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UMS Concert Program, Friday Jan. 29 To Feb. 13: University Musical Society: 1998-1999 Winter - Friday Jan. 29 To Feb. 13 --

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Season: 1998-1999 Winter
University Of Michigan

Kodo David Daniels Martin Katz James Galway Abbey Lincoln lkacs Quartet Alvin Ailey American Dance Theater The a 11 i s Scholars Gypsy Caravan Sweet Honey in the Rock rio Fontenay Steve Reich Ensemble Mozarteum Orchestra f Salzburg jCubanismoi Ewa Podle's Garrick Ohlsson Iniversity Musical Society of the University of Michigan Winter 1999 Season lonymous 4 Lionheart Monsters of Grace Wynton Marsalis , incoln Center Jazz Orchestra NHK Symphony
of the University of Michigan
The 1998-99 Winter Season
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1997-98 season: a triumphant Evgeny Kissin in his long-awaited UMS debut recital at Hill Auditorium; Itzhak Perlman performing with the Klezmer Conservatory Band as part of December 1997's In the Fiddler's House; Burton Memorial Tower shimmer?ing on a concert evening.
4 Letters from the President and Chair
5 Corporate LeadersFoundations
9 UMS Board of DirectorsSenate
StaffAdvisory Committees
10 General Information
12 Ticket Services
14 UMS Choral Union History
16 Auditoria Burton Memorial Tower
20 Education and Audience Development
22 Season Listing
Concert Programs begin after page 26
28 Volunteer Information
30 Hungry
30 UMS Dining Experiences
Restaurant & Lodging Packages
32 Gift Certificates
32 The UMS Card
34 Sponsorship and Advertising
34 Acknowledgments
37 Advisory Committee
37 Group Tickets
38 Ford Honors Program
40 UMS Contributors
49 UMS Membership
50 Advertiser Index

From the President
Thanks very much for attending this UMS performance and for supporting the performing arts in our community. I'm excited about the performances we're able to bring you this season and hope that you'll join us for others. A complete listing of the winter season begins on page 22.
UMS has been presenting performances in Ann Arbor for 120 years. During this time UMS has achieved a reputation for distinction in present?ing the performing arts. The process of engaging world-class artists to perform in our community requires special knowledge, intuition, and skills. UMS is fortunate to have as our Director of Programming one of the best in presenting field, Michael Kondziolka.
Michael joined the UMS staff ten years ago after interning for one year. It soon became apparent to all of us at UMS that Michael's combination of artistic knowledge and passion on the one hand and outstanding administrative and negotiating skills on the other would make him an ideal person to manage our efforts to expand, diversify, and strengthen our artistic offerings. Under Michael, UMS has added series featuring jazz, vocal recitals, world music, guitar, early music and vocal chamber music, dance, contemporary arts, and the artistic expressions of specific cultures. Michael's great
respect for both artists and audi?ences has led us to find many new per?formance venues particularly appro?priate for the specific art form being pre-
sented. Artists like coming to Ann Arbor. They like our audiences, concert halls, and tradition. But they also like being on a roster with the leading artists of our time, and that's what Michael assures will happen year after year. Thank you, Michael, for your extraordinary contribution to UMS and to our community.
I'd like to know your thoughts about this perfor?mance. I'd also like to learn anything we can do at UMS to make your concertgoing experience the best possible. 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
From the UMS Chair
It is with great pride that we acknowledge and extend our gratitude to the major business contributors to our 1998-99 season listed on the following pages. We are proud to have been chosen by them, for their investment in the University Musical Society is clear evidence not only of their wish to accomplish good things for our community and region, but also to be associated with excellence. It is a measure of their belief in UMS that many of these companies have had a long history of association with us and have expanded and diversified their support in very meaningful ways.
Increasingly, our annual fundraising require?ments are met by the private sector: very special individuals, organizations and companies that so
generously help bring the magic to UMS perfor?mances and educational programs throughout southeastern Michigan. We know that all of our supporters must make difficult choices from among the many worthwhile causes that deserve their support. We at the University Musical Society are grateful for the opportunities that these gifts make possible, enhancing the quality of life in our area.
Beverley Geltner
Chair, UMS Board of Directors
Thank You, Corporate Leaders
Richard l huber
Chairman and CEO, Aetna, Inc. On behalf of Aetna and Aetna Retirement Services, we are proud to support the arts in southeastern Michigan,
especially through our affiliation with The Harlem Nutcracker. We are delighted to be involved with the University Musical Society and their programs which help bring the arts to so many families and young people.
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 adventurous, more enjoyable city."
DAVID G. LOESEL President, T.M.L. Ventures, Inc. "Cafe" Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry fonvard into future generations this fine tradition of artistic talents."
JEANNE MERLANTI President, Arbor TemporariesPerson net Systems, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that
by supporting UMS, I am helping perpet?uate the tradition of bringing outstanding musical talent to the community and also providing education and enrichment for our young people."
HABTE DAD! 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."
KATHLEEN G. CHARLA President, Charla Breton Associates, Publishers Representatives "Music is a wondrous gift that nurlures the soul. Charla Breton Associates is pleased
and honored to support the University Musical Society and its great offering of gifts to the community."
William Broucek
Prnident 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."
L.THOMAS CONLIN Chairman of the Hoard and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Office Managing
Partner, Deloitle &
"Deloitte & Touche
is pleased to support
the University
Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our lives!"
President, Elastizell 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."
GREGG A. DEMAR Vice President, Customer Segment Marketing, Personal Systems Group, IBM Corporation "IBM salutes the University Musical Society for their
valuable service to our community in support of students, children and families, and for enhancing their exposure to the Arts"
ANTHONY F. EARLEY, JR. Chairman, President and Chief Executive Officer, Detroit Edison "By bringing the joy of the performing arts into the lives of com?munity residents, the
University Musical Society provides an important part of Ann Arbor's uplifting cul?tural identity, offers our young people tremendous educational opportunities and adds to Southeastern Michigan's reputation as a great place to live and work."
PETER BANKS President, ERIM International. "At ERIM International, we are honored to support the University Musical Society's commitment to pro-
viding educational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a life?time."
WILLIAM S. HANN President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients."
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."
William Clay ford, jr.
Chairman, Ford Motor
"At Ford, we believe the
arts speak a universal
language. We're proud
of our long-standing
association with the
University Musical Society, its concerts, and the educational programs that enrich our community."
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." ,
Richard A.
Chairman and CEO, Masco Corporation "We at Masco applaud the University Musical Society's contribution
to diversity in arts programming and your efforts to enhance the quality of life in our community."
ERIK H. SERR Principal Miller, Canfield, Paddock and Stone, P.L.C.
"Miller, Canfield, Paddock and Stone is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
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."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural contribu?tion it makes to the community."
Charles Hall
Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
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."
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 "
PHILLIP R. DURYEA Community President, National City Bank
"National City Bank is pleased to continue our historical support of the University
Musical Society which plays such an important role in the richness of our community."
JOE E. O'NEAL President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
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."
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."
Sr. Vice President and Chief Scientific Officer, Warner Lambert Company "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 U-M Ohio State 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."
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."
University Musical Society of the university of Michigan
BOARD OF DIRECTORS Beverley B. Geltner, Chair Letitia ). Byrd, Vice-Chair Elizabeth Yhouse, Secretary David Featherman, Treasurer Gail Davis Barnes Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan
Barbara Everitt Bryant Kathleen G. Charla Robert F. DiRomualdo David . Flowers Alice Davis Irani Stuart A. Isaac Gloria James Kerry F. Bruce Kulp
Leo A. Legatski Earl Lewis Lester P. Monts Alberto Nacif Len Niehoff Joe E. O'Neal Randall Pittman Prudence L. Rosenlhal
Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfcr Susan B. Ullrich Marina v.N. Whitman
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell lohn D'Arms lames J. Duderstadt
Robben W. Fleming Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick B. Long
Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz
Harold T. Shapiro George I. Shirley lohn O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFF AdministrationFinance Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to
the President John B. Kennard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald . Reid, Assistant
Manager and Group Sales David Cocagne, Assistant
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 Ann Hunter Greene,
Development Assistant Susan D. Halloran, Assistant
Director--Corporate Support Lisa Michiko Murray, Advisory
Liaison I Thad Schork, Direct Mail,
Gift Processor Anne Griffin Sloan, Assistant
Director--Individual Giving
Educat io n Audience Development
Ben Johnson, Director Kate Remen, Manager Susan Ratcliffe, Coordinator
MarketingPromotion Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Gus Malmgren, Director Emily Avers, Production and Artist Services Coordinator Eric R. Bassey, Production
Associate Bruce Oshaben, Front of House
Kathi Reister, Head Usher Paul Jomantas, Assistant Head
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Juliana Athayde Laura Birnbryer Rebekah Camm Jack Chan Mark Craig Nikki Dobell Mariela Flambury David Her Bert Johnson Carrie Kahl Un Jung Kim Liesel Letzmann Ben Meekhof Kate Meyer Rebekah Nye Arianna Smith Amy Tubman Nicole Young
Laura Birnbryer Carla Dirlikov Laura Schnitkcr
President Emeritus Gail W. Rector
Debbie Herbert, Chair
Maureen Isaac, Co-Chair
Lisa Murray, Staff Liason
Letitia J. Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
Lori Director
Betty Edman
H. Michael Endres
Don Faber
Penny Fischer
Sara Frank
Joyce Ginsberg
Marianna Graves
Linda Greene
Mark Jolley
Mercy Kasle
Steve Kasle Maxine Larrouy Beth Lavoie Esther Martin Jeanne Merlanti Scott Mere Candice Mitchell Robert Morris John Mulcrone Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmussen Nina Hauser Robinson Sue Schroeder Meg Kennedy Shaw Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Bryan Ungard
Suzette Ungard
Kathleen Treciak Van Dam
Dody Viola
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 NUIiml.i 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 disability. 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.
Barrier-Free Entrances
For mobility-impaired persons, 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. Tours
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 for details.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each auditorium.
Ticket Services
Phone orders and information
University Musical Society Box Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
on the University of Michigan campus
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
O 0 Cie ty of the University of Michigan
UMS Choral Union
Thomas Sheets, conductor
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 leadership 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 stimu?late 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.
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.
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 organiza?tion, which supports itself from ticket sales, cor?porate and individual contributions, foundation and government grants, and endowment income.
Throughout its 120-year history, the UMS Choral Union has performed 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 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 performances of Berlioz' Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
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.
For more information about the UMS Choral Union, please call 734.763.8997.
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Aud?itorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long relationships throughout the past 84 years.
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.
Hill Auditorium is slated for renovation in the coming years. 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 improve?ments and patron conveniences.
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 studies.
Even more remarkable than the size of the gift 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. 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 interested and 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 features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic 1,710-seat Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the sec?ond 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 bal?cony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and in
Auditoria, continued
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 in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contemplation of sacred a cap-pella 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.
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 community, UMS now seeks out active and dynamic collabora?tions 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) performances. This year, more than 11,000 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 scheduled evening and weekend performances and providing educa?tional contexts. For more information on UMS youth education programs, 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 the Ford Motor Company Fund and Target.
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 opportunity to showcase and engage our artists in informal, yet in-depth, dialogues about their art form, their body of work and their upcoming performances. This Winter's series includes interviews with:
Choreographer Merce Cunningham
Composer Steve Reich and filmmaker Beryl Korot
Artistic Director and Choreographer Judith Jamison
This series of pre-performance presentations features 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:
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students precedes two con?certs 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.
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, 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 Winter Season include:
American String QuartetBeethoven the Contemporary Series
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 opportunity for patrons who attend perfor?mances to gain additional understanding about the artists, performance and art form. Each Meet the Artist event occurs immediate?ly after the performance, and the question-and-answer session takes place from the stage. This winter, patrons will have the opportunity to meet, among others:
Choreographers Merce Cunningham and Meryl Tankard
Members of the acapella group Sweet Honey in the Rock
The American String Quartet and composer Kenneth Fuchs
A series of workshops for all K-12 series, these workshops area a part of UMS' efforts to pro?vide school teachers with professional develop?ment opportunities and to encourage on-going efforts to incorporate the arts in the curriculum. This Winter Season's workshops include three by Kennedy Center educators and three led by local experts tailored to UMS performances:
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.
To register for Teacher Workshops, please call 734-647-6712.
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 Winter brochures, or on the UMS Website:
1998-99 UMS Winter Season
Look for related Educational Events listed in blue.
Thursday, January 7, 8 P.M.
Friday, January 8, 8 P.M.
Power Center
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by National City Bank.
Saturday, January 9,8 P.M.
Sunday, January 10,4 P.M.
Lydia Mendelssohn Theatre
Sponsored by KeyBank with additional
support from Maurice and Linda Binkow.
Media Partner WGTE.
RENEE FLEMING. SOPRANO Thursday, January 14, 8 P.M. Hill Auditorium
PREP Naomi Andre, U-M Assistant Professor of Music History and Musicology. Thursday, January, 14, 7 p.m., MI League Hussey Room. Meet the Artist post-performance dialogue from the stage. Sponsored by Pepper Hamilton, 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. Community Gospel Sing-Along with the cast of The Gospel at Colonus. Wed, Jan 13,7 p.m. Martin Luther King Jr. Senior High School, 3200 E. Layfayette, Detroit. Call 734-647-6712 for information and registration.
Family Performance Special one-hour performance for parents and their children. Saturday, January 16, 2 p.m., Power Center. Sponsored by NBD. Co-presented with the Office of the Provost of the University of Michigan and presented with support from
the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Arts Fund, the National Endowment for the Arts, and the Michigan Council for Art and Cultural Affairs. Media Partner WEMU and Metro Times.
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.
Friday, January 29, 8 P.M.
Lydia Mendelssohn Theatre
PREP "An Introduction to Scandinavian
Songs" by Richard LcSueur, Vocal Arts
Information Services, Fri, Jan 29, 7 p.m.
Michigan League, Hussey Room.
Sponsored by KeyBank with additional
support from Maurice and Linda Binkow,
STM, Inc., and the Swedish Round Table
Organizations. 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.
BEETHOVEN THE CONTEMPORARY Sunday, February 7,4 P.M. Rackham Auditorium PREP "From Romeo to Leonore: The Operatic Quartet" by Steven Whiting, LJ-M Assistant Professor of Musicology, with U-M School of Music student musicians. Sun, Fcb 7,3 p.m. Michigan League, Vandenberg Room.
Meet the Artists Post-performance dialogue from the stage with the American String Quartet ami composer Kenneth Fuclis.
Lecture "Interdisciplinary Relationships in Music and the Pine Arts" by composer Kenneth Fuchs, Mon, Fcb 8, 12 noon, School of Music, Room 2033. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Render'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
Brown-bag Lunch "Chance Patterns: Historic Moments in 50 years of Mcrce Cunningham's Choreography" by Kate Remen at the Institute for the Humanities on Merce Cunningham. Tuc, Jan 12, 12 noon, U-M Institute tor the Humanities. Merce Cunningham Mini Course--U-M undcr-grad and grad students earn 2 credit hours of Independent Study with Gay Delanghe with materials drawn from the Merce Cunningham Residency. Mass meeting held on January 9, 12 noon, I'M Dance Building, Studio A, or email for details. Family Workshop: Chance Encounters Parents and their children (ages 7 and up) explore visual art, dance and music in a workshop on Sat, Feb 6 which culminates in a free performance and reception at the Power Center on Wed, Feb 10; Workshop held at the Ann Arbor Art (lenter and Dance GalleryPeter Sparling & Co. Foi more information and registration call the Ann Arbor Art Center, 994-8001 x 101 or walk-in registration at the Ann Arbor Art Center
Art Class: Random Patterns, taught .it the Ann Arbor Art Center in conjunction with the Merce Cunningham Dance Company Residency. Sat, Feb 6, 9 a.m. For informa?tion and registration call the Ann Arbor Art Center, 994-8004 x 101, or walk-in registration at the Ann Arbor Art Center. Art Lecture: Costume and Image: Form Function Funky, taught at the Ann Arbor Art Center in conjunction with the Merce Cunningham Dance Company Residency. Mon, Feb, 8, 7 p.m. For infor?mation and registration call the Ann Arbor Art Center, 'J94-8004 x 101, or walk-in registration at the Ann Arbor Art Center. Art Class: Drawn to Dance, taught by the Ann Arbor Art Center at the Power Center in conjunction with the Merce Cunningham Dance Company Residency. Sat, Feb 13,
Look for valuable information about UMS, the 199899 season, our venues, educational activities, and ticket information. ?
] 1 a.m. For information and registration call the Ann Arbor Art Center, 994-8004 x 101, or walk-in registration at the Ann Arbor Art Center.
Lobby Exhibit Art from the Ann Arbor Public Schools, inspired by Mcrcc Cunningham on display in the Power Center lobby, Feb 1-14. Brown-bag Lunch at the Institute for the Humanities on John Cage's Cartridge Music presented by Laura Kuhn, Director of the John Cage Trust, and U-M Professor Stephen Rush. Tues, Feb 9, 12 noon. U-M Institute for the Humanities. Music for Dance for choreographers and composers, with Laura Kuhn, Director of the John Cage Trust, and U-M Professor Stephen Rush. Tuesday, Feb 9, 2:45 p.m. U-M Dance Building Studio A. Master of Arts Interview of choreographer Merce Cunningham interviewed by Roger Copeland, Professor of Theater and Dance at Oberlin College. Thu, Feb 11,7 p.m. U-M Dance Building, Hetty Pease Studio. Advanced Technique Master Classes taught by Meg Harper, Chair of the Cunningham Studio, .it the I'M Dance I tepartment, 10 places per class and 10 observers open to the public. Eight closes available: Tues and Thu, Feb 9 and 22, 11 a.m. and 12:45 p.m. Wed and Fri, Feb 10 and 12, 12:45 p.m. and 2:30 p.m. Call 734-
LifcForms--Computers and Choreography with U-M Professor Stephen Rush and Cunningham Company Archivist, David Vaughan. Fri, Feb 12, 9 a.m.. Design Lab 1, Media Union.
PREP Cunningham Company Archivist, David Vaughan, leads a video discussion of Cunningham's choreography. Fri, Feb 12, 7 p.m., Modern Languages Building, Lecture Room.
Meet the Artist Post-performance dialogue from the stage, Fri, Feb 12. Advanced Technique Master Class taught by Robert Swinston, Assistant to the Choreographer Sat, Feb 13,10:30 a.m., I inc (ialleryPeter Sparling 8c Co. To register, please call 734-747-8885. Study Day and Open Rehearsal Company Archivist, David Vaughan, leads discussions of Cunningham and his collaborators
i an open rehearsal. Sat, Feb 13, 1 p.m., Power Center balcony. For more information and registration please call 734-047-6712.
PREP Cunningham Company Archivist, David Vaughan, leads a video discussion of Cunningham's choreography. Sat, Feb 13,7 p.m., Michigan 1 eague, I lussey Room. Media Partner WDET and Metro Times.
MAXIM VENGEROV, VIOLIN IGOR URYASH, PIANO Sunday, February 14,4 P.M. Hill Auditorium Media Partner WGTE.
ORPHEUS CHAMBER ORCHESTRA PEPE ROMERO, GUITAR Monday, February 15,8 P.M. Rackham Auditorium Sponsored by CFI Group.
