresden Staatskapelle, Munich Philharmonic, Zurich Tonhalle Orchestra, and the Philharmonia of London.
Mitsuko Uchida records exclusively for Philips and her recordings are frequently nominated for awards throughout the world. She has recorded all of Mozart's piano sonatas and concerti for Philips and the Sonatas form part of Philips' now legendary "Mozart Edition" released in the composer's bicente?nary year. The Sonata recordings also won
the 1989 Gramophone Award. Her other recordings include works by Debussy, Chopin and Schumann, while her most recent are of Beethoven's Piano Concertos Nos. 3 and 4 with the Royal Concertgebouw Orchestra and Kurt Sanderling, and Schubert's Piano Sonata D960 and the three Klavierstucke D946.
Tonight's recital marks Mitsuko Uchida's debut under UMS auspices.
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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.
Hosted by members of the UMS Board of Directors, UMS Camerata dinners are a delicious and conve?nient beginning to your concert evening. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per per?son. Reservations can be made by mail using the order form in this brochure or by calling 734.647.1175. UMS members receive reservation priority.
Saturday, October 10 St. Petersburg Philharmonic
Saturday, October 24 Budapest Festival Orchestra Note: This dinner will be held in the Hussey Room at the Michigan League.
Monday, November 2 Kirov Symphony Orchestra Wednesday, November 11 Mitsuko Uchida Thursday, January 14 Renee Fleming Tuesday, February 23 Opening Night of Kodo Thursday, March 11 James Galway
Friday, March 19 Opening Night of Alvin Ailey Note: This dinner will be held in the Power Center.
Thursday, April 15 Mozarteum Orchestra of Salzburg
Friday, April 23 Lincoln Center Jazz with Wynton Marsalis
Wonderful friends and supporters of the UMS are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
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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
Renee Fleming, soprano Pre-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!
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1547 Washtenaw Avenue 734.769.0653 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 Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes two nights stay, breakfast, high tea and two priority reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer 734.769.3010 for reservations
Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished per?forming artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the performance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. Beat the winter blues in style! (All events are at 8pm with dinner prior to the performance)
Sat. Dec. 5 Fri. Jan. 8 Sat. Jan. 16 Fri. Jan. 29 Fri. Feb. 12
Sat. Feb. 20
Fri. Mar. 12 Sat. Mar. 20 Fri. Mar. 26
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 Ailey American Dance Theater
Sweet Honey in the Rock
Package price $209 per couple (not including tax & gratuity) includes valet parking at the hotel, overnight accommoda?tions in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
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-performance dinner
Assad Brothers with Badi Assad, guitar Pre-performance dinner
Handel's Messiah Post-performance dinner
Tlie 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 lackson Road, Ann Arbor 734.769.2500 for reservations
Thur. Ian. 28 Thur. Mar. 11 Fri.Mar. 19 Sun. Apr. 25
American String Quartet Pre-performance 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.
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For more information, call 734.647.1176
In an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary Halls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies.
Thanks to Sesi Lincoln-Mercury for the use of a Lincoln Town Car to provide transportation for visiting artists.
Advisory Committee
The Advisory Committee is a 48-member organiza?tion which raises funds for UMS through a variety of projects and events: an annual auction, the cre?ative "Delicious Experience" dinners, the UMS Cookbook project, the Season Opening Dinner, and the Ford Honors Program Gala. The Advisory Committee has pledged to donate $175,000 this current season. In addition to fundraising, this hard-working group generously donates valuable and innumerable hours in assisting with the educa?tional programs of UMS and the behind-the-scenes tasks associated with every event UMS presents. If you would like to become involved with this dynamic group, please give us a call at 734.936.6837 for information.
Group Tickets
Many thanks to all of you groups who have joined the University Musical Society for an event in past seasons, and a hearty welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years and our success is a direct result of the wonder?ful leaders who organize their friends, families, con?gregations, students, and co-workers and bring them to one of our events.
Last season over 8,300 people, from as far away as California, came to UMS events as part of a group, and they saved over $40,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events like Wynton Marsalis, Itzhak Perlman, David Daniels, Evgeny Kissin, and the Chicago Symphony Orchestra.
This season UMS is offering a wide variety of events to please even the most discriminating tastes, many at a fraction of the regular price. Imagine yourself surrounded by 10 or more of your closest friends as they thank you for getting great seats to the 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.
Randall and Mary Pittman
Herbert Sloan
Paul and Elizabeth Yhouse
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical
Research University of Michigan
Arts Midwest
Lila Wallace Reader's Digest
Audiences for the Performing
Arts Network Lila Wallace Reader's Digest
Arts Partners Program The Ford Foundation Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Sally and Ian Bund
Kathleen G. Charla
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
James and Millie Irwin
Elizabeth E. Kennedy
Leo Legatski
Richard and Susan Rogel
Carol and Irving Smokier
Ron and Eileen Weiser
Businesses Arbor Temporaries
Personnel Systems, Inc. Brauer Investments Detroit Edison Foundation Elastizell
JPEincThe Paideia Foundation KeyBank
McKinley Associates Mechanical Dynamics NBD Bank NSK Corporation The Edward Surovell Co.Realtors TriMas Corporation University of Michigan -
Multicutural Affairs WDET WEMU WGTE WMXD Wolverine Temporaries, Inc.
Foundations Benard L. Maas Foundation New England Foundation for the Arts, Inc.
