UMS Concert Program, Wednesday Mar. 24 To 30: University Musical Society: 1998-1999 Winter - Wednesday Mar. 24 To 30 --
Season: 1998-1999 Winter
University Of Michigan
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of the University of Michigan
The 1998-99 Winter Season
On the Cover
Included in the montage by local photographer David Smith arc 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 Fiddlers 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
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 UMS Dining Experiences
Restaurant & Lodging Packages
32 Gift Certificates
32 The UMS Card
34 Sponsorship and Advertising
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 email@example.com.
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.
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. Lof.sk President, T.M.L. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry 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 I'rrsidrnl and CEO, Bank of Ann Arbor. "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrich-
ment that the University Musical Society brings to our community."
Carl A. Brauer, Jr.
Oioner, 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, Deloitte & Touche
"Deloitte & Touche is pleased to support the University Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our lives!"
LEO LEGATSKI President, Elastizell Corporation of America "A significant charac?teristic of the University Musical Society is its ability to adapt its menu to
changing artistic requirements. UMS involves the community with new concepts of educa?tion, workshops, and performances."
GREGG A. DEMAR
Vice President, Customer Segment Marketing, Personal Systems Group, IBM Corporation "IBM salutes the University Musical Society for their
valuable service to our community in support of students, children and families, and for enhancing their exposure to the Arts."
ANTHONY F. EARLEY, JR. Chairman, President and Chief Executive Officer, Detroit Edison "By bringing the joy of the performing arts into the lives of com?munity residents, the
University Musical Society provides an important part of Ann Arbor's uplifting cul?tural identity, offers our young people tremendous educational opportunities and adds to Southeastern Michigan's reputation as a great place to live and work."
"At ERIM International,
we are honored to
support the University
commitment to pro-
viding educational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impaa of these experiences will last a life?time."
WILLIAM S. Hann President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients."
EDWARD SUROVELL President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution as distinguished as the
University Musical Society. For over a cen?tury it has been a national leader in arts presentation, and we encourage others to contribute to UMS future."
William Clay Ford, Jr.
Chairman, Ford Motor
"At Ford, we believe the
arts speak a universal
language. We're proud
of our long-standing
association with the
University Musical Society, its concerts, and the educational programs that enrich our community."
DENNIS SERRAS President, Mainslreel 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." oz
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 Principal Miller, Canfield, Paddock and Stone, P.L.C.
"Miller, Canfield, Paddock and Stone is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
JORGE A. SOUS
First Vke 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."
Chairman and Chief
is proud to support
Musical Society and the cultural contribu?tion it makes to the community."
Partner, Multilogiie "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 President,
Mechanical Dynamics. "Beverly Sills, one of our truly great per?formers, once said that 'art is the signature of civilization.' We believe
that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark--with a flourish."
Phillip R. Durvea 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
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
JOHN PSAROUTHAKIS, PH.D.
Chairman and Chief
"Our community is
enriched by the
Society. We warmly support the cultural events it brings to our area."
JOSEPH SESI President, Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our com?munity. The Sesi
Lincoln Mercury team is delighted to sponsor such a fine organization."
Dr. James R. Irwin
Chairman and CEO, The Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community"
Ronald M. cressweu, Ph.D.
Sr. Vice President and Chief Scientific Officer, Warner Lambert Company "Parke-Davis is very proud to be associat-
cd with the University Musical Society and is grateful for the cultural enrichment it hrings 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-MOhio State football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
BRIAN CAMPBELL President, TriMas Corporation "By continuing to support this out?standing organiza?tion, 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 Beverlcy B. Gcltncr, Chair Lelitia I. Byrd, Vice-Chair Elizabeth Yhouse, Secretary David Featherman, Treasurer Gail Davis Barnes Lee C. Bollinger lanice Stevens Botsford Paul C. Boylan
Barbara Everitt Bryant Kathleen G. Charla Robert F. DiRomualdo David J. Flowers Alice Davis Irani Stuart A. Isaac Gloria lames Kerry F. Bruce Kulp
Leo A. Legatski Earl Lewis Lester P. Monts Alberto Nacif Len Nichoff Joe E. O'Neal Randall Pittman Prudence L. Rosenthal
Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Susan B. Ullrich Marina v.N. Whitman
UMS SENATE (former members of the UMS Boanl 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. Kin near Patrick B. Long
Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz
Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFF AdministrationFinance Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to
the President John B. Kennard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald ). Reid, Assistant
Manager and Group Sales David Cocagne, Assistant
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 J. Thad Schork, Direct Mail,
Gift Processor Anne Griffin Sloan, Assistant
Education Audience Development
Ben Johnson, Director Kate Remen, Manager Susan Ratcliffe, Coordinator
Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Gus Malmgren, Director Emily Avers, Production and Artist Services Coordinator Eric R. Bassey, Production
Associate Bruce Oshaben, Front of House
Kathi Reister, Head Usher Paul (omantas, Assistant Head
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Work-Study Juliana Athaydc Laura Birnbryer Rebekah Camm Jack Chan Mark Craig Nikki Dobell Mariela Flambury David Her Bert Johnson Carrie Kahl Un Jung Kim Liesel Letzmann Ben Meekhof Kate Meyer Rebekah Nye Arianna Smith Amy Tubman Nicole Young
Laura Birnbryer Carla Dirlikov Laura Schnitker
President Emeritus Gail W. Rector
1998-99 ADVISORY COMMITTEE
Debbie Herbert, Chair
Maureen Isaac, Co-Chair
Lisa Murray, Staff Liason
Letitia J. Byrd
Mary Ann Daane
H. Michael Endres
Steve Kasle Maxine Larrouy Beth Lavoie Esther Martin Jeanne Merlanti Scott Mere Candice Mitchell Robert Morris John Mulcrone Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmussen Nina Hauser Robinson Sue Schroeder Meg Kennedy Shaw Loretta Skewes
Susan B. Ullrich
Kathleen Treciak Van Dam
Gail Davis Barnes
Letitia ). Byrd
Naomi Corera Carolyn Hanum Taylor Jacobsen Callie Jefferson Deborah Katz Dan Long Laura Machida Ed Manning Glen Matis Ken Monash Gayle Richardson Karen Schulte Helen Siedel Sue Sinta Sandy Trosien Melinda Trout Barbara Hertz Wallgren Jeanne Weinch
Tfie 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.
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.
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.
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.
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.
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.
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,
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.
of the University of Michigan
UMS Choral Union
Thomas Sheets, conductor
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 120 years, strong leadership coupled with a devoted community have placed UMS in a league of internationally-recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied his?tory, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the next millennium. Every day UMS seeks to cultivate, nurture and stimu?late public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, com?missioning of new works, youth programs, artists residencies and other collaborative pro?jects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 80 performances and more than 150 educational events each season.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organiza?tion, which supports itself from ticket sales, cor?porate and individual contributions, foundation and government grants, and endowment income.
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Four years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for sub?scription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, and Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugu?rating the partnership with a performance of Britten's War Requiem, and continuing with performances of Berlioz' Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
This season, the UMS Choral Union will perform in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra and Neeme Jarvi, including perfor?mances of Brahms' A German Requiem, Kodaly's Psalmus Hungaricus, and Rachmaninoff's mon?umental The Bells. Other programs include Handel's Messiah and Mozart's Requiem with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
For more information about the UMS Choral Union, please call 734.763.8997.
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.
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.
The historic 1,710-seat Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the sec?ond floor and bowling alleys running the length of the basement. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the bal?cony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and in
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 Saturdaysfrom 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:
MASTER OF ARTS INTERVIEW SERIES
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
MITSUKO UCHIDA (r). INTERVIEWED BY SUSAN ISAACS NISBETT FOR THE MASTER OF ARTS INTERVIEW SERIES IN NOVEMBER 1998.
PREPS (PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS)
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.
DIRECTOR OF EDUCATION. BEN JOHNSON (r) HOSTS A MEETTHE ARTIST WITH THE AMERICAN STRING QUARTET IN NOVEMBER.
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.
MEET THE ARTISTS: POST-PERFORMANCE DIALOGUES
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
TEACHER WORKSHOP SERIES
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.
TRINITY IRISH DANCE COMPANY
Thursday, January 7,8 P.M.
Friday, January 8, 8 P.M.
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by National City Bank.
GEORGE GERSHWIN: SUNG AND UNSUNG NEW YORK FESTIVAL OF SONG
STEVEN BLIER AND MICHAEL
BARRETT, ARTISTIC DIRECTORS
DANA HANCHARD, SOPRANO AND
TED KEEGAN, TENOR
STEVEN BLIER AND JOHN MUSTO,
Saturday, January 9,8 P.M. Sunday, January 10,4 P.M. Lydia Mendelssohn Theatre Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
RENEE FLEMING, SOPRANO Thursday, January 14,8 P.M. Hill Auditorium
PREP Naomi Andre, U-M Assistant Professor of Music History and Musicology. Thursday, January, 14, 7 p.m., MI League Hussey Room. Meet the Artist post-performance dialogue from the stage. Sponsored by Pepper Hamilton, L.L.P. Media Partner WGTE.
THE GOSPEL AT COLONUS FEATURING J.D. STEELE AND SPECIAL GUEST JEVETTA STEELE CLARENCE FOUNTAIN AND THE BLIND BOYS OF ALABAMA THE ORIGINAL SOUL STIRRERS REVEREND EARL MILLER THE DUKE ELLINGTON CENTENNIAL CHOIR Friday, January 15 Saturday, January 16,
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 Hi, 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.
ANNE SOFIE VON OTTER,
CHAMBER MUSIC SOCIETY OF
DAVID SHIFRIN, ARTISTIC DIRECTOR
BENGT FORSBERG, PIANO
Friday, January 29,8 P.M.
Lydia Mendelssohn Theatre
PREP "An Introduction to Scandinavian
Songs" by Richard LeSueur, Vocal Arts
Information Services, Fri, Ian 29, 7 p.m.
Michigan League, Hussey Room.
Sponsored by KcyBank with additional
support from Maurice and Linda Binkow,
STM, Inc., and the Swedish Round Table
Organizations. Media Partner WCTE.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY ONE-HOUR FAMILY PERFORMANCE Saturday, January 30, 2 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, February 7,4 P.M. Rackham Auditorium PREP "From Romeo to Leonore: The Operatic Quartet" by Sleven Whiting, U-M Assistant Professor of Musicology, with U-M School of Music student musicians. Sun, Feb 7, 3 p.m. Michigan League, Vandcnbcrg 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 ihc Fine Arts" by composer Kenneth Fuchs, Mon, Feb 8, 12 noon, School of Music, Room 2033. Sponsored by Edward Surovcll Realtors with support from the Lita 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.
THE MERCE CUNNINGHAM
Friday, February 12 Saturday,
February 13,8 P.M. Power Center
Brown-bag Lunch "Chance Patterns: Historic Moments in 5() years ot Merce ( unningham's Choreography" by Kate Remen .it the Institute for the Humanities on Merce (Cunningham. Tue, Ian 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 (lay 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 firstname.lastname@example.org for details. Family Workshop: (Chance Encounters Parents and their children (ages 7 and up) explore visual art, dance and nnisic 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 Center and Dance GalleryPeter Sparling & Co. For more information and registration call the Ann Arbor Art Center, 994-8004 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. For informa?tion and registration call the Ann Arbor Art Center, 994-8004 x 101, nr 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 An Center, 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 Center in conjunction with the Merce Cunningham Dance Company Residency. Sat, Feb 13,
Look for valuable information about UMS, the 199899 season, our venues, educational activities, and ticket information.
CHECK OUT THE UMS WEBSITE!
11 a.m. For information and registration call the Ann Arbor Art Center, 994-8004 x 101, or walk-in registration .it the Ann Arbor Art lenter.
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 John Cage's Cartridge Music presented by Laura Kuhn, Director of the John ("age 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, Feb 9, 2:45 p.m. U-M Dance Building Studio A. Master of Arts Interview of choreographer Merce Cunningham interviewed by Roger Copeland, Professor of Theater and Dance .it Oberlin College. Thu, Feb 11,7 p.m. U-M 1 ance Building, Hetty Pease Studio. Advanced Technique Master Classes taught by Meg Harper, Chair of the Cunningham Studio, .it the U-M Dance i lepartment. Ml places per class and 10 observers open to the public. Fight classes available: Tues and Thu, Feb 9 and 22, 11 a.m. and 12:45 p.m. Wed and Fri, Feb 10 and 12, 12:45 p.m. and 2:30 p.m. Call 734-763-5460 to register.
LifeForms--Computers and Choreography with U-M Professor Stephen Rush and Cunningham Company Archivist, David Vaughan. Fri, Feb 12, 9 a.m., Design Lab 1, Media Union.
PREP Cunningham Company Archivist, I (avid 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.. 1 lance lalleryPeter 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 League, Hussey Room. Media Partner WDET and Metro Times.
MAXIM VENGEROV, VIOLIN IGOR URYASH, PIANO Sunday, February 14,4 P.M. Hill Auditorium Media Partner WGTE.
ORPHEUS CHAMBER ORCHESTRA PEPE ROMERO. GUITAR Monday, February 15,8 P.M. Rackham Auditorium Sponsored by CFI Group.
MERYL TANKARD AUSTRALIAN
Friday, February 19 Saturday,
February 20, 8 P.M. Power Center
Dance Theater Lecture Demonstration by Meryl Tankard, U-M Department of I tance, 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.
MICHIGAN CHAMBER PLAYERS FACULTY ARTISTS OF THE UNIVERSITY OF MICHIGAN SCHOOL OF MUSIC Sunday, February 21,4 P.M. Rackham Auditorium Complimentary Admission
Tuesday, February 23 Thursday,
February 25,8 P.M. Power Center
Sponsored by NSK Corporation with support from Beacon Investment Company and the Blue Nile Restaurant. Media Partner WDET.
DAVID DANIELS, COUNTERTENOR MARTIN KATZ, PIANO Sunday, March 7,4 P.M. Lydia Mendelssohn Theatre
JAMES GALWAY, FLUTE
PHILLIP MOLL, PIANO
Thursday, March 11,8 P.M.
Sponsored by Parke-Davis Pharmaceutical
Research. Media Partner WGTE.
WITH MARC CORY, PIANO MICHAEL BOWIE, BASS ALVESTER GARNETT, DRUMS
Friday, March 12,8 P.M.
Sponsored by Miller, Canfield, Paddock and
Stone, LLP. Media Partner WEMU.
TAKACS QUARTET Thursday, March 18,8 P.M. Rackham Auditorium
ALVIN AILEY AMERICAN DANCE
Friday, March 19 Saturday, March 20,
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, Husscy Room. Master of Arts Interview wilh artistic director and choreographer Judith Jamison, S.it, 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
GYPSY CULTURE FROM INDIA TO
EASTERN EUROPE AND IBERIA
Thursday, March 25, 8 P.M. Michigan Theater Sponsored by AT&T Wireless with additional support from Republic Bank. Media Partner WDET.
SWEET HONEY IN THE ROCK
Friday, March 26, 8 P.M.
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.
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. Sat, March 27, 2 p.m. Rackham Amphitheater and Assembly HalL
PREP "A Rhetoric of Disintegration" by Steven Whiting, U-M Assistant Professor of Musicology, with School of Music stu?dent musicians. Sun, March 28, 3 p.m. Rackham Assembly Hall. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
TRIO FONTENAY Tuesday, March 30,8 P.M. Rackham Auditorium
STEVE REICH ENSEMBLE
Saturday, April 10,8 P.M.
Master of Arts Interview of composer
Steve Reich and filmmaker Beryl Korot.
Fri, April 9, 12 p.m. Michigan League,
Media Partner WDET and Metro Times.
HUBERT SOUDANT, CONDUCTOR
TILL FELLNER, PIANO
Thursday, April 15, 8 P.M.
Sponsored by Edward Surovell Realtors.
