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UMS Concert Program, Saturday Dec. 05 To Jan. 10: University Musical Society: 1998-1999 Fall/winter - Saturday Dec. 05 To Jan. 10 --

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Season: 1998-1999 Fall/Winter
University Of Michigan

University Musical Society of the University of Michigan Fall 1998 Season
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University Musical Society
of the University of Michigan
The 1998-99 Fall Season
Letter from the President Corporate LeadersFoundations UMS Board of DirectorsSenate
StaffAdvisory Committees General Information Ticket Services UMS History UMS Choral Union Auditoria Burton Memorial Tower Education and Audience Development Season Listing
Concert Programs begin after page 26 Volunteer Information Hungry
UMS Dining Experiences Restaurant & Lodging Packages
Gift Certificates
The UMS Card
Sponsorship and Advertising
Advisory Committee
Group Tickets
Ford Honors Program
UMS Contributors
UMS Membership
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 nel Systems, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that
by supporting UMS, I am helping perpet?uate the tradition of bringing outstanding musical talent to the community and also providing education and enrichment for our voune people."
HABTE DADI Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the commu?nity that sustains our business. We are
proud to support an organization that provides such an important service to Ann Arbor."
WILLIAM BROUCEK President and CEO, Bank of Ann Arbor. "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrich-
ment that the University Musical Society brings to our community."
CARL A. BRAUER, JR. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
Sam Edwards
President, Beacon Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adven?turous, more enjoyable city."
David g. loesel
President, T.M.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 forward into future generations this fine tradition of artistic talents."
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."
Chairman, President and Chief Executive Officer, Detroit Edison "By bringing the joy of the performing arts into the lives of com?munity residents, the
University Musical Society provides an important part of Ann Arbor's uplifting cul?tural identity, offers our young people tremendous educational opportunities and adds to Southeastern Michigan's reputation as a great place to live and work."
Peter Banks
President, ERIM
"At ERIM International,
we are honored to
support the University
Musical Society's
commitment to pro-
viding educational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a life?time."
L. Thomas conlin
Chairman of the Iliiard and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Conlin Travel
EDWARD SUROVELL President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution as distinguished as the
University Musical Society. For over a cen?tury it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
DOUGLAS D. FREETH President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community which
perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
JOSEPH J. YARABEK Office Managing Partner, Deloitte & Touche
"Deloitte & Touche is pleased to support the University Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our lives!"
LEO LEGATSKI President, Elastizeli Corporation of America "A significant charac?teristic of the University Musical Society is its ability to adapt its menu to
changing artistic requirements. UMS involves the community with new concepts of educa?tion, workshops, and performances."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
John Psarouthakis, Ph.D.
Chairman and Chief
Executive Officer,
"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 8. Hann
President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients."
Michael E. korybalski
Mechanical Dynamics. "Beverly Sills, one of our truly great per?formers, once said that 'art is the signature of civilization.' We believe
that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark--with a flourish."
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." ,1
ERIK H. SERR Principal Miller, Canficld, Paddock and Stone, P.LC.
"Miller, Canfield, Paddock and Stone is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
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."
President, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Brian Campbell
President, TriMas Corporation "By continuing to support this out?standing organiza?tion, I can ensure that the southeastern
Michigan region will be drawn to Ann Arbor for its rich cultural experiences for many years to come."
JOSEPH SESI President, Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our com?munity. The Sesi
Lincoln Mercury team is delighted to sponsor such a fine organization."
DR. JAMES R. IRWIN Chairman and CEO, The Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
University Musical Society of the university of Michigan
F. Bruce Kulp, Chair
Marina v.N. Whitman, Vice Chair
Stuart A. Isaac, Secretary
Elizabeth Yhouse, Treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Lee C. Bollinger
Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Letitia (. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Robert F. DiRomualdo
David Featherman Beverley B. Gcltner 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. Surovcll Susan B. Ullrich Iva M. Wilson
UMS SENATE (former members ofthe UMS Board of Directors)
Robert G. Aldrich Richard S. Berger Carl A. Brauer Allen P. Britton Douglas Crary ohn D'Arms lames J. Duderstadt Robben W. Fleming Randy J. Harris
Waller L. Harrison Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick B. Long Judythe H. Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Mm Psarouthakis Gail W. Rector John W. Reed Harold T. Shapiro Ann Schriber
Daniel H. Schurz John O. Simpson Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
UMS STAFF AdministrationFinance
Kenneth C. Fischer, President Elizabeth lahn, Assistant to
the President John B. Kcnnard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Gushing, Staff Ronald J. Reid, Assistant Manager and Croup 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 I Thad Schork, Direct Mail,
Gift Processor Anne Griffin Sloan, Assistant
Director--Individual Giving
Ben Johnson, Director
Kate Remen, Manager
Susan Ratcliffe, Assistant
Marketing Promotion Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Gus Malmgrcn, Director Emily Avers, Production and Artist Services Coordinator Eric Bassey, Production Associate Bruce Oshaben, Front of House
Kathi Reister, Head Usher Paul Jomantas, Assistant Head Usher
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Laura Birnbryer Rebekah Camm lack Chan Nikki Dobell Mariela Flambury Bert Johnson Melissa Karjala Un Jung Kim Beth Meyer Amy Tubman
Laura Birnbryer Carla Dirlikov Laura Schnitker
President Emeritus Gail W. Rector
Len Niehoff, Chair Maureen Isaac, Co-Chair leva Rasmussen, Secretary
Lisa Murray, Staff Liaison Gregg Alf Martha Ause Paulett Banks Kathleen Beck Icanninc Buchanan Letitia J. Byrd Betty Byrne Phil Cole Mary Ann Daane H. Michael Endres Don Faber Penny Fischer Sara Frank Barbara Gelehrter Beverley 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 Trcciak 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 Sinta Sandy Trosien Melinda Trout Barbara Hertz Wallgren Jeanne Weinch
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, gender or handicap. The University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
Parking 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
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.
SEPTEMBER EIKO & KOMA: RIVER Friday, September 11,8:15 P.M. Saturday, September 12,8:15 P.M. Seating on the banks of the Huron River in the Nichols Arboretum. Master Classes taught by Eiko. Ten places per open to the public, no oberservers. Thursday, September 10,11 a.m. and 12:45 p.m., U-M Dance Department. Call 734-763-5460 to register. Brown Bag Lunch Video talk led by Eiko and Koma of their "Environmental Trilogy: Land, Wind and Kim:" 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, I 'ante i iallery 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
Masterclass led by [anel Wong, t to
Rehearsal Director. Wednesday, i Ictober
21,7 p.m., Dance (lalleryPeter Sparling &
... ('ill 734-747-8885 to register.
Master Classes led by land Wong,
my Rehearsal Director and dancer Alexandra Beller. Ten participant and ten free observer places per class open to the public. Thursday, (Ictober 22, 11 a.m. and 12:4.5 p.m., I M Dance DeptarmenL Call 734-763-5460 to register. PREP Video talk ol Bill T. lones1 . Friday, October JM, 7 p.m., Ml League Koessler I ibi
Meet the Artists Post-performance dialogue from the stage. Media Partner WDET.
budapest festival orchestra ivan fischer. conductor andrAs schiff. piano
Saturday, October 24, 8 P.M. Hill Auditorium
PREP "Uartiik and Stravinsky at the (Crossroads" t tlenn Watkins, Earl
i Emeritus of Musico Saturday, October 24, 7 p.m., Ml i Koessler 1 ib]
Sponsored by Thomas B. McMullen Co. Media Partner WGTE.
DAVID DANIELS. COUNTERTENOR WITH THE ARCADIAN ACADEMY NICHOLAS MCGEGAN. DIRECTOR AND HARPSICHORD Tuesday, October 27,8 P.M. Lydia Mendelssohn Theatre Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
Friday, October 30,8 P.M.
St. Francis of Assisi Catholic Church
PREP Ireg I lamilton of the Academy of
Early Music interviews (ordi N.iv.ill.
I riday, I (ctober 30,7 p.m., St. Francis
School Music Room.
Sunday, November 1,4 P.M. Rackham Auditorium Complimentary Admission
Master of Arts Interview and Open Rehearsal Conductor Valery t lergiev interviewed by Ann Arbor Symphony Orchestra Conductor Sam Won. Monday, November 2, 1 p.m., Hill Auditorium. Presented with the generous support of Dr. Herbert Sloan. Media Partner WGTE.
VIENNA VIRTUOSI PRINCIPAL MEMBERS OF THE VIENNA PHILHARMONIC ERNST OTTENSAMER, CLARINET Thursday, November 5,8 P.M. Rackham Auditorium Presented with support from Butzel Long, Attorneys and Counselors.
Saturday, November 7,8 P.M.
Hill Auditorium
Photo Exhibit "Plenty "I (iood Women
Dancers: African American Women
Hoofers from Philadelphia." October 19-
November 13, Ann Arbor District Library,
Main Branch.
Gifts of Art I oca) and national tap artists
perform. Thursday,November5, 2
noon, I'-.M Hospital Main Lobby.
Master of Arts Interview with artists
from lazz lap Summit. Friday, November
6, 7 p.m.. Ml League Hussey Room.
Master Classes with tap artists featured
in [a 'lap Summit. For information and
registration, call Sus.m Filipiak of Swing
ince Studio, 734-668-7782. Jazz Tap LectureDemonstration by Dianne Walker. Saturday, November, 7, 1 p.m., Ann Arbor District Library. Tap Jam Saturday, November 7, 7 p.m., 1 lil! Auditorium plaza. Sponsored by ElastkelL Media Partner WEMU.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, November 8, 4 P.M. Rackham Auditorium PREP Steven Whiting, U-M Assistant
r ot Musicology, with U-M School
Look for valuable information about UMS, the 199899 season, our venues, educational activities, and ticket information. ?
of Music .student musicians. Suml.r ember 8, 3 p.m., Rackham Assembly I [all. Meet the Artists Post-performance dialogue from the stage.
Delicious Experience The American String Quartet cooks for UMS patrons as a part of the UMS Delicious Experience scries. Monday, November 10. Por infor?mation and reservations call 734-936-6837. Brochure available in late September. Sponsored by Edward Surovcll Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
MITSUKO UCHIDA. PIANO Wednesday, November 11,8 P.M. Hill Auditorium
Master of Arts Interview with Mitsuko Uchida. Tuesday, November 10, 7 p.m., U-M School ol Musk 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 Onto Virtutum. Friday, November 13, 7 p.m., St. Francis School Music Room. Presented with support from the Consulate General of the Federal Republic of Germany. Media Partner WDET.
Wednesday, November 18 Saturday,
November 21, 8 P.M.
Trueblood Theatre
Lecture Ahmed Rahman, 1'h.l). student in
history. 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" L-M Professor
Ellwood Dcrr, Sunday, November 22, 3
P.M. MI League, Vandenberj; 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 oi local African American family life in the 1920s. Detroit Opera House lobby. Sponsored by the University of Michigan with additional support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Arts Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner WMXD.
Saturday, December 5,8 P.M.
Sunday, December 6,2 P.M.
Hill Auditorium
Presented with the generous support of
Jim and Millie Irwin.
Friday, January 8,8 P.M.
Power Center
Meet the Artists Meet the trinity dancei I
in the lobby after the performance.
Sponsored by First of America Bank.
Saturday, lanuary 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.
Thursday, January 14, 8 P.M.
Hill Auditorium
PREP Naomi Andri, I'M Assistant
Professor ot Music History and Musicology. Thursday, lanuary, 14,
7 p.m., MI League Hussey Room. Sponsored by Pepper, Hamilton and Scheetz, L.L.P. Media Partner WGTE.
Friday, January 15 -Saturday, January 16,
8 P.M.
Sunday, January 17, 3 P.M. Monday, January 18,3 P.M. Choir Workshop with the music director of The Gospel at Colonus. Salurday, November 14, Museum of African American Histoyin Detroit. Call 734-647-6712 for information and registration. Community Gospel Sing Along with the lit The Gospel atColonus, Wednesday, January 13, 7 p.m. Call 734-647-6712 for information and registration. Family Performance Special one-hour performance for parents ami their children. Saturday! January 16, 2 p.m.. Power ('enter. Sponsored by NBD. Co-presented with the Office of the Provost of the University of Michigan and presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Arts Fund, the National Endowment for the Arts, and the Michigan Council for Art and Cultural Affairs. Media Partner WEMU.
continued ...
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 LeSueur, Vocal Arts Information Services, Friday, January 29, 7 p.m., MI League Hussey Room. Sponsored by KeyBank with additional sup?port from Maurice and Linda Binkow and STM, Inc. Media Partner WGTE.
Saturday, January 30, 2 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, February 7,4 P.M. Rackham Auditorium PREP Steven Whiting, U-M Assistant Professor of Musicology with U-M School ot 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 H, 12 noon, U M School of Music, Room 2033. Panel Discussion "Interdisciplinary Creativity in the Arts" moderated by U-M English Professor Julie FJlLson, in conjunction with the Beethoven the Contemporary and Merce Cunningham Residencies.
Itusday, 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.
Friday, February 12 Saturday, February 13,8 P.M. Power Center
Mini-Course LT-M .students can earn 2 credit hours in a course drawn from the IMS residency. Information session held in January. ('.ill 734-763-5460 for information. Brown Bag Lunch about Merce Cunningham. Tuesday, January 12,12 noon, U-M Institute tor the 1 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, February 6,4 p.m. .it the Ann Arbor Art Center and Dance GalleryPeter Sparling & Co. Call 994-8004 xlOI for information and regis?tration, or walk-in registration at the Ann Arbor Art Center.
Youth and Adult Art Classes with con?nections to the Cunningham Company held in the fall and winter. Call 734-W4-8004 xlOI for information and rcgKtr.i don, or walk-in registration at the Ann Arbor Art Center. Lobby Exhibit Art from the youth i the Ann Arbor Art Center on display February 1-14, Power Center Lobby. Brown Bag Lunch on John I Cartridge Music, presented by Laura Kuhn, Director of the lohn Cage Trust, and U-M Professor Stephen Rush. Tuesday, February 9, 12 noon, U-M Institute for the Humanities.
Music and Dance for choreographers and composers, with Laura Kuhn, Director of the John Cage Trust and U-M Professor .Stephen Rush. Tuesday, February 9, 2:45 p.m., U-M Dance Building Studio A. Master of Arts Interview Choreographer Merce Cunningham is interviewed by Roger Copcland with video clips of his work. Thursday, February 11,7 p.m., U-M Dance Building, Hetty Pease Studio. Advanced Technique Master Classes taught by Meg Harper. Ten participant and ten free observer places per class open
to the public, with eight classes available. Tuesday, February 9 Friday, February 12,
lance Dept. Call 734-763-5460 to register.
Advanced Technique Master Class taught by Meg Harper. Saturday, February I 10:30 a.m.. Dance GalleryPeter Sparling & Co. Call 734-747-8885 to register. Study Day Cunningham Company Archivist David Vaughan leads class and discussions il Cunningham and his col laboratory' works at an open class and company rehearsal. Saturday, February 13, 11 a.m., Power Centei balcony. Call 734-647-6712 for information and regis?tration.
PREP Company Archivist David Vaughan leadsa video discussion of Cunningham works. Friday, February 12, 7 p.m., Modern Languages Building Lecture Room. Meet the Artists Post-performance dia?logue from the stage, Friday, February 12. PREP Company Archivist I (avid Vaughan leads a video discussion ot Cunningham works. Saturday. February 13, 7 p.m.. Ml League 1 lussey Room. Media Partner WDET.
MAXIM VENGEROV. VIOLIN IGOR URYASH. PIANO Sunday, February 14, 4 P.M. Hill Auditorium
Sponsored by Sesi Lincoln-Mercury. Media Partner WCTE.
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 Tankards work. Friday, February 19, 7 p.m.. Ml League HusseyRoom.
PREP Video talk of Meryl Tarkard's work Saturday, February 20, 7 p.m., Ml 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, L.L.P. Media Partner WEMU.
TAKACS QUARTET Thursday, March 18, 8 P.M. Rackham Auditorium
Friday, March 19 Saturday, March 20,
8 P.M.
Sunday, March 21,4 P.M. Power Center
PREP Video talk of signature Ailey pieces. Friday, March 19,7 p.m., MI League Vandenberg Room.
PREP Video talk of signature Ailcy pieces. Saturday, March 20, 7 p.m.. Ml League I Fussey Room.
Sponsored by Forest Health Services and Mr. and Mrs. Randall Pittman. Media Partner WDET.
Wednesday, March 24, 8 P.M.
St. Francis of Assisi Catholic Church
Thursday, March 25,8 P.M.
Michigan Theater
Presented with support from Republic
Bank. Media Partner WDET.
Friday, March 26, 8 P.M.
Hill Auditorium
Meet the Artists Post-performance
dialogue from the stage.
Presented with support from Comerica
Bank and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media Partner WEMU.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, March 28,4 P.M. Rackham Auditorium Beethoven the Contemporary Symposium Papers, panel discussion, and keynote speaker Michael Steinberg on Beethoven and contemporary composers. Saturday, March 27, 2 p.m., U-M School of Music Recital Hall. PREP Steven Whiting, U-M Assistant
: of Musicology, with U-M School "I Music student musicians. Sunday, March 28, 3 p.m., Rackham Assembly Hall.
Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
TRIO FONTENAY Tuesday, March 30,8 P.M. Rackham Auditorium
STEVE REICH ENSEMBLE Saturday, April 10,8 P.M. Michigan Theater
Master of Arts Interview Composer Steve Reich and Filmmaker Beryl Korot inter?viewed by M.irk Striker. Friday, April 9, time and location TBD. Media Partner WDET.
Thursday, April 15,8 P.M. Hill Auditorium
Sponsored by Edward Surovell Realtors. Media Partner 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 LeSueur, Vocal Arts Information Services. Saturday, April 17, 7 p.m., Modern Languages Building Lecture Room.
Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
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 jnd Wayne State Universities, interviews members of the Lincoln Center Jazz Orchestra. Friday, April 23,7 p.m., Mil eague I lussey 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 FallWinter Seasons
Event Program Book Saturday, December 5 through Sunday, January 10, 1999
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.
Handel's Messiah 3
UMS Choral Union Ann Arbor Symphony Orchestra Thomas Sheets, conductor Saturday, December 5,1998, 8:00pm Sunday, December 6,1998,2:00pm Hill Auditorium
The Trinity Irish Dance Company 23
Thursday, January 7,1999, 8:00pm Friday, January 8, 1999,8:00pm Power Center
The New York Festival of Song 35
George Gershwin: Sung and Unsung
Michael Barrett and Steven Blier, co-artistic directors
Saturday, January 9, 1999, 8:00pm
Sunday, January 10, 1999,4:00pm
Lydia Mendellsohn Theatre
Please Note
Dean Peterson will not appear as bass soloist in Handel's Messiah as he is convalescing from recent surgery. While the University Musical Society regrets this cancellation, we are pleased to announce that baritone Brett Polegato has graciously agreed to step in at a moment's notice as bass soloist. UMS wishes to extend its warmest thanks to Mr. Polegato.
