Press enter after choosing selection

UMS Concert Program, Sunday Feb. 14 To 25: University Musical Society: 1998-1999 Winter - Sunday Feb. 14 To 25 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: 1998-1999 Winter
University Of Michigan

Kodo David Daniels Martin Katz James Galway Abbey Lincoln ikacs Quartet Alvin Ailey American Dance Theater The 3LIis Scholars Gypsy Caravan Sweet Honey in the Rock
io Fontenay Steve Reich Ensemble Mozarteum Orchestra f Salzburg ;Cubanismo! Ewa Podles Garrick Ohlsson niversity Musical Society of the University of Michigan Winter 1999 Season
onymous 4 Lionheart Monsters of Grace Wynton Marsalis
incoln Center Jazz Orchestra NHK Symphony rchestra of Tokyo Sarah Chang Ford Honors Program
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, hie. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
JEANNE MERLANTI President, Arbor TemporariesPerson nel Systems, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that
by supporting UMS, I am helping perpet?uate the tradition of bringing outstanding musical talent to the community and also providing education and enrichment for our young people."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the commu?nity that sustains our business. We are
proud to support an organization that provides such an important service to Ann Arbor."
KATHLEEN G. CHARLA President, Charla Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charla Breton Associates is pleased
and honored to support the University Musical Society and its great offering of gifts to the community."
WILLIAM BROUCEK Prnident and CEO, Hank of Ann Arbor. "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrich-
men! 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 Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
JOSEPH J. YARABEK Office Managing Partner, Debitte & Touche
"Deloitte & Touche is pleased to support the University Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our lives!"
Leo Legatski
President, 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."
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."
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 SuroveU 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." o
Richard A. Manoogian
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
Miller, Canfield,
Paddock and Stone,
"Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
JORGE A. SOUS First Vice President and Manager, FCNBD Bank "FCNBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
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."
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.1 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
John Psarouthakis, Ph.D.
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
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 Croup 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."
THOMAS B. MCMULLEN 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."
Brian Campbell
President, TriMas Corporation "By continuing to support this out?standing organiza?tion, I can ensure that the southeastern
Michigan region will be drawn to Ann Arbor for its rich cultural experiences for many years to come."
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 J. 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. Rosenthal
Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling lames L. Telfer Susan B. Ullrich Marina v.N. Whitman
UMS SENATE I former members ofthe 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 John D'Arms James 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 lohn 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 [ohn O. Simpson Carol Shaiita 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 J. 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
EducationAudience 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
Kalhi Reister, Head Usher Paul Jomantas, Assistant Head
Michael J. Kondziolka, Director Mark (acobson, Programming Coordinator
luli.iii.i Athayde Laura Birnbryer Rebekah Camm lack 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 Merz Candice Mitchell Robert Morris John Mulcrone Nancy Niehoff Karen Koykka O'Neal Marysia Ostann 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 . Byrd
Naomi Corera Carolyn Hanum Taylor Jacobsen Callic Jefferson Deborah Katz Dan Long Laura Machida Ed Manning Glen Matis Ken Monash Gayle Richardson Karen Schulte Helen Siedel Sue Sinta Sandy Trosien Melinda Trout Barbara Hertz Wallgren leanne 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
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 ofGerontius 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 die 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, l.uui.u v 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, LLP. Media Partner WGTE.
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 LcSucur, 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.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, February 7,4 P.M. Rackham Auditorium PREP "From Romeo to Leonore: The Operatic Quartet" by Steven Whiting, U-M Assistant Professor of Musicology, with U-M School of Music student musicians. Sun, Feb 7,3 p.m. Michigan League, Vandcnberg Room.
Meet the Artists Post-performance dialogue from the stage with the American String Quartet and composer Kenneth Fuchs.
Lecture "Interdisciplinary Relationships in Music and the Fine Arts" by composer Kenneth Fuchs, Mon, Feb 8, 12 noon. School of Music, Room 2033. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
Friday, February 12 Saturday,
February 13,8 P.M. Power Center
Brown-bag Lunch "Chance Patterns: Historic Moments in 50 years oi Mercc Cunningham's Choreography" by Kate Remen at the Institute for the Humanities on Merce Cunningham. Tue, Jan 12,12 noon, U-M Institute for the Humanities. Merce Cunningham Mini Course--U-M under-grad and grad students earn 2 credit hours of Independent Study with [ay Delanghe with materials drawn from the Merce Cunningham Residency. Mass meeting held on January 9, 12 noon, U-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 ('enter and Dance GalleryPeter Sparling & Co. For more information and registration call the Ann Arbor Art Center, 994-800-1 x 101 or walk-in registration at the Ann Arbor Art Center
Art Class: Random Patterns, taught at the Ann Arbor Art Center in conjunction with the Merce Cunningham Dance Company Residency. Sat, Feb 6, 9 a.m. lor 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
nter, 994-8004 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 ('enter 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. +
11 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 Merce Cunningham on display in the Power Center Lobby, Feb 1-14. Brown-bag Lunch at the Institute for the Humanities on ohn 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 [ohn Cage Trust, and U-M Professor Stephen Rush. Tuesday, Fcb 9, 2:45 p.m. I'-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, at the U-M Dance Department, 10 places per class and 10 observers open to the public. Eight available: lues 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 734-763-5460 to register.
I.ifeForms--Computers and Choreography with LJ-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.. Dance GalleryPeter Sparling & Co. To register, please call 734-747-8885. Study Day and Open Rehearsal Company Archivist, David Vaughan, leads discussions of Cunningham and his collaborators works at an open rehearsal. Sat, Feb 13, 1 p.m., Power Center balcony. For more information and registration please call 734-647-6712.
PREP Cunningham Company Archivist, David Vaughan, leads a video discussion of Cunningham's choreography. Sat, Feb 13,7 p.m., Michigan I eague, 1 lussey Room. Media Partner WDETand 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, Feb 17,2:15 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, Hussey 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.
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, Vandenberg 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 27, 2 p.m. Rackham Amphitheater and Assembly I [all.
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 I l.ill. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
TRIO FONTENAY Tuesday, March 30,8 P.M. Rackham Auditorium
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 LeSueur, 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.
Friday, AprU 23, 8 P.M. Hill Auditorium
PREP Kenn Cox, Professor of Music .11 Michigan State and Wayne St.itc Universities, interviews members of the Lincoln ("enter 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 WGTE.
FORD HONORS PROGRAM Featuring the presentation of the 1999 UMS Distinguished Artist Award (Artist to be announced in January, 1999) Saturday, May 8,6 P.M. Hill Auditorium and Michigan League. Sponsored by the Ford Motor Company Fund. Media Partner HOUR Detroit Magazine.
University Musical Society
of the University of Michigan 1998-1999 Winter Season
Event Program Book Sunday, February 14, through Thursday, February 25, 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.
Maxim Vengerov, violin 3
Sunday, February 14,4:00pm Hill Auditorium
Orpheus Chamber Orchestra 11
Pepe Romero, guitar Monday, Febraury 15, 8:00pm Rackham Auditorium
Meryl Tankard Australian Dance Theatre 21
Friday, February 19, 8:00pm Saturday, February 20, 8:00pm Power Center
Michigan Chamber Players 29
Sunday, February 21,4:00pm Rackham Auditorium
Kodo 37
Tuesday, February 23, 8:00pm Wednesday, February 24, 8:00pm Thursday, February 25, 8:00pm Power Center
Maxim Vengerov
Igor Uryash, Piano
Johannes Brahms
Sergei Prokofiev
Maurice Ravel
Pablo de Sarasate
Sergei Rachmaninoff
Franz Waxman
Sunday Afternoon, February 14,1999 at 4:00 Hill Auditorium, Ann Arbor, Michigan
Sonata No. 2 in A Major, Op. 100
Allegro amabile
Andante tranquillo Vivace
Allegretto grazioso quasi Andante
Sonata No. 1 in f minor. Op. 80
Andante assai Allegro brusco Andante Allegrissimo
Rhapsodie for Violin and Piano
Lent Modere
Caprice Basque, Op. 24
Moderato Allegro Moderato
Vocalise, Op. 34, No. 14
Carmen Fantasy
Fifty-sixth Performance of the 120th Season
120th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided in part by media partner, WGTE.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Maxim Vengerov is exclusively represented by Askonas Holt Ltd., London.
The outstanding violin used by Maxim Vengerov is by Antonio Stradivari, Cremona c. 1723, ex Kiesewetter on extended loan from Clement Arrison through the Stradivari Society, Inc. of Chicago.
Large print programs are available upon request.
Sonata No. 2 in A Major, Op. 100
Johannes Brahms
Born May 7, 1833 in Hamburg
Died April 3, 1897 in Vienna
The second of Brahms' three sonatas for violin and piano, the A-Major work was written at a time when Brahms was system?atically exploring the various combinations of the violin and the cello first with piano and then with orchestra. In his catalog we find this remarkable sequence of works: Sonata for Cello and Piano in F Major (Op. 99), Sonata for Violin and Piano in A Major (Op. 100), Trio for Violin, Cello and Piano in c minor (Op. 101), Double Concerto for Violin, Cello and Orchestra in a minor (Op. 102).
To an earlier generation of musicians, the opening motif of this sonata was the symbolic fact that the gulf between Brahms and Wagner was not as deep as a still earlier generation (the friends and supporters of the two composers) wanted to believe. The resemblance between this theme and "Walther's Prize Song" from Die Meistersinger von Niirnberg is in fact too great to go unnoticed; yet modern scholar?ship has dismissed the suggestion as "wilful," arguing that "the structure is quite differ?ent..." More recent writers prefer instead to point out another allusion, this time to one of Brahms's own songs, "Wie Melodien zieht es mir leise durch den Sinn" (translated, again somewhat prosaically, as "It Goes Through My Mind Like Music"), in the sec?ond theme that follows soon after the first. What cannot be doubted is the songfulness of Brahms's melodies that constantly evoke vocal memories (real or putative). A contrast in character is finally provided by the third theme, an angularly rhythmic idea. These themes presented in the exposition (plus a fourth one that grows organically out of the opening) dominate the development section and the recapitulation.
The second movement is really two
movements in one. It starts with a tender "Andante tranquillo," only to be displaced early on by a "Vivace" that plays the role of the "Scherzo." The "Andante" returns in a modified form, followed by an even more playful variant of the "Scherzo" (the violin plays pizzicato, or plucking the strings, and the piano matches that sound with its own short and light staccato notes). A brief recall of both the slow and the fast themes concludes this unusual movement.
The last movement returns to the songful lyricism of the first. Remarkably understated for a finale, it is all dolce and espressivo, and even the tempo is on the slow side ("Allegretto grazioso quasi Andante"). Some people have speculated that the warm intimacy of this music has something to do with the warm feelings Brahms had for the young singer Hermine Spies at the time, but this is just as conjectural as the intentionality of the Wagner quote in the first movement.
Sonata No. 1 in f minor. Op. 80
Sergei Prokofiev
Born April 27, 1891 in Sontsovka, Ukraine
Died March 5, 1953 in Moscow
The eight-year gestation period of this sonata (unusally long for the fast-working Prokofiev), encompasses the years of World War II, years the composer spent partly in evacuation in the Caucasus, later in Alma-Ata, Kazakhstan, and finally in the Ural mountains. It would be easy to jump to the conclusion that the dark and dramatic tone of the work has to do with those circumstances. But the likely truth is that Prokofiev did most of the actual work on this sonata at the beginning and at the end of the period in question (that is, before and after the war). In the meantime, and during the time spent in evacuation, he worked on other projects, including the Sonata No. 2 in D Major (originally for flute and piano and later
transcribed for violin). That work, begun later but finished and published before the f-minor sonata, is a total opposite as far as mood and character are concerned: it is a bright and playful composition that has long been a universal favorite.
The f-minor work reveals a different Prokofiev, a composer who is clearly search?ing for new forms of expression. This search is evident from the start: the sonata opens with a somber "Andante assai" whose first theme, played by the piano in octaves, seems to be literally "groping" for rhythmic and melodic direction. The violin answers with a more animated theme; these two themes provide much of the movement's material until the final section where the violin begins a series of very fast ascending and descending scales, played with mute and marked freddo (cold). Of this passage, Prokofiev told David Oistrakh (who played the work's premiere) that it had to sound as "wind in a graveyard."