Media Partner WGTE.
FEATURING JESUS ALEMANY
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.
ANONYMOUS 4 AND LIONHEART
Sunday, April 18,8 P.M.
St. Francis of Assisi Catholic Church
MONSTERS OF GRACE
A DIGITAL OPERA IN 3-DIMENSIONS
MUSIC BY PHILIP GLASS
DESIGN AND VISUAL CONCEPT BY
PERFORMED BY THE PHILIP GLASS
Thursday, April 22, 8 P.M.
Media Partner WDET and Metro Times.
LINCOLN CENTER JAZZ ORCHESTRA WITH WYNTON MARSALIS A CENTENNIAL CELEBRATION OF DUKE ELLINGTON
Friday, April 23, 8 P.M. Hill Auditorium
PREP Kenn Cox, Professor of Music at Michigan State and Wayne State Universities, interviews members of the Lincoln Center Jazz Orchestra, 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.
NHK SYMPHONY ORCHESTRA OF TOKYO
CHARLES DUTOIT, CONDUCTOR
SARAH CHANG, VIOLIN
KAZUE SAWAI, KOTO
Sunday, April 25,4 P.M.
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 lanuary, 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 Wednesday, March 24, through Tuesday, March 30,1999
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
ate not allowed in the auditorium.
If you have a question, ask an 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.
The Tallis Scholars
Wednesday, March 24, 8:00pm
St. Francis of Assisi Catholic Church
Gypsy Caravan 9
Thursday, March 25, 8:00pm Michigan Theater
Sweet Honey in the Rock 21
Friday, March 26, 8:00pm Hill Auditorium
American String Quartet 25
Beethoven the Contemporary Sunday, March 28, 4:00pm Rackham Auditorium
Trio Fontenay 31
Tuesday, March 30, 8:00pm Rackham Auditorium
The Tallis Scholars
Peter Phillips, Director
Salve, Regina mater misericordiae, vita
dulcedo et spes nostra, salve.
Ad te clamamus, exsules filii Evae.
Ad te suspiramus, gementes et flentes in
hac lacrimarum valle. Eia ergo advocata
nostra, illos tuos misericordes oculos ad
nos converte. Et Jesum, benedictum
fructum ventris tui, nobis post hoc
exsilium ostende. Virgo mater ecclesiae,
aeterna porta gloriae, esto nobis
refugium apud patrem et filium.
O clemens, Virgo clemens, Virgo pia,
Virgo dulcis, O Maria. Exaudi preces
omnium ad te pie clamantium.
O pia, funde preces tuo nato,
crucifixo, vulnerato, et pro nobis
flagellato, spinis puncto
felle potato. O dulcis Maria, salve.
Hail, Queen, mother of pity; our life, sweetness, and hope, hail. To thee we cry, the exiled sons of Eve. To thee we sigh, lamenting and weeping in this vale of tears. Hasten, therefore, our advocate, turn thy pitiful eyes upon us. And, show us Jesus, the blessed fruit of thy womb, after this exile. Virgin mother of the church, eternal gate of glory, be our refuge with the Father and the Son. O merciful one, merciful Virgin, kind Virgin, sweet Virgin, Mary, hear the prayers of all who cry dutifully to you. O Holy One, pour out thy prayers to thy crucified son, wounded and scourged for us, who was pierced with thorns and drank gall. Sweet Mary, hail.
Ne irascaris, Domine, satis, et ne ultra
memineris iniquitatis nostrae.
Ecce, respice, populus tuus omnes nos.
Civitas sancti tui facta
est deserta. Sion deserta facta est. Ierusalem desolata est.
Be not angry any more, O Lord, and do not remember our iniquity any longer. Behold, see, we are all thy people.
The city of thy holy place is become
Sion is become a wilderness. Jerusalem is forsaken.
Emendemus in melius
Emendemus in melius quae ignoranter peccavimus, ne subito praeoccupati die mortis quacramus spatium poenitentiae et invenire non possumus. Attcnde, Domine, et miserere, quia peccavimus tibi.
Adiuva nos, Deus salutaris noster, et propter honorem nominis tui libera nos.
Let us amend what we have transgressed through ignorance, lest, should the day of death suddenly overtake us, we seek time for repentance and cannot find it. Hearken, O Lord, and have mercy, for we have sinned against thee.
Help us, O God of our salvation, and, for the glory of thy name, deliver us.
Aeterne laudis lilium
Aeternae laudis lilium, o dulcis Maria te laudat vox angelica nutrix Christi pia; jure prolis gloriae detur harmonia, salus nostrae memoriae omni agonia.
Ave radix, flos virginum, o sanctificata; benedicta in utero materno creata eras sancta puerpera et inviolata tuo ex Jesu filio, virgo peramata. Honestis caeli precibus virgo veneraris, regis excelsi filii visu jocun-daris; eius divino lumine tu nusquam privaris, gaude sole splendidior virgo singularis. Issachar quoque Nazaphat necnon Ismaria, nati ex Jesse stipite qua venit Maria; atque Maria a Cleophae sancto Zacharia, a qua patre Elizabeth, matre Sophonia. Natus est Dei gratia. Johannes liaptista gaudebat clauso Domino in matrice cista. Lineae ex hoc genere est evangelista Johannes Annae filia ex Maria ista. Est Jesus Dei filius natus in hunc mundum cuius cruoris tumulo mundatur in mundum, conferat nos in gaudium in aevum jocundum qui cum Patre et Spiritu Sancto regnat in unum.
O sweet Mary, the holy mother of Christ, angel voices praise you, the lily of eternal praise. Justly may music be given to the glory of your son; the safety of our memory and the sacrificial victim for all of us. Hail, root, flower of virgins, most holy one; you, beloved virgin were born blessed, and in your virgin womb was created your son Jesus. Virgin, you give honourable prayers to heaven, with the vision of your blessed son, the heavenly king; you are never deprived of his divine light: rejoice, O matchless virgin, more brilliant than the sun. Issachar, Nazaphal and indeed Ismaria were born of Jesse's stem, from which Mary sprang, and also Mary, daughter of Cleophas. From holy Zacharias and Eizabeth, daughter of Sophoria, was born John the Baptist, by God's grace. He was rejoicing while the Lord was enclosed in his mother's womb. Of this line was John the Evangelist. Mary, the daughter of Anne was the mother of Jesus. Jesus the son of God was born into this world and his cross and burial purified the world with his blood. May Jesus bring us into joy and into a glorious age, for he reigns as one with the Father and the Holy Spirit.
Exaudiat te Dominus in die tribulationis: protegat te nomen Dei Jacob. Mittat tibi auxilium de sancto: et de Sion tueatur te. Memor sit omnis sacrificii tui: et holocaustum tuum pingue fiat. Tribuat tibi secundum cor tuum: et omne consilium tuum confirmet. Laetabimur in salutari tuo: et in nomine Dei nostri magnificabimur. Impleat Deus omnes petitiones tuas: nunc cognovi quoniam salvum fecit Dominus Christum suum. Exaudiat ilium de caelo sancto suo: in potentatibus salus dexterae eius. Hi in curribus et hi in equis: nos autem in nomine Domini Dei nostri invocabimus. Ipsi obligati sunt et ceciderunt: nos autem surreximus, et erecti sumus. Domine, salvum fac regem et exaudi nos in die qua invo-caverimus te.
The Lord hear thee in the day of trouble: the name of the God of Jacob defend thee; send thee help from the sanctuary: and strengthen thee out of Sion; remember all thine offerings: and accept thy burnt-sacrifice; grant thee thy heart's desire: and fulfil all thy mind. We will rejoice in thy salvation, and triumph in the name of the Lord our God: the Lord perform all thy petitions. Now know I that the Lord helpeth his annointed, and will hear him from his holy heaven: even with the wholesome strength of his right hand. Some put their trust in chariots, and some in horses: but we will remember the name of the Lord our God. They are brought down, and fallen: but we are risen, and stand upright. Lord, save the king, and hear us, O king of heaven: when we call upon thee.
Circumdederunt me dolores mortis
et pericula inferni
invenerunt me. Tribulationem et
dolorem inveni et nomen
Domini invocavi: O Domine, libera
The snares of death compassed me round about: and the pains of hell took hold of me. I shall find trouble and heaviness and I will call upon the name of the Lord: O Lord, I beseech thee, deliver my soul.
Miserere mei Deus, secundum magnam misericordiam tuam. Et secundum multitudinem miserationum tuarum, dela iniquitatem meam.
Show thy mercy on me O God, in accor?dance with thy most merciful kindness. And according to the multitude of thy mercies, do away my sins, and wash me thoroughly from my misdeeds.
Magnificat anima mea Dominum. Et exultavit spiritus meus in Deo salu-tari meo. Quia respexit humilitatem ancillae suae: ecce enim ex hoc beatam me dicent omnes generationes. Quia fecit mihi magna qui potens est: et sanctum nomen eius. Et misericordia eius a progenie in progenies: timentibus eum. Fecit potentiam in bracchio suo: dispersit superbos mente cordis sui. Deposuit potentes de sede, et exaltavit humiles. Esurientes implevit bonis: et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiae suae. Sicut locutus est ad patres nostros:
Abraham et semini eius in saecula. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum.
My soul doth magnify the Lord: and my spirit hath rejoiced in God my Saviour. For he hath regarded: the low?liness of his handmaiden. For behold, henceforth, all generations shall call me blessed. For he that is mighty hath mag?nified me, and holy is his name. And his mercy is on them that fear him thor-oughout all generations. He hath showed strength with his arm: He hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seats and hath exalted the humble and meek. He hath filled the hungry with good things and the rich he hath sent empty away. He remembering his mercy hath helpen his servant Israel, as he promised to our forefathers:
Abraham and his seed for ever. Glory be to the Father, and to the Son, and to the Holy Ghost. As it was in the beginning, is now, and ever shall be: world without end.
The Tallis Scholars
Peter Phillips, Director
Tessa Bonner, Sally Dunkley, Sopranos
Caroline Trevor, Patrick Craig, Altos
Steven Harrold, Philip Cave, Tenors
Donald Greig, Stephen Charlesworth, William Clements, Bass-Baritones
Francis Steele, Bass
John Browne William Byrd Byrd Robert Fayrfax
Wednesday Evening, March 24,1999 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Salve Regina Ne irasceris Emendemus in melius Aeterne laudis lilium
Exaudiat te Circumdederunt me Miserere mei Magnificat
Seventy-first Performance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
The Tallis Scholars appear by arrangement with Aaron Concert Artists Division of Trawick Artists, Ltd., New York, NY.
Large print programs are available upon request.
John Browne Born () Died 1498
John Browne is the best-represented com?poser in the sumptuous Eton Choirbook, and he has also been considered the best; it is remarkable, given this, that none of his works survives in any other source. Extremely little, too, is known of his life. The works that have come down to us are a series of nine votive antiphons and one Magnificat. In the former category there are two settings of the Salve Regina. One was probably intended for male voices; the other for mixed choir. It was almost certainly intended to be sung during Holy Week, since it is built upon a chant melody, Maria ergo unxit, from the Mandatum service of Holy Thursday. The salutation to the Mother of God which is the text of the Salve is thereby linked to the image of Mary Magdalen washing Christ's feet. This relates to Browne's predilection for sombre texts relating to Mary's grief at the Passion of Christ (the texts of the antiphons Stabat iuxta Christi crucetn, Stabat mater, Stabat virgo mater Christi and Stabat virgo mater Christi provide ample demonstration of this). Browne's music, in common with that of his "Eton" contemporaries, is full of tech?nically demanding writing and dazzling vocal roulades, but it is also a considerable structural rigour: the way the cantus firmus is disposed and its consequent structural implications form the work have been the subject of discussion of more than one scholar.
Ne irasceris Emendemus in melius
Born 1543 probably in Lincoln, England Died July 4, 1623 in Stondon Massey, Essex, England
William Byrd's Ne irascaris has been described by Joseph Kerman as one of his "quiet master?pieces." It is a profoundly satisfying work structurally, being tonally bipartite and with a complex series of harmonic digressions reflecting the anguished nature of the text and many motivic links between the two halves of the work. There is a luminosity about much of the work which imparts a transcendent calm to words which are fre?quently very far from tranquil -the pro?tracted cadence on "Ierusaletn desolata est" is a case in point. The secunda pars, "Civitas sancti tui," has always been one of Byrd's best-loved pieces, with its distinctive melodic profile. Formerly it was often sung in Anglican churches as an English contrafact, Bow Thine Ear.
Emendemus in melius, from the Cantiones Sacrae of 1575, shows what Byrd had learned from continental composers: the controlled power and assured correctness of its first part owe much to Palestrina. The second part, however, is much more extreme, employing considerable dissonance and sharp harmonic juxtapositions before returning to an ultramontane reticence: all this, of course, was, as ever, in the service of the texts in which he so deeply believed.
Aeterne laudis lilium
Born April 23, 1464 in Deeping Gate,
Lincolnshire, England Died October 24, 1521 in St. Alban,
The votive antiphon Aeterne laudis lilium by Robert Fayrfax is almost certainly the "anthem of our Lady and Saint Elizabeth" for which Queen Elizabeth of York paid the composer twenty shillings when she visited St. Albans in 1502. The work was written for the feast of the Annunciation ("our Lady and Saint Elizabeth"), and its text is there?fore constructed of a genealogy of Christ and some richly poetical stanzas in praise of the Mother of God. More consistent use of imitation is made in this piece than elsewhere in Fayrfax's output, and this is especially interesting when employed between unequal voices; of equal importance is the impres?sively memorable melodic character of the work -it is less exuberantly melismatic than some of his other music -and in this, together with its imitative working, looks forward to the work of future generations.
Died November, 1574 in London
Between Tallis and Byrd there is a "lost gen?eration" of composers including Osbert Parsley, John Mundy and Robert White, whose musical preoccupations were very much related to the lost Catholic traditions of Tallis' earlier works but which they would, of course, not have experienced. White's output was almost entirely in Latin rather than English, and he reverted in these works to pre-Reformation scorings. This presents us with a problem since it is not known for whom he composed them, though the Chapel Royal would have been the obvious destina?tion. His musical thinking is genuinely poly?phonic, looking both backwards in this kind of contrapuntal working and forwards in the rather concise nature of his melodic style. The psalm-motet Exaudiat te, though lacking the high treble voice, is highly reminiscent of
the style of the antiphons of earlier genera?tions, and is particularly memorable on account of its "Amen," which has two sections, each of which grow from three-part writing to the full complement of five voices, and which makes highly idiosyncratic use of the dissonance caused by the employment of harmonic "false relations."
Circumdederunt me Miserere mei
Circumdederunt me, another of Byrd's set?tings of dark, reflective texts, is a showcase for his ability to blend imitative counterpoint with expressive homophony, and (just as significant) near-homophony. This is apparent even from the opening, in which the initial phrase is variously repeated and explored contrapuntally.
Miserere mei is a far more concise work, mixing homophony and polyphony in a more obvious way and closing with a sub?stantial and rather elaborate contrapuntal section.
Henry Prentice Born () Died 1514
Little is known about Henry Prentice, a con?temporary of such composers as Cornysh and Turges, who died in 1514. The Magnificat which survives in the Caius Choirbook (written for the collegiate church of St. Stephen's, Westminster), his only surviving composition, and is a typically exuberant product of this period. It is particularly interesting in that it consistently utilizes full textures for the first halves of the verses and reduced scoring for the second halves, as is
also the case with roughly contemporary Magnificats by Lambe, Kellyk and Horwood: at the time a relatively unusual structural procedure. He shared, on the evidence of this work, the love of such important com?posers as Cornysh and Browne for extended melismatic melody and virtuosic cross-rhythms, the musical equivalent, perhaps, of the decorative manuscript scrolls to be found on the codices in which these works were copied.
Program notes by Ivan Moody.