Friday, February 19 Saturday,
February 20,8 P.M. Power Center
Dance Theater Lecture Demonstration by Meryl Tankard, U-M Department of Dance, Studio A, Wed, I ch 17,1:15 p.m. Master Classes at the U-M Department of Dance, Thu, Feb 18,11 a.m. and 12:45 p.m., 10 places per class and 10 observer spaces open to the public. Call 734-763-5460 to register
PREP Video talk of Meryl Tankard's chore?ography, Fri, Feb 19, 7 p.m. Michigan League, Husscy Room. PREP Video talk of Meryl Tankard's chore?ography. Sat, Feb 20, 7 p.m., Michigan League, Koessler Library. Meet the Artist post-performance dialogue from the stage. Media Partner WDET and Metro Times.
Sunday, February 21,4 P.M. Rackham Auditorium Complimentary Admission
Tuesday, February 23 Thursday,
February 25, 8 P.M. Power Center
Sponsored by NSK Corporation with support from Beacon Investment Company and the Blue Nile Restaurant. Media Partner WDET.
DAVID DANIELS, COUNTERTENOR MARTIN KATZ, PIANO Sunday, March 7,4 P.M. Lydia Mendelssohn Theatre
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 chore?ography. Fri, March 19, 7 p.m. Michigan League, Vandcnberg Room. PREP Video talk of signature Ailey chore?ography. Sat, March 20, 7 p.m., Michigan League, Hussey Room. Master of Arts Interview with artistic director and choreographer Judith Jamison, Sat, March 20, 2 p.m. location tbd. Sponsored by Forest Health Services and Mr. and Mrs. Randall Pittman. Media Partner WDET.
THE TALLIS SCHOLARS PETER PHILLIPS, DIRECTOR Wednesday, March 24, 8 P.M. St. Francis of Assisi Catholic Church
Thursday, March 25, 8 P.M. Michigan Theater Sponsored by AT&T Wireless with additional 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 and Metro Times.
continued ...
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, March 28,4 P.M. Rackham Auditorium Beethoven the Contemporary Symposium Papers, panel discussions and keynote speaker on Beethoven and con?temporary composers., March 17, 2 p.m. Rackham Amphitheater and Assembly Hall.
PREP "A Rhetoric of Disintegration" by Steven Whiting, U-M Assistant Professor of Musicology, with School of Music stu?dent musicians. Sun, March 28,3 p.m. Rackham Assembly II.ill. Sponsored by Edward Surovell Realtors with support from the Lib 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
Saturday, April 10, 8 P.M.
Michigan Theater
Master of Arts Interview of composer
Steve Reich and filmmaker Beryl Korot
Fri, April 9, 12 p.m. Michigan League,
Vandenberg Room.
Media Partner WDET and Metro Times.
Thursday, April 15, 8 P.M.
Hill Auditorium
Sponsored by Edward Surovell Realtors.
Media Partner WGTE.
Friday, April 16,8 P.M.
EMU Convocation Center
(799 Hewitt Road between Washtenaw
Ave. and Huron River Drive)
Sponsored by Sesi Lincoln-Mercury.
Media Partner WEMU.
EWA PODLES. CONTRALTO GARRICK OHLSSON, PIANO Saturday, April 17, 8 P.M. Lydia Mendelssohn Theatre PREP "An Introduction to the Art of Ewa Podles" by Richard LcSueur, Vocal Arts Information Services, Sat, 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 and Metro Times.
PREP Kenn Cox, Professor of Music at Michigan State and Wayne State Universities, interviews members of the Lincoln Center Jazz Orchestra, Fri, April 23, 7 p.m., Michigan League, Hussey Room. Co-sponsored by Arbor TemporariesPersonnel Systems, Inc. and Mechanical Dynamics with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner WDET.
Sunday, April 25,4 P.M.
Hill Auditorium
Sponsored by Trimas Corporation with
additional support from Weber's Inn.
Media Partner WCTE.
FORD HONORS PROGRAM Featuring the presentation of the 1999 UMS Distinguished Artist Award (Artist to be announced in January, 1999) Saturday, May 8,6 P.M. Hill Auditorium and Michigan League. Sponsored by the Ford Motor Company Fund. Media Partner HOUR Detroit Magazine.
University Musical Society
of the University of Michigan 1998-1999 Winter Season
Event Program Book Friday, January 29 through Saturday, February 13,1999
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.
Anne Sofie von Otter, mezzo-soprano 3
and the
Chamber Music Society of Lincoln Center
Friday, January 29,8:00pm Lydia Mendelssohn Theatre
American String Quartet 17
Family Performance
Beethoven the Contemporary
Saturday, January 30,2:00pm Rackham Auditorium
American String Quartet 23
Beethoven the Contemporary
Sunday, February 7,4:00pm Rackham Auditorium
The Merce Cunningham Dance Company
Friday, February 12, 8:00pm 29
Saturday, February 13, 8:00pm 33
Power Center
Chamber Music Society of Lincoln Center
David Shifrin, Artistic Director
Anne Sofie von Otter, Mezzo-soprano
Tara Helen O'Connor, Flute
Stephen Taylor, Oboe
David Shifrin, Clarinet
Milan Turkovic, Bassoon
Bengt Forsberg, PianoArtistic Advisor
Todd Phillips, Violin Paul Neubauer, Viola Fred Sherry, Cello Lewis Paer, Bass Robert Routch, Horn
Edvard Grieg
Franz Berwald
Carl Nielsen
Friday Evening, January 29, 1999 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Music From Scandinavia
Haugtussa (The Mountain Maid), Op. 67
Det syng (Enticement)
Veslemoy (The Little Maiden)
BISbaer-Li (Blueberry Slope)
Mote (The Encounter)
Elsk (Love)
Killingdans (Kids' Dance)
Vond Dag (Sorrowful Day)
Ved Gjaetle-Bekken (At Gjaetle Brook)
Septet in B-flat Major for Winds and Strings
Introduzione: Adagio--Allegro molto Poco adagio--Prestissimo Finale: Allegro con spirito
Shifrin, Turkovic, Routch, Phillips, Neubauer, Sherry, Paer
Selected Songs
Sommersang, Op. 10, No. 3 (Summer Song) Jens Madsen a An-Sofie (Jens Madsen) Aebleblomst, Op. 10, No. 1 (Apple Blossom) Genrebillede, Op. 6, No. 1 (Genre Piece) Studie efter naturen (Studies from nature)
von Otter, Forsberg
Wilhelm Stenhammar, arr. Forsberg
Quintet for Flute, Oboe, Clarinet, Bassoon, and Horn, Op. 43
Allegro ben moderato Menuet
Praeludium: Allegro--Tema con variazioni: Un poco andantino
O'Connor, Taylor, Shifrin, Turkovic, Routch
Selected Songs
Gammal nederlandere (Ancient Dutchman)
Det far ett skepp (A ship sails)
Mansken (Moonlight)
von Otter, Shifrin, Routch, Phillips, Neubauer, Sherry, forsberg
The audience is politely asked to withhold applause until the end of each group of songs.
"Artist Member of the Chamber Music Society
Fifty-first Performance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by KeyBank, with additional support from Maurice and Linda Binkow, STM, Inc., and the Swedish Round Table Organizations.
Special thanks to Bill Hann for his support through KeyBank.
Special thanks to Lennart Johansson for his leadership and support through the Swedish Round Table Organizations and to Bengt Swenson for his many hours devoted to this and other UMS projects.
Additional support is provided by media partner, WGTE.
Special thanks to Richard LeSueur for this evening's Pre-Performance Educational Presentation.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Visit the Chamber Music Society on the Internet at
Underwriting for the Chamber Music Society's touring has been generously provided by the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Reader's Digest Association Inc.
The Chamber Music Society has recordings on the Musical Heritage Society, MusicMasters, Omega Record Classics, Arabesque, and Delos labels.
Large print programs are available upon request.
(The Mountain Maid), Op. 67
Edvard Grieg
Born June 15, 1843 in Bergen, Norway
Died September 4, 1907 in Bergen, Norway
"How does it happen that my songs play such an important part in my production" wrote Edvard Grieg in a letter to his American biographer Henry Finck in 1900. Grieg continued:
Quite simply owing to the circumstances that even I, like other mortals, was for once in my life endowed with genius (to quote Goethe). The flash of genius was: love. I loved a young girl who had a wonderful voice and an equally wonderful gift of inter?pretation. That girl became my wife and my lifelong companion to this very day.... My songs came to life naturally and through a necessity like that of natural law, and all of them were written for her.
Grieg met Nina Hagerup, a distant cousin, in 1864, during his happy two-year residence in Denmark after completing his studies at the Leipzig Conservatory. They were married three years later, and her talent and musical insight served as the inspiration for his vocal music for the rest of his life. Though Nina was not possessed of a virtuoso's voice and seldom sang in public, she nevertheless gained a reputation as a striking musical interpreter, as the Danish baritone Julius Steenberg recalled:
In a way, she created her own style. It was like an animated dramatic recitative. She not only penetrated to the emotional heart of the poem, but somehow plumbed the depths of the individual words so that they took on a deeper, more instinctive color than one could obtain from a mere reading.
Nina's renderings of her husband's songs perfectly suited his philosophy of setting
poetry to music, which he explained to Finck:
When I write songs, my principal goal is not to compose music, but to do justice to the poet's most intimate intentions. My task is to allow the text to speak -indeed, to allow it to speak in a heightened manner. If I have accomplished this, then the music itself has succeeded. Otherwise, it has not, beautiful though it may be.
Some of Grieg's greatest inspirations and most treasured melodies are to be found among his nearly 150 heartfelt songs. It is hardly surprising that Grieg's ardent nationalism found expression in his vocal music, and he was inevitably drawn to poetry in Landsmal, the most distinctive Norwegian tongue, which he said contained "a world of unborn music." Concerning Landsmal, Astra Desmond wrote in a 1948 study of Grieg's songs:
It should be noted that in Norway there are two languages, one of which, the ordinary RiksmSl, is, except for slight differences in spelling, etc. and a great difference in pro?nunciation, almost identical with Danish. In 1842, the year before Grieg was born, the great lexicographer Ivar Aasen began to make a comparative study of the various country dialects of Norway. Finally he devoted himself to creating a literary lan?guage -Landsmal -based on dialect and Old Norse. The more violent nationalists took up this language with great ardor, and many writers adopted it. It is still taught in the schools in Norway, but though it has modified the Riksmal it has never displaced it. The two chief champions of Landsmal were Garborg and the peasant poet Aasmund Olavsson Vinje. The passionate nationalism of these two made an appeal to all that was most profound in Grieg, and some of his best songs were inspired by them.
In May 1895, the Norwegian teacher, journalist, linguist and writer Arne Garborg
(1851-1924), a leading advocate of Landsmal whose original writings and translations of Homer, Shakespeare, Moliere and Goethe helped to get the language admitted to the school curriculum in 1879, published Haugtussa, a book of seventy poems inspired by the ways, legends and countryside of his home region of Jaeren, the rural district surrounding the south?western coastal city of Stavanger. In The Songs ofEdvard Grieg (1990), an excellent and thorough study of the subject, Beryl Foster wrote that Garborg's work appeared "during the period when Norwegian litera?ture was changing from its preoccupation with social and political issues towards more concern with nature and lyricism -the nyromantikk or Neoromantic period. Garborg also shows great faith in the mys?tery of life itself and in the power of indi?viduals to overcome temptations. Haugtussa is a poem-cycle which tells the story of Veslemoy (literally, "little maid"), the 'haug?tussa' of the title, a story of strength versus temptation, of Christianity versus trolldom and superstition, of light versus darkness; in other words, of good versus evil. Veslemoy has second sight and is seen by others in her community as strange. Second sight has both advantages and disadvantages: she can see the spirits of the other world -trolls, the hill-folk and even on one occasion the devil himself -but, because she is able to see them, she understands what is involved in the temptation she feels and is therefore better able to withstand it."
Grieg devoured Haugtussa as soon as it appeared. "It is a quite brilliant book," he wrote to his friend and frequent walking-tour companion, the conductor, pianist and composer Julius Rontgen, "in which the music is already composed -one just needs to write it down." And "write it down" Grieg did, completing a dozen songs in May and June, and sketching out eight more before the end of the summer. Nina per-
formed some of the songs when they and the Rontgens met in Leipzig at Christmas, but Grieg then withheld the music from publication, without explanation, until the autumn of 1898, when he selected the eight songs comprising the finished cycle. ("Haugtussa for the time being sleeps," he told Rontgen. Beryl Foster makes the aston?ishing inference from some long-unknown letters that Grieg simply could not deal with the songs at that time because of a mar?riage-threatening infatuation he was then suffering for a Copenhagen piano teacher.) Grieg dedicated the published score of Haugtussa to the Norwegian singer Dagmar Moller, who had been championing his songs for two decades; Moller gave the first complete public performance of the cycle in October 1898 in Oslo.
In Haugtussa's first song, "Det syng" (The Singing or Enticement), some spirit, a troll who fancies her perhaps, tries to lure the young maiden to the Blue Mountain, where she could forget her earthly cares, but she resists. The girl, small, dark, slender, dreamy, is described touchingly in " Veslemoy" (The Little Maiden). She tells of her summer life tending her herd in the high pastures in "Blabcer-Lt" (Blueberry Slope), and then of her passionate encounter (Mote) with a local lad. She is infatuated but worried that he will forget her in "Elsk" (Love), and tries to ease her concern with a children's dance ("Killingdans"). Little Veslemoy's love, how?ever, is lost in "Vond Dag" (Sorrowful Day), and she seeks solace in " Ved Gjcetle-Bekken" (At Gjaetle Brook). Grieg pronounced these "the best songs I have written," and he received a letter from Garborg stating that "you have captured exactly the deep, soft, muted, underworld music which I, in my way, tried to sing into words and rhythm.... I am now happy and proud, quite disgrace?fully proud, that you were able to use these verses. Thank you!"
Septet in B-flat Major for Winds and Strings
Franz Berwald
Born July 23, 1796 in Stockholm, Sweden
Died April 3, 1868 in Stockholm, Sweden
Franz Berwald, born in Stockholm in 1796, one year before Schubert, was the scion of an important family of Swedish musicians. His grandfather and great-grandfather were instrumentalists at various courts in north?ern Germany and Scandinavia, and his father and uncle were members of the Royal Orchestra in Stockholm. Though Franz's formal education was negligible, he showed at an early age a talent for violin, making his debut as a prodigious ten-year-old. Six years later he joined the Royal Orchestra, a posi?tion he held until 1828. He began compos?ing around 1817 with a septet, two string quartets and some piano pieces, and fol?lowed them in 1820 with a concerto for two violins, which he played with his brother, August, who later became director of the Stockholm Conservatory. When they were not ignored altogether, these early works were sharply criticized for their harmonic daring by conservative Swedish musicians. Still Berwald continued to compose (a sym?phony, more concertos, even an opera) dur?ing the time allowed by the demands of his orchestral duties, concert tours with his brother and editing a music journal that he founded. In 1829, after several unsuccessful petitions, he was awarded a scholarship for study abroad, and traveled to Berlin, where he hoped to find more ready acceptance of his works. He made no headway in the Prussian capital, however, and in 1835, opened an orthopedic clinic there using sev?eral devices of his own invention. The clinic flourished, though he continued to harbor hopes for a career as a composer.
In 1841, Berwald moved to Vienna, where he married one of his employees from the clinic. His year in Vienna was pro-
ductive and successful. A concert of his orchestral music there in March 1842 was warmly received, and he completed the Sinfonie serieuse, Sinfonie capricieuse, four tone poems and an operetta before return?ing to Sweden in April. Unfortunately, his ambitions at home continued to be frustrat?ed. Concerts of his music were usually poor?ly prepared, and only a few works were favorably received. Two of his best-known compositions, the Sinfonie singuliere and the Symphony in E-flat, date from 1845. From 1846 to 1849, Berwald traveled widely, try?ing to interest impresarios in Paris and Vienna in his music. Back in Sweden, he was passed over for the posts of director of music at Uppsala University and conductor of the Royal Orchestra. From 1850 to 1859, Berwald divided his time between Stockholm and Sando, Angermanland, in northern Sweden, where he was manager of a glass works. He prospered sufficiently to buy into the firm in 1853, and soon thereafter launched a sawmill and became involved in other enterprises. After 1856, he was also active as a polemicist, publishing articles on a wide variety of social issues which showed him to be a man of progressive vision and sympathies. In 1862, the Royal Opera mounted a production of his opera Estrella de Soria which enjoyed a moderate success, but his attempt to secure a teaching post at the Royal Academy of Music proved fruit?less. Two years later he was made a fellow of the Academy, but had to wait until 1867 to be appointed professor of composition, and even then got the job only after the first per?son chosen for the position was unable to accept it. Within a year, on April 3, 1868, Berwald died of pneumonia, and was buried in Stockholm's German Church to the strains of the slow movement from his Sinfonie serieuse.
Despite the variety of his career experi?ences and the vicissitudes of his professional life, Berwald produced a sizable body of
music. In addition to the four symphonies, which have earned him his widest reputa?tion, there are a dozen operas (though only five survive complete), ten large vocal works with various accompanying ensembles, con?certos for piano and one and two violins, various independent orchestral scores, five piano trios, three string quartets, a septet, and a large number of songs and piano pieces. Wrote Robert Layton, "Berwald's music has strong classical instincts, and the many unpredictable touches one encounters in his finest music reflect an exploratory mind, wide in its range of sympathies and degree of sophistication.... The limits of his emotional orbit were carefully circum?scribed, yet there is also much warmth and humanity in his music. His was a voice of undoubted originality."
The Septet of 1828 seems to have been a revision of a work Berwald wrote eleven years earlier. It was probably conceived under the influence of Beethoven's Septet (Op. 20), one of that composer's most pop?ular works during his lifetime and a piece frequently performed in Stockholm. When it was new, Berwald's Septet drew comments about its harmonic audacities, especially its wide-ranging modulations -it is precisely this quality of Romantic free-spiritedness that is today the work's chief attraction. The first movement is prefaced by a slow intro?duction in which the expressive main theme is previewed. A chorale-like second theme provides contrast as the movement unfolds. The novel form of the second movement, in which the scherzo is enfolded within the sweetly lyrical "Adagio", was again used by Berwald in such later scores as the Sinfonie singuliere and the String Quartet in E-flat. The spirited finale is sunny in disposition and disarmingly child-like in its gaiety.
Selected Songs
Carl Nielsen
Bom June 9, 1865 in Sortelung near
Norre-Lyndelse, Denmark Died October 3,1931 in Copenhagen, Denmark
Like Johannes Brahms, Carl Nielsen is best known for his instrumental works, yet, also like Brahms, half of his total output is for voices. Nielsen, however, ventured into the singer's world beyond just the choruses and songs with which Brahms had contended himself to attempt two operas (Brahms once vowed that there were two things he would never undertake: an opera and a marriage) and many vocal movements in his incidental music. In his pioneering and illu?minating book Carl Nielsen: Symphonist (1951), British scholar and composer Robert Simpson reserved a chapter for "The Human Voice," a choice the author defends by saying that:
all Nielsen's music is vocal in origin, in that its predominant singing quality springs from North European folk traditions (to restrict it to just Danish elements would be an error). Thanks to him, Denmark has become one of the few civilized Western countries with a flourishing, living folk-music; this is also no doubt due to the fact that the country has maintained its pastoral life...In such communities, singing has always been an important social activity, and it is natural that the country's greatest musician should have made himself as indispensable in this sphere as he was in the instrumental...There are some 300 songs of all types, from what suburban minds usually call 'art-songs' to the simplest, most immediately accessible folk melodies...As a song-writer, Nielsen is of high rank, and there is no healthy mood that he does not illuminate.
