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UMS Concert Program, Saturday Apr. 10 To 18: University Musical Society: 1998-1999 Winter - Saturday Apr. 10 To 18 --

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Rights Held By
University Musical Society
OCR Text

Season: 1998-1999 Winter
University Of Michigan

Mantain and th
ham Dane
of the University of Michigan
The 1998-99 Winter Season
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1997-98 season: a triumphant Evgeny Kissin in his long-awaited UMS debut recital at Hill Auditorium; Itzhak Perlman performing with the Klezmer Conservatory Band as part of December 1997's In the Fiddler's House, Burton Memorial Tower shimmer?ing on a concert evening.
4 Letters from the President and Chair
5 Corporate LeadersFoundations
9 UMS Board of DirectorsSenate
StaffAdvisory Committees
10 General Information
12 Ticket Services
14 UMS Choral Union History
16 Auditoria Burton Memorial Tower
20 Education and Audience Development
22 Season Listing
Concert Programs begin after page 26
28 Volunteer Information
30 Hungry
30 UMS Dining Experiences
Restaurant & Lodging Packages
32 Gift Certificates
32 The UMS Card
34 Sponsorship and Advertising
34 Acknowledgments
37 Advisory Committee
37 Group Tickets
38 Ford Honors Program
40 UMS Contributors
49 UMS Membership
50 Advertiser Index

From the President
Thanks very much for attending this UMS performance and for supporting the performing arts in our community. I'm excited about the performances we're able to bring you this season and hope that you'll join us for others. A complete listing of the winter season begins on page 22.
UMS has been presenting performances in Ann Arbor for 120 years. During this time UMS has achieved a reputation for distinction in present?ing the performing arts. The process of engaging world-class artists to perform in our community requires special knowledge, intuition, and skills. UMS is fortunate to have as our Director of Programming one of the best in presenting field, Michael Kondziolka.
Michael joined the UMS staff ten years ago after interning for one year. It soon became apparent to all of us at UMS that Michael's combination of artistic knowledge and passion on the one hand and outstanding administrative and negotiating skills on the other would make him an ideal person to manage our efforts to expand, diversify, and strengthen our artistic offerings. Under Michael, UMS has added series featuring jazz, vocal recitals, world music, guitar, early music and vocal chamber music, dance, contemporary arts, and the artistic expressions of specific cultures. Michael's great
respect for both artists and audi?ences has led us to find many new per?formance venues particularly appro?priate for the specific art form being pre-
sented. Artists like coming to Ann Arbor. They like our audiences, concert halls, and tradition. But they also like being on a roster with the leading artists of our time, and that's what Michael assures will happen year after year. Thank you, Michael, for your extraordinary contribution to UMS and to our community.
I'd like to know your thoughts about this perfor?mance. I'd also like to learn anything we can do at UMS to make your concertgoing experience the best possible. If we don't see each other in the lobby, please call my office at Burton Tower on the campus (734-647-1174) or send me an e-mail message at
Kenneth C. Fischer, President
From the UMS Chair
It is with great pride that we acknowledge and extend our gratitude to the major business contributors to our 1998-99 season listed on the following pages. We are proud to have been chosen by them, for their investment in the University Musical Society is clear evidence not only of their wish to accomplish good things for our community and region, but also to be associated with excellence. It is a measure of their belief in UMS that many of these companies have had a long history of association with us and have expanded and diversified their support in very meaningful ways.
Increasingly, our annual fundraising require?ments are met by the private sector: very special individuals, organizations and companies that so
generously help bring the magic to UMS perfor?mances and educational programs throughout southeastern Michigan. We know that all of our supporters must make difficult choices from among the many worthwhile causes that deserve their support. We at the University Musical Society are grateful for the opportunities that these gifts make possible, enhancing the quality of life in our area.
Beverley Geltner
Chair, UMS Board of Directors
Ken Fischer (r) with Michael Kondziolka
Thank You, Corporate Leaders
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.
Jeanne merlanti
Resident, 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."
WILLIAM BROUCEK frrsidmt and CEO, Hank of Ann Arbor. "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrich-
ment that the University Musical Society brings to our community."
SAM EDWARDS President, Beacon Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adventUTOUSg more enjoyable city."
HABTE DAD) Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the commu?nity that sustains our business. We are
proud to support an organization that provides such an important service to Ann Arbor."
Carl A. Brauer. Jr.
Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
DAVID G. LOESEL President, T.M.I.. Ventures, Inc. "CaK 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."
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."
L. THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Ctmlin 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!"
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."
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."
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."
PETER BANKS President, ERIM International. "At ERIM International, we are honored to support the University Musical Society's commitment to pro-
viding educational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a life-
WILLIAM CLAY FORD, JR. Chairman, Ford Motor Company
"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."
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."
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."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities
for supporting the University Musical Society and its continuing success in bring?ing high level talent to the Ann Arbor community." ,i,
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."
Chairman and Chief
Executive Officer,
McKinley Associates,
"McKinley Associates
is proud to support
the University
Musical Society and the cultural contribu?tion it makes to the community."
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."
Miller, Canfield,
Paddock and Stone,
"Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
CHARLES HALL Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
Phillip R. Duryea Community President, National City Bank
"National City Bank is pleased to continue our historical support of the University
Musical Society which plays such an important role in the richness of our community."
First Vice President and Manager, FCNBD Bank "FCNBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
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."
JOE E. O'NEAL President,
O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University
Musical Society's efforts to bring the finest artists and special events to our community."
John psarouthakis,
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
Sr. Vice President and Chief Scientific Officer, Warner Lambert Company "Parke-Davis is very proud to be associat-
ed with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
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."
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."
MCMULLEN President, Ttwmas B. McMuUen Co., Inc. "I used to feel that a U-M Ohio State football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
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."
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"
David. E. engelbfrt Hiram A. Dorfman
Benard L. Maas
"The Benard L. Maas
Foundation is proud
to support the
University Musical
Society in honor of its beloved founder: Benard L Maas February 4,1896 May 13, 1984."
Benard L Maas
We at UMS gratefully acknowledge the support of the following founda?tions and government agencies:
Arts Midwest
benard L. Maas Foundation
Chamber Music America
The Heartland Fund
kmd foundation
lila wallace-reader's digest fund
Michigan Council for the Arts
and Cultural Affairs National Endowment for the Arts Rosebud foundation
Foundation Underwriters & Government Agencies
University Musical Society of the university of Michigan
BOARD OF DIRECTORS Beverley B. Gellner, Chair Letitia J. Byrd, Vice-Chair Elizabeth Yhouse, Secretary David Fealherman, Treasurer Gail Davis Barnes Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan
Barbara Everitt Bryant Kathleen G. Charla Robert F. DiRomualdo David J. Flowers Alice Davis Irani Stuart A. Isaac Gloria James Kerry F. Bruce Kulp
Leo A. Legatski Earl Lewis Lester P. Monts Alberto Nacif Len Niehoff loe 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 Board of Directors)
Robert G. Aldrich Herbert S. Amster Richard S. Bcrger Maurice S. Binkow Carl A. Brauer Allen P. Britton Leon S. Cohan Ion Cosovich Douglas Crary Ronald M. Cresswell John D'Arms James J. Duderstadt
Robben W. Fleming Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick B. Long
Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont lohn Psarouthakis Gail W. Rector lohn 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
Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to
the President John B. Kennard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald . Reid, Assistant
Manager and Group Sales David Cocagne, Assistant
Choral Union
Thomas Sheets, Conductor Edith Leavis Bookstein,
Kathleen Operhall, Co-Manager Donald Bryant, Conductor
Catherine S. Arcure, Director Elaine A. Economou, Assistait
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
Director--Individual Giving
EducationAudience Development
Ben Johnson, Director Kate Remen, Manager Susan Ratcliffe, Coordinator
MarketingPromotion Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Gus Malmgren, Director Emily Avers, Production and Artist Services Coordinator Eric R. Bassey, Production
Associate Bruce Oshaben, Front of House
Kathi Reistcr, Head Usher Paul Jomantas, Assistant Head
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Work-Study Juliana Athayde Laura Birnbryer Rebekah Camtn 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
Debbie Herbert, Chair
Maureeh Isaac, Co-Chair
Lisa Murray, Staff Liason
Letitia J. Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
Lori Director
Betty Edman
H. Michael Endres
Don Faber
Penny Fischer
Sara Frank
Joyce Ginsberg
Marianna Graves
Linda Greene
Mark Jolley
Mercy Kasle
Steve Kasle Maxine Larrouy Beth Lavoie Esther Martin Jeanne Mcrlanti Scott Merz Candice Mitchell Robert Morris John Mulcrone Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmussen Nina Hauser Robinson Sue Schroeder Meg Kennedy Shaw Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Bryan Ungard
Suzette Ungard
Kathleen Treciak Van Dam
Dody Viola
Fran Ampey
Kitty Angus
Gail Davis Barnes
Alana Barter
Elaine Bennett
Lynda Berg
Barbara Boyce
Letitia ). Byrd
Naomi Corera Carolyn Hanum Taylor lacobsen Callie Jefferson Deborah Katz Dan Long Laura Machida Ed Manning Glen Matis Ken Monash Gayle Richardson Karen Schulte Helen Siedel Sue Sinta Sandy Trosien Melinda Trout Barbara Hertz Wallgren Jeanne Weinch
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, gender or disability. The University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
michigan council for
ars and cultural affairs
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Barrier-Free Entrances
For mobility-impaired persons, all auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby.
Power Center: Pay phones are available in the box office lobby.
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of the Michigan League. St. Francis: There are no public telephones in the church. Pay phones are available in the Parish Activities Center next door to the church.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off of the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main floor seating area.
St. Francis: Men's and women's rooms are located in the basement at the bottom of the front lobby stairs.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms. Tours
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 for details.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each auditorium.
Ticket Services
Phone orders and information
University Musical Society Box Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
on the University of Michigan campus
From outside the 313 and 734 area codes,
call toll-free
Mon-Fri 10 a.m. to 6 p.m. Sat. 10 a.m. to 1 p.m.
Order online at the UMS Website
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices open 90 minutes before the performance time.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
University Musical
of the University of Michigan
UMS Choral Union
Thomas Sheets, conductor
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 120 years, strong leadership coupled with a devoted community have placed UMS in a league of internationally-recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied his?tory, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the next millennium. Every day UMS seeks to cultivate, nurture and stimu?late public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, com?missioning of new works, youth programs, artists residencies and other collaborative pro?jects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 80 performances and more than 150 educational events each season.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organiza?tion, which supports itself from ticket sales, cor?porate and individual contributions, foundation and government grants, and endowment income.
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Four years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for sub?scription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, and Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugu?rating the partnership with a performance of Britten's War Requiem, and continuing with performances of Berlioz' Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
This season, the UMS Choral Union will perform in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra and Neeme Jarvi, including perfor?mances of Brahms' A German Requiem, Kodaly's Psalmus Hungaricus, and Rachmaninoff's mon?umental The Bells. Other programs include Handel's Messiah and Mozart's Requiem with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
For more information about the UMS Choral Union, please call 734.763.8997.
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Aud?itorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long relationships throughout the past 84 years.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra perform?ing Beethoven's Symphony No. 5.
Hill Auditorium is slated for renovation in the coming years. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improve?ments and patron conveniences.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses the 1,129-seat Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies.
Even more remarkable than the size of the gift is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. The Power Center was designed to supply this missing link in design and seating capacity. In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interested and The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modem Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic 1,710-seat Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the sec?ond floor and bowling alleys running the length of the basement. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the bal?cony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and in
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Auditoria, continued
1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contemplation of sacred a cap-pella choral music and early music ensembles.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the box office and administrative location for the University Musical Society. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30 pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the impor?tance of live performing arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) performances. This year, more than 11,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Trinity Irish Dance Company, The Gospel at Colonus, Orpheus Chamber Orchestra with Pepe Romero, Kodo, and Alvin Ailey American Dance Theater. In addition to the Youth Performance Series, UMS inaugurates its new First Acts program, bringing school children to regularly scheduled evening and weekend performances and providing educa?tional contexts. For more information on UMS youth education programs, please call 734-647-6712.
The University Musical Society and the Ann Arbor Public Schools are members of the Kennedy Center Performing Arts Centers and Schools: Partners in Education Program. UMS is also recognized as a "Partner in Excellence" by the Ann Arbor Public Schools.
The Youth Performance Series is sponsored by the Ford Motor Company Fund and Target.
Other activities that further the understanding of the artistic process and appreciation for the performing arts include:
Now entering its third year, this series is an opportunity to showcase and engage our artists in informal, yet in-depth, dialogues about their art form, their body of work and their upcoming performances. This Winter's series includes interviews with:
Choreographer Merce Cunningham
Composer Steve Reich and filmmaker Beryl Korot
Artistic Director and Choreographer Judith Jamison
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. Led by local and national experts in their field, all PREPs are free and open to the public and begin one hour before curtain time. Some highlights from this year's series include:
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students precedes two con?certs by the American String Quartet.
David Vaughan, company archivist for the Merce Cunningham Dance Company, leads talks on Cunningham's 50-year body of work.
Professor Kenn Cox interviews members of the Lincoln Center Jazz Orchestra,
And other highlighted PREPs featuring Naomi Andre, Richard LeSueur and other experts.
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, workshops, seminars, symposia, and panel discussions. Most activities are free and open to the public and occur around the date of the artist's performances.
Major residencies for the 9899 Winter Season include:
American String QuartetBeethoven the Contemporary Series
The Gospel at Colonus
ImMERCEsion: The Merce Cunningham Dance Company
For detailed Residency Information, call 734-647-6712.
The Meet the Artist Series provides a special opportunity for patrons who attend perfor?mances to gain additional understanding about the artists, performance and art form. Each Meet the Artist event occurs immediate?ly after the performance, and the question-and-answer session takes place from the stage. This winter, patrons will have the opportunity to meet, among others:
Choreographers Merce Cunningham and Meryl Tankard
Members of the acapella group Sweet Honey in the Rock
The American String Quartet and composer Kenneth Fuchs
A series of workshops for all K-12 series, these workshops area a part of UMS' efforts to pro?vide school teachers with professional develop?ment opportunities and to encourage on-going efforts to incorporate the arts in the curriculum. This Winter Season's workshops include three by Kennedy Center educators and three led by local experts tailored to UMS performances:
Kodo, Monday, January 25, 4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Alvin Ailey American Dance Theater, Tuesday, February 2, 4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Storytelling: Involving Students in African Tales, Workshop leader: Dylan Pritchett, Kennedy Center Arts Educator, Monday, March 8, 4-7 p.m., Balas II building, Ann Arbor, Grades 1-6
Special Education: Movement Strategies for Inclusion, Workshop leader: Eric Johnson, Kennedy Center Arts Educator, Monday, March 22,4-7 p.m. Washtenaw Intermediate School District, Ann Arbor, Grades K-8.
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:
To register for Teacher Workshops, please call 734-647-6712.
1998-99 UMS Winter Season
Look for related Educational Events listed in blue.
Thursday, January 7,8 P.M.
Friday, January 8, 8 P.M.
Power Center
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by National City Bank.
Saturday, January 9,8 P.M.
Sunday, January 10,4 P.M.
Lydia Mendelssohn Theatre
Sponsored by KcyBank 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 posi-performance dialogue from the stage. Sponsored by Pepper Hamilton, L.LP. Media Partner WGTE.
8 P.M.
Sunday, January 17, 3 P.M. Monday, January 18, 3 P.M. Community Gospel Sing-Along with the cast of The Gospel at Colonus. Wed, Jan 13, 7 p.m. Martin Luther King Jr. Senior High School, 3200 E. Layfayette, Detroit. Call 734-647-6712 for information and registration.
Family Performance Special one-hour performance for parents and their children. Saturday, January 16, 2 p.m., Power Center. Sponsored by NBD. Co-presented with the Office of the Provost of the University of Michigan and presented with support from
the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Arts Fund, the National Endowment for the Arts, and the Michigan Council for Art and Cultural Affairs. Media Partner WEMU and Metro Times.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Thursday, January 28, 8 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
Friday, lanuary 29,8 P.M.
Lydia Mendelssohn Theatre
PREP "An Introduction to Scandinavian
Songs" by Richard LeSueur, Vocal Arts
Information Services, Fri, Jan 29, 7 p.m.
Michigan League, Hussey Room.
Sponsored by KeyBank with additional
support from Maurice and Linda Binkow,
STM, Inc., and the Swedish Round Table
Organizations. Media Partner WGTE.
Saturday, January 30, 2 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, February 7,4 P.M. Rackham Auditorium PREP "From Romeo to Ixonore: The Operatic Quartet" by Steven Whiting, U-M Assistant Professor of Musicology, with U-M School of Music student musicians. Sun, Feb 7, 3 p.m. Michigan League, Vandenberg Room.
Meet the Artists Post-performance dialogue from the stage with the American String Quartet and composer Kenneth 1'uchs.