The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, this London-based ensemble has established itself as a leading exponent of Renaissance sacred vocal music. Peter Phillips has worked with
the ensemble to create, through precise tun?ing and homogeneous blend, the purity and clarity of sound which he feels best serves the Renaissance repertoire. It is the resulting beauty of sound for which the Tallis Scholars have become renowned the world over. The Tallis Scholars perform in both sacred and secular venues, giving around eighty concerts each year. They tour at least twice a year in the US, where they have been described as "a capella superstars," and give major tours in the Far East every eighteen months. The group has given three major tours of Australia, singing in the Sydney Opera House and throughout the country. In February of 1994, the ensemble performed on the 400th anniversary of the death of Palestrina in the Basilica of Santa Maria Maggiore, Rome, where Palestrina was trained as a choirboy and later became Maestro di Cappella. In April of 1994, the Tallis Scholars had the privilege of perform-
ing in the Sistine Chapel to mark the final stage of the complete restoration of the Michelangelo frescoes. The ensemble's televi?sion appearances have included a 1994 Christmastime appearance on
ABC TV's Good Morning America, and the popular British documentary program, South Bank Show. Recent tours have taken the group to Europe's major cities, the Baltics, and Korea.
Much of the Tallis Scholars' reputation for their pioneering work has come from their association with Gimell Records, estab?lished by Peter Phillips and Steve Smith in 1981 solely to record the ensemble. The Gimell catalog currently extends to over thirty recordings, featuring works by estab?lished composers such as Byrd, Tallis, Palestrina, Josquin and Victoria, and also lesser-known composers such as Clemens non Papa, Frei Manuel Cardoso and Heinrich Isaac. In 1987 the group's recording of Josquin des Pres' Missa Pange lingua and Missa La sol fa re mi won Gramophone Magazine's "Record of the Year," the first ever in its Early Music category to win that distinction. Other awards have included the top prize in Gramophone's Early Music Category (1991,1994), the International Record Critics' Award, Prix Diapason D'Or, and Premio Internazionale del Disco Antonio Vivaldi. A very recent and exciting new partnership has been forged between Gimell and Philips Classics (part of Polygram), and since September 1996, Gimell's catalog has been distributed by Polygram.
Director Peter Phillips, educated at Oxford, has made an impressive reputation for himself as director of the Tallis Scholars, as well as internationally respected scholar, broadcaster, author and entrepreneur. His first book English Sacred Music 1549-1649, was published by Gimell in 1991; he has also been a columnist for London's The Spectator, and is currently Advisory Editor of The Musical Times journal.
American Friends of The Tallis Scholars, Inc. is
an American not-for-profit organization dedicated to supporting the works of The Tallis Scholars in presenting performances of Renaissance sacred vocal music of the highest quality.
The Gypsy Caravan
A Celebration of Roma Music & Dance
Musafir from Rajasthan, India
Kolpakov Trio from Russia
Taraf de Haidouks from Romania
Yuri Yunakov Ensemble from Bulgaria
Kalyi Jag from Hungary
Antonio el Pipa Flamenco Ensemble from Spain
Thursday Evening, March 25,1999 at 8:00 Michigan Theater, Ann Arbor, Michigan
Musafir Kolpakov Trio Taraf de Haidouks
Yuri Yunakov Ensemble
Antonio el Pipa Flamenco Ensemble
Tonight's program will be announced from the stage.
Seventy-second Performance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by AT&T Wireless Services, with additional support from Republic Bank.
Special thanks to AT&T Wireless Services and to Richard Lupkes of Republic Bank for their generous support of this performance.
Additional support is provided by media partner, WDET.
The Gypsy Caravan is produced by the World Music Institute and David Eden Productions, Ltd.
Large print programs are available upon request.
The Gypsy Caravan provides a rare opportunity for North American audiences to experience the diversity and dynamism of contemporary Rom music and dance. Despite continuous historical attempts to assimilate or eradicate Roma (singular Rom; adjective Rom or Romani), their musical arts are thriving. The contributions of Roma to European culture are indeed striking.
For over five hundred years, some Rom groups in Eastern Europe have been profes?sional musicians, playing for non-Roma (as well as Roma) for remuneration in cafes and at events such as weddings, baptisms, circum?cisions, fairs, and village dances. Proverbs attest that "a wedding without a Gypsy isn't worth anything" (Bulgarian) and "give a Hungarian a glass of water and a Gypsy fid?dler and he will become completely drunk" (Hungarian). This professional niche, pri?marily male and instrumental, requires Roma to know expertly the regional repertoire and interact with it in a creative manner. A nomadic way of life, often enforced upon Roma through harassment and prejudice, gave them opportunities to enlarge their repertoires and become multimusical and multilingual. In addition to nomadic Roma, numerous sedentary Roma in major European cities professionally perform urban folk, classical, andor popular music. In Hungary, Russia, and Spain, certain forms of Rom music became national music, veritable emblems of the country. Music as a profession, however, is not found among some Rom groups.
Neither one worldwide nor one pan-European Rom music exist. Roma constitute a rich mosaic of groups which distinguish among themselves musically. For example, contrary to popular conceptions, there is no one "Gypsy scale." There are perhaps some stylistic and performance elements, such as
the propensity to improvise, the intensity of emotional expression, and the openness to new styles, which are common to many European Rom musics. Often, music making is both the social glue and the context for artistic display in Rom communities. Not only is music an important shared art within Rom communities, but it is also an important commodity in the economic relationship between Roma and non-Roma. Popular exaggerations run the gamut from the claim that Roma are merely musical sponges to the claim that Roma are the most traditional interpreters of peasant music. The truth is more complicated. While Rom music shares much with that of neighboring peoples, often Roma impart a distinct stylistic stamp.
Linguistic evidence reveals that Roma are a composite Indian population who migrated westward from northwest India in the eleventh century. By 1500, Roma lived throughout Europe, becoming indispensable suppliers of diverse services such as music, entertainment, fortune-telling, metalwork-ing, horse dealing, woodworking, sieve mak?ing, basketry, and seasonal agricultural work. The term Gypsy derives from the erroneous belief that Roma originally come from Egypt. Romani, the Rom language, is closely related to Hindi, and exists in multiple dialects in the Rom diaspora. Due to assimilation, many Roma today do not speak Romani. Roma often adopted the religious beliefs of their neighbors while keeping a layer of older beliefs. Today Roma are found in all professions and an intellectual elite is grow?ing rapidly.
In Europe, initial curiosity about Roma quickly gave way to hatred and discrimina?tion, which continue until today virtually everywhere. From the fourteenth to the nineteenth centuries in the Romanian prin?cipalities, Roma were slaves owned by noblemen, monasteries, and the state; they were sold, bartered, and flogged, and even their marriages were regulated. Slavery was
abolished in 1864, but patterns of exploitation continue. Roma were viewed as intruders probably because of their South Asian fea?tures and customs and their association with invading Ottoman Muslims. Despite their small numbers, often less than one percent of the total population, they inspired fear and mistrust and faced prejudice in every European territory. Many learned to "pass" as other ethnic groups. Bounties were paid for their capture, dead or alive, and repressive measures included confisca?tion of property and children, forced labor, prison sentences, sterilization, and forms of physical mutilation.
Assimilation was attempted in the Austro-Hungarian Empire by outlawing Romani language, Rom music, dress, and nomadism, and banning traditional occupa?tions. Similar assimilationist legislation was enacted in Spain from 1499-1800 and in East European communist countries after World War II. Persecution escalated with the Nazi rise to power: Roma faced an extermination campaign which is only now being historically investigated: more than 600,000 -one fifth to one fourth of all European Roma -were murdered. Europeans have treated Roma as the quin?tessential "outsider" despite the fact that Roma have been Europeans for almost a millennium.
In the 1990's, harassment and violence towards the ten million Roma of Europe have increased, as have marginalization and poverty. The largest minority in Europe, they have the lowest standard of living in every country. Since the 1989 revolutions in Eastern Europe there has been a rise in scapegoating of Roma and violence against them in the form of mob attacks, skinhead targeting, and police brutality. In response, Rom political participation, human rights activism, and awareness of shared ethnicity are growing. Rom political parties and unions now have a tentative place in
European institutions, and Rom culture festivals take place in many cities. In all of these forums, music plays an important role in celebrating the creative adaptability of Roma despite centuries of discrimination. Tonight's program illustrates the mushroom?ing interest in Roma music on North American soil, where approximately one million Roma reside.
Bachu Khan Langa, kartal (wooden clappers),
vocals Shayar Khan Langa, sarangi (vertically held
fiddle), vocals Barkat Khan Langa, alogoza (flute), punji
(double clarinet), vocals Sakur Manghaniyar, dholak (drum) Sayeri Sapera, vocals, dance
Musafir ("Traveler" in Farsi), from Rajasthan in northwest India, has dazzled European audiences in recent years with its energetic hybrid versions of Indian folk and popular music, acrobatics, and feats of physical endurance. Musafir has performed to enthusiastic crowds at hundreds of concerts and festivals all over Europe, such as WOMAD, Roskilde, Paleo, Sfinks, and Ritmos. Musafir is featured on the CD Gypsies of Rajasthan (Blue Flame) and some members appeared in the film Latcho Drom, a staged documentary of Rom music. In tonight's program a musical component of Musafir portrays the symbolic and historical connection of Roma to northwest India. The artists in Musafir are not the actual ancestors of contemporary European Roma but rather suggest some of the occupational and artistic niches that Roma might have occupied in Rajasthan. The term Gypsy was applied by the British to numerous nomadic groups in India who have no proven relationship to European Roma.
Conceived in France and Belgium in 1995 by Hameed Khan, a tabla player (drummer), Musafir is composed of groups of musicians who in Rajasthan would not play together, but here create an exciting fusion. Hameed Khan's background in jazz, Arab music, North Indian Classical music, Breton music, and various crossover styles has produced an eclectic aesthetic. Hameed's inspiration was to showcase Rajasthan in a "folkloric cabaret." Musafir's original compositions combine Rajasthani rural folk music with influences from Qawwali (Muslim devotional music), Indian film music, Arab popular music, and Hindustani (North Indian Classical) music.
Musafir is composed of professional musicians who inhabit the Thar desert in northwest Rajasthan. They are members of the Langa, Manghaniyar and Sapera groups. Langas are Muslim and perform for Muslim cattle breeders at births, weddings, funerals, and religious holidays, receiving payment in animals and food. They are able to lead a sedentary life because they have a stable patron-client relationship, unlike the Sapera who migrate in search of work.
Manghaniyars, like Langas, are sedentary Muslims whose home extends over the border into Pakistan, but their patrons are mostly Hindu Rajputs (a high caste) and Hindu Charans (a caste of poets, bards, and histori?ans). In Rajasthan, Hindus and Muslims often worship in the same temples and share spiri?tual themes. The Manghaniyar repertoire is vast, including songs celebrating secular and sacred love and devotional songs to the Hindu deity Krishna. The Saperas (from the word Sap, snake) are a sub-group of the migrant community of Kalbeliyas. They have their own music but do perform professionally with Langas. Their dances, often performed by women, are featured in Musafir. They special?ize in curing snake bites and in snake charming.
Langas play the sarangi, a vertically held bowed stringed instrument. Carved out of a solid block of teak wood, it consists of a
resonator covered with a goat skin, a hollow finger board, and a peg holder. There are usually three melody strings and a drone string, plus sympathetic strings, but the number of strings and size of the instrument varies. The satara and alogoza are double flutes with two pipes, one for drone and one for melody. The performer uses circular breathing, producing an unbroken airflow. Langas and Manghaniyars also play sumai (double-reed pipe), murali (double clarinet with a wind chamber), manjira (small cym?bals), and gunguru (bells, usually tied to the dancer's feet).
Typical Manghaniyar instruments include dholak (double ended drum) and kartal (a pair of lightweight rectangular wooden blocks played by the hands). The kamaycha (vertically held string instrument) is the trademark instrument of the Manghaniyars but is now being replaced by the harmonium (small keyboard introduced into India by the British). The kamaycha's construction is rarely standardized, but typically consists of nineteen strings, three of gut for melody, two of brass for drone, and fourteen of steel for sympathetic resonance. The performers of Musafir play multiple instruments and sing. The membership of the group is vari?able between tours and performances.
Alexandre Kolpakov, guitar, vocals Oleksandr S. Savelev, guitar, vocals, dance Vadim G. Kolpakov, guitar, vocals
The Kolpakov Trio, from Moscow, is the first Russian Rom ensemble to tour North America in the post-Soviet period. The striking style of the group reflects the train?ing of its members at the Moscow Romen Theater which arranges traditional music and dance for stage performance. Sasha (Alexandre) Kolpakov, the group's director,
was born in 1943 in the district of Orienburg in Eastern Russia. He was raised with music among the Servo group of Roma and began playing the seven-string guitar as a boy. In the 1960s he moved to Moscow and has since worked with a
number of groups, including the Romen Theater. He is a composer as well as a singer and instrumentalist. His nephew, Vadim Kolpakov, seventeen-years old, has mastered the seven-string guitar and the vocal style. Vadim is from the Saratov region of Russia and moved to Moscow three years ago to train with his uncle. He has been a member of the group since 1997 and also plays with the Romen Theater. Oleksandr (Sasha) Savelev was born in 1954 in the region of Kiev, Ukraine, and has worked with Kolpakov for several years as a dancer and singer. He sings the characteristic harmony parts which include thirds and "oral bassing" (short, exclamation-like vocables sung in a synco?pated manner). The Opre organization in Zurich, Switzerland, produced the Kolpakov Trio's first CD, Rodava Tut (I Look For You). Russian Rom music has a fascinating his?tory. As early as the eighteenth century, a Rom chorus was indispensable in the homes of the nobility. By the nineteenth century, Rom musicians had the patronage of the aristocracy and often performed in cafes and cabarets. Writers and poets such as Pushkin and Tosltoy were wildly fascinated with Rom music. The repertoire consisted of Russian romances, Russian folk songs, and Romani songs, sung in parallel thirds in an emotional, dramatic style. In the nineteenth century, the characteristic seven-string Russian guitar was developed. It had a narrower waist, detachable neck, and had a deeper, softer, velvety sound. Improvisation and
rapid arpeggios were often employed in guitar performances. Choruses were often organized in family lines, encouraging stability and preserving morality and family honor. In addition to working in choruses, some Roma sang at fairs and markets, cultivating music among other trades. Singing at home tended to be unaccompanied, except for hand clap?ping or boot slapping, and oral bassing. Song genres included laments, songs of everyday life, wedding songs, and dance songs.
In 1931 the Moscow Romen Theater was formed by the Soviet government, ostensibly to preserve Rom culture, but also to promote assimilation and sedentarization. Performers consisted of actors, musicians, singers, and dancers, auditioned from diverse Rom com?munities. Western music notation, acting techniques, and ballet were taught at the theater. Until 1936 performances were in the Romani language, but with Stalin's Russification programs, Russian replaced the Romani lan?guage. The Romen Theater grew to over one hundred performers and issued numerous recordings. Today it connects Roma from all over Russia and includes many generations of the same families, comprising a Rom elite in Moscow. It has also been the professional training ground for high quality groups, such as the Kolpakov Trio.
Taraf de Haidouks
Manole Ionel "Ionisa", accordion Marin Manole "Marius", accordion Tanase Ion "Ionica", cymbalom Gheorghe Anghel "Caliu", violin Lautaru Constantin "Costica", violin, vocals Vlad Viorel, contrabass Giuclea Paul "Pasalon", violin, vocals Neacsu Nicolae, violin, vocals
Taraf de Haidouks, from Romania, has cata?pulted to fame since its 1991 debut in Western Europe and its participation in the film Latcho
Drom. The group's first Cramworld CD, Muzique Des Tziganes De Roumanie, topped European World Music Charts and inaugu?rated performances at festivals such as WOMAD, Montreux, Vancouver, Edmonton, and Winnipeg and in concert halls all over Europe and Canada. The group debuted in the US in 1998 in New York and Boston under the auspices of the World Music Institute. Recent CDs include Cramworld's Honorable Brigands, Magic Horses and Evil Eye, Dumbala Dumba, and a compilation, all on the Nonesuch label.