The second-movement, "Allegro brusco," is one of the few instances where Prokofiev seems influenced by his younger colleague and rival, Dmitri Shostakovich. The way repeated single notes are used to generate the rhythmic momentum of the entire movement is strongly reminiscent of Shostakovich's scherzos. Yet Prokofiev fash?ioned this material into a sonata form com?plete with a contrasting (very melodious) second theme, development and recapitula?tion. Prokofiev rarely used as many modern (non-triadic) harmonies and dramatic minor-second clashes as he did in this movement.
The third-movement, "Andante," is a true nocturne (although not identified as such by the composer). An expressive violin melody is surrounded by iridescent six?teenth-triplet figurations that move from key to key with a grace and elegance typical of Prokofiev. After a middle section built around a poignant three-note motif, the
earlier melody returns. The frequent (and ever slower) repeats of a single rhythmic fig?ure give the conclusion of the movement a rather ominous quality.
The finale is possibly the most ambigu?ous movement in the sonata. It starts out as a distorted dance where a symmetrical phrase structure is disguised by many extra beats and metric irregularities (5+7+7+88). After a second theme (a more conventional lyrical melody in a slower tempo), this material returns in an expanded form. A dramatic transition leads to the surprising return of the "wind-in-the-graveyard" music from the first movement. A few measures from the movement's lyrical second theme conclude the sonata in a poignant new harmonization, with many chromatic tones. There is a full cadence on the tonic (albeit a rather unorthodox one); still, one is left with a sin?gular feeling of half-resolution at the end.
Rhapsodie for Violin and Piano
Maurice Ravel
Born 1875 in Ciboure, France
Died 1937 in Paris
It was in 1922 that Ravel first met the Hungarian-born violinist Jelly Aranyi (d'Aranyi), who was Joseph Joachim's niece and the recent dedicatee of the two violin sonatas by Bela Bartok. At a private musicale where Aranyi performed Ravel's Sonata for Violin and Cello with Hans Kindler, the composer asked the violinist to play some gypsy melodies, which, as one eyewitness later recalled, continued until about 5 a.m., with everyone completely exhausted except Aranyi and Ravel. This is how Tzigane start?ed, although Ravel did not actually write the piece until two years later, just in time for the London premiere, played -of course -by Jelly Aranyi.
The Gypsy flavor can be felt in every measure of this brilliant concert rhapsody, yet Ravel did much more than offer an arrangement of folk melodies (either real ones or imitations). The Gypsy melodies are garnished with spicy harmonies that emphasize all the wildness of an exotic musical culture yet are entirely Ravel's own.
It is not universally known that Tzigane exists in three versions: in addition to the two familiar ones (violin with piano and violin with orchestra), there is a version for violin and lutheal, which is, in the words of Ravel biographer Arbie Orenstein, "a short?lived attachment to the keyboard which produces the approximate timbre of a Hungarian cimbalom or a harpsichord."
Vocalise, Op. 34, No. 14
Sergei Rachmaninoff
Born 1873 in Semyonovo, Russia
Died 1943 in Beverly Hills, California
"Songs without words," like those of Mendelssohn, for instance, are usually songs for instruments. Rachmaninoff's Vocalise is unusual in that it was originally written as a song for voice and piano (the word "vocalise" means an a vocal exercise) and included in a book of songs (the others with words, of course), dating from 1912. It quickly became one of Rachmaninoff's most popular com?positions along with the Prelude in c-sharp minor, and has been heard in numerous transcriptions for various instruments.
Caprice Basque, Op. 24
Pablo de Sarasate
Bom 1844 in Pamplona, Spain
Died 1908 in Biarritz, France
The birthplace of Pablo de Sarasate, one of the greatest violin virtuosos of the nine?teenth century, lies in Basque country -
that unique region between Spain and France whose inhabitants have preserved a language unrelated to any other on earth. His father being an army captain, the family moved often and Sarasate left his native city as a child. Yet he must have retained a soft spot in his heart for Basqueland: to his four books of Spanish Dances for violin, published between 1878 and 1882, he added Caprice basque as a special encore. This popular showpiece is based on two dance melodies. The characteristic long-short rhythmic pat?tern of the first is accentuated by the short interruptions between the notes. The second melody has a more even rhythmic flow to it. Both tunes are treated, of course, in true virtuoso fashion: the first mostly in double-stops, the second in a vast array of techniques including left-hand pizzicatos, double and triple stops, and artificial harmonics.
Carmen Fantasy
Franz Waxman
Born 1906 in Konigshiitte, Germany
(now Chorzow, Poland) Died 1967 in Los Angeles, California
After Sarasate's famous Carmen fantasy (1883), here is another reincarnation of opera's sexiest heroine as a virtuoso violin?ist, courtesy Franz Waxman, who composed music for more than 140 films in Hollywood between 1935 and 1966. His dramatic sense is also evident in the way he arranged his medley from the popular melodies of Bizet's opera (his Carmen Fantasy also started life as a film score); some of the transitions from one excerpt to another are truly jolt?ing. In addition to the dance numbers ("Habanera," "Seguidilla," gypsy song from Act II), Carmen's tragic Act III aria, in which she discovers her death in the cards, is also included, to give virtuosity a short break and focus on grave matters for a moment before the fireworks start again.
Program notes by Peter Laki.
Maxim Vengerov was born in Novosibirsk, the capital of Western Siberia, in August 1974. He started playing the violin at the age of four and a half and gave his first recital at the age of five, playing works by Paganini, Tchaikovsky and Schubert, and played his first concerto when he was only six-years old. He won the First Prize in the Junior Wieniawski Competition in Poland at the age of ten, hav?ing studied first with Galina Tourchaninova in Novosibirsk and then in Moscow. Afterwards he moved back to Novosibirsk to study with Professor Zakhar Bron.
Later Vengerov regularly gave recitals in Moscow and Leningrad, and was soon making solo debuts with the Royal
Concertgebouw Orchestra under Yuri Timirkanov, the BBC Philharmonic Orchestra and Valery Gergiev at the Litchfield Festival in the United Kingdom and with the USSR State Symphony Orchestra on an extensive tour in Italy. In 1990, he took top honors at the Carl Flesch Inter?national Violin Competition, winning not only First Prize, but also a special prize in interpretation in addition to the "audience prize." He has since been recognized worldwide as one of today's finest violinists.
He has by now performed with virtually every major orchestra and conductor in the world. In the 199697 season alone he performed with the London Symphony and Mstislav Rostropovich, Berlin Philharmonic and Claudio Abbado, Chicago
Symphony and Daniel Barenboim, Montreal Symphony and Charles Dutoit, Munich Philharmonic and Zubin Mehta, New York Philharmonic and Kurt Masur, Rotterdam Philharmonic and Valery Gergiev, Maggio Musicale Orchestra Florence and Carlo Maria Giulini, Boston Symphony Orchestra and Seiji Ozawa, Bayerische Rundfunkorchester and Semyon Bychkov. The 199798 season included the Philharmonia Orchestra with James Levine, the Concertgebouw Orchestra with Riccardo Chailly, The London Symphony Orchestra with Sir Colin Davis and Pierre Boulez, the Metropolitan Orchestra with James Levine, the Chicago Symphony Orchestra with Daniel Barenboim as well as a duo recital with Barenboim.
Apart from his orchestral appearances, Maxim Vengerov has given recitals all over the world to huge critical and public acclaim. He has toured extensively in the Far East and participated in the Shostakovich Festival in Japan together with Rostropovich earlier this year.
199899 highlights thus far include concerts with the Chicago Symphony Orchestra and Barenboim, London Symphony Orchestra and Rostropovich, a trio concert with Barenboim and Yo-Yo Ma in Chicago and an extensive recital tour throughout Europe as well as the US and Canada.
Vengerov made several early recordings for the Melodiya label, and released a debut recital album on the Biddulph label. He now records exclusively for Teldec Classics and has released many solo and orchestral recordings. In 1996 he received two Grammy nominations -for "Classical Album of the Year" and for
"Best Instrumental Soloist with Orchestra" -for his recording of the Shostakovich and Prokofiev concertos No. 1. This album was also honored as "Record of the Year" by Gramophone Magazine. Maxim Vengerov received the Edison Award in 1997 for the category of "Best Concerto Recording" for the Shostakovich and Prokofiev No. 2 recording.
In 1997, at the age of twenty-three, Maxim Vengerov was appointed Envoy for Music by the United Nation's Children's Fund (UNICEF), affording him an opportunity to inspire children worldwide and advocate and raise funds for UNICEF-assisted programs. Maxim Vengerov is the first classical music artist to be appointed in such a role.
This performance marks Maxim Vengerov's second appearance under UMS auspices.
Igor Uryash was born in 1965 in St Petersburg. He studied piano at the St. Petersburg Conservatory with Professor Anatol Ugorsky, and gradu?ated in 1988. He then furthered his studies with Professor Tatiana Kravchenko also in St. Petersburg, until 1991.
He won first prize at the Vercelli Chamber Ensemble Viotti Competition in 1991. Following the competition, he toured the Netherlands, Germany, Switzerland, Sweden, Spain, Italy, and Turkey as a soloist, with orchestras and with chamber ensembles.
He has numerous digital recordings of works by Grieg (Piano Concerto), Rachmaninoff {Rhapsody on a Theme by Paganini), Schnittke, Gubaidulina and Beethoven (Sonatas No. 1 and No. 2). Since 1995, he has been part of Maestro Rostropovich's chamber ensemble, which has appeared to great critical acclaim in Russia, Spain, Vietnam, Korea, Taiwan and Hong Kong.
He regularly accompanies the violinist Maxim Vengerov, and together they have performed throughout Europe.
This performance marks Igor Uryash's debut appearance under UMS auspices.
Orpheus Chamber Orchestra
Pepe Romero, Guitar
CFI Group
Edward Elgar
Antonio Vivaldi
Mauro Giuliani
Joaquin Turina Dimitri Shostakovich
Monday Evening, February 15,1999 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Serenade for Strings, Op. 20
Allegro piacevole
Concerto in D Major for Guitar and Strings (Rv 93)
Allegro giusto
Concerto in A Major for Guitar and Orchestra, Op. 30
Rondo a la Polacca
La oracion del Torero (The Bullfighter's Prayer)
String Symphony No. 8, Op. 110
(Arranged from String Quartet, No. 8 by Rudolph Barshai) Largo
Allegro Molto Allegretto Largo Largo
Fifty-seventhPerformance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to CFI Group for its generous support of the University Musical Society.
This concert was made possible, in part, by public funds from the National Endowment for the Arts, and the generous support of the Andrew W. Mellon Foundation and the Metropolitan Life Foundation.
Large print programs are available upon request.
Serenade for Strings, Op. 20
Edward Elgar
Born June 2, 1857 in Broadheath, near
Worcester, England Died February 23, 1934 in Worcester, England
The stirring, noble phrases of Sir Edward Elgar's symphonies were products of his mature years. They had not begun to sing out with full-throated confidence at the time he composed his fledgling Serenade for Strings in 1892. Elgar had just been married two years earlier and was struggling to establish himself as a composer at the time this piece was written. He and his wife, Alice, had attempted settling in London to be near the city's busy concert activity, all to little avail when it came to gaining per?formances of works or students to provide income. They moved to Malvern, close to his native Worcester, and it was there that the Serenade was written. Elgar gave credit to his supportive wife, saying she "helped a great deal to make these little tunes."
Getting the "little tunes" published was a daunting challenge, however. When Elgar sent the manuscript off to Novello and Company in London, he got a discouraging response: "We have given your Serenade our attention, and think it is very good," the publisher wrote back. "We find however that this class of music is practically unsaleable, and we therefore regret to say that we do not see our way to make you an offer for it." Biographer Jerrold Moore notes that, in order to hear the piece for himself, Elgar had to rehearse it with an amateur women's orchestra he had begun teaching when he returned to Malvern.
The opening movement, marked "Allegro piacevole," is indeed "pleasant" and "agreeable," nicely matching the definition of lexicographer Willi Apel. The violas set up a lightly bouncing rhythm at the outset; then the violins lead off with the opening section. A central episode sets forth a
longer, arching theme as the bouncing rhythm dallies with moments of syncopa?tion, setting the rhythm and pulse out of synchronization with each other. A reprise of the opening section neatly rounds off the movement.
Elgar considered the central "Larghetto" the best thing he had written up until that time. Beyond its poetic elegance, its seam?less dovetailing of phrases illustrates one facet of the composer's style. Its form is slightly more complex than the opening movement, since the first sixteen measures constitute a sort of prologue to the body of the movement again a three-part ABA form and they return as muted epilogue at the end.