Herb and Carol Amster
Edward Surovell and Natalie Lacy
Tom and Debbie McMullen
Beacon Investment Company First of America Bank General Motors Corporation Thomas B. McMullen company Weber's Inn
Individuals Michael E. Gellert Sun-Chien and Betty Hsiao F. Bruce Kulp and Ronna Romney Mr. David G. Loesel Robert and Ann Meredith Prudence and Amnon Rosenthal Marina and Robert Whitman Roy Ziegler
Bank of Ann Arbor
Blue Nile Restaurant
Caf? Marie
Deloitte & Touche
Michigan Radio
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
Sesi Lincoln-Mercury
University of Michigan -
School of Music Visteon
Foundations Chamber Music America Institute for Social Research
Individuals Martha and Bob Ause Maurice and Linda Binkow Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne Edwin F. Carlson Mr. Ralph Conger Katharine and )on Cosovich Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Mr. Edward P. Frohlich Beverley and Gerson Geltner Sue and Carl Gingles Norm Gottlieb and Vivian Sosna Gottlieb
Keki and Alice Irani John and Dorothy Reed Don and Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Loretta M. Skevves Mr. and Mrs.
John C. Stegeman Richard E. and
Laura A. Van House Mrs. Francis V.Viola III John Wagner Marion T. Wirick and
James N. Morgan
Businesses AAA of Michigan Alf Studios
Butzel Long Attorneys Comerica
Crown House of Gifts Joseph Curtin Studios Environmental Research Institute of Michigan ERIM International Inc. Main Street Ventures Masco Corporation Red Hawk Bar and Grill Regency Travel Republic Bank STM, Inc. Target Stores Zanzibar
Foundations Ann Arbor Area
Community Foundation
Individuals Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Emily W. Bandera, M.D. Peter and Paulett Banks A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreuter Suzanne A. and
Frederick J. Beutler Joan A. Binkow Ron and Mimi Bogdasarian Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Jim Botsford and
Janice Stevens Botsford Laurence Boxer, M.D.;
Grace J. Boxer, M.D.
Barbara Everitt Bryant Jeannine and Robert Buchanan Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Canrwell lean and Kenneth Casey Pat and George Chatas Mr. and Mrs. lohn Alden Clark David and Pat Clyde Maurice Cohen Alan and Bette Cotzin Peter and Susan Darrow Jack and Alice Dobson Elizabeth A. Doman Jan and Gil Dorer Mr. and Mrs. John R. Edman David and Jo-Anna Featherman Adrienne and Robert Feldstein Ken and Penny Fischer Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Lourdes and Otto Gago Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Enid M. Gosling Linda and Richard Greene Frances Greer Alice Berberian Haidostian Debbie and Norman Herbert Dr. and Mrs. Sanford Herman Bertram Herzog Julian and Diane Hoff Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman Thomas and Shirley Kauper Bethany and Bill Klinke Michael and Phyllis Korybalski Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Mr. and Mrs. Henry M. Lee Carolyn and Paul Lichter Peter and Sunny Lo Dean and Gwen Louis Robert and Pearson Macek John and Cheryl MacKrell Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Millard Andrew and Candice Mitchell Grant Moore
Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia A. Patton Moss George and Barbara Mrkonic
Mr. and Mrs. Homer Neal Sharon and Chuck Newman M. Haskell and
Jan Barney Newman William A. and
Deanna C. Newman Mrs. Marvin Niehuss Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mr. and Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and Wilbur K. Pierpont Stephen and Agnes Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Molly Resnik and John Martin Jack and Margaret Ricketts Barbara A. Anderson and
John H. Romani Dr. Nathaniel H. Rowe Rosalie and David Schottenfeld Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel Dr. Elaine R. Soller Steve and Cynny Spencer Judy and Paul Spradlin Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Don and Carol Van Curler Mary Vanden Belt Elise and Jerry Weisbach Angela and Lyndon Welch Roy and JoAn Wetzel Douglas and Barbara White Elizabeth B. and
Walter P. Work, Jr.