Taraf de Haidouks (Band of Brigands) hails from the village of Clejani, near Bucharest, and represents three generations of musicians. The older members, who play a more traditional style, interact dynamically with the younger members, who value rapid tempi and new musical elements sometimes from other Balkan countries. Before becoming touring stars, Taraf de Haidouks had never performed outside its region. The members are lautari (professional musicians), who play at village events such
as weddings and baptisms. In Southern Romania, practically all lautari are male Roma -in Clejani alone, there are numerous lautari, all Roma.
For generations, some lautar families have derived their livelihood from music. Several hours a day might be devoted to instruction based on imitation. Mastery means that a lautar can hear a new song and perform his own version of it. Skilled lautari can learn a song after only one hearing. Paradoxically, professional musicians occupy a venerated position in music yet they are socially spurned and deprecated by non-Roma. This is true in virtually every European country.
The oldest typical southern Romanian Rom taraf consisted of a melody instrument, an accompanying instrument (which varied by region), and a double bass, with singing done by the instrumentalists. Today there are more instruments, of which violin, tam-bal (hammered dulcimer), accordion (which replaced the cobza, a plucked short-necked lute) and double bass are considered essential.
Lautari highly value improvisation,
especially interpretations that fit specific occasions. They have large repertoires because the celebrations for which they are hired are attended by varied groups of peo?ple: rural and urban, old and young, male and female, Rom and Romanian. Dance music, constructed of repeated melodic motifs, is an important part of the repertoire. Musicians string together melodies of con?trasting mode and tonality to produce dances of varying lengths.
Although epic songs are declining in practice, they are the most venerated part of the vocal repertoire. Epics are traditional stories told in song; they are relatively long and describe the struggles of heroes (such as haidouks) against foreign rulers, nobles, and more recently, greedy politicians. Epic singing entails a mastery of formulaic com?position as well as a capacity for originality, combining tradition and creativity. The melody and text of epics are variable -they are never performed the same way twice. Many Romanian studies insensitively ignore the Roma's role in performing and composing epics, while hailing epics as national treasures. The most important ritual context for singing is the wedding, during which music heralds every important moment. The head lautar often acts as master of ceremonies.
In the 1970s, Ceausescu's policy of homogenization became more oppressive and Rom culture was targeted. Some Roma were removed from large government ensembles, where they made up ninety percent of professional musicians. The Rom ethnicity of musicians was frequently covered up and Roma were not allowed to perform in-group music, such as songs in Romani. Since the 1989 revolution, life has considerably worsened for Romania's approximately two million Roma. While they can now organize their own cultural and political organizations, they suffer numerous attacks on their homes, posses-
sions, and persons. Groups like Taraf de Haidouks salute the resilience of Rom music under trying conditions.
Yuri Yunakov Ensemble
Yuri Yunakov, saxophone
Nesho Neshev, accordian
Salif Ali, drums
Catherine Foster, clarinet, trumpet, vocals
Lauren Brody, synthesizer, vocals
Carol Silverman, vocals
The Yuri Yunakov Ensemble showcases the haunting melodies, dense ornamentation, complex rhythms, and stunning improvisa?tions of Balkan Rom music from Bulgaria and the Former Yugoslav Republic of Macedonia. The geographical position of the Balkans in southeastern Europe along with hundreds of years of Ottoman Turkish rule have created a wealth of influences from both East and West. The ensemble performs in the style of contemporary "wedding music," named for its ubiquitous presence at life cycle celebrations such as weddings, baptisms, and circumcisions where dancing and music are a requirement. Gaining popularity in the 1970s, wedding style emphasizes improvisation, virtuosic technique, rapid tempos, daring key changes, and eclectic musical literacy. A multiplicity of influences, such as jazz and rock, and a wealth of sources including Turkish, Arab, and Indian musics, are com?bined with Balkan rural and urban folk musics.
The leading members of the Ensemble, Yuri Yunakov, Nesho Neshev, and Salif Ali, are all of Turkish Rom ancestry and have played together for many years as members of Ivo Papazov's well-known band, Trakija. Trakija won first prize at the Third National Festival of Bulgarian Instrumental Music at Stambolovo in 1986, after which they were
not allowed to compete in festivals because they would have repeatedly won first prize. Instead, gala concerts were held in 1988, 1990, and 1992. Trakija was a phenomenon in Bulgaria at this time, with thousands of admirers and with Yunakov achieving the fame associated with rock stars in the West. Yuri, Nesho and Salif have played at hundreds of weddings in Bulgaria, and have toured throughout Bulgaria, Europe, Australia, and North America. They are featured on numerous recordings including Orpheus Ascending and Balkanology (HannibalRyko).
Yuri Yunakov was born in Thrace and began his musical career with the band Mladost. Yuri is Bulgaria's most famous saxophone player, combining dazzling tech?nique with soulful improvisations. In 1989 he was featured on NBC TV with saxophon?ist David Sanborn. He moved to New York City in 1995 and soon was in great demand among the Macedonian Rom, Albanian, Turkish, Armenian, Arab, and Bulgarian communities in New York City. In 1995, Yunakov formed his own Ensemble which includes three American performers who are all part of this tour: Catherine Foster, Lauren Brody and Carol Silverman.
Nesho Neshev has won numerous prizes for his mastery of Bulgarian, Macedonian, Serbian and Rom repertoires. He was born in Thrace, in southern Bulgaria, began play?ing accordion at the age of nine, and helped found Trakija with his cousin Ivo Papazov. He is an accomplished composer and arranger as well as performer. Salif Ali was also born in Thrace and joined Ivo's band in the 1980s. He is known for his high energy, wild temperament, and brilliant solo impro?visations.
The Yuri Yunakov Ensemble has toured widely in the United States and Australia, performing at the Clearwater Festival, WOMAD, Folk Parks, the World Music Institute concert series, the Telstra Adelaide Festival, and the Balkan Folk Music and
Dance Workshops. Traditional Crossroads has produced two CDs of the ensemble, New Colors in Bulgarian Wedding Music and Balada, and has featured Yunakov playing Turkish music on Gypsy Fire.
The ensemble's program highlights the typical Rom musical form chochek or kjuchek, played in various rhythms, includ?ing 24, sometimes divided 3-3-2, and 98, divided 2-2-2-3. A solo chochek dance involves torso, shoulder, and arm move?ments. A typical characteristic of Balkan Rom music which is shared with Turkish music is the maane, a free rhythmic impro?visation by a lead instrument, with accom?panying instruments playing the metric beat. Bulgarian Rom music often utilizes Turkish melodic modes such as hicaz. Songs, sung in the Romani language, depict the pain of life and the joys of love. "Me Romnja Mekhljom" (My wife left me) describes a man who is deceived by his mis?tress and "Erdelezi" (from the film Time of the Gypsies) is a tribute to the spring holiday of St. George's Day.
Gusztav Varga, guitar, vocals, percussion, dance Jozsef Nagy, milk can, oral bass,
percussion, dance Zsoltan Farkas, guitar, milk can, vocals,
percussion, dance Jozseph Balogh, guitar, mandolin, percussion,
vocals Agnes Kunstler-Balogh, vocals,
Kalyi Jag (Black Fire) is Hungary's most famous Rom performing group. Formed in 1978, they were awarded the title "Young Masters of Folk Art" by the Hungarian gov?ernment in 1979. They have given thousands of concerts in Hungary and throughout Europe, and have been featured on European
television numerous times. In 1995 the group was awarded the European Prize for the song Luma Ma] by Music Television, One World Group, and the European Youth Parliament in Tampere, Finland. Kalyi Jag has also written and performed music for a number of European movies. Their Hungaroton CDs include Karingszo Me Phirav: Gypsy Folk Songs from Hungary, O Suno: The Dream, and Lungoj O Drom Angla Mande:
Still Have a Long Way to Go; in 1998 Romano Katnipe: Gipsy Love was released on Kalyi. Kalyi Jag was part of the Hungarian urban revival of rural music in the 1970s, and the ensemble spurred interest in and affirmation of Rom music, dance, and lan?guage in Hungary. To stimulate interest in Rom folk arts, Kalyi Jag started the Ethnic Folk Music Gala in 1990, and in 1991 they founded the Kalyi Jag Roma Art Association. In 1993 they founded a high school in Budapest which helps bring Roma into the
mainstream educational system. The group's effect on the social and cultural situation of Roma has been exemplary. The ensemble members are all collectors, composers, and arrangers of Rom music as well as performers.
Kalyi Jag primarily performs original compositions and arrangements of the music of the Vlach Roma of rural Hungary. The term Vlach refers to a dialect of the Romani language, not to the ethnic group known as Vlachs. The traditional music of Vlach Roma in Hungary is primarily non-professional, vocal, and performed by both men and women. Song texts are usually in Romani and occasionally in Hungarian and deal with the pain of life, poverty, imprison?ment and love. Vlach Roma do not usually play instruments but dance to songs in duple meter which are sung with sounds imitating instruments. The melody consists of vocables which are "rolled" (sung rhyth?mically) and backed up with "oral double bassing," short, exclamation-like syncopated vocables. Bassing may be made by blowing into the hands or making trumpet sounds with the lips. Finger snapping, clapping, drumming on water cans, and spoon tapping are often added, creating a dense rhythmic texture. Kalyi Jag has added guitar, mandolin, and tambura to this mix.
Kalyi Jag also performs the music of Beash Roma in Hungary, who speak an old form of the Romanian language. The group does not perform the music most often associated with Hungarian Roma, that of the urban Romungre, consisting of string bands which play popular folk and light classical music in cafes. This music became the national music of Hungary in the nine?teenth century and remains popular today. Kalyi Jag, on the other hand, has brought the music of rural Vlach Roma to world recognition.
Antonio el Pipa Flamenco Ensemble
Antonio "el Pipa" Rios Fernandez, dance Antonio Moreno Carrasco, vocals Antonio Carrasco Romero, guitar Nellie Tirado, dance Patricia Ibanez Romero, dance Juana Fernandez Reyes, vocals
Antonio el Pipa Flamenco Ensemble, from Andalucia, Spain, is one of the most exciting, most traditional flamenco groups perform?ing today. Born in Jerez, flamenco dancer Antonio comes from a dynasty of Gitano (Spanish word for Roma, meaning Egyptian) artists, among whom are his grandmother, the legendary Tia Juana la del Pipa (now deceased), and his aunt Juana la del Pipa, who has been singing and dancing in his group since its inception. The dance pro?duction Gypsy Passion showcased Antonio and his aunt Juana and brought accolades from critics such as Jennifer Dunning of the New York Times, who lauded Antonio's striking presence and energy. In 1992 the show ran for several months in New York, and also in Paris and Seville. In 1998, his new work, Vivencias, a memorial to his grandmother, premiered to enthusiastic audiences.
Antonio started dancing at a young age and soon began performing with Manuel Morao y los Gitanos de Jerez. He became first dancer in various groups, including Flamenco, Esa Forna de Vivir; Pasion Gitana; Aire y Compas; and Jondo, la Razon Incorporea. He toured widely with the Ballet de Cristina Hoyos in the productions Suenos Flamencos and Yerma, and was first dancer in Carmen with Jose Carreras in Zurich and Munich. With Juana Amaya he performed in the oratory Un Gitano de Ley in the Cathedral of Seville and in the Vatican for the Pope. Critics and scholars have hailed Antonio's brilliant interpreta-
tions and the ability of his group to com?municate almost telepathically with one another.
Flamenco is perhaps the Rom musical form most known to North Americans. Although the exact origins of flamenco are subject to heated debate among both schol?ars and aficionados, it is generally agreed that the gitanos have had the major role in its genesis and performance. Other influ?ences include Moorish (Arab) music, Sephardic music, and Spanish folk music. Andalucia has long been a crossroads of many cultures: Byzantine, Muslim, Catholic, and Jewish.
Singing is the heart of flamenco, with a hoarse, nasal, raspy timbre and the use of melisma (many notes per syllable) desired in many circles. Song lyrics depict self-pity, fatalism, and the pain of love, and are sung in Spanish or calo (Spanish grammar with Romani words). Flamenco dance involves a histrionic and emotional use of the body. The guitar, tuned in fourths, plays a dual role as a melodic solo and rhythmic accom?panying instrument. Rhythms are further embellished by syncopated hand clapping, finger snapping, and heel stamping, creating a rich texture. A good performer is said to have duende (soul) and be inspired from within. The repertoire may be divided into cante jondo, the deeper, slower, heavier, and more introverted pieces, and cante chico, the lighter, faster pieces.
Flamenco is essentially a solo art, even when performed in a cuadro (group); each member takes a turn to perform while oth?ers offer shouts of encouragement. Guitarists provide a tiento, an introduction, to create the proper atmosphere, the best of them knowing intuitively what the singer is going to do. The singer warms up his or her voice on the first syllable and launches into a heart-rending text. The dancers alternate between slow dramatic passages and fast lively passages, showcasing techniques such
as rapid heel work. In the juerga, a gathering for music and dance, the atmosphere gradu?ally builds to a high-spited frenzy.
Introduction and biographical notes by Carol Silverman.
Carol Silverman has been involved with Roma music and culture for over twenty years as a researcher, teacher, performer, and activist. An award-winning professor of cultural anthropology and folklore at the University of Oregon, she teaches about human rights issues among Roma, East European culture, and ethnographic theory. Based on field research in Bulgaria, Macedonia, New York, and Australia, her work analyses the relationship among music, politics, ritual, and gender. She regularly teaches Balkan singing and performs with the Yuri Yunakov Ensemble, Slavej, and other Balkan groups. She has written numerous articles about Roma.
Tonight's performance marks the debut appearances of all of the ensembles featured in VMS' presentation of The Gypsy Caravan.
Gypsy Caravan Tour Producers
World Music Institute David Eden Productions, LTD
Artistic Director, Robert H. Browning, Tour Director, David Eden Associate Director, Isabel Soffer Travel Coordinator, Lynne Stern Assistant Manager, Eleanor T. Lipat Education Coordinator and program notes,
Education Consultant, Hon. Ian Hancock Publicity Director, Helene Browning Road Managers, Miguel Marin and George Cruze Production Management, Detour Productions Lighting Design, Stan Pressner Sound Reinforcement Design, Hear No Evil
Musafir, Arnaud AzzouzThierry Ducastel,
Ustad Productions Kolpakov Trio and Kalyi Jag, Stephane Laederich
Cristina Kruck, Opre Productions Tarafde Haidouks, Michel WinterStephane Karo,
Divano Productions Yuri Yunakov Ensemble, Carol Silverman Antonio el Pipa Flamenco Ensemble, Miguel
World Music Institute is a not-for-profit organi?zation dedicated to the presentation and docu?mentation of traditional and contemporary music and dance from around the world. Since its founding in 1985, World Music Institute (WMI) has built the most comprehensive concert series of music and dance in the United States. WMI presents more than seventy concerts a year in New York City from over seventy-five countries and ethnic minorities in Africa, Asia, the Americas, the Middle East and Europe as well as regional music from North America, and is regarded as the premier producer of traditional music and dance from around the world. Through its con?certs WMI seeks to entertain, to educate and to provide spiritual nourishment. In addition, WMI maintains an extensive catalog of more than 5,000 recordings, videos and books of tradi?tional music from around the world. For infor?mation about upcoming events, our catalog or recordings, or becoming a Friend, contact:
World Music Institute
E-mail: WMI@HearTheWorld.Org www.heartheworld.org
This tour is made possible in part by a grant from The Trust for Mutual Understanding. Additional funds have been made available from the National Endowment for the Arts, the New York State Council on the Arts and Friends of the World Music Institute.