Lecture "Interdisciplinary Relationships in Music and the line Arts" by composer Kenneth FuchSi Mon, Feb 8, 12 noon, School of Music, Room 2033. Sponsored by Edward Surovell Realtors with support from the Lila Watlace-Rcader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
Friday, February 12 Saturday,
February 13,8 P.M. Power Center
Brown-bag Lunch "Ounce Patterns: I listonc Moments in 50 years of Merce Cunningham's Choreography" by Kate Remen at the Institute for the Humanities on Mcrce Cunningham, Tuc, Ian 12, 12 noon I'M Institute tor the I [umanities. Merce Cunningham Mini Course--U-M under-grad and grad students earn 2 credit hours of Independent Study with Gay Delanghe with materials drawn from the Merce Cunningham Residency. Mass meeting held on fanuary 9, 12 noon, U-M Dance Building, Studio A, or email tor details. Family Workshop: Change 1 ncounters Parents and their children (ages 7 and up) explore visual art, dance and music in a workshop on Sat, Feb 6 which culminates in a free performance and reception at the Powei ( enter n Wed, Feb 10; Workshop held at the Ann Arbor Art Center and Dance GalleryPeter Sparling & Co. lor more information and registration call the Ann Arbor Art Center, 994-8004 x 1111 or walk-in registration at the Ann Arbor Ait enter
Art Class: Random Patterns, taught at the Ann Arbor Art Center in conjunction with the Merce ('unningham Dance Company Residency. Sat, Feb . 'I a.m. lor informa?tion and registration call the Ann Arbor Art Center, 994-8004 x 11)1, or walk-in registration at the Ann Arbor Art Center. Art Lecture: Costume and Image: Form Function Funky, taught at the Ann Arbor Art Center in conjunction with the Merce Cunningham Dance Company Residency. Mon, Feb, 8, 7 p.m. For infor?mation and registration call the Ann Arbor Art Center, 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 .it the Power I lentei in conjunction with the Merce I ?unningham Dance Company Residency. Sat, Feb 13,
Look for valuable information about UMS, the 199899 season, our venues, educational activities, and ticket information. -
I 1 a.m. For information and registration call the Ann Arbor Art Center, 994-8004 x 101, or walk-in registration at the Ann Arbor Art Center.
Lobby Exhibit Art from the Ann Arbor Public Schools, inspired by 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 Cage Trust, and U-M Professor Stephen Rush. Tucs, Feb 9, 12 noon. U-M Institute for the Humanities. Music for Dance for choreographers and composers, with Laura Kuhn, Director of the John Cage Trust, and U-M Professor Stephen Rush. Tuesday, Feb '), 2:45 p.m. U-M Dance Building Studio A. Master of Arts Interview of choreographer Merce Cunningham interviewed by Roger Copeland, Professor of Theater and Dance at Oberlin College. Thu, Feb 11, 7 p.m. U-M Dance Building, Betty Pease Studio. Advanced Technique Master Classes taught by Meg Harper, ("hair of the Cunningham Studio, at the U-M Dance Department, 10 places per class and 10 observers open to the public. Eight classes available: Tues and Thu, Feb 9 and 22, 11 a.m. and 12:45 p.m. Wed and i:ri, Feb U) 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, Mi 12,9 a.m., Design Lab 1, Media Union.
PREP Cunningham Company Archivist, David vaughan, leads a video discussion of Cunningham's choreography. Fri, Feb 12,7 p.m., Modern Languages Building, Lecture Room.
Meet the Artist Post-performance dialogue from the stage, Fri, Feb 12. Advanced Technique Master Class taught by Robert Swinston, Assistant to the Choreographer. Sat, Feb 13, 10:30 a.m., I lance (ialleryPeter Sparling & Co. To register, please l.iII 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, leb 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 CFl Croup.
Friday, February 19 Saturday,
February 20, 8 P.M. Power Center
Dance Theater Lecture Demonstration by Meryl Tankard, LJ-M Department of Dance, Studio A, Wed, Fcb 17, 2:15 p.m. Master Classes at the U-M Department of Dance, Thu, Fcb 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 Irom the stage. Media Partner WDET and Metro Times.
Tuesday, February 23 Thursday,
February 25,8 P.M. Power Center
Sponsored by NSK Corporation with support from Beacon Investment Company and the Blue Nile Restaurant. Media Partner WDET.
DAVID DANIELS, COUNTERTENOR MARTIN KATZ, PIANO Sunday, March 7,4 P.M. Lydia Mendelssohn Theatre
Thursday, March 11,8 P.M.
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research. Media Partner WGTE
Friday, March 12,8 P.M.
Michigan Theater
Sponsored by Miller, Canfield, Paddock and
Stone, L.L.P. Media Partner WEMU.
TAKACS QUARTET Thursday, March 18, 8 P.M. Rackham Auditorium
Friday, March 19 Saturday, March 20,
8 P.M.
Sunday, March 21,4 P.M. Power Center
PREP Video talk of signature Ailcy chore?ography. Fri, March 19, 7 p.m. Michigan League, Vandenberg Room. PREP Video talk of signature Alley chore?ography. Sat, March 20, 7 p.m., Michigan League, Hussey Room. Master of Arts Interview with artistic director and choreographer Judith lamison, Sat, March 20. 2 p.m. location tbd. Sponsored by Forest Health Services and Mr. and Mrs. Randall Pittman. Media Partner WDET.
THE TALLIS SCHOLARS PETER PHILLIPS, DIRECTOR Wednesday, March 24,8 P.M. St. Francis of Assisi Catholic Church
Thursday, March 25,8 P.M.
Michigan Theater
Sponsored by AT&T Wireless with
additional support from Republic Bank.
Media Partner WDET.
Friday, March 26,8 P.M.
Hill Auditorium
Meet the Artists Post-performance
dialogue from the stage.
Presented with support from Comerica
Bank and the Lila Wallace-Reader's Digest
Audiences for the Performing Arts Network.
Media Partner WEMU and Metro Times.
continued ...
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, March 28,4 P.M. Rackham Auditorium Beethoven the Contemporary Symposium Papers, panel discussions and keynote speaker on Beethoven and con?temporary composers. 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 Hail. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
TRIO FONTENAY Tuesday, March 30,8 P.M. Rackham Auditorium
Saturday, April 10,8 P.M.
Michigan Theater
Master of Arts Interview of composer
Steve Reich and filmmaker Beryl Korot.
Fri, April 9, 12 p.m. Michigan League,
Vandenberg Room.
Media Partner WDET and Metro Times.
Thursday, April 15,8 P.M.
Hill Auditorium
Sponsored by Edward Surovcll Realtors.
Media Partner WGTE.
Friday, April 16,8 P.M.
EMU Convocation Center
(799 Hewitt Road between Washtenaw
Ave. and Huron River Drive)
Sponsored by Sesi Lincoln-Mercury.
Media Partner WEMU.
EWA PODLES, CONTRALTO GARRICK OHLSSON, PIANO Saturday, April 17, 8 P.M. Lydia Mendelssohn Theatre PREP "An Introduction to the Art of Ewa Podles" by Richard LcSueur, Vocal Arts Information Services, Sat, April 17, 7 p.m., Modern Languages Building, Lecture Room.
Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
Sunday, April 18,8 P.M.
St. Francis of Assisi Catholic Church
Thursday, April 22, 8 P.M.
Michigan Theater
Media Partner WDET and Metro Times.
PREP Kcnn Cox, Professor of Music at Michigan State and Wayne State Universities, interviews members of the Lincoln Center lazz Orchestra, I-ri, April 23, 7 p.m., Michigan League, Hussey Room. Co-sponsored by Arbor TemporariesPersonnel Systems, Inc. and Mechanical Dynamics with support from the l.ila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner WDET.
Sunday, April 25,4 P.M.
Hill Auditorium
Sponsored by Trimas Corporation with
additional support from Weber's Inn.
Media Partner WGTE.
FORD HONORS PROGRAM Featuring the presentation of the 1999 UMS Distinguished Artist Award (Artist to be announced in January, 1999) Saturday, May 8,6 P.M. Hill Auditorium and Michigan League. Sponsored by the Ford Motor Company Fund. Media Partner HOUR Detroit Magazine.
University Musical Society
of the University of Michigan 1998-1999 Winter Season
Event Program Book
Saturday, April 10, 1999 through Sunday, April 18, 1999
General Information
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompa?nying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are not allowed in the auditorium.
If you have a question, ask 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 Steve Reich Ensemble 3
Saturday, April 10, 8:00pm Michigan Theater
Mozarteum Orchestra of Salzburg 17
Thursday, April 15, 8:00pm Hill Auditorium
Ewa Podles and Garrick Ohlsson 27
Saturday, April 17, 8:00pm Lydia Mendelssohn Theatre
Anonymous 4 and Lionheart 35
Sunday, April 18, 8:00pm
St. Francis of Assisi Catholic Church
The Steve Reich Ensemble
Act I from Three Tales
A documentary video opera conceived and developed by Steve Reich and Beryl Korot
Steve Reich, Music Beryl Korot, Video
Bradley Lubman, conductor Steven Ehrenberg, technical director
Steve Reich and Musicians
Frank Cassara, Thad Wheeler, Garry Kvistad,
James Preiss, Steve Reich, Percussion Nurit Tilles, Edmund Niemann, Pianos and Keyboards Elizabeth Lim-Dutton, Todd Reynolds, Violin Scott Rawls, Viola Jeanne LeBlanc, Cello
with guest artists Synergy
Sarah Eyden, Heather Cairncross, Sopranos Gerard O'Beirne, Steven Trowell, Rob Kearly, Tenors
Program Saturday Evening, April 10,1999 at 8:00
Michigan Theater, Ann Arbor, Michigan
Steve Reich Drumming
Part I Part II
Cassara, Kvistad, Preiss, Reich, Tilles, Wheeler,
tuned drums and marimbas Eyden, Cairncross, sopranos
Reich Different Trains
America -Before the war Europe -During the war After the war
Lim-Dutton, Reynolds, Rawls, LeBlanc
with pre-recorded tape made by the Kronos Quartet
ReichKorot Hindenburg
Act I from Three Tales
A documentary video opera
The Steve Reich Ensemble with guest artists, Synergy Bradley Lubman, conductor
Nick Mangano, stage direction and design Stephen Strawbridge, lighting Donna Zakowska, costumes Steven Ehrenberg, technical director
Seventy-sixth 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.
Support for this performance is made possible in part by media partner WDET.
Special thanks to Steve Reich, Beryl Korot and Mark Stryker for their assistance with this residency.
Hindenburg was commissioned by The Bonn Opera.
Large print programs are available upon request.
Steve Reich
Born October 3, 1936 in New York
For one year, between the fall of 1970 and the fall of 1971,1 worked on what turned out to be the longest piece I had ever com?posed. Drumming lasts from fifty-five to seventy-five minutes (depending on the number of repeats played) and is divided into four parts that are performed without pause. The first part is for four pairs of tuned bongo drums, stand-mounted and played with sticks; the second, for three marimbas played by nine players together with two women's voices. This evening we will be performing Parts I and II only.
While first playing the drums during the process of composition, I found myself sometimes singing with them, using my voice to imitate the sounds they made. I began to understand that this might also be possible with marimbas as well. Thus the basic assumption about the voices in Drumming was that they would not sing words, but would precisely imitate the sounds of the instruments. The women's voices sing patterns resulting from the com?bination of two or more marimbas playing the identical repeating pattern one or more quarter notes out of phase with each other. By exactly imitating the sound of the instru?ments, and by gradually fading the patterns in and out, the singers cause them to slowly rise to the surface of the music and then to fade back into it, allowing the listener to hear these patterns, along with many others, actually sounding in the instruments.
Steve Reich
Different Trains
Different Trains (1988) for string quartet and tape begins a new way of composing that has its roots in my early taped speech pieces It's Gonna Rain (1965) and Come Out (1966). The basic idea is that speech recordings generate the musical material for musical instruments.The concept for the piece comes from my childhood. When I was one year old, my parents separated. My mother moved to Los Angeles and my father stayed in New York. Since they arranged divided custody, I traveled back and forth by train frequently between New York and Los Angeles from 1939 to 1942 accompanied by my governess. While these trips were excit?ing and romantic at the time, I now look back and think that, if I had been in Europe during this period, as a Jew I would have had to ride very different trains. With this in mind I wanted to make a piece that would accurately reflect the whole situation. In order to prepare the tape, I had to do the following:
1. Record my governess Virginia, now in her seventies, reminiscing about our train trips together.
2. Record a retired Pullman porter, Lawrence Davis, now in his eighties, who used to ride lines between New York and Los Angeles, reminiscing about his life.
3. Collect recordings of Holocaust survivors Rachella, Paul and Rachel -all about my age and now living in America -speaking of their experiences.
4. Collect recorded American and European train sounds of the 1930s and '40s.
In order to combine the taped speech with the string instruments I selected small speech samples that are more or less clearly pitched and then notated them as accurately
as possible in musical notation. The strings then literally imitate the speech melody. The speech samples as well as the train sounds were transferred to tape with the use of sampling keyboards and a computer. The Kronos Quartet then made four separate string quartet recordings which were com?bined with the speech and train sounds to create the finished work.
Different Trains is in three movements, though that term is stretched here since tempos change frequently in each move?ment. They are:
America -Before the war. Europe -During the war. After the war.
The piece thus presents both a documentary and musical reality, and begins a new musical direction.
Steve Reich
America Before the war
Virginia: "from Chicago to New York"
Virginia: "one of the fastest trains"
Mr. Davis: "the crack train from New York"
Mr. Davis: "from New York to Los Angeles"
Virginia: "different trains every time"
Virginia: "from Chicago to New York"
Virginia: "in 1939"
Mr. Davis: "1939"
Mr. Davis: "1940"
Mr. Davis: "1941"
Virginia: "1941 I guess it must've been"
Europe During the war
Rachella: "1940" Rachella: "on my birthday" Rachella: "The Germans walked in" Rachella: "walked into Holland" Paul: "Germans invaded Hungary"
Paul: "I was in second grade" Paul: "I had a teacher" Paul: "a very tall man, his hair was con?cretely plastered smooth" Paul: "He said, 'Black Crows invaded our
country many years ago'" Paul: "and he pointed right at me" Rachel: "No more school" Rachel: "You must go away" Rachella: "and she said, 'Quick, go!'" Rachella: "and he said, 'Don't breathe!'" Rachella: "into those cattle wagons" Rachella: "for four days and four nights" Rachella: "and then we went through these
strange-sounding names" Rachella: "Polish names" Rachella: "Lots of cattle wagons there" Rachella: "They were loaded with people" Rachella: "They shaved us" Rachella: "They tattooed a number on our
Rachella: "Flames going up to the sky it was smoking"
After the war
Paul: "and the war was over"
Rachella: "are you sure"
Rachella: "The war is over"
Rachella: "going to America"
Rachella: "to Los Angeles"
Rachella: "to New York"
Mr. Davis: "from New York to Los Angeles"
Virginia: "one of the fastest trains"
Mr. Davis: "but today, they're all gone"
Rachella: "There was one girl, who had a
beautiful voice" Rachella: "and they loved to listen to the
singing, the Germans" Rachella: "and when she stopped singing
they said, 'More, more' and they applauded"
'"Crack" in the older sense of "best"
Act I from Three Tales
A documentary video opera
Scene 1
It Could Not Have Been a Technical Matter
Scene 2 Mythic Stature
Scene 3
Nibelung Zeppelin
Scene 4
A Very Impressive Thing to See
Scene 5
I Couldn't Understand It
Total duration: approximately twenty-five minutes
Three Tales is about three well known events from the early, middle and late twentieth century, "Hindenburg," "Bikini," "Dolly." Each one reflects on the growth and impli?cations of technology during the twentieth century. A debate about the physical, ethical, religious and spiritual nature of this expand?ing technological development has contin?ued and grown pervasive since 1945. Three Tales engages this conflict using these three events as iconic historical markers.
The first tale, "Hindenburg," utilizes footage, photographs and text about the famous zeppelin which exploded in 1937 and about General Paul von Hindenburg after whom it was named.
The second, "Bikini," will be based on footage, photographs and text from the atomic bomb test at Bikini atoll in 1946. We will also use footage of Bikini islanders who had to leave their home as well as footage of American sailors who were deformed and later died of their exposure to radioactivity during the tests. Footage about the bathing suit of the same name may also be used.
The third tale, "Dolly," will use footage, photographs and text from the cloning of an adult sheep in Scotland in 1997. Material from the intensifying debate about the ethics of genetic and biological research will be included. Footage about the growth of the computer, the technological underpinning of genetic and biotechnical research, will also be dealt with.
Throughout the three acts, from time to time, there will be comments by witnesses to these events, as well as by members of the scientific, historical and religious communities.
The complete work is scheduled for the fall of 2001.
The music in the first scene, 'It Could Not Have Been a Technical Matter,' begins with two snare drummers, drumming out the headline for the May 7,1937 edition of The New York Times announcing the crash of the Hindenburg air ship in Lakehurst, New Jersey. This is followed by drumming out a quote from the German ambassador to the United States given to that newspaper on the same day of the zeppelin crash: "It could not have been a technical matter." This text is then sung as a three-part canon by three tenors as the video shows multiple images of the crash and newspaper text about it. As the tenors continue their canon, the edited voice of the famous radio announcer, Herb Morrison, who described the crash, is heard first by himself and then doubled in canon. After changing key, this five-part canon for live and pre-recorded voices begins to augment as the video begins to show the crash in slow motion. The radio announcer's voice is also slowed down without changing its pitch through the use of a computer. This increas?ingly slow motion music and video comes to a halt on an altered G-dominant chord. The video throughout combines archival footage, text, stills and silhouettes arranged in con?stantly changing permutations.
The second scene, 'Mythic Stature,' turns to General Hindenburg. The video shows
nine smaller screens arranged in three stripes. The images begin with World War I and the Great Depression in Germany that followed it. The scene continues with Hindenburg's election as the elderly, last President of the Weimar Republic, and his disastrous appoint?ing of Adoph Hitler as Chancellor in 1933. The music is composed of overlapping and conflicting rhythmic values. Harmonically, the second scene ends on the same altered G dominant that ended the zeppelin crash in the first scene.
Scene three, 'Nibelung Zeppelin,' shows German workers in the factory near Frankfurt, constructing the Hindenburg zeppelin in 1936. Individual workers are "cut out" and placed in animated patterns, sometimes alone and sometimes in the context of the archival footage. The music takes the Nibelung leit?motif from Wagner's Das Rheingold and uses it as a repeating pattern played against itself in canonic variations. Wagner's dominant pedal harmony (transposed from b-flat minor to f minor) is also maintained and extended in length. At the end you see the enormous finished Zeppelin, huge swastikas on its tail fins, a showpiece for Nazi Germany which, in many ways, realized Wagner's ideals.