The powerful combination of musical artistry and dramatic invention have placed Brett Polegato in the top ranks of today's young baritones. He was hailed by judges and audiences alike as a winner in the prestigious Cardiff Singer of the World Competition; a win which followed similar acclaim from Japan's Pacific Music Festival and Finland's Mirjam Helin International Competition. This thirty-year native of Niagara Falls, Ontario also has received the distinguished William Matheus Sullivan Foundation Grant for opera.
During the 1998-99 season Mr. Folegato's appearances include his Lyric Opera of Chicago debut as Peter Niles
in Mourning Becomes Electra; SilvioBaritone in Opera Pacific's double-bill of PagliacciCart7iina Burana; and Harlequin in Opera de Nancy's.presentation of Ariadne aufNaxos. On the con?cert stage he sings Messiah with both the Toronto Symphony Orchestra and the National Arts Centre Orchestra and Bach's "Coffee" and "Peasant" Cantatas
with Tafelmusik as well as solo recitals in Wahsington DC, Toronto, and Montreal.
In addition, Brett Polegato has performed Messiah with Les Violons du Roy and the Montreal Symphony Orchestra under Nicholas McGegan; and J. S. Bach's St. Matthew Passion at the Saito Kinen Festival under Sciji Oawa.
The 1998 UMS production of Handel's Messiah marks the debut appearances of Brett Polegato under UMS auspices.
Georg Frideric Handel's
UMS Choral Union
Ann arbor Symphony Orchestra
Thomas Sheets, Conductor
Kathleen Brett, Soprano
Jim and Millie Irwin
Saturday Evening, December 5,1998 at 8:00 Sunday Afternoon, December 6, 1998 at 2:00 Hill Auditorium, Ann Arbor, Michigan
Thirty-eighth and Thirty-ninth Performances 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 Jim and Millie Irwin for their continued and generous support of our presentation of Handel's Messiah.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Tune into Michigan RadioWUOM 97.1 FM on Christmas Eve at 7:00 p.m. for a special tape-delayed broadcast of this performance.
Kathleen Brett appears by arrangement with IMG Artists.
Ellen Rabiner appears by arrangement with Herbert Barrett Management, Inc.
Gordon Gietz appears by arrangement with IMG Artists.
Dean Peterson appears by arrangement with Robert Lombardo Associates.
Large print programs are available upon request.
Georg Frideric Handel
Born on February 23, 1685 in Halle, Germany
Died on April 14, 1759 in London
Georg Frideric Handel's sacred ora?torio Messiah is without question one of the most popular works in the choralorchestral repertoire today. In what has become an indispensable Christmas tradition, amateur and professional musicians in almost every city and town throughout the country per?form this work as a seasonal entertainment, and are rewarded with the satisfaction of taking part in one of the great communal musical events.
Since the first performances in 1742, generations of musicians have adapted Handel's Messiah to suit the changing tastes of fashion and function. The small ensem?bles Handel conducted himself had around twenty singers and an equal number of instrumental players, but even before the end of the eighteenth century much larger ensembles were performing the work. By the mid-nineteenth century, when the appeal of the spectacle sometimes outweighed the demands of musical integrity, singers and instrumentalists for a single performance would often number in the several thou?sands. But the size of the ensemble wasn't the only variable. Mozart re-orchestrated Handel's score in 1789, adding extra parts for woodwinds to give the orchestral writing richer harmonies and a more varied timbre. Sir Arthur Sullivan and Eugene Goosens likewise made their own arrangements of the orchestral parts, updating the work for their respective audiences. And in 1993, a popular recording of excerpts from Messiah titled A Soulful Celebration brought together Stevie Wonder, Quincy Jones, Al Jarreau, the Boys Choir of Harlem, and others in a gospel-style interpretation of Handel's music. The diversity of performance styles
and enthusiastic responses to this oratorio over the centuries testify to its immense popularity.
The oratorio as a musical genre origi?nated during the seventeenth century in the churches and monasteries of Italy. In the Oratory (a side chapel found in many con?secrated buildings), the theatrical presenta?tion of vocal music on a sacred topic was an adjunct to the liturgy of the Church. But by 1700, oratorios were being performed in private chapels and palaces as a form of entertainment, and had taken on the now-standard characteristics of a sung drama on sacred texts, without staging or costumes.
Handel composed several oratorios early in his career, including some in Italian -Trionfo del Tempo e del Disinganno and La Resurrezione -and the later English-language works Esther, Deborah, and Athalia. But after the collapse of his operatic ventures in London around 1740, Handel devoted himself to the oratorio as a form in which he could combine his flair for dramatic vocal writing and his experience as a composer of sacred, devotional music. With these later oratorios Handel eventually won back the esteem of the London critics, and secured a phenomenal public following that would ensure his future success and reputation.
The text for Messiah was selected and compiled from the Authorized (King James) Version of the Bible by Charles Jennens, an aristocrat and musicianpoet of modest talent and exceptional ego. With Messiah, Jennens seems to have outdone himself in compiling a libretto with profound thematic coherence and an acute sensitivity to the inherent musical structure. With the finished libretto in his possession, Handel began setting it to music on 22 August 1741, and completed it twenty-four days later. He was certainly working at white-hot speed, but this didn't necessarily indicate he was in the throes of devotional fervor, as legend has often stated. Handel composed many of his
works in haste, and immediately after com?pleting Messiah he wrote his next oratorio, Samson, in a similarly brief time-span.
The swiftness with which Handel com?posed Messiah can be partially explained by the musical borrowings from his own earlier compositions. For example, the melodies used in the two choruses "And He shall puri?fy" and "His yoke is easy" were taken from an Italian chamber duet Handel had written earlier in 1741, "Quelfior che all' alba rider Another secular duet, "No, di voi non vo' fidarmi" provided material for the famous chorus "For unto us a Child is born," and the delightful "All we like sheep" borrows its wandering melismas from the same duet. A madrigal from 1712,"Se tu non lasci amore" was transformed into a duet-chorus pair for the end of the oratorio, "O Death, where is thy sting," and "But thanks be to God." In each instance, however, Handel does more than simply provide new words to old tunes. There is considerable re-composition, and any frivolity that remains from the light-hearted secular models is more than com?pensated for by the new material Handel masterfully worked into each chorus.
Over-enthusiastic Handelists in the nineteenth century perpetuated all sorts of legends regarding the composition of Messiah. An often-repeated story relates how Handel's servant found him sobbing with emotion while writing the famous "Hallelujah Chorus," and the composer claiming, "I did think I did see all Heaven before me and the great God Himself." Supposedly Handel often left his meals untouched during this compositional peri?od, in an apparent display of devotional fast?ing and monastic self-denial. Present-day historians more familiar with Handel's life and religious views tend to downplay these stories. It's been suggested that if Handel did indeed have visions of Heaven while he com?posed Messiah, then it was only in the same manner in which he visualized the Roman
pantheon of gods while he composed his opera Semele. Handel's religious faith was sincere, but tended to be practical rather than mystical.
Handel was also not a native English-speaker, and examples of awkward text-set?ting in Messiah demonstrate some idiosyn?crasies in his English declamation. He set the word "were" as if it had two syllables, and "surely" with three syllables. In the bass aria, "The trumpet shall sound," Handel original?ly declaimed "incorruptible" with emphasis on the second and fourth syllables. While these can be corrected by the editor of the score or the singer in performance, some?times Handel placed rhythmic accents on the wrong words entirely. Yet they are so familiar to us now that we don't hear them as unusu?al: "For unto us a Child is born," or "Come unto Him, ye that are heavy laden."
The first public performance of Messiah took place in Dublin, Ireland, on 13 April 1742. As this was to be a benefit perfor?mance for charity, the ladies were asked not to wear hoop dresses, and the men to leave their swords at home, in order to accommo?date more people in the hall. Messiah was an unqualified success in Dublin; Handel had worked for months preparing his chorus and orchestra, and brought in some of the finest solo singers from England. The alto soloist in particular sang so affectingly that after one aria an audience member exclaimed from his chair, "Woman, for this, be all thy sins forgiven." But when Handel took Messiah to London the following season, it received a chilly reception. Even though King George II attended the first performance at Covent Garden Theatre (and, it is claimed, initiated the tradition of standing for the "Hallelujah Chorus"), London audiences found its contemplative texts lacking in drama and narrative action, and it closed after only three performances. Some clergy considered the theatre in general a den of iniquity and certainly no place for a work on
such a sacred topic (Handel couldn't win -when it was scheduled to be performed in Westminster Abbey, other members of the clergy declared it sacrilege for a public enter?tainment to take place in a consecrated church). And Jennens, the librettist, wasn't entirely pleased with what Handel had done to his texts. After initially voicing his thor?ough disappointment with the work, Jennens later declared Handel's composition "a fine Entertainment, tho' not near so good as he might & ought to have done." It wasn't until 1750, when another performance for charity was staged at the Foundling Hospital in London, that English audiences took Messiah to their hearts, and yearly perfor?mances at the hospital from that time on established the lasting popularity of both the work and its composer. Upon Handel's death in 1759, he willed his score and parts for Messiah to the Foundling Hospital in a char?itable gesture of gratitude.
The tradition of performing Messiah at Christmas began later in the eighteenth cen?tury. Although the work was occasionally performed during Advent in Dublin, the oratorio was usually regarded in England as an entertainment for the penitential season of Lent, when performances of opera were banned. Messiah's extended musical focus on Christ's redeeming sacrifice also makes it particularly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel's lifetime. But in 1791, the Caecilian Society of London began its annual Christmas performances, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete perfor?mance in the United States on Christmas Day -establishing a tradition that contin?ues to the present. The University Musical Society is a direct result of this tradition. In 1879, a group of local university and towns?people gathered together to study Handel's Messiah; this group assumed the name "The Choral Union" and, in 1880, the members of
the Choral Union established the University Musical Society.
Following the pattern of Italian baroque opera, Messiah is divided into three parts. The first is concerned with prophecies of the Messiah's coming, drawing heavily from messianic texts in the Book of Isaiah, and concludes with an account of the Christmas story that mixes both Old and New Testament sources. The second part deals with Christ's mission and sacrifice, culminating in the grand "Hallelujah Chorus." The final, shortest section is an extended hymn of thanksgiving, an expression of faith beginning with Job's statement "I know that my Redeemer liveth" and closing with the majestic chorus "Worthy is the Lamb" and a fugal "Amen." In its focus on Christ's sacrifice Messiah resembles the great Lutheran Passions of Schiitz and Bach, but with much less direct narrative and more meditative commentary on the redemptive nature of the Messiah's earthly mission. Handel scholar Robert Myers suggested that "logically Handel's masterpiece should be called Redemption, for its author celebrates the idea of Redemption, rather than the personality of Christ."
For the believer and non-believer alike, Handel's Messiah is undoubtedly a majestic musical edifice. But while a truly popular favorite around the world, Messiah aspires to more than just a reputation as an enjoyable musical event. After an early performance of the work in London, Handel was congrat?ulated by Lord Kinnoul on the "noble entertainment" he had recently brought to the city. Handel is said to have replied, "My Lord, I should be sorry if I only entertained them; I wished to make them better." Certainly Messiah carries an ennobling message to people of all faiths and credos, proclaiming "peace on earth, and goodwill towards men" -a message that continues to be timely and universal.
Program note by Luke Howard.
Tart I
1 Sinfonia
2 Arioso
Isaiah 40: 1 Isaiah 40:2
Isaiah 40: 3
3 Air
Isaiah 40: 4
4 Chorus
Isaiah 40: 5
5 Accompanied recitative
Haggai 2: 6
Haggai 2: 7 Malachi 3:1
6 Air
Malachi 3:2
7 Chorus
Malachi 3: 3
8 Recitative
Isaiah 7:14
9 Air and Chorus
Isaiah 40: 9
Mr. Gietz
Comfort ye, comfort ye my people, saith your God.
Speak ye comfortably to Jerusalem, and cry unto her that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way of the Lord, make straight in the desert a highway for our God.
Mr. Gietz
Every valley shall be exalted, and every mountain and hill ... made low: the crooked ... straight, and the rough places plain:
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
Mr. Peterson
.. thus saith the Lord of hosts: Yet once,... a little while, and I will shake the heavens and the earth, the sea and the dry land; And I will shake all nations, and the desire of all nations shall come:...
... the Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the Lord of hosts.
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire,...
... and he shall purify the sons of Levi,... that they may offer unto the Lord an offering in righteousness.
Ms. Rabiner
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God!
Isaiah 60: 1
10 Arioso
Isaiah 60:2
Isaiah 60:3
11 Air
Isaiah 9:2
12 Chorus
Isaiah 9:6
13 Pifa
14 Recitative
Luke 2: 8
15 Arioso
Luke 2: 9
16 Recitative
Luke 2:10
Luke 2:11
17 Arioso
Luke 2:13
18 Chorus
Luke 2:14
19 Air
Zechariah 9: 9
Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.
Mr. Peterson
For behold,... darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and his glory shall be seen upon thee.
And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
Mr. Peterson
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
(Pastoral Symphony)
Ms. Brett
... there were ... shepherds abiding in the field, keeping watch over their flock by night.
Ms. Brett
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a saviour, which is Christ the Lord.
Ms. Brett
And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men.
Ms. Brett
Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour,...
Zechariah 9:10
20 Recitative
Isaiah 35:5
Isaiah 35: 6
21 Air
Isaiah 40:11
Matthew 11:28 Matthew 11:29
22 Chorus
Matthew 11:30
... and he shall speak peace unto the heathen:...
Ms. Rabiner
Then shall the eyes of the blind be opened, and the ears of the deaf... unstopped.
Then shall the lame man leap as a hart, and the tongue of the dumb shall sing:...
Ms. Rabiner and Ms. Brett
He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and ... gently lead those that are with young. Come unto him, all ye that labour and are heavy laden, and he will give you rest.
Take his yoke upon you, and learn of him, for he is meek and lowly of heart: and ye shall find rest unto your souls.
. His yoke is easy, and his burden is light. Intermission
Tart II
23 Chorus
Johnl :29
24 Air
Isaiah 53:3
Isaiah 50:6
25 Chorus
Isaiah 53:4
Isaiah 53:5
26 Chorus
Isaiah 53: 4
... Behold, the Lamb of God, that taketh away the sin of the world!...
Ms. Rabiner
He was despised and rejected of men; a man of sorrows, and acquainted with grief:...
He gave his back to the smiters, and his cheeks to them that plucked off the hair: he hid not his face from shame and spitting.
Surely he hath borne our griefs, and carried our sorrows:... ... he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
27 Arioso
Psalm 22: 7
28 Chorus
Psalm 22: 8
29 Accompanied recitativt
Psalm 69:20
30 Arioso
Lamentations 1:12
31 Accompanied recitativ Isaiah 53:8
32 Air
Psalm 16:10
33 Chorus
Psalm 24: 7
Psalm 24: 8 Psalm 24: 9 Psalm 24:10
34 Recitative
Hebrews 1:5
35 Chorus
Hebrews 1: 6
36 Air
Psalm 68:18
37 Chorus
Psalm 68:11
Mr. Gietz
Ml they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
: Mr. Gietz
Ihy rebuke hath broken his heart; he is full of heaviness: he
looked for some to have pity on him, but there was no
man; neither found he any to comfort him.
Mr. Gietz
... Behold and see if there be any sorrow like unto his sorrow ...
... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
Mr. Gietz
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord mighty in battle.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory The Lord of hosts, he is the King of glory.
Mr. Gietz
... unto which of the angels said he at any time, Thou art my son, this day have I begotten thee...
... let all the angels of God worship him.
Ms. Rabiner
Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
38 Air
Isaiah 52: 7
39 Chorus
Romans 10: 18
40 Air
Psalm 2:1
Psalm 2: 2
41 Chorus
Psalm 2: 3
42 Recitative
Psalm 2: 4
43 Air
Psalm 2: 9
44 Chorus
Revelation 19: 6
Revelation 11: 15
Revelation 19: 16

Ms. Brett
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things...
Their sound is gone out into all lands, and their words unto the ends of the world.
Mr. Peterson
Why do the nations so furiously rage together,... why do the people imagine a vain thing
The kings of the earth rise up, and the rulers take counsel together against the Lord and his anointed,...
Let us break their bonds asunder, and cast away their yokes from us.
Mr. Gietz
He that dwelleth in heaven shall laugh them to scorn: the Lord shall have them in derision.
Mr. Gietz
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
... The kingdom of this world is become the kingdom of our Lord, and of his Christ; and he shall reign for ever and ever. ... King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.
Tart III
45 Air
Job 19:25
Job 19:26
I Corinthians 15: 20
Ms. Brett
I know that my redeemer liveth, and that he shall stand at the latter day upon the earth.
And though ... worms destroy this body, yet in my flesh shall I see God.
For now is Christ risen from the dead,... the first fruits of them that sleep.
46 Chorus
Corinthians 15: 21
I Corinthians 15: 22
47 Accompanied recitative
Corinthians 15: 51 1
Corinthians 15: 52
48 Air
Corinthians 15: 52
I Corinthians 15: 53
49 Recitative
Corinthians 15: 54
50 Duet
I Corinthians 15: 55 Corinthians 15: 56
51 Chorus
Corinthians 15: 57 1
52 Air
Romans 8: 31 ]
Romans 8: 33
Romans 8: 34
53 Chorus
Revelation 5:12
Revelation 5:13
.. since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Mr. Peterson
Jehold, I tell you a mystery; we shall not all sleep, but we shall all be changed, In a moment, in the twinkling of an eye, at the last trumpet:
Mr. Peterson
.. the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality.
Ms. Rabiner
.. then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Ms. Rabiner and Mr. Gietz
3 death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
iut thanks be to God, who giveth us the victory through our Lord Jesus Christ.
Ms. Brett
f God be for us, who can be against us Who shall lay anything to the charge of God's elect It is God that justifieth.
Who is he that condemneth It is Christ that died, yea rather, that is risen again, who is ... at the right hand of God, who ... maketh intercession for us.
.. Worthy is the Lamb that was slain and hath redeemed us to God by his blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. ... Blessing, and honour,... glory, and power, be unto him that sitteth upon the throne, and unto the Lamb for ever and ever.
Thomas Sheets is an accomplished and versatile conductor whose work with community choruses, academic institutions and opera companies has received widespread acclaim. Appointed Music Director of the University Musical Society Choral Union in 1993, he is the tenth conductor to hold this position in the ensemble's 119-year history. In the past four seasons, he has prepared
the Choral Union for several notable per?formances given by the Detroit Symphony Orchestra under the direction of Neeme Jarvi and Jerzy Semkow, the Grand Rapids Symphony Orchestra under the direction of
Catherine Comet, and by the Toledo Symphony, led by Andrew Massey.
Last season, Mr. Sheets conducted the Choral Union's annual holiday perfor?mances of Handel's Messiah with the Ann Arbor Symphony Orchestra, and directed two performances of Bach's Mass in b minor with the Toledo Symphony. In February of 1996, he led the Choral Union and the University of Michigan Dance Company in four performances of Orff 's Carmina Burana. In the current season he will con?duct the Choral Union and the Ann Arbor Symphony Orchestra in Mendelssohn's choral masterwork, Elijah.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William Hall Chorale and the Master Chorale of Orange County, both conducted by his mentor, the distinguished choral con?ductor William Hall. During that time, he assisted in preparing all the major choralorchestral works in the current
repertoire, in some instances for perfor?mances led by Robert Shaw, Jorge Mester, Joann Faletta and Michael Tilson-Thomas. As chorusmaster in 1988 for Long Beach Opera's highly-acclaimed American pre?miere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four continents. He was engaged in the same role in 1992 for that company's avant-garde staging of Simon Boccanegra, where the chorus again received singular plaudits.