Sweet Honey In The Rock
Bernice Johnson Reagon, Founder and Artistic Director
Ysaye Maria Barnwell
nltanju bolade casel
Shirley Childress Johnson
Friday Evening, March 26, 1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
We invite you to remain in the theater for a brief post-performance question and answer session with the artists.
Seventy-third Performance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photograph?ing or sound recording is prohibited.
Support for this performance is provided in part by Comerica Bank.
Special thanks to Jim Miller of Comerica Bank for his support of the University Musical Society.
Additional support is provided by media partners, WEMU and Metro Times.
Special thanks to the Center for the Education of Women, the Women of Color in the Academy Project and Bernice Johnson Reagon for their contri?butions to this residency.
Large print programs are available upon request.
'The joyous music these six women make together is a thing
to behold; uplifting, provocative, and... humbling.
They ennoble the human spirit as they provide limitless
testament to its potential..."
Jim Musser, Icon
Sweet Honey In The Rock is a Grammy Award-winning African American female a cappella ensem?ble with deep musical roots in the sacred music borne of the African-American experience: spirituals, blues, hymns and gospel. The group is also famous for versatile performances based in jazz, rap, reggae, traditional African and "doo wop" genres. The Sweet Honey experience is like no other. Five African American women join their powerful voices, along with hand percussion instruments, to create a blend of lyrics, movement and narrative that variously relate history, point the finger at justice, encourage activism, and sing the praises of love. The music speaks out against oppression and exploitation of every kind. The quintet, whose words are simultaneously interpreted in uniquely expressive American Sign Language, demands a just and human world for all.
Based in Washington, DC, Sweet Honey In The Rock's roots are in a vocal workshop founded by artistic director Bernice Johnson Reagon at the DC Black Repertory Company in 1973. Since then, twenty-two women have participated in this singing ensemble.
As singing ambassadors, Sweet Honey has taken her music and messages to hundreds of communities throughout the nation. Among her international work are tours to standing room only audiences in Brazil, Australia, Haiti, Zimbabwe, New Zealand, Ecuador, Austria, Mexico, Uganda and Japan, among other places. Devoted to community at the grassroots level, as always, Sweet Honey In The Rock continues to perform in more intimate environments locally, such as churches, schools and street festivals, a fact which con-
tributes to the closeness so many of Sweet Honey's audiences feel with her.
Sweet Honey moves into her twenty-fifth year celebration from a season that includes concerts and workshops in Hawaii, at the Smithsonian Festival of American Folklife in Washington, DC, the Cheltenham and Greenwich Festivals in England, and the Banlieues Festival in Paris. The group's cele?bration of its silver anniversary centers on a twelve-month tour with appearances at the Michigan Women's Festival, the Edmonton Folk Festival in Alberta, the AIDS Housing Conference and the traditional anniversary concerts at New York's Carnegie Hall and the Warner Theatre in Sweet Honey's loyal hometown of Washington, DC. Sweet Honey has added several special projects during the past year, including an appearance by several members in the film Beloved, based on the novel by Toni Morrison. The group is also heard on the soundtrack -produced by Bernice Johnson Reagon -of the PBS-broadcast documentary "Africans in America."
As Sweet Honey In The Rock moves toward the dawning of her second quarter, her music is still indescribably sweet and she remains unwavering in her commitment to political, social and economic justice, women's rights, the importance of children, the preser?vation of African-American history and cul?ture, and respect for all beings. Performing with voice and hand and foot percussion, this ensemble challenges and refreshes contempo?rary concepts of an evening of concert music.
Tonight's performance marks Sweet Honey In The Rock's third appearance under UMS aus?pices.
Ysaye Maria Barnwell joined Sweet Honey In The Rock in 1979, and in her first year provided leadership for the group's practice of making her concerts accessible to the Deaf. Barnwell has a wide base of experiences in health and information technology as well as vocal and instrumental music traditions. As a singer, she brings an extraordinary vocal range -bottom and top -and has composed some of the ensemble's most popular songs, including "Breaths" and "On Children." Recent compositions were com?missioned for collaborative works with choreographers David Rousseve and Liz Lerman. These commissions as well as a symphonic work for the Women's Philhar?monic of San Francisco and Sweet Honey In The Rock, have been supported by awards from Meet the Composer. An experienced choral director, she conducts vocal workshops based in African-American songs and singing traditions. Barnwell holds a doctorate in Speech Pathology and a post-doctoral degree in Public Health. From this reservoir of experience she has administered Washington, DC based community health projects as well as projects in computer technology and the arts. She continues to pursue an acting career.
Nitanju Bolade Casel has brought the group ever expanding riches in African traditional repertoire, jazz, rap and improvisational rhythm since her arrival in 1985. Her exten?sive training, research and teaching experience in African derived traditions has its base in those pioneering communities which led the way toward the redefinition and accessibility of African expressive culture in the United States. She came to Sweet Honey after four years of studying, performing and cultural organizing in Dakar, Senegal and was awarded a grant from the DC Commission of Arts and Humanities to teach dance in the school system. Her compositions are featured in Silver, Burdett & Ginn's World of Music text?book for children and the TV pilot of "The
Box" by Robert deNiro's Tribeca Production Company. Casel was a guest artist in the Smithsonian Institution's production of "Duke Ellington's Great Ladies of Song," as well as the recording of "The Drummer's Path" (Sule Wilson). Currently, she is co-director of First World Productions, a cul?tural and educational organization in the performance arts.
Shirley Childress Johnson is a professional Sign Language interpreter. Having learned American Sign Language (ASL) from her Deaf parents, she has over twenty years experience providing ASL interpreting services in a wide range of life situations, including employment, education, law, health and per?forming arts music. She holds a Bachelor's Degree in Deaf Education and is a certified member of the Registry of Interpreters for the Deaf, Inc. Shirley teaches ASL classes and conducts master workshops on interpreting music for the Deaf.
Aisha Kahlil joined the group in 1981. With experience in jazz singing and knowledge of African dance and song performance tradi?tions, she moved the ensemble into new ground in its exploration with vocal impro?visation. She is Sweet Honey's strongest blues singer, a genre of song she had not previously explored before coming to the group. Some of the their most innovative and experimental work occurs in the performances of her com?positions, including "Fulani Chant" and "Wodaabe Nights." In 1994, Kahlil was named "Best Soloist in Contemporary A Capella Music" for her vocal performance of "See See Rider" and "Fulani Chant" on the recording "In This Land" (EarthBeat! Records). In her work as a performing artist and master teacher in voice and dance, Kahlil specializes in the integration of traditional and contemporary forms of music, dance and theater. She is co-director of First World Productions with Nitanju Bolade Casel.
Carol Maillard was born in Philadelphia, PA, and attended The Catholic University of America in Washington, DC. Although she received a scholarship in violin performance, her love of theater and performing led her to the Drama Department and soon after graduation, Carol became involved with a new and innovative theater company, the DC Black Repertory Company. Sweet Honey In The Rock was born out of a vocal work?shop taught there by Bernice Johnson Reagon. Carol is a founding member of the group. Acting is her first love and since she has been in New York City, she has been blessed to perform on and off Broadway, in commercials, industrial films and on TV. Her theater credits include Eubie, Comin' Uptown (with Gregory Hines), Don't Get God Started (with BeBe and Marvin Winans), Home, Spunk, Forever My Darlin', Zooman and the Sign, and Betsey Brown. Carol has done several companies of For Colored Girls... Who have Considered Suicide when the Rainbow is Enuf under the direction of Oz Scott. Her television credits include For Colored Girls... (Oz Scott, Director) and Halleluia (Charles Lane, Director) for American Playhouse on PBS. Carol has had the good fortune to work as a vocalist with Max Roach and to record with Horace Silver on his Blue Note recording Music of the Sphere. Most recently, she was featured at Carnegie Hall in concert with Betty Buckley. Carol resides in New York City with her son Jordan.
Bernice Johnson Reagon, composer and songleader in the nineteenth century Southwest Georgia choral tradition, founded Sweet Honey In The Rock in 1973. A histo?rian and scholar, Dr. Reagon is Distinguished Professor of History at the American Univer?sity and Curator Emeritus at the Smithsonian Institution, National Museum of American History. Her numerous publications include "We'll Understand It Better By and By: African American Pioneering Gospel Composers" (Smithsonian Press, 1992), "We Who Believe in Freedom: Sweet Honey in the Rock...Still
on the Journey" (Anchor Books, 1993) and a book chronicling the history of Sweet Honey In The Rock, for which she served as editor.
Dr. Reagon has served as consultant composer and performer for several film and video projects, including two award-winning programs for PBS, Eye on the Prize (Blackside Productions) and We Shall Overcome (Ginger Productions). Dr. Reagon conceptualized the National Public Radio and Smithsonian Peabody Award winning radio series "Wade In The Water: African American Sacred Music Traditions." A 1989 recipient of the MacArthur Fellowship, Reagon was awarded the Presidential Medal and the 1995 Charles Frankel Prize for outstanding contribution to public understanding of the humanities, by the National Endowment for the Humanities. In 1996, Reagon received an Isadora Duncan award for the score to Rock, a ballet directed by Alonzo King for Lines Contemporary Ballet Company.
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello
Ludwig van Beethoven
Sunday Afternoon, March 28,1999 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
String Quartet in f minor. Op. 95, "Serioso'
Allegro Menuetto Andante cantabile Allegro
String Quartet, Op. 11
Molto allegro e appassionato
Molto allegro (come prima)
String Quartet in B-flat Major, Op. 130
Adagio ma non troppo; Allegro
Andante con motto, ma non troppo
Alia danza tedesca: Allegro assai
Cavatina: Adagio molto espressivo
Seventy-fourth Performance of the 120th Season
Beethoven the Contemporary Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Ed Surovell for his continued and generous support of the Beethoven the Contemporary Series and this performance of the American String Quartet.
This project is also made possible in part by a grant from the Lila Wallace Reader's Digest Arts Partners Program, which is administered by the Association of Performing Arts Presenters.
Additional support for this performance is made possible by the National Endowment for the Arts and media partner, Michigan Radio.
This concert is part of the Chamber Music America's "A Musical Celebration of the
Special thanks to Steven Whiting for his Pre-performance Educational Presentation. The American String Quartet is represented by Melvin Kaplan, Inc.
The American String Quartet records for CRI, Musical Heritage, Nonesuch, New World, and MusicMasters.
Large print programs are available upon request.
String Quartet in f minor, Op. 95, "Serioso"
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn
Died March 26, 1827 in Vienna
Beethoven's String Quartet in f minor, Op. 95, is the only quartet for which the com?poser himself supplied the subtitle. There is no doubting the work's seriousness, but one wonders why the "Serioso" label should apply to this particular quartet when so many of his earlier (and later) compositions are at least equally as solemn. Perhaps in this case he felt the music's emotions more personally, as he wrote it just after breaking his engagement to Therese von Brunswick (leading to a period of despondence during which he confessed to suicidal thoughts). It has been described as "the bitter fruit of a barren year."
The opus number may be misleading, as it was assigned when the quartet was pub?lished in 1816, though it was written in October 1810, just after the composer's Op. 74 quartet. It is one of the first works Beethoven ever dedicated to a friend from the middle class (Niklaus Zmeskall von Domanovecz) rather than an aristocratic patron.
The quartet is extremely short, but this comes from a compression and intensifica?tion of expression; it is decidedly not a miniature. The first movement is one of the shortest Beethoven ever wrote. It alternates anger and tenderness in terse statements, made all the more compact by the lack of an exposition repeat and no real development section. In both key and tormented inspira?tion it resembles the composer's famous "Appasionata" sonata, whose first movement ends in a similar fashion with an exhausted pianissimo.
The warm cantabile melody of the sec?ond movement is in the remote key of D
Major. But while the key is distant, the theme is a rhythmic augmentation of a motif from the first movement (a cyclic connection that is relatively rare in Beethoven's music). A brief fugato passage forms the central section before the opening theme returns, elaborated.
After a transitional diminished-seventh chord, the third movement follows without a pause. Characterized by sudden dramatic silences and energized dotted rhythms, it recalls the anguished passages of the first movement. Melvin Berger has described the middle section as being like "a solemn chorale or a grim march," and though no part of the quartet could be called frivolous, it is most likely this passage, which carries the "serioso" indication in the score, that gave the work its subtitle.
The finale begins in a melancholic mood that gradually becomes more restless and stormy. An abrupt change from minor to major harmony leads to a sprightly conclu?sion that many have suggested symbolizes Beethoven's fortitude in the face of adversi?ty, or the triumph of the human spirit. But this ending seems rather lightweight and brief for such profound interpretations. Indeed, in the context of the preceding anguish, the carefree conclusion is emotion?ally disturbing in its own way.
Program note by Luke Howard.
String Quartet, Op. 11
Born March 9, 1910 in West Chester, PA
Died January 23, 1981 in New York
Samuel Barber began composition of his String Quartet, Op. 11, considered one of his finest works, while in Europe during the summer of 1936 when he and Gian Carlo Menotti were living in a bucolic Tyrolean mountain cottage. The first two movements
were completed in the cottage, while the third movement was composed in the Fall when Barber returned to the American Academy in Rome. It was there that the Quartet was premiered by the Pro Arte Quartet on December 14,1936. This final movement subsequently had a thorny histo?ry: Barber, dissatisfied, withdrew the work for revisions several times and eventually for a complete rewriting. The Quartet, in b minor, finally assumed an untraditional three movement form: the first a sonata, the second a song, and the third a brief recapitulation of material from the first movement forming a coda to the work. The Quartet, with its "new" third movement, was first performed by the Budapest Quartet in 1943.
The second movement "Molto adagio" in its orchestral arrangement, Adagio for Strings, has become not only Barber's most well known work but one of the most performed and recorded pieces of all twentieth-century music. Due to its elegiac beauty and acces?sible style, the "Adagio" exists in many arrangements such as for organ, chorus, clarinet choir and woodwind choir. The entire Quartet is composed in Barber's dia?tonic and tonal style. Virtually untouched by the revolution in music going on around him, Barber's style, fully formed in his early works, continued throughout his life to be related more to nineteenth century roman?tic tradition than to the turbulent modern movement of the twentieth century.
Program note by Vivian Perlis.
String Quartet in B-flat Major, Op. 130
Ludwig van Beethoven
At the premiere of Beethoven's String Quartet in B-flat Major, Op. 130, on March 21,1826, the composer decided not to attend the per-
formance in person, and waited in a nearby tavern. When Karl Holz, the second violin?ist in the Schuppanzigh Quartet came to him to report on the work's reception, he told the composer that the audience insisted on encores for the second and fourth move?ments. Beethoven replied, "Yes, these delica?cies! But why not the fugue" Then, after a moment's thought, he remonstrated, "Cattle! Asses!" The Quartet's fugal finale had proven inscrutable to the performers and audience alike. Later, the publisher asked Beethoven to compose another finale more suited to the rest of the Quartet. He agreed (perhaps encouraged by the offer of extra money), and the Quartet was pub?lished with this new finale the following year. The original ending was later pub?lished separately as the Grosse Fuge (Great Fugue), Op. 133. But in the process, Beethoven's original concept had been com?promised. Separately, the revised Quartet and the Grosse Fuge are still monumental achievements, but when re-combined as the composer originally intended, they take on an even more impressive significance.
The Op. 130 quartet is the last of the three quartets written for Prince Galitzin, though it was the second published. The two earlier quartets for Galitzin (Op. 127 and Op. 132) also had passages of fugal writing, so it's not surprising that the com?poser should have included a fugue in the last one. No one expected, though, that it would be so long and relentlessly complex, or that it would come after an extra scherzo and slow movement had already been added to the quartet. The audience's lack of enthusiasm for the fugue at the work's pre?miere may simply have been a lack of patience. But the work has subsequently earned a reputation for being "difficult," requiring some extra effort or particular insight in order to be understood. While patience does help, Beethoven never intend?ed his music to be intentionally difficult,
and neither the quartet nor the fugue are beyond the comprehension of those willing to hear.