'A Very Impressive Thing To See,' scene four, is arranged in six video images that might suggest moving postcards of the
Hindenburg in flight. Musically it is a short "slow movement" on a mostly D-dominant pedal supplied by the drone of the Hindenburg's engines. Freye von Moltke, who saw the Hindenburg when she lived in Germany, recalls her reactions.
The final scene, 'I Couldn't Understand It,' begins again with drummed out text from the May 7,1937 edition of The New York Times, "Captain Ernst Lehmann gasped, 'I couldn't understand it,' as he staggered out of the burning control car." The video shows navy crews in Lakehurst, New Jersey trying to put out the fires in the burning wreckage of the Hindenburg. Together with text, this appears in full screen images, six simultaneous images arranged in two stripes and slow motion pans of the wreckage which finally include the wing of an airplane that will prove the future of aviation. Musically, this scene refers back to the first with the recurring altered G-dominant chord. Again, the three tenors sing in canon and again their canon is augmented and joined with a newsreel announcer's voice that also is stretched out in time by computer to produce a sound equivalent to the slow motion video.
All aspects of the video were created on computer by the artist in her studio.
Steve Reich and Beryl Korot March 1998
Scene 1
'It Could Not Have Been a Technical Matter'
New York Times headline May 7, 1937 -drummed out:
Hindenburg burns in Lakehurst crash, 21 known Dead, 12 missing, 64 escape.
Quote from the German ambassador -drummed and sung in three parts by three tenors: "It could not have been a technical matter."
Moving text:
Europe by air in 2 12 days -Special! Special! -Hindenburg explodes -Scores dead -Disaster ascribed to gas by experts -Sabotage is conjectured -Germany shocked by the tragedy -Washington sees dangerous combination of hydrogen and blue gas -Dr. Hans Luther, the German Ambassador, said the disaster must not cause the world to lose faith in dirigibles and that it could not have been caused by technical defects -What began as a routine landing of the transatlantic airship ended in a holocaust -"Run for your lives," some?one in the ground crew yelled, and the crew did -The stern of the ship settled and squinting through the viewfinders of their cameras, the photographers ran toward the ship -Washington, May 6 -Chairman Copeland of the Senate committee investi?gating air safety said tonight he would order the committee investigator to begin an inquiry "at once" into the disaster of the German airliner Hindenburg -Sparks from engine or static believed to have ignit?ed hydrogen gas.
Radio announcer Herb Morrison:
It flashed, it flashed and it's crashing, it's
crashing terrible.
It burst, it burst into flame.
Get this Scotty! Get this Scotty!
It flashed, it flashed and it's crashing. Bursting, bursting into flame. Oh, it's in flames. Get this, get this Scotty.
Bursting into flame, into flame.
Get this Scotty! It flashed and it's crashing,
it flashed. It's crashing terrible.
Get this, get this Scotty.
It burst, it burst into flame, into flame. It flashed, it flashed and it's crashing.
Oh, it flashed.
It's crashing terrible.
Get this, get this Scotty.
Scene 2
'Mythic Stature'
H. Zipper: "During World War I,
Hindenburg was the great hero." M. Ermarth: "Blown up into mythic stature." M. Ermarth: "Could steer Germany through
the great depression." F. von Moltke: "We voted for him." M. Ermarth: "He's the last President of the
Weimar Republic." F. von Moltke: "He was too old." M. Ermarth: "He had no real instincts to
recognize the potential evil in this man." H. Zipper: "They didn't listen to the words."
Scene 3
'Nibelung Zeppelin'
no text
Scene 4
'A Very Impressive Thing to See'
F. von Moltke: "It was enormous and it was
like silver,"
F. von Moltke: "and it sort of made a humming noise,"
F. von Moltke: "a very impressive thing to see." F. von Moltke: "Have you seen pictures" F. von Moltke: "Why do such a thing" F. von Moltke: "Why have such a cigar, huge
silver cigar in the sky" F. von Moltke: "That's another matter."
Scene 5
'I Couldn't Understand It'
The New York Times, May 7, 1937: drummed out and sung by three tenors: Captain Ernst Lehmann gasped, "I couldn't understand it," as he staggered out of the burning control car.
Newsreel announcer's voice from 1937:
The Hindenburg has gone. Her tragedy will not halt the march of progress. From her ashes will arise the knowledge, from her fate, the lesson, that will lead to a greater and a better means of mastering the air. If so, her dead will not have died in vain.
The Hindenburg has gone. She was the largest thing that ever flew. She represented man's latest attempt to conquer the Atlantic by air. Her tragedy will not halt the march of progress.
Biographical notes
on interviewees in Scenes 2 and 4
Herbert Zipper was born in Vienna in 1904. He was trained as a conductor and compos?er. He grew up during World War I and lived through Hindenburg's presidency and Hitler's rise to power. As a Jew he was sent to Dachau concentration camp in 1938 where he managed to compose at night and organize an orchestra that played in the latrine. He was later sent to Buchenwald but managed to survive. He then organized and conducted an orchestra in Manila, Phillipines. After the war he conducted orchestras in Brooklyn, Chicago and Los Angeles. He died in Los Angeles in 1997.
Michael Ermarth is Professor of German history at Dartmouth College in New Hampshire.
Freya von Moltke is the widow of Helmuth James von Moltke, the German aristocrat who served in the Abwehr or German Intelligence Service in World War II where he worked to undermine Hitler. He was found out and hung in 1944. Freya lived in Germany during World War I, through Hindenburg's presidency and Hitler's rise to power. She lives in Hanover, New Hampshire.
Steve Reich has been recognized internationally as one of the world's foremost living composers. From his early taped speeches It's Gonna Rain (1965) and Come Out (1966) to his and video artist Beryl Korot's music-theater piece with video, The Cave (1993), Mr. Reich's path has embraced not only aspects of Western Classical music, but the structures, harmonies, and rhythms of non-Western and American vernacular music, particularly jazz. Mr. Reich's work has been hailed by the Washington Post as "absolutely original in impulse and form that it challenges all past assumptions about the goals of the art...intensely visceral and frequently almost hallucinogenic in impact."
Born in New York and raised there and in California, Mr. Reich graduated with honors in philosophy from Cornell University in 1957. For the next two years, he studied composition with Hall Overton, and from 1958 to 1961 he studied at The Juilliard School of Music with William Bergsma and Vincent Persichetti. Mr. Reich received his M.A. in Music from Mills College in 1963, where he worked with Darius Milhaud and Luciano Berio.
During the summer of 1970, with the help of a grant from the Institute for International Education, Mr. Reich studied drumming at the Institute for African Studies at the University of Ghana in Accra. In 1973 and 1974 he studied Balinese Gamelan Semar Pegulingan and Gamelan Gambang at the American Society for Eastern Arts in Seattle and Berkeley, California. From 1976 to 1977 he studied the traditional forms of cantillation (chanting) of the Hebrew scriptures in New York and Jerusalem.
In 1966 Steve Reich founded his own ensemble of three musicians, which rapidly grew to eighteen members or more. Since 1971, Steve Reich and Musicians have fre-
quently toured the world, and have the dis?tinction of performing to sold-out houses at venues as diverse as Carnegie Hall and the Bottom Line Cabaret.
Mr. Reich's 1988 piece, Different Trains, marked a new compositional method, rooted in It's Gonna Rain and Come Out, in which speech recordings generate the musical material for musical instruments. The New York Times hailed Different Trains as "a work of such astonishing originality that break?through seems the only possible descrip?tion... ossesses an absolutely harrowing emotional impact." In 1990, Mr. Reich received a Grammy Award for "Best Contemporary Composition" for Different Trains as recorded by the Kronos Quartet on the Nonesuch label.
The Cave, Steve Reich and Beryl Korot's music-theater video piece exploring the Biblical story of Abraham, Sarah, Hagar, Ishmael and Isaac, was hailed by Time Magazine as "a fascinating glimpse of what opera might be like in the twenty-first cen?tury." Epic in proportion, the five-screen, eighteen-musician production consists of edited documentary video footage timed with live and sampled music. Videotaped interviews, from which speech melodies and computer-generated video stills were taken, were collected over a four-year period on
Steve Reich
trips to the Middle East, New York City and Austin, TX. Commissioned by the Vienna Festival, the Holland Festival, the Festival d'Automne in Paris, the Hebbel Theater in Berlin, the Theatre de la Monnaie in Brussels and the South Bank CentreSerious Speakout, London, together with the Brooklyn Academy of Music, The Cave was premiered in Vienna on May 15,1993, toured Europe, and opened the Brooklyn Academy of Music's Next Wave Festival in October 1993. A recording of The Cave was released to critical acclaim on the Nonesuch label in October 1995, and a new touring version of the work was premiered in Chicago in April 1996, with additional per?formances in Los Angeles in May 1997. Of the Chicago premiere, John von Rhein of the Chicago Tribune wrote, "The techniques embraced by this work have the potential to enrich opera as living art a thousandfold... The Cave impresses, ultimately, as a power?ful and imaginative work of high-tech music theater that brings the troubled present into resonant dialogue with the ancient past, and invites all of us to consider anew our shared cultural heritage."
Mr. Reich's recent commissions have resulted in two works, City Life and Proverb. City Life, which features such sampled sounds of the city as car horns, door slams, air brakes, sub-way chimes, pile drivers, car alarms, heartbeats, boat horns, buoys, and fire and police sirens, was commissioned by Ensemble Modern, the London Sinfonietta, and the Ensemble Intercon-temporain and was premiered in Paris, Berlin, Frankfurt, Cologne, Vienna and London in the spring of 1995. It received its US premiere at Tanglewood in August 1995 and its New York premiere at Lincoln Center in February 1996. Mr. Reich's most recent work, Proverb, scored for five voices, two key?boards and two percussion, is set to text by Ludwig Wittgenstein. It was co-commis?sioned by the BBC Proms for their 100th
Anniversary season and by the Utrecht Early Music Festival, received its world premiere at the Royal Albert Hall in September 1995, and was premiered in the US by Steve Reich and Musicians and Theatre of Voices, Paul Hillier, director, at Lincoln Center in February 1996. A Nonesuch recording of City Life and Proverb was released in October 1996. In June 1997, in celebration of Mr. Reich's sixtieth birthday, Nonesuch released a ten-CD retrospective box set of Mr. Reich's compositions, featuring several newly-recorded and re-mastered works. He also recently won a Grammy award for Best Small Ensemble for his piece Music for 18 Musicians, also on the Nonesuch label. July 1999 will bring a major retrospective of Mr. Reich's work, presented by the Lincoln Center Festival.
Three Tales, a three-part documentary video opera, is a new collaborative work by Steve Reich and Beryl Korot about three well known events from the twentieth cen?tury, reflecting on the growth and implica?tions of technology in the twentieth centu?ry: "Hindenburg," on the crash of the German zepplin in New Jersey in 1937; "Bikini," on the Atom bomb test at Bikini atoll in 1946; and "Dolly," on the issue of genetic engineering and cloning in the 1990s. Three Tales is a three act music the?ater work in which historical film and video footage, video taped interviews, pho?tographs, text, and specially constructed stills will be recreated on computer, trans?ferred to video tape and projected on one large screen. Musicians and singers will take their places on stage along with the screen, presenting the debate about the physical, ethical, religious and spiritual nature of technological development. The first act, "Hindenburg," premiered at the Bonn State Opera in June 1997 as a "work in progress," and the same toured in Europe in September 1997. "Hindenburg" had its US premiere at the Spoleto USA Festival in
Charleston, SC in May 1998 followed by October 1998 performances at the Brooklyn Academy of Music.
Over the years, Steve Reich has received commissions from the Holland Festival; San Francisco Symphony; the Rothko Chapel; flutist Ransom Wilson; the Brooklyn Academy of Music for guitarist Pat Metheny; West German Radio, Cologne; the Music Foundation for clarinetist Richard Stoltzman; the Saint Louis Symphony Orchestra; Betty Freeman for the Kronos Quartet; and Festival d'Automne, Paris, for the 2OOth anniversary of the French Revolution.
Steve Reich's music has been performed by major orchestras around the world, including the New York Philharmonic conducted by Zubin Mehta; the San Francisco Symphony conducted by Michael Tilson Thomas; the Saint Louis Symphony conducted by Leonard Slatkin; the Brooklyn Philharmonic Orchestra conducted by Kent Nagano; the Los Angeles Philharmonic conducted by Neal Stulberg; the BBC Symphony conducted by Peter Eotvos; and the Boston Symphony Orchestra conducted by Michael Tilson Thomas.
Several noted choreographers have created dances to Steve Reich's music, including Anne Teresa de Keersmacker (Fase, 1983, set to four early works), Jiri Kylian (Falling Angels, set to Drumming, Part I), Jerome Robbins for the New York City Ballet (Eight Lines) and Laura Dean, who commissioned Sextet. That ballet, entitled Impact, was premiered at the Brooklyn Academy of Music's Next Wave Festival, and earned Steve Reich and Laura Dean a Bessie Award in 1986. Other major choreographers using Mr. Reich's music include Eliot Feld, Alvin Ailey, Lar Lubovitch, Maurice Bejart, Lucinda Childs, Siobhan Davies and Richard Alston.
In 1994 Steve Reich was elected to the American Academy of Arts and Letters.
Tonight's performance marks The Steve Reich Ensemble's debut appearance under UMS auspices.
Beryl Korot is an early pioneer of video art, and of multiple chan?nel work in particular. She was co-founder and co-editor of Radical Software (1970), the first publication to document artists' work and ideas concerning video, and in 1976 she co-edited Video Art with Ira Schneider, pub?lished by Harcourt Brace Jovanovich. Her most recent video work for music theatre is created entirely on computer.
Korot's early multiple channel installa?tion works: the four-channel Dachau 1974 and Text and Commentary, (1977) a five-channel video work which incorporated drawings, weavings and notations, pio?neered the creation of the non-verbal narra?tive. These works were featured for a month at the Whitney Museum of American Art in 1980 as "important in video history for their formal articulation of multi-monitor image structure and the integration of the video image with other media."
From 1989 to 1993, Beryl Korot worked full-time on the multiple-channel perfor?mance work, The Cave, which she conceived and developed in collaboration with com?poser Steve Reich. This work has been per?formed in Vienna, Berlin, Amsterdam, New York City, London, Paris, Brussels, Turin and Tokyo. The installation of the work was exhibited at The Whitney Museum of American Art in New York City, and trav?eled in 199495 to European museums in Dusseldorf, Germany; Madrid, Spain; Lille, France; and to the Carnegie Museum in Pittsburgh, PA. Most recently it was seen in the ICC Gallery in Tokyo. At present, a new collaboration with Steve Reich called Three Tales, had been presented in Bonn in June, 1997 as a work in progress, as well as in the Fall of 1997 in Paris, Vienna, Amsterdam, Berlin and London. Act I of Three Tales, "Hindenburg," was performed at the Spoleto Festival in South Carolina in May 1998, and in Munich and New York at the Brooklyn
Academy of Music in Fall, 1998. In January and February 1999, "Hindenburg" was presented as a twenty-five-foot screen installation work at the Massachusetts College of Art with the music recorded on tape.
Between 1980 and 1988 Beryl Korot devoted herself fulltime to oil painting, cre?ating works on hand-woven and traditional linen canvas. These were paintings based on a language she created which were an analog to the Latin alphabet. A room in this abstract language was created illuminating the Babel story, as well as other texts. Some of these works were seen at The Carnegie Museum (1990), and in solo exhibition in the Project Room, John Weber Gallery, New York City, in 1986.
In addition to the installations and pub?lications, in 1972, with a grant from America the Beautiful Fund, she conducted the first cablecast to the town of Saugerties, New York with a group of high school stu?dents. Her early single channel works were seen at the Whitney Biennial (1975), the Kennedy Center "Art Now" (1974), the Sao Paulo Biennial (1975), The Finch College Museum (1972), to name a few. In the Fall, 1993, these early tapes were included as part of a new touring exhibition sponsored by ICI in New York City called "The First Generation: Women in Video 1970-75." Dachau 1974 was featured in the 1976 PBS program on video art hosted by Russell Connor.
Over the past twenty five years she has received numerous grants from the National
Endowment on the Arts (1975,1977,1979), the New York State Council on the Arts (1973-4,1978) the Creative Artists Public Service Fund (1972, 1975 and 1978) and for her work on The Cave from The Rockefeller Foundation, The Andy Warhol Foundation, the National Endowment on the Arts, and The Nathan Cummings Foundation. In 1995 she was awarded a fellowship from the Guggenheim Foundation. For her new work with Steve Reich, Three Tales, founda?tion support has been received from the National Endowment for the Arts and the Rockefeller Foundation.
Tonight's performance marks the premiere appearance of Beryl Korot's work under UMS auspices.
Synergy's first engagement was a concert in the Barbican celebrating Steve Reich's sixtieth birthday. The group sang Tehillim with members of the London Symphony Orchestra and David Robertson. Many comments were made about how well these singers worked together, both vocally and visually. This came as no surprise as, at that time, the four girls formed the female con?tingent of the international a cappella group, The Swingle Singers. The success of this performance in London immediately led to another appearance with the Ensemble InterContemporain in Paris which in turn led to performances with Ictus in Belgium. Synergy is now known as a leading exponent of contemporary vocal music.
Steve Reich later contacted Musical Director Micaela Haslam with a view to finding suitable voices for his latest piece Three Tales. Thus, the idea emerged to extend the vocal team and form a larger group, from which combinations of like-minded singers could be hand-picked
Beryl Korot
according to the individual requirements of any project. The group covers a broad spec?trum of musical genres, from Renaissance music to twentieth-century classical, jazz and pop music --always working with microphone.
Their vocal agility, versatility, and atten?tion to detail have already earned these singers an international reputation. Since the formation of the group in 1996, Synergy has performed and recorded with Steve Reich and Musicians, the Brooklyn Philharmonic, Ensemble Modern, the London Symphony Orchestra, Ensemble Bash, the Smith Quartet, L'Ensemble InterContemporain, and Ictus. They recent?ly joined Steve Reich for concerts at the Spoleto (US) and Huddersfield Contemporary Music (UK) festivals, as well as for performances in New York, Munich and Sicily.