The Barfield CompanyBartech Dennis Dahlmann, Inc. Consulate General of the
Federal Republic of
Howard Cooper, Inc. The Monroe Street Journal O'Neal Construction Charles Reinhart Company
Shar Products Company Standard Federal Bank Swedish Office of Science
and Technology
Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation Nonprofit Enterprise at Work
The Power Foundation Rosebud Foundation
Carlene and Peter Aliferis
Dr. and Mrs. Rudi Ansbacher
Catherine S. Arcure
Janet and Arnold Aronoff
Max K. Aupperle
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 111 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 Claudinc Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Mrs. Beth B. Fischer Daniel R. Foley James and Anne Ford Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox
Wood and Rosemary Geist Charles and Rita Geiman Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Joyce and Fred M. Ginsberg Paul and Anne Glendon Dr. Alexander Gotz Dr. and Mrs. William A. Gracie Elizabeth Needham Graham Jerry M. and Mary K. Gray Dr. John and Rcnee M. Gredcn Lila and Bob Green John and Helen Griffith Leslie and Mary Ellen Guinn Mr. and Mrs. Elmer F. Hamel Robert and Susan Harris Susan Harris
4 2 Benefactors, continued
Walter and Dianne Harrison Clifford and Alice Hart Taraneh and Carl Haske Bob and Lucia Heinold Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershenson Mrs. W.A. Hiltner Janet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and Gaye H. Humphrey John and Gretchen Jackson Wallie and Janet Jeffries James and Dale Jerome Billie and Henry Johnson Mr. and Mrs. Richard A. Jones Stephen Josephson and
Sally Fink
Susan and Stevo Julius Robert L. and Beatrice H. Kahn Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine Roby Klingler Philip and Kathryn Klintworth Jim and Carolyn Knake Charles and Linda Koopmann Samuel and Marilyn Krimm Helen and Arnold Kuethe Lee E. Landes David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski
Myron and Bobbie Levine Evie and Allen Lichter Jeffrey and Jane Mackie-Mason Edwin and Catherine Marcus Marilyn Mason Joseph McCune and
Georgiana Sanders Ted and Barbara Meadows Walter and Ruth Metzger Myrna and Newell Miller Lester and Jeanne Monts Dr. Eva L. Mueller Martin Neuliep and
Patricia Pancioli Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. James C. O'Neill Mark and Susan Orringer Mark Ouimet and
Donna Hrozencik Lorraine B. Phillips William and Betty Pierce Eleanor and Peter Pollack Stephen and Bettina Pollock Richard H. and Mary B. Price Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece La Vonne and Gary Reed Rudolph and Sue Reichert Glenda Renwick Maria and Rusty Restuccia Katherine and William Ribbens Ken and Nina Robinson
Gustave and Jacqueline Rosseels Mrs. Doris E. Rowan Maya Savarino and
Raymond Tanter Sarah Savarino David and Marcia Schmidt Mrs. Richard C. Schneider Edward and Jane Schulak Howard and Aliza Shevrin Sandy and Dick Simon Scott and Joan Singer George and
Mary Elizabeth Smith Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Allen and Mary Spivey Gus and Andrea Stager Mrs. Ralph L. Steffek Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey K. Stross Bob and Betsy Teeter James L. and Ann S. Telfer Dr. and Mrs.
E. Thurston Thieme Sally Wacker Ellen C. Wagner Gregory and Annette Walker Willes and Kathleen Weber Karl and Karen Weick 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 I. D. Woods
Don and Charlotte Wyche Dr. and Mrs. Thomas Xydis Nancy and Martin Zimmerman
Bella Ciao Trattoria
Cooker Bar and Grille
Gandy Dancer Restaurant
Great Lakes Bancorp
Kerrytown Bistro
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
Perfectly Seasoned
St. Joseph Mercy Hospital
UVA Machine
Arts Management Group
Jewish Federation of
Metropolitan Chicago United Jewish Foundation of
Metropolitan Detroit
ASSOCIATES Individuals
Michael and Suzan Alexander Anastasios Alexiou
Christine Webb Alvcy
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Jonathan and Marlene Ayers
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. Browdcr 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 lames S. Chen Don and Betts Chisholm Dr. Kyung and Young Cho Robert J. Cierzniewski John and Nancy Clark Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Cynthia and leffrey Colton Lolagene C. Coombs Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Mary R. and John G. Curtis DASH
Ed and Ellie Davidson Laning R. Davidson, M.D. John and Jean Debbink Mr. and Mrs. Jay De Lay Louis M. DeShantz Elizabeth Dexter Gordon and Elaine Didier Steve and Lori Director Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Prof. William Gould Dow Jane E. Dutton Martin and Rosalie Edwards Dr. Alan S. Eiser Joan and Emil Engel Dr. and Mrs. John A. Faulkner Susan Feagin and John Brown Reno and Nancy Feldkamp
Dede and Oscar Feldman Dr. James F. Filgas Carol Finerman Herschcl 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 Frecdman Andrew and Deirdre Freiberg Lela I. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and Mrs.
David M. Gates
Steve Geiringer and Karen Bantel Thomas and Barbara Gelehrter James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Irwin J. Goldstein and
Marty Mayo
Steve and Nancy Goldstein Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Robert M. Grover Ken and Margaret Guire Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Yoshiko Hamano Michael C. and Deanne A. Hardy Kenneth and Jeanne Heininger John L. and
Jacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Dr. and Mrs. Ronald W. Holz Dr. and Mrs. Joseph Houle Linda Samuelson and
Joel Howcll Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Professor and Mrs.