The first movement opens with an Adagio, but it is not a slow introduction as such. Just after the Allegro proper begins, the Adagio returns, and the juxtaposition of two contrasting tempi (rather than contrast?ing motifs or keys) proves to be an essential aspect of the movement's musical argument. The tempo variations are especially promi?nent in the development section and the coda.
The "Presto" that follows is extremely short, though still a fully-fledged Scherzo and Trio in form, complete with a some?what leisurely retransition to the Scherzo. It shows Beethoven's wit and charm, and his facility for constructing cheerful dance-like music from repetitions of short melodic cells.
The third movement "Andante," neither slow nor fast, smoothly elides melancholy with naive mirth. Though the pulse is leisurely, the rhythms trip along lightly. This movement avoids the depths of emo?tion in which the composer occasionally indulged in his slow movements.
The second scherzo--a brief Alia danza tedesca (in the style of a German dance) -is a swaying, rhythmic handler, with a cen?tral section that continues the rustic flavor. Originally intended for the Op. 132 quartet, it was transposed to G for this quartet: a key somewhat related to the tonic B-flat, but curiously distant from the D-flat of the pre?ceding "Andante." At the return of the opening section, the melody is gradually fragmented measure by measure, but is quickly reconstituted before the final cadence.
The "Cavatina" is an example of Beethoven's "interior music": intense, taci?turn, but filled with an eloquence that verges on the spiritual. Karl Holz wrote of this movement, "never did his music breathe of so heartfelt an inspiration, and even the
memory of this movement brought tears to his eyes."
With its alternate sonata-rondo conclu?sion, the Op. 130 quartet is a delightful divertimento, a loose collection of move?ments surveying a variety of affective pas?sions. Despite some of the contradictions of the earlier movements, the piece is resolved in a mammoth paean not just to Beethoven's music, but to all music.
Program note by Luke Howard.
The American String Quartet cele?brates its twenty-fifth anniversary in the 1998-1999 season with a tour that includes concerts in all fifty states, a performance at the Kennedy Center in Washington, and two European tours. In the years since its incep?tion, the Quartet has achieved a position of rare esteem in the world of chamber music. On annual tours that have included virtually every important concert hall in eight European countries and across North America, the Quartet has won critical acclaim for its presentations of the complete quartets of Beethoven, Schubert, Schoenberg, Bartok and Mozart, and for collaborations with a host of distinguished artists.
Resident Quartet at the Aspen Music Festival since 1974 and at the Taos School of Music since 1979, the American also has ongoing series at the University of Michigan and the Orange County Performing Arts Center in California. The Quartet is credit?ed with broadening public awareness and enjoyment of chamber music across North America through educational programs, seminars, broadcast performances, and pub?lished articles. It was one of the first ensem?bles to receive a National Arts Endowment grant for its activities on college campuses. Its commitment to contemporary music has resulted in numerous commissions and
awards, among them three prize-winners at the Kennedy Center's Friedheim Awards.
Quartet-in-Residence at the Manhattan School of Music in New York since 1984, the members of the Quartet were previously on the faculty of the Peabody Conservatory (where they initiated the program of quartet studies) and in 1992 they served as resident ensemble for the Van Cliburn International Piano Competition.
The American String Quartet continues to reach a widening audience through its recordings most recently the complete Mozart Quartets for MusicMastersMusical Heritage on a set of matched Stradivarius instruments, released in 1997-1998. The
Quartet's diverse activities have also includ?ed numerous radio and television broad?casts in fifteen countries, tours to Japan and the Far East, and performances with the Montreal Symphony, the New York City Ballet and the Philadelphia Orchestra. The four musicians studied at The Juilliard School, where the Quartet was formed in 1974, winning the Coleman Competition and the Naumburg Award that same year. Outside the Quartet, each finds time for solo appearances and recitals.
This performance marks the American String Quartet's seventh appearance under UMS auspices.
Wolf Harden, Piano Michael Mucke, Violin Jens-Peter Maintz, Cello
Piotr Ilyich Tchaikovsky
Tuesday Evening, March 30,1999 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Trio in D Major, Hob. XV:24
Allegro Andante Allegro ma dolce
Trio in a minor
Pantoum: Assez vif Passacaille: Tres large Finale: Anime
Trio in a minor. Op. 50
Pezzo elegiaco: Moderato assai; Allegro giusto Theme and Variations
Theme: Andante con moto
Variation I: Cantabile
Variation II: Piu mosso
Variation III: Allegro moderato
Variation IV: L'istesso tempo
Variation V: L'istesso tempo
Variation VI: Tempo di Valse
Variation VII: Allegro moderato
Variation VIII: Fugue: Allegro moderato
Variation IX: Andante flebile, ma non tanto
Variation X: Tempo di Mazurka
Variation XI: Moderato
Variation finale e Coda: Allegro risoluto e con fuoco
Seventy-fifth Performance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited
Large print programs are available upon request.
Trio in D Major, Hob. XV:24
Born March 31,1732 in Rohrau, Lower Austria
Died May 31,1809 in Vienna
The piano trios of Haydn are really key?board sonatas with string accompaniment. That is what Haydn himself called almost all of them, and that is how they were per?ceived by audiences at the time. The violin often shares the leading role with the piano; but cellists sometimes complain that all they get to do is double the bass line played by the piano left hand. While the cellists may not receive glamorous solo opportunities in the Romantic sense, however, they are chal?lenged in a different way. Direct descen?dants of the Baroque continuo practice, Haydn's cello parts require the player to have a quite sophisticated sense of blending and ability to shape musical phrases.
If one compares the texture of Haydn's mature trios to the past rather than to the future, it becomes immediately clear how much progress had been made during the Viennese master's lifetime. In fact, the rela?tionship of the three instruments is far from being uniform. Their rhythmic interaction changes by the moment, and the process that would lead to the full emancipation of the two string instruments in the trios of Mozart and Beethoven has definitely begun. In terms of both quantity and quality, the forty-odd piano trios deserve to stand alongside the symphonies and string quar?tets as one of Haydn's most important gen?res. It is a form he cultivated throughout his life, especially during his two trips to London (1791-92 and 1794-95) which marked the zenith of his artistic career.
The present trio is one in a set of three that Haydn wrote in 1795, shortly before leaving London for the last time. (Another member of the set is the G-Major trio famous for its Gypsy finale, "Rondo aH'Ongarese") These trios were dedicated
to a lady named Rebecca Schroter, the widow of a prominent German-born musi?cian in London, with whom Haydn had a love affair during his sojourn there. (He later told one of his biographers that he would have married Mrs. Schroter if he had been single. His marriage was notoriously unhappy; his wife had not accompanied him to London.) Many of Rebecca Schroter's passionate love letters to Haydn have survived and been published by H.C. Robbins Landon in 1959.
This trio and its two companions, then, must have been particularly close to Haydn's heart. They are exceptionally inspired pieces, with many individual features that show that Haydn did not follow any partic?ular pattern when writing these works. The D-Major work is remarkably concise, with a "regular" allegro for a first movement fol?lowed by two shorter, interconnected move?ments. The word "regular" has to be placed in quotation marks because, although the classic outline of the sonata form (with exposition, development and recapitulation) is respected, the character of the themes and the modulation scheme reserve many sur?prises. The most obvious of these are the many unexpected rests that leave the listener in suspense before the music continues, often in a completely new harmonic direc?tion. The second movement explores a sin?gle musical idea, taking it to several keys before repeating it in the original d-minor tonality (with the melody in the bass this time). The movement ends on an "open" dominant chord that resolves, without pause, into the third movement, marked "Allegro, ma dolce." The finale is in the form of a minuet, although it is not so des?ignated. The graceful first theme is followed by a stormier middle section revisiting the key of d minor (a "trio" within a Trio, as it were) before the return of the minuet.
Trio in a minor
Born March 7, 1875 in Ciboure, Basses-Pyrenees, France Died December 28, 1937 in Paris
During the 120 years that separate the Haydn and Ravel works on this program, a lot of water had flowed under the bridge. The three instruments had become absolute equals in terms of thematic importance and technical demands; Beethoven, Schubert, Mendelssohn, Brahms (and Tchaikovsky) had carried the genre to unsuspected heights. For Ravel, to turn to the piano trio was to embrace a time-honored classical genre, something he did only exceptionally, as in the early String Quartet or the late Piano Concerto in G (the Concerto for the Left Hand is a rather special case). Yet, for all the harmonic and coloristic innovations he had introduced, Ravel felt the need (per?haps to an even greater degree than Debussy) to reconnect with the past. He often aimed to recreate, with modern means, the classical balance and lightness he so admired in the works of Mozart.
He never did so with more success than in the Piano Trio which, despite its daunting technical difficulty, is a model of elegance and clarity. The exquisite lyricism of its themes and the transparency of the writing quickly established the work as a classic.
The overall form of the Piano Trio may be classical, but there is something rather unusual in each of its four movements. The first is in an irregular meter (one-two-three one-two one-two-three). This lilting pattern carries a simple and graceful melody that is, however, treated with all the lush colors Ravel had invented in his impressionistic piano works (Miroirs, Gaspard de la Nuit). The second movement bears the unusual title "Pantoum." This word is of Malay ori?gin and refers to a poetic form in which the second and fourth lines of a four-line stanza
are repeated as the first and third lines of the next stanza. This form had been adopt?ed by several French poets of the nineteenth century including Hugo and Baudelaire. Ravel ingeniously applied this principle to music by the use of two alternating themes (standing for lines) recurring according to the same logic, their place within the larger structure (the would-be equivalent of the musical stanza) always changing. The mid?dle section is remarkable for its simultane?ous combination of two meters: 42 (slow?er-moving chorale melody in the piano) against 34 (motif in a faster tempo, derived from the first theme, played by the strings).
The third movement is a "Passacaille" (the word implies, in this case, variations on a bass melody). The slow melody, first heard in the lowest register of the piano, is constantly repeated, taken to higher octaves, and varied. The rich and brilliant finale has an irregular meter (54 and 74 alternating), like the first movement (the two main themes are even related, though distantly). "The emphasis in this movement, and indeed throughout the work, is on color and contrasts in timbre and rhythmic variety," writes Rollo H. Myers in his 1960 monograph on the composer. In a final bow to classical tradition, Ravel turned from the minor mode to the major in this last movement, to end on a joyful and triumphant note.
Trio in a minor. Op. 50
Piotr Ilyich Tchaikovsky
Born May 7, 1840 in Kamsko-Votkinsk, Russia
Died November 6, 1893 in St. Petersburg
On two different occasions, Tchaikovsky turned to chamber music -a medium he did not use very often -when he was mourning the loss of friends and colleagues. In 1876, he wrote his String Quartet No. 3 in memory of violinist Ferdinand Laub. Six years later, Nikolai Rubinstein passed away,
and Tchaikovsky poured his feelings into a composition written in a form he had never used before and would never use again: a piano trio.
The brother of Tchaikovsky's teacher, the celebrated Anton Rubinstein, Nikolai (1835-1881) was the founding director of the Moscow Conservatory and invited Tchaikovsky to teach there soon after the school opened its doors. As a pianist and conductor, he was a devoted friend to Tchaikovsky and an indefatigable champion of his music (even though he had rather unkind things to say about the Piano Concerto No. 1 when Tchaikovsky first showed it to him). His untimely death left a void in Tchaikovsky's life that was never filled.
The trio is in only two movements: a "Pezzo elegiaco" and a theme with varia?tions. Yet it is not a short work: it runs about forty minutes in performance. The idea of a two-movement structure on a large
scale may have come from Beethoven's last piano sonata (Op. Ill) but otherwise the two works have little in common. Tchaikovsky's first movement begins with a memorable melody shared by the cello and the violin and repeated by the piano. The outlines of the sonata form are respected, but the tempo and character changes are so great and the modulation schemes are so complex that the movement cannot be described in terms of traditional patterns. Expressive lyrical moments alternate with pesante (weighty) chordal passages according to logic that is, in true Romantic fashion, more emotional than structural in nature. One of the most poignant moments is the recapitu?lation when the opening melody retuns in the original key but at half the original tempo. After a final dramatic outburst, the end of the movement resumes the elegiac tone of the beginning as the opening melody is played by the piano in augmented (considerably lengthened) note values. The theme of the second-movement variations, introduced by the piano alone in E Major, is peaceful and lyrical. The varia?tions, twelve in number, become increasing?ly complex. Only the first five are variations in the classical sense, embellishing the melody, giving it different rhythmic shapes and passing it back and forth between the instruments. Starting with "Variation VI," we hear a succession of short character pieces including a waltz, a fugue, a "Romanza"-type slow movement, and a mazurka. The final variation, with its elabo?rate coda, is almost a separate movement in itself, originally intended as a full-fledged sonata form (though Tchaikovsky autho?rized a major cut to be made). The music reaches a brilliant climax after which the elegiac theme of the first movement returns, ending the trio on a lugubrious note.
Program notes by Peter Laki.
Since its formation in 1980,Trio Fontenay has been lavishly praised by critics for their technical excel?lence, richness of tone, and depth of interpretive imagination. Inspired by their early study with the Amadeus Quartet, the ensemble performs throughout Europe, North and South America, Australia and the Far East. They are regularly welcomed in London, Munich, Hamburg, Berlin and Amsterdam, and were named "Trio-in-Residence" at Paris' Theatre Chatelet. In 199596 they performed the complete Beethoven cycle at Paris' Theatre Chatelet, London's Wigmore Hall, Berlin's Schauspielhaus, Amsterdam's Concertgebouw, and in Munich, Cologne and Hamburg.
In North America, the Trio has played at Carnegie's Weill Recital Hall, and has made return appearances in Montreal, Toronto, Buffalo, Kansas City, Houston and Pasadena. In North America they appeared in Kansas City, San Juan, Chicago, at the State University of New York-Purchase, and
Wayne Center for the Arts in Wooster, OH. In the 19981999 season, the Trio performs in Dallas, Berkeley, and College Park among others, and makes return appearances in Ann Arbor, Montreal, Phoenix, Albany, and Worcester.
The 19981999 season welcomes cellist Jens Peter Maintz to the Trio Fontenay. Mr. Maintz won the "Castello di Duino" competition in 1990, and the ARD Competition (cello category) in Munich in 1994. He has also been solo cellist with the Deutsches Symphonie Orchester-Berlin under Vladimir Ashkenazy since May 1995.
Trio Fontenay has recorded for Denon, EMI Electrola, and Teldec, where the Trio has just signed another five-year exclusive contract. Their recording of the Beethoven Piano Trios for Teldec received the 1994 Preis Der Deutschen Schallplatten-dritik, the German Record Critics Award. They have recorded the complete piano trios by Brahms, Mendelssohn, Mozart, and Dvorak, as well as works by Ives, Schumann, and a RavelDebussyFaure disc. Their second recording of the Schubert Trios was released by Teldec in the spring of 1997.
The name "Fontenay" was chosen for two reasons: first, it is the old French translation for "source" and "fantasy"; and second, it is the name of the street near the Hamburg Conservatory where the ensemble first met to practice. The Trio Fontenay has won numerous awards and competitions in Europe.
Tonight's performance marks the Trio Fontenay's second appearance under UMS auspices.
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).
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.
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
DINING EXPERIENCES TO SAVOR: THE FIFTH ANNUAL DELICIOUS EXPERIENCES
Wonderful friends and supporters of the UMS are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 734.936.6837 for more information and to receive a brochure.