Quintet for Flute, Oboe, Clarinet, Bassoon and Horn, Op. 43
Carl Nielsen
Carl Nielsen was fascinated by the wind instruments of the orchestra all his life. As a boy, he received instruction on the cornet and trombone, and demonstrated such early proficiency that he was able to perform as a military trumpeter in Odense by the age of fourteen. Among his earliest compositional ventures during those teenage years were some dance pieces for the Odense band and a quartet for cornet, trumpet and two trom?bones. In the six symphonies of his maturity which form the heart of his creative output, Nielsen always took special care with the scoring for the wind and brass instruments. He not only exulted in writing passages deliberately intended to challenge the tech?nique of the individual instruments, but also tried to capture something of their unique characteristics in his music. His interest in composing specifically for the winds was spurred in the fall of 1921, when he heard a rehearsal of Mozart's Sinfonia Concertante in E-flat Major (K. 297b) by the Copenhagen Wind Quintet. He promised to compose a large chamber work for the ensemble, and also vowed to write a concer?to for each of its members which would be tailored to the technique and personality of the individual musicians. Nielsen completed his lovely Wind Quintet (Op. 43) by the fol?lowing May, when his doctor diagnosed angina pectoris and ordered a prolonged rest cure, but he was able to finish only the concertos for flute and clarinet (there is a third concerto for violin). These pieces are among the most important for their instru?ments written during the twentieth century. The light-hearted character and melod?ic effulgence of Nielsen's Wind Quintet are established immediately at the outset by a
sunny bassoon theme that tours smoothly about the tonic scale before pausing on a coy chromatic note that signals the entry of the other instruments, who present a com?plementary chuckling motive. There is some reserved discussion of these matters before a bit of developmental transition leads to the second theme, which consists of two com?ponents: a repeated-note figure followed by a flashing upward leap and a lyrical phrase (flute and oboe), and a tiny darting gesture leading to a long note. The darting gesture and the lyrical phrase are superimposed to round out the exposition. Fragments from the second theme materials provide the main topic of the development, which is suddenly ended by some rude noises from the bassoon and a raucous response by its partners. The flute and oboe return the playful main theme to begin the recapitula?tion. Bits of the second subjects begin to infiltrate the music's progress, however, and soon the entire company agrees once again to discuss these thematic ideas one final time. The bassoon proposes to make a pas?toral ending for the movement from the main theme, and finds no dissent.
The two closing movements of the Quintet are grown from the musical soil of Nielsen's homeland, the Danish farming island of Fyn. The "Menuet" is based on a delightful tune reminiscent of those that the composer loved to improvise on the violin as a boy. The last movement begins with a rather modern-sounding "Adagio," whose somber effect is heightened by the throaty tones of the English horn. This "Praeludium" serves as an introduction to the set of variations that caps the work. "The composer has here attempted to pre?sent the characteristics of the various instru?ments," wrote Nielsen in the third person. "Now they seem to interrupt one another and now they sound alone. The theme for the third movement is one of Carl Nielsen's spiritual songs, which is here made the basis
of a number of variations, now gay and grotesque, now elegiac and solemn, ending with the theme itself, simply and gently expressed." The theme is a smoothly flowing and chordally harmonized melody titled "My Jesus, Make My Heart To Love Thee" from Nielsen's Hymns and Sacred Songs of 1912-1916. The eleven variations range widely in style and sonority, from unaccom?panied soliloquies for bassoon (Variation VII) and horn (Variation IX) to fully scored virtuoso displays (Variation IV), creating a superb showcase of wind tone colors.
Selected Songs
Wilhelm Stenhammar
Born February 7, 1871 in Stockholm, Sweden
Died November 20,1927 in Stockholm, Sweden
Wilhelm Stenhammar was one of Sweden's leading composers, conductors and pianists during the early decades of this century. The son of an artistic family in Stockholm (his father was an architect and composer of songs and sacred choral works, his moth?er was a fine draughtswoman), Wilhelm, though he had little formal instruction, began to compose and play the piano as a child. Except for private lessons in piano and theory with some of the professors at the Stockholm Conservatory and a year of keyboard study with Karl Heinrich Barth in Berlin, he remained largely self-taught. Following his debut as a pianist in 1902, Stenhammar was in demand as a concerto soloist and chamber music player through?out Scandinavia. He first appeared as a con?ductor in 1897, and in the following years held appointments as artistic director of the Stockholm Philharmonic Society, the Royal Swedish Opera, the New Philharmonic Society and the Goteborg Symphony Orchestra, which he directed with distinc?tion from 1906, the year after the ensemble was founded, until 1922. The University of
Goteberg awarded him an honorary doctor?al degree in 1916 in appreciation of his ser?vice to the city's cultural life. Stenhammar returned to the Royal Opera in 1924, but his activities there were soon curtailed by ill health.
Stenhammar's first important works, a piano concerto and an opera after Ibsen, Gildet p& Solhaug, date from 1893, when he was still much under the influence of the highly charged Romanticism of Wagner and Liszt. After the failure of his second opera, Tirfing of 1898 (described as a "mystical saga-poem"), he moved away from post-Romanticism toward a more concentrated, neo-classical style tempered by the idioms of Swedish folk music. His last composi?tions, notably the Second Symphony of 1911-1915, generally regarded as his master?piece, reflect the extensive study of strict counterpoint that he undertook in 1909. In addition to two operas, two piano concertos and two symphonies, Stenhammar wrote incidental music (including a score for Romeo and Juliet), an orchestral Serenade, two Romances for Violin and Orchestra, six string quartets, two piano sonatas, and many songs and choral pieces to German and Swedish texts.
Program notes O1999 by Dr. Richard E. Rodda.
Swedish-born Anne Sofie von Otter enjoys a versatile career, equally successful in opera, concert and recital. Ms. von Otter's operatic career commenced as a member of the Basle opera, but she was soon to receive invitations from the major opera houses of the world including the Metropolitan Opera, Covent Garden, La Scala and Vienna. As a concert performer, Anne Sofie von Otter appears frequently in the major concert halls of Europe and North America and enjoys a regular partnership with some of the world's pre-eminent conductors including Abbado,
Gardiner, Haitink, Levine, Minkowski and Rattle. She is also an acclaimed recitalist and performs around the world with her long?time accompanist, Bengt Forsberg. An exclu?sive solo artist with Deutsche Grammophon, Anne Sofie von Otter boasts an extensive personal discography of over fifty recordings. Together with Bengt Forsberg, she has made
a number of award-winning recital discs fea?turing music by Grieg, Schubert, Schumann, BergStraussKorngold, and a portrait of Swedish composers entitled Wings in the Night. With orchestra, recordings of Kurt Weill, Berlioz, Mozart, Berg, Zemlinsky and Mahler. Her opera catalogue includes Dorabella with Solti, Monteverdi's Ottavia, Gliick's Orfeo as well as Sesto and Idamantes with Gardiner and Marguerite with Chung. Recent releases for Deutsche Grammophon include chamber music by Korngold, Handel's Ariodante with Minkowski and a collection entitled Lamenti with Musica Antiqua Koln and Reinhard Goebel.
Tonight's performance marks Anne Sofie von Otter's debut appearance under UMS auspices.
Swedish pianist Bengt Forsberg studied at the Music Academy of Gothenburg and as a soloist, chamber musician and accompanist he eagerly promotes the music of lesser-known composers such as Korngold,
Medtner, and Alkan. With Anne Sofie von Otter, whom he frequently accompanies on recital, he has made recordings of songs by Stenhammar and Sibelius; for Deutsche Grammophon a compilation of Berg, Korngold and Strauss, French Chamber songs; and a selection of songs by Swedish composers entitled Wings in the Night. Bengt Forsberg has recorded for Hyperion with cellist Mats Lidstrom and he has also made solo recordings of piano music by Schumann as well as various chamber music recordings. Future engagements include Stravinsky's Piano Concerto in Gothenburg and Nicolas Medtner's Piano Concerto No. 2 with the Royal Philharmonic Orchestra in Stockholm.
Tonight's performance marks Bengt Forsberg's debut appearance under UMS auspices.
This season, Paul Neubauer will give the world premiere of Wild Purple for solo viola by Joan Tower at a concert celebrating her music at Merkin Hall in New York in addition to solo appearances throughout the United States and Europe. This past summer, Mr. Neubauer collaborated with conductors Neeme Jarvi, Vladimir Spivakov, Ransom Wilson and Victor Yampolsky and made his Detroit Symphony and Mostly Mozart Orchestra debuts. He has also performed with the New York and Los Angeles Philharmonics, National, St. Louis, Dallas and San Francisco Symphonies, St. Luke's, English Chamber, and Santa Cecilia Orchestras. Featured on CBS' Sunday Morning, A Prairie Home Companion with Garrison Keillor, and in People magazine, Mr. Neubauer gave the world premiere of the revised Bart6k Viola Concerto as well as premieres of Concertos by Krzysztof Penderecki, Tobias Picker, Gordon Jacob, Robert Suter, David Ott and Joel Philip Friedman. Mr. Neubauer is director of the Festival Masters Chamber Series at the OK
Mozart Festival, and was Principal Violist of the New York Philharmonic for six years, joining at age twenty-one as the youngest principal string player in their history. The first violist ever to receive an Avery Fisher Career Grant, his awards include first prizes in the Whitaker, D'Angelo and Lionel Tertis International Competition. Paul Neubauer is on the faculty of The Juilliard School and has recorded for Decca, RCA, Sony Classical and Delos. He has been an Artist Member of the Chamber Music Society of Lincoln Center since 1989.
Flutist Tara Helen O'Connor gave her Carnegie Hall concerto debut in 1986 and her solo recital debut in Weill Recital Hall in 1992. She co-founded the New Millennium Ensemble, which recently released their first CD, Here Comes Everybody, and which won a Naumburg Award in 1995. Ms. O'Connor has performed with the Chamber Music Society of Lincoln Center, the Orion String Quartet, and the Orpheus Chamber Orchestra. She performs regularly at several music festivals including Bargemusic, Music from Angel Fire, the Santa Fe Chamber Music Festival and Spoleto. Future engagements include performances with CMS, and on the Zoom Series at Merkin Hall. Ms. O'Connor has recorded for Arcadia, CRI, Koch Inter?national Bridge and Soundspells Productions. Ms. O'Connor currently teaches as Purchase College Conservatory of Music.
Lewis Paer is the principal bassist of the New York City Opera and American Ballet Theater Orchestras. Mr. Paer first appeared as a guest of the Chamber Music Society in 1989, and is included in several of the Society's recordings. He is also a member of the Orchestra of St. Luke's. A graduate of the Manhattan School of Music, Mr. Paer is on the faculty of the Chamber Music Conference of the East at Bennington College.
Todd Phillips is currently a leading violinist with the Orpheus Chamber Orchestra, with whom he recorded Mozart's Sinfonia Concertante for Deutsche Grammophon. He debuted at age thirteen with the Pittsburgh Symphony and has performed with many orchestras in America, Europe and Japan, among them the Brandenburg Ensemble, Camerata Academica of Salzburg and the New York String Orchestra at Carnegie Hall. He has also performed chamber music at the Santa Fe, Marlboro, Mostly Mozart and Spoleto Festivals, and with the Chamber Music Society of Lincoln Center. Mr. Phillips also participated in "Musicians from Marlboro" tours. He currently serves on the violin and chamber music faculties at the Mannes College of Music.
Hornist Robert Routch made his solo orchestral debut at age seventeen, perform?ing the Strauss Horn Concerto No. 1 with the Philadelphia Orchestra. Mr. Routch has sub?sequently performed as soloist with over fifty orchestras worldwide, including those of Cincinnati, Hartford, and the Danish Radio and Mostly Mozart orchestras. He has been artist in residence with the Southeastern Ohio Symphony for the past four seasons. Mr. Routch founded the Walden Horn Trio with violinist Ani Kavafian and pianist Anne-Marie McDermott and as a group commissioned a new piece from Daniel Schnyder, which will receive its New York premiere this season. He has recorded and toured throughout the United States with the ensembles Tashi and Music from Marlboro, and has performed at the sum?mer music festivals of Santa Fe, Spoleto, Marlboro, and Chamber Music Northwest. As an improvisor, he has collaborated and recorded with Ornette Coleman, toured the United States, Europe, and Brazil with Gerry Mulligan and his "Rebirth of the Cool" ensemble, and founded the jazz quartet "Confluence." Mr. Routch was awarded solo
recitalist and jazz grants from the NEA and is on the faculty of the Manhattan School of Music. He has been an Artist Member of the Chamber Music Society since 1988.
Cellist Fred Sherry has been an active per?former with The Chamber Music Society of Lincoln Center since the early 1970s and an Artist Member since 1984. Mr. Sherry served as CMS's Artistic Director from 1989 through the 199192 season. Mr. Sherry has intro?duced the music of Babbitt, Berio, Carter, Foss, Knussen, Lieberson and Takemitsu to audiences, as well as the music of jazz pianist and composer Chick Corea. He pre?miered Mario Davidovsky's Divertimento for Cello and Orchestra with the American Composers Orchestra and performed Charles Wuorinen's cello concerto Five, written for Mr. Sherry and the New York City Ballet, as a concert work with the orchestra of St. Luke's and the San Francisco Symphony. In 1998, Mr. Sherry and Mr. Mackey appeared together on the Chamber Music Society's "Music of Our Time" series in a special concert featuring works for elec?tric guitar and cello. Mr. Sherry has per?formed with the orchestras of Cleveland, Boston, Atlanta, Montreal, London and Los Angeles. A founding member of Speculum Musicae and Tashi, Mr. Sherry is currently a member of the Resident Artist's Committee of Bargemusic, LTD. He has recorded for the RCA, Columbia, Arabesque, Vanguard, Delos and Koch labels. Mr. Sherry is a facul?ty member of The Juilliard School and is currently writing a treatise on contempo?rary string playing.
Clarinetist David Shifrin has been Artistic Director of the Chamber Music Society of Lincoln Center since 1992. Mr. Shifrin is in demand as a soloist with orchestras all over the world and appears frequently with ensembles such as the Emerson, Guarneri and Tokyo quartets. Mr. Shifrin has made
significant contributions to the clarinet repertoire through the commissioning and premiering of new works by composers such as John Corigliano, Joan Tower, Bruce Adolphe and others, as well as championing the works of John Adams, Stephen Albert and Ezra Laderman. Many of these works were commissioned by the Chamber Music Society of Lincoln Center and Chamber Music Northwest, the summer festival in Portland, Oregon, of which Mr. Shifrin is also artistic director. A highlight of the 1997-98 season was the New York premiere of John Adams' Gnarly Buttons for clarinet and chamber ensemble and the premiere of Bruce Adolphe's Clarinet Concerto with the Wichita Symphony. With the Chamber Music Society, he has recorded Mozart's Wind Serenades, Dvorak's Wind Serenade, Beethoven's Septet, Debussy's Premiere Rhapsodie with pianist Andre Watts, and a disc of chamber music by Carl Maria von Weber. Mr. Shifrin records for the Nonesuch, Delos, Arabesque and CRI labels. Mr. Shifrin was a recipient of an Avery Fisher Career Grant and a Solo Recitalists Fellowship from the National Endowment for the Arts. A member of the faculty of Yale University, he has been an Artist Member of the Chamber Music Society since 1989.
Stephen Taylor is the principal oboist of the Orchestra of St. Luke's and has been a member of the St. Luke's Chamber Ensemble since its inception in 1974. He is also a member of the Orpheus Chamber Orchestra and principal oboist with the New England Bach Festival at Marlboro. Active in new music, Mr. Taylor is the solo oboist with Speculum Musicae and the principal oboist with American Composers Orchestra, and has appeared with the Group for Contemporary Music and the Contem?porary Chamber Ensemble. He spends sum?mers in-residence with St. Luke's Chamber
Ensemble at the Caramoor Festival and appears at Angel Fire, Bravo! Colorado, Chamber Music Northwest, and the Bridgehampton Music Festival. Mr. Taylor's recordings with the Chamber Music Society include the Mozart Wind Serenade, Mozart Grand Partita, the Dvorak Serenade, Bach's Brandenburg Concertos, and works by Gunther Schuller. A graduate of The Juilliard School, Mr. Taylor is on the faculty of the Manhattan School of Music and the State University of New York at Stony Brook. He first performed with the Chamber Music Society in 1974 and became a member in 1989.
Bassoonist Milan Turkovic left his position as principal bassoonist with the Vienna Symphony in 1984 to devote himself com?pletely to solo playing and teaching. Since then he has become recognized as one of
the world's few bassoonists with an interna?tional career. He is a member of the Ensemble Wien-Berlin -a woodwind quintet he formed with principal players of the Berlin and Vienna Philharmonics. He is also a member of the Concentus Musicus of Vienna. Mr. Turkovic has performed as a soloist with the Mostly Mozart Festival at Avery Fisher Hall, and most recently as a soloist with the Chicago Symphony Orchestra at the Ravinia Festival. His other US appearances have included the Marlboro and Sarasota Music Festivals and a solo appearance with the St. Louis Symphony. In 1998 Mr. Turkovic participated in a CMS tour throughout the United States with acclaimed trumpeter Wynton Marsalis. Other recent projects included a tour with I Solisti Italiani, a Japanese tour with Ensemble Wien-Berlin, as well as appearances at the Pacific Music Festival, the Kusatsu Festival (Japan), and the Zurich Festival. Turkovic often conducts chamber orchestras and large wind ensembles in Europe and Japan and in February 1997 conducted The Juilliard Winds at Alice Tully Hall. His extensive discography consists of fifteen solo bassoon works, including the CM. Von Weber Concerti (with Sir Neville Marriner), five Vivaldi concerti with I Solisti Italiani, and more than 200 recordings with Concentus Musicus. He is the only artist to have recorded the Mozart Bassoon Concerto in four different versions, one of which fea?tures an original seven-key period instru?ment. At the 1998 Frankfurt Book Fair he presented his book Senza sordino, What Musicians Do During the Day in German, published by "K&S" of Vienna, publisher of Bertelsmann division. Mr. Turkovic is from an Austro-Croatian background and currently resides in Vienna, where for two years he hosted a classical music program on Austrian Television. A teacher at the Vienna Hochschule, he has been an Artist of the Chamber Music Society since 1993.