John H. Jackson Harold and Jean Jacobson Mr. and Mrs. Donald L. Johnson Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Dr. and Mrs. Mark S. Kaminski Allyn and Sherri Kantor Mr. and Mrs. Norman A. Katz Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Emily and Ted Kennedy Donald F. and Mary A. Kiel Tom and Connie Kinnear Rhea and Leslie Kish Drs. Paul and Dana Kissner James and Jane Kister Dr. George Kleiber Joseph and Marilynn Kokoszka Mclvyn 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 Mm and Margaret Laird Henry and Alice Landau Mr. and Mrs. Henry M. Lapeza Jill Latta and David S. Bach John and Theresa Lee Frank Legacki and Alicia Torres Richard LeSueur Jacqueline H. Lewis Lawrence B. Lindemer Vi-Cheng and Hsi-Yen Liu Rebecca and Lawrence Lohr Dan and Kay Long Leslie and Susan Loomans Charles and Judy Lucas Edward and Barbara Lynn Donald and Doni Lystra Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Richard Marcy Nancy and Philip Margolis Geraldine and Sheldon Markel Irwin and Fran Martin Sally and Bill Martin Dr. and Mrs. losip Matovinovic Mary and Chandler Matthews Margaret W. Maurer Jeffrey and Sandra Maxwell Margaret E. McCarthy W. Bruce McCuaig Griff and Pat McDonald Charlotte McGeoch Terence McGinn Bernice and Herman Merte Deanna Relyea and
Piotr Michalowski Leo and Sally Miedler Jeanette and Jack Miller Dr. and Mrs. James B. Miner Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A.A. Moroun Dr. M. Patricia Mortell Brian and Jacqueline Morton Dr. and Mrs. Gunder A. Myran Frederick C. Neidhardt and Germaine Chipault Barry Nemon and Barbara Stark-Nemon Veltajean Olson and
D. Scott Olson Mrs. Charles Overberger Donna D. Park Shirley and Ara Paul Dr. Owen Z. and
Barbara Perlman Frank and Nelly Petrock Joyce H. and Daniel M. Phillips William and Barbara Pierce Frank and Sharon Pignanelli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince Bradley Pritts
J. Thomas and Kathleen Pustell Leland and Elizabeth Quackenbush
Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Constance Rinehart lames and Alison Robison Mr. and Mrs. Stephen J. Rogers Mrs. Irving Rose Dr. Susan M. Rose Gay and George Rosenwald Drs. Andrew Rosenzweig and
Susan Weinman Craig and Jan Ruff Jerome M. and Lee Ann Salle Ina and Terry Sandalow Sheldon Sandweiss Michael and Kimm Sarosi Albert . and Jane L. Sayed Meeyung and Charles Schmitter Sue Schroeder Marvin and Harriet Selin Constance Sherman Alida and Gene Silverman Frances U. and Scott K. Simonds John and Anne Griffin Sloan Mrs. Alene M. Smith Carl and Jari Smith Mrs. Robert W. Smith Virginia B. Smith Richard Soble and
Barbara Kessler Jorge and Nancy Solis Katharine B. Soper Dr. Yoram and Eliana Sorokin leffrey D. Spindlcr L. Grassclli Sprankle Francyne Stacey Dr. and Mrs. Alan Steiss Steve and Gayle Stewart Dr. and Mrs. Stanley Strasius Charlotte Sundelson Brian and Lee Talbot Ronna and Kent Talcott Eva and Sam Taylor Cynthia A. Terrill Paul Thielking Edwin J. Thomas Alleyne C. Toppin Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Treciak Van Dam Jack and Marilyn van der Velde Rebecca Van Dyke William C. Vassell Kate and Chris Vaughan Carolyn and Jerry Voight Warren Herb and Horence 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. loan D. Weber Deborah Webster and
George Miller
Marcy and Scott Westcrman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitehousc Thomas and Iva Wilson
Charlotte Wolfe Mr. and Mrs. A. C. Wool! 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
The Snced Foundation, Inc.
Jim and Jamie Abelson
John R. Adams
Irwin P. Adclson, M.D.
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. Allardyce
Mike Allemang
Richard and Bettye Allen
Richard Anulur
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 f. and Mary E. Armstrong
Gaard and Ellen Arneson
Mr. and Mrs. Lawrence E. Arnett
Mr. and Mrs. Dan E. Atkins III
Eric M. and Nancy Aupperle
Erik and Linda Lee Austin
Eugene and Charlenc Axelrod
Shirley and Don Axon
Virginia and Jerald Bachman
Lillian Back
Jane Bagchi
Prof, and Mrs. J. Albert Bailey
Doris I. Bailo
Robert L. Baird
Bill and Joann Baker
Dennis and Pamela (Smitter) Baker
Laurence R. and Barbara K. Baker
Maxine and Larry Baker
Drs. Helena and Richard Balon
John R. Bareham
David and Monika Barera
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Sherri H. Barnes
Donald C. Barnette, Jr.