The finale again begins with a light skip?ping rhythm during four introductory mea?sures. This opening is followed by a small three-part form, with the main melody restated in octaves. Then, the bouncing rhythmic figure that opened the first move?ment and its arching central melody form a long reflective codetta to the entire work.
Concerto in D Major for Guitar and Strings (Rv 93)
Antonio Vivaldi
Born March 4, 1678 in Venice
Died July 28, 1741 in Vienna
While Antonio Vivaldi's performing instru?ment was the violin, his 500-odd concertos embraced a great variety of instruments. While most were composed for the violin, there are also concertos for viola d'amore, cello, oboe, flute, piccolo, recorder, bassoon, horns, trumpets, mandolin and lute. This was a direct result of the great number of talented instrumentalists available to him as a music faculty member of Venice's Osepedale della Pieta. The orphanage was the largest of that city-state's four institu-
tions sheltering orphaned, abandoned, illegitimate or indigent girls during the eighteenth century. Somewhere between 500 and 1000 children were reared in this government supported institution during Vivaldi's time and the musical training offered there gave these girls a kind of pres?tige they could rarely achieve outside its walls. Thus they stayed on, honing their skills while the older residents taught their younger peers, according to Vivaldi scholar Michael Talbot.
The present concerto was originally composed for the lute and is most frequently heard on the guitar in modern times. It was apparently written around 1730, making it one of Vivaldi's later works, and it may have been a byproduct of Vivaldi's ventures as an opera composer. Beginning around 1710, he had begun composing and producing opera, first in Venice and then in opera houses up and down the spine of Italy. This necessitated increasingly frequent and prolonged absences from the Pieta, resulting in a looser, diminished commitment to the orphanage on Vivaldi's part.
A tour to Bohemia in 1730 by an operatic troupe at Venice's Teatro Sant'Angelo, featuring his mistress, the contralto Anna Giraud, singing in one of his operas, may have provided Vivaldi the occasion to com?pose this lute concerto. It is one of several lute works written on a type of manuscript paper made in Central Europe, all dedicated to a certain "Signor Conte Wrttbij." According to Talbot, that person may be synonymous with Count Johann Joseph von Wrtby, a high Bohemian official and, from his collection of librettos, apparently an avid fan of the Prague Opera who might have heard Vivaldi's opera and met the touring composer.
Apart from its bright, teasing Vivaldian personality, the concerto is noteworthy for its modernity. While it has many earmarks of the baroque tradition from which it
emerged steady motor rhythms, the regular alternation of ensemble and solo statements and the figurative style of its thematic mate?rial -its tonal-structural plan shows how far Vivaldi advanced the concerto form toward ideals celebrated in the newer classical style.
Concerto in A Major for Guitar and Orchestra, Op. 30
Mauro Giuliani
Born July 27, 1781 in Bisceglie, near Bari, Italy
Died May 8, 1829 in Naples, Italy
Renewed interest in the guitar as a classical concert instrument during the twentieth century has brought a demand from guitarists for music to perform. This demand has prompted research resuscitating many for?gotten guitar celebrities from past centuries. Chief among them is Mauro Giuliani, who was the most prominent classical guitarist in the age of Beethoven.
Thomas Heck, the leading American scholar on the subject of Giuliani, tells us that he was born in the town of Bisceglie down in the impoverished southeastern part of Italy and was raised in the nearby town of Barletta, where he married and fathered a son. Gradually, the family gravitated north. His older brother, Nicholas, who outlived him by twenty years, ultimately became a famous teacher of singing in St. Petersburg, while Mauro and his family settled in Trieste in 1803.
In 1806, he left his family and traveled to Vienna, where he became a celebrated performer but also fathered an illegitimate daughter. In 1813, he rejoined his family in Trieste, becoming a parent a third time. Documents indicate he returned to Vienna for another six-year stay, arriving in time to perform (as cellist he was also trained on that instrument) at the premiere of
Beethoven's Symphony No. 7. But in 1819, he was the object of a lawsuit, his household goods were auctioned off and he fled back to Trieste, then on to Naples, where he died in considerable indebtedness a decade later.
Contemporary accounts of Giuliani's playing praise the pure, singing quality of his tone, along with the brilliance of his playing. His works included dances, etudes, sets of variations, works for small ensembles, three concertos, guitar accompaniments to songs and guitar arrangements of them. Like Carl Maria von Weber and other turn-of-the-century virtuoso composers, his music combined clear, classically-oriented harmony and formal structures, with appealing melodies decorated by chromati?cism and showy technical flourishes.
The Concerto in A Major, Op. 30, received its premiere in 1808 and was published two years later. It opens with a concerto-sonata movement, reminiscent of the type devel?oped by Mozart a generation earlier. The final two movements salute national dance traditions. The slow movement is a quite charming "Siciliano" set in e minor, with the guitar featured against muted strings. The concerto concludes with a lively, if lengthy, polonaise in the form of a rondo.
La oracion del Torero (The Bullfighter's Prayer)
Joaquin Turina
Born December 9,1882 in Seville, Spain
Died January 14, 1949 in Madrid, Spain
Although he was born the same year as Bela Bartok and Igor Stravinsky, Joaquin Turina did not carve out his own individual ere-ative path in twentieth-century music. Instead, he remained within the stylistic environs of Debussyian Impressionism a generation earlier, blending it with colorful turns of phrase garnered from the music of his native Seville.
Turning aside a proposed medical career to pursue his musical avocation, Turina studied first at Seville, then at the conserva?tory in Madrid before moving on to Paris in 1905. There, he studied piano with Moritz Moskowski and enrolled in Vincent D'Indy's composition class at the Schola Cantorum. Isaac Albeniz, who was living in Paris at the time, heard the young pianist-composer and advised Turina to seek out Spanish folk music as a source of inspiration.
Turina achieved his first major success when his early orchestral piece, La procesion del Rocio, was performed by the Madrid Symphony shortly after he completed his studies. The orchestra brought the work on tour to Paris and Turina won respect and instant fame when he returned to Spain. While regarding Turina as an important fig?ure in Spanish music, scholar Gilbert Chase made an incisive, if slightly critical assessment of him in his classic book, The Music of Spain. "He has shown no capacity for devel?opment or creative renewal," Chase wrote. "His style is not an organic growth, but a series of mannerisms that he repeats ad infinitum!'
La oration del torero (The Bullfighter's Prayer) illustrates some of Turina's composi?tional habits. This short tone poem was composed in 1925 for lute quartet, but the composer quickly made two additional arrangements of the work: one for string quartet, the other for string orchestra. It is a very elastic piece, with ten changes of mood and tempo spread over its eightto ten-minute performance time. Though there are occasional outbursts, the general charac?ter of the music is subdued. Short musical sections, often garbed in soft impressionistic harmonies andor tremolo effects, pass by almost like clouds. However, two large sec?tions are repeated: the first is a tune sug?gesting the Spanish flavor of the piece, the second a reverently hushed "Lento," which is played with mutes at its second appearance, concluding the piece.
String Symphony No. 8, Op. 110
(Arranged from String Quartet, No. 8 by
Rudolf Barshai) Dmitri Shostakovich Born September 26, 1906 in St. Petersburg Died August 9, 1975 in Moscow
Composers occasionally engrave their signa?ture right into the notes of their works. Using the German letter-names for the twelve notes of the tempered scale, Bach wrote his last name into his Art of the Fugue. Alban Berg secretly etched his initials and those of his lover into the pages of his pas?sionate Lyric Suite. And beginning with his Violin Concerto No. 1, Dmitri Shostakovich imprinted an acronym of his name, DSCH (D, E-flat, C, B), into many of his scores during the last twenty-eight years of his life.
That musical signature is nowhere more prominent than in his String Quartet No. 8 of 1960, and it is joined by thematic quota?tions from numerous works composed throughout his career. Was it merely a ges?ture exhibiting Shostakovich's compositional prowess, or did it hold deeper significance as a secret sign of protest against the humili?ation and psychological agony he had peri?odically suffered under the terror-ridden regime of Josef Stalin
The Quartet was composed during a period of only three days, while Shostakovich was on a government-sponsored visit to Dresden, writing the musical score for an East German film depicting the devastation the city suffered during World War II. The Quartet was officially dedicated in memory of all victims of Fascism and war, and it won the Lenin Prize following its premiere in October 1960. But those who believe that Shostakovich's statements, both verbal and musical, secretly carried a double meaning, consider this the most autobiographical utterance against his personal suffering under the Soviet system.
Cast in five uninterrupted movements,
the quartet begins and ends with slow fune?real statements, fugally manipulating the DSCH motive. They frame three bitter, ironic movements, including a grotesque waltz at the center of the quartet. The parade of themes from other works is quickly interwoven into the texture of the work, beginning with excerpts from Symphony No. 1 and Symphony No. 5 during the opening fugue. The Jewish dance-of-death melody from the final movement of Shostakovich's e-minor Piano Trio joins the DSCH motive as a shrieking climax to the toccata-like second movement. It is soon followed by the opening theme of the Cello Concerto No. 1, which carries over into the satirical third-movement waltz.
Except for intermittent outbursts, report?edly quoted from Shostakovich's film score to The Young Guard, the fury subsides in the elegiac fourth movement. The slow, broad melody of this movement is given over to the Russian revolutionary song, "Languishing in Prison," followed by an aria from the Siberian prison scene of Shostakovich's once-banned opera, Lady Macbeth ofMtsensk. In the mournful fugal finale, themes from earlier movements are combined with the DSCH motive, eventually ending with the hushed sound of muted strings.
Program notes O1999 by Carl Cunningham.
Celebrated world-wide for his thrilling interpretations and flawless technique, guitarist Pepe Romero is constantly in demand for his solo recitals and performances with orchestra. His contributions to the field of classical guitar have inspired a num?ber of distinguished composers to write works specifically for him, including Joaquin Rodrigo, Federico Moreno Torroba, Rev. Francisco de Madina, Celedonio Romero, Michael Zearrot, Paul Chihara, Lorenzo
Palomo and Loris Tjeknavorian.
Born on March 8, 1944, in Malaga, Spain, Pepe Romero is the second son of "The Royal Family of the Guitar", The Romeros. He learned guitar from his father, the legendary Celedonio Romero, and his first professional appearance was in a shared concert with his father when Pepe was only seven-years old.
A recording with I Musici was complet?ed in Summer, 1991, and in Spring 1992, he recorded on laser disc with Neville Marriner and the Academy of St. Martin-in-the-Fields Concierto de Aranjuez and selected solo works of Joaquin Rodrigo. He is also a lead?ing personality in the film documentary, Shadows And Light: Joaquin Rodrigo at 90, which has received numerous awards, includ?ing those from the Chicago International Film Festival, the International Emmy Awards and the San Francisco International Film Festival. His latest solo album is a bril?liant recording of opera transcriptions for the guitar. Upcoming solo recordings include a tribute to his father, with perfor?mances of his father's favorite, and original,
compositions. His discogra-phy presently contains more than fifty recordings and includes twenty concertos with the Academy of St. Martin-in-the-Fields con?ducted by Sir Neville Marriner and Iona Brown. In addition, he has revived and premiered major works by such composers as Fernando Sor, Mauro Giuliani, Francesco Molino, Fernando Carulli, Johann Kaspar Mertz, Luigi Boccherini and others. Joaquin Rodrigo wrote his latest guitar concerto, Concierto para una Fiesta, for Pepe Romero in 1983; it
was recorded on the Philips label. Andres Segovia and composer Federico Moreno Torroba chose Pepe Romero to record the world premiere of Didlogos entre guitarra y orquesta; it was originally written for Segovia. In January of 1996, Pepe Romero premiered Nocturnos de Andalucia, com?posed by Lorenzo Palomo, in performance in Berlin with Rafael Friibeck de Burgos conducting. That same year, following the death of his father, Celedonio Romero, he performed the world premiere of his father's concerto for guitar and orchestra El Cortijo de Don Sancho, with Michael Palmer con?ducting the American Sinfonietta.
In June of 1996, Pepe Romero received the "Premio Andalucia de Musica", the high?est recognition given by his homeland for his contribution to the arts. He also holds an honorary doctorate in music from the University of Victoria, British Columbia.
Highlights of recent seasons include a world premiere of a work by Fernando Sor (composed c. 1830 but never published) at Spivey Hall in Atlanta, Georgia; appearances with orchestras across the country; recital
tours in Europe and Asia; several recitals with soprano Jessye Norman; and a perfor?mance at the Smithsonian Institute to open their exhibit, "The Seeds of Change." Chosen by Joaquin Rodrigo and the govern?ment of Spain to be one of the major partic?ipants in the world-wide celebration of that composer's nintieth birthday year, Pepe Romero performed tributes at the Berlin Philharmonic, in the Musikverein in Vienna, at Moscow's Great Hall of the Pillars and with the Orpheus Chamber Orchestra at Carnegie Hall.