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show or stay overnight and relax in comfort! A deli?cious meal followed by priority, reserved seat?ing at a performance by world-class artists makes an elegant evening--add luxury accom?modations to the package and make it a com?plete get-a-way. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
3411 Washtenaw Road 734.971.0484 for reservations
Thur. Jan. 14 Sun. Jan. 17 Sun. Feb. 7 Mon. Feb. 15
Wed. Mar. 24
Renie Fleming, soprano Prc-pcrformancc 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
Join Ann Arbor's most theatrical host & hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the per?formance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes two nights stay, breakfast, high tea and two priority reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer 734.769.3010 for reservations
Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished per?forming artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the performance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. Beat the winter blues in style! (All events are at 8pm with dinner prior to the performance)
Sat. I.in. 16 Fri. Jan. 29 Fri. Feb. 12
Sat. Feb. 20
Fri. Mar. 12 Sat. Mar. 20 Fri. Mar. 26
The Gospel at Colonus
Anne Sofie von Otter, mezzo soprano
ImMERCEsion: The Merce Cunningham
Meryl Tankard Australian Dance
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.
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.
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
James Galway, flute Pre-performance dinner
Alvin Ailey American Dance Theater Pre-performance dinner
NHK Symphony Orchestra of Tokyo Post-performance dinner
Package price $139 for a single and $213 for a double, deluxe standard (king or queen) includes overnight stay, guaranteed reservations for a preor post-show dinner (select any entree from the special package menu, non-alcholic beverage, and dessert, includes taxes & tip) and reserved "A" seats on the main floor at the performance.
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
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.
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.
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.
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
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
Edward Surovell and Natalie Lacy
Beacon Investment Company
General Motors Corporation
National City Bank
Thomas B. McMullen Company
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
Deloitte & Touche
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
FoundationsOrganizations Chamber Music America THE MOSAIC FOUNDATION
(ofR.&P. Heydon) Institute for Social Research
Individuals Martha and Bob Ause Joan A. Binkow Jim Botsford and
Janice Stevens Botsford Mr. and Mrs. William Brannan Barbara Everitt Bryant Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne Mr. Ralph Conger Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd
Mr. Edward P. Frohlich Norm Gottlieb and
Vivian Sosna Gottlieb Keki and Alice Irani Dean and Gwen Louis Paul and Ruth McCracken Murray Pitt
John and Dorothy Reed Don and
Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Loretta M. Skewes Mr. and Mrs.
John C. Stegeman Richard E. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and James N. Morgan
Businesses AAA of Michigan Alf Sudios AT&T Wireless CFI Group Comerica
Dennis Dahlmann, Inc. Environmental Research Institute of Michigan ERIM International Inc Ideation, Inc. Joseph Curtin Studios Main Street Ventures Red Hawk Bar and Grill Regency Travel Republic Bank Target Stores Zanzibar
Foundations Ann Arbor Area
Individuals Dr. and Mrs. Gerald Abrams Mrs. Gardner Acldey Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Alf Studios
Emily W. Bandera, M.D. Peter and Paulett Banks A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreuter
Suzanne A. and
Frederick J. Beutler Ron and Muni Bogdasarian Lee C. Bollinger and
Jean Magnano Bollinger Howard and Margaret Bond Laurence Boxer, M.D.;
Grace J. Boxer, M.D. Jeannine and Robert Buchanan Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Cantwell Edwin and Judith Carlson Jean and Kenneth Casey Mr. and Mrs. John Alden Clark David and Pat Clyde Maurice Cohen Mary K. Cordes Alan and Bette Cotzin Peter and Susan Darrow Jack and Alice Dobson Molly and Bill Dobson Elizabeth A. Doman Jan and Gil Dorer Mr. and Mrs. John R. Edman Stefan S. and Ruth S. Fajans David and Jo-Anna Featherman Adrienne and Robert Feldstein Ken and Penny Fischer Ray and Patricia Fitzgerald David C. and Linda L Flanigan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Lourdes and Otto Gago Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Linda and Richard Greene Frances Greer Alice Berberian Haidostian Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Terry Hirth Julian and Diane Hoff Robert M. and Joan F. Howe John and Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman Thomas and Shirley Kauper Bethany and Bill Klinke Charles and Linda Koopmann Michael and Phyllis Korybalski Dimitri and Suzanne Kosacheff Barbara and Michael Kusisto Mr. and Mrs. Henry M. Lee Carolyn and Paul Lichter Peter and Sunny Lo Robert and Pearson Macek John and Cheryl MacKrell Alan and Carla Mandel Judythe and Roger Maugh Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs. Donald A. Meier
Dr. H. Dean and
Dolores Millard Andrew and Candice Mitchell Lester and Jeanne Monts Grant Moore
Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia A. Patton Moss George and Barbara Mrkonic Mr. and Mrs. Homer Neal M. Haskell and
Jan Barney Newman Mrs. Marvin Niehuss Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Joe and Karen Koykka O'Neal Constance L. and
David W. Osier Mr. and
Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and Wilbur K. Pierpont Stephen and Agnes Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Molly Resnik and John Martin Jack and Margaret Ricketts Barbara A. Anderson and
John H. Romani Gustave and Jacqueline Rosseels Dr. Nathaniel H. Rowe Rosalie and David Schottenfeld Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel Dr. Elaine R. Soller Steve and Cynny Spencer Judy and Paul Spradlin Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Don and Carol Van Curler Mary Vanden Belt Roy and JoAn Wetzel Elizabeth B. and
Walter P. Work, Jr.
The Barfield CompanyBartech Bodywise Therapeutic Massage Consulate General of the
Federal Republic of
Patton Corporation Howard Cooper, Inc. The Monroe Street Journal O'Neal Construction Charles Reinhart Company Shar Products Company Standard Federal Bank 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 Sarns Ann Arbor Fund
Individuals Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and
Janet and Arnold Aronoff Max K. Aupperle Gary and Cheryl Balint Dr. and Mrs. Mason Barr, Jr. Robert and Wanda Bartlett Karen and Karl Bartscht Henry J. Bednarz Ralph P. Beebe P. E. Bennett L. S. Berlin
Mr. and Mrs. Philip C. Berry John Blankley and
Maureen Foley Charles and Linda Borgsdorf David and Sharon Brooks F. Douglas Campbell Jean W. Campbell Bruce and Jean Carlson Janet and Bill Cassebaum Tsun and Siu Ying Chang Mrs. Raymond S. Chase Don and Betts Chisholm Janice A. Clark John and Nancy Clark Leon and Heidi Cohan James and Constance Cook Mr. and Mrs. Howard Cooper Susan and Arnold Coran H. Richard Crane Alice B. Crawford Delia DiPietro and
Jack Wagoner, M.D. Charles ana Julia Eisendrath Dr. Alan S. Eiser David Eklund and Jeff Green David and Lynn Engelbert Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Ronda and Ron Ferber Sidney and Jean Fine Clare M. Fingerle James and Anne Ford Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox Charles and Rita Gelman Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Joyce and Fred M. Ginsberg
4 2 Benefactors, continued
Paul and Anne Glcndon
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
Walter and Dianne Harrison
Clifford and Alice Hart
Mr. and Mrs. E. Jan Hartmann
Taraneh and Carl Haske
Bob and Lucia Heinold
Mrs. Ramon Hernandez Fred and Joyce Hershenson Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and
Gaye H. Humphrey John and Gretchen Jackson Wallie and Janet Jeffries James and Dale Jerome Billie and Henry Johnson Mr. and Mrs. Richard A. Jones Stephen Josephson and
Sally Fink Susan and Stevo Julius
Robert L. and Beatrice H. Kahn Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine Roby Kfingler Philip and Kathryn Klintworth Jim and Carolyn Knake Barbara and Charles Krause Samuel and Marilyn Krimm Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Lee E. Landes
Jill 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 Jonn 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
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 Wilfes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns B. Joseph and Mary White Clara G. Whiting Brymer 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
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
The Kennedy Center for the Performing Arts
M. Bernard Aidinoff Michael and Suzan Alexander Anastasios Alexiou Christine Webb Alvey Dr. and Mrs. David G. Anderson David and Katie Andrea Harlene and Henry Appelman Patricia and Bruce Arden Jeff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, III Jonathan and Marlene Ayers Essel and Menakka Bailey Dr. and Mrs. Daniel R. Balbach Lesli and Christopher Ballard Cy and Anne Barnes Norman E. Barnett Leslie and Anita Bassett Scott Beaman Astrid B. Beck and
David Noel Freedman Kathleen Beck Neal Bedford and
Gerlinda Melchiori Linda and Ronald Benson Ruth Ann and Stuart J. Bergstein Ronald J. Bienkowski Cathie and Tom Bloem Mr. and Mrs. H. Harlan Bloomer Roger and Polly Bookwalter Gary Boren
Dr. and Mrs. Ralph Bozcll 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 Ellic Davidson
Laning R. Davidson, M.D.
lohn and Jean Debbink
Mr. and Mrs. Jay De Lay
Louis M. DeShantz
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
Herschel and Annette Fink
Mrs. Beth B. Fischer
Susan R. Fisher and
John W. Waidley Beth and Joe Fitzsimmons lennifer 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 I. Fugenschuh and
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and lay Gardner Professor and
Mrs. David M. Gates Steve Geiringer and Karen Bantcl Thomas and Barbara Gelehrter lames and Janet Gilsdorf Maureen and David Ginsburg Irwin J. Goldstein and
Steve and Nancy Goldstein Enid M. Gosling Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Robert M. Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefner and
Cynthia J. Stewart Yoshiko Hamano Thomas and Connie Heffner Kenneth and Jeanne Heininger John L. and
Jacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Jack and Davetta Homer Dr. and Mrs. Joseph A. Houle Linda Samuelson and
Joel Howell Ralph and Del Hulett Mrs. Hazel Hunsche Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Harold and Jean Jacobson
Elien 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 Miedler Jeanettc 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 Winnifrcd Pierce William and Barbara Pierce Frank and Sharon Pignanclli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Bill and Diana Pratt
Jerry and Lorna Prescott Larry and Ann Preuss 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. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn
Mrs. loan D.Weber Deborah Webster and
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. and Mrs. A. C.Wooll Phyllis B. Wright MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Alice Simsar Fine Art, Inc.
Ann Arbor District Library
Atlas Tool, Inc.
Borders Books and Music
Coffee Express Co.
Consulting Group Jenny lind Club of Michigan, Inc. John Leidy Shop, Inc. Scientific Brake and Equipment
Company Swedish American Chamber
The Sneed Foundation, Inc.
Jim and Jamie Abclson John R. Adams Tim and Leah Adams Irwin P. Adelson, M.D. Michihiko and Hiroko Akiyama Mr. and Mrs. Gordon E. Allardycc Mike Allcmang lames 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 Auppcrlc Erik and Linda Lee Austin Eugene and Charlene Axelrod Shirley and Don Axon Virginia and Jcrald Bachman Lillian Back lane Bagchi
Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia Huttar Bailey Robert L. Baird Bill and Joann Baker Dennis and Pamela I Smittcr) Baker Laurence R. and Barbara K. Baker Maxine and Larry Baker Drs. Helena and Richard Balon John R. Barclum 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 Karla Bartholomy
lames M. Beck and
Robert I. McGranaghan Mr. and Mrs. Steven R. Beckert Robert M. BeckJey and Judy Dinesen Nancy Bender Walter and Antje Bcnenson Harry and Betty Benford Mercte and Erling Blondal Bengtsson Bruce Benner loan and Rodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Barbara Levin Bergman Minnie Berki
Abraham and Thelma Berman Harvey and Shelly Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bertcher R. Bczak and R. Halstead John and Marge Biancke Irene Biber Eric and Doris Billes Jack and Anne Birchfield William and Ilene Birge Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh George and Joyce Blum Beverly J. Bole Catherine 1. 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 Brodcrick Dr. and Mrs. Ernest G. Brookfield Linda Brown and Joel Goldberg Cindy Browne Mary and )ohn Brucgcr Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Isabel Buckner Dr. Frances E. Bull Margaret and John Burch Marilyn Burhop Judy and Bill Butler Robert A. Sloan and Ellen M. Byerlein Patricia M. Cackowski, M.D. Joanne Cage
Louis and Janet Callaway H. D. Cameron Jenny Campbell (Mrs. D.A.) Michael and Patricia Campbell Robert and Phyllis Carlson James and Jennifer Carpenter Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Dr. and Mrs. Joseph C. Cerny William and Susan Chandler J. Wehrlcy and Patricia Chapman Joan and Mark Chester Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Mark Clague and Anne Vanden Belt Brian and Cheryl Clarkson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen
Hubert and Ellen Cohen
Hilary and Michael Cohen
Howard and Vivian Cole
Mr. and Mrs. Michael F. Collier
Ed and Cathy Colone
Edward J. and Anne M. Comeau
Carolyn and L. Thomas Conlin
Patrick and Anncward Conlin
Nan and Bill Conlin
Donald W. Cook
Gage R. Cooper
Robert A. Cowles
Clifford and Laura Craig
Marjorie A. Cramer
Richard and Penelope Crawford
Charles and Susan Cremin
George H. and Connie Cress
Mary C. Crichton
Constance Crump and Jay Simrod
Mr. and Mrs. James I. Crump
Margaret R. Cudkowicz
Richard J. Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Robert and Joyce Damschroder
Lee and Millie Daniclson
Jane and Gawaine Dart
Stephen Darwall and
Roscmarie Hester Mjnil and MiTi.il Das DarLinda and Robert Dascola Ruth E. Datz
Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge David and Kay Dawson Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Penny and Laurence B. Deitch Elena and Nicholas Delbanco William S. Demray Lloyd and Genie Dethloff Don and Pam Devine Elizabeth and Edmond DeVine A. Nelson Dingle Dr. and Mrs. Edward R. Doezema Jean Dolega
Heather and Stuart Dombey Fr. Timothy J. Dombrowski Steven and Paula Donn Thomas Doran Deanna and Richard Dorner Dick and Jane Dorr Thomas Downs Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Dreffs Janet Driver
Dale R. and Betty Berg Drew John Dryden and Diana Raimi Robert and Connie Dunlap Edmund and Mary Durfee John W. Durstine Charlotte K. Eaton Jacquelynne S. Eccles Elaine Economou and
Patrick Conlin Mr. and Mrs. Richard Edgar Sara and Morgan Edwards Judge and Mrs. S. J. Elden Sol and Judith Elkin Julie and Charles Ellis Ethel and Sheldon Ellis James Ellis and Jean Lawton Jack and Wylma Eizay 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
Mr. and Mrs. Robert B. Fair, Jr.
Barbara and Garry C. Faja
Mark and Karen Falahee
Elly and Harvey Falit
Thomas and lulia Falk
Mr. and Mrs. H. W. Farrington, Jr.