Thomas Sheets is also Music Director of the 120-voice Toledo Symphony Chorale. He received the degree Doctor of Musical Arts from the University of Southern California and has held appointments as Director of Choral Activities at several col?leges and universities. Dr. Sheets is a fre?quent conference leader and clinician; his editions of choral music are published by Augsburg-Fortress, and he is a regular con?tributor of articles on choral music perfor?mance.
These performances mark the sixth year that Thomas Sheets has conducted Messiah under UMS auspices.
Soprano Kathleen Brett, top prize winner and recipient of a special award as "Best Canadian Singer" at the 1991 International Glory of Mozart Competition, has received numerous awards since the beginning of her career. A former member of the Canadian Opera Company Ensemble, she portrayed a variety of roles in Canadian Opera Company productions including the "Governess" in Britten's The Turn Of The Screw and "Susanna" in he Nozze di Figaro. The excellence of her interpretative skills has made her a much sought after artist both in Canada and internationally.
Critically acclaimed debuts include Handel's Orlando (Robert Carsen) with De
Vlaamse Opera, Antwerp; her Lincoln Center debut in Gluck's Orphee et Euridice with L'Opera Francais de New York; and Le Nozze Di Figaro with the Royal Opera, Covent Garden. She also appeared as
"Drusilla" in L'incoronazione Di Poppea with The Dallas Opera and as "Kristina" In The Makropulos Case with San Francsico Opera. Miss Brett is also featured as "Kristina" in the Canadian Opera Company video of The Makropidos Case. Among her many appear?ances in Canada, she has performed the roles of "Nannetta" in Falstaff and "Pamina" in Die Zauberflote with L'Opera de Montreal; "Leila" in The Pearl Fishers with Manitoba Opera; "Adina" in Calgary Opera's L'elisir D'amore; and "Pamina" in the David Hockney production of Die Zauberflote with Edmonton Opera.
Other notable appearances have includ?ed the roles of "Serpina" in La Serva Padrona under Mario Bernardi at Canada's Sharon Festival; "Despina" in Cos! Fan Tutte with Vancouver Opera; "Zerlina" in Don Giovanni with Manitoba Opera; "Amarilli" in Handel's Pastor Fido with Opera Atelier (Toronto); and "Susanna" (Le Nozze Di Figaro) with Pacific Opera Victoria. She also appeared with the latter company to great acclaim in the title role of Romeo et Juliette.
Miss Brett is a Sullivan Award winner (the William Matheus Sullivan Foundation of New York). She has performed with every major Canadian orchestra and with many of thefinest in America including those of Chicago, Detroit, and Philadelphia.
Her recent concert appearances have included "A Viennese Evening" with the Cincinnati Symphony under Jesus Lopez-Cobos; Messiah with L'Orchestre
Symphonique de Montreal; the Faure Requiem with Vancouver Symphony; Mendelssohn's A Midsummer Night's Dream with The Toronto Symphony under Gunther Herbig; and a program of opera duets with the Phoenix Symphony. In recital Miss Brett toured the U.K. with the Aldeburgh Connection of Toronto with whom she has also recorded the Brahms and Schumann Liebeslieder.
On the concert stage Miss Brett appeared with Erich Kunzel and both the Cincinnati Pops and the Detroit Symphony as well as joined the St. Louis Symphony and The Toronto Symphony Orchestra under the baton of Yves Abel.
The 1998 UMS production of Handel's Messiah marks the debut appearances of Kathleen Brett under UMS auspices.
Ellen Rabiner was recently recog?nized by Opera News as "a rising young singer with a powerhouse contralto sound." She has also been hailed by The New York Times for her "deep, rounded tone," by The Boston Globe as possessing a "rich contralto and both musical and dramatic sensitivity" and by New York Newsday as "a fine singing actress."
Ms. Rabiner made her Metropolitan Opera debut in 1994 in Elektra, and
returned in 1995 and 1996 as Sonyetka in Lady Macbeth of Mtsensk and as Schwertleite in Die Walkiire. She also debuted with the New York City Opera in 1994 as Suzuki in Madama Butterfly, followed by Konchakovna in
Prince Igor and the Third Lady in The Magic Flute. With the San Diego Opera she made her debut as Berta in The Barber of Seville in 1993 and returned the following season as Isabela in the US premier of Daniel Catan's La hija di Rappaccini. In 1996 she debuted with the Santa Fe Opera as Gaea in Strauss' Daphne. Other recent debuts include Michigan Opera Theater, Dallas Opera and Washington Opera.
In the summer of 1997 Ms. Rabiner performed the title role in Rossini's L'ltaliana in Algeri at the Ashlawn-Highland Summer Festival. In the 1997-98 season she sings Azucena in Trovatore in West Virginia, Mary in Der fliegende Hollander in Buffalo, Berta in Barbiere di Siviglia with San Diego Opera, Nicklausse in Les Contes d'Hoffmann with the Natchez Opera Festival, Handel's Messiah with the Pacific Symphony, Mahler's Riickert Lieder with the New York Chamber Ensemble at Alice Tully Hall, and Bach's Mass in b minor with the Little Orchestra Society of New York.
Ms. Rabiner's orchestral engagements include Bach's Magnificat with the Phoenix Symphony and El Amor Brujo with the Fresno Philharmonic. She made her record?ing debut as the Sorceress in the Harmonia Mundi recording of Purcell's Dido and Aeneas with Nicholas McGegan conducting the Philharmonia Baroque Orchestra. She returned to the Pacific Symphony in 1997 as the alto soloist in Mahler's Symphony No. 3.
Ms. Rabiner was born in New York and educated at Harvard University and at the Indiana University School of Music, where she earned a Master's Degree and was awarded the prestigious Performer's Certificate. She is a recipient of the Sullivan Award and was the Bronze Medalist in the 1992 Rosa Ponselle International Competition for Vocal Arts.
The 1998 UMS production of Handel's Messiah marks the debut appearances of Ellen Rabiner under UMS auspices.
Gordon Gietz is one of the most promising young tenors of his generation. His career is focused equally on operatic and concert repertoire, encompassing a wide range of musical styles.
Past operatic engagements include Tamino (Die Zauberflote), the title role in Les Contes D'hoffmann, and Tebaldo ( Capuleti e I Montecchi) with l'Opera de Montreal; Agenore ( Re Pastore), Steuermann (Der Fliegende Hollander), and Benedict (Beatrice et Benedict) with the
Canadian Opera Company; Cassio (Otello) with l'Opera de Monte Carlo; the title role in Albert Herring with Calgary Opera; Paris (La Belle Helene) and Count Almaviva ( Barbiere Di Siviglia) with the Opera Theatre of St. Louis; and Steva
(Jenufa) with Vancouver Opera.
His concert experience includes appear?ances with the New York Philharmonic, The Cleveland Orchestra, l'Orchestre Symphonique de Montreal, Winnipeg Symphony, and the Baltimore Symphony. He has also appeared with The Minnesota Orchestra in Mendelssohn's Die erste Walpurgisnacht and with the Philadelphia Orchestra in Schubert's Mass in E Flat. He has performed Beethoven's Symphony No. 9 with the Houston Symphony, l'Orchestre Metropolitan, and the Toronto Symphony Orchestra.
Recent highlights include Mr. Gietz's debut with the Washington Opera singing Chevalier de Danceny in Susa's Dangerous Liaisons; the Duke, partnered by Youngok Shin, in a new production of Rigolctto in Beijing, China; the title role in Albert Herring with Calgary Opera; le Joumaliste (Les Mamelles De Tiresias) at the Saito Kinen Festival in Japan under the baton of Seiji
Ozawa; a return to work with Yves Abel at New York's Lincoln Center, singing Benedict in Beatrice et Benedict; his London debut with John Eliot Gardiner in Beethoven's Symphony No. 9 at the BBC Proms Concerts; and Alfredo (La Traviata) with the Opera Company of Philadelphia.
Gordon recently made his debut with the Santa Fe Opera as Benedict in a new production of Beatrice et Benedict and will return next summer to sing Idamente (Idomeneo) and The Chevalier in a new pro?duction of Dialogues of the Carmelites. Further European debuts include Gerald in LakmelAvignon Opera, Sam Polk in SusannahGeneva Opera, and Tamino in The Magic Flute this time at the Netherlands Opera. On the orchestral front, Gordon will return to perform with the Toronto Symphony Orchestra, the Minnesota Orchestra, and a concert version of Janacek's Jemifa under Sir Simon Rattle with the Philadelphia Orchestra.
The 1998 UMS production of Handel's Messiah marks the debut appearances of Gordan Gietz under UMS auspices.
One of opera's most sought after artists, Dean Peterson has, in recent seasons, appeared on the stages of Milan's Teatro alia Scala in the title role in Boito's Mefistofele, Colline in La Boheme, Raimondo in Lucia di Lammermoor, and as Don Fernando in Fidelio; Teatro Carlo Felice in Genoa as Rodolfo in Bellini's La Sonnambula; Netherlands Opera in the title role in Le Nozze di Figaro, Palma de Mallorca as Mephistopheles in Faust and the Four Villains in Les Contes d'Hoffmann; L'Opera de Nice as Colline; Malaga, Spain as Escamillo in Carmen; Geneva Opera as the Minister in Fidelio; and Israel Philharmonic as Ferrando in Trovatore.
Equally active on the concert stage,
Mr. Peterson has appeared in Florence for Mendelssohn's oratorio St. Paul conducted by Colin Davis and Handel's Messiah conducted by Zubin Mehta; at La Scala in the title part of Mendelssohn's Elijah conducted by Gianandrea Gavazzeni and Rossini's Petite Messe Solenelle conducted by Neville Mariner; the Ravenna Festival in Verdi's Requiem with Riccardo Muti (taped for commercial release by EMI); Ravinia Festival for Rossini's Stabat Mater conducted by Riccardo Chailly; Valencia and Cuenca (Spain) for Rossini's Stabat Mater
conducted by Jesus Lopez-Cobos, and in Orchestre Filarmonique de Nice in Handel's Messiah, Elijah, Brahms' Requiem, Verdi's Requiem and Beethoven's Symphony No. 9. With the Israel Philharmonic he
has performed both Handel's Messiah and Beethoven's Missa Solemnis with Mehta conducting.
In North America, Mr. Peterson has appeared with the Opera Orchestra of New York as Giorgio in Puritani, New York City Opera in the title role of Le Nozze di Figaro (telecast on PBS's Great Performances), Escamillo in Carmen, Basilio in Barbiere di Siviglia, Sparafucile in Rigoletto, Plunkeft in Martha, and Colline in La Boheme; Opera Hamilton, Palm Beach Opera, and San Diego Opera as Leporello in Don Giovanni; Dallas Opera as Basilio in Barbiere di Siviglia; Santa Fe Opera, Cleveland Opera, Connecticut Grand Opera, Calgary Opera, Edmonton Opera, and Charleston Symphony as Figaro; Cincinnati Opera, Edmonton Opera, Manitoba Opera, and Pittsburgh Opera as Escamillo; Utah Opera, Manitoba and Cincinnati Opera in the title role of Don
Giovanni; Atlanta Opera as Belcore in L'Elisir d'Amore; Palm Beach Opera as Mustafa in L'ltaliana in Algeri, Cincinnati Opera as Ferrando in Trovatore, and Austin Lyric Opera as Mefistofeles in Faust.
Future American engagements include his Houston Grand Opera debut as Figaro in he Nozze di Figaro followed by the Four Villains in Les Contes d'Hoffmann also in Houston. He makes his Met debut in 1999 as Boito's Mefistofele as well as a return to Florence as Pimen in Boris and Escamillo.
Dean Peterson performed in the UMS pro?duction of Messiah in 1994. The 1998 UMS production oMessiah marks his third and fourth appearances under UMS auspices.
Described by American Record Guide as "one of America's supe?rior organists," Janice Beck is widely known for her recordings and solo recitals in both North America and Europe. During recent tours of Europe she has presented concerts in Coventry Cathedral, Westminster Abbey, and St. David's Hall, Cardiff in the United Kingdom; Oliwa Cathedral, Gdansk, and the Castle of Pomeranian Princes in the International Festival of Organ and Chamber Music, Szczecin, in Poland; St. Elizabeth Cathedral in the Kosice International Festival of Organ Music, Kosice, Slovakia; and the Matyas Church in Budapest, Hungary, sponsored by the Budapest Philharmonic Orchestra. She con-certizes throughout North America and has presented recitals at First Congregational Church, Los Angeles, the Mormon Tabernacle, Salt Lake City, Christ Church Cathedral, Ottawa, and Duke University, among many others. Her recordings include the six organ sonatas of Mendelssohn and the Vierne Sixieme Symphonie for Arkay Records, and works of Marcel Dupre, recorded in the
Cathedral of St. Etienne, Auxerre, for the French company, REM Editions.
Critical acclaim for her recordings and recitals has come from many sources. Stereo Review described her as "a consummate musi-
cian" whereas Organists' Review (a British journal) emphasized her "impeccable tech?nique." Writing in American Record Guide, David Mulbury stated: "Her performance of the mighty Sixth Symphony [ofViernel] is like a cold, clean wind on a stormy March day -refreshing, energized, bracing, force?ful." Her recital for the Organ Historical Society was characterized in The Diapason
as "an electrifying performance .. riveting and memorable." American composer, Vincent Persichetti wrote, "I love your play?ing -warm, clear, and each 'phrase' has focus and shape." In reference to her perfor?mance of the Choral in a minor of Cesar Franck L'Edair, Pau, France stated:".. one felt a spontaneous accord between artist and composer which warmed the soul."
Janice Beck studied with Catharine Crozier at Rollins College, Marilyn Mason, at the University of Michigan, and during a Fulbright scholarship in Paris, Jean Langlais and Nadia Boulanger. She is a recipient of the Algernon Sydney Sullivan Award, pre?sented by Rollins College, "for leadership, great achievement in one's chosen field, and service to others." She resides in Ann Arbor, Michigan where she is organist at the First United Methodist Church. She has been a member of the Alumnae Board of Governors of the University of Michigan School of Music, the Advisory Committee of the University Musical Society, and Dean of the Ann Arbor Chapter of the American Guild of Organists. She is represented by Phillip Truckenbrod Concert Artists.
Janice Beck has performed in the annual UMS productions of Messiah since 1995. The 1998 UMS production 0Messiah marks her seventh and eighth appearances under UMS auspices.
Edward Parmentier, harpsichordist, has played concerts recently throughout the country of Estonia, for the Kalamazoo Bach Festival, for the University of Michigan Organ Conference, and for the Boston Early Music Festival and the Berkeley Early Music Festival. The latter included a complete per?formance of both books of J.S. Bach's Well-Tempered Clavier. Mr. Parmentier is Professor of Music (harpsichord, Early Music Ensemble)
at the School of Music, University of Michigan. His two CDs, Splendor of the Harpsichord and J.S. Bach: Complete Toccatas have recently been released on Wildboar. His newest CD, released in November, is entitled
Seventeenth-Century German Harpsichord Music: Stylus Phantasticus, also on Wildboar. He is preparing now for the recording of Bach's Well-Tempered Clavier and for the performance of all four parts of Bach's Clavierubung.
Edward Parmentier has performed in the annual UMS productions oMessiah since 1995. The 1998 UMS production oMessiah marks his seventh and eighth appearances under UMS auspices.
Throughout its 120-year history, the UMS Choral Union has per?formed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual performances of Handel's Messiah each December. Five 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 Meadow Brook for subscription 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, inaugurating the partnership with a perfor?mance of Britten's War Requiem, and contin?uing with performances of the Berlioz Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining 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 reper?toire of the 1997-98 season: on one hand, the singers gaveacclaimed performances of Mendelssohn's Elijah and Handel's Messiah in Hill Auditorium, and on the other, equal?ly successful concert presentations of Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical theatre favorites with Erich Kunzel and the DSO at Meadow Brook.
In this, its 120th Season, the Choral Union will perform in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra and Neeme Jarvi, including performances of the Brahms A German Requiem and Kodaly's Psalmus Hungaricus, and finally Rachmaninoff's monumental The Bells. Other programs include Handel's Messiah and the Mozart 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.
The UMS Choral Union began performing in 1879 and has presented the Messiah in annu?al performances. These performances mark their 372nd and 373st appearances under UMS auspices.
UMS Choral Union
Thomas Sheets, Conductor Justin Rossow, Assistant Conductor Jean Schneider-Claytor, Accompanist Edith Leavis Bookstein, Chorus Manager Kathleen Operhall, Co-Manager Donald Bryant, Conductor Emeritus
Michele Bergonzi Edith Leavis Bookstein Debra Joy Brabanec Bonnie L. Brooks Ann Burke Susan F. Campbell Young S. Cho Laura Christian Cheryl D. Clarkson Marie A. Davis Carla Dirlikov Kathy Neufeld Dunn Laurie Erickson Patricia Forsberg-Smith Mary Golden Keiko Goto Louise Graham Deirdre Hamilton Kathryn Elliott Hudson Meredyth Jones Heidi Laura Mary Kay Lawless Carolyn Leyh Loretta Lovalvo Melissa Hope Marin Linda Selig Marshall Marilyn Meeker Jennifer T. Nardine Sara Peth Julie Pierce Judith A. Premin Virginia Reese Julie Rose Mary A. Schieve Jeannine Scott Denise Rae Scramstad Elizabeth Starr Sue Ellen Straub Barbara Hertz Wallgren Rachelle Barcus Warren Margaret Warrick Mary Wigton Linda Kaye Woodman Kathleen Young
Mary Jo Baynes Myrna Berlin Paula Brostrom Laura Clausen Joan Cooper Deborah Dowson
Judy Fettman Marilyn Finkbeiner LeAnn Eriksson Guyton Hilary Haftel Nancy Ham Lisa Hills Carol Hohnke Kerith Lee Jean Leverich Cynthia Lunan Jeanette Luton Faber Carol Milstein Elizabeth Morgan Joan L. Morrison Holly Ann Muenchow Nancy L. Murphy Lisa Michiko Murray Kathleen Operhall Brooke Orozco Andrea Parciarelli Lynn Powell Miriam Rossow Carren Sandall Fredericke Schammann Beverly N. Slater Amy Smith Cynthia Sorensen Gayle Stevens Elizabeth Suing Cheryl Utiger Katherine Verdery Sandra K. Wiley
Wilny Audain
Chris Bartlett
Fred L. Bookstein
Fr. Timothy J. Dombrowski
Philip Enns
Stephen Erickson
John W. Etsweiler III
Albert P. Girod Jr
Roy Glover
Arthur Gulick
Steven J. Hansen
Stephen Heath
Henry Johnson
Douglas Keasal
Robert Klaffke
Chuck Lever
John Mulcrone
Mike Needham
Steve Pierce
William Ribbens
Philip Rodgers Justin Rossow Matthew Rush David Schnerer Thomas Sheffer Scott Silveira Daniel Sonntag Samuel C. Ursu James Van Bochove
Peter Bergin Harvey Bertcher Howard Bond Harry Bowen John M. Brueger Daniel Burns Kee Man Chang Dan Davidson George Dentel Don Faber Philip Gorman David Hoffman Charles T. Hudson Mark Lindley George Lindquist Lawrence Lohr Charles Lovelace Joseph D. McCadden Gerald Miller Kevin Miller Ian Mitchell Michael Pratt William Premin Bradley Pritts Adam Riccinto Larry Rockensuess, Sr. Sheldon Sandweiss Marshall S. Schuster Curt Scott John T. Sepp Fred Shure William Simpson Jeff Spindler Robert Stawski Jayme Stayer Robert D. Strozier Jack L. Tocco Terril O. Tompkins John Van Bolt Jack R. Waas Benjamin Williams Jeffrey Williams
Ann Arbor Symphony Orchestra
Sam Wong, Music Director
Mary Steffek Blaske, Executive Director
Violin I
Stephen Shipps, Concertmaster
Kirsten Yon
Melissa Yeh
Sasha Margolis
Linda Etter
Beth Kirton
Violin II
Alexandra Adkins Alexandra Tsilibes Philip Ficsor Stephen Miahky Afag Sadykhly Jackie Livesay
Kathleen Grimes Zara Christopher Robert Meyer Steven Ewer Carolyn Tarzia
Sarah Cleveland Vladimir Babin Alicia Rowe Irina Tikhonova
Gregg Emerson Powell Erin Roberts Beshir Barakat
Lorelei Crawford Kristin Reynolds Judi Scramlin
Roger Maki-Schramm
Trumpet Joshua MacCluer Christopher Bubolz
Timpani James Lancioni
i hat began in 1928 as an all-volunteer orchestra conducted by Joseph Maddy(who founded Interlochen Music Camp) has grown into a highly respected, all-professional, resident orchestra. A core of seventy-one musicians from the Ann Arbor area bring considerable orchestral experience to the stage, combining years of symphonic performances plus decades of conservatory work. This year we celebrate our seventieth consecutive season, dedicated to exciting, live concerts and vibrant education programs.