Mark and Karla Bartholomy
Dorothy W. Bauer
Rosemarie Bauer
lames M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Bcckert Robert M. Beckley and Judy Dinesen Nancy Bender Waller and Antje Benenson Harry and Betty Benford Mcrelc and Erling Blondal Bcngtsson Bruce Bcnncr Joan and Rodney Bcntz Mr. and Mrs. Ib Bcntzen-Bilkvist Dr. Rosemary R. Bcrardi Barbara Levin Bergman Minnie Bcrki
4 4 Associates, continued
Abraham and Thclma Bcrman Harvey and Shelly Kovacs Bcrman Pearl Bernstein Gene and Kay Bcrrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bertcher Mark Bcrtz
R. Bezak and K. Halstead [ohn and Marge Biancke Irene Biber Eric and Doris Billes lack and Anne Birch field William and Ilenc Birge Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh George and Joyce Blum Beverly J. Bole Catherine I. Bolton Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonnell Ed and Luciana Borbely Lola J. Borchardt Jeanne and David Bostian Bob and Jan Bower Dean Paul C. Boylan C. Paul and Anna Y. Bradley Enoch and Liz Bratcr Professor and Mrs. Dale E. Briggs Patrick and Kyoko Broderick Dr. and Mrs. Ernest G. Brookfield Linda Brown and Joel Goldberg Cindy Browne Mary and John Bruegcr Mrs. Webster Brumbaugh Dr. Donald and Lcla 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 K.itln .in M. Chan William and Susan Chandler J. Wehrley and Patricia Chapman Joan and Mark Chester Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Nancy CHley
Brian and Cheryl Clarkson Charles ind Lynnc 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 P. Collier Ed and Cathy Colone Edward J. and Anne M. Comeau Patrick and Anncward Conlin Nan and Bill Conlin Thomas Conner Donald W. Cook Gage R. Cooper Robert A. Cowlcs Clifford and Laura Craig Marjorie A. Cramer Dee Crawford
Richard and Penelope Crawford Charles and Susan Crcmin Mary C. Crichton Lawrence Crochicr Constance Crump and Jay Simrod
Mr. and Mrs. lames I. Crump
Margaret R. Cudkowicz
Richard). Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daanc
Mr. and Mrs. John R. Dale
Marylcc Dalton
Robert and Joyce Damschroder
Lee and Millie Danietson
Line and Gawainc Dart
Sunil and Merial Das
DarLinda and Robert Dascola
Ruth E. Datz
Dr. and Mrs. Charles Davenport
Mr. and Mrs. Arthur W. Davidge
David and Kay Dawson
Joe and Nan Decker
Dr. and Mrs. Raymond F. Decker
Rossanna and George DeGrood
Penny and Laurence B. Deitch
Elena and Nicholas Delbanco
William S. Demray
Lloyd and Genie Dethloff
Don and Pam Devine
Elizabeth and Edmond DeVine
A. Nelson Dingle
Dr. and Mrs. Edward R. Doezema
Jean Dolega
Heather and Stuart Dombey
Fr. Timothy J. Dombrowski
Thomas Doran
Deanna and Richard Dorncr
Dick and Jane Dorr
Thomas Downs
Paul Drake and Joyce Penner
Roland and Diane Drayson
Harry M. and Norrcne M. Dreffs
Janet Driver
John Dryden and Diana Raimi
Robert and Connie Dunlap
Jean and Russell Dunnaback
Edmund and Mary Durfce
John W. Durstinc
Jacquclynne S. Eccles
Elaine Economou and Patrick
Mr. and Mrs. Richard Edgar
Sara and Morgan Edwards
Rebecca Eisenberg and Judah
David A. Eklund
Judge and Mrs. S.J.Elden
Sol and Judith Elkin
Julie and Charles Ellis
Ethel and Sheldon Ellis
James Ellis and Jean Lawton
Jack and Wylma Elzay
Michael and Margaret Emlaw
Mackenzie and Marcia Endo
Jim and Sandy Eng
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 Adelc Ewell
Mr. and Mrs. Robert B. Fair, Jr. Barbara and Garry C. Faja Mark and Karen Falahce Elly and Harvey Falit Thomas and Julia Falk Richard and Shelley Farkas Edward Farmer
Mr. and Mrs. H. W. Farrington, Jr. Walter Federlein Inka and David Fclbeck Phil and Phyllis Ftrllin Larry and Andra Ferguson Karl and Sara Fiegenschuh Clay Finkbciner C. Peter and Bev A. Fischer Gerald B. and Catherine L. Fischer Dr. Lydia Fischer Patricia A. Fischer Charles W. Fisher Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher Winifred Fisher Barbara and James Fitzgerald Linda and Thomas Fitzgerald Morris and Debra Flaum Mr. and Mrs. Kurt Flosky David and Ann Flucke Maureen Forrest, M. D. and
Dennis Capozza Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and Joann Freelhy Gail Fromes Icrry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett )ane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and Jack Garris Dd and C. Louise Garrison Mr. James C. Garrison Janet and Charles Garvin Allan and Harriet Gelfond lutta Gerber
Deborah and Henry Gcrst Michael Gerstenbergcr W. Scott Gerstenberger and Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas Mr. Harlan Gilmore Beverly Jeanne Giltrow Han Gittlcn
Peter and Roberta Gluck Mr. and Mrs. Robert Gockel Albert L. Goldberg Edward and Ellen Goldberg Ed and Mona Goldman Mr. and Mrs. David N. Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin William and Jean Gosling Charles Goss Naomi Gottlieb and
Theodore Harrison, DDS Sin Gottlieb Michael L. Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Helen Graves and Patty Clare Pearl E. Graves
Dr. William H. and Maryanna Graves Larry and Martha Gray Isaac and Pamela Green Jeff Green
Bill and Louise Gregory Linda and Roger Grekln Daphne and Raymond Grew Mr. and Mrs. James J. Gribble Mark and Susan Griffin Werner H. Grilk Margaret Grillot Laurie Gross
Richard and Marion Gross Dr. Robert and Julie Grunawalt Kay Gugala
Carl E. and Julia H. Guldberg Arthur W. Gulick, M.D. Mr. and Mrs. Lionel Guregian Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hackett Harry L. and Mary L. Hallock Mrs. William Halstead Sarah I. Hamcke Mrs. Frederick G. Hammitt Dora E. Hampel Lourdes S. Bastos Hansen Charlotte Hanson Herb and Claudia Harjes M. C. Harms Dr. Rcna Harold Nile and fudith Harper Stephen G. and Mary Anna Harper Laurelynne Daniels and