Inka and David Felbeck
Phil and Phyllis Fellin
Larry and Aiulr.i Ferguson
Karl and Sara Fiegcnschuh
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
Barbara and fames Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
Mr. and Mrs. Kurt Flosky
David and Ann Flucke
Maureen Forrest, M. D. and
Dennis Capozza Dr Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and )oann Freethy Gail Frames Jerry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Lois W. Gage lane Galantowicz Thomas H. Galantowicz loann Gargaro Helen and Jack Garris C Louise Garrison Mr. James C. Garrison Janet and Charles Garvin Allan and Harriet Gclfond 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. Harian Gilmore Beverly Jeanne Gil trow I l,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 Sin Gottlieb Michael L. Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Helen Graves and Patty Clare Pearl E. Graves
Dr. William H. and Maryanna Graves Larry and Martha Gray Isaac and Pamela Green Bill and Louise Gregory Linda and Roger Grekin Daphne and Raymond Grew Mr. and Mrs. James ], Gribble Mark and Susan Griffin Werner H. Grilk Margaret Grillot Laurie Gross Kay Gugala
Carl E. and Julia H. Guldbcrg Mr. and Mrs. Lionel Guregian
Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hacked Mrs. William HaTstcad Mrs. Frederick G. Hammitt Dora E. Hampel Lourdes S. Bastos Hansen Charlotte Hanson Herb and Claudia Harjes M. C. Harms Nile and Judith Harper Stephen G. and Mary Anna Harper Doug Harris and Deb Peery Laurelynne Daniels and
George P. Harris Ed Sarath and Joan Harris Robert and Jean Harris Jerome P. Hartweg Elizabeth C. Hassinen Ruth Hastie
lames B. and Roberta Hause Jeannine and Gary Hayden Mr. and Mrs. Edward j. Hayes Derek and Cristina Hcins Mrs. Miriam Hcins Jim and Esther Heitler Sivana Heller
Margaret and Walter Helmreich Paula B. Hencken Dr. and Mrs. Keith S. Henley Bruce and Joyce Herbert Ada Herbert Roger F. Hewitt Hiroshi Higuchi Peter G. Hinman and
Elizabeth A. Young Carolyn Hiss James C. Hitchcock Jane and Dick Hocrner 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. Horner, Jr. Dave and Susan Horvath Dr. Nancy Houk Dr.andMrs.F.B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C. Hubbs Charles T. Hudson Hubert and Helen Huebl Harry and Ruth Huff Mr. and Mrs. William Hufford Jane Hughes
Joanne Winkleman Hulcc Kenneth Hulsing Ann D. Hungerman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brenda and
Jason Prouser Imber Edward C. Ingraham Margaret and Eugene Ingram Perry Irish
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 Jclinek Keith and Kay Jensen JoAnn J. Jeromin Paul and Olga Johnson Sherri Lynn Johnson Dr. Marilyn S. Jones John and Linda Jonidcs Andree Joyaux and Fred Blanck Tom and Marie Justcr Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Thomas and Rosalie Karunas Alex F. and Phyllis A. Kato Nick and Mcral Kazan
Julia and Philip Kearney
William and Gail Keenan
lames A. Kelly and Mariam C. Noland
lohn B. Kennard
Frank and Patricia Kennedy
Linda Atkins and Thomas Kenney
Paul and Leah Kileny
Jeanne M. Kin
William and Betsy Kincaid
Paul and Dana Kissner
Shira and Steve Klein
Drs. Peter and Judith Kletnman
lohn and Marcia Knapp
Mr. and Mrs. lack Knowles
Patricia and Tyrus Knoy
Shirley and Glenn Knudsvig
Rosalie and Ron Kocnig
Ann Marie Kotre
Dick and Brcnda Krachenberg
Jean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krehbicl
Alan and Jean Krisch
Bert and Gcraldinc Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
Mr. and Mrs. Seymour Lampert
Henry and Alice Landau
Pamela and Stephen Landau
Patricia M. Lang
Carl F. and Ann L. La Rue
Beth and George Lavoie
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Moshin and Christina Lee
Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Ann M. Leidy
Mr. and Mrs. Fernando S. Leon Ron and Leona Leonard Sue Lcong Margaret E. Leslie Richard LeSucur David E. Levine George and Linda Levy Donald I. and Carolyn Dana Lewis Judith Lewis Norman Lewis Thomas and huh Lewis Mark Lindlcy and Sandy Talbott Ronald A. Lindroth Dr. and Mrs. Richard H. Lineback Rod and Robin Little Jane Lombard Patrick B. and Kathy Long Ronald Longhofer Luisa Lopez-Grigera Richard and Stephanie Lord Helen B. Love Robert G. Lovell Donna and Paul Lowry Pamela and Robert Ludolph Mr. and Mrs. Carl J. Lutkehaus Susan E. Macias Lois and Alan Macnce Walter A. Maddox Suzanne and Jay Mahler Hans and Jackie Maier Ronald and Jill Donovan Maio Deborah Malamud and
Neal Plotkin William and Joyce Malm Claire and Richard Malvin Melvin and )ean Manis Pearl Manning Howard and Kate Market Lee and Greg Marks Alice and Bob Marks Frederick, Deborah and
James Marshall Rhoda and William Martel Ann W. Martin Rebecca Martin Dcbra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard
Dores M. McCree
Jeffrey T. McDole
lames and Kathleen McGauley
Eileen Mclntosh and
Charles Schaldenbrand Bruce H. and Natalie A. Mclntyre Mary and Norman Mclver Bill and Ginny McKcachie Daniel and Madclyn McMurtrie Nancy and Robert Meader Robert and Doris Melling Allen and Marilyn Menlo Hely Merle-Benner Jill McDonough and
Greg Merriman Julie and Scott Merz Henry D. Messer Carl A. House Robert and Bettie Mctcalf 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 lohn Mills Olga Moir
Dr. and Mrs. William G. Moller, Jr. Patricia Montgomery Jim and Jeanne Montie Rosalie E. Moore Arnold and Gail Morawa Robert and Sophie Mordis Jane and Kenneth Moriarty Paul and Terry Morris Melinda and Bob Morris Robert C. Morrow Cyril and Rona Moscow James and Sally Mueller Tom and Hedi Mulford Bern and Donna Muller Maid Mulligan and
Katie Mulligan Laura and Chuck Musil Rosemarie Nagel Penny H. Nasatir Isabellc Nash Susan and Jim Newton John and Ann Nickias Susan and Richard Nisbett Gene Nissen
Laura Nitzberg and Thomas Carli Donna Parmelee and
William Nolting Richard S. Nottingham Dr. Nicole Obregon Patricia A. C. O'Connor C. W. and Sally O'Dell Nels and Mary Olson Paul L. and Shirley M. Olson Mr. J. L. Oncley Zibby and Bob Oneal Kathleen I. Operhall Dr. Jon Oscherwitz Mitchel Osman, M.D. Elisa A. Ostafin Lillian G. Ostrand Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Penny and Steve Papadopoulos Michael P. Parin Bill and Katie Parker Evans and Charlene Parrott Maria and Ronald J. Patterson Nancy K. Paul P. D. Pawelski Edward J. Pawlak Sumcr Pek and Marilyn Katz-Pek Dr. and Mrs. Charles H. Peller Donald and Edith Pclz William A. Penner, Jr. Steven and Janet Pepc Bradford Perkins Susan A. Perry Ann Marie Petach Margaret and Jack Petersen Roger and Grace Peterson Jim and Julie Phelps Mr. and Mrs. Frederick R. Pickard
Leonard M. and Loraine Pickering
Nancy S. Pickus
Robert and Mary Ann Pierce
Robert and Mary Pratt
Jacob M. Price
Joseph and Mickey Price
Patricia Randle and fames Eng
Al and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Rasmussen
Maxwell and Marjorie Reade
Gabriel M. Rebeiz
Katherine R. Reebel
Stanislav and Dorothy R. Rchak
John and Nancy Reynolds
James and Helen Richards
Elizabeth G. Richart
Dennis J. Ringle
Sylvia Cedomir Ristic
Kathleen Roelofs Roberts
Dave and Joan Robinson
Janet K. Robinson, Ph.D.
Mary Ann and Willard Rodgers
Thomas and Catherine Rodziewicz
Mary F. Loeffler and Richard K. Rohrer
Elizabeth A. Rose
Bernard and Barbara Rosen
William and Elinor Rosenberg
Richard Z. and Edie W. Rosenfeld
Charles W. Ross
Dr. and Mrs. Raymond W. Ruddon
Dr. and Mrs. Robert Ruskin
Bryant and Anne Russell
Scott A. Ryan
Mitchell and Carole Rycus
Ellen and Jim Saalberg
Theodore and Joan Sachs
Arnold Sameroff and Susan McDonough
Miriam S. Joffe Samson
Tito and Yvonne Sanchez
Daren and Maryjo Sandbcrg
John and Reda Santinga
Mike and Christi Savitski
Helga and Jochen Schacht
Chuck and Mary Schmidt
Courtland and Inga Schmidt
Elizabeth L. Schmitt
Charlene and Carl Schmult
Gerald and Sharon 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
Jonathan Bromberg and Barbara Scott
David and Darlene Scovell
E. J. Sedlander
John and Carole Segall
Richard A. Seid
Janet C. Sell
Louis and Sherry L. Scnunas
George H. and Mary M. Sexton
Ruth and J. N. Shanbergc
Brahm and Lorraine Shapiro
Matthew Sharipo and Susan Garetz
David and Elvera Shappirio
Maurice and Lorraine Sheppard
Dan Shcrrick and Ellen Moss
Rev. William J. Sherzer
George and Gladys Shirley
Jean and Thomas Shopc
Hollis and Martha A. Showaltcr
Mary Alice Shulman
Ned Minic and Jan Onder
John and Arlene Shy
Dr. Bruce M. Siegan
Mr. and Mrs. Barry J. Siegel
Milton and Gloria Siegel
Drs. Dorit Adler and Terry Silver
Michael and Maria Simontc
Robert and Elaine Sims
Alan and Eleanor Singer
Donald and Susan Sinta
Irma ]. Sklenar
Beverly N. Slater
I. Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
James A. Somers
Judy Z. Somers
Mr. and Mrs. Edward J. Sopcak
luanita and Joseph Spallina
Mrs. Herbert W. Spendlove (Anne)
Charles E. Sproger
David and Ann Staiger
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Ronald R. Stcmpien
William and Georgine Steude
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
Ellen M. Strand and Dennis C Regan
Mrs. William H. Stubbins
Dr. and Mrs. Samuel Stulberg
Donald and Barbara Sugerman
Richard and Diane Sullivan
Earl and Phyllis Swain
Rebecca Sweet and Roland Loup
John and Ida Swigart
Peg Talburtt and Jim Peggs
Jim and Sally Tamm
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Margi and Graham Teall
Leslie and Thomas Tender
Catherine and Norman Thoburn
Bctte M. Thompson
Mr. and Mrs. W. Paul Tippett
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townley
Angie and Bob I rink.i
Luke and Merling Tsar
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
Hugo and Karla Vandcrsypen
Hi .1111 and Lia van Leer
Fred and Carole S. Van Recscma
f. Kevin and Lisa Vasconi
Sy and Florence Veniar
Martha Vicinus and Bea Ncrgaard
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 Nadetman and
Sidney Warschausky Edward C. Weber Mr. and Mrs. Roy Weber
4 6 Advoca tes, con tin tied
lack and Jerry Wcidenbach
Carolyn J. Weigle
Gerane and Gabriel Weinrcich
Lawrence A. Weis
Donna G. Weisman
Carol Campbell Welsch and
John and Joanne Werner Rosemary and David Wesenberg Tim and Mim Wesierdale Ken and Cherry Westerman Susan and Peter Westerman Mr. and Mrs. Nathaniel Whitesidc William and Cristina Wilcox Honorable KurtisT. and
Cindy M. Wilder Reverend Francis E. Williams John Troy Williams Shelly R Williams Lois Wilson-Crabtree Beverly and Hadley Wine Dr and Mrs Jan Z Winkelman Beth and 1. W. Winsten Mr. and Mrs. Eric Winter James H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Jeffrey and Linda Witzberg Patricia and Rodger Wolff Wayne Wolfson Dr. and Mrs. Ira S. Wollner Richard E. and Muriel Wong Nancy and Victor Wong Stewart and Carolyn Work Charles R. and Jean L Wright David and April Wright Fran and Ben Wylie Sandra and Jonathan Yobbagy Mr. Frank Yonkstetter James and Gladys Young Mr. and Mrs. Robert Zager Dr. Stephen C. Zambito Phyllis Zawisza Craig and Megan Zechman David S. and Susan H. Zurvalec
Ann Arbor Bivouac, Inc. Ayse's Courtyard Cafe Dr. H.W. Bennett 8c Associates Bodywise Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Gams, Garris, Garris &
Garris Law Office Kupelian Ormand & Magy, P. C. Lewis Jewelers Mundus 8c Mundus, Inc. Organizational Designs Pen in Hand
Staples Building Company SWEA Inc. Zepeda and Associates
Schwartz Family Foundation
BURTON TOWER SOCIETY
The Burton Tower Society is a very special group of University Musical Society friends. Viese 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
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
Thomas C and Constance M. Kinnear
Dr. Eva Mueller
Len and Nancy Niehoff
Dr. and Mrs. Frederick O'Dell
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Roy and JoAn Wetzel
Mr. and Mrs. Ronald G. Zollars
BUSINESS LEADERSHIP CIRCLE
Bank of Ann Arbor
Beacon Investment Company
Blue Nile Restaurant
Butzel Long Attorneys
Charles Reinhart Company Realtors
Deloitte & Touche
Environmental Research Institute
First of America Bank
Forest Health Services Corporation
Ford Motor Company
General Motors Corporation
Howard Cooper, Inc.
Joseph Curtin Studios
Main Street Ventures
Miller, Canfield, Paddock and Stone
The Paideia Foundation
Pepper, Hamilton & Scheetz Red Hawk Bar & Grill Regency Travel Republic Bank Scsi 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. Hunschc Alexander Krezel, Sr. Kathcrine Mabarak Josip Matovinovic Frederick C. Matthaei, Sr. Glenn D. McGeoch
Dr. David Peters
Emerson and Gwendolyn Powrie
Ralph L. Steffi
Charles R. Tieman
lohn F. Ullrich
Francis Viola 111
Carl H. Wilmot
Peter Holderness Woods
Bernard and Ricky Agranoff
M.iri Ann Apley
Arbor Hills Hair & Body Salon
Bella La Vie
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 Icanninc 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 Glendon The Great Frame Up Great Harvest Bread Company Gregg Alf Studios Jeanne Harrison Dr. Tina Goodin Hertel Terry Hirth and Bodywise Therapeutic Massage Dan Huntsberger Iguanaworks, Inc. Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa John Shultz Photography John Sloan Painting John's Pack & Ship Mercy and Stephen Kasle Kerrytown Market & Shops King's Keyboard House Ed Klum U of M Golf Course Sam Knecht Bruce and Ronna Romncy Kulp
Jeanne and Ernest Merlanti
Michigan Car Services, Inc.
Moe Sport Shops
Robert and Melinda Morris
Nicola's Books Little Professor
Off the Wall Designs
R. Jeffrey Lamb Photography
Nina Hauscr Robinson
Ann and Tom Schriber
Mike and Jan Shatusky
Irving and Carol Smokier
Steve and Cynny Spencer
Bengt and Elaine Swenson
Tom Thompson Flowers
Andrea Van Houweling
Emil Wcddige & the Craig Gallery
West End Grill
Robert and Marina Whitman
The Window Design Studio
I liak-lh 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 Mimic Matters
UMS members have helped to make possible this 120th season of distinctive concerts. Ticket rev?enue covers only 61 of our costs. The generous gifts from our contributors continue to make the difference. Cast yourself in a starring role--become a UMS member. In return, you'll receive a variety of special benefits and the knowledge that you are helping to assure that our community will continue to enjoy the extraordinary artistry that UMS offers.
17 Ann Arbor Acura
38 Ann Arbor Reproductive
Medicine 12 Ann Arbor Symphony
Orchestra 38 Arborcrest Memorial Park
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 Comerica Bank Dobbs Opticians Dobson-McOmber Edward Surovell Realtors Emerson School
ERIM International 25 Ford Motor Company
32 Foto 1
19 Fraleigh's Nursery Glacier Hills Harmony House
34 Harris HomesBayberry
27 Howard Cooper Imports
35 Individualized Home Care
47 lim Bradley PontiacGMO
24 Kerrytown Bistro
28 King's Keyboard House
50 John Leidy Shops, Inc.
11 Lewis Jewelers
30 McGlynn & Gubbins
32 Miller, Canfield, Paddock,
52 Mir's Oriental Rugs
26 Mundus & Mundus
2 NBD Bank
3 Nina Howard Spa & Gifts
38 Pen in Hand
27 Performance Network
26 Quinn Evans Architects
19 Red HawkZanzibar
17 SKR Classical
35 Sweet Lorraine's
48 Sweetwaters Cafe
3 Ufer and Co.
42 U-M Matthaei Botanical
37 University Productions
13 Wexford Homes
51 Whole Foods