Tonight's performance marks Synergy's debut appearance under UMS auspices.
Production Staff
Duncan Edwards, audio engineer Jack Young, video projectionist
The entire Three Tales will be co-commissioned by:
The Spoleto Festival Brooklyn Academy of Music The Vienna Festival The Barbican Centre, London Festival d'Automne a Paris Hebbel Theater, Berlin Settembre Musica, Turin Centro Belem, Lisbon
With development support from:
The Rockefeller Foundation Betty Freeman
Mary Flagler Charitable Trust National Endowment for the Arts
Edward Surovell Realtors
Mozarteum Orchestra of Salzburg
Hubert Soudant, Chief Conductor
Till Fellner, Piano
Katharine Goeldner, Mezzo-soprano
Program Thursday Evening, April 15, 1999 at 8:00
Hill Auditorium, Ann Arbor, Michigan
Music of Wolfgang Amadeus Mozart
Symphony No. 29 in A Major, K. 201 (186A)
Allegro moderato Andante Menuetto Allegro con spirito
Piano Concerto No. 25 in C Major, K. 503
Allegro maestoso
Till Fellner intermission
Concert Aria, K. 505: "Ch'io mi scordi di te"
Katharine Goeldner, Till Fellner
Concert Aria, K. 578: "Alma grande e nobil core'
Katharine Goeldner
Symphony No. 36 in C Major, K. 425, "Linz"
Adagio -Allegro spiritoso
Poco adagio
Seventy-seventh Performance of the 120th Season
Special thanks to Ed Surovell for his continued and generous support of the Beethoven the Contemporary Series and this performance of The Mozarteum Orchestra of Salzburg.
Additional support for this performance is made possible by media partner WGTE.
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.
Symphony No. 29 in A Major, K. 201 (186A)
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5,1791 in Vienna
Around the time of his eighteenth birthday, Wolfgang Amadeus Mozart composed a set of four symphonies that were landmarks in a new, mature style. Among these works, two stand out particularly and have earned their places in the symphonic repertoire. These are the Symphony in g minor, K. 183 (The "little" g-minor) and Symphony in A Major, K. 201. Mozart himself considered both important enough nine years later, that he asked his father to send them to him in Vienna. After Mozart's death, these works appeared in the Breitkopf & Hartel catalog as Symphonies No. 25 and 29, respectively.
The Symphony in A Major, from April 1774, is remarkable for its energy and flair. In the first movement, the agitated character of the opening is understated but becomes more insistent when the first theme repeats, overlapping itself in canon. By contrast, the second theme is slightly rococo. Mozart goes on to present a compact development sec?tion and a jubilant close.
The "Andante," distinguished by its dou?ble-dotted rhythms, is in the true serenade tradition. Yet its eloquence of form (sonata-allegro) and hushed sound (muted strings) lend it a "serious" air.
The theme of the "Menuetto" is also based on dotted rhythms. However, its character is symphonic rather than dance-like, in a style reminiscent of Haydn. The "tags" by oboes and horns at resting points again echoes Mozart's Salzburg serenades.
The finale returns to the agitation of the first movement. Similarly, this "Allegro con spirito" is in sonata form. Yet its suggestion of hunting-horn motive give it a unique character. Mozart articulates the form by placing rapid ascending scales at the end of
each of the principal sections. According to Alfred Einstein, the movement "contains the richest and most dramatic development sec?tion Mozart had written up to this time."
Piano Concerto No. 25 in C Major, K. 503
Creatively, 1786 was one of the greatest years of Mozart's life. Not only did he complete The Marriage of Figaro and The Impresario in that year, but he composed a sizeable list of instrumental masterpieces as well. These included chamber music such as the Piano Quartet in E-flat, K. 493 and the String Quartet in D, K. 499 plus a pair of piano concertos just before Figaro: in A, K. 488 and in c-minor, K. 491. Toward the end of the year he worked on a piano concerto and a symphony simultaneously, completing them on December 4 and 6, respectively. These were the Piano Concerto in C Major, K. 503 and the "Prague" Symphony in D, K. 504. Mozart may have premiered his concerto soon after its completion.
With the Piano Concerto in C Major, Mozart reached his zenith as a composer of piano concertos. It represented the end of a series of sixteen works in the genre, appear?ing steadily since 1782. Yet, due to his declining popularity with the Viennese pub?lic, it would be more than another year before Mozart would compose his "Coronation" Concerto, K. 537. His final essay in this genre, the Piano Concerto in B-flat, K. 595, came only in 1791, the last year of his life. The Piano Concerto in C Major, therefore, represents "a grandiose conclusion," in the words of Alfred Einstein.
"Grandiose" or "majestic" are words we might use to describe the concerto's open?ing, which soon picks up speed and energy. A Figaro-like, minormajor theme draws down the orchestral exposition, preparatory
to the piano's entrance. At first the piano's improvisation seems not to find the opening theme, but an orchestral tutti points the way. A second, more lyrical, theme soon builds tension between piano and orchestra. The development concentrates on the Figaro-like theme, using its opening motive for propulsion. The recapitulation stays close to the piano's exposition, building to the soloist's cadenza just before the coda.
Some of the first movement's cheeriness spills over into the second movement's opening theme in the orchestra, echoed by the piano. Gradually, Mozart moves on to material that is more virtuosic and emotional. The recapitulation is brief but wholly engaging.
Again, we hear echoes of The Marriage of Figaro in the finale's main theme. A sparkling piano episode leads neatly to a restatement shared between piano and woodwinds. The movement's central section has a more emo?tional ambience, dramatic and pathetic at first. Then, a new theme full of nobility and yearning takes the stage, soon becoming more gripping. Release comes as the peasant sim?plicity of the first section returns and sends the concerto off with a scintillating coda.
Concert Aria, K. 505:
"Ch'io mi scordi di te"
Concert Aria, K. 578:
"Alma grande e nob core"
Mozart's lifelong desire to write opera, par?ticularly Italian opera, was overwhelming. However, his opportunities to compose for the operatic stage were few. To satisfy this desire, he therefore cultivated the next best medium: the independent aria. Mozart wrote no fewer than fifty-seven of these, fifty of which were settings in Italian. He intended each for one of three possible purposes: (1) for public concerts; (2) as insertion arias for his operas or those of others; or (3) as gifts to
singers he knew and admired.
Mozart composed his last twenty-nine arias during the final nine years of his life in Vienna. Concerts for his own benefit, usually during Lent, typically included one or more independent concert arias. As he approached the end of his life, there was little demand for his concerts and therefore fewer arias.
Originally, Mozart set the text of "Ch'io mi scordi di te" as an insertion aria for a private revival of Idomeneo in March 1786. In its operatic version, Mozart used a violin solo along with the voice. When he re-set the words as an aria for concert use that December, he recast the obbligato part for piano, which he played himself. The singer who performed the solo was Ann Storace, the original Susanna in The Marriage of Figaro (also premiered that year). "Ch'io mi scordi di te" is a monumental scena and rondo for soprano. Mozart-opera expert Christopher Raeburn calls this piece "arguably the greatest concert aria ever composed."
In Mozart's day, it was not unusual for one composer to be commissioned to write new arias for insertion into a revival pro?duction of another composer's opera. That is how "Alma grande e nobil core" came about. Mozart wrote it as an insertion aria in Domenico Cimarosa's due baroni di Rocca Azzura (composed in 1783) for its 1789 revival in Vienna. Christopher Raeburn summarizes the story and the aria:
The story involves a clever young man who wins a beautiful and wealthy bride, Donna Laura, by impersonating a suit?or, the Baron of Rocca Azzura, whom her father has chosen for her, sight unseen. When the real baron arrives, he is attracted by another woman, Sandra. A quarrel between the two women cul?minates in Laura's aria, "Alma grande e nobil core," an apostrophe to her high?born ideals and her scorn of the likes of Sandra, who should treat her with more respect. Laura finally vents her rage on the baron.
Concert Aria, K. 505: "Ch'io mi scordi di te"
Ch'io mi scordi di te
Che e lui mi doni puoi consigliami
E poi voler che in vita.. .Ah no.
Sarebbe il viver mio
di morte assai peggior.
Venga la morte,
intrepida l'attendo.
Ma, c'io possa struggermi ad altra face,
ad altr'oggetto donar gl'affetti miei,
come tentario
Ah! Di dolor morrei.
Non temere, amato bene, per te sempre, sempre il cor sara. Piu non reggo a tante pene, Talma mia mancando va... Tu sospiri O duol funesto! Pensa almen che istante e questo! Non me posso, od Dio! Spiegar. Stelle barbare, stelle spietate! Perche mai tanto rigor
Alme belle, che vedete le mie pene in tal momento, dite voi s'egual tormento puo soffrir un fido cor
To put you from my mind
and give myself to him, is that your advice
And then you expect me to live.. .Ah, no.
Such an existence
would be worse than death.
If death come,
I shall face it with courage.
But to be kindled by another flame,
to give my heart to any other man,
how could I do that
Ah, I should die of grief.
Do not fear, beloved,
my heart will always be yours.
I can bear such pain no longer,
my soul grows sick and faint.
You sigh Oh, what anguish!
Think how significant this moment is!
I cannot, dear God, express it.
Cruel, pitiless stars!
Why are you so harsh
Tender souls, who perceive
my present suffering,
tell me if such torment
can be borne by a faithful heart
Concert Aria, K. 578: "Alma grande e nobil core"
Donna Laura
Alma grande e nobil core, le tue pari ognor disprezzan. Sono dama al fasto awezza e so farmi rispettar. Va, favella a quell'ingrato, gli dirai che fida io sono. Ma non merita perdono, si, mi voglio vendicar.
Donna Laura
A great soul and a noble heart despise people like you. I am a lady of quality and can command respect. Go, speak to that cruel man, tell him that I am faithful. But he deserves no pardon and I shall be revenged.
Symphony No. 36 in C Major, K. 425, "Linz"
In October, 1783, Mozart and his wife, Constanze, were returning to Vienna after a three-month stay in Salzburg. On the way, they stopped in the town of Linz to hear an opera. There, the servant of a certain Count Thun met them and took them to the count's palace, where they were treated like royalty. Such hospitality was not exactly free, however, as Mozart wrote to his father on October 31: "On Tuesday, November 4, I am giving a concert in the theater here and, as I have not a single symphony with me, I am writing a new one at breakneck speed, which must be finished by that time."
The new work was finished in time, and it was a great success. And, since Mozart did not compose another symphony for the next three years, the "Linz" Symphony received several hearings during that period.
At the time that Mozart composed the "Linz" Symphony, he had been studying the symphonies and string quartets of Haydn. It is not surprising, then, that each movement of Mozart's symphony seems to begin with some touch of Haydn, but then proceeds along purely Mozartian lines. At the beginning of this work, Mozart's very first slow sym?phonic introduction (almost a Haydn trade?mark) occurs. There, in a short space, Mozart displays a panoply of moods before the "Allegro spiritoso" begins. A march-like feeling dominates the main body of the movement which, in the second theme and concluding material, has a notably Turkish flavor.
The opening of the "Poco adagio" recalls Haydn's pastoral slow movements. Mozart's slow movements, however, quickly become expressive through his characteristic shad-ings of harmony and pliant themes.
The third movement's first phrase -"Menuetto"-has the broad strokes of a
Haydn minuet. After that, the melodic shape and rhythm foreshadow the Mozart of Don Giovanni. The Trio has the simplicity and charm of a comic peasant character in an Italian opera buffa.
In the "Presto" finale, we hear a Haydn-like forthrightness mingled with Mozartian brilliance. The themes seem to dance, though their development reveals tinges of sorrow. A festive mood returns to complete the symphony in a jubilant fashion.
Program notes O 1999 by Dr. Michael Fink.
Hubert Soudant is one of the leading conductors of his gener?ation, active in both the concert and operatic spheres. Mr. Soudant became Chief Conductor of the Mozarteum Orchestra at the beginning of the 1995 season, following highly successful guest engagements with the orchestra. He also serves as Chief Conductor and Music Director of the Orchestra and Opera of NantesAngers.
When not leading one of his own ensembles, Mr. Soudant guest conducts the world's great orchestras. Some of the orchestras with whom Hubert Soudant works include the Berlin Philharmonic, the London Philharmonic Orchestra, the Montreal Symphony Orchestra, the Japan Philharmonic, the Vienna Symphony, the Oslo Philharmonic, the Gewandhaus
Hubert Soudant
Orchestra of Leipzig, and many Italian orchestras, where he conducts both concerts and operas. In the US, Mr. Soudant has con?ducted the Mostly Mozart Festival Orchestra, the Houston Symphony Orchestra, and the Dallas Symphony.
Hubert Soudant was born in 1946 in Maastrich, Holland, and in Maastrich he began studying French horn and conduct?ing. Mr. Soudant has won numerous prizes in international conducting competitions such as the Karajan Competition in Berlin, the Cantelli Competition in Milan and the International Young Conductor's Competition in Besancon.
From 1981 to 1983 Mr. Soudant was Principal Conductor of the Nouvel Orchestre Philharmonique of the French Radio in Paris, and from 1983 to 1986 served as Chief Conductor of the Utrecht Symphony Orchestra. From 1985 to 1988 he was Principal Guest Conductor of the Melbourne Symphony Orchestra, and in 1988 he became Principal Conductor of the Orchestra "Arturo Toscanini" in Parma, with whom he toured in Sicily and through Germany and Russia.
Some highlights of Hubert Soudant's operatic conducting life include winning the Arbate prize for the best opera performances of the year in 1992, when he led the Torino Orchestra in Berlioz's Damnation of Faust, and performances of the same at Paris' Opera Bastille. Mr. Soudant led the Orchestre Philharmonique de Montpellier at the 1994 Montpellier Festival in the first performance in France of the Saint-Saens opera, Etienne Marcel.
Hubert Soudant has a substantial discog-raphy which includes recordings with the Mozarteum Orchestra of Salzburg, the London Philharmonic Orchestra, the Bamberg Symphony Orchestra, the Melbourne Symphony Orchestra and the Torino Orchestra.
Tonight's performance marks Hubert Soudant's debut appearance under UMS auspices.
Till Fellner was born in 1972 in Vienna and started playing the piano at the age of six. From 1981, he studied at the Vienna Conservatory with Helene Sedo-Stadler, and since then he has worked with Meira Farkas, Alfred Brendel, and Oleg Maisenberg.
The artist gained international recogni?tion by winning first prize at the prestigious Clara Haskil International Competition in 1993 (the first Austrian to win this competi?tion).
Mr. Fellner has already performed with numerous prestigious orchestras, including the Academy of St. Martin-in-the-Fields, BBC Symphony Orchestra, Camerata Academica Salzburg, Chicago Symphony Orchestra, City of Birmingham Symphony Orchestra, Los Angeles Philharmonic Orchestra, Orchestre de Paris, Vienna
Philharmonic and
Vienna Symphony Orchestra, and the Philharmonia Orchestra London, collaborating with conductors such as Claudio Abbado, Nikolaus Harnoncourt, Heinz Holliger, Marek Janowski, Sir Neville
Marriner, and Kent Nagano. Music partners of Till Fellner have included the Alban Berg Quartet, violinist Thomas Zehetmair and cellist Heinrich Schiff.
Engagements have led him to numerous cities such as Amsterdam, Berlin, Buenos Aires, Dresden, London, Moscow, Munich, New York, Paris, Salzburg, Vienna, and Zurich. Furthermore, Mr. Fellner has per?formed at important festivals like the Schubertiade Feldkirch, Wiener Festwochen, Mostly Mozart Festival New York, Tanglewood Festival, Festival de La Roque d'Antheron, Festival Montreux-Vevey,
Till Fellner
Schleswig-Holstein Musik Festival, Edinburgh Festival, Istanbul Festival, Mozartwoche Salzburg and the Salzburg Festival.
One of the highlights in Mr. Fellner's activities during the 9798 season was a solo cycle consisting of three concerts, in which the artist played works by Franz Schubert and composers of the Second Viennese School such as Alban Berg, Arnold Schoenberg and Anton Webern. This cycle has been performed in London, Vienna (Konzerthaus) and Vevey, among other cities.
Besides playing orchestra concerts and solo recitals all over the world, during the 9899 season Mr. Fellner will tour Japan with the Alban Berg Quartet and the US on this tour with the Mozarteum Orchestra of Salzburg.
In 199900, Till Fellner will again pre?sent a three concert cycle, this time per?forming Book 1 of The Well-Tempered Clavier by J. S. Bach and the five last Beethoven Piano Sonatas. The complete cycle will be presented in Brussels, London, Lyon, Rome, Paris, and Vienna (Musikverein), while parts of it will be performed in Amsterdam, and Munich.
Till Fellner is a regular guest of such renowned Festivals as the Marlboro, Tanglewood, Salzburg, Montreux and Edinburgh Festivals, the Wiener Festwochen, the Schleswig-Holstein Musik Festival, the Festival de La Roque d'Antheron, and the Schubertiade Feldkirch. In July 1997, he made his highly acclaimed debut at the Mostly Mozart Festival New York.
Since 1994, Till Fellner records for Erato Disques (Warner Classics).
Tonight's performance marks Till Fellner's debut appearance under UMS auspices.