George P. Harris
Ed Sarath and loan Harris
Robert and Jean Harris
Jerome P. Hartweg
Elizabeth C. Hassinen
Ruth Hastie
fames B. and Roberta Hausc
jeannine and Gary Hayden
Mr. and Mrs. Edward J. Hayes
Charles S. Heard
Derek and Cristina Heins
Mrs. Miriam Heins
lim and Esther Heitler
Sivana Heller
Margaret and Walter Hclmreich
Paula B. Hencken
K.iil Hcnkcl 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 Hocrner Anne Hoff and George Villec Robert and Frances Hoffman Carol and Dieter Hohnkc 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 Helga Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C. Hubbs Charles T. Hudson Hubert and Helen Huebl Harry and Ruth Huff Mr. and Mrs. William Hufford lane Hughes
Joanne Winkleman Hulce Kenneth Hulsing Ann D. Hungerman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brenda and
Jason Prouser Imber 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 Jclinek Keith and Kay Jensen JoAnn J. Jeromin slim i Lynn lohnson Dr. Marilyn S. Jones John and Linda fonides Elizabeth and Lawrence Jordan Andrce Joyaux and Fred Blanck Tom and Marie Juster Paul Kantor and Virginia Weckstrom Kin tor
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. Kalo Maxinc and David Katz Nick and Mcral Kazan Julia and Philip Kearney William and Gail Keenan Janice Keller
James A. Kelly and Mariam C. Noland John B. Kennard Bryan Kennedy Frank and Patricia Kennedy Linda Atkins and Thomas Kenney Paul and Leah 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 Kocnig
Ann Marie Kotre
Pick and Brcnda Krachcnbcrg
lean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krchbiel
Sara Kring
Alan and Jean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
)anc Laird
Mr. and Mrs. Seymour Lampert
Pamela and Stephen Landau
Patricia M. Lang
Lome L. Langlois
Carl F. and Ann L. La Rue
Beth and George Lavoie
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Moshin and Christina Lee
Mr. Richard G. LeFauve and
Mary F. Rabaut -LeFauve Diane and Jeffrey Lehman Ann M. Leidy
Mr. and Mrs. Fernando S. Leon Ron and Leona Leonard Sue Leong Margaret E. Leslie David E. Levinc George and Linda Levy Deborah Lewis
Donald ). and Carolyn Dana Lewis Judith Lewis Norman Lewis Thomas and fudy Lewis Mark Lindley and Sandy Talbott Mr. Ronald A. Lindroth Dr. and Mrs. Richard H. Lineback Naomi E. Lohx Jane Lombard Patrick B. and Kathy Long Ronald Longhofer Armando Lopez R. Luisa Lopez-Grigera Richard and Stephanie Lord Robert G. Lovell Donna ,iiui Paul Lowry Mr. and Mrs. Carl J. Lutkehaus Susan E. Macias Lois and Alan Macnee Walter A. Maddox Suzanne and Jay Mahler Ronald and lilt Donovan Maio Deborah Malamud and Neal Plotkin William and Joyce Malm Claire and Richard Malvin Melvin and Jean Manis Pearl Manning I loward and Kate Market Lee and Greg Marks Alice and Bob Marks Rhoda and William Martel Ann W. Martin Rebecca Martin
Mr. and Mrs. Stephen D. Marvin Debra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard Micheline Maynard LaRuth McAfee Thomas and Jackie McClain Dores M. McCree Jeffrey T. McDole James and Kathleen McGauley Eileen Mclntosh and
Charles Schaldcnbrand Mary and Norman Mclver Bill and Virginia McKeachie Daniel and Madelyn McMurtric Nancy and Robert Meader Samuel and Alice Meisels Robert and Doris Melling Allen and Marilyn Menlo Hcly A. Merle-Benner
Jill McDonough and Greg Merriman
Henry D. Messer Carl A. House
Robert and Bcttic Metcalf
Lisa A. Mets
Professor and Mrs. Donald Meyer
Suzanne and Henry J. Meyer
Shirley and Bill Meyers
Francis and Helen Michaels
William and loan Mikkclsen
Carmen and Jack Miller
Robert Rush Miller
John Mills
Olga Moir
Dr. and Mrs. William G. Moller, Jr.
Patricia Montgomery
lim and leanne 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 Melinda and Bob Morris Robert C. Morrow Cyril and Rona Moscow James and Sally Mueller Tom and Hedi Mulford Bern and Donna Muller Marci Mulligan and Katie Mulligan Gavin Eadie and Barbara Murphy Laura and Chuck Musil Rosemarie Nagel Penny H. Nasatir Isabellc Nash Susan and Jim Newton John and Ann Ntcklas Shinobu Niga Susan and Richard Nisbett Gene Nissen
Laura Nitzberg and Thomas Carli Donna Parmelee and William Nolting Richard S. Nottingham Steve and Christine Nowaczyk Dr. Nicole Obregon Patricia A. C. O'Connor C. W. and Sally O'Dell Nels and Mary Olson Mr. I. L. Oncley Zibby and Bob Oncal Kathleen I. Operhall Dr. Jon Oscherwitz Mitchel Osman, M.D. Elisa A. Ostafin Lillian G. Ostrand Julie and Dave Owens Mrs. lohn Panchuk Dr. and Mrs. Sujit K. Pandit Penny and Steve Papadopoulos Michael P. Parin Bill and Katie Parker Evans and Charlenc Parrott Maria and Ronald Patterson Nancy K. Paul P. D. Pawelski Edward). Pawlak Sumer Pek and Marilyn Kat2-Pek Dr. and Mrs. Charles H. Peller Donald and Edith Pelz William A. Penner, Jr. Steven and Janet Pepe Bradford Perkins Susan A. Perry Ann Marie Petach Margaret and Jack Pctcrsen Roger and Grace Peterson Jim and Julie Phclps Mr. and Mrs. Frederick R. Pickard Leonard M. and Loraine Pickering Nancy S. Pickus Robert and Mary Ann Pierce Roy and Winnifred Pierce Russell and Elizabeth Pollard Hines Robert and Mary Pratt Jacob M. Price Joseph and Mickey Price V. Charleen Price Ernst Pulgram Malayatt Rabindranathan Mr. and Mrs. Mitchell Radcliff Patricia Randlc and James Eng Al and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H, Rasmussen
Maxwell and Marjorie Reade
Michael Ready
Sandra Reagan
Gabriel M. Rebeiz
Kathcrine R. Reebel
Stanislav and Dorothy R. Rehak
John and Nancy Reynolds
Alice Rhodes
fames and Helen Richards
Elizabeth G. Richart
Dennis J. Ringle
John and Marilyn Rintamaki
Sylvia Ccdomir Ristic
Kathleen Roelofs Roberts
Dave and loan Robinson
Janet K. Robinson, Ph.D.