This season Music Director and Conductor Samuel Wong conducts the A2SO in his grand finale seventh season. His grace and leadership on the podium dazzles and thrills concert-goers. His artistic excellence has given us a white-hot performance of Mahler's Symphony No. 9, an emotionally riveting Shostakovich's Symphony No. 10, heart-felt arias from the best-loved operas and elegant Mozart symphonies. On January 30, 1999 Wong conducts Mozart's Requiem with the UMS Choral Union. This follows
the popular and critical success of the 1998 A2SO UMS Choral Union collaboration of Mendelssohn's Elijah with Thomas Sheets conducting. Wong studied under Zubin Mehta and Kurt Masur, and in February 1997 recorded, to critical acclaim, a Teldec CD of Benjamin Britten's War Requiem.
In May 1997, the Ann Arbor Symphony Orchestra won the 1997 Nonprofit Excellence Award for Washtenaw County from Nonprofit Enterprise at Work. This award recognized the A2SO for "exemplary management, effective planning, innovative use of resources and outstanding achievements." In 1998, the A:SO was a successful finalist in the Governor's Service Award and with the Washtenaw Council for the Arts Annie Awards for the Music Masters Program.
In a time when many area school dis?tricts are severely cutting and even eliminating music education, the Ann Arbor Symphony Orchestra steps in to bridge the gap. We play a vital role in enriching the lives of young people in our community by making music part of their growing up experience. We
reach thirty-five school districts and more than 10,000 students through the Domino's-sponsored Youth Concerts and our Education and Outreach Programs. These programs include the popular Ensembles in the Classroom, Sit-in with Sam, This is Your Brain on Music, the inter-generational Music Masters program, "Take Your Parents to the Symphony!," and "Orchestra 101." The A2SO also develops nationally recog?nized course materials and audio tapes for teachers to use in preparation for the popu?lar Youth Concerts.
The Education and Outreach Programs are not limited to our area's youth. Before each performance, adult concert-goers can attend a Preconcert Lecture given by Dr. Wong with guest soloists and local music authorities. Music lovers also have the unique opportunity to join Dr. Wong for lunch and visit with him about an upcom?ing performance or music in general in the Lunch with Sam series.
Extraordinary volunteers grace the A:SO. Last year they logged more than 1300 hours of service to ensure a successful season. We take pride in a dedicated group of Board Members who come from all walks of community life -doctors, educators, bankers, business leaders, community vol?unteers and creative artists. Combining the artistic excellence from the stage with com?munity commitment, dedicated Board, vol?unteers and staff, the A2SO presents a great season of "music in the key of A2O."
The Ann Arbor Symphony Orchestra has per?formed in the annual UMS presentation of the Messiah since 1988. This weekend's per?formances mark the Ann Arbor Symphony Orchestra's twenty-eighth and twenty-ninth appearances under UMS auspices.
Trinity Irish Dance Company
MARK HOWARD, Artistic Director
National City Bank
Patricia Gilchrist Noreen Holleck Diandra Jones Sinead Kimbrell Joan Kowalski Deirdre Mahoney Patti Mahon
Michaela McGarry Fiona McCloskey Samantha Morreale Ryan Morris Alison O'Connor Natalie Prokopij Ashley Purl
Meagan Rohan Sheila Ryan Katie Shaughnessy Natalie Sliwinski Darren Smith Katie Wright
Christopher Layer, Pipes
Jackie Moran, Percussion
Brendan O'Shea, Guitar and Vocals
Thursday Evening, January 7, 1999 at 8:00 Friday Evening, January 8, 1999 at 8:00 Power Center, Ann Arbor, Michigan
The Mist (1990) Blackthorn (1992) Step About (1991)
Tonight's selection will be announced from the stage.
Christopher Layer, Jackie moran, Brendan O'Shea
Johnny (1991)
Just Shannon (1993)
The Mollies (1997)
Schuylkill County Irish Eyes
The Thirteenth Hour The Ancient Order
Pipe Solo
Original Selection Christopher layer
Treble Jig (1995)
Patricia Mahon, Deirdre Mahoney, Darren Smith
The Dawn (1997)
Drum Solo
Jackie Moran, Bodhran
Celt Thunder (1988)
The Trinity Irish Dance Company dancers will be available to meet the audience in the lobby after the performance.
Fortieth and Forty-first
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.
A warm welcome and special thanks to Phillip R. Duryea, Community President of National City Bank, for support of this presentation.
Large print programs are available upon request.
The Mist (1990)
Choreography Original Music Lighting Design Costumes
Mark Howard Mike Kirkpatrick Stan Pressner Gregory Slawko
The Company
"Through the deep night, a magic mist led me."
Blackthorn (1992)
Choreography Music Lighting Costumes
Mark Howard Jackie Moran Stan Pressner Birgit Rattenborg Wise
The original steps of Blackthorn represent the rhythmic soul that permeates all Irish dance...And besides, it helps facilitate a much needed costume change at this point in the program.
Step About (1991)
Choreography Music Lighting Design
Mark Howard Liz Carroll Stan Pressner
The Company
We would like to dedicate this dance to all the cooks in Austria. Although they may lack creativity, they make one fabulous Kaiser roll!
Tonight's selection will be announced from the stage.
Christopher Layer Jackie Moran Brendan O'Shea
Choreography Original Music Lighting Design Costumes
Johnny (1991)
Mark Howard Mike Kirkpatrick Stan Pressner Birgit Rattenborg Wise
The Company
Created for and premiered by Trinity Irish Dance Company on NBC's Tonight Show, NBC Studios, Burbank, California, March 15, 1991. The show isn't the same since Johnny left...neither is this piece!
Choreography Music
Lighting Design Costumes
Just Shannon (1993)
Mark Howard
Liz CarrollTraditional Tunes
Stan Pressner
Birgit Rattenborg Wise
Natalie Sliwinski and the Company
Natalie performs The Downfall of Paris which is a set dance typical of those performed by competitive Irish dancers on the worldwide Feiseanna (Gaelic for competitions) circuit.
Choreography Original Music Lighting Design Video Design Costumes
The Mollies (1997)
Schuylkill County Irish Eyes
The Thirteenth Hour The Ancient Order
Mark Howard & Brian Jeffery Mike Kirkpatrick Stan Pressner Stephan Mazurek Rose Marie McGarry
The Company
Refugees from the Great Irish Famine poured into the mining areas of Pennsylvania in search of a better life only to find the same EnglishWelsh power structure that they thought they'd left behind. Under the right circum?stances, anything at all can be justified or believed. The Mollies' struggle is a message from a hundred years ago. Hopefully we know how to read it... The Mollies is made possible through the generous support of DanceLink.
Pipe Solo
Original Selection
Christopher Layer
Treble Jig (1995)
Choreography Original Music Music arranged Lighting Design Costumes
Mark Howard Jimmy Moore Patrick Broaders Stan Pressner Birgit Rattenborg Wise
Patricia Mahon Deirdre Mahoney Darren Smith
Treble jigs are played in the 68 time signature and performed in "jig shoes" which were the precursor to American tap shoes. Historically, when the British tried to Anglicize Ireland by wiping out Gaelic traditions. Irish tunes were kept alive by teaching the youth to tap out the rhythms in the privacy of the home. Through adversity, a beautiful art form flourished.
The Dawn (1997)
Choreography Music
Lighting Design Costumes
Mark Howard & Richard Griffin
Stone and Liz Carroll
Stan Pressner
Birgit Rattenborg Wise
The Company
At the dawn of May, a platoon of tall beautiful women landed on Irish shores. Warriors all... they had come from Spain. In April of 1998, the company won the gold medal for US at the World Championships of Irish Dance with their performance of this piece.
Drum Solo
Jackie Moran, Bodhran
Celt Thunder (1988)
Choreography Original Music Lighting Design Costumes
Mark Howard Mike Kirkpatrick Stan Pressner Birgit Rattenborg Wise
The Company
A trademark Trinity dance choreographed in the mid 1980s which significantly changed the look and direction of Irish Dance...forever!
The Trinity Irish Dance Company quickly dispels whatever notions you may have about Irish dance. Founded in 1990 by Artistic Director Mark Howard as a means of pro?viding professional career opportunities to students who formerly had no outlet for their dance training beyond the competitive circuit, this innovative nonprofit company is con?stantly searching for original means of expression while maintaining a high regard for old traditions. Trinity, a uniquely Irish-American company, was the birthplace of progressive Irish dance which opened new avenues of artistic expression that led to other productions such as "Riverdance" and "Lord of the Dance."
Inspired by ancient Celtic myths and stories, theirs is a world of fairies, pirate queens and ethereal mists, translated with all the passion, flair and precision that made many of these company members repeated world champions of Irish dance. Over the past sev?eral years, the company has also collaborated with many noted contemporary choreogra?phers which has led them to an increased vocabulary of movement and the development of a unique form of story ballet which tells the ancient and modern history of the Irish
people through dance and specially com?missioned live music.
The Trinity Irish Dance Company, made up of twenty-two dancers between the ages of sixteen and twenty-four, has performed to great critical and popular acclaim on stages throughout the world. In addition, it has an enviable list of film and television credits including Backdraft, "The Tonight Show" with Johnny Carson and Jay Leno, "Late Night with Conan O'Brien," "CBS This Morning," and "Good Morning America." The company has toured internationally as invited guests for dignitaries as varied as the Royal Family in Monaco, Ireland's President Mary Robinson, and Indian meditation master Gurumayi Chidvilasananda. Trinity recently received an Emmy Award for their appearance on the PBS Television Special, World Stage and were featured in the ABC special Dignity of Children hosted by Oprah Winfrey.
Trinity holds a unique place in the dance world, offering both a highly skilled presentation of traditional Irish step dance and a brilliantly engaging interpretation of contemporary world vision.
These performances mark the Trinity Irish Dance Company's debut appearances under UMS auspices.
Mark Howard, Artistic Director Born in Yorkshire, England and raised in Chicago, Mr. Howard began his dancing career at age nine at the Dennehy School of Irish Dance (the same school that produced Michael Flatley of Lord of the Dance fame). A North American Champion Irish dancer himself, he launched the Trinity Academy of Irish Dance at age seventeen, subsequently leading them to an unprecedented thirteen World Championship Titles for the US, the
first when he was only twenty-five. In the eighteen years since its inception, The Trinity Academy has grown from twenty students practicing in a church basement to the largest Irish dance school in the world. Intent on preserving the
legacy of Irish dance while providing a cre?ative outlet and professional livelihood for dancers at the peak of their abilities, Mr. Howard formed the Trinity Irish Dance Company at the age of twenty-nine. Before that time, there were no Irish step dancers performing collectively outside the competi?tive realm. Mr. Howard continues to chore?ograph new works for the company as well as expanding his independent career to work in theater, television, concert and film. In 1994, he was named one of Irish American Magazine's Top 100 Irish-Americans for his innovative work in Irish dance. In 1991, the national PBS production of Green Fire and Ice aired. Most recently, his choreography, which found a common rhythm and movement between African and Celtic dance, was an integral part of the
Emmy Award winning PBS special, World Stage and was featured in the ABC special About Us: The Dignity of Children Project, hosted by Oprah Winfrey. Mr. Howard's choreography has also been featured on the stages of Chicago's prestigious Goodman and Steppenwolf theatres and has led to numerous Choreographer's Fellowships awarded by the National Endowment for the Arts. His undying energy and unique vision have significantly changed the direction and scope of Irish dance, re-introducing the form as the phenomenon that it is today.
Liz Carroll, Soundtrack Musician An internationally renowned composer and performer, Liz Carroll has appeared in numerous American concerts and festivals including Wolftrap, The Philadelphia Folkfest and the World's Fair in Knoxville, Tennessee. She has toured extensively with the Green Fields of America. Currently she performs both as a solo artist and with her group Train. Her music and compositions have appeared on some dozen recordings including Sharon Shannon and the Battlefield Band. This year she was selected as one of Irish American Magazine's Top 100 Irish-Americans and in September 1994 she received the highly coveted National Endowment for the Arts Heritage Award from Mrs. Hilary Clinton.
Jim Dewan, Soundtrack Musician Originally from the Garden State, Jim DeWan has a fast-growing reputation as one of the pre-eminent American-born gui?tarists in Irish music. He has performed across the United States and Europe with such musicians as Liz Carroll, Laurence Nugent, Paddy Keenan, Kevin Burke and many others. Known equally well as a song?writer, Jim spent several years in Nashville as a staff writer for the Acuff-Rose Publishing
Company, and his songs have been recorded by such diverse acts as the English singer Sarah Jory and American alternative coun?try artist Robbie Fulks.
Thomas Fowlkes, Production Stage Manager Thomas has been the technical head of the Trinity Irish Dance Company since November 1997. As a freelance lighting designer, he has designed for such theaters as Drury Lane-Evergreen Park in Chicago, Main Street Theatre, Theatre LaB, and Express Theater in Houston. He has also served as an assistant designer for both the Florida Grand Opera and the Houston Grand Opera. His Master Electrician work includes Drury Lane-Evergreen Park, North Shore Music Theatre in Boston, and Weston Playhouse in Weston, VT.
Richard Griffin, Choreographer Richard is a well known London Irish Dance instructor who, with his wife, Margaret, runs the accomplished GriffinO'Loughlin School of Irish Dance. His expertise in team choreography has led to a wealth of world titles for Great Britain at the annual World Championships of Irish Dance.
Brian Jeffery, Choreographer Brian Jeffery is the artistic director of XSIGHT! Performance Group. XSIGHT! has toured inter?nationally since 1988 and was recently honored with Chicago's Ruth Page Award for Choreography and Performance of the Year. Brian teaches in the Dance Program at Northwestern University and has been the recipient of Artist Fellowships from the Illinois Arts Council and the
Chicago Department of Cultural Affairs.
Mike Kirkpatrick, Soundtrack Musician Mike is a guitarist and composer who has been writing musical scores for Trinity since 1981. He has created music for numerous companies and choreographers including The Chicago Repertory Dance Ensemble, Mary Ward, Nana Shineflug, The Chicago Moving Company, XSIGHT!, Jan Erkert and Dancers, Amy Osgood and many others. Mr. Kirkpatrick has written music for films including Blink and Backdraft. He also plays in an essentially genre-less band called the "Drovers" which has prominent roots in tra?ditional Irish music. They are currently recording their fourth LP.
Christopher Layer, Flute; Whistle; Pipes Christopher plays numerous wind instru?ments including Irish flute, whistle, bag?pipes, and bassoon. He is the son of Indiana "Fiddler" Ed Layer and soprano Dolores Layer. He has two solo recordings and sever?al recordings with various traditional bands including New England's own Clayfoot Strutter and the Scottish dance band Local Hero. Layer has enjoyed great success since his move to New York in 1995, appearing in concerts at Lincoln Center, The
Metropolitan museum of Art, The 92nd Street Y, the home of NYSCA chairwoman Kitty Carlisle-Hart, and numerous Irish music venues in New York City. Recent con?certs include appearances with Liz Carroll and Jim Dewan, and New York fiddle great, Andy McGann, as well as performances on NPR, the BBC, Radio Na Gael, and the CBC. Each summer Layer travels to The Hebrides where he teaches Flute to children at Feis Tiree on the Isle of Tiree. Layer's inter?est in dance lead him to co-produce "Music in the Barn" a music and dance concert exploring the roots of New England Contra-Dance and Appalachian Clogging for the Project America series at the prestigious 92nd Street Y.
Stephan Mazurek, Video Design Stephan has been the Artistic Director of the Itinerant Theatre Guild since 1987. As a writerdirector he has created Sydney: Dummy at Large (Victory Gardens Theatre), Scribblings From a Broad (Kentucky Center for the Arts), Egon Schiele, Pervert or Genius (UIC Theatre), and A Vocabulary And A Few Amusing Experiments, with Laren Crawford (Blue Rider Theatre). As cinematographer, photographer, and a visual media designer he has worked for Harpo Productions, XSIGHT! Performance Group, Remains Theatre, Victory Gardens Theatre, Plasticene, Chicago Opera Theater and many many more.
Rose Marie McGarry, Costume Supervisor Rose takes charge when it comes to Trinity's costumes. For the past eight years she has designed and constructed Trinity wear from soup to nuts applying her sixteen years experience as a costume designer. Rose works closely with designers in Ireland on behalf of Trinity. Originally from Houston, Texas, she is a graduate of Fordham University, New York.
Jackie Moran, Percussion A native of Thurles Co. Tipperary, Ireland, Jackie plays a wide variety of percussion instruments. He has studied with some of the best percussionists in Chicago and is constantly striving to increase his knowledge of rhythm. His first instrument was the bodhran (Irish frame drum) on which his is counted among the world's best. With Irish being his main focus, he has played and recorded with many prominent Irish musi?cians, including Liz Carroll, Lawrence Nugent, Kevin Burke, Paddy Keenan, Arty McGlynn, The Drovers, and many others. Jackie has played with the Trinity Irish Dance Company since the beginning and has helped them with many of their collabo?rative dances.
Brendan O'Shea, Guitar and Vocals Brendan was born in Boston to Irish par?ents. When Brendan was three years old, the family moved back to Ireland, settling in Killarney Co. Kerr. Brendan began playing the guitar and singing in a band at seven?teen. In 1987, he moved to Chicago where he played traditional music and Celtic rock music with the Drovers. In 1993, he moved back to Ireland and established himself as a solo performer, playing a combination of his own material and continental European material. In January of 1997, Brendan made a long anticipated return to the United States, this time settling in New York City.