American Mezzo-soprano Katharine Goeldner studied at the Hochschule Mozarteum in Salzburg where she received the International Mozart
Foundation's most prestigious award for her "excellent interpretation of the works of Mozart." Personally selected by Hermann Prey for the role of Cherubino, she made her operatic debut in his famous production of
The Marriage of Figaro in Salzburg. As part of the 1991 Salzburg Festival, she sang the role of Madmoiselle Mozart to the world premiere of Helmut Eduer's opera Mozart in New York, during which time she also made her
debut as Zerlina in Don Giovanni. A National Finalist in the Metropolitan Opera National Council Auditions in New York, she has also been a prizewinner in many other competitions, including the Concours d'Execution Musicale in Geneva and the Concours International de Chant de Toulouse. Since 1992, she has been a leading soloist with the Staatstheater in Kassel, Germany, where her roles have included Hanse, Evita, Concepcion, Meg Page, and Fenena. First heard in Toulouse as Third Maid in Elektra, she returns there in the 1995 season as Margret in Berg's Wozzeck. Upcoming engagements also include Alcina in Haydn's Orlando Paladino for the Haydn Festival in Eisenstadt, Austria, and Feodor in Son's Godunov in San Sebastian, Spain.
A versatile concert artist, Ms. Goeldner was heard at the 1992 Mozart Festival in Salzburg in a recital of Mozart lieder, and appeared with Sir Charles Mackerras and the Mozarteum Orchestra of Salzburg, singing the Mozart concert arias K. 505, "Ch'io mi scordi di te," and K. 583,"Vado, ma dove"
Katharine Goeldner
which she also performed for the Swiss National Radio with Nicholas Carthy and the Orchestra della Svizzera Italiana, Lugano. Equally at home with contempo?rary music, she has been heard in such var?ied repertoire as Berio's Folksongs with Hans Graf and the Mozarteum Orchestra, Schoenberg's Pierrot Lunaire in Vienna, Salzburg, and Innsbruck, as well as for the Austrian National Radio, and she presented a recital of twentieth-century French melodie for Vienna's Festival Ravel 1991. Most recently, Ms, Goeldner performed Beethoven's Symphony No. 9 at the 1994 Athens Festival with Michael Schoenwandt and the Berlin Symphony Orchestra.
Recently Katharine Goeldner recorded Mozart's Coronation Mass with Leopold Hager and the Mozarteum Orchestra of Salzburg.
Tonight's performance marks Katharine Goeldner's debut appearance under UMS auspices.
The history of the Mozarteum Orchestra of Salzburg (MOS) dates to the year 1841 when citizens of Salzburg, together with Mozart's widow Constanze, founded the "Cathedral Music Association and Mozarteum," which was devoted to the "refinement of musical taste with regard to sacred music as well as concerts." Through the nineteenth century the orchestra, not yet known as the Mozarteum Orchestra, played hundreds of concerts and became the center of Salzburg's musical life, performing symphonic and operatic repertoire as well as accompanying burlesques and plays. It was only in 1908 that the orchestra received its present name.
The modern history of the Orchestra begins in 1920, with Bernhard Paumgartner's invitation to the Mozarteum Orchestra to participate in the inaugural Salzburg Festival.
Today the MOS is the symphony orchestra of the Province and City of Salzburg. With its ninety-one full-time musicians it con?tributes considerably to musical life on the shores of the Salzach, giving on average 130 performances annually. In the summer the MOS is busy in the Salzburg Festival. From September to June it divides its time between performances as the opera orchestra of the Salzburg Theater, plays the large-scale sym?phonic repertoire in the Great Festival Hall, and cultivates the Viennese classics in the International Mozarteum Foundation.
International tours are an important component in the MOS's concert life. The ensemble frequently performs in European music centers, and travels regularly to North America and the Far East. Tours to Latin America, South Africa and Australia are scheduled for years to come. On tour the orchestra travels with approximately fifty musicians to perform the repertoire with which the Mozarteum is most closely associ?ated: Mozart, Haydn, and Schubert.
Over the last ten years the Mozarteum Orchestra has recorded over twenty-five CDs on a variety of labels. Most notable among them is a complete Mozart Symphony cycle, the most comprehensive recording based on the New Mozart Edition, on the Cappriccio label. The MOS may also be heard on the Sony Classical, Erato, Victor, Chesky and LaserLight labels.
Tonight's performance marks the Mozarteum Orchestra of Salzburg's second appearance under UMS asupices.
The Mozarteum Orchestra of Salzburg may be heard on Capriccio, Sony Classical, Philips, Erato, Victor, Chesky and Laserlight recordings.
Till Fellner records exclusively for Erato Records.
The Mozarteum Orchestra of Salzburg appears by arrangement with New World Classics.
Till Fellner appears by arrangement with Columbia Artists Management, Inc.
Mozarteum Orchestra of Salzburg
Hubert Soudant, Chief Conductor
First Violins
Markus Tomasi Monika Kammerlander Paulius Sondeckis Adelheid Wiinsche Akiko Hermann Elizabeth Wilcox Leonidas Binder Michael Kaupp Lauro Compoj
Second Violins
Josef Smola Klaus Cordon Carsten Neumann Olga Homoki Susan Curry Johannes Krall Elzbieta Pokora
Nobuya Kato Rupert Birsak Roman Paluch Werner Christof Andrea Brucker
Cornelius Hermann Matthias Beckmann Dieter Ammerer Gertrud Schaller
Martin Biirgschwendtner Erich Hehenberger Ivailo Iordanov
Ingrid Hasse
Reinhold Malzer Wolfgang Schlachter
Ferdinand Steiner Margarete Knogler
Eduard Wimmer Edward Bartlett
Wilhelm Schwaiger Markus Hauser
Gottfried Menth Harald Sowa
Michael Mitterlehner
Mozarteum Orchestra of Salzburg
and KeyBank
Garrick Ohlsson Piano
Five Polish Songs From Op. 74
Fridiric Chopin
(Stefan Witwicki)
Gdybym ja byJa sloneczkiem na niebie, Nie swiectfabym jak tylko dla ciebie. Ani na wody, ani na lasy,
Ale po wszystkie czasy Pod twym okienkiem i tylko dla ciebie Gdybym w stoneczko mogia zmienic siebie. Gdybym ja byla ptaszkiem z tego gaju, Nie spiewalabym w zadnym obcym kraju.
Ani na wody, ani na lasy,
Ale po wszystkie czasy
Pod twym okienkiem i tylko dla ciebie.
Czemuz nie moge w ptaszka zmienic siebie
Precz z moich oczu!
(Adam Mickiewicz)
Precz z moich oczu! Poshicham od razu! Precz z mego serca! I serce poslucha. Precz z mej pamieci! Nie! tego rozkazu
Moja i twoja pamiec nie poslucha.
Jak cieii tym dluzszy gdy padnie z daleka,
Tym szerzej koto zalobne roztoczy,
The Maiden's Wish
Were I the sun, and all the skies were mine, For you alone, for you ever would I shine. Blindly would I pass over forest and
meadow grass, But always and forever Full in your window and for your sake only Shine all the day long, were I but the sun. Were I a bird along the hedgerows winging, No distant valleys should ever hear
my singing. Blindly would I pass over forest and
meadow grass, But always and forever Sing at your window and for your sake only. Oh! Why can't I be changed into a bird
Out of My Sight!
Out of my sight! So be it. I obey you. Out of my heart! My heart cannot deny you. Out of my thought! No, no, that ultimate
surrender, Memory, neither yours nor mine, could
ever render. As shadow lengthens across the evening
distance, And wider reach out their arms in sad
Tak moja postac, im dalej ucieka, Tym grubszym kirem twa pamiec pomroczy. Na kazdym miejscu i o kazdej dobie, Gdziem z toba ptakaf, gdziem sie z
toba bawil, Wszedzie i zawsze bede ja przy tobie,
Bom wszedzie czastke mej duszy zostawii.
Piosnka Iitewska
(Ludwik Osinski)
Bardzo raniuchno wschodzHo sloneczko, Mama przy szklanym okienku siedziala, "Skadze to," pyta, "powracasz coreczko
Gdzies' tw6j wianeczek na glowie
zmaczala" "Kto tak raniuchno, musi wode nosic,
Niedziw, ze moze sw6j wianeczek zrosic." "Ej, zmyslasz, dziecie! Tys zapewne, w pole
Z twoim mlodzianem gawedzic pobiegla." "Prawda matusiu, prawde wyznac wole,
Mojegom w polu mtodziana spostrzegla, Kilka chwil tylko zeszta na rozmowie,
Tymczasem wianek zrosif sie na gtowie."
SIic.ny chlopiec (Bohdan Zaleski)
Wzniosly, smukly mlody, O! nie lada urody. Slicznyz chtopiec, czego chciec Czarny wasik, biala piec!
Niech sie sp6zni godzine, To mi teskno, az gine. licznyz chlopiec, czego chciec Czarny wasik, biaia plec! Ledwie mrugnie oczyma,
So shall my image, further we're divided, Only the clearer fall in your inner eye. At every season in these remembered places, Where we have mingled our laughter,
tears, and gazes, I shall be with you, though lost beyond
recall, For there inhabits a fragment of my soul.
Lithuanian Song
Early one morning the sun was just rising, And by her window my mother was waiting. "Tell me, my daughter, where have you
been roaming Why is your pretty garland wet"
"I rose early to go to the well, and the
morning dew was heavy. It is no wonder that my garland is wet." "Now you are lying, yes, you are lying.
I am certain. You have gone out so early to prattle with
your lover." "True, mother, true. I went to meet my
I only went to see him for a moment. In the field we wandered hand in hand,
but just talking. Dewdrops fell upon my garland."
The Handsome Lad
Young and tall and striking, Oh! He's my choice and he's my liking. What more handsome would you seek Raven hair and golden cheek!
Should he be late in coming,
My heart grows faint and numb in me.
What more handsome would you seek
Raven hair and golden cheek!
Just an eylid's flicker,
Radosc cala mnie ima. 3licznyz cMopiec, czego chciec Czarny wasik, biala plec!
Kazde slowko co powie Lgnie mi w sercu i w gtowie. Slicznyz chlopiec, czego chciec Czarny wasik, biala plec!
Gdy plasamy we dwoje, Patrza na nas 6cz roje. Slicznyz cWopiec, czego chciec Czarny wasik, biala pfec!
On powiedziaJ mi przecie, Zem mu wszystkim na swiecie! Slicznyz chlopiec, czego chciec Czarny wasik, biala plec!
(Stefan Witwicki)
Szynkareczko, szafareczko, co ty robisz, stoj!
Tarn sie smiejesz, a tu lejesz mi6d na
kaftan m6j! Nie daruje wycaluje! Jakie oczko, brew!
N6zki male, zabki biale, hej! spali mnie
krew! Pij, lub kijem sie pobijem! Biegnij dziewcze
wczas, By pogodzic, nie zaszkodzic, oblej
miodem nas!
Will make my heart beat quicker. What more handsome would you seek Raven hair and golden cheek!
Every fond word he murmurs In my ear, my heart remembers. What more handsome would you seek Raven hair and golden cheek!
When together we're dancing, All eyes turn on us their glances. What more handsome would you seek Raven hair and golden cheek!
He has already told me,
That I am all the world to him.
What more handsome would you seek
Raven hair and golden cheek!
Drinking Song
Pretty Hebe, pretty maiden, maiden what
you're about! Laughter trilling, now you're spilling wine
all down my coat! By my fay! I'll make you pay, kiss you 'till
I tire! Ah, those eyes-a-shine and these lips
divine set my blood on fire! Drink your dram or take a lamming! Hey, lass, over here! We want taming, not enflaming, souse us
both in beer!
Arianna a Naxos, Hob. XXVIb:2 Franz Joseph Haydn (Anonymous)
Teseo mio ben! Ove sei Ove sei tu Vicino d'averti mi parea, ma un lusinghiero sogno
fallace m'ingann6. Gia sorge in ciel la
Rosea Aurora e l'erbe e i fior colora Febi uscendo dal mar
col crine aurato. Sposo! Sposo adorato, dove guidasti il pie Forse le fere ad inseguir ti chiama il tuo nobile ardor! Ah! Vieni, o caro ed offrird Piu grata preda a tuoi lacci. II cor d'Arianna amante che t'adora costante, stringi con nodo piu tenace e piu bclla la face splenda del nostro amor. Soffrir non posso
d'esser da te diviso un sol momento. Ah! Di vederti, o caro, gia mi stringe il desio. Ti sospira il mio cuor. Vieni! Vieni, idol mio. Dove sei, mio bel tesoro Chi t'invola a questo cor Se non vieni, io gia mi moro, n6 resisto al mio dolor. Se pietade avete, o Dei, secondate i voti miei, a me torni il caro ben. Dove sei Teseo! Dove sei
Ariadne on Naxos
Theseus, my love! Where are you I thought you were beside me, But it was only a sweet,
false dream.
The roseate dawn arises in the sky and the grass and the flowers are tinged with color as Phoebus emerges, golden-haired,
from the sea.
My husband! Beloved husband, where have you gone Perhaps the chase has tempted your brave spirit
Ah, come, my love, and you shall find a sweeter prey for your snares. Ariadne's loving heart, constant and adoring, bind with ever tighter bonds, and let the flame of our love burn more brilliantly than ever. I cannot bear to be parted from you for a single moment. Ah,I am seized, my love, with the desire to see you. My heart sighs for you. Come, oh come, my adored one. Where are you, my precious love Who tore you from my breast Without you, I shall die, I cannot bear such grief. If you are merciful, O gods, hear my prayer
and send my beloved back to me. Where are you Theseus! Where are you
Ma, a chi parlo Gli accenti Eco ripete sol. Teseo non m'ode. Teseo non mi risponde, e portano le voci
e l'aure e l'onde.
Poco da me lontano esser egli dovria. Salfasi quello che piu d'ogni altro s'alza alpestre scoglio, ivi lo scoprird. Che miro O stelle! Misera me! Quest e l'Argivo legno! Greci son quelli! Teseo!
Ei sulla prora! Ah! m'inganassi almen... no, no, non m'inganno. Ei fugge, ei qui mi lascia in abbandono. Piu speranza non v'e, tradita io sono. Teseo! Teseo! M'ascolta! Teseo! Ma ohime, vaneggio!
I flutti e il vento lo involano
per sempre agli occhi miei.
Ah! siete ingiusti, o Dei,
se l'empio non punite!
Ingrato! Ingrato!
Perche ti trassi dalla morte
Dunque tu dovevi tradirmi
E le promesse E i giuramenti tuoi
Spergiuro! Infido!
Hai cor di lasciarmi
A chi mi volgo
Da chi pieta sperar
Gia piu non reggo,
il pie vacilla e in cosl amaro istante sento mancarmi in sen l'alma tremante. Ah! Che morir vorrei in si fatal momento, ma al mio crudel tormento mi serba ingiusto il ciel. Misera abbandonata, non ho chi mi consola, chi tanto amai s'invola, barbaro ed infedel.
But who am I talking to Echo alone repeats my words. Theseus cannot hear me, Theseus answers not, and the winds and the waves
carry my words away. He cannot be very far away from me. If I climb that cliff that rears itself above the rest, I shall see him from there. What is this Alas! Woe is me! That is the Argive ship! Those men are Greeks! Theseus!
It is he at the prow! Ah, I could be mistaken... No, no, there is no mistake. He is fleeing, and abandoning me here. All hope is gone, I have been betrayed. Theseus! Theseus! Hear me! Theseus! Alas, I shall go mad!
The winds and the waves
are swallowing him up for ever.
Oh, gods, you are injust
if you punish not the traitor!
Ungrateful man!
Why did I save your life
For you to betray me
And your promises Your vows
Faithless one! Deceiver!
Have you the heart to leave me
To whom should I turn
To whom look for compassion
I can barely stand,
my knees are trembling and the bitterness of this moment makes my heart quiver in my breast. Ah! Would that death might come at this dreadful hour! But heaven cruelly decrees that my sufferings continue. Poor abandoned woman, I have no one to console me: he whom I loved so dearly has fled, cruel and disloyal.
Piotr Ilyich Tchaikovsky
Kaby znala ja, Op. 47, No. 1
(Count Aleksei Konstantinovich Tolstoy)
Kaby znala ja, kaby vedala, Ne smotrela by iz okoshechka Ja na molodca razudalogo, Kak on jekhal po nashej ulice. Nabekren' zalomivshi yarmolku, Kak likhogo konja bulanogo, Zvonkonogogo, dolgogrivogo Suprotiv okon na dyby vzdymal!
Kaby znala ja, kaby vedala, Dlja nego by ja ne rjadilasja, S zolotoj kajmoj lentu aluju
V kosu dlinnuju ne vpletala by, Rano do svetu ne vstavala by, Za okolicu ne speshila by,
V rose nozhen'ki ne mochila by, Na prosjolok tot ne gljadela by, Ne projedet li tem prosjolkom on, Na ruke derzha pjostra sokola
Kaby znala ja, kaby vedala,
Ne sidela by pozdnim vecherom,
Prigorju nivshis' na zavaline,
Na zavaline, bliz kolodezja,
Podzhidajuchi, da gadajuchi,
Ne pridjot li on, nenagljadnyj moj!
Napojit' konja studenoj vodoj!
Ja li b pole da ne travushka byla, Op. 47, No. 7
(Ivan Zakharovich Surikov)
Ja li b pole da ne travushka byla, Ja li b pole ne zelenaja rosla; Vzjali menja, travushku, skosili, Na solnyshke v pole issushili. Okh, ty, gore moje, gorjushko! Znat' takaja moja doljushka!
If I Had Known
If I had known, I would not have looked
out of the window, to watch the young man passing by
in our street with a proud bearing on his horse.
If I had known, I would not have tied
for him
golden ribbons in my hair, and I would not have plaited it so nicely. I would not have risen so early to see if he would pass by again with a falcon standing on his fist.
If I had known, I would not have remained
so late
in the evening near the well, waiting and hoping that perhaps my wonderful love would bring his horse there to drink.
If I Were A Blade of Grass in the Field
I was a blade of grass in a field,
I grew up completely green.
Someone cut me down
in the sun, I was left to wither.
Oh my sorrow, my pain.
I know, I know this was my fate.
Ja li b pole ne kalinushka byla, Ja li b pole da ne krasnaja rosla; Vzjali, v zhgutiki menja posvjazali! Okh, ty, gore moje, gorjushko! Znat' takaja moja doljushka!