Mary Ann and Willard Rodgers
Thomas and Catherine Rodzicwicz
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 (.I. 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 loan Sachs Miriam S. Joffe Samson Tito and Yvonne Sanchez Daren and Maryjo Sandberg John and Reda Santinga Mike and Christi Savitski Helga and lochen Schacht Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L. Schmitt Charlene and Carl Schmult Gerald and Sharon Schreiber David E. and Monica N. Schteingart Albert and Susan Schultz Aileen M. Schulze Alan and Marianne Schwartz Ed and Sheila Schwartz Ruth Scodel Jonathan Bromberg and
Barbara Scott David and Darlene Scovell Michael and Laura Seagram E.). Sedlander John and Carole Segall Richard A. Seid Suzanne Selig Janet C. Sell
Louis and Sherry L. Senunas George H. and Mary M. Sexton Ruth and J. N. Shanberge Brahm and Lorraine Shapiro Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shappirio Maurice and Lorraine Sheppard Dan Sherrick and Ellen Moss Rev. William ]. Shcrzer George and Gladys Shirley Jean and Thomas Shope HolHs and Martha A. Showalter Mary Alice Shulman John Shultz
Ned Shure and Jan Onder John and Arlcne Shy Douglas B. Siders, M.D. Dr. Bruce M. Sicgan Mr. and Mrs. Barry J. Siegcl 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 Sinta li 111.1 J. Sklcnar Beverly N. Slater
Tad SUwecki
. Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
lames A. Somers
Judy Z. Somers
Mr. and Mrs. Edward ). Sopcak
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Shawn Spillane
Charles E. Sproger
Edmund Sprunger
Burnettc Staebler
David and Ann Slaiger
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 Steude
Barbara and Bruce Stevenson
)ohn 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 Sugcrman
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 Tewksbury
Catherine and Norman Thoburn
Bette M. Thompson
Peggy Tieman
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townley
Jim Toy
Angie and Bob Trinka
Sarah Trinkaus
Luke and Merling Tsai
Marlene C. Tulas
JefFand Lisa Tulin-Silver
Jan and Nub Turner
Dolores J. Turner
Wiliiam H. and Gerilyn K. Turner
Alvan and Katharine Uhle
Mr. and Mrs. Bryan Ungard
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Hugo and Karla Vandersypen
Bram and 11.1 van Leer
Fred and Carole S. Van Reesema
Yvette VanRiper
J. Kevin and Lisa Vasconi
Phyllis Vegler
Sy and Florence Veniar
Elizabeth Vetter
Martha Vicinus and Bea Nergaard
Jane and Mark Vogcl
Mr. and Mrs. Theodore R. Vogt
John and Jane Voorhorst
George S. and Lorraine A. Wales
Richard and Mary Walker
Lorraine Nadclman and
Sidney Warschausky Ruth and Chuck Watts Edward C. Weber Joan M. Weber Jack and Jerry Weidcnbach Carolyn J. Weiglc Gerane and Gabriel Weinreich Lawrence A. Wcis Donna G. Weisman Barbara Weiss Carol Campbell Wclsch and
John Wclsch
John and Joanne Werner Rosemary and David Wesenberg Ken and Cherry Westerman Susan and Peter Westerman Paul E Dufly and Marilyn L Wheaton
4 6 Advocates, continued
Mr and Mrs. Nathaniel Whitesidc William and Cristina Wilcox Honorable Kurtis T. and
Cindy M. Wilder Reverend Francis E. Williams John Troy Williams Shelly F. Williams Lois Wilson-Crabtree Beverly and Hadlcy Wine Dr and Mrs Jan Z. Winkdnun Beth and I. W. Winsten Mr. and Mrs. Eric Winter Dr. and Mrs. Lawrence D. Wise Charles Witkc and Ailecn Gatten Patricia and Rodger Wolff Wayne Wolfson Dr. and Mrs. Ira S. Wollner Richard E. and Muriel Wong Nancy and Victor Wong Stewart and Carolyn Work Charles R. and Jean L. Wright Fran and Ben Wylie Mr. and Mrs. R. A. Yagle Sandra and Jonathan Yobbagy Mr. Frank Yonkstetter James and Gladys Young Mr. and Mrs. Robert Zager Dr. Stephen C. Zambito Phyllis Zawisza Craig and Megan Zcchman David S. and Susan H. Zurvalec
Ann Arbor Bivouac, Inc. Ayse's Courtyard Cafe Bodywise Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Garris, Garris, Garris 8c
Garris Law Office Lewis Jewelers Organizational Designs Pen in Hand
Alice Simsar Fine Art, Inc. Zepeda and Associates
Schwartz Family Foundation
Tlie Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great traditions of the Society in the future.