Stan Pressner, Lighting Designer Stan has created the lighting for dance, the?atre, opera, and music events on five conti?nents. His work can be found in the reper?toires of, among others: the New York City Ballet, The Lyon Opera Ballet, Geneva Opera Ballet, Bill T. JonesArnie Zane, Ralph Lemon and Company, Bayerische Staadtsballet, The Atlanta Ballet, The Boston Ballet, Pittsburgh Ballet Theatre, The Alvin Ailey Repertory Ensemble, Stephen Petronio
and Dancers and The Netherlands Dance Theatre. His resent work includes: The Flying Karamazov Brothers' Sharps, Flats & Accidentals, The Family Business for the Mark Taper Forum, Punch and Judy Get Divorced for David Gordon at AMTF and ART, Light Shall Lift Them for John Kelly, and Robert Lafosse's Rags for the Bavarian National Ballet. He also serves as the resi?dent lighting designer of the Lincoln Center Festival. He has come to prefer Stein. (Member USAA 829)
Gregory W. Slawko, Costume Designer In his nearly twenty years as a costume designer, Greg has designed his way across the country with projects ranging from stage to screen. Greg has done wardrobe construction for major motion pictures including The Babe with John Goodman, A League of Their Own with Geena Davis and Madonna, Natural Born Killers, Hero with Dustin Hoffman, and The Hudsucker Proxy with Paul Newman to name a few. He recently received an MFA degree in theater design from Northwestern University and owns and operates his own business called Masque Appeal.
Darren Smith, Principal Dancer Darren has been Irish dancing for eighteen years, since the age of three, following in the footsteps of his mother and grandmother who danced in County Derry, Ireland. He is the 1997 World Irish Dancing Champion, a competition title accomplished with a rare perfect score from every adjudicator. In addition, Darren has eight North American and nine Canadian Championship titles to his credit. Most recently, while not on tour with the company, Darren appeared as Principal Dancer in Needfire: Passion of the Heart, at the Princess of Whales Theatre in Toronto, where he makes his home. Additionally, he appeared with the company in the Jim Abraham movie Jane Austen's
Mafia!. During his competitive career, Darren was taught by three-time World Champion Brain Grant and his mother, Brigid Grant, at the Grant school of Irish Dancing, in Toronto, Ontario, Canada.
Birgit Rattenborg Wise, Costume Designer Birgit designs costumes for theater, dance, and opera in the Chicago area. Her work at The Goodman Theatre is represented by designs for A Touch of the Poet, Gertrude Stein: Each One As She May, Brutality of Fact, Wings and Spunk. Dance designs include Perpetuum Mobile for Hubbard Street Dance Chicago, and the contempo?rary company designs for Trinity Irish Dance Company. Other designs include pro?jects with Ballet Chicago, Chicago Opera Theater, Fox Theatricals, Classic American Theatre, and Drury Lane Oakbrook. Birgit is a guest lecturer at Loyola University where she teaches Costume Design.
Trinity Irish Dance Company Staff: Thomas Fowlkes, Production Stage Manager Rose Marie McGarry, Wardrobe Supervisor Joel Radatz, Production Sound Engineer Kristen Presern, Company Manager Jill Nelson, Executive Director
This Program Is Partially Supported By A Grant From The Illinois Arts Council, A State Agency.
The Trinity Irish Dance Company Is Also Funded In Part By:
National Endowments for the Arts
The John D. and Catherine T. MacArthur Foundation
Illinois Arts Council
Arts Midwest
Department of Cultural Affairs, Chicago
The Bradley Foundation
WPWR-TV Channel 50 Foundation
Patrick Henry Community Arts Fund
Target Stores
Special Thanks to the following for their choreographic andor musical contributions to the company:
Ashley Roland, Yvonne Bruner, Sean Cleland, Winston Damen (Stone), Brian Frctte, Brian Grant TCRG, Brendan McKinney, Marie Duffy Messenger ADCRG and Michael Smith ADCRG.
Jackie Moran plays exclusively Albert Alfonso bodhrans.
Trinity Irish Dance Company appears by arrangement with IMG Artists.
Please Note
Due to illness, Dana Hanchard will not appear as mezzo-soprano soloist in George Gershwin: Sung and Unsung. While the University Musical Society regrets this cancella?tion, we are pleased to announce that Karen Holvik has graciously agreed to step in at a moment's notice. UMS wishes to extend its warmest thanks to Ms. Holvik.
Karen Holvik brings a wealth of experience in a wide range of musical styles to her performances. Since earning a Master's Degree and Performer's Certificate in Opera at the Eastman School of Music, Ms. Holvik has continued to pursue an eclectic musical path, building a large repertoire of concert music, oratorio, and operatic roles. Highlights of her work in regional opera include appearances as Micaela with Skylight Opera (directed by Francesca Zambello); Lucia with Houston Grand Opera's Spring Opera Festival and on tour with Texas Opera Theater (directed by Ken Cazan); Juliette and Adina on tour with Western Opera Theater (directed by Christopher Alden); Constanze with Opera Festival of New Jersey (conducted by Carol Crawford); and Marzelline in Fidelio with Anchorage Opera.
Ms. Holvik has toured extensively in the United States and Western Europe singing both popular and classical repertoire, and made her Canadian debut at the inaugural season of the Music at Speedside chamber music festival. She has been successful in many competitions, including the Liederkranz Foundation, American Opera Auditions, Oratorio Society of New York, and the Carnegie Hall International American Music Competition, in which she was a semi-finalist. As winner of the Joy in Singing com?petition, she was presented in her New York recital debut at Alice Tully Hall. The Richard Tucker Gala Concert marked her Avery Fisher Hall debut, and event which was recorded by RCA Victor Red Seal and shown nationally on PBS. She made her debut in Carnegie Hall singing Handel's Messiah with the Masterwork Chorus and Orchestra under the direction of David Briskin.
Ms. Holvik spent five summers as an Opera Fellow at the Aspen Music Festival, where she studied with Jan DeGaetani and Arleen Auger, and has since returned as
a guest artist. She appeared with baritone William Sharp and pianist Steven Blier in a program of songs by George Gershwin as part of a week-long celebration of the open?ing of the Joan and Irving G. Harris Concert Hall, and sang Mozart's Mass in C minor and Bach's Cantata 202 in a concert given in memory of Jan DeGaetani. In New York, she was featured in three concerts presented by many of Ms. DeGaetani's students and colleagues to honor her life and work.
Having begun her singing life in the world of popular music and jazz, Ms. Holvik has long been a champion of contemporary American song and operatic repertoire, and has premiered works by Aaron Jay Kernis, Stewart Wallace, Ricky Ian Gordon, James Sellars, Richard Pearson Thomas and Richard Wilson. She was featured in the New York premiere of Kabbalah by Stewart Wallace and Michael Korie, which was recorded by Koch International Classics, and created the role of Rose in the premiere of The World is Round by James Sellars on a text by Gertrude Stein, con?ducted by Michael Barrett. Another premiere, Aethelred the Unready by Richard Wilson, marked her debut with the American Symphony Chamber Orchestra conducted by Leon Botstein.
Ms. Holvik has appeared on television, radio and in concert with the highly-acclaimed New York Festival of Song. A NYFOS recording released by Koch International Classics, Zipperfly & Other Songs by Marc Blitzstein, features Ms. Holvik, Mr. Blier and Mr. Sharp.
Last season Ms. Holvik sang concerts in Kansas City, Miami, Michigan, and New York, and made her debut with Anchorage Opera. Highlights of the current season include a concert at the 92nd St. Y, an appearance on National Public Radio's syndicated music program, "Performance Today," Marsinah in Kismet with the Masterwork Chorus and Orchestra, Mendelssohn's Elijah with the Kalamazoo Bach Festival, a retrospective concert of Ned Rorem's vocal music at the Danny Kaye Playhouse in New York, a program of Gershwin songs with Orchestra of St. Luke's in Central Park, and a concert of music by Leonard Berstein with the Lincoln Center Festival at Alice Tully Hall.
George Gershwin: Sung and Unsung marks the debut appearances of Karen Holvik under UMS auspices.
George Gershwin, arr. Musto-Blier
arr. Percy Grainger
George Gershwin: Sung and Unsung
Overture: I Got Rhythm Rialto Ripples
Mr. Musto and Mr. Bliek
My Cousin in Milwaukee Luckiest Man in the World Your Eyes! Your Smile!
Ms. Holvik, Mr. Keegan, and Mr. Blier
Fantasy on Porgy and Bess (excerpts)
Oh, I Can't Sit Down
Bess You Is My Woman Now
It Ain't Necessarily So
Mr. Musto and Mr. Blier
Nice Work If You Can Get It
Things Are Looking Up
Evening Star
Ask Me Again
Love Is Sweeping the Country
Ms. Holvik, Mr. Keegan, and Mr. Blier INTERMISSION
arr. Musto-Blier
arr. Musto-Blier
Promenade ("Walking the Dog," from Shall We Dance) Mr. Musto and Mr. Blier
Isn't It Wonderful Homeward Bound Our Little Kitchenette
Ms. Holvik, Mr. Keegan, and Mr. Bi.ihr
Duo-Piano Suite from Lady Be Good!
Hang on to Me The Half of It Dearie Blues I'd Rather Charleston Oh, Lady be Good! Fascinating Rhythm
Mr. Musto and Mr. Blier
Embraceable You
Love Is Here To Stay
Wake Up Brother and Dance
Ms. Holvik, Mr. Keegan, Mr. Musto and Mr. Blier
All lyrics by Ira Gershwin, except "Isn't It Wonderful" (Ira Gershwin and Desmond Carter), "Our Little Kitchenette" (Ira Gershwin and B. G. DeSylva), and "Liza" (Ira Gershwin and Gus Kahn).
Piano arrangements for songs by Mr. Blier.
Duo-piano arrangements for songs by Mr. Musto and Mr. Blier.
Program by Mr. Blier.
The New York Festival of Song
MICHAEL BARRETT AND STEVEN BLIER, Co-Artistic Directors GIDEON Y. SCHEIN, Executive Director
Dana Hanchard, Mezzo-soprano
Ted Keegan, Tenor
Steven Blier, Piano
John Musto, Piano
and KeyBank
George Gershwin, arr. Musto-Blier
arr. Percy Grainger
Saturday Evening, January 9, 1999 at 8:00 Sunday Afternoon, January 10,1999 at 4:00 Lydia Mendellsohn Theatre, Ann Arbor, Michigan
George Gershwin: Sung and Unsung
Overture: I Got RhythmRialto Ripples
I've Got a Crush on You Luckiest Man in the World Your Eyes! Your Smile!
Fantasy on Porgy and Bess (excerpts) Oh, I Can't Sit Down Bess You Is My Woman Now Summertime It Ain't Necessarily So
Someone to Watch Over Me
Things Are Looking Up
Evening Star
Ask Me Again
Love Is Sweeping the Country
arr. Musto-Blier
arr. Musto-Blier
Promenade ("Walking the Dog," from Shall We Dance) MR. MUSTO and MR. BLIER
Boy! What Love Has Done to Me Homeward Bound They All Laughed
MS. Hanchard, Mr. Keegan and Mr. BLIER
Duo-Piano Suite from Lady Be Good!
Hang on to Me The Half of It Dearie Blues I'd Rather Charleston Oh, Lady be Good! Fascinatin' Rhythm
That Certain Feeling
Love Is Here to Stay
Wake Up Brother and Dance
Ms. Hanchard, Mr. Keegan,
All lyrics by Ira Gershwin, except "Liza" (Ira Gershwin and Gus Kahn). Piano arrangements for songs by Mr. Blier. Duo-piano arrangements for songs by Mr. Musto and Mr. Blier. Program by Mr. Blier.
Forty-second and Forty-third Performances of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Bill Hann for his generous support of the KeyBank Song Recital Series through KeyBank.
We are also grateful to UMS board members Maurice and Linda Binkow for their enthusiastic support of this series.
Additional support is provided by media partner, WGTE.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan
Large print programs are available upon request.
George Gershwin: Sung and Unsung
In 1928, George Gershwin took what was to be his last trip to Europe. The success of "Rhapsody in Blue" four years earlier had gone far to establish him as an international celebrity. His concert works were being played in Paris, his musical Oh, Kay! starring Gertrude Lawrence was finishing its run in London, and his name was enough to open the most prestigious doors in Vienna. He met with Prokofiev and Honneger, and with operetta giants Kalman and Lehar; he heard Alban Berg's string quartet played in the compos?er's home, and was encouraged to follow this heady performance with an impromptu concert of his own songs.
It was on this trip that he asked both Maurice Ravel and Nadia Boulanger, the doyenne of European music teachers, for lessons in composition. Both of them turned down his request. Gershwin's natural gifts flowed spontaneously through impro?visation, and they were afraid to impede the flow of his originality. When Gershwin met Stravinsky, he couldn't resist making the same request: would he take him on as a student The Russian master surprised the young American by asking him how much money he was earning annually as a com?poser. Gershwin was too taken aback to dis?semble, and named a six-figure number. "Then it is I who should study with you," replied Stravinsky.
Gershwin may be turning 100 this year, but his music will always be imbued with the freshness of youth. He died tragically young, at age thirty-eight, at the height of his powers. He had made the transition from Tin Pan Alley tunesmith to Broadway legend, where his musicals metamorphosed from the vaudeville shenanigans of Lady Be
Good! and Tip-Toes to sophisticated political satires like Strike Up the Band and the Pulitzer Prize-winning Of Thee I Sing. In his final years, he made a stunningly successful opera debut with Porgy and Bess, and he fought the good fight in Hollywood, where many of his best songs were written only to be used as throw-away moments or cut alto?gether. "I had to live for this," Gershwin said of his movie experience, "that Sam Goldwyn should say to me, 'Why don't you write hits like Irving Berlin"'
In these days, when the crossover from classical music to popular music has become almost a sine qua non of commercial suc?cess, it's easy to forget that Gershwin was the first to blaze this trail. Not only did he face critical skepticism in using the rhythms and harmonies of jazz in full-scale orchestral pieces, but his were the first theater songs to storm the recital hall's bastions. When he died, Gershwin planned to write more con?cert music. But we can never know what his Ninth Symphony or Falstaff would have been like, and we can only speculate about how he might have guided and furthered the course of American music.
Still the playfulness and sensuality of Gershwin's work survives undimmed by the years. What is the essence of this music You can try to pin down some of its struc?tural elements. You could point, for example, to the jaunty, displaced rhythms which form the very basis of many Gershwin melodies. Just think of the great tune at the center of the Rhapsody in Blue, a rising and falling arc which ends in a repeated three-note phrase which rotates the accent through each of its tones, a typical Gershwin gesture. These are the moaning cadences of Jewish cantorial singing, disguised by syncopation and seduc?tive jazz harmony. Swirling figures like this show up throughout his music: Porgy sings a tender one to Bess on the words "and you must laugh and dance and sing for two instead of one" in their great love duet, while
"Fascinatin' Rhythm" is built on a more insistently pulsating figure.
You could examine Gershwin's pervasive use of the pentatonic scale, a series of tones most easily located by playing the five black keys on the piano. While Schoenberg was challenging the world with twelve-tone rows, Gershwin was mining gold out of just five in tunes like "Maybe," "I Got Rhythm," "Clap Yo' Hands," and "They All Laughed." He liked to spice up his pentatonic melodies with a blue note, as he does in the first phrase of "Stairway to Paradise" or "How Long Has This Been Going On." The flatted notes on the words "paradise" and "going" instantly open a world of sensuality, a subtext of desire.
Music as appealing as Gershwin's doesn't usually take well to harsh, intellectual scruti?ny. But at a four-day Gershwin symposium at the Library of Congress last March, I heard a musicologist give an hour-long Schenkerian analysis of a Gershwin song. His tone was clinical and detached as he showed how the themes were developed and inverted, lengthened and contracted. I was sure Gershwin would have been proud. The day he heard Alban Berg's string quartet, he had experienced a rare moment of shyness. Normally an unstoppable show-off at the piano, he uncharacteristically balked when asked to give them a sample of his Broadway songs after the compositional rigors of the quartet. But Berg gave him the ultimate go-ahead: "Mr. Gershwin, good music is good music."
Surviving the cross-examination of a musicologist would lift any composer's spirits. Still, I can't help feeling that it doesn't get at the heartbeat of Gershwin's style. His true gift, the thing that always catches you off guard, is the way he juxtaposes languor and drive. He breaks down your resistance like an expert seducer, cleverly alternating sensual longing and sexual vigor. In just the first eight bars of "Nice Work if You Can Get It," he starts by melting your heart with the
descending chords of "Holding hands at midnight, 'neath a starry sky," and then grabs you in the jitterbug rhythm of "Nice work if you can get it, and you can get it if you try"-indicating far earthier desires than mere hand-holding. Like the suavely kinetic Fred Astaire, Gershwin's music seems to dance and lounge at the same time.
George Gershwin's hedonistic ardor found a perfect counterpart in the lyrics of his brother Ira. Especially as a young writer, Ira was the poet of puppy-love. In the newly liberated atmosphere of the Roaring Twenties, his lyrics were notable for their lack of innuendo. He put the best possible spin on innocence -"'S wonderful, 's marvelous, you should care for me!" -and created ele?gantly optimistic fantasies of romance -"Oh I always knew someday you'd come along! We'd make a twosome that just can't go wrong!"
The Gershwin brothers didn't even look much alike -lanky, long-faced George seems at most like a distant cousin of the mesomorphic and round-faced Ira. George's glamour, healthy ego, and sexual appetite shine through his photographs, in contrast to Ira's bookish modesty. But many great songwriting teams have succeeded by play?ing out some version of "good cop-bad cop." In this regard music historians usually cite the perfect bedfellowship of Bertolt Brecht's harsh, acerbic lyrics and the sweet and sour sentimentality of Kurt Weill's music.
But I think that Rodgers and Hart, who were contemporaries of the Gershwins, offer a more relevant comparison. In this case, composer and lyricist simply reversed the Gershwin brothers' roles. The wholesome cratfsmanship of Ira's light verse finds its counterpart in the classic elegance of Richard Rodgers' music. His art shares Ira's purity and self-discipline -and his conservative nature as well, with bouncy, square rhythms in his up-tempo numbers. While George welcomed improvisation and never played
''Gershwin was achieving a new eloquence in his last songs, and Porgy might have been just the first of a series of operas. The composer had achieved liftoff -who knows where he might have flown"
his songs the same way twice, Rodgers pre?ferred to hear his music sung absolutely straight and undecorated. Rodgers may have had the edge as a pure creator of melody -he could even weave a spell out of a plain series of quarter notes (think of "Where or When"), but George's invention swung with a rambunctiousness Rodgers never attempted.