As a soloist, Pepe Romero has appeared in the United States with the Philadelphia, Cleveland, Chicago, Houston, Pittsburgh, Boston, San Francisco and Dallas Symphony Orchestras, as well as the Orpheus Chamber Orchestra, the New York and Los Angeles Philharmonic Orchestras and the Boston Pops Orchestra. Orchestras with whom he has appeared in Europe and Great Britain include the Academy of St. Martin-in-the-Fields, the Monte Carlo Philharmonic, I Musici, the Zurich Chamber Orchestra, Philharmonia Hungarica, the Hungarian State Orchestra, the Spanish National Orchestra, the Spanish National RadioTelevision Orchestra, L'Orchestre de la Suisse Romande, the New Moscow Chamber Orchestra, the Lausanne Chamber Orchestra, the American Sinfonietta and the Bournemouth Symphony. He has been a special guest at the festivals of Salzburg, Israel, Schleswig-Holstein, Menuhin, Osaka, Granada, Istanbul, Ravinia, Garden State, Hollywood Bowl, Blossom, Wolf Trap and Saratoga.
With his father and brothers, Pepe Romero helped establish The Romeros Quartet as the leading classical guitar ensemble in the world. As a member of The Romeros, he has been invited to play at the White House, has performed at the Vatican for Pope John Paul II, and has performed for His Royal Highness Prince Charles, Prince of Wales,
King Juan Carlos and Queen Sophia of Spain and Queen Beatrice of Holland.
Pepe Romero is dedicated to passing along his knowledge of the guitar and has several students who are first prize winners in international guitar competitions. He has been Professor of Guitar at several universi?ties and is currently teaching annual master classes in the Salzburg Summer Academy, at the Schleswig-Holstein Festival and the Cordoba Guitar Festival.
Tonight's performance marks Pepe Romero's fifth appearance under UMS auspices.
In 1972, Orpheus Chamber Orchestra gave its first concert at Broadway Presbyterian Church. Now in its twenty-seventh season, Orpheus cele?brates concert activity spanning four continents, with appearances in the major cities of North and South America, Europe, and Asia. Accompanying the critical acclaim for the orchestra's live appearances are numerous distinctions and awards, includ?ing a Grammy nomination for its recording of Mozart piano concertos with Richard Goode and the 1998 "Ensemble of the Year" award by Musical America.
Orpheus was founded by cellist Julian Fifer and a group of fellow musicians who aspired to perform chamber orchestral repertoire as chamber music -through their own close collaborative efforts, and without conductor. Orpheus developed its approach to the study and performance of this repertoire by bringing to the orchestral setting the chamber music principles of per?sonal involvement and mutual respect. Orpheus is a self-governing organization; the players demand of one another a high level of personal and musical responsibility, and they rotate the seating positions to give
each player the opportunity to lead a sec?tion. Together they make the interpretive decisions that are ordinarily the work of a conductor. They also choose the repertoire and create the programs, and they continu?ally study and refine their rehearsal tech?niques.
Central to the distinctive personality of Orpheus is their unusual process of sharing and rotating leadership roles. For every
work, the members of the orchestra deter?mine the concertmaster and the principal players for each section. These players con?stitute the core group, whose role is to form the initial concept of the piece and to shape the rehearsal process. In the final rehearsals, all members of the orchestra participate in refining the interpretation and execution, with members taking turns listening from the auditorium for balance, blend, articula-
tion, dynamic range and clarity of expression. And in recording sessions, everyone crowds into the production booth to listen to the initial playbacks. Members of Orpheus, who have received recognition for solo, chamber music and orchestral performances, bring a diversity of musical experience to the orchestra, which constantly enriches and nurtures the musical growth of the ensemble. Of the seventeen string and ten wind players who comprise the basic membership of Orpheus, many also hold teaching positions at prominent conservatories and universities in the New York and New England areas, including The Juilliard School, Manhattan School of Music, The New England Conservatory, Mannes College of Music, Columbia University and Yale University.
Orpheus has recorded extensively for Deutsche Grammophon. Included in the catalogue of over forty recordings are several Haydn symphonies and Mozart serenades, the complete Mozart wind concertos with Orpheus members as soloists, romantic works by Dvorak, Grieg and Tchaikovsky and a number of twentieth-century classics by Bartok, Prokofiev, Copland and Stravinsky. Recent collaborations include a series of recordings of Mozart piano concerti with Richard Goode (Nonesuch), recordings with cellist Mischa Maisky (DG), a jazz inspired recording of Ravel and Gershwin with pianist Herbie Hancock (Verve) and a series of Piazzolla works with tango pianist Pablo Ziegler (RCA Victor Red Seal Records).
During the 1998-99 season, Orpheus' international touring includes appearances in Bankok, Brunei, Singapore, Hanoi, Kuala Lumpur, Manila, Taipei, Hong Kong, Monte Carlo, Leipzig, Hamburg, Dusseldorf, and Koln. Highlights of US touring include Sarasota, West Palm Beach, Tuscon, Los Angeles, and Ann Arbor.
Tonight's performance marks the Orpheus Chamber Orchestra's seventh appearance under UMS auspices.
Orpheus Chamber Orchestra
Ronnie Bauch Bruno Eicher Suzanne Gilman Liang Ping How Joanna Jenner Min Young Kuo Ellen Payne Michael Roth Eric Wyrick
Ron Carbone Sarah Clarke Christof Hiibner Nardo Poy
Susannah Chapman Julia Lichten Wilhelmina Smith
Jordan Frazier
Orpheus Chamber Orchestra, Inc.
Julian Fifer, Founder and President Harvey Seifter, Executive Director
Pepe Romero is represented by Columbia Artists Management, Inc.
Orpheus Chamber Orchestra has recorded for Deutsche Grammophon, RCA Victor Red Seal, Verve and Nonesuch.
Orpheus Chamber Orchestra is represented by Frank Salomon Associates.
Meryl Tankard Australian Dance Theatre
ChoreographyDirection Meryl Tankard
Set Design Regis Lansac
Costume Design Meryl Tankard
Lighting Design Toby Harding
Assistant to the Artistic Director Janet Bradley-Bridgman
Music Arvo Part, Elliot Sharp, Henryk Gorecki
Belinda Cooper Justine Cooper Sarah-Jayne Howard Ryan Lowe Fifienne Luvuma Mia Mason
Grant McLay Steven McTaggart Shaun Parker Michelle Ryan Peter Sears Angelo Tsakalos
Friday Evening, February 19,1999 at 8:00 Saturday Evening, February 20,1999 at 8:00 Power Center, Ann Arbor, Michigan
Following this performance, a brief question and answer session will be held with the artists from the stage.
Fifty-eighth and Fifty-ninth Performances of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided in part by media partners, WDET and Metro Times.
Special thanks to the U-M Department of Dance for their assistance with this residency.
Large print programs are available upon request.
Arvo Part Elliot Sharp Henryk Gorecki
Arvo Part
Production Manager Stage Manager Head Mechanist Head Electrician Mechanist Company Manager
Sarah Was Ninety Years Old
Recorded by the Hilliard Ensemble
Recorded by the Kronos Quartet
Quasi una Fantasia (Second String Quartet), Op. 64 Largo Sostenuto -Mesto Deciso -Energico; Furioso, Tranquillo-Mesto Arioso: Adagio Cantabile
Allegro -Sempre Con Grande Passione E Molto Marcato Lento -Tranquillissimo
Recorded by the Kronos Quartet
Sarah Was Ninety Years Old
Recorded by the Hilliard Ensemble
Heather Clarke Briony Love Richard Casley-Smith David Green Martin Olesk Jon Teeuwissen
Quasi una Fantasia used by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner. Sarah Was Ninety Years Old used by arrangement with European American Music Distributor Corporation, sole US and Canadian agent for Universal Edition Vienna, publisher and copyright owner. Digital used by arrange?ment with Zoar MusicElliot Sharp.
Dance Theater has distinctive elements. The form focuses on social interactions, particu?larly how the political intertwines with the personal. The choreography often employs the ritualized and repeated use of everyday gesture intertwined with more standardized movement. Within a larger piece there are shorter "little dances" or vignettes which may develop a particular issue, explore an emotion or even create a humorous inter?lude. Frequently, more than one of these
vignettes will take place at once on stage, leading to a multiple focus. In Dance Theatre, the dancers sometimes address the audience directly, disregarding the "fourth wall;" sometimes this involves text passages in which the dancers try to engage the audi?ence, at other times, dancers will leave the stage and use the entire theater as viable performance space. This level of interaction with the environment is carried into the set pieces for the dances; rarely will an object on the stage not be used and employed in a varied fashion by the dancers. As one can
see in Furioso, the floor, the walls and even the air above the stage are all ripe for inves?tigation through the dance.
The focal political issues inherent in the genre of Dance Theater leave the realm of social politics and enter the realm of per?sonal politics in Furioso's dissection of gen?der relationships. In its UMS debut, Meryl Tankard Australian Dance Theatre literally flies onto the stage in an exploration of what one reviewer identified as the "tender and sometimes troubling visions of human relationships." The work itself is in two sec?tions with different emphases: in the first section the women are relatively passive, embraced, thrown or danced across the stage by the men.
In the second section, however, the rela?tionships change. The women are suspended in harnesses on ropes and the work moves to explore a different emotional landscape. There are beautiful pas de deux with the men on the ground and the women in the air, but these merge into a more violent and raging section in which the women spin and fly angrily across the stage. Herein lies fur?ther explanation of the title: when the women are airborne, they evoke the Furies from Greek mythology, winged goddesses who avenged crimes, usually against kinship. The transformation of the women into wild, flying Furies is, however, conflicted because the wires and harnesses are still somewhat confining. At times it is difficult to tell whether the dancer is fighting against the technology which holds her aloft or using it to expand her range of movement. The use of the Greek invocation expands the focus of Furioso from contemporary commentary on gender relationships to a perspective that looks to mythical arche?types for current behaviors.
Program note by Kate Remen.
The Company
Australian Dance Theatre holds a special place in the history of modern dance. The Company was the first full-time professional modern dance company in Australia, formed in Adelaide in 1965.
In its thirty-year history it has seen four very different styles and directors, from the formative years of founder Elizabeth Dalman (1965-75), the neo-classic European years of Jonathon Taylor (1977-86), the experimentation of Leigh Warren (1987-92) to the current artistic director Meryl Tankard (1993) with her European dance theatre influence, Australian Dance Theatre was, and still is, creating dance history.
In 1993 Meryl Tankard was appointed Artistic Director of the Australian Dance Theatre, Australia's oldest modern dance company. In recognition of Tankard's tremendous artistic achievements, the com?pany changed its name to Meryl Tankard Australian Dance Theatre.
Meryl Tankard's appointment marked the beginning of a new era for the Company. With design collaborator and Associate Artist Regis Lansac and a multi-talented group of ten dancers, singers and actors, she has continued to develop her very theatrical choreographic style, earning the respect of audiences and critics alike.
These performances mark Meryl Tankard Australian Dance Theatre's debut perfor?mances under UMS auspices.
Meryl Tankard has enjoyed an unprecedented career. Her visionary style of dance theatre has placed her at the forefront of dance in Australia and has resulted in accolades around the world.
Beginning her career as a member of the Australian Ballet, Tankard later moved to Europe where she performed for six years as soloist with the acclaimed Pina Bausch
Tanztheater, creating roles in Cafe Miiller, Kontakthof Arien, Keuschettslegende, 1980, Walzer and Bandoneon. In 1980 she played the lead role in Quakfurdonald Mit Lieben Gruss on ZDF TV filmed in Munich and Disneyland and in 1982 she co-wrote and performed Sydney An Der Wupper, a forty-five-minute film which was awarded the Gold Film Band at the 1983 Berlin Film Festival. In 1983 she performed with the Lindsay Kemp Company touring Genoa, Bari and Caracas.
Tankard returned to Australia in 1984 and worked creatively in a variety of areas
including film and television -she appeared in the ABC TV series Dancing Daze and in Robyn Archer's TV production, Pack of Women. From 1984 to 1988 she per?formed as a guest artist with the Pina Bausch Tanztheater in Los Angeles, New York, Toronto, Ottawa, Montreal, Stockholm, Athens and throughout Germany. In 1989 she became the Artistic Director of her own company, the Meryl Tankard Company, based in Canberra, Australia. In 1993 Tankard was appointed Artistic Director of Meryl Tankard Australian Dance Theatre in Adelaide.