The Chamber Music Society Of Lincoln Center
In 1965, as plans for Lincoln Center for the Performing Arts neared com?pletion, its president, composer William Schuman, dreamed of creat?ing a constituent devoted exclusively to chamber music. This organization would be housed in its own specially designed recital hall, taking its place alongside the great American ballet and opera companies and a world-renowned orchestra. Founding Artistic Director Charles Wadsworth accepted the challenge to create and lead that organi?zation, and, with the inspiring patronage of Miss Alice Tully, Schuman's plan reached fruition. The Chamber Music Society of Lincoln Center mounted its first concert on September 11, 1969 in its permanent home, Alice Tully Hall. Its pioneering structure -a core of distinguished Artist Members aug?mented by invited guests -allows Artistic Director David Shifrin to present concerts of every instrumentation, style, and historical period at Lincoln Center, on national and international tours, and on national televi?sion via Live from Lincoln Center. As the nation's premier repertory company for chamber music, the CMS strives to bring audiences the finest performances of an extraordinary body of repertoire, dating as far back as the Renaissance and continuing through the centuries to the finest works of our time. In addition to its concert series at Alice Tully Hall, the CMS offers a wide spec?trum of additional programs including a family concert series called "Meet the Music!"; a professional development pro?gram for outstanding emerging artists enti?tled Chamber Music Society Two; a series of hour-long concerts in its intimate Rose Studio; and Inside Chamber Music, a series of weeknight classes on music taught by Bruce Adolphe. This season, the CMS -
celebrating its thirtieth anniversary -offers several very special events. Included are a thirtieth Anniversary Gala telecast on Live From Lincoln Center, a three-concert series with the great Swedish mezzo Anne Sofie von Otter; and a performance of Messiaen's From the Canyons to the Stars, a chamber work for forty-four players commissioned by Miss Alice Tully in 1976. The CMS discography comprises releases ranging from Bach to Zwilich and includes critically acclaimed recordings of Dvorak's Serenade and Quintet, Beethoven's Septet and Serenade; music by Carl Maria von Weber featuring clarinetistArtistic Director David Shifrin; and Walton's Facade with Lynn Redgrave as narrator. Hi-Fi Magazine named the CMS recording of Bach's complete Brandenburg Concertos "one of the best recordings of the year" in 1996. Future releases include the chamber music of Debussy, twentieth-century clarinet quintets, and a children's album with Itzhak Perlman. In its thirty years, the CMS has commissioned over a hundred new works from a formidable array of com?posers, including Samuel Barber, Leonard Bernstein, William Bolcom, John Corigliano, George Crumb, Lukas Foss, John Harbison, Alberto Ginastera, Morton Gould, Keith Jarrett, Oliver Knussen, Gian Carlo Menotti, Darius Milhaud, Peter Schickele, Bright Sheng, Joan Tower, and Ellen Taaffe Zwilich. The Chamber Music Society also supports the work of living composers by awarding the Elise L. Stoeger Prize, a $10,000 award given annually to each of two outstanding composers of chamber music. The CMS has been guided by three Artistic Directors: founding Artistic Director Charles Wadsworth (1969-1989), Fred Sherry (1989-1992), and since 1992, David Shifrin.
CMS marks its seventh appearance under UMS auspices. They were most recently seen in Ann Arbor as part of last season's world premie're ofWynton Marsalis' A Fiddler's Tale.
American String Quartet
and the
Walden Quarte
Student Suzuki Violinists
Edward Surovell
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello
Walden Quartet
Adrienne Jacobs, Yioli, Jodi Yang, Violin John Kulback, Viola Jill Collier, Cello Debra Fayroian, Coach
Wolfgang Amadeus Mozart
Ludwig van Beethoven
Peter Illych Tchaikovsky
Saturday Afternoon, January 30, 1999, at 2:00 Rackham Auditorium, Ann Arbor, Michigan
Martha Ilgenfritz, ASTA and NSOA Chamber Music Festival
Suzuki Play-Along
Quartet in B-flat Major, K.458
Minuet (ii)
American String quartet
Quartet in F Major, Op. 18, No. 1
Scherzo: Allegro molto (iii)
Suzuki Play-Along
String Quartet No. 1 in D Major, Op. 11
Moderato e semplice (i)
walden Quartet Suzuki Play-Along
Charles Ives
String Quartet No. 1, "A Revival Service"
Postlude: Allegro marziale (iv)
Suzuki Play-Along
Everyone is invited to a Michigan American String Teachers Association reception immediately following this performance at the Michigan League, Second Floor, Hussey Room.
Suzuki Play-Along pieces will be selected from the following repertoire:
Beethoven Minuet in G Major
J.S. Bach Minuet (Book I)
"Twinkle Variations"
Folk Songs
Lightly Row
Song of the Wind
Go Tell Aunt Rhody
O, Come Little Children
May Song
Suzuki Allegro
Long, Long Ago, with Variations
Fifty-second Performance of the 120th Season
Beethoven the Contemporary Series
Special thanks to Ed Surovell for his continued and generous support of the Beethoven the Contemporary Series and this performance of the American String Quartet.
This project is also made possible in part by a grant from the Lila Wallace -Reader's Digest Arts Partners Program, which is administered by the Association of Performing Arts Presenters.
Additional support for this performance is made possible by the National Endowment for the Arts and media partner, Michigan Radio.
Special thanks to the Walden Quartet, the Michigan American String Teachers Association, Ed Sprunger, Leslie Wimsatt, Debra Fayroian, MASTA, Scott Estes, Martha Ilgenfritz and area Suzuki students for their involvement in this performance.
The American String Quartet is represented by Melvin Kaplan, Inc.
The American String Quartet records for CRI, Musical Heritage, Nonesuch, New World, and MusicMasters.
Large print programs are available upon request.
The American String Quartet cele?brates its twenty-fifth anniversary in the 1998-1999 season with a tour that includes concerts in all fifty states, a performance at the Kennedy Center in Washington, and two European tours. In the years since its incep?tion, the quartet has achieved a position of rare esteem in the world of chamber music. On annual tours that have included virtually every important concert hall in eight European countries and across North America, the Quartet has won critical acclaim for its presentations of the complete quartets of Beethoven, Schubert, Schoenberg, Bartok and Mozart, and for collaborations with a host of distinguished artists.
Resident Quartet at the Aspen Music Festival since 1974 and at the Taos School of Music since 1979, the American String Quartet also has ongoing series at the University of Michigan and the Orange County Performing Arts Center in California. The Quartet is
credited with broadening public awareness and enjoyment of chamber music across North America through educational programs, seminars, broadcast performances, and pub?lished articles. It was one of the first ensem?bles to receive a National Arts Endowment grant for its activities on college campuses. Its commitment to contemporary music has resulted in numerous commissions and awards, among them three prize-winners at the Kennedy Center's Friedheim Awards.
Quartet-in-Residence at the Manhattan School of Music in New York since 1984, the members of the Quartet were previously on the faculty of the Peabody Conservatory (where they initiated the program of quartet studies) and in 1992 they served as resident ensemble for the Van Cliburn International Piano Competition.
The American String Quartet continues to reach a widening audience through its recordings most recently the complete Mozart Quartets for MusicMastersMusical Heritage on a set of matched Stradivarius instruments,
released in 1997-1998. The Quartet's diverse activities have also included numerous radio and television broadcasts in fifteen countries, tours to Japan and the Far East, and perfor?mances with the Montreal Symphony, the New York City Ballet and the Philadelphia Orchestra.
The four musicians studied at The Juilliard School, where the Quartet was formed in 1974, winning the Coleman Competition and the Naumburg Award that same year. Outside the Quartet, each finds time for solo appearances and recitals.
This performance marks the American String Quartet's fifth appearance under UMS auspices.
Recipients of the 1998 MASTA Young Artists in Chamber Music Award, the Walden Quartet has been named the best student string ensemble in the state of Michigan. All members are residents of Oakland County. They are each exemplary in their academic achievements attending Troy and Seaholm High Schools. The Walden Quartet will maintain a difficult schedule this year with performances at the Youth Arts Festival and with the American String Quartet under the auspices of the University Musical Society in Ann Arbor. They will also coach with members of the Detroit Symphony Orchestra through the Great Lakes Chamber Music Festival. The quartet is coached by DSO cellist Debra Fayroian.
This performance marks the Walden Quartet's debut appearance under UMS auspices.
Jill Collier, cello, seventeen, is a junior at Seaholm High School in Birmingham, Michigan. Jill presently studies cello with Owen Carmen, professor of cello at Michigan State University. Music studies began for Jill at the age of five when she studied Suzuki violin with Ann Dodge. Since then she has studied with Felix Wang at the University of Michigan and Sarah Cleveland, former prin?cipal cellist of the Toledo Symphony Orchestra. Jill has studied chamber music with Christian Teal of the Blair School of Music at Vanderbilt University. Jill has attended Lyric Chamber Music Camp, Interlochen Arts Camp, Strings on the Pond at the University of Michigan, and for the past two summers, the Meadowmount School of Music. Just this year Jill has received a scholarship from her high school and two honorable mentions, one from the Metro?politan Youth Symphony scholarship audition and the other from the Birmingham-Bloomfield Symphony Orchestra concerto competition.
Adrienne Jacobs, violin, sixteen, lives in Troy, Michigan and is a junior at Troy High School. She has been taking violin lessons for six years and currently studies with Stephen Shipps at the University of Michigan. In the past she has studied with Robert Murphy and Ara Zerounian. In 1996, Adrienne was featured soloist with the Warren Symphony Orchestra. Recently she has been coached by the Arianna String Quartet, Ida Kavafian of The Beaux Arts Trio, Sally Thomas of The Julliard School of Music, concert artist Corey Cerovsek, and Almita Vamos of the Oberlin Conservatory of Music. While at the Meadowmount School of Music, Adrienne studied chamber music with Eugene Becker of The Julliard School of Music, and Christian Teal of the Blair School of Music at Vanderbilt University. Adrienne has received a scholarship from the Troy Foundation for Excellence and has
recently been named the 1998 senior division winner of the Birmingham-Bloomfield Symphony Orchestra concerto competition. She will be performing with them next season.
John Kulback, viola, is sixteen-years old and lives in Troy, Michigan. He began playing the viola at the age of nine and has studied with Hart Hollman and Caroline Coade, both violists in the Detroit Symphony Orchestra. In 1995, John had the opportuni?ty to rehearse and perform Teleman's Concerto in G Major with his school orches?tra. John has attended Interlochen in past summers and will attend Musicorda this coming summer. There he will study with Michelle LaCourse, professor of viola at Boston University. In college, John's goal is to complete a double major in viola perfor?mance and biology.
Jodi Yang, violin, is sixteen-years old and lives in Troy, Michigan. She is a student of Michigan Opera Theater violinist Velda Kelly, and has studied with University of Michigan professor Paul Kantor. While at the Aspen Music Festival in Colorado, Jodi studied with the youngest prizewinner in the history of the International Tchaikovsky Competition, Ayssa Park, and University of Cincinnati professor Kurt Sassmannshaus. Jodi has won three merit scholarships from the Metropolitan Youth Symphony and has been concertmaster of its string and concert orchestras. Last year Jodi had the opportunity to rehearse the Mendelssohn Concerto in e minor with the Rochester Symphony Orchestra.
Dr. Shinichi Suzuki founded and invented the method he called "Talent Education," but which is usually referred to as the "Suzuki method." While studying violin in Berlin in the 1920s under Professor Karl Klingler, Dr. Suzuki noticed that all German children could easily speak German, some?thing which he found very difficult. He marveled at the ease with which every child learns to speak their own language.
This led Dr. Suzuki to the startling insight that the methods parents use to teach chil?dren to speak is the perfect way to teach very young children music. He placed great emphasis on the environment of the children, rather than on the commonly accepted idea that musical talent must be inherited through family background. Dr. Suzuki returned to Japan and began to develop his ideas, pre?senting his first students in Tokyo in 1942. After World War II, Dr. Suzuki began teach?ing in Matsumoto, Japan, and set up the Talent Education Institute there in 1947.
The Talent Education movement grew as other teachers studied with Dr. Suzuki and began to teach his methods across Japan. The program expanded as teachers of different instruments became interested in Suzuki's approach, and materials were developed for cello, piano, and flute. Since then, the Suzuki method has spread across the world, with many thousands of children having learned by it. Today there are teachers using the Suzuki method to teach all of the string instruments, flute, and piano. Dr. Suzuki died in 1998.
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello
Edward Surovell
Ludwig van Beethoven
Kenneth Fuchs
Sunday Afternoon, February 7,1999 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Quartet in F Major, Op. 18, No. 1
Allegro con brio
Adagio affettuoso et appassionato
Scherzo: Allegro molto
Whispers of Heavenly Death
(String Quartet No. 3 After Poems by Walt Whitman)
Allegro agitato
Largo misterioso: Introduzione; Poco pui mosso:
Tema con varizainoi; Affrettando Gioioso
Quartet in e minor. Op. 59, No. 2
Allegro Adagio molto Allegretto Finale: Presto
There will be a brief question and answer session with the American String Quartet and composer Kenneth Fuchs following this performance.
Fifty-third Performance of the 120th Season
Beethoven the Contemporary Series
Special thanks to Ed Surovell for his continued and generous support of the Beethoven the Contemporary Series and this performance of the American String Quartet.
This project is also made possible in part by a grant from the Lila Wallace Reader's Digest Arts Partners Program, which is administered by the Association of Performing Arts Presenters.
Additional support for this performance is made possible by the National Endowment for the Arts and media partner, Michigan Radio.
Special thanks to Steven Whiting, Andrew Jennings, the U-M School of Music, Wayne County RESA, Dr. Victoria Holley-Foster and the Ann Arbor School for the Performing Arts for their assistance with this residency.
Large print programs are available upon request.
String Quartet in F Major, Op. 18 No. 1
Ludwig van Beethoven
Born on December 15 or 16, 1770 in
Bonn, Germany Died on March 26, 1827 in Vienna
Although the earlier string trios (Op.9) show Beethoven's remarkable facility for chamber writing, his first attempts at the string quartet genre apparently did not flow so easily from his pen. Two years after he completed the String Quartet in F Major in 1799 (published as Op. 18 No. 1, though thought to be the second quartet composed), Beethoven wrote to his friend and the quartet's dedicatee, Karl Amenda, "Don't let anyone see your quartet as I have greatly changed it. I have just learned how to write quartets properly." The voluminous sketches, and this major revision of the F Major quartet, testify to the composer's initial doubts about Op. 18. But it was not the weight of eigh?teenth-century tradition or the shadows of Mozart of Haydn that caused this hesitation. More likely it was a question of Beethoven learning to trust his own technique. In these quartets, for instance, he gives each instru?ment greater independence than Mozart or Haydn ever did, liberating the viola and cello in particular from their traditional accompanimental roles, and opening new realms of passion for the traditionally-staid genre.
The F-Major quartet is the biggest, most impressive, and consequently the best-known of the six quartets in Op. 18. Because of its later revision in 1801 it is also more varied in expression and in design than the others. Louis Spohr even considered it the ideal model of the string quartet genre.
In early sketches for the first movement, Beethoven appears to have conceived it in 44 instead of 34, but eventually decided that the extra beat was superfluous. Sixteen pages of sketches were required to produce a
single rhythmic kernel that contained with?in it the material for a whole movement. This brisk, fragmentary theme, stated at the outset in octaves, entirely overpowers the charming second subject. The rhythmic motto recurs over one hundred times throughout the movement, but despite this pervasive motif, the movement as a whole based on contrasts of modulation, dynam?ics, attack, texture.
For the second movement, in the rela?tive minor key, Beethoven had in mind the final burial-vault scene from Shakespeare's Romeo and Juliet (over one of the sketches for this movement he even wrote, "les derniers soupirs" -"the last sighs"). The movement takes the form of a dramatic scena, but without following the narrative too explicitly. As Joseph Kerman suggests, perhaps it is emotionality rather than raw emotion being expressed in this movement. Sometimes the gestures are little too melo?dramatic to be genuinely tragic, but the mastery of form and medium is formidable, and certainly an indication that Beethoven had broken with eighteenth-century models of expressive restraint in the string quartet.
After such a dramatic "Adagio," the "Scherzo" that follows could hardly be of the light and inconsequential variety. The strongly chromatic element, rapid figuration in the violins, and shifting accents give a feeling of unrest to the movement. The trio, though nominally in the major mode, spends much of the time exploring minor-key areas.
The fourth-movement finale, a broad sonata-rondo, is designed to match the breadth of expression in the opening move?ments, retaining the sobriety but alleviating some of the outward passion. A lengthy developmental section delves into double counterpoint, but in this movement the composer seems content to relax the inten?sity of the preceding movements.
Whispers of Heavenly Death
(String Quartet No. 3 After Poems by Walt Whitman)
Kenneth Fuchs
Born July 1, 1956 in Dumont, New Jersey
American composer, conductor, and music administrator Kenneth Fuchs first collabo?rated with the American String Quartet in a celebration of the group's twentieth anniver?sary season in 1993-94. For the occasion, he wrote Where Have You Been (String Quartet No. 2 After Five Collages by Robert Motherwell) and, in the composer's words, the "joyous relationship" that resulted led immediately to another composition, Whispers of Heavenly Death (String Quartet No. 3 After Poems by Walt Whitman) writ?ten between September 1995 and October 1996. Fuchs has dedicated this work to the American String Quartet "with much affec?tion."
Many of Fuchs's compositions take inspiration from extra-musical sources, and he often credits these sources directly in his titles (he has written, for example, a cham?ber concerto named after a painting by Robert Motherwell, and a number of his vocal works also name the poet directly in their titles). Putting the generic label of "string quartet" as a subtitle directs the audience's attention to the overtly program?matic narrative in this work. Perhaps it is appropriate that Fuchs's third string quartet should follow Beethoven's String Quartet Op. 18, No. 1 on tonight's program, as the slow movement in Beethoven's work also has explicit connections with a literary "pro?gram".
The poetry of Walt Whitman has become something of a favorite among twentieth-century composers, from Hoist, Delius, Vaughan Williams and Hindemith to the post-minimalist John Adams. All have been responded to Whitman's eloquent sen?sitivity on themes of death and the afterlife.
Fuchs's attachment to Whitman also runs deeply; the composer writes, "[Whitman's] Whispers of Heavenly Death has been a source of reflection and renewal throughout my adult life, and for several years I have wanted to compose a string quartet inspired by these poems." All the poems from Whispers of Heavenly Death provided inspi?ration for the quartet, though Fuchs pref?aces each of the three movements with quo?tations from only the first poem in the col?lection, "Darest Thou Now O Soul." Ralph Vaughan Williams's magnificent choral orchestral setting of this text is widely-known, but Fuchs's instrumental interpretation offers a different perspective, not just in the choice of performing ensemble but also in the emotional interpretation of the text. The composer writes regarding this work:
The first movement ("Darest thou now O soul, Walk out with me toward the unknown region, where neither ground is for the feet, not any path to follow") begins with a forceful tutti statement that intro?duces the principal pitch class of the first and second movements, and the principle rhythmic pulse [a progressive doubling of note durations] of the entire composition. The music is jagged and propulsive:
The second movement ("I know it not O soul, Nor dost thou, All is a blank before us, All waits undream'd of in that region, that inaccessible land") begins with a meditation suggested by the ethereal mood of this verse and continues with an extended and search?ing theme and variations; an animated tran?sition leads to the third and final move?ment.
Having resolved the tension and anxiety of the first two movements, the quartet now presents the melodic and thematic materials of the work in diatonic form. The finale ("Till when the ties loosen, All but the ties eternal, Time and Space ... Then we burst forth, we float") is buoyant and optimistic, affirming the power of life and death, and the triumph of the spirit and the soul.