George's hundredth birthday is a bitter?sweet joy. I can never stop wishing for the music he didn't live to write. Notwithstanding Samuel Goldwyn's belittling comments, Gershwin was achieving a new eloquence in his last songs, and Porgy might have been just the first of a series of operas. The com?poser had achieved liftoff-who knows where he might have flown
In 1983, there was an amazing discov?ery which helped to lighten the melancholy. Warner Brothers was about to tear down a music warehouse in Secaucus, New Jersey, when someone had the bright idea of taking a look inside before the wrecker's ball had its way with the place. What they found was the King Tut's Tomb of American theater music and popular song -boxes of manu?scripts, lyric sheets, and orchestrations for shows by Gershwin, Porter, Rodgers, and their illustrious colleagues. All the material had been presumed lost. Suddenly, there were "new" Gershwin songs, ranging from his early years to his maturity, including many that had been discarded from hit shows before they got to Broadway. The orchestra parts were often incomplete, but they made it possible for teams of experts to re-con?struct authentic-sounding orchestrations for the vintage musicals of the 1920s and '30s.
We'll be sampling a few of the Secaucus
treasures tonight "Homeward Bound," "Evening Star," "Your Eyes! Your Smile!," "Luckiest Man in the World," and "Wake Up Brother and Dance." They are among the most beautiful of George and Ira's songs. To this day they remain unpublished. Another rarity on tonight's program is "Ask Me Again," which was found in Ira's own collection. The Gershwin brothers rarely wrote a song that they didn't use immediately, but this one seems to have been created in 1930 without a specific purpose. It was considered -and rejected -for their last movie project eight years later. It stayed on the shelf until 1983 when Michael Feinstein unearthed it. It was finally published in a songbook called Re-discovered Gershwin.
George Gershwin's show-offy exuberance and Ira Gershwin's ingenuous wit are the creations of young artists -and of a young century. As S. N. Behrman wrote of the composer in a 1972 New Yorker memoir, "I see that he lived all his life in youth. He was given no time for the middle years, for the era when you look back, when you reflect, when you regret. His rhythms were the pul?sations of youth; he reanimated them in those much older than he was."
To counteract this, Gershwin's music has been "matured" by generations of per?formers and arrangers who modernized it every decade or so. The quick-stepping dance bands of the '20s and '30s gave way to the moodier big band sound of the '40s. Later on, progressive jazz pianists catapulted the tunes into wild harmonic realms, while easy-listening orchestrations made his songs seem complacently middle-aged. There was even a disco version of "I Got Rhythm" in the 70s
whose mindless thumping and re-harmo?nized cadences signalled the unofficial low-point of this great composer's fortunes.
With the exception of that last example, the Gershwin brothers' songs thrived through all of these transfigurations. But I confess to a preference for hearing them -and performing them myselfin arrangements closer to those of their own era. They are at their most bewitching when you honor their special marriage of wide-eyed enthusiasm and bluesy eroticism.
Like all music, their greatest performance may be the one we hear inside our head. I recently strolled through the Gershwin exhibit at Carnegie Halls' Rose Museum. As I contemplated George Gershwin's neatly-pencilled manuscript of "Nice Work," writ?ten just a year before he died, I heard music that brought tears to my eyes.
Program note by Steven Blier.
Steven Blier enjoys an eminent career as an accompanist and vocal coach. Among the many artists he has partnered in recital are Samuel Ramey, Lorraine Hunt, Susan Graham, Frederica von Stade, Kurt Ollmann, William Sharp, Susanne Mentzer, Dwayne Croft, Roberta Peters, and Arlene Auger. His collaboration with Cecilia Bartoli, begun in 1994, continued last season with an appear?ance at Carnegie Hall where Mr. Blier played both piano and harpsichord. In concert with June Anderson, he was most recently heard at La Scala, Milan. He will begin a new recital collaboration next winter with soprano Renee Fleming, with concerts throughout North America and Europe.
Mr. Blier is the co-founder and co-artistic director, with Michael Barrett, of The New York Festival of Song (NYFOS). Since the Festival's inception in 1988, he has pro-
grammed, per?formed, and annotated over fifty vocal recitals, with repertoire ranging from Brahms and Janacek to Gershwin and Lennon-McCartney, as well as music from South
America, Scandinavia, and Russia. A cham?pion of American music, he has premiered works by John Corigiliano, Ned Rorem, William Bolcom, John Musto, Richard Danielpour, Bright Sheng, and Lee Hoiby, many of which were commissioned by The New York Festival of Song.
In keeping the traditions of America popular music alive, Mr. Blier has brought back to the stage many of the rarely-heard songs of Gershwin, Arlen, Kurt Weill, and Cole Porter. He has also played ragtime, blues, and stride piano works from Eubie Blake to William Bolcom, both as a soloist and in duo-piano evenings with John Musto. His discography includes the premiere recording of Leonard Bernstein's Arias and Barcarolles (Koch International), which won a Grammy Award; the NYFOS discs of Blitzstein, Gershwin, and German Lieder (Unquiet Peace); Gershwin's Lady Be Good! for Nonesuch Recordings; and the songs of Charles Ives on Albany Records (in partner?ship with baritone William Sharp). Soon to be issued is a disc with cellist Dorothy Lawson, including premiere recordings of music by Busoni and Borodin.
Mr. Blier is on the faculty of the Juilliard School, and has been active in encouraging young recitalists at summer programs including the Wolf Trap Opera Company and the Chautauqua Festival. His writings on opera have been featured in
recent issues of Opera News magazine. He has also been a regular guest on the Metropolitan Opera's broadcast intermis?sions. A native New Yorker, he received an Honors Degree in English Literature at Yale University.
George Gershwin: Sung and Unsung marks the fourth and fifth appearances of Steven Blier under UMS auspices.
Dana Hanchard is most noted in opera for the role of Poppea in director John Miller's highly acclaimed production of Monteverdi's L'Incoronazione di Poppea for Glimmerglass Opera and the Brooklyn Academy of Music and for the role of Nerone to Sylvia McNair's Poppea with John Eliot Gardiner recorded for Deutsche GrammophoneArchiv. Other roles include: Romilda in Handel's Xerxes for the Royal
Danish Opera in Copenhagen, Euridice in Gluck's Orfeo ed Euridice under the direction of Mark Morris at the Edinburgh International Festival, Asteria in Handel's Tamerlano at Glimmerglass Opera and
Tigrane in Handel's Radamisto at the Gottingen Handel Festival recorded on the Harmonia Mundi label.
Ms. Hanchard collaborates regularly with conductors Nicholas McGegan and Rheinhard Goebel in addition to having worked with many others, including Christopher Hogwood, lohn Eliot Gardiner, Jane Glover, Christopher Seaman, and Mark Minkowski. In addition, she has been pre-
sented by the Houston Symphony, the National Arts Centre Orchestra of Ottawa, the Tanglewood Festival, the English Baroque Soloists of London, Glimmerglass Opera, Bang on a Can Festival, Houston Grand Opera, the New World Symphony, the Banff Festival, the Handel and Haydn Orchestra of Boston, the Aspen Festival, Les Musicens du Louvre of Paris, and is a fre?quent guest of the Philharmonia Baroque Orchestra of San Francisco.
For the 1998-99 season, Ms. Hanchard begins by singing the role of the Queen of Sheba in Handel's Solomon with Nicholas McGegan and the Philharmonia Baroque, and will go on a concert tour with Musica Antiqua Koln. She then returns to the United States, where she sings a concert in the Handel Series at Merkin Hall, followed by concerts in Florida and Washington DC at the Smithsonian.
George Gershwin: Sung and Unsung marks Dana Hanchard's fourth and fifth appear?ances under UMS auspices.
Ted Keegan has been appearing as the Phantom in the Broadway Company for the past two years when not playing the role of Reyer. Ted made his Broadway debut in the highly acclaimed revival of Stephen
Sondheims Sweeney Todd as Anthony Hope and the Birdseller. He has also appeared in Cyrano: The Musical and was seen as Mordred in the Robert Goulet Camelot in St. Louis. In Europe, he has been seen as the
Phantom in the Maury Yeston Phantom. Across America he has been seen as Freddy in My Fair Lady, Herman in The Most Happy Fella and Constantine in A Day in Hollywood, A Night in the Ukraine. Most recently he has received critic and audience acclaim for his one-man show Ted Keegan Sings Broadway.
George Gershwin: Sung and Unsung marks Ted Keegan's debut appearances under UMS auspices.
John Musto, award-winning composer and pianist, was born in Brooklyn and received his earliest musical training from his father, a jazz guitarist. His vocal, chamber and orchestral compositions have been per?formed in concert halls and at music festi?vals in the United States and in Europe. He is among a select few of today's composers equally gifted as an instrumentalist and in this dual capacity brings a unique perspec?tive to his performances. His particular interest in setting poetry has resulted in a
body of work that
has already entered the stan?dard American song repertoire.
Mr. Musto was a finalist for his orchestral song cycle Dove Sta Amore in the 1997 Pulitzer Prize music category, "For a distinguished
musical composition of significant dimen?sion by an American." Mr. Musto's score for the documentary Into the Light was awarded an Emmy by the National Academy of Television Arts and Sciences. In March 1998, he won the Craft award for Best Original Musical Score at the First Run Film Festival
at New York University. Mr. Musto's over?ture to Pope Joan was premiered this July by Gerald Steichen and the New Haven Symphony, and in October, his new Piano Trio was played by the Ahn Trio at the Miller Theater. He is writing a piece for the group Eighth Blackbird to be presented dur?ing his residency at the Vail Valley Chamber Music Festival next July.
John Musto served as New Music coor?dinator for NYFOS from 1992 through 1994 and has been a visiting professor at Brooklyn College and guest lecturer at The Juilliard School and the Manhattan School of Music. As a pianist, Mr. Musto has recorded for Nonesuch (with Steven Blier) and Harmonia Mundi and his compositions have been recorded by Hyperion, Harmonia Mundi, MusicMasters, Innova, Channel Classics, Albany and New World Records. He is published by Peermusic.
George Gershwin: Sung and Unsung marks John Musto's debut appearances under UMS auspices.
The New York Festival of Song, Inc. (NYFOS) was founded in 1988 by its co-artistic directors, Michael Barrett and Steven Blier. Its ten years of performances have been dedicated to the re-invention of the recital format comprising both standard works and rediscoveries from the European, Slavic, and South American repertory. Over the years, NYFOS has also stressed the importance of American song and artists, both by pro?gramming music from the rich American song tradition and by commissioning new work. The past three seasons have each included a notable commissioned work. On May 11, 1996 at the 92nd Street Y, NYFOS presented Brahms' LiebesliederAmerican Love Songs. The classic Brahms suite of
waltzes for four voices served as a curtain raiser to a newly-commissioned "Love Song Cycle" written by ten American composers: John Corigliano, Ned Rorem, James Sellars, Bright Sheng, Richard Danielpour, Jeffrey Stock, Davide Zannoni, Dalite Warshaw, John Musto, and Jane Komarov. During the 1996-97 concert season NYFOS presented Modern Scenes from American Life, which featured the world premiere of Lowell Liebermann's Appalachian Liebeslieder, com?missioned by NYFOS. On January 22,1998, NYFOS presented a full evening of songs by Ned Rorem, Evidence of Things Not Seen, commissioned by NYFOS and the Library of Congress to celebrate Mr. Rorem's seventy-fifth birthday. NYFOS reprised the concert at the Library of Congress, at the Nantucket Musical Arts Society and the Moab Music Festival, and will continue to present it throughout the country during 1998-99 and 1999-2000 seasons.
For the past five seasons in New York, NYFOS produced a three-concert subscrip?tion series presented by the 92nd Street Y, and also produced and presented three con?certs at Weill Recital Hall at Carnegie Hall. The 1998-99 season marks the beginning of a new three-concert partnership with The Sylvia and Danny Kaye Playhouse, which will replace the 92nd Street Y concerts. In addition to the Library of Congress, the Nantucket Musical Arts Society and the Moab (Utah) Music Festival, NYFOS has been presented by the Greenwich Chamber Music Society, the Vocal Arts Society of Washington, D.C., the Wolf Trap Opera, Vienna (Virginia), and performed in London's Wigmore Hall. NYFOS has pre?sented concerts in other major halls around New York City including Alice Tully Hall, the Walter Reade Theater at Lincoln Center and Merkin Hall.
In 1995-96, NYFOS launched its educa?tional outreach program as a way to develop future audiences and musicians. The pro-
gram is designed to expose New York City's children to music, and to foster the com?posers, performers, and audiences of the next generation. The program currently reaches 360 students in the public high schools.
NYFOS' expanding recording library includes Leonard Bernstein's Arias and Barcarolles, a 1990 Grammy winner; He Loves and She Loves, the songs of George Gershwin; Zipperfly and Other Songs, by Marc Blitzstein; Schumann's Kerner Lieder, Mignon Lieder and Duets, and Unquiet Peace, with songs by Pfitzner, Eisler, Zemlinsky, Weill, Busoni, and others.
George Gershwin: Sung and Unsung marks The New York Festival of Song's debut appearances under UMS auspices.
Michael Barrett is co-founder and co-artis?tic director of the critically acclaimed New York Festival of Song with Steven Blier. In 1992, Mr. Barrett and his wife Leslie Tomkins founded the Moab Music Festival in Utah. He serves as music director of the innovative chamber music festival. Mr. Barrett has distinguished himself as a con?ductor with major orchestras here and abroad in the symphonic, operatic, and dance repertoire. From 1994 to 1997 he was the Director of the Tisch Center for the Arts at the 92nd Street Y in New York. A protege of Leonard Bernstein, Mr. Barrett began his long association with the renowned conduc?tor and composer as a student in 1982. He served as Maestro Bernstein's assistant conductor from 1985 to 1990. He currently serves as music advisor to the Leonard Bernstein estate.
Maestro Barrett has guest conducted many orchestras including the New York Philharmonic, the London Symphony Orchestra, the Israel Philharmonic, the Orchestre de Paris, the Orchestre Nationale
de France, the Orchestra of Saint Luke's and the American Symphony Orchestra.
A champion of new music, Michael Barrett has conducted and played premieres by Bernstein, Blitzstein, Bolcom, Danielpour, Kernis, Sellars, Harrison, Takemitsu, Del Tredici and John Musto. He has been the music director of operatic and theatrical productions and has collaborated with direc?tors Jerome Robbins, John Houseman, Sir Peter Hall, David Alden, Christopher Alden, and Gregory Mosher.
Maestro Barrett has recorded for Koch, TER, CRI and Deutsche Grammophon. He has released two compact discs with the Brooklyn Philharmonic; one as soloist playing Blitzstein's Piano Concerto, with Lukas Foss conducting, and the other as conductor for works of Wilder and Corigliano with oboist Humbert Lucarelli. The DG recording of The Joys of Bernstein features Mr. Barrett playing solo piano with Maestro Bernstein conduct?ing. Other recordings include Songs and Duets by Robert Schumann with Lorraine Hunt and Kurt Ollmann, and Casino Paradise by William Bolcom.
Born in Guam and raised in California, Michael Barrett attended the University of California at Berkeley and is a graduate of the San Francisco Conservatory of Music, where he studied piano with Paul Hersh. He earned Masters degrees in conducting and piano performance.
Gideon Y. Schein, Executive Director, has been a producer, director, writer and translator for the theatre, opera, music theatre, film and television for over twenty years. He is proud to have been with The New York Festival of Song since 1989. In the fall of 1995, Mr. Schein directed a production of Stravinsky's Histoire du Soldat at the Moab Music Festival, having spent the previous summer at the Chautauqua Institution as Director of the Opera-Music Theatre Workshop. Other recent directing engagements include a revival of Gardner
McKay's play Sea Marks for Capital Rep in Albany, U Amour masque, a staged concert for the New York Festival of Song at the 92nd Street Y, a concert tribute to Irving Berlin for the Library of Congress in Washington DCs historic Warner Theater, and a new musical, After the Fair at Florida Studio Theatre in Sarasota.
Mr. Schein served as co-producer of Journey From Home: Vladimir Feltsman in Moscow (PBS 1993), and as associate producer of the award-winning documentary At The Crossroads (1991). He has also produced and directed industrial films and videos for McGraw Hill.
Earlier in his career he was the artisticproducing director of the GeVa Theatre (LORT) in Rochester, NY. Prior to that he spent five years in Europe as the pro?duction stage director for the Berlin Opera, and as producerdirector for new music the?atre at many international theatre and music festivals. He began his career at the Guthrie Theatre in Minneapolis, and is an Oberlin College graduate. He holds an MA from the University of Minnesota and an MBA from Columbia University.
The New York Festival of Song, Inc.
Michael Barrett and Steven Blier, Artistic Directors Gideon Y. Schein, Executive Director
Board of Directors
Michael Barrett, Jamie Bernstein Thomas, Steven Blier, Karen M. Braun, Hillary Brown, Laury M. Frieber, Gideon Gartner, Marc G. Gershwin, Morris Golde, George Graham, Judah Klausner, Jon Koslow, Joseph Leff, Susan Lester, Jeffrey Craig Miller, Chairman, Julia Reidhead, W. Bradley Rubenstein, Max Rudin, Dr. Michael M. Scimeca, Wallace A. Showman, Peter M. Thall
Advisory Board
William Bolcom, Ellen Burstyn, John Guare, Graham
Johnson, Harry Kraut, Christa Ludwig, Joan Morris,
Judith Pisar, Ned Rorem, Frederica von Stade, Stephen
Founding Advisor: Leonard Bernstein
Like To Help Out
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activi?ties. We rely on volunteers for a vast array of activities, including staffing the education res?idency activities, assisting in artists services and mailings, escorting students for our pop?ular youth performances and a host of other projects. Call 734.913.9696 to request more information.
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611 (Marketing Internships), 734.647.1173 (Production Internships) or 734.764.6179 (Education Internships).
College Work-Study
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 734.764.2538.
UMS Ushers
Without the dedicated service of UMS' Usher Corps, our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
If you would like information about join?ing the UMS usher corps, leave a message for front of house coordinator Bruce Oshaben at 734.913.9696.
UMS CAMERATA DINNERS Hosted by members of the UMS Board of Directors, UMS Camerata dinners are a delicious and conve?nient beginning to your concert evening. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per per?son. Reservations can be made by mail using the order form in this brochure or by calling 734.647.1175. UMS members receive reservation priority.
Saturday, October 10 St. Petersburg Philharmonic
Saturday, October 24 Budapest Festival Orchestra Note: This dinner will be held in the Hussey Room at the Michigan League.
Monday, November 2 Kirov Symphony Orchestra Wednesday, November 11 Mitsuko Uchida Thursday, January 14 Renee Fleming Tuesday, February 23 Opening Night of Kodo Thursday, March 11 James Galway
Friday, March 19 Opening Night of Alvin Ailey Note: This dinner will be held in the Power Center.
Thursday, April 15 Mozarteum Orchestra of Salzburg
Friday, April 23 Lincoln Center Jazz with Wynton Marsalis
Wonderful friends and supporters of the UMS are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 734.936.6837 for more information and to receive a brochure.
Celebrate in style with dinner and a show or stay overnight and relax in comfort! A deli?cious meal followed by priority, reserved seat?ing at a performance by world-class artists makes an elegant evening--add luxury accom?modations to the package and make it a com?plete get-a-way. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
Paesano's Restaurant
3411 Washtenaw Road 734.971.0484 for reservations
Thur. Jan. 14 Sun. Jan. 17 Sun. Feb. 7 Mon. Feb. 15
Wed. Mar. 24
Ren?e 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!
The Artful Lodger Bed & Breakfast
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
The Gospel at Colonus Pre-performance dinner
Kodo Pre-performance dinner
American String Quartet Post-performance dinner
Lincoln Center Jazz Orchestra with Wynton Marsalis Pre performance dinner
Package price $60 per person includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance.