Since 1984 she has created numerous works including Echo Point, Traveling Light, VX 18504, Banshee, Nuti, Kikimora, Court Of Flora, Two Feet, Chants De Manage I & II, Songs With Mara, Furioso, Aurora, O Let Me Weep, Possessed, Rasa, Inuk and Seulle. As well as extensive touring in Australia, Tankard took her Canberra company to Tokyo, Indonesia, Italy, China and Germany.
She was awarded the 1993 Sidney Myer Performing Arts Award, the 1993 Green Room Awards in the dance categories of Direction and Design for Nwfi and Kikimora, the 1994 Betty Pounder Award for "Original Choreography" for Nuti and The Age Performing Arts Award "Best Collaboration" for Orphee et Eurydice with the Australian Opera in 1995. In 1995 Meryl Tankard was the subject of a one-hour ABC TV documentary, The Black Swan, which was awarded "Best of Show" for the Dance on Camera Film Festival in New York and has consequently been shown extensively throughout Europe.
The company's work continues to be enthusiastically embraced by international audiences as 1996 saw Tankard and her company invited to perform Furioso at the prestigious Brooklyn Academy of Music as part of the Next Wave Festival, followed by performances in Minneapolis and Toronto. The year 1997 commenced with an incredi?bly successful six-week European tour with
sold-out performances of Furioso and Songs With Mara in eleven cities throughout Germany, Belgium and Denmark. Inuk, a major new work for the Company pre?miered in Adelaide during JuneJuly and as a result of its critical success toured to the Internationales Sommertheater Festival in Hamburg during August where it was awarded the 1997 Mobil Pegasus Award for "Best Production in the Festival" combining excellence and innovation in performance. The company performed nationally as part of the Made To Move program and a new work -Seulle, choreographed by Meryl Tankard -premiered at the International Barossa Music Festival. The company per?formed their internationally acclaimed work, Furioso, in Adelaide prior to their debut in France at the Cannes International Dance Festival and in La Rochelle, La Mans and Angers during December.
In 1998 the Company performed Meryl Tankard's major new production of Possessed accompanied by the Balanescu Quartet at the Adelaide Festival of Arts. The company then embarked upon an extensive international tour taking their acclaimed productions Furioso and Inuk to Lyon, Luxembourg, Amsterdam, Ludwigsburg, Zurich and Zug in Switzerland, Tel Aviv and Norway's Bergen International Festival. The second half of the year saw the company perform a final season in Adelaide which included a selection of thirteen of Meryl's greatest choreographic works followed by performances of Furioso in Tokyo, at Aoyama Theatre.
In December 1998 Meryl Tankard creat?ed a new work inspired by Ravel's Bolero, as guest choreographer for the Lyon Opera Ballet. She returned to Australia for the Company's presentation of Possessed at the Sydney Festival in January 1999. Following the 1999 US tour of Furioso, the Company plans to tour Furioso and Possessed in Europe.
Meryl Tankard Australian Dance Theatre
South Australian Patron Mrs. Patricia Wynn
Board of Directors
Justice Margaret Nyland, Chair
Beverley Brown
Roseanne Healy
Anna O'Connor
Greg Sky
Robert Kennedy
Adam Wynn
Artistic Director Associate Artist General Manager Executive Producer Finance Manager Assistant to the Artistic Director
Major Sponsors Southcorp ArtsSA Living Health Australia Council Malaysia Airlines
Meryl Tankard Regis Lansac Christian Haag Anthony Steel Sue Tauss
Janet Bradley-Bridgman
ThomsonPlayford Solicitors
Geoff Davis & Associates
Chartered Accountants
John and Gwen Slade
Friends of Meryl Tankard Australian Dance Theatre
Tony Kitchener Printing
Meryl Tankard Australian Dance Theatre gratefully acknowledges the assistance of the Arts SA and the Major Organizations Fund of the Australia Council, the Federal Government's Arts Funding and Advisory Body.
North American Tour Management International Production Associates, Inc. (IPA)
Production Manager Associate Producer Administrative Associate Director, Top Shows, Inc.
David Bradford Jill Dombrowski Karen Sackman Alyce Dissette
ledediah Wheeler
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Rebecca Ansel, Violin Erling Bengtsson, Cello Anthony Elliot, Cello Andrew Jennings, Violin
Louis Nagel, Piano Yizhak Schotten, Viola Stephen Shipps, Violin Logan Skelton, Piano
Ludwig van Beethoven
Erno Dohndnyi
Gabriel Faure
Sunday Afternoon, February 21,1999 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Piano Trio in c minor. Op. 1, No. 3
Allegro con brio
Andante cantabile con variazione Menuetto (Quasi allegro) and Trio Finale (Prestissimo)
Shipps, Elliot, Nagel
Serenade for String Trio in C Major, Op. 10
Tema con variazione
Rondo (Finale)
Shipps, Schotten, Bengtsson INTERMISSION
Piano Quintet No. 2 in c minor. Op. 115
Allegro moderato Allegro vivo Andante moderato Allegro molto
Jennings, Schotten, Bengtsson, Skelton, Ansel
Sixtieth Performance of the 120th Season
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
Large print programs are available upon request.
Piano Trio in c minor, Op. 1, No. 3
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn
Died March 26, 1827 in Vienna
Despite their Op. 1 designation, the three piano trios in this set were not Beethoven's first works. He was already an experienced composer, having completed two cantatas, some concertos, and several chamber pieces (including some earlier piano trios) before moving to Vienna in 1792. He had almost certainly begun at least of one of the Op. 1 trios as well before leaving Bonn. But he continued to revise them in Vienna, hoping they could serve as a kind of calling card to the city's musical elite. In 1794, the Op. 1 trios were given their premiere in the popu?lar subscription concerts at the palace of Prince Karl Lichnowsky, Beethoven's patron and the dedicatee of Op. 1. Many of Vienna's famous musicians were in attendance (including, most importantly, Haydn), and the pieces were an immediate success.
In earlier Classical trios the piano pre?dominated, betraying the genre's origins in the accompanied sonata. But Beethoven's trios differ in both structure and scope from the Classical model. They are cast in four movements, like a string quartet or sympho?ny, and last about a half hour each. Mozart's and Haydn's trios, on the other hand, were usually twoor three-movement works, little more than ten minutes long. Beethoven also divided the musical materi?als more democratically, raising the role of the 'cello especially to a bonafide solo instrument, rather than simply a bass-line reinforcement for the piano.
The third trio in Op. 1 is an important early example of Beethoven's fascination with the key of c minor. Later works in the same key, including the Pathetique Sonata (op. 13), Piano Concerto No. 3, and the Symphony No. 5, all share with it an earnest seriousness and decisiveness. There is a
report (of dubious authenticity) that Haydn advised Beethoven against publishing this c minor trio, as it was so revolutionary it might alienate the traditional audience for such works, who had come to expect from the genre little more than a lightweight diversion.
The trio opens ominously, with a dark, unison statement and a hesitant cadence. But the sonata-allegro first movement is full of driving energy -even the lyrical second theme moves "con brio" -with periodic dramatic pauses and sudden surprises adding to the passionate ardor.
The second movement, in the relative major key of E-flat, begins with the solo piano (accompanied by strings on the repeats) outlining a simple theme. The sub?sequent variations follow a typical pattern in late-eighteenth-century variation forms, with each instrument given a chance to shine individually. These are followed by standard ensemble variations (including minor-key and triplet-rhythm versions) before a short coda brings the movement to a peaceful close.
There is little of the traditional minuet's courtliness and refinement in the third movement. Instead, Beethoven returns to the darker mode of the home key, and the impulsive emotions of the first movement. The "Trio" section is exaggeratedly light-hearted, and is quickly supplanted by a repeat of the minuet's volatile aspect.
The drama continues in the prestissimo "Finale." While the piano writing occasion?ally recalls Mozart, the abrupt modulations and shifts in character lean more towards the nineteenth century. The conclusion, in which the powerful oppositions of the entire trio are resolved in a peaceful C-Major end?ing, is evidence of Beethoven's intent to make the coda a distinct musical unit and not merely a closing gesture.
In 1819, Beethoven revised the Piano Trio Op. 1, No. 3 into a string quintet, and published it as his Op. 104.
Serenade for String Trio in C Major, Op. 10
Erno Dohnanyi
Born July 27, 1877 in Pressburg, Hungary
Died February 9, 1960 in New York
Erno Dohnanyi is widely considered one of the finest pianists and pedagogues of his time, serving as Professor of Piano at the Berlin Hochschule fur Musik and the Budapest Royal Academy of Music before moving to the US after World War II. Numbered among his pupils are such lumi?naries as Sir Georg Solti and Geza Anda. His compositional style was rather conserv?ative, combining a Brahms-like inclination for classical forms with mid-nineteenth-century harmonic procedures. In both out?put and aesthetic stance, Dohnanyi has been overshadowed by his more modernist Hungarian contemporaries Bartok and Kodaly. His works are predominantly writ?ten for orchestra andor piano (including the popular Variations on a Nursery Song), with most of his chamber pieces including piano in the ensemble as well. His three string quartets and the Serenade for string trio testify also to his facility with compos?ing for solo strings.
The Serenade, from 1902, calls for virtu?oso performers, but was written at a time when the viola was not widely considered a virtuoso instrument. It was largely thanks to the later support (and recordings) of renowned violists such as William Primrose that the work became something of a favorite among players and audiences alike.
The Serenade opens with a march, though the syncopations and odd rests in the first section dispel any military associa?tions. In the second section a folk-like pas?sage over a drone accompaniment leads into various fugato passages, and becomes even less march-like as the movement progresses. A brief reminiscence of the opening is heard before the final flourish. The arch-form
"Romanza" that follows begins with a lan?guid syncopated melody over a pizzicato accompaniment that avoids the tonic cadence. Suddenly, all three instruments become animated in a burst of melody, countermelody, and arpeggiated figuration. Gradually it relaxes into a return of the opening section before coming to a halt on dominant harmony, as if stopped in mid-sentence.
The furious "Scherzo" begins fugally, with surprise rests that disrupt the moto per-petuo feel, and rapid changes in figuration. The trio is more relaxed, briefly moving into duple instead of triple time, but the viva?cious nature of the scherzo prevails.
The fourth-movement theme and varia?tions is the work's true slow movement. The first two variations retain the relaxed atmosphere of the theme, though the energy level increases considerably in the third, with its driving triplet rhythms. The fourth abates into a shimmering rhapsody, which continues in the short coda.
The rondo theme of the "Finale" is char?acterized by a punchy cadence pattern fol?lowed by rapid figurations that take their cue from the opening movement's main theme. In the more relaxed episodes that follow, the cyclic connection is made more explicit as they restate themes from the first movement, complete with open-fifth drone. Gradually the rondo moves toward a pianis?simo conclusion, capped off by a sforzando flourish.
Piano Quintet No. 2 in c minor. Op. 115
Gabriel Faure
Born May 12, 1845 in Pamiers, Ariege, France
Died November 4, 1924 in Paris
Throughout his career, Gabriel Faure wit?nessed a tremendous evolution in musical style, from Chopin's early romanticism to
Schoenberg's atonal experiments. Through it all, he remained fundamentally conserva?tive, and as a result he is often overshad?owed by his more adventurous contempo?raries: Saint-Saens, Debussy, and Ravel. Faure rarely composed in the large-scale orchestral genres that were popular during his lifetime; he published no symphonies or concertos, and his two operas are rather modest in proportion. His only works to have remained in the popular repertoire are the Requiem (noted for its emotional restraint and chamberistic accompaniment), a short Pavane for orchestra, and some songs. Yet his expressive reserve and pen?chant for the smaller musical forms are characteristically French. It's significant that France produced no counterpart to Liszt's and Paganini's pyrotechnic virtuosity, Strauss's over-blown romanticism or Puccini's hyper-expressive verismo. Faure's clearheaded classicism epitomizes the French ideal of "le bon gout" (good taste), and like Chopin, he refused even to give expressive titles to his works.
In the spring of 1920, Faure retired after fifteen years as director of the Paris Conservatoire, and immediately began work on the Piano Quintet in c minor, Op. 115. Despite the composer's age (he was seventy-five), the quintet brims with youthful vigor and exuberance. Part of the paradoxical dualism of Faure's music in general is that while his earlier works seem more intent, the later compositions, and particularly those written near the end of his life, appear fresh and vibrant.