Ja li u batjushke ne dochen'ka byla,
U rodimoj ne cvetochek ja rosla; Nevolej menja, bednuju, vzjali, s nemilym, sedym povenchali! Okh, ty, gore moje, gorjushko! Znat' takaja moja doljushka!
Den' li carit, Op. 47, No. 6
(Aleksei Nikolayevich Apukhtin)
Den' li carit, tishina li nochnaja, V snakh li bessvjaznykh, v zhitejskoj bor'be, Vsjudu so mnoj, moju zhizn' napolnjaja, Duma vse ta zhe,
odna rokovaja, Vsjo o tebe!
S neju ne strashen mne prizrak bylogo, Serdce vosprjanulo snova ljubja... Vera, mechty, vdokhnovennoje slovo, Vsjo, chto v dushe dorogogo,
svjatogo, Vsjo ot tebja!
Budut li dni moji jasny, unyly, Skoro li sginu ja, zhizn' zagubja! Znaju odno, chto do samoj mogily Pomysly, chuvstva,
i pesni, i sily, Vsjo dlja tebja!
I was a blade of grass happy in a field, I was a beautiful blade of grass, I was tied in a bundle,
I suffocated. Oh my sorrow, my pain. I know, I know this was my fate.
I was not the daughter whom my father
I was stolen from, me the helpless one. I was obliged to be married to a man
without love. Oh my sorrow, my pain. I know, I know this was my fate.
Whether Day Dawns
The day shines in the silence of the night, in endless dreams of the struggle for life. Everywhere with me, my life is filled
with words for you, for you, all of them for you. With her I do not fear the phantoms; once again my heart is in love. Faith, dreams, the inspired words, everything in my soul, all that is cherished and sacred, everything is for you. If my days are bright or gloomy, if I must lose my life soon, I am certain of one thing: Right up to my very grave I will think, I will feel the songs and the strength for you.
Pesni i Pljaski Smerti (Songs and Dances of Death)
Modest Musorgsky
(Count Arsenii Arkadevich Golenishchev-Kutuzov)
Stonet rebjonok. Svecha, nagaraya, Tusklo mercajet krugom.
Tzeluyu noch', kolybel'ku kachaya,
Mat' ne zabylasja snom.
Ranym ranekhon'ko v dver', ostorozhno,
Smert' serdobol'naya stuk!
Vzdrognula mat', ogljanulas' trevozhno...
"Polno pugat'sya, moi drug!
Blednoje utro uzh smotrit v okoshko.
Placha, toskuya, lyubya,
Ty utomilas'.
Vzdremni-ka nemnozhko,
Ya posizhu za tebja.
Ugomonit' ty ditya ne sumela.
Slashche tebya ya spoyu."
"Tishe! Rebionok moi mechetsya, b'iotsya,
Dushu terzayet moyu!"
"Nu, da so mnoyu on skoro uimetsya,
Bajushki, bayu, bayu."
"Shchechki bledneyut, slabeyet dykhan'ye...
Da zamolchi-zhe, molyu!"
"Dobroye znamen'ye: stikhnet stradan'ye,
Bajushki, bayu, bayu."
"Proch' ty proklyataya!
Laskoi svoyeyu sgubish' ty radost' moyu!"
"Net, mirnyi son ya mladentzu naveyu.
Bajushki, bayu, bayu."
"Szhal'sya, pozhdi dopevat' khot' mgnoven'ye,
Strashnuyu pesnyu tvoyu!"
"Vidish1, usnul on pod tikhoye pen'ye.
Bayushki, bayu, bayu!"
The child groans.
The blackening candle throws a
trembling glimmer all around. Throughout the night, rocking her child, the mother has not had a moment's sleep. Early in the morning, compassionate Death
to knock quietly at the door: tap, tap! The mother trembles, turns around,
"Don't be alarmed, my friend. Pallid dawn already lightens the window. Your tears, your worries, your love have
exhausted you. So go and sleep a while, I will watch over your child for you. You have not been able to calm your infant, I will sing him sweeter songs." "Be quiet! My child is agitated, restless,
and my soul suffers with him." "With me he will soon calm down. Bye-bye, baby, bye!"
"His cheeks are becoming pale, his breathing weakens... But be quiet I beg of you!" "It is a good sign, his suffering will lessen, Bye-bye, baby, bye!" "Go away cursed one! Your caresses will destroy my happiness!" "No, I will give peaceful sleep to the child. Bye-bye, baby, bye!" "Have mercy on me, stop your singing for
a moment, your sinister song!" "You see -he has gone to sleep to the
sweet sounds of my song. Bye-bye, baby, bye!"
Nega volshebnaya, noch' golubaya,
Trepetnyi sumrak vesny...
Vnemlet, poniknuv golovkoi, bol'naya
Shopot nochnoi tishiny.
Son ne smykayet blestyashchiye ochi,
Vsio pritailos' krugom;
V strastnom molchan'i vesennei polnochi Pesnya zvuchit pod oknom.
"V mrake nevoli surovoi i tesnoi,
Molodost' vyanet tvoya.
Rytzar' nevedomyi, siloi chudesnoi
Osvobozhu ya tebya.
Vstan', posmotri na sebja: krasotoyu
Lik tvoi prozrachnyi blestit,
Shchioki rumyany, volnistoi kosoyu
Stan tvoi, kak tuchei obvit.
Pristal'nykh glaz goluboye siyan'ye,
Yarche nebes i ognya;
Znoyem poludennym veyet dykhan'ye...
Ty obol'stila menya.
Slukh tvoi plenilsya moyei serenadoi,
Rytzarya shopot tvoi zval.
Rytzar' prishol za bestzennoi nagradoi
Chas upoyen'ya nastal.
Nezhen tvoi stan, upoitelen trepet.
O zadushu ya tebya
V krepkikh ob'yat'yakh; lyubovnyi moi lepet Slushai... molchi... Ty moya!"
Les, da polyany, bezlyud'ye krugom;
V'yuga i plachet i stonet;
Chuyetsya, budto vo mrake nochnom,
Zlaya kogo-to khoronit.
Gljad'! Tak i yest'!
V temnote muzhika
Smert' obnimayet, laskayet;
S p'yanen'kim plyashet vdvoiom trepaka,
Na ukho pesn' napevayet:
Okh, muzhichok, starichok ubogoi,
P'yan napilsya, poplelsya domoi;
Entrancing sweetness, blue of night,
wavering shadows of springtime. The head leaning, the ailing person listens
to the murmurs in a nocturnal silence. Sleep does not close her sparkling eyes,
life calls for sensual pleasures. Beneath her window, in the silence of
midnight Death sings its serenade: "In the darkness of cruel and suffocating
captivity your youth fades. I am the unknown knight who by his mirac?ulous power has come to deliver you. Arise, look at yourself. Your beauty illuminates your
transparent face. Your cheeks are becoming colored, and
your plait twists around your waist like
a cloud. The blue gaze of your intent eyes is
clearer than the sky and fire. Your breath is warm like the midday sun
and your charm has won my heart. Your ears are enthralled by my serenade. I am the knight your murmurs beckoned. The knight who has come for
his ultimate reward. The time of ecstasy has arrived. Your body is so tender with delicious
A forest by the side of the fields, is there
nobody in the vicinity From the South can be heard the laments
and tears as if in the darkened night. Who is sustained in such a manner
by this ill-intentioned gaze Death surrounds the Moujik in the night;
it fondles him with songs of the Trepak. It sings in his ear: Oh Moujik! Old man who has drunk too much and
lost his direction.
A myatel' to, ved'ma, podnyalas', vzygrala,
S polya v les dremuchii nevznachai zagnala.
Gorem, toskoi da nuzhdoi tomimyi!
Lyag, prikorni, da usni, rodimyi!
Ya tebya, golubchik moi, snezhkom sogreyu,
Vkrug tebya velikuyu igru zateyu.
Vzbei-ka posteP, ty metel' lebedka,
Gei, nachinai, zapevai pogodka;
Skazku, da takuyu, chtob vsyu
noch' tyanulas',
Chtob p'yanchuge krepko pod
neio zasnulos'.
Oi, vy lesa, nebesa, da tuchi,
Tern', veterok, da snezhok letuchii,
Sveites' pelenoyu, snezhnoi pukhovoyu
Yeyu, kak mladentza, starichka prikroyu.
Spi, moi druzhok, muzhichok schastlivyi,
Leto prishlo, rastzvelo! Nad nivoi
Solnyshko smeyotsya da serpy gulyayut;
Pesenka nesetsya, golubki letayut...
Grokhochet bitva, bleshchut broni,
Orud'ya mednyye revut, Begut polki, nesutsya koni I reki krasnyye tekut. Pylayet polden', lyudi b'yutsya! Sklonilos' solntze, boi sil'nei! Zakat bledneyet, no derutsya Vragi vsio yarostnei i zlei! I pala noch' na pole brani. Druzhiny v mrake razoshlis'... Vsio stikhlo, i v nochnom tumane Stenan'ya k nebu podnjalis'. Togda, ozarena lunoyu, Na boyevom svoiom kone, Kostei sverkaya beliznoyu, Yavilas' smert' i v tishine, Vnimaya vopli i molitvy Dovol'stva gordogo polna, Kak polkovodetz, mesto bitvy Krugom ob'yekhala ona. Na kholm podnyavshis' oglyanulas', Ostanovilas', ulybnulas',
The snowstorm hustles you about and
plays over the fields and the forest. Unhappiness, sorrow, come nearer my
poor little victim, I will warm you up
with the snow.
In the game in a circle I will bear you away. Come on, begin singing this story which
will last all night long so that with it
you will go to sleep.
Oh! You forests, the clouds of the heavens,
like the wind the snow flies all about like a very soft blanket that will cover the
old man who sleeps. Sleep contented old man, flowering
summer has appeared. In the fields the sun plays gaily on the
blades of scythes. Songs spread over nature and pigeons
flutter around.
The Field Marshall
In the distance the noises of battle can be
heard, the armor glistens, the metallic weapons make grating
sounds, the soldiers retreat. In the reddened rivers the blood
of soldiers flows.
It is nearly midday, people are fighting. The sun lowers, the battle becomes fiercer. Sunset is approaching but the battle
continues even more terribly. Night falls over the battlefield. The battalions of soldiers move off again. Everything becomes calm, but in the night the groaning of the injured can be discerned, rising upwards towards the sky. At this moment, under the moonlight,
Death arrives triumphantly! And in the silence of the offered prayers
Death is present, filled with satisfaction. Now it surrounds the battlefield with a veil. It contemplates, remains motionless,
smiles, and above the plain the fateful
voice resounds: "The battle is over!
I nad ravninoi boyevoi Razdalsya golos rokovoi: "Konchena bitva! Ya vsekh pobedila! Vse predo mnoi vy smirilis' boitzy! Zhizn' vas possorila, ya pomirila! Druzhno vstavaite na smotr, mertvetzy! Marshem torzhestvennym mimo proidite, Voisko moye ya khochu soschitat'.
V zemlyu potom, svoi kosti slozhite, Sladko ot zhizni v zemle otdykhat'! Gody nezrimo proidut za godami,
V lyudyakh ischeznet i pamyat' o vas. Ya ne zabudu! I gromko nad vami Pir budu pravit' v polunochnyi chas! Plyaskoi, tyazheloyu, zemlyu syruyu Ya pritopchu, chtoby sen' grobovuyu Kosti pokinut' vo vek ne mogli, Chtob nikogda vam ne vstat' iz zemli!"
I have vanquished everyone. Warriors, you are all appeased in my sight. Life made you enemies, but I reconcile you. All the dead just like a single man,
arise for the review! Pass before me to the sounds of a solemn
march: I wish to count my armies, then scatter your bones in the earth where
it is so gentle to rest from life. Years will follow other years invisibly,
men will soon forget all about you, but I will never forget you, and on your
graves I will give great banquets at night. My weighty dance will trample down
the humid ground, so that the bones will never be able to leave
the shadow of the sepulcher, and you will never be able to escape from
the earth.
and KeyBank
Garrick Ohlsson piano
Saturday Evening, April 17, 1999 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Frederic Chopin
Joseph Haydn
Five Polish Songs From Op. 74
Zyczenie (The Maiden's Wish) Precz z moich oczu! (Out of My Sight!) Piosnka Iitewska (Lithuanian Song) Sliczny chlopiec (The Handsome Lad) Hulanka (Drinking Song)
Cantata: "Arianna a Naxos," Hob. XXVIb:2
Piotr Ilyich Tchaikovsky
Kaby znala ja, Op. 47, No. 1 (If I Had Known) Ja li b pole da ne travushka byla, Op. 47, No. 7
(If I Were a Blade of Grass in the Field) Den' li carit, Op. 47, No. 6 (Whether Day Dawns)
Modest Musorgsky
Pesni i Pljaski Smerti (Songs and Dances of Death)
Kolybel'naya (Lullaby)
Serenada (Serenade)
Trepak (Trepak)
Polkovodetz (The Field Marshall)
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Seventy-ninth Performance of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Bill Hann, President of KeyBank, for his generous support of the Song Recital Series through KeyBank.
We are also grateful to Maurice and Linda Binkow for their enthusiastic support of this series. Additional support for this performance is made possible by media partner WGTE.
Special thanks to Richard LeSueur for serving as this evening's Pre-Performance Educational Presentation speaker.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Mme. Podles appears by arrangement with Matthew Sprizzo.
Garrick Ohlsson appears by arrangement with Arts Management Group, Inc.
Large print programs are available upon request.
Tonight's program offers us the unique opportunity to experience and appreciate four widely divergent styles of composing. Not only is the sound and texture of each composer easily distinguishable from his colleagues, but these individual works themselves could be considered prototypes of each composer's artistic credo. Such contrast is not in itself always unusual, but when one considers that three of our four composers are from eastern Europe, and further that two lived side-by-side during the same half-century in the same country, such contrast is unexpected indeed.
The very last thing to come to mind when one thinks of Frederic Chopin is vocal music. The duo of voice and piano is not a genre which attracted this composer signifi?cantly. With all the volumes of music for piano solo, the composer has left us only nineteen examples of song literature, and nothing for voice and orchestra. Since Ann Arborites have recently heard all the piano repertoire of Chopin, this charming group of songs will prove a valuable expansion to our idea of who this composer is. The diffi?culties of singing in the Polish language guarantee that these works are rarely done in the West, Mme. Podles being the only international artist programming them reg?ularly if at all. Almost all of Chopin's songs were composed during his first trip abroad (1829-30), when he visited and dazzled audiences in Vienna and Salzburg.
Chopin's Nocturnes are so often com?pared to the melodies of Vincenzo Bellini, who was writing operas during the same first half of the nineteenth century. It is ironic that this most vocal of keyboard com?posers did not use his accustomed bel canto style in composing these songs. In fact, Chopin regarded the songs as an opportuni?ty to display his deep nationalistic feelings, rather than employ the sophisticated ele-
gance of the French salon style which had catapulted him to fame. He himself called the songs "little pieces with words," and they are clearly vocal renditions of his character-piece style: the mazurka, the waltz. The texts are not from the pens of Polish intellectuals, but rather from poets of the people, friends of the composer who also wanted to com?municate in simple, vernacular, accessible ways. Most of the songs are pure strophic or rondo forms, with not only musical repeti?tions but verbal ones as well. Only the "Lithuanian Song" is more complex in its rhapsodic form, perhaps being the sole example of non-Polish nationalism; Chopin felt it needed to be different from the others.
Tonight's second style is that of Italian opera in the Classical period. No audience is unfa?miliar with the great solo scenes from The Marriage of Figaro and Don Giovanni, and Haydn's dramatic cantata differs from these only in that it is for keyboard accompani?ment rather than orchestra. There is hardly a genre which Papa Haydn did not explore, and when it comes to symphonies, quartets and sonatas and trios, it was his expertise and his willingness to experiment which paved the way for works such as we know them today. Living an unusually long life, Haydn witnessed and oversaw the large transition from Baroque to Classic style, and was uniquely able to synthesize the old and new orders at all times. His adopted home of Vienna was wildly enthusiastic about Italian opera in the 1780s, and indeed, of Haydn's two dozen works for the stage only one is in the German language and style. Tonight's canata was written immediately following a period of intense operatic activi?ty by Haydn, and if orchestrated, it could be easily interpolated into any of these works. Ariadne is a well-known figure in Greek mythology, and her sad story has attracted composers for four centuries from
Monteverdi to Strauss to Musgrave. The noble Theseus (Teseo in Italian) is Ariadne's escort as she returns to Athens from Crete. During the voyage, affection grows between them. Severe storms force a landing on the island of Naxos, and waking the next morn?ing, Ariadne finds herself alone and aban?doned. Her confusion, her despair, her vul?nerability and her anger at the gods are the very stuff of theatre. Haydn has employed a double aria and cabaletta form here, with each melodic episode introduced by a highly dramatic recitative. Even with the limita?tions of the keyboard in his era, Haydn has created a believable histrionic event which unfolds for us; only costumes and a set are missing, for all is painted in this dramatic and highly-charged music.
Tchaikovsky and Musorgsky lived at precise?ly the same time, and both composed a sig?nificant amount of vocal music. But that is all they have in common. Tchaikovsky's thorough conservatory education required him to be comfortable and adept at writing in a variety of western-European styles. Fugues and by-the-book baroque counter?point, the sugary elegance of an eighteenth-century French salon, perfect sonata-allegro form...these, and many more not particu?larly Russian techniques, were in constant use by Tchaikovsky. As a result he can be considered the most western of all Russian composers, and yet he insists upon integrat?ing melodies which are either real or could pass for real folksongs into all his works. This blend has ensured his popularity and his emotional impact in and out of Russia for more than a century. It is important not to downplay his importance simply due to his facility, his efficient methods, or his occasionally hyper-emotional style that has been so often imitated by lesser lights.