Carol and Herb Amstcr
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 Aldcn 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 Niehoff Dr. and Mrs. Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Roy and Joan Wctzel Mr. and Mrs. Ronald G. Zollars
AAA Michigan
Alf Studios
Arbor TemporariesPersonnel
Systems Inc.
Bank of Ann Arbor
Barficld CompanyBartech
Beacon Investment Company
Blue Nile Restaurant
Brauer Investments
Butzel Long Attorneys
Charles Reinhart Company
Com erica
Joseph Curtin Studios
JPE Inc.The Paideia Foundation
Deloitte & Touche
Environmental Research Institute
of Michigan ERIM International First of America Bank Forest Health Services Corporation Ford Motor Company (icnenl Motors Corporation Howard Cooper, Inc. KeyBank
Main Street Ventures Masco Corporation McKinley Associates Mechanical Dynamics Miller, Oinfield, Paddock and Stone NBD Bank NSK Corporation O'Neal Construction Parkc-Davis Pharmaceutical Research
Pepper, Hamilton & Scheetz Red Hawk Bar 8c Grill Regency Travel Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science
and Technology Target Stores The Edward Surovell
Company Realtors Thomas B. U Mullen Company Weber's Inn Wolverine Temporaries Zanzibar
John H. Bryant
Margaret Crary
Mary Crawford
George R. Hunsche
Alexander Krezel, Sr.
[Catherine Mabarak
Frederick C, Matthaei, Sr.
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powrie
Steffi Reiss
Ralph L. Steffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBcIt
Francis Viola III
Carl H. Wilmot
Peter Holdcrness Woods
Helen Ziegler
Bernard and Ricky Agranoff
Ann Arbor Symphony Orchestra
Anneke's Downtown Hair and
Applause Salon
Catherine Arcure
The Ark
Dr. Emily Bandera
Paulctt and Peter Banks
Gail Davis Barnes
Ede Bookstein
Janice Stevens Botsford
The Boychoir of Ann Arbor
Barbara Everitt Bryant
Jeannine 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 Eriksen
Espresso Royale Caffes
Damian ana Katherinc Farrell
)udv Fike of I'Cakes
Betn and loe Fitzsimmons
Guillermo and Jennifer Florcs
Gallery Von Glahn
The Gandy Dancer
Beverly and Gerson Geltner
Generations for Children
Lee Gilles of the Great Frame Up
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 Levicki
t Jerome Kamrowslu
Stephen and Mercy Kasle
(Catherine's Catering
Martha Rock Keller
Ed Klum
Craig L. Kruman
Diane Kurbatoff
Bernice Lamey
Henry and Alice Landau
Maxine Larrouy
John Lcidy Shop
Don and Gerri Lewis
Stephanie Lord
Mary Matthews
Marty's Menswear
Elizabeth McLcary
Charlotte McGeoch
Michigan Theatre
Ron Miller
Moe Sport Shops
Mini.ill.m's Seafood Market
Robert Morris
Motif Hair by Design
The Moveable Feast
Lisa Murray
Susan and Richard Nisbctt
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. Peterscn
Mary and Randall Pittman
Pat Pooley
Sharon and Hugo Quiroz
Radrick Farms Golf Course
leva Rasmussen
Regrets Only
Nina Hauser Robinson
Richard and Susan Rogcl
Anne Rubin
Maya Savarino
Sarah Savarino
Ann and Tom Schriber
Boris Sellers
Grace Shackman
Richard Shackson
)anct and Mike Shatusky
Aliza and Howard Shevrin
George Shirley
lohn Shultz
Herbert Sloan
David Smith
Steven Spencer
lohn 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
Karla Vandersypen
Emil Weddige
Ron and Eileen Weiser
Marina and Robert Whitman
Sabrina Wolfe
Young People's Theater Troubadours
Ann and Ralph Youngren
Soloist $25,000 or more Maestro$10,000-24,999 Virtuoso$7,500-9,999 Concertmaster $5,000-7,499 Leader $2,500 4,999 Principal$1,000-2,499 Benefactor $500-999 Associate $250 499 Advocate $100 -249 Friend $50 99 Youth $25
Because Music 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
Ann Arbor Acura
35 Ann Arbor Reproductive
14 Ann Arbor Symphony
37 Arborcrest Memorial Park
27 Arriba
30 Azure Mediterranean Grille
18 Bank of Ann Arbor
27 Bodman, Longlcy, and
32 Butzel Long
39 Charles Reinhart Co.
38 Chelsea Community
34 Chris Triola Gallery
38 Comerica Bank
11 Dobbs Opticians
12 Dobson-McOmbcr
33 Edward Surovell CoJRealtors
37 Emerson School
3 ER1M International
47 Ford Motor Company
50 Fotol
12 Fraleigh's Nursery
26 Glacier Hills
19 Harmony House
37 Harris HomesBayberry
28 Howard Cooper Imports

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

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