The "Allegro moderato" opens with a typical Faure thumbprint: rippling arpeg?gios in the piano supporting a sweeping melody in the strings. The theme, first heard in the viola, moves to the cello, then the violins in a quasi-fugal exposition. The development section is similarly contrapun?tal, the piano playing almost constantly throughout and switching between melody
and accompaniment with ease. The recapit?ulation emerges seamlessly. Indeed, so smooth are the transitions that the final cadence arrives with surprising abruptness.
In Faure's Piano Quintet No. 1 (Op. 89) he omitted the scherzo altogether, but it is restored in Op. 115; perhaps an indication of the renewed joy he found in composition after retirement. As is common in his chamber works, the scherzo comes before the slow movement. Capricious and ener?getic, it rushes headlong in a breathless flur?ry of sixteenth notes, punctuated by pizzica?to strings. The contrasting trio is dominat?ed by an extended legato phrase in the piano that lasts for a full twenty measures. The return of the scherzo makes fleeting ref?erence to themes from the first movement.
Edward Cole has described the main theme of the "Andante moderato" as "chaste and beautiful", a melody that "opens out?ward in a surge of emotionality, tender, yet fraught." Cast as a dialog between the piano and strings, two melancholy themes alter?nate in an expression of genuinely poignant fervor.
The nervous "Allegro molto" finale pits the piano against the strings, rather than as an arpeggiated backdrop to them as in earli?er movements. The piano starts in 24 meter, but the viola (and later, all the strings) enter in 34, the two groups main?taining a stubborn independence through?out. In the development section Faure transforms the themes with remarkable dex?terity, and the conclusion brings an affirm?ing reconciliation.
Program notes by Luke Howard.
Rebecca Ansel, born in 1973, began playing the violin at age five. Active in programs for young musicians in her native Philadelphia area, she was concertmaster of the Philadelphia Youth Orchestra. A student of Kathleen Winkler, she graduated cum laude from Rice University in 1996. Rebecca completed her Masters Degree at the University of Michigan in 1998, where she is currently a doctoral student of Paul Kantor. She has attended Meadowmount, Music Academy of the West, Bowdoin Summer Music Festival, Aspen and, most recently, Taos School of Music.
Erling Bengtsson, cellist, came to Michigan following a distinguished teaching and per?forming career in Europe. He began cello studies at age three with his father in Copenhagen and subsequently became a student of Gregor Piatigorsky at the Curtis Institute of Music, where he joined the fac?ulty immediately upon graduation. He later returned to his native Denmark as professor at the Royal Danish Conservatory of Music, serving for thirty-seven years. Concurrently he was teacher of cello at the Swedish Radio Music School of Advanced Instrumental Studies in Stockholm and at the Hochschule fiir Musik in Cologne. He has given count?less master classes throughout Scandinavia, England and the United States and at the Tibor Varga Festival in Sion, Switzerland. Mr. Bengtsson made his first concert appearance at age four and debuted as orchestral soloist at ten. Since then he has enjoyed a busy schedule as recitalist and soloist with ensembles including the Royal Philharmonic, the BCC, English Chamber Philharmonic, Detroit Symphony Orchestra, Gulbenkian Orchestra (Lisbon) and Czech Philharmonic and the orchestras of Baden-Baden, Brussels, Cologne, Copenhagen, The Hague, hamburg, Helsinki, Leningrad, Oslo and Stockholm. Mr. Bengtsson has made more than fifty recordings, including highly
praised performances of concertos by Boccherini, Haydn, Schumann, Dvorak, Tchaikovsky, Lalo, Saint-Saens and the com?plete Bach cello suites and Beethoven sonatas. In 1993, in recognition of his uni?versal contributions to the art and teaching of cello playing, he was awarded the title of Chavalier du Violoncello by the Eva Janzer Memorial Cello Center of the School of Music of Indiana University.
Anthony Elliott, cellist, has combined admirable careers in performance and teaching for three decades. A protoge of Janos Starker and Frank Miller, he won the Feuermann International Cello Solo Competition, which was followed by a high?ly successful New York recital.. Mr. Elliot is a frequent guest soloist with major orches?tras, including those of Detroit, Minnesota, Vancouver, CBC Toronto and the New York Philharmonic. His compact disc of Kabalevsky, Martinu and Shostakovich sonatas received a rave review from Strad Magazine of London and was named a "Best Buy of 1991" by the Houston Post. Forthcoming releases include works by French and Russian composers. In demand as a chamber musician, Mr. Elliott has been a guest artist at the Sitka (Alaska) Summer Music Festival, the Seattle and Texas cham?ber music festivals, New York's Blossom Music Festival, Houston's Da Camera Series and the Victoria International Festival. He devotes his summers to teaching and per?forming at the Aspen Music Festival and School. Mr. Elliott, who holds the per?former's certificate and a bachelor of music degree with honors from Indiana University, joined the faculty in 1994.
Andrew Jennings, violinist, graduated from The Julliard School. In 1971 he was a founding member of the Concord String Quartet, a youthful ensemble which quickly gained international recognition by winning
the Naumberg Chamber Music Award in 1972 and which performed more than 1,200 concerts throughout the US, Candada and Europe. Specializing in the performance of new works, this Quartet gave more than fifty premieres and commissions; it also has made numerous recordings, three of which were nominated for Grammy Awards. The Concord Trio, which Mr. Jennings formed with Norman Fischer and Jeanne Kierman, debuted in 1993. Mr. Jennings' teaching career began as a member of the Concord Quartet, the members of which were engaged as artists-in-residence at Dartmouth College from 1974-1987. Later he served on the faculties of the University of Akron and Oberlin College. He currently devotes his summers to chamber music instruction at the Tanglewood Music Center in Massachusetts.
Louis Nagel is a graduate of The Juilliard School, where his teachers were Rosina Lhevinne, Josef Raieff and Joseph Bloch. Since joining the UM faculty in 1969 he has coupled his performing career with an equally distinguished academic one. He has served as an adjudicator in the National Federation of Music Clubs; the Canadian National Competitive Festival; and the Kingsville, the Joanna Hodges and the Texas Piano Teachers' Competitions. His perfor?mances have taken him to New York, Washington, DC, Dallas, and Detroit as well as solo and orchestral appearances in Berlin, Budapest, St. Petersburg, Tel Aviv, Jerusalem, Sydney and Taichung. He often presents lecture recitals on a variety of musical topics both alone and in collaboration with his wife, Dr. Julie Jaffee Nagel. His reviews and articles appear in Piano and Keyboard maga?zines. As artistic director of the highly suc?cessful Lyric Chamber Ensemble of Michigan, Dr. Nagel performs yearly in Detroit's Orchestra Hall and in chamber music programs throughout the metropoli-
tan Detroit area. He has recorded J.S. Bach's Partitas for Educo and a CD entitled Four Centuries of J.S. Bach, the latter supported by a grant from the University of Michigan. In the summer of 1998 he was artist-in-resi-dence at the Adamant Music Center in Vermont and at the International Music Camp in both Warsaw and Lublin, Poland.
Yizhak Schotten, violist, was born in Israel and brought to the US by the renowned vio?list William Primrose, with whom he stud?ied at Indiana University and the University of Southern California. Other studies were with Lillian Fuchs at Manhattan School of Music. Mr. Schotten has concertized in Israel, Holland, England, Austria, Japan, Taiwan, Malaysia, Mexico and Canada and has performed on many prestigious concert series across the US. He was a member of the Boston Symphony, an exchange member of the Japan Philharmonic and principal violist of both the Cincinnati and Houston symphonies. As a soloist, he has performed with orchestras under such conductors as Ozawa, Schippers, Comissiona and Arthur Fiedler. As a member of the Trio d'Accordo, Mr. Schotten won the Concert Artists Guild International Competition in New York. His CRI recording was chosen as "Critics' Choice" by High Fidelity; he has also record?ed two albums and two compact discs for Crystal Records. The many festivals at which he has performed and taught include Aspen, Banff, Tanglewood, Chamber Music Northwest, Eastern, Interlochen and Meadowmount. He is music director of the Maui Music Festival in Hawaii and of the Strings in the Mountains Festival in Steamboat Springs, Colorado, and is a pop?ular presenter of master classes for young violists throughout the US and abroad, hav?ing recently done so at the Tel Aviv and Jerusalem academies of music and at the Syndey Conservatorium of Music. He has also led classes at the Menuhin School in
Surry and the Guildhall School of Music and the Royal College of Music in London. Before joining the faculty in 1985, Mr. Schotten taught at the University of Washington in Seattle and the Shepherd School of Music at Rice University.
Stephen Shipps, violinist, studied with Josef Gingold at Indiana University, where he received a BM, an MM with honors and a performer's certificate. He is a member of the Meadowmount Trio, a past member of the Fine Arts Quartet and the Amadeus Trio and has appeared as soloist with the sym?phony orchestras of Indianapolis, Dallas, Omaha, Seattle and Ann Arbor, as well as the Piedmont Chamber Orchestra and the Madiera Bach Festival. He has been a mem?ber of the Cleveland Orchestra, associate concertmaster of the Dallas Symphony and concertmaster of the Dallas Opera, concert-master and associate conductor of the Omaha Symphony and the Nebraska Sinfonia and guest concertmaster for the Seattle and Toledo symphonies. Mr. Shipps has recorded for American Gramophone, Bay Cities, NPR, RIAS Berlin, Hessiche Rundfunk of Frankfurt, MelodiyaRussian Disc and Moscow Radio and was recently awarded a dozen gold and two platinum records for his solo work on the Mannheim Steamroller Christmas Albums. He has adjudicated major national and internation?al competitions for almost two decades and is director of the American String Teachers Association National Solo Competition. Prior to joining the faculty in 1989 he served on the faculties of Indiana University, the North Carolina School of the Arts and the Banff Centre in Canada.
Logan Skelton maintains an active, multi-faceted career as solo pianist, chamber musician, composer and piano pedagogue. His performance schedule regularly includes appearances in such major metropolitan centers as Boston, New York, San Francisco, New Orleans and Chicago. Mr. Skelton's performances and compositions have been featured on public radio and television sta?tions including National Public Radio's Audiophile Audition and Performance Today. He has recorded numerous compact discs for Centaur and Albany Records. As a fre?quent guest at colleges and conservatories, Mr. Skelton adjudicates and presents con?certs, master classes and lectures in such settings as the Gina Bachauer International Piano Festival, the New Orleans International Piano Festival and the San Francisco Conservatory of Music as well as the Interlochen, Chautauqua and Eastman summer music festivals. His career as a pianist is combined with a continuing and active interest in composition. His Suite for Piano was the required work at the 1993 New Orleans International Piano Competition.
One Earth Tour '99
Kazunari Abe, Takeshi Arai, Yoshikazu Fujimoto, Tsubasa Hori, Sachiko Inoue, Ryutaro Kaneko, Mitsunaga Matsuura, Tetsuro Naito, Akira Nanjo, Takahito Nishino, Ayako Onizawa, Hideyuki Saito, Masaru Tsuji, Motofumi Yamaguchi, Michiko Yanagi
NSK Corporation
Tuesday Evening, February 23,1999 at 8:00 Wednesday Evening, February 24,1999 at 8:00 Thursday Evening, February 25,1999 at 8:00 Power Center, Ann Arbor, Michigan
Sixty-first, Sixty-second and Sixty-third Performances of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by NSK Corporation, with additional sup?port from Beacon Investment Company and Blue Nile Restaurant.
Special thanks to Larry McPherson for his support through NSK Corporation. All Nippon Airways, ANA, is the official airline of the 1999 Kodo USA Tour.
Special thanks to Sam Edwards for his support through Beacon Investment Company and to Habte Dadi for his support through Blue Nile Restaurant.
Additional support is provided by media partner, WDET.
Special thanks to Michael Gould, Michael Udow and the U-M School of Music for their assistance with this residency.
Kodo appears in North America by arrangement with IMG Artists.
Large print programs are available upon request.
Composed by Leonard Eto, Arranged by Ryutaro Kaneko
"Zoku" can mean tribe, clan or family. The tribe in this case is the people beating the drums. As you hear the rhythms, your body will start to move on its own. In the same way, perhaps there is a primal stirring with?in the subconscious.