String Quartet in e minor. Op. 59, No. 2
Ludwig van Beethoven
By the time Beethoven composed the three "Rasumovsky" quartets (Op. 59) in 1806, he had established a secure, even comfortable career as a composer. Publishers were clam?oring for his works so they could satisfy the public's desire for new chamber music (which, according to Leonard Altman, had become a "major indoor sport" among the nouveaux riches in Vienna at the time). Consequently, Beethoven had no-one to please in composition but himself. When Muzio Clementi made some unfavorable comments about the Op. 59 quartets, Beethoven simply responded, "Oh, they are not for you, but for a later age."
These three quartets, the first Beethoven had completed since Op. 18, were written on a commission from Count Rasumovsky, the Russian ambassador to Vienna (in respect of his patron, Beethoven promised to "weave a Russian melody into every quartet," though in the end only one movement in each of the first two quartets contains Russian material). The years between Op. 18 and Op. 59 witnessed remarkable developments in the composer's style. During that period he wrote his Symphony No. 2 and Symphony No. 3, the "Waldstein" and "Appassionata" piano sonatas, the Piano Concerto No. 4, and the first version of his opera Fidelio. All these works had broad?ened the scope and enlarged the boundaries of musical expressivity, and in composing the Op. 59 quartets Beethoven infused the genre with an unprecedented emotional power.
The second quartet of the group, in e minor, is the most intimate and least showy of the three, and hence is not programmed as often as the others. It begins with two dramatic chords and a measure of silence (both features recur throughout the movement). In earlier works such as Piano Sonata, Op. 7, Beethoven had discovered the power of silence to create tension. Combined with unison passages
that have a similarly potent effect, this move?ment is weighty and terse. Feelings of anxiety and sadness alternate with passages of con?soling tenderness, but the movement ends with a pianissimo question mark.
The second movement, in the parallel major key of E, is marked "Si tratta questo an molto di sentimento" ("This piece must be played with great feeling"). It was reportedly inspired by the composer's experience of "gazing up at the stars and contemplating the music of the spheres." The main theme is derived also from the B-A-C-H motif, providing another extra-musical association -in the development section the cello even plays this motif at exact pitch. The chorale-like beginning establishes the mood of sublime repose, and the movement is remarkably uni?form, with minimal contrast.
In typical Beethoven fashion, the scherzo uses syncoptaions and misplaced accents to break up the rhythmic continuity. As Basil Lam remarks, it is a "non-scherzando scherzo" in which there is little humor or lightness. The trio quotes a Russian "slava" melody from Ivan Platsch's collection of Russian folk tunes, the same melody that Mussorgsky later used in the famous coronation scene from Boris Godunov, and that Rimsky-Korsakov incor?porated into his opera The Tsar's Bride. Beethoven, however, treats this melody Germanically, and casts it contrapuntally in the manner of a fugue. In a departure from conventional practice, the trio section returns after the repeat of the scherzo.
The last movement is arguably the most dazzling quartet finale ever written, suggesting the galloping rhythm of a cavalry charge. It begins in C Major, and only moves around to the tonic e minor rather late in the expo?sition of themes. The development section in the first movement had also emphasized a C Major passage, and making such harmonic connections between movements was one of Beethoven's preferred methods for unifying multi-movement works. There is much
playfulness in the finale's bounding rhythms, and the rush to the final cadence is high-spirited and spectacular.
Program notes by Luke Howard.
Please see page 19 for the American String Quartet biography.
This performance marks the American String Quartet's sixth appearance under UMS auspices.
The American String Quartet is represented by Melvin Kaplan, Inc.
The American String Quartet records for CRI, Musical Heritage, Nonesuch, New World, and MusicMasters.
ImMERCEsion: Merce Cunningham Dance Company
Choreography MERCE CUNNINGHAM Founding Musical Director JOHN CAGE Assistant to the Choreographer ROBERT SWINSTON Musical Director TAKEHISA KOSUGI Executive Director SHELDON SCHWARTZ
Lisa Boudreau Thomas Caley Holley Farmer Maydelle Fason Jean Freebury
Stuart Dempster Takehisa Kosugi
David Kulick Koji Minato Matthew Mohr Banu Ogan Glen Rumsey
Yasunao Tone Micheal Van Sleen
Daniel Squire Jeannie Steele Derry Swan Robert Swinston Cheryl Therrien
Friday Evening, February 12,1999 at 8:00 Power Center, Ann Arbor, Michigan
Pond Way (1998)
Scenario (1997)
Fifty-fourth Performance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Presented with support from media partners, WDET and Metro Times. Special thanks to Linda and Richard Greene for their support of this performance. Special thanks to the Wayne State University, Eastern Michigan University and University of Michigan Dance Departments, the U-M Department of Film and Video, U-M Institute for the Humanities, the Ann Arbor Public Schools, the Ann Arbor Art Center, Dance Gallery, the Ann Arbor District Library, Gay Delanghe, Eva Powers, Laura Kuhn, Stephen Rush, Elliot Caplan, Roger Copeland, David Vaughan, Robert Swinston, and Merce Cunningham for their assistance with this residency.
Special thanks to the students in the Ann Arbor Public Schools for creating and sharing
the art featured in the Power Center lobby.
This program is supported in part, by the National Endowment for the Arts.
This event is made possible with public funds from New York State Council on the Arts, a
State Agency and The Fund for U.S. Artists at International Festivals and Exhibitions.
The Yamaha Disklavier is the official piano of the Merce Cunningham Dance Company.
Large print programs are available upon request.
Rondo (1996)
Premiere Performance
Merce Cunningham
John Cage, FOUR"
Suzanne Gallo & Merce Cunningham
Kelly Atallah
Stuart Dempster Takehisa Kosugi Yasunao Tone Michael Van Sleen
Merce Cunningham Dance Company, Theater im Forum, Ludwigsburg, Germany, June 2, 1996.
Rondo has two sections. The first is variable from performance to performance in the order of the continuity of the eight short dances that comprise it.
The second section is denser and has a shift of pace, like a sudden change in the weather. The material for Rondo has been worked out, in part, on the dance computer program, "LifeForms."
-Merce Cunningham
This work has been made possible by the ADF (with support from Philip Morris Companies Inc.), the North Carolina Museum of Art, Ludwigsburger Schlossfestspiele Internationale Festspiele Baden-Wiirttemberg, and the Cunningham Dance Foundation, Inc.
Pond Way (1998) To Roy Lichtenstein
Merce Cunningham
Brian Eno, New Ikebukuro (For Three CD Players)
Roy Lichtenstein, Landscape with Boat (1996)
Suzanne Gallo
David Covey
Lisa Boudreau Thomas Caley Holley Farmer Maydelle Fason Jean Freebury Matthew Mohr Banu Ogan
Glen Rumsey Daniel Squire Jeannie Steele Derry Swan Robert Swinston Cheryl Therrien
Premiere Performance
Merce Cunningham Dance Company, Paris Opera Palais Garnier, January 13, 1998.
[This] new [series of] paintings was, in fact, first inspired by a 1994 exhibition of Edgar Degas's splendid landscape monotypes and pastels, in which Degas used broad masses of color to suggest land, space, and atmosphere. Struck by these unusual effects, Lichtenstein made a number of sketches, using his familiar dot patterns and a sponge to create monotype-like strokes. These initial efforts were followed by collages; the artist cut shapes from sheets of Benday-like dots in graduated sizes and pasted them into compositions evocative of sky and water.
--from Roy Lichtenstein: Landscapes in the Chinese Style by Barbara Shapiro, curator, Museum of Fine Arts, Boston
Pond Way was commissioned by Opera National de ParisPalais Gamier and the Cunningham Dance Foundation, Inc.
The Cunningham Dance Foundation, Inc. wishes to thank Dorothy Lichtenstein, Cassandra Lozano, James dePasquale & Robert McKeever for their generosity in realizing Roy Lichtenstein's vision.
Landscape with Boat OEstate of Roy Lichtenstein. All rights reserved. (Oil & Magna on canvas, 5874 x 96'A inches).
Generous support provided by AT&T.
Major funding provided by The National Endowment for the Arts.
Additional funding provided by the Metropolitan Life Foundation, the Mary Flagler Cary Charitable Trust, the Horace W. Goldsmith Foundation, Agnes Gund and Daniel Shapiro.
Scenario (1997)
Choreography Music
Costumes & Decor
Lighting Design
Additional Lighting
Design & Execution
Musicians Premiere Performance
Merce Cunningham Takehisa Kosugi, Wave Code A-Z Rei Kawakubo Masao Nihei
David Covey Takao Kawasaki
Takehisa Kosugi, Wave Code A-Z
Merce Cunningham Dance Company, Brooklyn Academy of Music, October 14,1997.
Wave Code A-Z
The inaudible very low frequency electronic waves make sounds undulate. Various sounds and phonetic realizations instructed by the meanings of twenty-six single words (A to Z) are performed with the electronic waves. The undulated sounds may be heard for gradual change of sonic spectrum.
-Takehisa Kosugi
The defiance and fusion of the dancers within the confines of a limited white space! What would happen
The emphasis of and restrictions to the movements due to the shapes and volumes of the costumes! Would something totally unexpected be produced
The results are unpredictable.
We can only await chance and fortuity.
-Rei Kawakubo
Major funding provided by The National Endowment for the Arts.
Partial support for Scenario provided by Opera National de ParisPalais Gamier; Metropolitan Life Foundation; Choo-San Goh & H. Robert Magee Foundation; the Mary Flagler Cary Charitable Trust; and the Brooklyn Academy of Music.
Special thanks to Tsuguya Inuoe, graphic design; Hiroshi Matsushita, fabrics; Timothy Greenfield-Sanders, photography; and Comme des Garcons.
Please see page 37 for Merce Cunningham Dance Company biographies.
ImMERCEsion: Merce Cunningham Dance Company
Choreography MERCE CUNNINGHAM Founding Musical Director JOHN CAGE Assistant to the Choreographer ROBERT SWINSTON Musical Director TAKEHISA KOSUGI Executive Director SHELDON SCHWARTZ
Lisa Boudreau Thomas Caley Holley Farmer Maydelle Fason Jean Freebury
Stuart Dempster Takehisa Kosugi
David Kulick Koji Minato Matthew Mohr Banu Ogan Glen Rumsey
Yasunao Tone Micheal Van Sleen
Daniel Squire Jeannie Steele Derry Swan Robert Swinston Cheryl Therrien
Saturday Evening, February 12, 1999 at 8:00 Power Center, Ann Arbor, Michigan
Ground Level Overlay (1995)
Sounddance (1974)
Fifty-fifth Performance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Presented with support from media partners, WDET and Metro Times.
Special thanks to Linda and Richard Greene for their support of this performance.
Special thanks to the Wayne State University, Eastern Michigan University and University of
Michigan Dance Departments, the U-M Department of Film and Video, U-M Institute for
the Humanities, the Ann Arbor Public Schools, the Ann Arbor Art Center, Dance Gallery, the
Ann Arbor District Library, Gay Delanghe, Eva Powers, Laura Kuhn, Stephen Rush, Elliot
Caplan, Roger Copeland, David Vaughan, Robert Swinston, and Merce Cunningham for
their assistance with this residency.
Special thanks to the students in the Ann Arbor Public Schools for creating and sharing the
art featured in the Power Center lobby.
This program is supported in part, by the National Endowment for the Arts.
This event is made possible with public funds from New York State Council on the Arts, a
State Agency and The Fund for U.S. Artists at International Festivals and Exhibitions.
The Yamaha Disklavier is the official piano of the Merce Cunningham Dance Company.
Large print programs are available upon request.
Choreography Music Decor
Costumes Lighting
Merce Cunningham Company Musicians Robert Rauschenberg, Immerce, 1994 (Acrylic on primed
linen canvas, I2IV2 x 436 inches). Suzanne Gallo Aaron Copp
Takehisa Kosugi Stuart Dempster Yasunao Tone
The music for each Event performance is composed and performed by the company musicians.
Presented without intermission, this Event consists of complete dances, excerpts of dances from the repertory, and often new sequences arranged for the particular performance and place, with the possibility of several separate activities happening at the same time -to allow not so much an evening of dances as the experience of dance.
-Merce Cunningham
Event includes historic material from The Merce Cunningham Dance Company from as early as the 1960s through material taken from the 1990s.
Ground Level Overlay (1995)
Premiere Performance
Merce Cunningham
Stuart Dempster, Underground Overlays
Leonardo Drew
Suzanne Gallo
Aaron Copp
Stuart Dempster Takehisa Kosugi Yasunao Tone
Merce Cunningham Dance Company, City Center Theatre, March 8,1995.
This dance was begun by processing phrases of movement into "LifeForms," the dance computer I utilize. It continues my interest in dancers as people dealing with movement complexities.
-Merce Cunningham
Underground Overlays is the result of a commission in 1993 by Meet The Composer's ComposerChoreographer Project for a collaboration with Merce Cunningham for performances during 1995. Dedicated to the memory of John Cage, Underground Overlays actually describes what takes place, and is inspired by my work with Merce Cunningham during the tour of summer 1976 when I played and recorded In the Great Abbey of Clement VI in Avignon. The material for this piece was recorded in a two-million-gallon former water tank at Fort Worden in Port Townsend about seventy miles northwest of Seattle, which has now achieved some notoriety ever since the CD Deep Listening was recorded there in 1988. John Cage was deeply moved by that recording. The old water tank is known locally as "the cistern" or, more fondly, "The Cistern Chapel." It has an incredible reverberation time of forty-five seconds; any sound made is reverberated warmly with nearly perfect evenness in tone quality and dynamic range over a forty-five second decay time.
-Stuart Dempster
In the making of this work, ten trombone players descended fourteen feet into the 186-foot diameter cistern and spread out around the circumference. Dempster, as composer, soloist, and director, performed in the center spinning slowly delivering
various instructions to each of the performers in turn. The result is a warm, shimmering series of overlays from this underground water tank; hence the title of the work. The resulting tapes are then arranged to be played with a performance attitude separately or simultaneously while at the same time live musicians are blending with the tape(s), creating more layers. The sources for this work, entitled Underground Overlays from the Cistern Chapel, has been recorded on New Albion (NA 076).
This work is made possible, in part, by AT&T.
The composer and choreographer commission fees for this collaboration were made possible by a grant from Meet The Composer's ComposerChoreographer Project, a national program funded by the Ford Foundation and The Pew Charitable Trusts.
"The performers on these tapes are: Stuart Dempster, solo trombone, garden hose, didjeridu, conch; Jay Bulen, Jeff Domoto, Moc Escobedo (also conch), Scott Higbee, Gretchen Hopper, Nathaniel Irby-Oxford, Chad Kirby (also conch), Dave Marriott, Greg Powers, trombones; Debra Sykes, Tibetan cymbals.
Sounddance (1974)
Choreography Music
Design, Lighting, and Decor Staging
The Dancers (in order of appearance)
Musician Premiere performance
Merce Cunningham
David Tudor, Untitled 19751994
Mark Lancaster
Chris Komar and Meg Harper
Robert Swinston Jeannie Steele Koji Minato Thomas Caley Jean Freebury Banu Ogan David Kulick Glen Rumsey Cheryl Therrien Lisa Boudreau
Takehisa Kosugi
Merce Cunningham Dance Company, Music Hall, Detroit, Michigan, March 8,1975.
The title is from Finnegans Wake.
Merce Cunningham Dance Company came into being in the summer of 1953, when Cunningham took a group of dancers who had been working with him to Black Mountain College, the progressive liberal arts school in North Carolina. The group included Carolyn Brown, Viola Farber, Remy Charlip, and Paul Taylor. John Cage was musical director and David Tudor the company musician. Cage's association with the Company con?tinued until his death in August 1992, when Tudor succeeded him as musical director. David Tudor died in August 1996. In 1995, Takehisa Kosugi was appointed musical director.
In June 1964, as the Company began its second decade, it set off on a world tour that was to last six months, with perfor?mances in Western and Eastern Europe, India, Thailand, and Japan. The reception, by audiences and critics alike, of the impor?tance of the work of Cunningham and Cage and their associates made this tour a turning point in the Company's history. Extended domestic tours and New York seasons were soon part of the annual schedule, as well as further tours abroad.
From 1954 to 1964 Robert Rauschenberg was the Company's resident designer. The following decade saw a number of celebrat?ed collaborations with visual artists, includ?ing Jasper Johns (who was appointed artistic advisor in 1967), Frank Stella, Andy Warhol, and Robert Morris. In 1980 the British painter Mark Lancaster succeeded Johns as artistic advisor; since 1984 William Anastasi and Dove Bradshaw have served jointly in that capacity.
Since the 1970s, Cunningham has choreographed a number of videoand filmdances, in collaboration first with Charles Atlas and later with Elliot Caplan. The most recent CunninghamCaplan film collaboration, CRWDSPCR, documents the
creation of the dance of that name.
Scenario, with music by Takehisa Kosugi and design by Rei Kawakubo of Comme des Garcons, was seen for the first time at the Next Wave Festival at Brooklyn Academy of Music, New York, in October
1997. In January 1998 the company gave a two-week season at the Paris Opera where Pond Way, with music by Brian Eno and design after a painting by Roy Lichtenstein, had its premiere.
In the summer of 1998 the company performed at several dance festivals: Montpellier Danse, where it presented Ocean, the ninety-minute work first given in 1994; the American Dance Festival in Durham, NC; The Jacob's Pillow Dance Festival in Lee, Massachusetts; and Lincoln Center Out-of-Doors in New York City. Following a week of performances at the Barbican Centre in London in October
1998, the company traveled to Japan for a three-week tour of several cities.
Domestic touring will continue during the spring of 1999 with performances at Cornell University in March and a West Coast tour in April, during which a new work by Merce Cunningham will be per?formed at the University of California at Berkeley. In July the company will perform at the New York State Theater during the Lincoln Center Festival 1999.
This weekend's performances mark the Merce Cunningham Dance Company's second and third appearances under UMS auspices. The Merce Cunningham Dance Company partici?pated in a three-day residency hosted by UMS in April of 1971.
Merce Cunningham, born in Centralia, Washington, received his first formal dance and the?ater training at the Cornish School (now Cornish College of the Arts) in Seattle. From 1939 to 1945, he was a soloist in the company of Martha Graham. He presented his first New York solo concert with John Cage in April 1944. Merce Cunningham Dance Company was formed at Black Mountain College in the summer of 1953. Since that time Cunningham has choreographed nearly two hundred works for his company. His work has also been presented by New York City Ballet, the Paris Opera Ballet, American Ballet Theatre, Boston Ballet, White Oak Dance Group, Pacific Northwest Ballet, Pennsylvania Ballet, and Rambert Dance Company, among others. Cunningham's interest in contemporary technology has led him to work extensively in film and video, in collaboration first with Charles Atlas, later with Elliot Caplan, and also to explore the computer program "LifeForms," which he has used in creating all his dances since Trackers (1991). Most recently he has worked with Paul Kaiser and Shelley Eshkar of Riverbed to develop a virtual dance per?formance. In 1996 Cunningham received the Nellie Cornish Arts Achievement Award from his alma mater, Cornish College of the Arts; in 1995 he was awarded the Golden Lion of the Venice Biennale. Cunningham and John Cage (posthumously) were award?ed the Wexner Prize of the Wexner Center for the Arts at Ohio State University in 1993. Cunningham was also a recepient of the National Medal of Arts in 1990 and the Kennedy Center Honors in 1985, in which year he also received the Laurence Olivier Award in London and a MacArthur Fellowship. In France, he was made a Chevalier of the Legion d'Honneur in 1989. Cunningham has collaborated on two books about his work: Changes: Notes on
Choreography, with Frances Starr (Something Else Press, New York, 1968), and The Dancer and the Dance, interviews with Jacqueline Lesschaeve (Marion Boyars, New York and London, 1985). The latter, origi?nally published in French, has also been translated into German and Italian. Merce CunninghamDancing in Space and Time, a collection of critical essays edited by Richard Kostelanetz, was published in 1992 by a cappella books. Merce Cunningham Fifty Years, chronicle and commentary by David Vaughan, archivist of the Cunningham Dance Foundation, was published by Aperture in September, 1997.