Weber's Inn
3050 Jackson Road, Ann Arbor 734.769.2500 for reservations
Thur. Jan. 28 Thur. Mar. U Fri. Mar. 19 Sun. Apr. 25
American String Quartet Pre-pcrformance dinner
James Galway, flute Pre-performance dinner
Alvin Ailey American Dance Theater Pre-performancc dinner
NHK Symphony Orchestra of Tokyo Post-performance dinner
Package price $139 for a single and $213 for a double, deluxe standard (king or queen) includes overnight stay, guaranteed reservations for a preor post-show dinner (select any entree from the special package menu, non-alcholic beverage, and dessert, includes taxes & tip) and reserved "A" seats on the main floor at the performance.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
Make your gift stand out from the rest: call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your investment. For example, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image
Launching new products
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic-groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, call 734.647.1176
In an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary Halls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies.
Thanks to Sesi Lincoln-Mercury for the use of a Lincoln Town Car to provide transportation for visiting artists.
Advisory Committee
The Advisory Committee is a 48-member organiza?tion which raises funds for UMS through a variety of projects and events: an annual auction, the cre?ative "Delicious Experience" dinners, the UMS Cookbook project, the Season Opening Dinner, and the Ford Honors Program Gala. The Advisory Committee has pledged to donate $175,000 this current season. In addition to fundraising, this hard-working group generously donates valuable and innumerable hours in assisting with the educa?tional programs of UMS and the behind-the-scenes tasks associated with every event UMS presents. If you would like to become involved with this dynamic group, please give us a call at 734.936.6837 for information.
Group Tickets
Many thanks to all of you groups who have joined the University Musical Society for an event in past seasons, and a hearty welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years and our success is a direct result of the wonder?ful leaders who organize their friends, families, con?gregations, students, and co-workers and bring them to one of our events.
Last season over 8,300 people, from as far away as California, came to UMS events as part of a group, and they saved over $40,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events like Wynton Marsalis, Itzhak Perlman, David Daniels, Evgeny Kissin, and the Chicago Symphony Orchestra.
This season UMS is offering a wide variety of events to please even the most discriminating tastes, many at a fraction of the regular price. Imagine yourself surrounded by 10 or more of your closest friends as they thank you for getting great seats to the 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
Caft Marie
Deloitte & Touche
Michigan Radio
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
Sesi Lincoln-Mercury
University of Michigan -
School of Music Visteon
Foundations Chamber Music America Institute for Social Research
Individuals Martha and Bob Ause Maurice and Linda Binkow Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne Edwin F. Carlson Mr. Ralph Conger Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Mr. Edward P. Frohlich Beverley and Gerson Geltner Sue and Carl Gingles Norm Gottlieb and Vivian Sosna Gottlieb
Keki and Alice Irani )ohn and Dorothy Reed Don and Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Loretta M. Skewes Mr. and Mrs.
John C. Stegeman Richard E. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and
James N. Morgan
Businesses AAA of Michigan Alf Studios
Butzel Long Attorneys Comerica
Crown House of Gifts Joseph Curtin Studios Environmental Research Institute of Michigan ER1M International Inc. Main Street Ventures Masco Corporation Red Hawk Bar and Grill Regency Travel Republic Bank STM, Inc. Target Stores Zanzibar
Foundations Ann Arbor Area
Community Foundation
Individuals Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Emily W. Bandera, M.D. Peter and Paulett Banks A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreuter Suzanne A. and
Frederick J. Beutler Joan A. Binkow Ron and Mimi Bogdasarian Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Jim Botsford and
Janice Stevens Botsford Laurence Boxer, M.D.;
Grace J. Boxer, M.D.
Barbara Everitt Bryant Jeannine and Robert Buchanan Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Cantwell Jean and Kenneth Casey Pat and George Chatas Mr. and Mrs. John Alden Clark David and Pat Clyde Maurice Cohen Alan and Bette Cotzin Peter and Susan Darrow Jack and Alice Dobson Elizabeth A. Doman Jan and Gil Dorer Mr. and Mrs. John R. Edman David and Jo-Anna Featherman Adrienne and Robert Feldstein Ken and Penny Fischer Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Lourdes and Otto Gago Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Enid M. Gosling Linda and Richard Greene Frances Greer Alice Berberian Haidostian Debbie and Norman Herbert Dr. and Mrs. Sanford Herman Bertram Herzog Julian and Diane Hoff Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman Thomas and Shirley Kauper Bethany and Bill Klinke Michael and Phyllis Korybalski Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Mr. and Mrs. Henry M. Lee Carolyn and Paul Lichter Peter and Sunny Lo Dean and Gwen Louis Robert and Pearson Macek John and Cheryl MacKrell Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Andrew and Candice Mitchell Grant Moore
Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia A. Patton Moss George and Barbara Mrkonic
Mr. and Mrs. Homer Neal Sharon and Chuck Newman M. Haskell and
Jan Barney Newman William A. and
Deanna C. Newman Mrs. Marvin Niehuss Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mr. and Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and Wilbur K. Pierpont Stephen and Agnes Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Molly Resnik and John Martin Jack and Margaret Ricketts Barbara A. Anderson and
John H. Romani Dr. Nathaniel H. Rowe Rosalie and David Schottenfeld Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel Dr. Elaine R. Soller Steve and Cynny Spencer Judy and Paul Spradlin Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Don and Carol Van Curler Mary Vanden Belt Elise and Jerry Weisbach Angela and Lyndon Welch Roy and JoAn Wetzel Douglas and Barbara White Elizabeth B. and
Walter P. Work, Jr.
The Barfield CompanyBartech Dennis Dahlmann, Inc. Consulate General of the
Federal Republic of
Howard Cooper, Inc. The Monroe Street Journal O'Neal Construction Charles Reinhart Company
Shar Products Company Standard Federal Bank Swedish Office of Science
and Technology
Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation Nonprofit Enterprise at Work
The Power Foundation Rosebud Foundation
Carlene and Peter Aliferis
Dr. and Mrs. Rudi Ansbacher
Catherine S. Arcure
Janet and Arnold Aronoff
Max K. Aupperle
James R. Baker, Jr., M.D. and
Lisa Baker
Gary and Cheryl Balint Dr. and Mrs. Mason Barr, Jr. Robert and Wanda Bartlett Karen and Karl Bartscht Ralph P. Beebe P.E. Bennett L. S. Berlin
Mr. and Mrs. Philip C. Berry John Blankley and
Maureen Foley Charles and Linda Borgsdorf David and Sharon Brooks F. Douglas Campbell Jean W. Campbell Bruce and Jean Carlson Janet and Bill Cassebaum Tsun and Siu Ying Chang Mrs. Raymond S. Chase Janice A. Clark Leon and Heidi Cohan Roland J. Cole and
Elsa Kircher Cole James and Constance Cook Susan and Arnold Coran Mary K. Cordes H. Richard Crane Alice B. Crawford William H. and
Linda J. Damon III Delia DiPietro and
Jack Wagoner, M.D. Molly and Bill Dobson Charles and Julia Eisendraft David and Lynn Engelbert Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Mrs. Beth B. Fischer Daniel R. Foley James and Anne Ford Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstcdt and
David A. Fox
Wood and Rosemary Geist Charles and Rita Gelman Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Joyce and Fred M. Ginsberg Paul and Anne Glendon Dr. Alexander Gotz Dr. and Mrs. William A. Grade Elizabeth Needham Graham Jerry M. and Mary K. Gray Dr. John and Renee M. Greden Lila and Bob Green John and Helen Griffith Leslie and Mary Ellen Guinn Mr. and Mrs. Elmer F. Hamel Robert and Susan Harris Susan Harris
4 2 Benefactors, continued
Walter and Dianne Harrison Clifford and Alice Hart Taraneh and Carl Haske Bob and Lucia Heinold Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershenson Mrs. W.A. Hiltner Janet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and Gaye H. Humphrey John and Gretchen Jackson Wallie and Janet Jeffries James and Dale Jerome Billie and Henry Johnson Mr. and Mrs. Richard A. Jones Stephen Josephson and
Sally Fink
Susan and Stevo Julius Robert L. and Beatrice H. Kahn Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine Roby Kfingler Philip and Kathryn Klintworth Jim and Carolyn Knake Charles and Linda Koopmann Samuel and Marilyn Krimm Helen and Arnold Kuethe Lee E. Landes David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski
Myron and Bobbie Levine Evie and Allen Lichter Icffrey 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 lacquclinc Rosseels Mrs. Doris E. Rowan Maya Savarino and
Raymond Tanter Sarah Savarino David and Marcia Schmidt Mrs. Richard C. Schneider Edward and Jane Schulak Howard and Aliza Shevrin Sandy and Dick Simon Scott and loan Singer George and
Mary Elizabeth Smith Cynthia ). 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 Wilfes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns B. Joseph and Mary White Clara G. Whiting Brymer and Ruth Williams Mrs. Elizabeth Wilson Frank E. Wolk J. D. Woods
Don and Charlotte Wyche Dr. and Mrs. Thomas Xydis Nancy and Martin Zimmerman
Bella Ciao Trattoria
Cooker Bar and Grille
Gandy Dancer Restaurant
Great Lakes Bancorp
Kerrytown Bistro
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
Perfectly Seasoned
St. Joseph Mercy Hospital
UVA Machine
Arts Management Group
Jewish Federation of
Metropolitan Chicago United Jewish Foundation of
Metropolitan Detroit
Michael and Suzan Alexander
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlenc and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur ]. 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 Freedman Kathleen Beck Neal Bedford and
Gerlinda Mclchiori Linda and Ronald Benson Ruth Ann and Stuart J. Bergstein Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Blocm Mr. and Mrs. H. Harlan Bloomer Roger and Polly Bookwalter Gary Boren
Dr. and Mrs. Ralph Bozell Mr. Joel Brcgman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton A. Joseph and Mary Jo Brough Olin L. Browder June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Charles and Martha Cannell Jim and Priscilla Carlson Marchall F. and Janice L. Carr Jcannette and Robert Carr James S. Chen Don and Betts Chisholm Dr. Kyung and Young Cho Robert J. Cierzniewski John and Nancy Clark Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Cynthia and Jeffrey Colton Lolagene C. Coombs Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Mary R. and John G. Curtis DASH
Ed and Ellie Davidson 1 .mini: R. Davidson, M.D. lohn and Jean Dcbbink 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 Emit Engcl 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 Hcrschel and Annette Fink Susan R. Fisher and
(ohn W. Waidley Beth and Joe Fitzsimmons Iirncst and Margot Fontheim Mr. and Mrs. George W. Ford Doris E. Foss
Howard and Margaret Fox Deborah and Ronald Freedman Andrew and Dcirdre Freiberg Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Caller 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
lacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Dr. and Mrs. Ronald W. Holz Dr. and Mrs. Joseph Houle Linda Samuclson and
Joel Howell Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Professor and Mrs.
John H. Jackson Harold and Jean Jacobson Mr. and Mrs. Donald L. Johnson Ellen C. lohnson Kent and Mary lohnson Tim and o Wiese Johnson Dr. and Mrs. Mark S. Kaminski Allyn and Sherri Kantor Mr. and Mrs. Norman A. Katz Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Emily and Ted Kennedy Donald F. and Mary A. Kiel Tom and Connie Kinnear Rhea and Leslie Kish Drs. Paul and Dana Kissner lames and Jane Kister Dr. George Kleiber Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin
Dimitri and Suzanne Kosacheff Barbara and Charles Krause Konrad Rudolph and
Marie Kruger Thomas and Joy Kruger Bert and Catherine La Du lolin 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 Gcraldine and Sheldon Markel Irwin and Fran Martin Sally and Bill Martin Dr. and Mrs. Josip Matovinovic Mary and Chandler Matthews Margaret W. Maurer Jeffrey and Sandra Maxwell Margaret E. McCarthy W. Bruce McCuaig Griff and Pat McDonald Charlotte McGeoch Terence McGinn Bernice and Herman Merte Deanna Relyca 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 Lcland and Elizabeth Quackenbush
Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Constance Rinehart fames 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 lerome M. and Lee Ann Salle Ina and Terry Sandalow Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Meeyung and Charles Schmitter Sue Schroeder Marvin and Harriet Selin Constance Sherman Alida and Gene Silverman Frances U. and Scott K. Simonds John and Anne Griffin Sloan Mrs. Alene M. Smith Carl and Jari Smith Mrs. Robert W. Smith Virginia B. Smith Richard Soble and
Barbara Kessler Jorge and Nancy Solis Katharine B. Soper Dr. Yoram and Eliana Sorokin Jeffrey D. Spindler L. Grasselli Sprankle Francyne Stacey Dr. and Mrs. Alan Steiss Steve and Gayle Stewart Dr. and Mrs. Stanley Strasius Charlotte Sundelson Brian and Lee Talbot Ronna and Kent Talcott Eva and Sam Taylor Cynthia A. Terrill Paul Thielking Edwin J. Thomas Alleyne C. Toppin Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Treciak Van Dam Jack and Marilyn van dcr Velde Rebecca Van Dyke William C. Vassell Kate and Chris Vaughan Carolyn and Jerry Voight Warren Herb and Florence Wagner Wendy L. Wahl and
William R. Lee
Norman C. and Bertha C. Wait Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
George Miller
Marcy and Scott Westerman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitehouse Thomas and Iva Wilson
Charlotte Wolfe Mr. and Mrs. A. C. Wooll Phyllis B. Wright MaryGrace and Tom York Mr. and Mrs. Edwin H. Young Ann and Ralph Youngren Gail and David Zuk
Atlas Tool, Inc. Coffee Express Co. Edwards Brothers, Inc. General Systems
Consulting Group The Kennedy Center John Leidy Shop, Inc. Scientific Brake and
Equipment Company
The Sneed Foundation, Inc.
hm and Jamie Abelson
John R. Adams
Irwin P. Adelson, M.D.
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. Allardyce
Mike Allcmang
Richard and Bettye Allen
Richard Amdur
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Catherine M. Andrea
Dr. and Mrs. Dennis L. Angellis
Elaine and Ralph Anthony
Bert and Pat Armstrong
Thomas J. and Mary E. Armstrong
Gaard and Ellen Arneson
Mr. and Mrs. Lawrence E. Arnctt
Mr. and Mrs. Dan E. Atkins III
Eric M. and Nancy Aupperle
Erik and Linda Lee Austin
Eugene and Charlene 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 (Smittcr) Baker
Laurence R. and Barbara K. Baker
Maxine and Larry Baker
Drs. Helena and Richard Balon
John R. Barcham
David and Monika Barera
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Sherri H. Barnes
Donald C. Barnette, Jr.