Composed by Ryutaro Kaneko
Inspired by the two distinct energies of thunder and wind, this piece blends the sounds of the large Hirado taiko and the Nohkan flute, a combination used tradition?ally in the music of Noh Theatre. Fu-Rai-Do, however, breaks with tradition to include improvised segments that highlight the unique qualities of the two instruments. The result is a spontaneous composition that spans a dynamic range of musical expression. (In Japanese, Fu-Rai-Do is written using the characters wind, thunder and child.)
On Miyake Island, one of the seven volcanic islands of Izu, south of Tokyo, there is a fes?tival centered on this very unique style of drumming. The drums are set very low to the ground, requiring a strenuous stance. Kodo's arrangement of this piece features the flamboyant technique and free improvi?sation of the performers.
Composed by Tetsuro Naito
Leaving room for improvisation, this song was composed with the hope that its simple rhythm and melancholy melody will take the listener on a ride with the wind, and leave an indelible impression on the spirit.
Composed by Roetsu Tosha
The piece features four drummers playing Okedo-daiko (barrel) and Shime-daiko (roped), and one drummer on a larger Miya-daiko. The players pass the sounds from one to another, playing at a frenetic speed, mixing traditional Japanese rhythms with more modern tempos, blending tense excitement with subtle humor. The title Chonlima (One Thousand League Horse) alludes to a stallion in a well-known Korean legend that possessed great speed and stamina.
Composed by Maki Ishii
Weaving constant rhythmic patterns togeth?er with highly irregular ones, Monochrome develops spirally to an exciting climax. The listener might interpret the sounds as those of the changing of the seasons, or perhaps even the progression of life itself. The ambitious pace expands greatly the range and power of expression of the roped shime-daiko. A companion piece, Monoprism, written for performance with full orchestra, was premiered at Tanglewood by Kodo and the Boston Symphony under Seiji Ozawa.
The origins of this piece are from a style of dance known as Jangara-Nenbutsu from the area around Iwaki City in Fukushima Prefecture. This dance is performed in remembrance of the dead during the late summer festival, known as Obon. With drum slung around their waist, the per?formers play and dance interactively. The elegant handling of the drum sticks is also a characteristic of Kodo's arrangement of this piece.
Composed by Motofumi Yamaguchi
During the late-nineteenth century, a trade ship known as the Kitamaesen ran the route from Osaka to Hokkaido via the Japan Sea. In addition to rice, herring and sake, the ship carried culture in the form of songs and dances. As a result, slightly different versions of this flute song are called Yama uta (Mountain Song) in Aomori, but Mago uta (Horseman's Song) in Shinshu, and Oiwake (Fisherman's Song) in Hokkaido.
The story is told of a baby who upon hear?ing the thunderous sound of the O-daiko dropped off into a peaceful slumber. The powerful sounds emanating from the O-daiko possess a deep tranquillity. The arrangement is simple. The drummer on one side beats out a basic rhythm while the main player improvises freely. When they become united with each other and the rhythm, both the drummers and the listen?ers find themselves wrapped within the embrace of the O-daiko. This miya-daiko carved from a single tree, measures about four feet across and weighs about 800 pounds.
Every year on December 3rd in Saitama Prefecture, an all night festival is held fea?turing richly decorated two-story yatai (carts) pulled from village to village. The people hauling the yatai are urged on by the powerful beating of the taiko, concealed in the cramped first story of the carts. This gave rise to a technique of drumming while seated. Turning the two-ton fixed-axle carts at intersections requires complex team work, and is accompanied by precise and intricate tama-ire solos on the shime-daiko.
Kodo was formed in 1981 by a community of people who had come to Sado Island in the Sea of Japan ten years earlier to devote themselves to the study of the taiko, the traditional Japanese drum. Their objectives are not only the study and preser?vation of traditional Japanese performing arts, but also the creation of new directions for what they believe are still vibrant living art forms. They also place great emphasis on cultural exchange through joint-perfor?mances, festivals and workshops, and pursue a continuing belief in the importance of contact with the natural world. 1981 marked the beginning of the continuous "One Earth Tour", Kodo's major vehicle for its perfor?mance activities.
The Japanese characters for "Kodo" con?vey two meanings: Firstly, "Heartbeat" the primal source of all rhythm. The sound of the great taiko is said to resemble a mother's heart-beat as felt in the womb, and it is no myth that babies are often lulled asleep by its thunderous vibrations. Secondly, read in a different way, the word can mean "Children of the Drum", a reflection of Kodo's desire to play their drums simply, with the heart of a child. This willingness to throw away pre-conceptions also lies behind Kodo's success in experimenting with new musical forms and creating some startling new fusions for taiko.
Nature has always played a very strong role in Kodo's lifestyle, training and musical inspiration. All of the community's efforts over the last decade have been directed towards the gradual building of Kodo Village in a thickly-forested area on the southern peninsula of Sado. It is here that the community of around forty people live, train and prepare for its worldwide tours. Since its inception the founders of Kodo have nurtured a dream of establishing an artistic community in the wild surroundings of Sado.
Amongst some of the most beautiful land?scape in Japan, the island is a treasure house of Japanese performing arts with a living tradition of drumming, dancing and theatre.
In ancient Japan the taiko was a symbol of the rural community and it is said that the limits of the village were defined not by geography but by the furthest distance at which the taiko could be heard. It is Kodo's hope with the "One Earth Tour" to bring the sound of the taiko to people around the globe, so that we may all be reminded of our membership of that much larger com?munity, the world.
Appearing as Kodo for the first time at the 1981 Berlin Festival they received calls for encores for an hour, a record for the Berlin Symphony Hall. Since then Kodo has given nearly 2,000 performances in thirty-seven countries, finally reaching its last unvisited continent, Africa, in its tenth anniversary year, 1991.
Kodo made their UMS debut as part of their first US tour in October 1982. These perfor?mances mark Kodo's ninth, tenth, and eleventh appearances under UMS auspices.
Kodo Staff
Artistic Director Technical Director Stage Manager Company Manager Assistant Manager Assistant Manager Assistant Manager
Motofumi Yamaguchi Leo Janks Masafumi Kazama Takashi Akamine Daniel Rosen Donnie Keeton Kazuko Ito
148-1 Kanetashinden, Ogi, Sado Island, 952-06 Japan
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
j 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! I (All events are at 8pm with dinner prior to the performance)
Sat Ian. 16 Fri. Ian. 29 Fri. Feb. 12
Sat Feb. 20
pri. Mar. 12 at. Mar. 20 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. Jan. 28 Thur. Mar. 11 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.
jroup 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 Smokier 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
Cafc Marie
Deloitte & Touche
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
Sesi Lincoln-Mercury
FoundationsOrganizations Chamber Music America THE MOSAIC FOUNDATION
(of R. & 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 Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich AlfStudios
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.j
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 Mill,ml 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 STM Inc. Swedish Office of Science and
Harold and Jean 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
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 Belts 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 I ? k In ml 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. Gracie
Elizabeth Needham Graham
Dr. John and Renee M. Greden
Lila and Bob Green
John 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 KHngler 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 Latta 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
Georgiana 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 is,ill,ml
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 Raya Brown Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Charles and Martha Cannell Jim and Priscilla Carlson Marchall F. and Janice L. Carr Jeannette and Robert Carr James S. Chen Dr. Kyung and Young Cho Robert J. Cierzniewski Nancy Cilley Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Cynthia and Jeffrey Colton Lolagene C. Coombs Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Kathleen J. Crispell and
Thomas S. Porter
Mary R. and John G. Curtis
Ed and Ellie Davidson
Uning 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 Fracker
Deborah and Ronald Freedman Andrew and Deirdre Freiberg Lela J. Fuester David J. Fugenschuh and
Karey Leach
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and
Mrs. David M. Gates Steve Geiringer and Karen Bantel Thomas and Barbara Gelehrter James and Janet Gilsdorf Maureen and David Ginsburg Invin J. Goldstein and
Marty Mayo
Steve and Nancy Goldstein Enid M. Gosling Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carlcton and Mary Lou Griffin Robert M. Grover Ken and Margaret Guirc 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 Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Jack and Davetta Horner Dr. and Mrs. Joseph A. Houlc 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 Legacki 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 Irwin 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 Miedlcr 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 Prcuss Wallace and Barbara Prince J. 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. Schachingcr Paul and Fredda Unangst Kathleen Treciak Van Dam Jack and Marilyn van der Velde Rebecca Van Dyke William C. Vassell Kate and Chris Vaughan Carolyn and Jerry Voight Warren Herb and
Florence Wagner Wendy L. Wahl and
William R. Lee
Norman C. and Bertha C. Wait Bruce and Raven Wallace Charles R. and
Barbara H. Wallgrcn Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn
Mrs. Joan D.Weber Deborah Webster and
George Miller
Marcy and Scott Westerman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitehouse Christine and Park Willis Thomas and Iva Wilson Charlotte Wolfe Mr.andMrs.A.CWooll 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.
Jim and lamie Abelson John K. Adams Tim and Leah Adams Irwin P. Adelson, M.D. Michihiko and Hiroko Akiyama Mr. and Mrs. Gordon E. Allardycc Mike Allemang James and Catherine Allen Richard and Bettye Allen Nick and Marcia Alter Richard Amdur Helen and David Aminofif Dr. and Mrs. Charles T. Anderson Catherine M. Andrea Timothy and Caroline Andresen Dr. and Mrs. Dennis L. Angellis Elaine and Ralph Anthony Bert and Pat Armstrong Thomas J. and Mary E. Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Dwight Ashley
Mr. and Mrs. Dan E. Atkins III Eric M. and Nancy Aupperle Erik and Linda Lee Austin Eugene and Charlenc Axclrod 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 Balon John R. I Li i ih, ii n David and Monika Barera
4 4 Advocates, continued
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Sherri H. Barnes
Donald C. Barnettc, Jr.
Mark and K.irl.i Bartholomy
Rosemarie Bauer
James M. Beck and
Robert I. McGranaghan Mr. and Mrs. Steven R. Becker! Robert M. Beddey and Judy Dinescn Nancy Bender Walter and Antjc Bencnson Harry and Betty Benford Merete and Erling Blonda! Bengtsson Bruce Benner loan and Rodney Bentz Mr. and Mrs. 1b 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 Bcrtcher R. Bezak and R. Halstead John and Marge Biancke Irene Biber Eric and Doris Billes lack and Anne Birchfield William and Dene Birgc Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh George and Joyce Blum Beverly J. Bole Catherine I. Bolton Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonnell Ed and Luciana Borbely Lola J. Borchardt Jeanne and David Bostian Bob and fan 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. BrookJield Linda Brown and Joel Goldberg Cindy Browne Mary and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Lcla 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 Vandcn Belt Brian and Cheryl Clarlcson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen
Hubert and Ellen Cohen
Hilary and Michael Cohen
Howard and Vivian Cole
Mr. and Mrs. Michael F. Collier
Ed and Calhy Colone
Edward I. and Anne M. Comeau
Carolyn and L. Thomas Conlin
Patrick and Anncward Conlin
Nan and Bill Conlin
Thomas Conner
Donald W. Cook
Gage R. Cooper
Robert A. Cowlcs
Clifford and Laura Craig
Marjorie A. Cramer
Dee Crawford
Richard and Penelope Crawford
Charles and Susan Cremin
George H. and Connie Cress
Mary C. Crichton
Lawrence Crochier
Constance Crump and lay Simrod
Mr. and Mrs. James I. Crump
Margaret R. Cudkowicz
Richard). Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Marylee Dalton
Robert and Joyce Damschroder
Lee and Millie Danielson
Jane and Gawaine Dart
Stephen Darwall and
Rosemarie Hester Sunit and Merial Das I ).irI iiul.i and Robert Dascola Ruth E. Datz
Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge David and Kay Dawson foe 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 DcVine 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 Penncr 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 and Sheldon Ellis James Ellis and Jean Lawton Jack and Wylma Elzay Michael and Margaret Emlaw Mackenzie and Marcia Endo Jim and Sandy Eng Patricia Enns
Carolyne and Jerry Epstein Karen Epstein and
Dr. Alfred Franzblau Mr. and Mrs. Frederick A. Erb Stephen and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald F. Eschman
Eric and Caroline Ethington
Barbara Evans
Mr. and Mrs. Robert B. Fair, Jr.
Barbara and Garry C. Faja
Mark and Karen Falahee
Elly and Harvey Falit
Thomas and Julia Falk
Edwud Fanner
Mr. and Mrs. H. W. Farrington, Jr.