John Cage was born in Los Angeles in 1912. He studied with Richard Buhlig, Henry Cowell, Adolph Weiss, and Arnold Schoenberg. In 1952, at Black Mountain College, he presented a theatrical event con?sidered by many to be the first Happening. He was associated with Merce Cunningham from the early 1940s, and was Musical Advisor to Merce Cunningham Dance Company until his death in 1992. Cage and Cunningham were responsible for a number of radical innovations in musical and choreo?graphic composition, such as the use of
chance operations and the independence of dance and music. His last work for MCDC was FOUR3, the score for Beach Birds, presented at the James JoyceJohn Cage Festival in Zurich in 1991. He was the author of many books, among them Silence (1961), A Year from Monday (1968), M (1973), Empty Words (1979), and X( 1983), all published by Wesleyan University Press. I-VI (the Charles Eliot Norton Lectures delivered at Harvard University in 1988-89) was published by Harvard University Press in 1990. Cage's music is published by the Henmar Press of C.F. Peters Corporation and has been recorded on many labels. He died in New York City on 12 August 1992.
Takehisa Kosugi was born in Tokyo in 1938. He graduated from Tokyo National University of Fine Arts and Music in 1962. From 1965 to 1967 he lived in New York, creating multi-media performance works and giving concerts with Nam June Paik and other Fluxus members. In 1969 he founded the Taj Mahal Travellers in Tokyo, a collec?tive improvisational group giving intermedia presentations. He has been a composerper-
former with Merce Cunningham Dance Company since 1977. In 1991 he received the John Cage Award for Music from the Foundation for Contemporary Performance Arts. He was appointed Musical Director of MCDC in 1995.
Robert Swinston was born in Pittsburgh, PA and attended Middlebury College and The Juilliard School, where he received a B.F.A. in dance. He has danced with the Martha Graham Apprentice Company, the Jose Limon Dance Company, and with Kazuko Hirabayashi Dance Theatre. He joined MCDC in August 1980. He has taught dance at Montclair State College, SUNY Purchase, The Juilliard School and the Merce Cunningham Studio. In July 1992 he became Assistant to the Choreographer, and also directs the activities of the CDF Repertory Understudy Group and the Cunningham Repertory Group. He has assisted in the staging of Cunningham works on other companies, including Boston Ballet, Dayton Contemporary Dance Company, and the White Oak Dance Project.
Lisa Boudreau was born in Ontario, Canada and trained at the Royal Winnipeg Ballet. Since moving to New York, she has worked with Milton Meyers and Mafata Dance com?pany. She became a member of the Repertory Understudy Group in April 1994 and joined the Company in August 1994.
Thomas Caley was born in Michigan, where he attended Interlochen Arts Academy. In the spring of 1992 he graduated from SUNY Purchase with a B.F.A. in dance, and a President's Award for Academic Achievement. In New York he has performed with Neil Greenberg, Kevin Wynn and Kenneth Tosti. He is a Princess Grace Foundation-USA Dance Scholar for 1993-94 and joined MCDC in August of 1993.
Holley Frances Farmer first trained with Hae Shik Kim in Fresno, California. She has danced with the Theatre Ballet of Canada, the Oakland Ballet, and the original Canadian cast of The Phantom of the Opera. She holds a BFA from Cornish College of the Arts and an MFA from the University of Washington.
Maydelle Fason began dancing as a child in Austin, TX. During high school she moved to New York to study at the School of American Ballet which led to an apprentice?ship performing with the New York City Ballet. Since then she has danced with Christopher d'Amboise, Francine Lande's, Yakov Sharir, Llory Wilson and was a Repertory Understudy before joining the MCDC in 1996. Maydelle received a BA in literature from Barnard College.
Jean Freebury studied at the Alberta Ballet School, London Contemporary Dance School and North Carolina School of the Arts. Since moving to New York in 1990, she has worked with Ellen Cornfield, Bryan Hayes and Kenneth King. She joined MCDC in July 1992.
David Kulick was born and raised in Wisconsin. He attended the University of Wisconsin at Stevens Point where he studied with James Moore and Regina Sadono. In New York he studied ballet with Nenette Charisse. David has performed with the Merce Cunningham Dance Company, the White Oak Dance Project, and the Martha Graham Dance Company, and has been on the faculty of the Cunningham Studio since 1991. He conducts workshops of Cunningham repertory and is Co-Director of the Cunningham Repertory Group, which has been presented by the Lincoln Center Institute's performance program in the NYC public schools. David was a mem?ber of MCDC from 1986 to 1993 and rejoined the company in 1998.
Koji Minato was born in Kochi, Japan and studied dance in Tokyo. He has studied modern dance with Kazuko Hirabayashi since 1989. He has had extensive performing experience in Japan and has won several awards for dance and choreography. December 1997 marked the beginning of his studies at the Merce Cunningham Studio in New York, and joined the MCDC in November of 1998.
Matthew Mohr has trained at The Juilliard School and received his B.F.A. in Dance from SUNY Purchase. He began working with the Repertory Understudy Group in February 1994 and joined the Company in July 1994.
Banu Ogan was born in Ankara, Turkey, and received her early dance training in Bloomington, IN, and graduated with a B.A. in biology from the University of North Carolina at Chapel Hill in May 1991. Shortly thereafter, she moved to New York to study at the Merce Cunningham Studio, became a member of the Repertory Understudy Group one year later, and a member of the Company in May 1993.
Glen E. Rumsey was born in Greensboro, NC. He came to New York City after gradu?ating from North Carolina School of the Arts in May 1992. He has been with MCDC since January of 1993. Glen would like to thank his parents for their encouragement and support.
Daniel Squire was born, raised and trained in Yorkshire, England. He attended the Royal Ballet School and trained at the Rambert School before leaving to join the Michael Clark company in 1994. He also worked with Matthew Hawkins and Ian Spink. He moved to New York City and became an understudy for MCDC in January 1996. He joined the company in February 1998.
Jeannie Steele received most of her training from North Carolina School of the Arts. She worked with the Repertory Understudy Group, Alan Good and Ton Simons before joining the Company in May 1993.
Derry Swan is from Swarthmore, PA, where she studied with Lori Ardis. She graduated from Barnard College with honors degrees
in English and Dance. Before joining MCDC in 1996, Derry danced with Marjorie Folkman, Sally Hess, Kraig Patterson and Neta Pulvermacher.
Cheryl Therrien is originally from New Hampshire and received her early dance training from the Boston Ballet school. She holds a B.F.A. in dance from SUNY Purchase and since graduating has worked with Ellen Cornfield, Ton Simons, Kenneth King, Sarah MichelsonThe Shirley Choir and Christopher Caines. She was also a member of the Repertory Understudy Group before joining the Company in November 1993 and is currently a faculty member at the Merce Cunningham Studio.
Stuart Dempster was born in Berkeley, CA in 1936, and studied performance and com?position at San Francisco State College. From 1962-66 he was principal trombone in the Oakland Symphony under Gerhard Samuel and, since 1968, he has been on the faculty of the University of Washington. Grants include: Creative Associate at SUN-YAB (1967-68); Fellow in the Center for Advanced Study, University of Illinois (1971-72); Fulbright Scholar in Australia (1973) where he studied aboriginal did-jeridu; a NEA Composer Grant (1978); USUK Fellowship (1979); Guggenheim Fellowship (1981). His book The Modern Trombone: A Definition of Its Idioms was published in 1979 and he has recorded on several labels including Columbia, Nonesuch, and New Albion, the latter hav?ing produced his "Abbey" recording (NA 013) which has become, in the words of one reviewer: "...a cult classic." Dempster tours regularly as a solo recitalist performing his own works as well as his commissioned works by Berio, Erb, Erickson, and others, and also with the Deep Listening Band. His work exemplified by Sound Massage Parlor,
and environmentalsite specific works such as SWAMI (State of Washington as a Musical Instrument) have earned him a rep?utation as a composerperformer whose work is at once deep, meditative, and amus?ing. Deep Listening Band recordings include: award winning Deep Listening, with Pauline Oliveros and Panaiotis, recorded in the old Fort Worden (Port Townsend, WA) cistern with a forty-five-second reverberation, released in May 1989 on New Albion Records (NA 022); Troglodyte's Delight, recorded in an old limestone quarry in upstate New York, released in September 1990 on What Next Records (WN 0003); and The Ready Made Boomerang, recorded in the above mentioned "Cistern Chapel" and released in January 1992 by New Albion Records (NA 044). Dempster was the pro?ducer for all three of these CDs. In 1993-94 he was composer-in-residence in Minneapolis with Seattle's New Performance Group as part of the Music in Motion project (made possible by Pew Charitable Trusts and the Lila Wallace-Reader's Digest Fund, a national program funded by the Ford Foundation and the Pew Charitable Trusts). Also in 1993 Dempster was com?missioned by Meet The Composer's ComposerChoreographer Project for a collaboration with Merce Cunningham for what has turned out to be highly acclaimed performances in the US and Europe. The music for that project was recently released entitled Underground Overlays from the Cistern Chapel on New Albion Records (NA 076).
Suzanne Gallo has been the costumer for Merce Cunningham for many years, leading her to specialize in dancewear construction and design. With a dual degree in clothing textiles and theater arts, she has been active in many areas from Las Vegas revues through Broadway to her current involvement with various modern choreographers. She has
worked for Meredith Monk, Neil Greenberg & Company, Alvin Ailey, Lucinda Childs, Mary Seidman, White Oak Dance Project and Diamond Dance.
Yasunao Tone was born in Tokyo in 1935 and graduated from Chiba Japanese National University in 1957 with a major in Japanese literature. He was one of the first Japanese artists active in composing events and improvisational music. He has been active in the Fluxus movement since 1962 and has been an organizer and participant in many important music and performance groups such as Group Ongaku, Hi-Red Center, and Team Random, the first computer art group organized in Japan. Since coming to the United States in 1972, he has composed four scores for MCDC and has had solo concerts at The Kitchen, Experimental Intermedia Foundation, Roulette, RS. 1, The Knitting Factory and other venues. He has been awarded a CAPS grant in multi-media in 1979, a National Endowmant for the Arts grant for a collaborative work with Brondel Cummings and Senga Nengdi for the last above Midtown Gallery in 1982, a commission for flutist Barbara Held by the New York State Council on the Art in 1985, a New York Foundation for the Artist Fellowship for performance in 1986 and for emerging forms in 1987, an Artist-in-residency fellow?ship from Harvestworks in 1995, and an Individual Artist Award for Media from the New York State Council on the Arts in 1996.
Michael Van Sleen most recently toured as sound engineer for Richard Foreman's Pearls for Pigs. He currently enjoys the new things he is experiencing with the Cunningham company. Mike received his training at Thalian Hall Center for the Performing Arts in Wilmington, NC.
Archivist David Vaughan
Assistant Company Manager. Rusty Tennant
Audio EngineerMusic Coordinator.
Michael Van Sleen Company Manager. Trevor Carlson Costume SupervisorCostume Design
Coordinator. Suzanne Gallo Production Manager. Aaron Copp Technical Director. Elaine Buckholtz
Cunningham Dance Foundation, Inc. Board of Directors
Patricia Tarr and Alvin Chereskin, Chairpersons Suzanne Weil, Vice Chair Anthony B. Creamer, III, Treasurer David Vaughan, Secretary
Candace Krugman Beinecke Sallie Blumenthal Jill F. Bonovitz Lindsley Chase Borsodi Carolyn Brown Sage F. Cowles Merce Cunningham Sheilah Goldman Alberto Ibargiien Rosalind G. Jacobs Harriette Levine Kathryn McCarver Timothy J. McClimon John J. Medveckis Timothy U. Nye Benedicte Pesle Barbara Pine Judith F. Pisar Eileen Rosenau Michael L. Salitan, M.D. Barbara Schwartz Sandra S. Weiksner
Staff List
Nancy Bright, Financial Aid Administrator Anna Brown, Finance OfficerBookkeeper Sutton Brown, Studio Administrator Elaine Buckholtz, Technical Director Trevor Carlson, Company Manager Aaron Copp, Production Manager Jacqueline Fanelli, Director of Development Suzanne Gallo, Costume Supervisor
Costume Design Coordinator Steve Hanebutt, Office Manager
Assistant to the Executive Director
Meg Harper, Faculty Chair
Alice Helpern, Studio Director
John Musall, Studio Technical Director
Margaret Pasanowic, Director of Finance
Sheldon Schwartz, Executive Director
Earnie Stevenson, Associate Director of Development
Stacy Sumpman, Media Coordinator
Robert Swinston, Assistant to the Choreographer
Rusty Tennant, Assistant Company Manager
David Vaughan, Archivist
Michael Van Sleen, Sound Engineer
The Cunningham Dance Foundation, Inc. and the Board of Directors wish to express our deepest appreci?ation to the following public agencies, foundations, corporations, and individuals for their generous support.
National Endowment for the Arts
New York State Council on the Arts
ArtslinkCEC International Partners
AT&T Foundation
The Mary Duke Biddle Foundation
John Cage Trust
Mary Flagler Cary Charitable Trust
Eleanor Naylor Dana Charitable Trust
Dolfinger-McMahon Foundation
Doris Duke FoundationAmerican Dance Festival
Fund for U.S. ArtistsArts International
The Fan Fox and Leslie Samuels Foundation
Horace Goldsmith Foundation
Harkness Foundation for Dance
Andrew Mellon Foundation
The Prospect Hill Foundation
Metropolitan Life Foundation
The Schubert Foundation
Mr. and Mrs. Frederick Beinecke
Sage and John Cowles
Mr. Jasper Johns
Mr. and Mrs. S.I. Newhouse
Mr. Mark Rudkin
Mr. and Mrs. Jeff Tarr
Mrs. Sallie Blumenthal
Mr. and Mrs. Sheldon Bonovitz
Mr. Alvin Chereskin
Mrs. Carole Crocker
Mrs. Anne diHarnoncourt and Mr. Joseph Rishel
Madame Ethel de Croisset
Mr. Robert Fitzpatrick
Ms. Elizabeth Frankel
Elizabeth Freeman
Mr. Richard Hulbert
Mr. Herbert Kaiser
Mrs. Harriette Levine
Ms. Jacqueline Monnier Mr. Timothy Nye Ms. Suzanne Weil
Ms. Carolyn Brown
Ms. Paula Cooper
Ms. Barbara J. Cooperman
Ms. Sheilah Goldman
Mr. and Mrs. Peter Goldstein
Mr. Ray Kass
Mr. Alex Katz
Mr. Donald Klein
Mr. and Mrs. Ronald Lauder
Ms. Ellen Levy
Mrs. Dorothy Lichtenstein
Ms. Susan Lorence
Ms. Kathryn McCarver
Mr. Robert Meyerhoff
Ms. Barbara Pine
Ms. Judith Pisar
Ms. Margarete Roeder
Ms. Eileen Rosenau
Mrs. Angelica Rudenstine
Mr. Michael L. Salitan, M.D.
Mr. Allan Sperling
Ms. Jean Stein
Mr. David Vaughan
European Administration for Merce Cunningham Dance Company provided by Benedicte Pesle and Julie George at Artservice International, Paris, France.
North & South America and Far East booking pro?vided by the Cunningham Dance Foundation, Inc.
The Media Repertory of Merce Cunningham Dance Company includes programs from the Merce Cunningham Archives, videotapes and films choreo?graphed specifically for the camera, documentaries, and educational materials, which are distributed by the Cunningham Dance Foundation, Inc.
The Merce Cunningham Studio is a nonprofit educa?tional institution accredited by the National Association of Schools of Dance, giving instruction on the profes?sional level. The Studio holds regular classes in tech?nique, elementary to advanced, which are supplemented at periodic intervals by workshops in composition, repertory, and filmvideo dance. Scholarships, finan?cial aid and workstudy are available.
The Merce Cunningham Studio offers a Rental Program for emerging choreography and performance open to any company or individual artist on a self-producing basis. The program features low rates, complete facilities, a flexible performance space, and year-round booking.
Travel arrangements for Merce Cunningham Dance Company provided by Michael Yampolsky at Battery Travel Associates, Inc.
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 convenient 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 person. Reservations can be made by mail using the order form in this brochure or by calling 734.647.1175. UMS members receive reserva?tion priority.
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. Jan. 16 Fri. Jan. 29 Fri. Feb. 12
Sat. Feb. 20
Fri. Mar. 12 Sat. Mar. 20 Fri. Mar. 26
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
Mon. Jan. 18 Tue. Feb. 23 Sun. Mar. 28 Fri. Apr. 23
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. Ian. 28 Thur. Mar. 1! Fri. Mar. 19 Sun. Apr. 25
American String Quartet Pre-performance dinner
lames Galway, flute Pre-performance dinner
Alvin Ailey American Dance Theater Pre-performance dinner
NHK Symphony Orchestra of Tokyo Post-performance dinner
Package price $139 for a single and $213 for a double, deluxe standard (king or queen) includes overnight stay, guaranteed reservations for a preor post-show dinner (select any entree from the special package menu, non-alcholic beverage, and dessert, includes taxes & tip) and reserved "A" seats on the main floor at the performance.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewel-
ry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 events throughout our season, wrapped and deliv?ered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarm-ing 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 November 15,1998. 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.
Individuals Charlotte McGeoch 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
Individuals Herb and Carol Amster Carl and Isabelle Brauer Sally and Ian Bund Kathleen G. Charla Ronnie and Sheila Cresswell Robert and Janice DiRomualdo Jim and Millie Irwin Elizabeth E. Kennedy Leo and Kathy Legatski Prudence and Amnon Rosenthal Carol and Irving Smolder Ron and Eileen Weiser
Aetna Retirement Services Arbor TemporariesArbor Tech?nicalPersonnel Systems.Inc. Brauer Investments Elastizell Corp of America IBM
Masco Corporation McKinley Associates Mechanical Dynamics NBD Bank NSK Corporation Edward Surovell Realtors TriMas Corporation WDET WEMU WGTE WMXD
Foundations Heartland Fund Benard L. Maas Foundation John S. and James L. Knight
Foundation New England Foundation for the
Arts, Inc.
Edward Surovell and Natalie Lacy
Beacon Investment Company
General Motors Corporation
National City Bank
Thomas B. McMullen Company
Weber's Inn
Maurice and Linda Binkow
Beverley and Gerson Geltner
Charles N. Hall
Sun-Chien and Betty Hsiao
F. Bruce Kulp and Ronna Romney
Mr. David G. LoeselCafe Marie
Robert and Ann Meredith
Marina and Robert Whitman
Bank of Ann Arbor
Blue Nile Restaurant
Butzel Long Attorneys
Cafe Marie
Deloitte & Touche
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
Sesi Lincoln-Mercury
FoundationsOrganizations Chamber Music America THE MOSAIC FOUNDATION
(ofR. &P. Heydon) Institute for Social Research
Individuals Martha and Bob Ause Joan A. Binkow Jim Botsford and
Janice Stevens Botsford Mr. and Mrs. William Brannan Barbara Everitt Bryant Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne 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 Norm Gottlieb and
Vivian Sosna Gottlieb Keki and Alice Irani Dean and Gwen Louis Paul and Ruth McCracken Murray Pitt
John and Dorothy Reed Don and
Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Loretta M. Skewes Mr. and Mrs.