Songs were the perfect outlet for Tchaikovsky's frustrated passions. His per-
sonal relationships were so consistently unsatisfying and unsuccessful that music became his only emotional life, and no where more so than in vocal music. Like Brahms and Faure, Tchaikovsky captures the general atmosphere and mood of any text immediately; he inevitably sacrifices the specifics of painting this or that word indi?vidually in favor of these larger pictures of sorrow, joy, or loneliness. This is clearly illustrated in these three examples from the seven songs of Op. 47, composed in 1880. The first and third songs are in Tchaikovsky's most preferred ABA form, although they speak of very contrasting feelings of despondency and exultation. The middle song is in three verses, with variation only in the last. Here one can hear clearly the folk element spoken of earlier; this is not an educated person's lament, but rather a primal cry for help. One further interesting feature of this very melodic trio is the long piano introduction to the last song. Its ruminative and rhapsodic mood is quite different from the hectic outpouring to follow, as if the poet were surveying the past before rejoicing in the present.
Our fourth and last style of this evening's concert is also perfectly illustrated by its example, the four Songs and Dances of Deaths written in the last decade of Musorgsky's brief life. The music of this most individual of all Russian composers is entirely text-driven. His ten operas and five dozen songs are the center of his legacy. Whereas Tchaikovsky used lyrical melody to express his feelings, Musorgsky was never happy reproducing only emotion, he sought to reproduce human speech. No system of pitch or notation can fully capture the infinite variety of the spoken word, but Musorgsky (like Wolf in German and Ravel in French) comes very close to this goal. Tchaikovsky's songs would sound beautiful played on a violin (and often are),
whereas Musorgsky's would strike us as nonsensical. The great maestro Rimsky-Korsakov branded Musorgsky's work "clumsy and absurd, disconnected, illogical and alto?gether lacking in technique." Poor Musorgsky's works have suffered through "improvements" and "repairs" by Rimsky and many others, when in fact it is their uniqueness and even their eccentricity which renders them com?municative at all. One hears occasional lyri?cal moments in these songs to be sure, but it is never gratuitous lyricism; it is purposeful, and cleverly contrasted with declamatory sections.
Death appears to us in four guises and in four situations. The first song is a dialogue between an anxious mother nursing an ailing child and Death as soothing release. She grows ever more distraught; he remains calm and rocks the boy to his demise with an innocent lullaby. Death woos a terminally ill invalid in the "Serenade." The monotonous, sensuous swing of the 68 meter is irre?sistible, and again Death is triumphant. A trepak is a favorite Russian folkdance where?in men kick from a squatting position. It is customary -and probably very necessary! -to begin slowly so as to get one's balance and then whirl faster and faster. Our protag?onist confronts a drunken peasant and liter?ally dances him to death. How ominous the open chords at the end of this trepak -the landscape is now empty; someone has been extinguished before our eyes. Finally, Death dons a military uniform and commands all armies to march to his menacing and inescapable cadence. These are four experi?ences we are not likely to forget. To those who speak Russian the impact is even greater, for the music serves as a perfect vehicle for these marvelously colorful texts...Musorgsky has certainly achieved his stated goal: "Art is a means of communication with people, never an end in itself."
Program notes by Martin Katz.
Beyond a distinctive voice of stagger?ing range, agility and amplitude, the Polish contralto Ewa Podles" brings profound emotional com?mitment and a lieder singer's sen?sitivity to text to everything she sings. As comfortable with Mahler and Prokofiev as with the breathtakingly florid music of Gluck, Handel, Vivaldi and Rossini, she is a true original, a "Golden Age" singer for our time. Ms. Podles" 1999-2000 season promis?es five performances of Mahler's Das Lied von der Erde with Riccardo Chailly and the Philadelphia Orchestra (including one in New York's Carnegie Hall); two performances of the Schoenberg chamber orchestra version of this same work with Mario Bernardi c onducting Ottawa's National Arts Centre Orchestra; this same composer's Das Knaben Wunderhorn with Mto. Chailly and the Royal Concertgebouw Orchestra (performances in Paris, Amsterdam, London and Cologne, also a Decca recording); Kindertotenlieder with Leon Botstein and the American Symphony Orchestra; and Symphony No. 3 with Gerard Schwarz and the Seattle Symphony. In addi?tion she gives recitals in Montreal, Philadelphia and at the Amsterdam Concertgebouw, and performs the title role of Handel's Giulio Cesare in Oviedo, Spain; and her first-ever Baba the Turk in Stravinsky's The Rake's Progress at Catania's Teatro Bellini. The cur?rent season includes a European tour (Paris, Birmingham, Vienna, Amsterdam) in the title role of Handel's Rinaldo with Christopher Hogwood and the Academy of Ancient Music; an extensive North American recital tour (including Washington, DC, Cleveland, Toronto, tonight's Ann Arbor recital, and the opening of the "Art of the Song" series at Lincoln Center's Alice Tully Hall); five Alexander Nevskys with the San Francisco Symphony under Libor Pesek; a concert with Quebec's Les Violons du Roy under its Music Director Bernard Labadie; her cele?brated Rossini Arias for Contralto program
with the Edmonton Symphony and Moscow Chamber Orchestra, the latter her Carnegie Hall debut; and Bradamante in Handel's Alcina at Barcelona's Gran Teatre del Liceu.
Mme. Podles has sung her "signature" role of Rossini's Tancredi at La Scala and the Staatsoper Berlin (and on the Grammy-nominated Naxos recording); Arsace {Semiramide) at Venice's Teatro La Fenice; Handel's Rmaldo at New York's Metropolitan Opera and Paris' Theatre Chatelet; Dalila in Saint-Saens' Samson et Dalila at Paris' Opera Bastille; and Ulrica in Verdi's Un Ballo in Maschera at Madrid's Teatro Real. She has also sung principal roles at the Frankfurt Alte Oper, Deutsche Oper Berlin, Vienna State Opera, Naples' Teatro San Carlo, Warsaw's National Theatre, and the Rome, Budapest and Vancouver Operas. In addition she has been welcomed at the Aix-en-Provence, Flanders and Montpellier Festivals; as well as Canada's Festival International de Lanaudiere. She has appeared with the Pittsburgh and NHK Tokyo Symphonies, Hong Kong and Dresden Philharmonics, Maggio Musicale Fiorentino Orchestra, Orchestre de la Suisse Romande and National Orchestra of Spain, under such conductors as Lorin Maazel,
David Atherton, Gianluigi Gelmetti, Myung-Whun Chung and Armin Jordan. Her many collaborations with Marc Minkowski and Les Musiciens du Louvre includes Polinesso in Handel's Ariodante, a Deutsche Grammophon recording that earned the coveted Diapason d'Or. Other recent issues include A Treasury of Polish Songs with pianist Ewa Pobiocka, Respighi's Tramonto, the Berlioz version of Gluck's Orphee et Eurydice, Mahler's Symphony No. 2 and No. 3, Alexander Nevsky, and a unanimously acclaimed all-Rossini disc, awarded the prestigious Preis der Deutschen Schallplatten Kritik.
An especially renowned interpreter of Russian song, her widely acclaimed Melodies Russes CD with pianist Graham Johnson earned the Grand Prix de L'Academie Francaise du Disque. An altogether riveting recitalist, Mme. Podles' has offered programs at London's Wigmore Hall, Paris' Salle Gaveau, Theatre de l'Athenee and Theatre des Champs Elysees, Moscow's Bolshoi Theatre and San Francisco's Herbst Theater. Among the international publications in which she has been profiled are The New York Times, Orpheus, Opera News and The Wall Street Journal.
Tonights recital marks Mme. Podles" second appearance under UMS auspices. Ewa Podles' UMS debut was a remarkable, last-minute replacement for an indisposed Cecilia Bartoli on March 29, 1997.
Expressive power, a sure grasp of musical architecture, and a gigantic sweep mark the playing of the American pianist Garrick Ohlsson. Although he has long been regarded as one of the world's leading exponents of the music of Chopin, Mr. Ohlsson commands an enormous repertoire which encompasses virtually the entire piano literature. He has come to be noted particularly for his masterly performances of the works of Mozart,
Ewa Podles
Beethoven, and Schubert, as well as music of the Romantic era.
Mr. Ohlsson's concerto repertoire is unusually wide and eclectic -ranging from Haydn and Mozart to twentieth-century masters -and he has at his command some seventy works for piano and orchestra. This season alone, he performs the Barber Piano Concerto, all five concertos by Beethoven, Brahms's Concerto No. 2, Chopin's two piano concertos, Copland's Piano Concerto, the Dvorak Piano Concerto, Oiseaux exotiques and the Turangalila-symphonie by Messiaen, Gershwin's Concerto in F, the Grieg Piano Concerto, Piano Concerto, No. 9, K. 271 by Mozart, and Rachmaninoff's Piano Concerto, No. 3. In North America this season he appears as soloist with the Cleveland, Chicago, and Philadelphia Orchestras; the St. Paul Chamber Orchestra; the St. Louis Symphony (in St. Louis and at New York's Carnegie Hall); the Buffalo Philharmonic; and the Utah, Houston, Detroit, Chicago, and Waterbury (CT) symphonies. Internationally, he has solo engagements with Tokyo's NHK Symphony Orchestra, the Deutsche Orchester Berlin at the Beijing Festival in China, and the Buenos Aires Philharmonic at the Teatro Colon.
In January of 1999 Mr. Ohlsson launched a series entitled "Franz Liszt and the Art of the Piano," presented as part of Lincoln Center's Great Performers. He will be heard at Alice Tully Hall in three recitals devoted to the music of Liszt and those composers who most influenced Liszt (Bach, Beethoven, Schubert). In addition to performances of the Sonata in b minor, the Transcendental Etudes, and Liszt's transcriptions of works by Bach, Beethoven, and Schubert, Mr. Ohlsson plays three keyboard masterworks that were of major importance to Liszt as composer and performer: Bach's Goldberg Variations, the "Hammerklavier" Sonata by Beethoven, and Schubert's "Wanderer" Fantasy. Also as part of the Great Performers series, Mr.
Ohlsson is featured in a workshop on Liszt with piano authority David Dubai at Lincoln Center's Walter Reade Theatre.
In addition to the Liszt series, Mr. Ohlsson's recitals in North America this season include those at West Palm Beach and Lakeland, FL; Athens, GA; Boston; Toronto; Seattle; Princeton, NJ; and San Francisco. Recitals abroad include performances at Paris and Nohant, France, and Dubrovnik, Croatia.
Mr. Ohlsson is an avid chamber musician and has collaborated with the Cleveland, Emerson, Takacs, and Tokyo String Quartets, among other ensembles. Together with vio?linist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio.
A prolific recording artist, Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, Bridge, BMG, Delos, Hanssler, Nonesuch, Telarc, and Virgin Classics labels. Mr. Ohlsson has recorded the complete solo works of Chopin for Arabesque.
Mr. Ohlsson has also recorded the Copland Piano Concerto with Michael Tilson Thomas and the San Francisco Symphony for the RCA Victor Red Seal label, which was hailed by the San Francisco Examiner as "terrific"
Garrick Ohisson
and "vibrant." Other releases include Mr. Ohlsson's recordings of Beethoven sonatas, Haydn's three "London" Sonatas, and the Debussy Etudes, all for Arabesque; and Grieg's Piano Concerto, Tchaikovsky's Concerto No. 1, and the Rachmaninoff Concerto No. 2 with the Academy of St. Martin-in-the-Fields under Sir Neville Marriner, for the Hanssler label.
Mr. Ohlsson was born in White Plains, New York where he began his piano studies at the age of eight. He attended the Westchester Conservatory of Music and at thirteen he entered The Juilliard School in New York City. In high school Mr. Ohlsson demonstrated an extraordinary aptitude for mathematics and languages, but the concert stage remained his true career objective. Mr. Ohlsson's musical development has been influenced in completely different ways by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhevinne, and Irma Wolpe. Although he won First
Prizes at the 1966 Busoni Competition in Italy and 1968 Montreal Piano Competition, it was his 1970 triumph at the Chopin Competition in Warsaw, where he won the Gold Medal, that brought him worldwide recognition as one of the finest pianists of his generation. Since that time, he has made nearly a dozen tours of Poland where to this day he remains virtually a national hero. Mr. Ohlsson was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Ford Honors Distinguished Artist Award in Ann Arbor, Michigan. He makes his home in San Francisco.
Tonight's recital marks Garrick Ohlsson's tenth appearance under UMS auspices. Between 1995 and 1996, Mr. Ohlsson performed Chopin's complete piano solo works in six recitals presented under UMS auspices. In recognition of his outstanding contributions to the University Musical Society, Mr. Ohlsson was the recipient of the 1998 University Musical Society Ford Honors Distinguished Artist Award.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Anonymous 4 and Lionheart
Ockeghem: Prince of Musicians
Atttiphott: Ave Maria gratia plena
Ave maria gratia plena dominus tecum
benedicta tu in mulieribus
et benedictus fructus ventris tui Jesu.
Translation by L. Rosenwald.
Hail Mary, full of grace, the lord is with you.
You are blessed among women
and blessed also is Jesus, the fruit of your womb.
Motet: Alma redemptoris mater
Alma redemptoris mater que pervia celi porta manens, Et Stella maris, succure cadenti surgere qui curat populo: Tu que genuisti, natura mirante, tuum sanctum genitorem: Virgo prius ac posterius, Gabrielis ab ore sumens illud ave, peccatorum miserere.
Translation by L. Rosenwald.
O kindly mother of the redeemer you who are still the open gate of heaven and the star of the sea; aid this fallen people which strives to rise: you who gave birth to your holy father, while nature looked on in wonder: you, who were a virgin before and after, receiving the "Hail!" from Gabriel's lips, have mercy on sinners.
Introit: Salve sancta parens
Salve sancta parens, enixa puerpera regem, qui celum terramque regit in secula seculorum.
Post partum virgo inviolata
permansisti: dei genitrix intercede pro nobis.
Gloria patri et filio
et spiritui sancto sicut erat in principio
et nunc et semper et in secula seculorum.
Translation by The Maryknoll MissaL
Hail, holy mother, who brought forth the king who rules heaven and earth forever and ever.
You bore a child, O virgin, and remained
a virgin still. Mother of God, intercede for us.
Glory be to the father, and to the son, and
to the holy spirit as it was in the beginning is now
and ever shall be, world without end.
Kyrie: Missa Mi-Mi Gloria: Missa Mi-Mi
Kyrie eleison. Christe eleison. Kyrie eleison.
Gloria in excelsis deo,
et in terra pax hominibus bone voluntatis. Laudamus te,
benedicimus te, adoramus te, glorificamus te, gratias agimus tibi
propter magnam gloriam tuam, domine deus, rex celestis,
deus pater omnipotens. Domine fili unigenite jesu christe,
domine deus, agnus dei, filius patris. Qui tollis peccata mundi,
miserere nobis. Qui tollis peccata mundi, suscipe
deprecationem nostram.
Lord have mercy. Christ have mercy. Lord have mercy.
Glory to God in the highest heaven,
and, on earth, peace to men of good will. We praise you,
we bless you, we adore you, we glorify you, we thank you for
your great glory: you lord God, king of heaven,
God the omnipotent father, and you, lord, the only son, Jesus Christ,
lord God, lamb of God, the father's son. You who take away the sins of the world,
have mercy on us. You who take away the sins of the world,
hear our prayer.
Qui sedes ad dexteram patris,
miserere nobis, quoniam tu solus sanctus, tu solus dominus, tu solus
altissimus, jesu christe, cum sancto spiritu
in gloria dei patris.
Translation by L. Rosenwald.
You who sit at the father's right hand,
have mercy on us, for you alone are holy,
you alone are the lord, you alone are the highest, you, Jesus Christ,
together with the holy spirit in the glory of God the father.
Epistle: Ab inicio et ante secula
Lectio liber sapientie. Ab inicio et ante secula
creata sum: et usque ad futurum seculum
non desinam,
et in habitacione sancta coram ipso ministravi,
et sic in syon firmata sum: et in civitate sanctificata similiter requievi, et in iherusalem potestas mea. Et radicavi in populo honorificato: et in partes dei mei hereditas illius: et in plenitudine sanctorum detencio mea.
Translation by The Maryknoll Missal.
A reading from the Book of Wisdom. From the beginning, and before the world,
was I created, and unto the world to come I shall
not cease to be,
and in the holy dwelling place I have ministered before him. And so was I established in Sion, and in the holy city likewise I rested, and my power was in Jerusalem. And I took root in an honorable people, even in the portion of my God his inheritance, and my abode is in the full assembly of saints.
Gradual: Benedicta et venerabilis
Benedicta et venerabilis es virgo maria: que sine tactu pudoris inventa es mater salvatoris.
Virgo dei genitrix, quem totus non capit orbis in tua se clausit viscera factus homo.
Translation by The Maryknoll Missal.
You are blessed and venerable, O virgin Mary, for without loss of your virginity you became the mother of our savior.
O virgin mother of God,
he whom the whole world cannot contain
enclosed himself in your womb,
and was made man.
Allcluyu: Virga yesse floruit
Alleluya, alleluya.
Virga yesse floruit,
virgo deum et hominem genuit,
pacem deus reddidit
in se reconcilians
yma summis. Alleluya.
Translation by The Maryknoll Missal
Alleluia, alleluia.
The rod of Jesse has blossomed.
A virgin has brought forth the God-man.
God has restored peace to us,
reconciling in himself the lowness of earth
and the highness of heaven. Alleluia.
Motet: Salve regina
Salve regina, mater misericordie:
vita dukedo, et spes nostra, salve.
Ad te clamamus, exsules, filii heve.
Ad te suspiramus, gementes et flentes
in hac lacrymarum valle.
Eia, ergo, advocata nostra,
illos tuos misericordes oculos ad nos convene.
Et Jesum, benedictum fructum ventris tui
nobis post hoc exsilium ostende.
O demens, o pia, o dulcis virgo maria.
Translation by L. Rosenwald.
Hail, holy queen, mother of mercy,
our life, our sweetness and our hope.