Mark and Karla Bartholomy
Dorothy W. Bauer
Rosemaric Bauer
James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert M. Bccklcy and Judy Dinesen Nancy Bender Walter and Anlje Benenson Harry and Betty Benford Merete and Erling Blondal Bengtsson Bruce Bcnner Joan and Rodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Barbara Levin Bergman Minnie Bcrki
4 4 Associates, continued
Abraham and Thelma Herman Harvey and Shelly Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bencher Mark Bertz
K. Bezak and It. Halstead lohn and Marge Bianckc Irene Biber Eric and Doris Billes lack and Anne Birchfield William and Ilene Birge Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh George and Joyce Blum Beverly ). Bole Catherine I. Bolton Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonncll Ed and Luciana Borbely Lola J. Borchardt leanne 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 Brueger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Phil Bucksbaum and Roberta Morris Dr. Frances E. Bull Margaret and John Bur Ji Marilyn Burhop Judy and Bill Butler Robert A Sloan and Ellen M. Byerlein Patricia M. Cackowski, M.D. Joanne Cage H. D. Cameron Jenny Campbell {Mrs. D.A-) James and Jennifer Carpenter Jan and Steve Carpman Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carty and Thomas H. Haug John and Patricia Carver Dr. and Mrs. Joseph C. Cerny Kathran M. Chan William and Susan Chandler J. Wehrley and Patricia Chapman Joan and Mark Chester Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Nancy Cilley
Brian and Cheryl Clarkson Charles ind Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Howard and Vivian Cole Mr. and Mrs. Michael F. Collier Ed and Cathy Colone Edward I. and Anne M. Comeau Patrick and Anneward Conlin Nan and Bill Conlin Thomas Conner Donald W. Cook Gage R. Cooper Robert A. Cowles Clifford and Laura Craig Marjohe A. Cramer Dee Crawford
Richard and Penelope Crawford Charles and Susan Crcmin Mary C. Crichton Lawrence Crochicr Constance Crump and lay Simrod
Mr. and Mrs. James 1. Crump
Margaret R. Cudkowicz
Richard I. Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Marylee Dalton
Robert and Joyce Damschroder
Lee and Millie Danielson
Jane and Gawaine Dart
Sunil and Merial Das
DarLinda and Robert Dascola
Ruth E. Datz
Dr. and Mrs. Charles Davenport
Mr. and Mrs. Arthur W. Davidge
David and Kay Dawson
Joe and Nan Decker
Dr. and Mrs. Raymond F. Decker
Rossanna and George DeGrood
Penny and Laurence B. Deitch
Elena and Nicholas Delbanco
William S. Demray
Lloyd and Genie Dethloff
Don and Pam Devine
Elizabeth and Edmond DeVine
A. Nelson Dingle
Dr. and Mrs. Edward R. Doezema
Jean Dolega
Heather and Stuart Dombcy
Fr. Timothy J. Dombrowski
Thomas Doran
Deanna and Richard Dorner
Dick and Jane Dorr
Thomas Downs
Paul Drake and Joyce Penner
Roland and Diane Drayson
Harry M. and Norrene M. Dreffs
fanet Driver
John 1 M vitai and Diana Raimi
Robert and Connie Dunlap
Jean and Russell Dunnaback
Edmund and Mary Durfee
John W. Durstine
Jacquelynne S. Eccles
Elaine Economou and Patrick
Mr. and Mrs. Richard Edgar
Sara and Morgan Edwards
Rebecca Eisenberg and Judah
David A. Eklund
Judge and Mrs. S. J. Elden
Sol and Judith I lkm
Julie and Charles Ellis
Ethel and Sheldon Ellis
James Ellis and Jean Lawton
Jack and Wylma Elzay
Michael and Margaret Emlaw
Mackenzie and Marcia Endo
Jim and Sandy Eng
Patricia Enns
Carolyne and Jerry Epstein
Karen Epstein and
Dr. Alfred Franzblau Mr. and Mrs. Frederick A. Erb Stephen and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald F. Eschman Eric and Caroline Ethington Barbara Evans Adclc Ewcll
Mr. and Mrs. Robert B. Fair, Jr. Barbara and Garry C. Faja Mark and Karen Falahcc Elly and Harvey Falit Thomas and Julia Falk Richard and Shelley Farkas Edward Farmer
Mr. and Mrs. H. W. Farring(on, Jr. Walter Fedcrlein Ink,i and David Felbeck Phil and Phyllis Fcllin 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 Dcbra Flaum Mr. and Mrs. Kurt Flosky David and Ann Flucke Maureen Forrest, M. D. and
Dennis Capozza Linda K. Forsbcrg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Frccth Richard and loann Freethy Gail Frames terry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussctt Jane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and Jack Garris Del and C. Louise Garrison Mr. James C. Garrison Janet and Charles Garvin Allan and Harriet Gelfond Julta Gerber
Deborah and Henry Gcrst Michael Gerstenberger W. Scott Gerstenberger and Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas Mr. Harlan Gilmore Beverly Jeanne Giltrow Han Gittlen
Peter and Roberta Gluck Mr. and Mrs. Robert Gockel Albert L. Goldberg Edward and Ellen Goldberg Ed and Mona Goldman Mr. and Mrs. David N. Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin William and Jean Gosling Charles Goss Naomi Gottlieb and
Theodore Harrison. DDS Siri Gottlieb Michael L. Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Helen Graves and Patty Clare Pearl E. Graves
Dr. William H. and Maryanna Graves Larry and Martha Gray Isaac and Pamela Green Jeff Green
Bill and Louise Gregory Linda and Roger Grekin Daphne and Raymond Grew Mr. and Mrs. James J. Gribble Mark and Susan Griffin Werner H. Grilk Margaret Grillot Laurie Gross
Richard and Marion Gross Dr. Robert and Julie 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 Hanscn Charlotte Hanson Herb and Claudia Harjcs M. C. Harms Dr. Kcna Harold Nile and Judith Harper Stephen G. and Mary Anna Harper Laurclynnc Daniels and
George P. Harris
Ed Sarath and Joan Harris
Robert and lean Harris
Jerome P. Hartweg
Elizabeth C. Hassincn
Ruth Hastie
James B. and Roberta Hausc
Jeannine and Gary Hayden
Mr. and Mrs. Edward I. Hayes
Charles S. Heard
Derek and Cristina Heins
Mrs. Miriam Hcins
Jim and Esther Heitlcr
Sivana Heller
Margaret and Walter Hclmrcich
Paula B. Hencken
Karl 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 lames C. Hitchcock Jane and Dick Hocrncr Anne HofTand George Villec Robert and Frances Hoffman Carol and Dieter Hohnke John and Donna Hollowell Howard L. and Pamela Holmes Ken and Joyce Holmes Arthur G. Horncr, Jr. Dave and Susan Horvath Dr. Nancy Houk Dr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C Hubbs Charles T. Hudson Hubert and Helen Huebl Harry and Ruth Huff Mr. and Mrs. William Hufford Jane Hughes
Joanne Winkleman Hulce Kenneth Hulsing Ann D. Hungerman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brcnda and
Jason Prouscr 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 Jclinck Keith and Kay Jensen JoAnn J. Jcromin Sherri I.ynn Johnson Dr. Marilyn S. Jones John and Linda Jonides Elizabeth and Liwrence Jordan Andrec Joyaux and Fred Blanck Tom and Marie Justcr Paul Kantor and Virginia Weckstrom Kan 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. Kato Maxine and David Katz Nick and Meral Kazan Julia and Philip Kearney William and Gail Kecnan Janice Keller
James A. Kelly and Mariam C. Noland John B. Kennard Bryan Kennedy Frank and Patricia Kennedy Linda Atkins and Thomas Kenney Paul and Leah Kilcny Andrew Kim Jeanne M. Kin William and Betsy Kincaid Mm .1 and Steve Klein Drs. Peter and Judith Kleinman
John and Marcia Knapp
Sharon L. KnightTitle Research
Ruth and Thomas Knoll
Mr. and Mrs. Jack Knowles
Patricia and Tyrus Knoy
Shirley and Glenn Knudsvig
Rosalie and Ron Koenig
Ann Marie Kotre
Dick and Brenda Krachenberg
]can and Dick Kraft
Doris and Don Kraushaar
David and Martha Krehbiel
Sara Kring
Alan and Jean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
lane Laird
Mr. and Mrs. Seymour Lampert
Pamela and Stephen Landau
Patricia M. Lang
Lome L. Langlois
Carl F. and Ann L. La Rue
Beth and George Lavoie
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Moshin and Christina Lee
Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Diane and Jeffrey Lehman Ann M. Leidy
Mr. and Mrs. Fernando S. Leon Ron and Leona Leonard Sue Leong Margaret E. Leslie David E. Levine George and Linda Levy Deborah Lewis
Donald 1. and Carolyn Dana Lewis ludith Lewis Norman Lewis Thomas and Judy Lewis Mark Lindley and Sandy Talbott Mr. Ronald A. Lindroth Dr. and Mrs. Richard H. Lineback Naomi E. Lohr Jane Lombard Patrick B. and Kathy Long Ronald Longhofer Armando Lopez R. Luisa Lopez-Grigera Richard and Stephanie Lord Robert G. Lovell Donna and Paul Lowry Mr. and Mrs. Carl J. Lutkehaus Susan E. Marias Lois and Alan Macnee Walter A. Maddox Suzanne and Jay Mahler Ronald and Jill Donovan Maio Deborah Malamud and Neal Plotkin William and Joyce Malm Claire and Richard Malvin Mclvin and Jean Manis Pearl Manning Howard and Kate Market Lee and Greg Marks Alice and Bob Marks Rhoda and William Martel Ann W. Martin Rebecca Martin
Mr. and Mrs. Stephen D. Marvin Dcbra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard Micheline Maynard LaRuth McAfee Thomas and Jackie McClain Dores M. McCree Jeffrey T. McDole lames and Kathleen McGauley F.ilecn Mclntosh and
Charles Schaldcnbrand Mary and Norman Mclver Bill and Virginia McKeachie Daniel and Madclyn McMurtrie Nancy and Robert Meader Samuel and Alice Mcisels Robert and Doris Melling Allen and Marilyn Menlo HclyA. Mcrle-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 I. Meyer
Shirley and Bill Meyers
Francis and Helen Michaels
William and Joan Mikkelsen
Carmen and lack Miller
Robert Rush Miller
John Mills
Olga Mmr
Dr. and Mrs. William G. Moller, Jr.
Patricia Montgomery
Inn and Jeanne Montie
Rosalie E. Moore
Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Paul and Terry Morris Melinda and Bob Morris Robert C. Morrow Cyril and Rona Moscow lames and Sally Mueller Tom and Hedi Mulford Bern and Donna Muller Marci Mulligan and Katie Mulligan Gavin Eadie and Barbara Murphy Laura and Chuck Musil Rosemarie Nagel Penny H. Nasatir Isabelle Nash Susan and Jim Newton John and Ann Nicklas Shinobu Niga Susan and Richard Nisbelt Gene Nisscn
Laura Nitzberg and Thomas Carli Donna Parmclee and William Nolting Richard S. Nottingham Steve and Christine Nowaczyk Dr. Nicole Obrcgon Patricia A. C. O'Connor C. W. and Sally O'Dell Nels and Mary Olson Mr. J. L. Oncley Zibby and Bob Oneal Kathleen I. Operhall Dr. Jon Oscherwitz Mitchel Osman, M.D. Elisa A. Ostafin Lillian G. Ostrand Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Penny and Steve Papadopoulos Michael P. Parin Bill and Katie Parker Evans and Charlene Parrott Maria and Ronald Patterson Nancy K. Paul P. D. Pawelski Edward J. Pawlak Sumer Pek and Marilyn Katz-Pek Dr. and Mrs. Charles H. Peller Donald and Edith Pelz William A. Pcnner, Jr. Steven and Janet Pepe Bradford Perkins Susan A. Perry Ann Marie Petach Margaret and Jack Petersen Roger and Grace Peterson Jim and Julie Phelps Mr. and Mrs. Frederick R. Pickard Leonard M. and Loraine Pickering Nancy S. Pickus Robert and Mary Ann Pierce Roy and Winnifrcd Pierce Russell and Elizabeth Pollard Hincs Robert and Mary Pratt Jacob M. Price Joseph and Mickey Price V. Charlcen Price Ernst Pulgram Malayan Rabindranathan Mr. and Mrs. Mitchell Radcliff Patricia Randle and James Eng Al and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Rasmusscn
Maxwell and Marjorie Reade
Michael Ready
Sandra Reagan
Gabriel M. Rebeiz
Katherine R. Reebel
Stanislav and Dorothy R. Rehak
ohn and Nancy Reynolds
Alice Rhodes
lames and Helen Richards
Elizabeth G. Richart
Dennis J. Ringle
John and Marilyn Rintamaki
Sylvia Cedomir Ristic
Kathleen Roelofs Roberts
Dave and loan Robinson
Janet K. Robinson, Ph.D.
Mary Ann and Willard Rodgers
Thomas and Catherine Rodziewicz
Mary F. Loeffler and
Richard K. Rohrer Damian Roman Elizabeth A. Rose Bernard and Barbara Rosen William and Elinor Rosenberg Richard Z. and Edie W. Rosenfeld Marilynn M. Rosenthal Charles W. Ross Roger and O.J. Rudd Dr. and Mrs. Raymond W. Ruddon Dr. and Mrs. Robert Ruskin Bryant and Anne Russell Scott A. Ryan Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and Joan Sachs Miriam S. Joffe Samson Tito and Yvonne Sanchez Daren and Maryjo Sandberg John and Reda Santinga Mike and Christi Savitski Helga and Jochen Schacht Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L. Schmitt Charlenc and Carl Schmult Gerald and Sharon Schreiber David E. and Monica N. Schteingart Albert and Susan Schultz Aileen M. Schulze Alan and Marianne Schwartz Ed and Sheila Schwartz Ruth Scodel Jonathan Brombcrg and
Barbara Scott David and Darlene Scovell Michael and Laura Seagram E. J. Sedlander John and Carole Segall Richard A. Seid Suzanne Selig Janet C. Sell
Louis and Sherry L. Senunas George H. and Mary M. Sexton Ruth and . N. Shanberge Bnhm and Lorraine Shapiro Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shappirio Maurice and Lorraine Sheppard Dan Sherrick and Ellen Moss Rev. William J. Shcrzer George and Gladys Shirley Jean and Thomas Shope Hollis and Martha A. Showaltcr Mary Alice Shulman John Shultz
Ned Shurc and Jan Onder John and Arlenc Shy Douglas B. Siders, M.D. Dr. Bruce M. Siegan Mr. and Mrs. Barry J. Siegel Milton and Gloria Siegel Eldy and Enrique Signori Drs. Dorit Adlcr and Terry Silver Michael and Maria Simonte Robert and Elaine Sims Alan and Eleanor Singer Donald and Susan Sinta It 111,1 J. Sklcnar Beverly N. Slater
Tad Slawecki
). Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
lames A. Somcrs
Judy Z. Somcrs
Mr. and Mrs. Edward I. Sopcak
luanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Shawn Spillane
Charles E. Sproger
Edmund Sprunger
Burnette Staebler
David and Ann Staiger
Constance Stankrauff
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Ronald R. Stempien
William and Georgine Steudc
Barbara and Bruce Stevenson
)ohn and Beryl Stimson
Mr, James L. Stoddard
Robert and Shelly Stolcr
Ellen M. Strand and Dennis C. Regan
Mrs. William H. Stubbins
Dr. and Mrs. Samuel Stulbcrg
Donald and Barbara Sugcrman
Richard and Diane Sullivan
Rebecca G. Sweet and Roland J. Loup
Peg Talburtt and Jim Peggs
Mr. and Mrs. James R. Tamm
Jerry and Susan Tarpley
Margi and Graham Teall
Leslie and Thomas 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
)im Toy
Angic and Bob Trinka
Sarah 11ink.his
Luke and Merling Tsai
Marlene C. Tulas
kit and Lisa Tulin-Silvcr
Jan and Nub Turner
Dolores J. Turner
William H. and Gerilyn K. Turner
Alvan and Katharine Uhle
Mr. and Mrs. Bryan Ungard
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallicr
Hugo and Karla Vandcrsypen
Bram and 1 i.i van Leer
Fred and Carole S. Van Reesema
Yvette VanRiper
I. Kevin and Lisa Vasconi
Phyllis Vegter
Sy and Florence Vcniar
Elizabeth Vetter
Martha Vicinus and Bea Ncrgaard
Jane and Mark Vogel
Mr. and Mrs, Theodore R. Vogt
John and )ane Voorhorst
George S. and Lorraine A. Wales
Richard and Mary Walker
Lorraine Nadclman and
Sidney Warschausky Ruth and Chuck Watts Edward C. Weber loan M. Weber Jack and Jerry Weidcnbach Carolyn J. Weigle Geranc and Gabriel Wcinreich Lawrence A. Weis Donna G. Weisman Barbara Weiss Carol Campbell Wclsch and
John Welsch
John and Joanne Werner Rosemary and David Wcscnberg Ken and Cherry Westcrman Susan and Peter Wesicrman Paul E. Duffy and Marilyn L Wheaton
4 6 Advocates, continued
Mr. and Mrs. Nathaniel Whileside William and Cristina Wilcox Honorable Kurtis T. and
Cindy M. Wilder Reverend Francis E. Williams John Troy Williams Shelly F. Williams Lois Wilson-Crabtree Beverly and Hadley Wine Dr and Mrs Jan Z. Winkclman Beth and I. W. Winsten Mr. and Mrs. Eric Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Patricia and Rodger Wolff Wayne Wolfson Dr. and Mrs. Ira S. Wollncr 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 lonathan Yobbagy Mr. Frank Yonkstetter lames and Gladys Young Mr. and Mrs. Robert Zagcr Dr. Stephen C. Zambito Phyllis Zawisza Craig and Megan Zechman David S. and Susan H. Zurvalec
Ann Arbor Bivouac, Inc. Ayse's Courtyard Cafe Bodywise Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Garris, Garris, Garris 8c
Garris Law Office Lewis Jewelers Organizational Designs Pen in Hand
Alice Fine Art, Inc. Zepeda and Associates
Schwartz Family Foundation
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great traditions of the Society in the future.
Carol and Herb Amsler
Mr. Neil P.Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy Niehoff Dr. and Mrs. Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Roy and Joan Wetzel Mr. and Mrs. Ronald G. Zollars
AAA Michigan
Alf Studios
Arbor TemporariesPersonnel
Systems Inc.
Bank of Ann Arbor
Kir hdil CompanyBartech
Beacon Investment Company
Blue Nile Restaurant
Brauer Investments
Butzel Long Attorneys
Charles Reinhart Company
Joseph Curt in Studios
JPE Inc.The Paideia Foundation
Deloitte & Touche
Environmental Research Institute
of Michigan ERIM International First of America Bank Forest Health Services Corporation Ford Motor Company General Motors Corporation Howard Cooper, Inc. KeyBank
Main Street Ventures Masco Corporation McKinley Associates Mechanical Dynamics Miller, Canfield, Paddock and Stone NBD Bank NSK Corporation O'Neal Construction Parke-Davis Pharmaceutical Research
Pepper, Hamilton & Scheetz Red Hawk Bar & Grill Regency Travel Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science
and Technology Target Stores The Edward Surovell
Company Realtors Thomas B. McMullcn Company Weber's Inn Wolverine Temporaries Zanzibar
John H. Bryant
Margaret Crary
Mary Crawford
George R. Hunsche
Alexander Krczel, Sr.
[Catherine Mabarak
Frederick C. Matthaci, 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 VandenBclt
Francis Viola III
Carl H. Wilmot
Peter Holderness Woods
Helen Zicgler
Bernard and Ricky Agranoff
Ann Arbor Symphony Orchestra
Anneke's Downtown Hair and
Applause Salon
Catherine Arcure
The Ark
Dr. Emily Bandera
Paulctt and Peter Banks
Gail Davis Barnes
Ede Bookstein
Janice Stevens Botsford
The Boychoir of Ann Arbor
Barbara Everitt Bryant
leannine Buchanan
Butzel Long
David G. Locsel, 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 Caftes
Damian and (Catherine Farrell
Judy Hike of J'Cakes
Betn and ]oe Fitzsimmons
Guillermo and Jennifer Flores
Gallery Von Glahn
The Gandy Dancer
Beverly and Gerson Geltner
Generations for Children
Lee Gilles of the Great Frame Up
Anne Glendon
Renee Grammatico of Viola
Linda and Richard Greene
Daphne Grew
Jim Harbaugh Foundation
Marilyn Harber, Georgetown Gifts
Jeanne Harrison
Esther Heitler
J. Downs Herald
Kim Hornberger
Kay and Tom Huntzicker
Stuart and Maureen Isaac
John Isles
Jeffrey Michael Powers Beauty Spa
Urban Jupena and Steve Levicki
Gcrome Kamrowski
Stephen and Mercy Kasle
Katherinc'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 McLeary
Charlotte McGeoch
Michigan Theatre
Ron Miller
Moe Sport Shops
Monahan's Seafood Market
Robert Morris
Motif Hair by Design
The Moveable Feast
Lisa Murray
Susan and Richard Nisbett
John and Cynthia Nixon
Baker O'Brien The Labino Studio
Christine Oldenburg
Karen Koykaa O'Neal
Mary and Bill Palmer
Pen in Hand
Maggie Long, Perfectly Seasoned
Chris W. Petcrscn
Mary and Randall Pittman
Pat Pooley
Sharon and Hugo Quiroz
Radrick Farms Golf Course
leva Rasmussen
Regrets Only
Nina Hauser Robinson
Richard and Susan Rogel
Anne Rubin
Maya Savarino
Sarah Savarino
Ann and Tom Schriber
Boris Sellers
Grace Shackman
Richard Shackson
fanct and Mike Shatusky
Aliza and Howard Shevrin
George Shirley
lohn Shultz
Herbert Sloan
David Smith
Steven Spencer
John Sprentall
Deb Odom Stern
Nat Lacy and Ed Surovell
Susan Tait of Fitness Success
Tom Thompson
TIRA's Kitchen
Donna Tope
Tom Trocchio of Atys
Susan Ullrich
Charlotte Van Curler
Kathleen and Edward VanDam
Andrea Van Houweling
K.u l,i Vandersypen
Emil Weddige
Ron and Eileen Weiser
Marina and Robert Whitman
Sabrina Wolfe
Young People's Theater Troubadours
Ann and Ralph Youngrcn
Soloist $25,000 or more Maestro$10,000-24,999 Virtuoso $7,500 9,999 Concertmaster $5,000-7,499 Leader $2,500 4,999 Principal$1,000-2,499 Benefactor $500-999 Associate $250 499 Advocate$100-249 Friend $50 99 Youth $25
Because Mimic Matters
UMS members have helped to make possible this 119th season of distinctive concerts. Ticket rev?enue covers only 61 of our costs. The generous gifts from our contributors continue to make the difference. Cast yourself in a starring role--become a UMS member. In return, you'll receive a variety of special benefits and the knowledge that you are helping to assure that our community will continue to enjoy the extraordinary artistry that UMS offers.
Advertiser Index
15 Ann Arbor Acura
35 Ann Arbor Reproductive
14 Ann Arbor Symphony
37 Arborcrest Memorial Park
27 Arriba
30 Azure Mediterranean Grille
18 Bank of Ann Arbor
27 Bodman, Longley, and
32 Butzel Long
39 Charles Reinhart Co.
38 Chelsea Community
34 Chris Triola Gallery
38 Comerica Bank
11 Dobbs Opticians
12 Dobson-McOmber
33 Edward Surovell Co.Realtors
37 Emerson School
3 ERIM International
47 Ford Motor Company
50 Foto 1
12 Fraleigh's Nursery
26 Glacier Hills
19 Harmony House
37 Harris HomesBayberry
28 Howard Cooper Imports

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

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