John C. Stegeman Richard E. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and James N. Morgan
Businesses AAA of Michigan Alf Sudios AT&T Wireless CFI Group Comerica
Dennis Dahlmann, Inc. Environmental Research Institute of Michigan ERIM International Inc Ideation, Inc. Joseph Curtin Studios Main Street Ventures Red Hawk Bar and Grill Regency Travel Republic Bank Target Stores Zanzibar
Foundations Ann Arbor Area
Community Foundation
Individuals Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley )im and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Alf Studios
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 Ron and Mimi Bogdasarian Lee C. Bollinger and
Jean Magnano Bollinger Howard and Margaret Bond Laurence Boxer, M.D.;
Grace J. Boxer, M.D. Jeannine and Robert Buchanan Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Cantwell Edwin and Judith Carlson Jean and Kenneth Casey Mr. and Mrs. John Alden Clark David and Pat Clyde Maurice Cohen Mary K. Cordes Alan and Bette Cotzin Peter and Susan Darrow Jack and Alice Dobson Molly and Bill Dobson Elizabeth A. Doman Jan and Gil Dorer Mr. and Mrs. John R. Edman Stefan S. and Ruth S. Fajans 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 Sue and Carl Gingles Linda and Richard Greene Frances Greer Alice Berberian Haidostian Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Terry Hirth Julian and Diane Hoff 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 Charles and Linda Koopmann Michael and Phyllis Korybalski Dimitri and Suzanne Kosacheff Barbara and Michael Kusisto Mr. and Mrs. Henry M. Lee Carolyn and Paul Lichter Peter and Sunny Lo Robert and Pearson Macek John and Cheryl MacKrell Alan and Carla Mandel Judythe and Roger Maugh Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs. Donald A. Meier
Dr. H. Dean and
Dolores Millard Andrew and Candice Mitchell Lester and Jeanne Monts Grant Moore
Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia A. Patton Moss George and Barbara Mrkonic Mr. and Mrs. Homer Neal M. Haskell and
Jan Barney Newman Mrs. Marvin Niehuss Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Joe and Karen Koykka O'Neal 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 Gustave and Jacqueline Rosseels 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 Roy and JoAn Wetzel Elizabeth B. and
Walter P. Work, Jr.
The Barfield CompanyBartech Bodywise Therapeutic Massage Consulate General of the
Federal Republic of
Patton Corporation Howard Cooper, Inc. The Monroe Street Journal O'Neal Construction Charles Reinhart Company Shar Products Company Standard Federal Bank STMInc. Swedish Office of Science and
Harold and lean Grossman
Family Foundation J. F. Ervin Foundation The Lebensfeld Foundation Montague Foundation Nonprofit Enterprise at Work Rosebud Foundation Rosalie Edwards
Vibrant Ann Arbor Sams Ann Arbor Fund
Individuals Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and
Eric Potoker
Janet and Arnold Aronoff Max K. Aupperle Gary and Cheryl Balint Dr. and Mrs. Mason Barr, Jr. Robert and Wanda Bartlett Karen and Karl Bartscht Henry J. Bednarz 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 Don and Betts Chisholm Janice A. Clark John and Nancy Clark Leon and Heidi Cohan James and Constance Cook Mr. and Mrs. Howard Cooper Susan and Arnold Coran H. Richard Crane Alice B. Crawford Delia DiPietro and
Jack Wagoner, M.D. Charles and Julia Eisendrath Dr. Alan S. Eiser David Eklund and Jeff Green David and Lynn Engelbert Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Ronda and Ron Ferber Sidney and Jean Fine Clare M. Fingerle James and Anne Ford Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox Charles and Rita Gelman Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Joyce and Fred M. Ginsberg
4 2 Benefactors, continued
Paul and Anne Glendon
Dr. Alexander Gotz
Dr. and Mrs. William A. Grade
Elizabeth Needham Graham
Dr. John and Renee M. Greden
I il.i and Bob Green
lohn and Helen Griffith
Leslie and Mary Ellen Guinn
Helen C. Hall
Mr. and Mrs. Elmer F. Hamel
Robert and Susan Harris
Susan Harris
Walter and Dianne Harrison
Clifford and Alice Hart
Mr. and Mrs. E. Jan Hartmann
Taraneh and Carl Haske
Bob and Lucia Heinold
Mr. and
Mrs. Ramon Hernandez Fred and Joyce Hershenson Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty 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 Barbara and Charles Krause Samuel and Marilyn Krimm Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Lee E. Landes
Jill 1 iti.i and David S. Bach John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski Myron and Bobbie Levine Jeffrey and Jane Mackie-Mason Mark Mahlberg Edwin and Catherine Marcus Marilyn Mason Natalie Matovinovic Mary and Chandler Matthews Joseph McCune and
Georgians Sanders Thomas B. and
Deborah McMullen Walter and Ruth Metzger Myrna and Newell Miller John and Michelle Morris 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 Shirley and Ara Paul Lorraine B. Phillips William and Betty Pierce Eleanor and Peter Pollack Stephen and Bettina Pollock Richard H. and Mary B. Price V. Charleen Price Bradley and Susan Pritts 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 Robinson Mrs. Doris E. Rowan Maya Savarino and
Raymond Tanter Sarah Savarino David and Marcia Schmidt Mrs. Richard C. Schneider Edward and Jane Schulak Howard and Aliza Shevrin Sandy and Dick Simon Scott and Joan Singer George and
Mary Elizabeth Smith 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 Scott Bennett Terrill Mrs. E. Thurston Thieme Marilyn Tsao and Steve Gao Sally Wacker Ellen C. Wagner Gregory and Annette Walker Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns B. Joseph and Mary White Clara G. Whiting Brymer Williams Frank E. Wolk J. D. Woods
Don and Charlotte Wyche Dr. and Mrs. Thomas Xydis Mr. and Mrs. Edwin H. Young Nancy and Martin Zimmerman
Arts Management Group
Bella Ciao Trattoria
Cooker Bar and Grille
Edwards Brothers, Inc.
Gandy Dancer Restaurant
Great Lakes Bancorp
Kerrytown Bistro
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
Perfectly Seasoned
UVA Machine
Foundations The Kennedy Center for the Performing Arts
M. Bernard Aidinoff
Michael and Suzan Alexander
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Jonathan and Marlene Ayers
Essel and Menakka Bailey
Dr. and Mrs. Daniel R. Balbach
Lesli and Christopher Ballard
Cy and Anne Barnes
Norman E. Barnett
Leslie and Anita Bassett
Scott Beaman
Astrid B. Beck and
David Noel Freedman Kathleen Beck Neal Bedford and
Gerlinda Melchiori Linda and Ronald Benson Ruth Ann and Stuart J. Bergstein Ronald J. Bienkowski Cathie and Tom Bloem Mr. and Mrs. H. Harlan Bloomer Roger and Polly Bookwalter Gary Boren
Dr. and Mrs. Ralph Bozell Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton A. Joseph and Mary Jo Brough Olin L. Browder June and Donald R. Brown Morton B. and Rap Brown Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Charles and Martha Cannell Jim and Priscilla Carlson Marchall F. and Janice L. Carr Jeannette and Robert Carr James S. Chen Dr. Kyung and Young Cho Robert J. Cierzniewski Nancy Cilley Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Mclinda Colquitt Cynthia and Jeffrey Colton Lolagene C. Coombs Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Kathleen J. Crispcll and
Thomas S. Porter
Mary R. and John G. Curtis
Ed and Ellie Davidson
Laning R. Davidson, M.D.
John and Jean Debbink
Mr. and Mrs. Jay De Lay
Louis M. DeShantz
Elizabeth Dexter
Gordon and Elaine Didier
Steve and Lori Director
Dr. and Mrs. Edward F. Domino
Thomas and Esther Donahue
Eugene and Elizabeth Douvan
Prof. William Gould Dow
Jane E. Dutton
Martin and Rosalie Edwards
Joan and Emil Engel
Susan Feagin and John Brown
Reno and Nancy Feldkamp
Carol Finerman
Herschel and Annette Fink
Mrs. Beth B. Fischer
Susan R. Fisher and
John W. Waidley Beth and Joe Fitzsimmons Jennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Doris E. Foss
Howard and Margaret Fox Ronald Frackcr
Deborah and Ronald Freedman Andrew and Deirdre Freiberg Lela J. Fuester David J. Fugenschuh and
Karey Leach
Mr. and Mrs. William Fuiton Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and
Mrs. David M. Gates Steve Geiringer and Karen Bantel Thomas and Barbara Gelehrter James and Janet Gilsdorf Maureen and David Ginsburg Irwin J. Goldstein and
Marty Mayo
Steve and Nancy Goldstein Enid M. Gosling Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Robert M. Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefner and
Cynthia J. Stewart Yoshiko Hamano Thomas and Connie Heffner Kenneth and Jeanne Heininger John L. and
Jacqueline Stearns Henkcl Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Jack and Davetta Horner Dr. and Mrs. Joseph A. Houle Linda Samuelson and
Joel Howell Ralph and Del Hulett Mrs. Hazel Hunsche Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Harold and Jean Jacobson
Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Steven R. Kalt and
Robert D. Heeren 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 James and Jane Kister Dr. David E. and Heidi Castleman Klein Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin Bert and Catherine La Du John and Margaret Laird Mr. and Mrs. Henry M. Lapeza John and Theresa Lee Frank Lcgacki and Alicia Torres Mrs. Jacqueline H. Lewis Lawrence B. Lindemer Vi-Cheng and Hsi-Yen Liu Rebecca and Lawrence Lohr Naomi E. 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 Invin and Fran Martin Sally and Bill Martin Margaret W. Maurer Jeffrey and Sandra Maxwell Margaret E. McCarthy W. Bruce McCuaig Griff and Pat McDonald Charlotte McGeoch Terence McGinn Bernice and Herman Merte Deanna Relyea and
Piotr Michalowski Leo and Sally Miedler Jeanette and Jack Miller Dr. and Mrs. James B. Miner Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A.A. Moroun
Brian and Jacqueline Morton Dr. and Mrs. Gunder A. Myran Frederick C. Neidhardt and
Germaine Chipault Steve and Christine Nowaczyk Mrs. Charles Overberger Dr. Owen Z. and
Barbara Perlman Frank and Nelly Petrock Joyce H. and Daniel M. Phillips Roy and Winnifred Pierce 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 I. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Constance Rinehart John and Marilyn Rintamaki James and Alison Robison Mr. and Mrs. Stephen J. Rogers Mrs. Irving Rose Dr. Susan M. Rose Gay and George Rosenwald Drs. Andrew Rosenzweig and
Susan Weinman Craig and Jan Ruff Jerome M. and Lee Ann Salle Ina and Terry Sandalow Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Meeyung and Charles Schmitter Sue Schroeder Marvin and Harriet Selin Constance Sherman Alida and Gene Silverman Frances U. and Scott K. Simonds John and Anne Griffin Sloan Alene M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Richard Soble and
Barbara Kessler Jorge and Nancy Solis Katharine B. Soper Dr. Yoram and Eliana Sorokin Dr. Hildreth H. Spencer Jeffrey D. Spindler L. Grasselli Sprankle Francyne Stacey Dr. and Mrs. Alan Steiss Steve and Gayle Stewart Dr. and Mrs. Stanley Strasius Nancy Bielby Sudia 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 Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Treciak Van Dam Jack and Marilyn van der Velde Rebecca Van Dyke William C. Vassell Kate and Chris Vaughan Carolyn and Jerry Voight Warren Herb and
Florence Wagner Wendy L. Wahl and
William R. Lee
Norman C. and Bertha C. Wait Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn
Mrs. loan D.Weber Deborah Webster and
George Miller
Marcy and Scott Westcrman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitchouse Christine and Park Willis Thomas and Iva Wilson Charlotte Wolfe Mr.andMrs.A.C.Wooll Phyllis B. Wright MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Alice Simsar Fine Art, Inc. Ann Arbor District Library Atlas Tool, Inc. Borders Books and Music Coffee Express Co. General Systems
Consulting Group Jenny lind Club of Michigan, Inc John Leidy Shop, Inc. Scientific Brake and Equipment
Company Swedish American Chamber
of Commerce
The Sneed Foundation, Inc.
im and Jamie Abelson John R. Adams Tim and Leah Adams Irwin I1. Adelson, M.D. Michihiko and Hiroko Akiyama Mr. and Mrs. Gordon E. Allardyce Mike Allemang lames and Catherine Allen Richard and Bettye Allen Nick and Marcia Alter Richard Amdur Helen and David Aminoff Dr. and Mrs. Charles T. Anderson Catherine M. Andrea Timothy and Caroline Andrcscn Dr. and Mrs. Dennis L. Angcllis Elaine and Ralph Anthony Bert and Pat Armstrong Thomas J. and Mary E. Armstrong Gaard and Ellen Arncson Mr. and Mrs. Lawrence E. Arnett Dwight Ashley
Mr. and Mrs. Dan E. Atkins III Eric M. and Nancy Aupperle Erik and Linda Lee Austin Eugene and Charlenc Axelrod Shirley and Don Axon Virginia and Jerald Bachman Lillian Back Jane Bagchi
Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia Huttar Bailey Robert L. Baird Bill and Joann Baker Dennis and Pamela (Smitter) Baker Laurence R. and Barbara K. Baker Maxine and Larry Baker Drs. Helena and Richard Baton John R. Bareham David and Monika Barera
4 4 Advocates, continued
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Shcrri H. Barnes
Donald C. Barnctte, Jr.
Mark and Karla Bartholomy
Roscmarie Bauer
lames M. Beck and
Robert). McGranaghan Mr. and Mrs. Steven R. Beckert Robert M. Beckley and Judy Dinescn Nancy Bender Walter and Antje Benenson Harry and Betty Bcnford Meretc and Erling Blondal Bengtsson Bruce Benner loan and Rodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Barbara Levin Bergman Minnie Berki
Abraham and Thelma Berman Harvey and Shelly Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bertcher R. Bezak and R. Halstead John and Marge Biancke Irene Biber Eric and Doris Billes Jack 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 I. Bole Catherine I. Bolton Mr. and Mrs. Mark D, Bomia Harold and Rebecca Bonnell Ed and Luciana Borbely Lola J. Borchardt leanne and David Bostian Bob and Ian Bower Dean Paul C. Boylan C. Paul and Anna Y. Bradley Enoch and Liz Brater Professor and Mrs. Dale E. Briggs Patrick and Kyoko Broderick Dr. and Mrs. Ernest G. Brookiield Linda Brown and Joel Goldberg Cindy Browne Mary and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Isabel Buckner Dr. Frances E. Bull Margaret and John Burch Marilyn Burhop Judy and Bill Butler Robert A. Sloan and Ellen M. Byerlein Patricia M. Cackowski, M.D. Joanne Cage
Louis and Janet Callaway H. D. Cameron Jenny Campbell (Mrs. D.A.) Michael and Patricia Campbell Robert and Phyllis Carlson James and Jennifer Carpenter 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 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 Mark Clague and Anne Vanden Belt Brian and Cheryl Clarkson Charles and Lynnc Clippert Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen
Hubert and Ellen Cohen
Hilary and Michael Cohen
Howard and Vivian Cole
Mr. and Mrs. Michael F. Collier
Ed and Cathy Colone
Edward I. and Anne M. Comeau
Carolyn and L Thomas Conlin
Patrick and Anneward Conlin
Nan and Bill Conlin
Thomas Conner
Donald W. Cook
Gage K. Cooper
Robert A. Cowles
Clifford and Laura Craig
Marjoric A. Cramer
Dee Crawford
Richard and Penelope Crawford
Charles and Susan Cremin
George H. and Connie Cress
Mary C. Crichton
Lawrence Crochier
Constance Crump and Jay Simrod
Mr. and Mrs. James I. Crump
Margaret R. Cudkowicz
Richard J. Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Manlce Dalton
Robert and Joyce Damschroder
Lee and Millie Danielson
Jane and Gawaine Dart
Stephen Darwall and
Rosemarie Hester Sunil and Mcrial 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 DcGrood Penny and Laurence B. Deitch Elena and Nicholas Delbanco William S. Demray Lloyd and Genie Dethloff Don and Pam Devine Elizabeth and Edmond DeVine A. Nelson Dingle Dr. and Mrs. Edward R. Doezema Jean Dolega
Heather and Stuart Dombey Fr. Timothy J. Dombrowski Steven and Paula Donn Thomas Doran Deanna and Richard Dorner Dick and Jane Dorr Thomas Downs Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Dreffs Janet Driver
Dale R. and Betty Berg Drew John Dryden and Diana Raimi Robert and Connie Dunlap Edmund and Mary Durfee John W. Durstine Charlotte K. Eaton Jacquelynne S. Eccles Elaine Economou and
Patrick Conlin Mr. and Mrs. Richard Edgar Sara and Morgan Edwards Judge and Mrs. S. J. Elden Sol and Judith Elkin Julie and Charles Ellis Ethel anct 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 Ethinglon
Barbara Evans
Mr. and Mrs. Robert B. Fair, Jr.
Barbara and Garry C. Faja
Mark and Karen Falahcc
Elly and Harvey Falit
Thomas and Julia Falk
Edward Farmer
Mr. and Mrs. H. W. Farrington, Jr.