Walter Federlein
Inka and David Felbeck
Phil and Phyllis Fellin
Larry and Andra Ferguson
Karl and Sara Fiegenschuh
Clay Finkbeiner
C. Peter and Bev A. Fischer
Gerald B. and Catherine L. Fischer
Dr. Lydia Fischer
Patricia A. Fischer
Charles W. Fisher
Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
Barbara and lames Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
Mr. and Mrs. Kurt Flosky
David and Ann Fluckc
Maureen Forrest, M. D. and
Dennis Capozza Dr Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and Joann Freethy Gail Fromes 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 II.m Gittlen
Peter and Roberta Gluck Mr. and Mrs. Robert Gockel Albert L. Goldberg Edward and Ellen Goldberg Ed and Mona Goldman Mr. and Mrs. David N. Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin William and Jean Gosling Charles Goss
Naomi Gottlieb and Theodore Harrison DDS Siri Gottlieb Michael L. Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Helen Graves and Patty Clare Pearl E. Graves
Dr. William H. and Maryanna Graves Larry and Martha Gray Isaac and Pamela Green Bill and Louise Gregory Linda and Roger Grekin Daphne and Raymond Grew Mr. and Mrs. James J. Ghbble Mark and Susan Griffin Werner H. Grille 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 Hackett Mrs. William HaTstead Mrs. Frederick G. Hammitt Dora E. Hampel Lourdcs 5. Bastos Hansen Charlotte Hanson Herb and Claudia Harjes M. C. Harms Nile and ludith Harper Stephen G. and Mary Anna Harper Doug Harris and Deb Peery Laurelynne Daniels and
George P. Harris Ed Sarath and loan Harris Robert and Jean Harris Jerome P. Hartweg Elizabeth C. Hassinen Ruth Hastie
James B. and Roberta Hausc Jean nine and Gary Hayden Mr. and Mrs. Edward J. Hayes Derek and Cristina Heins Mrs. Miriam Heins Jim and Esther Heitlcr Sivana Heiler
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 Hohnke John and Donna Hollowell Howard L. and Pamela Holmes Ken and Joyce Holmes Hisato and Yukiko Honda Arthur G. Homer, Ir. Dave and Susan Horvath Dr. Nancy Houk Dr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C. Hubbs Charles T. Hudson Hubert and Helen Huebl Harry and Ruth Huff Mr. and Mrs. William Hufford lane Hughes
loanne Winkleman Hulce Kenneth Hulsing Ann D. Hungcrman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brcnda and
fason Prouser Imber 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). Icromin Paul and Olga Johnson Sherri Lynn Johnson Dr. Marilyn S. Jones John and Linda lonides Andrcc 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
Julia and Philip Kearney
William and Gail Keenan
lanice Keller
lames 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 Kissner
Shira and Steve Klein
Drs. Peter and Judith KIcinman
lohn and Marcia Knapp
Mr. and Mrs. Jack Knowles
Patricia and Tyrus Knoy
Shirley and Glenn Knudsvig
Rosalie and Ron Kocnig
Ann Marie Kotre
Dick and Brenda Krachenberg
Jean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krchbiel
Sara Kring
Alan and Jean Krisch
Bert and Geraldinc Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
lane Laird
Mr. and Mrs. Seymour Lampert
Henry and Alice Landau
Pamela and Stephen Landau
Patricia M. Lang
Marjorie Lansing
Carl F. and Ann L. La Rue
Beth and George Lavoic
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. Leidy
Mr. and Mrs. Fernando S. Leon Ron and Lcona Leonard Sue Leong Margaret E. Leslie Richard LeSueur David E. Levinc George and Linda Levy Donald ]. and Carolyn Dana Lewis Judith Lewis Norman Lewis Thomas and Judy Lewis Mark Lindley and Sandy Talbott Ronald A. Lindroth Dr. and Mrs. Richard H. Lineback Rod and Robin Little lane 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 I. Lutkehaus Susan E. Macias Lois and Alan Macnce Waller A. Maddox Suzanne and Jay Mahler Hans and Jackie Maicr Ronald and Jill Donovan Maio Deborah Malamud and
Neal Plotkin William and Joyce Malm Claire and Richard Malvin Melvin and Jean Manis Pearl Manning Howard and Kate Markel 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 lohn 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 McKcachic Daniel and Madelyn McMurlric Nancy and Robert Meader Robert and Doris Melting 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 Mills Olga Moir
Dr. and Mrs. William G. MoUcr, Jr. Patricia Montgomery Jim and Jeanne Montie Rosalie E. Moore Arnold and Gail Morawa Robert and Sophie Mordis fane and Kenneth Moriarty Paul and Terry Morris Melinda and Bob Morris Robert C. Morrow Cyril and Rona Moscow lames and Sally Mueller Tom and Hedi Mulford Bern and Donna Muller Marci Mulligan and
Katie Mulligan Laura and Chuck Musil Roscmarie Nagel Penny H. Nasatir Isabellc Nash Susan ,ind Jim Newton John and Ann Nicklas Susan and Richard Nisbett Gene Nissen
Laura Nitzberg and Thomas Carli Donna Parmefee 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 Oscherwitz Mitchel Osman, M.D. Elisa A. Ostafin Lillian G. Ostrand Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Penny and Steve Papadopoulos Michael P. Parin Bill and Katie Parker Evans and Charlene Parrott Maria and Ronald I. 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 Pepc Bradford Perkins Susan A. Perry Ann Marie Petach Margaret and Jack Pctcrsen Roger and Grace Peterson Jim and Julie Phclps Mr. and Mrs. Frederick R. Pickard
Leonard M. and Lorainc 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 Randle and lames Eng
Al and Jackie Raphaclson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Rasmussen
Maxwell and Marjorie Readc
Michael Ready
Gabriel M. Rebeiz
(Catherine R. Reebel
Stanislav and Dorothy R. Rehak
John and Nancy Reynolds
James and Helen Richards
Elizabeth G. Richart
Dennis J. Ringle
Sylvia Cedomir Ristic
Kathleen Roclofs 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 SamerofT and Susan McDonough
Miriam S. Joffe Samson
Tito and Yvonne Sanchez
Daren and Maryjo Sandbcrg
John and Reda Santinga
Mike and Christi Savitski
Helga and Jochcn 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 Scgall
Richard A. Scid
Suzanne Selig
Janet C. Sell
Louis and Sherry L. Scnunas
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
1 it till-, and Martha A. Showalter
Mary Alice Shulman
John Shultz
Ned Shure and Jan Onder
John and Arlene Shy
Douglas B. Siders, M.D.
Dr. Bruce M. Siegan
Mr. and Mrs. Barry J. Siegel
Milton and Gloria Siegel
Drs. Dorit Adler and Terry Silver
Michael and Maria Simonte
Robert and Elaine Sims
Alan and Eleanor Singer
Donald and Susan Sinta
Irma 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. Somcrs
Judy Z. Somers
Mr. and Mrs. Edward J. Sopcak
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Shawn Spillanc
Charles 1 . Sproger
Edmund Sprunger
Mary Stadel
Burnette Staeblcr
David and Ann Staiger
Constance Stankrauflf
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Stcck
Virginia and Eric Stein
Frank D. Stella
Ronald R. Stempien
William and Gcorginc 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
)ohn 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 Tcall
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
Angle 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 K.irl.i Vandersypcn
Bram and 1 1.1 van Leer
Fred and Carole S. Van Recsema
Yvette VanRiper
J. Kevin and Lisa Vasconi
Phyllis Vegter
Sy and Florence Vcniar
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 Nadclman and
Sidney Warschausky Edward C. Weber Mr. and Mrs. Roy Weber
4 6 Advocates, continued
Jack and Jerry Wcidcnbach
Carolyn J. Weiglc
Gerane and Gabriel Weinreich
Lawrence A. Weis
Donna G. Weisman
Barbara Weiss
Carol Campbell Welsch and
John Welsch
John and Joanne Werner Rosemary and David Wesenberg Tim and Mim Westerdale Ken and Cherry Westerman Susan and Peter Westerman Mr. and Mrs. Nathaniel Whitcside William and Cristina Wilcox Honorable Kurtis T. and
Cindy M. Wilder Reverend Francis E. Williams John Troy Williams Shelly F. Williams Lois Wilson-Crabtree Beverly and Hadley Wine Dr and Mrs Jan Z Winkclman Beth and I. W. Winsten Mr. and Mrs. Eric Winter James H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Galten 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 Wylie Sandra and Jonathan Yobbagy Mr. Frank Yonkstciicr James and Gladys Young Mr. and Mrs. Robert Zager Dr. Stephen C. Zambito Phyllis Zawisza Craig and Megan Zcchman David S. and Susan H. Zurvalec
Ann Arbor Bivouac, Inc. Ayse's Courtyard Cafe Dr. H.W. Bennett & Associates Bodywise Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Garris, Garris, Garris &
Garris Law Office Kupelian Ormand & Magy, P. C. Lewis Jewelers Mundus & Mundus, Inc. Organizational Designs Pen in Hand
Staples Building Company SWEA Inc. Zepeda and Associates
Schwartz Family Foundation
Vie Burton Tower Society is a very special group of University Musical Society friends. Time people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great traditions of the Society in the future.
Carol and Herb Amster Mr. Neil P. Anderson Catherine S. Arcure Mr. and Mrs. Pal E. Barondy Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C and Constance M. Kinnear
Dr. Eva Mueller
Charlotte McGcoch
Len and Nancy NiehofT
Dr. and Mrs. Frederick O'Dell
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Herbert Sloan
Roy and JoAn Wetzel
Mr. and Mrs. Ronald G. Zollars
AAA Michigan
Alt Studios
Arbor TemporariesPersonnel
Systems Inc.
Bank of Ann Arbor
Barfield CompanyBartech
Beacon Investment Company
Blue Nile Restaurant
Braucr Investments
Butzel Long Attorneys
CFI Group
Charles Reinhart Company Realtors
Deloittc & Touche
FJaslizt:ll 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 Curt in 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 & Scheetz Red Hawk Bar & Grill Regency Travel Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science and
Technology Target Stores Edward Surovell Realtors Thomas B. McMullen Company Weber's Inn Zanzibar
John H. Bryant Margaret Crary Mary Crawford George R. Hunsche Alexander Krezel, Sr. Kathcrinc Mabarak Josip Matovinovic Frederick C. Matthaei, Sr. Glenn D. McGeoch
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powrie
Mi-Mi Reiss
Ralph L Steffek
Clarence Sloddard
William Swank
Charles R. Tieman
lohn F. Ullrich
Ronald VandcnBelt
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 Jeannine Buchanan Butzcl 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 Glcndon
The Great Frame Up
Great Harvest Bread Company
Gregg Alf Studios
Jeanne Harrison
Dr. Tina Goodin Hertel
Terry Hirth and Bodywise
Therapeutic Massage
Dan Huntsbergcr
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 Romney Kulp
Laky's Salon
Bernice Lamey
Maxine Larrouy
Carole Lasser
Learning Express
Kathleen Letts
Letty'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 Pooley
leva Rasmusscn
Rebecca's Studio
Regrets Only
Nina Hauser Robinson
Anne Rubin
Maya Savarino
Peter Savarino
Sarah Savarino
Ann and Tom Schribcr
Grace Schackman
Mike and Jan Shatusky
Ingrid Sheldon
Grace Singleton
Loretta Skcwes
Herbert Sloan
Irving and Carol Smokier
Steve and Cynny Spencer
Edward Surovell
Sweet Lorraine's
Bcngt and Elaine Swenson
Raymond Tanter
TIRA's Kitchen
Tom Thompson Flowers
Susan Ullrich
Andrea Van Houweling
Eric Wapnick
Emil Weddige & 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
Because Mlulc Matter)
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
12 Ann Arbor Symphony
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
i: Dobbs Opticians
-IS Dobson-McOmber
29 Edward Surovell Realtors
32 Emerson School
24 1 KIM International
25 Ford Motor Company
32 Foto 1
19 Fraleigh's Nursery
27 Glacier Hills
50 Harmony House
34 Harris HomesBayberry
27 Howard Cooper Imports
35 Individualized Home Care

lim Bradley PontiacGMC
Kerrytown Bistro
King's Keyboard House
John Leidy Shops, Inc.
Lewis Jewelers
McGlynn & Gubbins
Attorneys Miller, Canfield, Paddock,
and Stone Mir's Oriental Rugs Mundus 8c Mundus NBD Bank
Nina Howard Spa & Gifts Pen in Hand Performance Network Quinn Evans Architects Red HawkZanzibar SKR Classical Sweet Lorraine's Sweetwaters Cafe Ufer and Co. U-M Matthaei Botanical
University Productions Wexford Homes Whole Foods WDET WEMU WGTE WMXD WUOM

Download PDF