Walter Fedcrlein
Inka and David Felbeck
Phil and Phyllis FelHn
Larry and Andra Ferguson
Karl and Sara Fiegcnschuh
Clay Finkbeiner
C. Peter and Bev A. Fischer
Gerald B. and Catherine L. Fischer
Dr. Lydia Fischer
Patricia A. Fischer
Charles W. Fisher
Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
Barbara and James Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
Mr. and Mrs. Kurt Flosky
David and Ann Flucke
Maureen Forrest, M. D. and
Dennis Capozza Dr Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and loann Freethy Gail Frames Jerry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Lois W. Gage Jane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and Jack Garris C Louise Garrison Mr. James C. Garrison Janet and Charles Garvin Allan and Harriet Gelfond Mrs. Jutta Gerber Deborah and Henry Gerst Michael Gerstenberger W. Scott Gerstenberger and Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas Mr. Harlan Gilmore Beverly Jeanne Giltrow I Ian Gittlen
Peter and Roberta Gluck Mr. and Mrs. Robert Gockcl 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 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 Kay Gugala
Carl E. and Julia H. Guldberg Mr. and Mrs. Lionel Guregian
Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hackcll Mrs. William Halstead Mrs. Frederick G. Hammitt Dora E. Hanipcl Lourdes S. Bastos Hanscn Charlotte Hanson Herb and Claudia Harjcs M. C. Harms Nile and Judith Harper Stephen G. and Mary Anna Harper Doug Harris and Deb Pcery Laurelynne Daniels and
George P. Harris Ed Sarath and Joan Harris Robert and Jean Harris Jerome P. Hartweg Elizabeth C. Hassinen Ruth Hastic
James B. and Roberta Hausc Jeannine and Gary Hayden Mr. and Mrs. Edward J. Hayes Derek and Cristina Heins Mrs. Miriam Heins im and Esther Heitler Sivana Heller
Margaret and Walter Helmreich Paula B. Hencken Dr. and Mrs. Keith S. Henley Bruce and Joyce Herbert Ada Herbert Roger F. Hewitt Hiroshi Higuchi Peter G. Hinman and
Elizabeth A. Young Carolyn Hiss James C. Hitchcock Jane and Dick Hoerner Anne Hoff and George Villec Robert and Frances Hoffman Carol and Dieter Hohnkc John and Donna Hollowed Howard L. and Pamela Holmes Ken and Joyce Holmes Hisato and Yukiko Honda Arthur G. Horner, Jr. Dave and Susan Horvath Dr. Nancy Houk Dr. and Mrs. E B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga Hover
Drs. Richard and Diane Howlin John 1. Hritz, Jr. Mrs. V. C. Hubbs Charles T. Hudson Hubert and Helen Huebl Harry and Ruth Huff Mr. and Mrs. William Hufford Jane Hughes
Joanne Winkleman Hulce Kenneth Hulsing Ann D. Hungcrman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brcnda and
Jason Prouser Imbcr Edward C. Ingraham Margaret and Eugene Ingram Perry Irish
Sid and Harriet Israel Judith G. Jackson Dr. and Mrs. Manuel Jacobs Mr. and Mrs. Donald E. Jahncke Robert and Janet James Professor and Mrs. Jerome Jelinek Keith and Kay Jensen JoAnn J. Jeromin Paul and Olga Johnson Sherri Lynn Johnson Dr. Marilyn S. Jones John and Linda Jonides Andree Joyaux and Fred Blanck Tom and Marie Juster Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Thomas and Rosalie Karunas Alex F. and Phyllis A. Kato Nick and Meral Kazan
lull.i and Philip Kearney
William and Gail Keenan
Janice Keller
James A. Kelly and Mariam C. Noland
John B. Kennard
Bryan Kennedy
Frank and Patricia Kennedy
Linda Atkins and Thomas Kenney
Paul and Leah Kilcny
Jeanne M. Kin
William and Betsy Kincaid
Paul and Dana Kissncr
Shira and Steve Klein
Drs. Peter and Judith Kleinman
John and Marcia Knapp
Mr. and Mrs. Jack Knowles
Patricia and Tyrus Knoy
Shirley and Glenn Knudsvig
Rosalie and Ron Koenig
Ann Marie Kotrc
Dick and Brcnda Krachenberg
(can and Dick Kraft
Doris and Don Kraushaar
David and Martha Krehbiel
Sara Kring
Alan and lean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
]anc Laird
Mr. and Mrs. Seymour Lampert
Henry and Alice Landau
Pamela and Stephen Landau
Patricia M. Lang
Mariorie Lansing
Girl 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 Ann M. Lcidy
Mr. and Mrs. Fernando S. Leon Ron and Lcona Leonard Sue Leong Margaret E. Leslie Richard LeSueur David E. Levine George and Linda Levy Donald I. and Carolyn Dana Lewis Judith Lewis Norman Lewis Thomas and )udy Lewis Mark Lindley and Sandy Talbott Ronald A. Lindroth Dr. and Mrs. Richard H. Lineback Rod and Robin Little Jane Lombard Patrick B. and Kathy Long Ronald Longhofer Luisa Lopez-Grigera Richard and Stephanie Lord Helen B. Love Robert G. Lovell Donna and Paul Lowry Pamela and Robert Ludolph Mr. and Mrs. Carl J. Lutkehaus Susan E. Macias Lois and Alan Macnec Walter A. Maddox Suzanne and Jay Mahler Hans and Jackie Maier Ronald and Jill Donovan Maio Deborah Malamud and
Neal Plotkin William and Joyce Malm Claire and Richard Malvin NU km and lean Manis Pearl Manning Howard and Kate Market Lee and Greg Marks Alice and Bob Marks Frederick, Deborah and
James Marshall Rhoda and William Martel Ann W. Martin Rebecca Martin Debra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard
Micheline Maynard
LaRuth McAfee
Dores M. McCree
Jeffrey T. McDole
James and Kathleen McGauley
Eileen Mclntosh and
Charles Schaldenbrand Bruce H. and Natalie A. Mclntyre Mary and Norman Mclver Bill and Ginny McKeachie Daniel and Madclyn McMurtrie Nancy and Robert Meader Robert and Doris Melling Allen and Marilyn Menlo Hely Merle-Benner Jill McDonough and
Greg Merriman Julie and Scott Merz Henry D. Messer Carl A. House Robert and Bettie Metcalf Lisa A. Mets
Professor and Mrs. Donald Meyer Suzanne and Henry J. Meyer Francis and Helen Michaels William and Joan Mikkelsen Carmen and Jack Miller Robert Rush Miller John MilU Olga Moir
Dr. and Mrs. William G. Moller, Jr. Patricia Montgomery Jim and feanne Montie Rosalie E. Moore Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Paul and Terry Morris Melinda and Bob Morris Robert C. Morrow Cyril and Rona Moscow James and Sally Mueller Tom and Hedi Mulford Bern and Donna Muller Marci Mulligan and
Katie Mulligan Laura and Chuck Musi! Rosemarie Nagel Penny H. Nasatir Isabcllc Nash Susan and Jim Newton John and Ann Nicklas Susan and Richard Nisbett Gene Nissen
Laura Nilzberg and Thomas Carli Donna Parmelee and
William Nolting Richard S. Nottingham Dr. Nicole Obregon Patricia A. C. O'Connor C. W. and Sally O'Dell Nels and Mary Olson Paul L. and Shirley M. Olson Mr. J. L. Ondey Zibby and Bob Oneal Kathleen I. Operhall Dr. Jon Oschcrwitz 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 J. Patterson Nancy K. Paul P. D. Pawelski Edward ). Pawlak Sumer Pek and Marilyn Katz-Pek Dr. and Mrs. Charles H. Peller Donald and Edith Pelz William A. Penner, Jr. Steven and Janet Pepe Bradford Perkins Susan A. Perry Ann Marie Petach Margaret and Jack Petersen Roger and Grace Peterson Jim and Julie Phclps Mr. and Mrs. Frederick R. Pickard
Leonard M. and Loraine Pickering
Nancy S. Pickus
Robert and Mary Ann Pierce
Robert and Mary Pratt
Jacob M. Price
Joseph and Mickey Price
Ernst Pulgram
Malayatt Rabindranathan
Patricia Randlc and James Eng
Al and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Rasmussen
Maxwell and Marjorie Reade
Michael Ready
Gabriel M. Rebeiz
Katherine R. Reebei
Stanislav and Dorothy R. Rehak
John and Nancy Reynolds
James and Helen Richards
Elizabeth G. Richart
Dennis J. Ringle
Sylvia Cedomir Ristic
Kathleen Roelofs Roberts
Dave and Joan Robinson
Janet K. Robinson, Ph.D.
Mary Ann and Willard Rodgers
Thomas and Catherine Rodziewicz
Mary F. Loeffler and Richard K. Rohrer
Damian Roman
Elizabeth A. Rose
Bernard and Barbara Rosen
William and Elinor Rosenberg
Richard Z. and Edie W. Rosenfeld
Charles W. Ross
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
Arnold Sameroff and Susan McDonough
Miriam S. Joffe Samson
Tito and Yvonne Sanchez
Daren and Maryjo Sandberg
)ohn and Rcda Santinga
Mike and Christi Savitski
Helga and )ochen Schacht
Chuck and Mary Schmidt
Courtland and Inga Schmidt
Elizabeth L. Schmitt
Charlene and Carl Schmult
Gerald and Sharon Schreiber
David E. and Monica N. Schteingart
Albert and Susan Schultz
Aileen M. Schulze
Alan and Marianne Schwartz-Schwartz Family Fdtn.
Ed and Sheila Schwartz
Ruth Scodel
Jonathan Brombcrg and Barbara Scott
David and Darlene Scovell
E. J. Sedlander
John and Carole Segall
Richard A. Scid
Suzanne Sclig
Janet C. Sell
Louis and Sherry L. Senunas
George H. and Mary M. Sexton
Ruth and J. N. Shanberge
Brahm and Lorraine Shapiro
Matthew Sharipo and Susan Garetz
David and Elvera Shappirio
Maurice and Lorraine Sheppard
Dan Sherrick and Ellen Moss
Rev. William J. Sherzer
George and Gladys Shirley
Jean and Thomas Shope
Hollis and Martha A. Showalter
Mary Alice Shulman
John Shultz
Ned Shure and Jan Onder
John and Arlenc Shy
Douglas B. Siders, M.D.
Dr. Bruce M. Sicgan
Mr. and Mrs. Barry J. Sicgcl
Milton and Gloria Sicgcl
Drs. Dorit Adler and Terry Silver
Michael and Maria Simonte
Robert and Elaine Sims
Alan and Eleanor Singer
Donald and Susan Sinta
lrin.i I. Sklenar
Beverly N. Slater
Tad Slawecki
I. Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
James A. Somers
Judy Z. Somers
Mr. and Mrs. Edward J. Sopcak
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlovc (Anne)
Shawn Spillane
Charles E. Sproger
Edmund Sprunger
Mary Stade!
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 Steude
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
Ellen M. Strand and Dennis C. Regan
Mrs. William H. Stubbins
Dr. and Mrs. Samuel Stulberg
Donald and Barbara Sugerman
Richard and Diane Sullivan
Earl and Phyllis Swain
Rebecca Sweet and Roland Loup
John and Ida Swigart
Peg Talburtt and Jim Peggs
Jim and Sally Tamm
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Margi and Graham Teall
Leslie and Thomas Tentler
Catherine and Norman Thoburn
Bette M. Thompson
Peggy Tieman
Mr. and Mrs. W. Paul Tippett
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townley
Jim Toy
Angie and Bob Trinka
Sarah Trinkaus
Luke and Merling Tsai
Marlene C. Tulas
Jeff and Lisa Tulin-Silver
Jan and Nub Turner
Dolores J. Turner
William H. and Gerilyn K. Turner
Alvan and Katharine Uhle
Mr. and Mrs. Bryan D. Ungard
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Hugo and Karla Vandersypen
Bram and Lia van Leer
Fred and Carole S. Van Reesema
Yvette VanRiper
I. Kevin and Lisa Vasconi
Phyllis Vegter
Sy and Florence Veniar
Elizabeth Vetter
Martha Vicinus and Bea Nergaard
Jane and Mark Vogel
Mr. and Mrs. Theodore R. Vogt
John and Jane Voorhorst
Jerry Walden and
Julia Tiplady-Walden George S. and Lorraine A. Wales Richard and Mary Walker Drs. Philip Warren and Marica Lucia Pinzon Lorraine Nadelman and
Sidney Warschausky Edward C. Weber Mr. and Mrs. Roy Weber
4 6 Advocates, continued
Jack and Jerry Weidenbach
Carolyn ]. Weigle
Geranc and Gabriel Weinrcich
Lawrence A. Weis
Donna G. Weisman
Barbara Weiss
Carol Campbell Welsch and
John Welsch
John and Joanne Werner Rosemary and David Wcsenberg Tim and Mim Westerdale Ken and Cherry Westerman Susan and Peter Westerman Mr. and Mrs. Nathaniel Whiteside William and Cristina Wilcox Honorable Kurtis T. and
Cindy M. Wilder Reverend Francis E. Williams John Troy Williams Shelly F. Williams Lois Wilson-Crabtree Beverly and Hadley Wine Dr and Mrs Jan Z Winkelman Beth and I. W. Winsten Mr. and Mrs. Eric Winter James H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Jeffrey and Linda Witzberg Patricia and Rodger Wolff Wayne Wolfson Dr. and Mrs. Ira S. Wollner Richard E. and Muriel Wong Nancy and Victor Wong Stewart and Carolyn Work Charles R. and Jean L. Wright David and April Wright Fran and Ben Wylic Sandra and Jonathan Yobbagy Mr. Frank Yonkstetter James and Gladys Young Mr. and Mrs. Robert Zager Dr. Stephen C. Zambito Phyllis Zawisza Craig and Megan Zechman David S. and Susan H. Zurvalec
Ann Arbor Bivouac, Inc. Ayse's Courtyard Cafe Dr. H.W. Bennett & Associates Bodywise Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Gams, Garris, Gams &
Garris Law Office Kupelian Ormand & Magy, P. C. Lewis Jewelers Mundus & Mundus, Inc. Organizational Designs Pen in Hand
Staples Building Company SWEA Inc. Zepcda and Associates
Schwartz Family Foundation
The Burton Tower Society is a very special group of University Musical Society friends. Tiiesc people have included the University Musical Society in their estate planning. We arc grateful for this important sup?port to continue the great traditions of the Society in the future.
Carol and Herb Amstcr Mr. Neil P. Anderson Catherine S. Arcurc Mr. and Mrs. Pal E. Barondy Mr. Hilbert Beyer
Elizabeth Bishop
Pal and George Chatas
Mr. and Mrs. )ohn Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ivcs
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 oAn Wetzel
Mr. and Mrs. Ronald G. Zollars
AAA Michigan
Alt" Studios
Arbor TemporariesPersonnel
Systems Inc.
Bank of Ann Arbor
Barfield CompanyBartech
Beacon Investment Company
Blue Nile Restaurant
Brauer Investments
Butzel Long Attorneys
CFI Group
Charles Reinhart Company Realtors
Deloittc & Touche
Elastizeil Corporation
Environmental Research Institute
of Michigan
ERIM International
First of America Bank
Forest Health Services Corporation
Ford Motor Company
General Motors Corporation
Howard Cooper, Inc.
Joseph Curtin Studios
Main Street Ventures
Masco Corporation
McKinley Associates
Mechanical Dynamics
Miller, Canfield, Paddock and Stone
NBD Bank
NSK Corporation
O'Neal Construction
The Paideia Foundation
Parke-Davis Pharmaceutical
Pepper, Hamilton & Schcetz Rod 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 Edward Surovell Realtors Thomas B. McMullen Company Weber's Inn Zanzibar
John H. Bryant Margaret Crary Mary Crawford George R. Hunsche Alexander Krezel, Sr. Katherine Mabarak Josip Matovinovic Frederick C. Matthaei, Sr. Glenn D. McGeoch
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powric
Steffi Reiss
Ralph L. Stefick
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBelt
Francis Viola III
Carl H. Wilmot
Peter Holderness Woods
Helen Ziegler
Bernard and Ricky Agranoff
Gregg Alf
MariAnn Apley
Arbor Hills Hair & Body Salon
Catherine Arcure
Bella La Vie
Kathleen Benton
Maury and Linda Binkow
Bob Caron's Golf Shop
Edith Leavis Bookstein &
The Artful Lodger Janice Stevens Botsford The Boychoir of Ann Arbor Barbara Everitt Bryant leannine Buchanan Butzel Long Isabella Cederquist Tomas Chavez Chelsea Flower Shop Chicago Symphony Orchestra Chris W. Peterson Jewelry Claridge Hotel Classic Collegiate China Leon and Heidi Cohan Conlin Travel Karin Wagner Coron Dr. and Mrs. Ronald Cresswell Mary Ann and Roderick Daane David Smith Photography Peter and Norman Davis Dough Boys Bakery Encore Studio
Eyry of the Eagle Publishing Fitness Success Sara B. Frank Gallery Van Glahn The Gandy Dancer Gates Au Sable Lodge Beverly and Gerson Geltner Generations for Children Georgetown Gifts Joyce and Fred Ginsberg Anne and Paul Glendon The Great Frame Up Great Harvest Bread Company Gregg Alf Studios Jeanne Harrison Dr. Tina Goodin Hertel Terry Hirth and Bodywise Therapeutic Massage Dan Huntsberger Iguanaworks, Inc. Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa John Shultz Photography John Sloan Painting John's Pack & Ship Mercy and Stephen Kasle Kerrytown Market & Shops King's Keyboard House Ed Klum U of M Golf Course Sam Knecht Bruce and Ronna Romncy Kulp
Laky's Salon
Bernice Lamey
Maxinc Larrouy
Carole Lasser
Learning Express
Kathleen Letts
Lctty's Ltd.
Doni Lystra
Stephanie Lord
Esther Martin
Mary Matthews
Elizabeth McLeary
Jeanne and Ernest Merlanti
Michigan Car Services, Inc.
Moe Sport Shops
Robert and Melinda Morris
Nicola's Books Little Professor
Off the Wall Designs
Christine Oldenburg
Karen O'Neal
Mary Pittman
R. Jeffrey Lamb Photography
Pat Poolcy
leva Rasmussen
Rebecca's Studio
Regrets Only
Nina Hauser Robinson
Anne Rubin
Maya Savarino
Peter Savarino
Sarah Savarino
Ann and Tom Schriber
Grace Schackman
Mike and Jan Shatusky
Ingrid Sheldon
Grace Singleton
Loretta Skewes
Herbert Sloan
Irving and Carol Smokier
Steve and Cynny Spencer
Edward Surovell
Sweet Lorraine's
Bengt and Elaine Swenson
Raymond Tanter
TIRA's Kitchen
Tom Thompson Flowers
Susan Ullrich
Andrea Van Houweling
Eric Wapnick
Emil Wcddige & the Craig Gallery
West End Grill
Robert and Marina Whitman
The Window Design Studio
Elizabeth Yhouse
Soloist $25,000 or more Maestro$10,000-24,999 Virtuoso$7,500-9,999 Concertmaster $5,000-7,499 Leader $2,500 4,999 Principal$1,000-2,499 Benefactor $500-999 Associate $250 499 Advocate$100-249 Friend $50 99 Youth $25
Join Ud
Because Miufic Matters
UMS members have helped to make possible this 120th 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
17 Ann Arbor Acura
38 Ann Arbor Reproductive
Medicine 12 Ann Arbor Symphony
Orchestra 38 Arborcrest Memorial Park
26 Arriba
17 Associated General
30 Azure Mediterranean Grille
18 Bank of Ann Arbor
31 Beresh Jewelers
11 Bodman, Longley, and
34 Butzel Long 36 Charles Reinhart Co. 42 Chelsea Community
12 Chris Triola Gallery 50 Comerica Bank
12 Dobbs Opticians 48 Dobson-McOmber 29 Edward Surovell Realtors
32 Emerson School
24 ER1M International
25 Ford Motor Company 32 Foto 1
19 Fraleigh's Nursery
27 Glacier Hills
50 Harmony House
34 Harris HomesBayberry
Construction 27 Howard Cooper Imports
35 Individualized Home Care
47 Jim Bradley PontiacGMC
24 Kerrytown Bistro
28 King's Keyboard House
15 KeyBank
50 John Leidy Shops, Inc.
11 Lewis Jewelers
30 McGlynn & Gubbins
32 Miller, Canfield, Paddock,
and Stone
52 Mir's Oriental Rugs
26 Mundus & Mundus
2 NBD Bank
3 Nina Howard Spa & Gifts
38 Pen in Hand
27 Performance Network
26 Quinn Evans Architects
19 Red HawkZanzibar
17 SKR Classical
35 Sweet Lorraine's
?IX Sweetwaters Cafe
3 Ufer and Co.
42 U-M Matthaei Botanical
37 University Productions
13 Wexford Homes
51 Whole Foods

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