To you we cry, poor banished children of Eve,
to you we send up our sighs, mourning and
weeping in this vale of tears.
Turn, then, most gracious advocate,
your merciful eyes towards us;
and after this our exile, show unto us Jesus,
the blessed fruit of your womb.
O merciful, O loving, O sweet Virgin Mary.
Gospel: Factum est dum loqueretur
Sequentia sancti evangelii secundum lucam. In illo tempore:
Factum est dum loqueretur ihesus ad turbas: extollens vocem quedam mulier
de turba: dixit illi: beatus venter
qui te portavit:
et ubera que suxisti. Quinimmo: beati qui audiunt
verbum dei: et custodiunt illud.
Translation by The Maryknoll Missal.
The holy gospel according to Luke. At that time,
as Jesus was speaking to the multitudes, a certain woman from the crowd lifted up
her voice and said to him, "Blessed is the womb that
bore thee,
and the breasts that nursed thee." But he said, "Rather, blessed are they who hear
the word of God and keep it."
Credo: Missa Mi-Mi Ockeghem
Credo in unum deum, patrem omnipotentem, factorem celi et terre, visibilium omnium et invisibilium, et in unum dominum jesum christum, filium dei unigenitum,
et ex patre
natum ante omnia secula, deum de deo, lumen de lumine, deum verum de deo vero, genitum non factum, consubstanti
alem patri,
per quern omnia facta sunt; qui propter nos homines et propter nostram salutem descendit de celis et incarnatus est de
spiritu sancto ex maria virgine, et homo factus est; crucifixus etiam pro nobis sub pontio pilato, passus et
sepultus est. Et resurrexit tertia die,
secundum scripturas, et ascendit in celum, sedet ad
dexteram patris, et iterum venturus est cum gloria
judicare vivos et mortuos, cujus regni non erit finis. Et in spiritum sanctum dominum
et vivificantem, qui ex patre filioque procedit, qui cum patre
et filio simul adoratur
et conglorificatur, qui locutus est per prophetas; et unam sanctam catholicam et
apostolicam ecdesiam; confiteor unum baptisma in remissionem
peccatorum, et expecto resurrectionem mortuorum
and the life of the world to come.
Translation by L. Rosenwald.
I believe in one God, the omnipotent father, maker of heaven and earth, and of all visible and invisible things; and in one lord Jesus Christ, the only son of God, born from
the father
before all time, God from God, light from light, true God from true God, begotten, not made, of the same substance
as the father,
by whom all things were made; who for us men and for our salvation came down from heaven and was made flesh by the
holy spirit out of the virgin Mary, and was made a man; and also was crucified for us under Pontius Pilate, suffered, and
was buried; and rose again on the third day,
according to scripture, and went up to heaven, and sits at
the father's right hand; and will come again in glory to
judge the living and the dead; whose kingdom will have no end. And I believe in the holy spirit,
the lord and life-giver, who comes forth from the father
and the son; who is worshipped and glorified; who spoke through the prophets; and in one, holy, catholic and
apostolic church. I acknowledge one baptism for the
forgiveness of sins; and I expect the resurrection of the dead,
et vitam venturi seculi.
Offertory: Felix namque
Felix namque es sacra virgo maria, et omni laude dignissima, quia ex te ortus est sol iustitiae, christus deus noster. Alleluia.
Translation by The Maryknoll Missal
You are blessed indeed, O holy virgin Mary, and most worthy of all praise; for out of you arose the sun of justice, Christ our Lord. Alleluia.
Sanctus: Missa Mi-Mi Ockeghem
Sanctus, sanctus, sanctus dominus deus sabaoth. Pleni sunt celi et terre gloria tua. Hosanna in excelsis. Benedictus qui venit in
nomine domini. Hosanna in excelsis.
Translation by L. Rosenwaid.
Holy, holy, holy lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest heaven. Blessed is he who comes in the
name of the lord. Hosanna in the highest heaven.
Pater Noster
Preceptis salutaribus moniti
et divina institucione formati
audemus dicere:
Pater noster qui es in celis
sanctificeter nomen tuum.
Adveniat regnum tuum,
fiat voluntas tua,
sicut in celo et in terra.
Panem nostrum cotidianum da nobis hodie
et dimitte nobis debita nostra,
sicut et nos dimittimus debitoribus nostris.
Et ne nos inducas in temptacionem, sed libera nos a malo.
Translation by The Maryknoll Missal
Prompted by saving precepts,
and taught by your divine teaching
we dare to say:
Our father, who art in heaven
hallowed be thy name:
thy kingdon come
thy will be done
on earth as it is in heaven
Give us this day our daily bread
and forgive us our trespasses,
as we forgive those who trespass against us.
And lead us not into temptation, but deliver us from evil.
Agnus dei: Missa Mi-Mi Ockeghem
Agnus dei qui tollis
peccata mundi, miserere nobis. Agnus dei qui tollis
peccata mundi, miserere nobis. Agnus dei qui tollis
peccata mundi, dona nobis pacem.
Translation by L. Rosenwald.
Lamb of God, who take away the sins of the world, have mercy on us.
Lamb of God, who take away the
sins of the world, have mercy on us.
Lamb of God, who take away the sins of the world,
grant us peace.
Communion: Regina mundi Plainsong
Regina mundi et domina, virgo maria perpetua, intercede pro nostra pace et salute que genuisti christum dominum, salvatorem omnium.
Translation by S. Hellauer.
Queen and mistress of the world, ever-virgin Mary,
intercede for our peace and well-being, you who bore Christ the lord, savior of us all.
Motet: Ave Maria Ockeghem
Ave maria, gratia plena, dominus tecum. Benedicta tu in mulieribus et benedictus fructus ventris tui jesus christus.
Translation by L Rosenwald.
Hail Mary, full of grace, the lord is with you. You are blessed among women and blessed also is Jesus Christ, the fruit of your womb.
Hostias et preces (from the Requiem)
Hostias et preces tibi, domine offerimus: tu suscipe pro animabus illis, quarum hodie memoriam agimus: fac eas, domine, de morte transire ad vitam.
Translation by L. Rosenwald.
Together with our prayers we offer thee, O lord, the sacrifice; do thou receive it in behalf of the souls whom this day we have in mind; lead them, O lord, from death into life.
Dtploration: Nymphes des bois
Josquin des Pres
Nymphes des bois, de'esses de fontaines Chantres expers de toutes nations: Changez voz voix tant cleres et haultaines En cris tranchantz et lamentations. Car Atropos, tres terrible satrappe, A vostr'Ockeghem attrap en sa trappe Vray tresorier de musique et chef d'oeuvre, doct, elegant de corps, et non point trappe, Dont grant doumaig'est que la terre coeuvre.
Accoutrez vous d'abitz de deuil: Josquin, Brumel, Pirchon, Compere; Et plorez grosses larmes d'oeil: Perdu avez vostre bon pere. Requiescat in pace.
Tenor-Requiem eternam dona eis, domine; et lux perpetua luceat eis. Requiescat in pace. Amen.
Translation by L. Rosenwald.
Nymphs of the woods, spirits of the fountains, accomplished singers of every land: change your bright lofty songs to shrill wailings and lamentations, for Atropos, that terrible satrap, has entrapped your Ockeghem in her trap, music's true treasurer and chief administrator, learned, handsome, and not at all fat. What a great pity that the earth lies over him.
Dress yourselves in mourning, Josquin, Brumel, Pirchon, Compere, and weep great tears; you have lost your good father, may he rest in peace.
Grant them, Lord, eternal rest,
and let perpetual light shine upon them.
May he rest in peace. Amen.
Anonymous 4 and Lionheart
Anonymous 4
Marsha Genensky, Susan Hellauer
Jacqueline Horner, Johanna Maria Rose
Tony Boute, Jeffrey Johnson, Lawrence Lipnik, John Olund,
Richard Porterfield, Kurt-Owen Richards
Program Sunday Evening, April 18, 1999 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Ockeghem: Prince of Musicians
Plainsong Antiphon
Johannes Ockeghem Motet
Plainsong Introit
Ockeghem Kyrie
Ockeghem Gloria
Plainsong Epistle
Plainsong Gradual
Plainsong Alleluya
Ockeghem Motet
Plainsong Gospel
Ockeghem Credo
Plainsong Offertory
Ockeghem Sanctus
Ockeghem Agnus dei
Plainsong Communion
Ockeghem Motet
Josquin des Pres Deploration
Ave Maria gratia plena
Alma redemptoris mater
Salve sancta parens
Missa Mi-Mi
Missa Mi-Mi
Ab inicio et ante secula
Benedicta et venerabilis
Virga yesse floruit
Salve regina
Factum est dum loqueretur
Missa Mi-Mi
Felix namque
Missa Mi-Mi
Pater Noster
Missa Mi-Mi
Regina mundi
Ave Maria
Hostias et preces (from the Requiem)
Nymphes des bois
The audience is politely asked to withhold applause until the end of the program. Please do not applaud after individual movements.
Eightieth 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.
Anonymous 4O appears by exclusive arrangement with Herbert Barrett Management.
Lionheart appears by exclusive arrangement with Bernstein Artists, Inc. Visit Anonymous 4 on the Internet at Visit Lionheart on the Internet www.chantboy.comlionheart Anonymous 4O records exclusively for harmonia mundi usa.
Large print programs are available upon request.
Johannes Ockeghem was born in the opening years of the fifteenth century in Flanders (modern-day Belgium). Details about his life are scant until some time during the 1440s, when he was hired as a singer by Charles I, Duke of Bourbon in France. By 1452 he was employed by King Charles VII of France, and by 1454 he held the position of first singer {premier chapelain) at the royal court and chapel. He sang bass, composed liturgical music (along with some secular songs), and most likely functioned as music director or choir leader as well. Among the
honors which were heaped upon him was his appoint?ment to the prestigious and lucrative office of treasurer of the abbey of St. Martin-de-Tours. He remained a valued member of the royal house?hold and of St. Martin's until his death in 1497, when he was mourned as an excep?tional singer, composer and human being.
In the years and centuries immediately following his death, Ockeghem was best remembered for his compo?sitions showing mastery over musical devices such as mode and canon. But
Ockeghem was no pedant. In his lifetime he was renowned for the sweetness and subtle?ty of expression in his works; his technical craft was always clothed in music of the most exquisite beauty.
The relatively small number of his sur?viving works belies Johannes Ockeghem's tremendous influence on the development of choral polyphony in the fifteenth century. His sacred music forms a bridge between the elaborately structured motets of the late-medieval Burgundian school of Dufay and Binchois (whom he admired greatly), and
the highly expressive, emotionally responsive works of the Renaissance masters of the Flemish school: Josquin, Compere, Obrecht and their contemporaries. Though in hind?sight his works might be considered transi?tional, to his contemporaries they were works of genius in a new musical language, esteemed in Ockeghem's lifetime and for generations after his death.
We have built our program around Ockeghem's four-voice "Missa Mi-Mi," a mature masterpiece of melodic invention, probably based on one of Ockeghem's own chansons ("Presque transi"). Its droll-sound-
ing name is actually an arcanely theoretical way of designating its scale, or mode (fourth, or hypophrygian). To this we have added three of Ockeghem's great Marian motets, a movement from Ockeghem's Requiem, and Josquin's setting of Jean Molinet's elegy "Nymphes des bois
Ockeghem's Masses set
the Ordinary texts -the texts that, with some rare exceptions, are used on every occasion. From a fifteenth-century Parisian mass book we have chosen plainsong mass Propers (texts that are
proper to a particular occasion) for the votive mass to the Virgin Mary, or Ladymass, usu?ally celebrated on Saturday.
The inclusion of much of the plainsong that would have been part of a solemn mass in Ockeghem's day is, for us, more than just a matter of liturgical correctness. We believe that plainsong and polyphony enhance each other now as they did in Ockeghem's time. We believe as well that there is a symbiosis between plainsong and Ockeghem's sacred music that goes beyond simple use of melodic ideas. Though we base our opinions
7 am sure you could not dislike this man, so pleasing is the beauty of his person, so noteworthy the sobriety of his speech and of his morals, and his grace. He alone of all singers is free from all vice and abounds in all virtues"
-Francesco Florio
largely on the music itself due to lack of chronological evidence, it seems clear that as Ockeghem's musical style matures, he moves farther away from the treble dominated, sec-tionalized, and often colorfully chromatic three-part writing of the previous generation, toward a style in which each of the voice parts (now most often numbering four or five) is melodically whole in itself. Cadences are seamlessly overlapped, inaudibly joined; sharp chromatic inflections and jagged melodic edges give way to a smoother, more modally diatonic style. But the resulting chant-like rivers of sound are not still and placid; the transfixing, hypnotic flow of plainsong is infused by Ockeghem with harmonic and rhythmic vitality, as the polyphony builds to climaxes as stirring in their way as any ever devised.
Has that voice, then, once so noble, now fallen silent, the golden voice of Ockeghem Is the glory of music quenched, then Then, Apollo, come, speak out elegies upon your lyre strings. And you also, Calliope, in mourning with your sisters, shed the tears he deserves. And all of you who are possessed by the sweet study of music, weep, and bear the man off with praises of his Apollonian art. The holy Phoenix is fallen.
What have you done, O envious death The golden voice of Ockeghem, that once resounded through hallowed halls, is stilled. Once it caressed the tears of the angels, and swayed the hearts of men, too, to their depths. What have you done, O envious death It should have been enough to destroy the works of man. But music is a divine thing: why thus do you assault the gods
-Desiderius Erasmus, Ergo ne conticuit trans. Lawrence Rosenwald
Program notes by Susan Hellauer.
Antiphon: Ave Maria gratia plena Plainsong
The best-known prayer of the Catholic Church is based on the scriptural words of the angel Gabriel to Mary, announcing her selection as Jesus' mother. This antiphon is part of the Divine Office, and is sung during Advent.
Motet: Alma redemptoris mater Ockeghem
The four great Marian antiphons {"Alma redemptoris mater""Ave regina celorum" "Regina celi" and "Salve regina") share a comparatively humble spot in the liturgy. Each one closes Compline (a late-evening hour of the Divine Office) during a different part of the church year. "Alma redemptoris mater" is sung during Christmastide, and in Ockeghem's motet setting, the sweetly simple chant melody is rhapsodically expanded in the alto voice.
Introit: Salve sancta parens
The Introit is a chant that accompanies an action (here the entrance of the celebrants). The music and structure are fairly simple, since the focus is on the action of the pro?cession. The repetition scheme of antiphon, psalm verse and doxology, as well as the number of cantors (soloists), might vary depending on local usage and the importance of the feast day.
Kyrie: Missa Mi-Mi Gloria: Missa Mi-Mi Ockeghem
The distinctive interval of a falling fifth, heard in the bass voice at the opening of both the Kyrie and (more slowly) the Gloria, is the "head motive" that identifies the "Missa Mi-Mi!' It is typical of Ockeghem's mature technique that, aside from this small gesture, the stylistic "glue" that binds the movements of this mass together is virtually (and, some have said, mystically) unanalyzable.
Epistle: Ab inicio et ante secula
Very early forms of the mass had readings from both the Old Testament (Lesson) and the New (Epistle). With certain exceptions, this number was reduced to a single reading, chanted on a tone by the deacon in a solemn mass.
Gradual: Benedicta et venerabilis Alleluya: Virga yesse floruit Plainsong
The Gradual and Alleluya chants are sung between the EpistleLesson and Gospel. Like the Introit, the Gradual has its origins in psalmody, but it differs from the Introit in that it accompanies no liturgical action. Thus, claiming the congregation's full attention, the Gradual becomes an elaborate musical event, with long, ornate melismas, and a solo verse. The Alleluya, a direct borrowing from Jewish ritual, follows immediately after the Gradual.
Motet: Salve regina Ockeghem
Of the four great Marian antiphons, "Salve Regina" has the longest annual reign, being sung from Trinity Sunday (eight weeks after Easter) to Advent (late November). And of these four antiphons, Salve Regina makes the most direct emotional plea to the Virgin. As in Alma Redemptoris Mater, Ockeghem uses the original plainsong as an elaborated cantus firmus, this time in the bass voice, beneath some of his most complex, darkly ornate polyphony.
Gospel: Factum est dum loqueretur
The deacon was also assigned to chant the Gospel on solemn days. This type of recitation was actually an early form of amplification, allowing the words of scrip-
ture to be heard by a greater number of people. One might wonder what Mary would have thought of this little exchange, had she been there to hear it.
Credo: Missa Mi-Mi Ockeghem
As in many Renaissance settings of the Credo, several of the statements are cut apart and divided among the voices, tele?scoping the lengthy text into a more com?pact form. The opening of both the Credo and the Gloria of this mass are motivically related to Ockeghem's motet "Intemerata dei mater"
Offertory: Felix namque
The Offertory chant accompanies the pre?sentation of the bread and wine during Mass. "Felix namque" is a rather simple Offertory with no verse or repetitive struc?ture, but with several elegant melismas, most notably on the final "Alleluya."
Sanctus: Missa Mi-Mi Ockeghem
After the verbose energy of the Gloria and Credo, the Sanctus returns to the more transparent texture of the Kyrie, intensified now by an increased rate of dissonance, and by a more complex structure.
Pater Noster Plainsong
The basic Christian prayer, given by Jesus to his disciples, is a part of almost every litur?gical service. The plainsong formula is essentially the same as that used today.
Agnus dei: Missa Mi-Mi Ockeghem
The simple tripartite structure of the opening Kyrie reappears in the Agnus dei, wth the increased dissonance of the Sanctus growing into a seductive tangle of tension and resolu?tion.
Communion: Regina mundi Plainsong
Generally brief and unadorned, the Communion chant is sung during the distribution of the Eucharist.
Motet: Ave Maria Ockeghem
Ockeghem's motet, unrelated to any known "Ave Maria" melody, sets Gabriel's greeting to Mary, expanding each short, familiar phrase into an elaborate, expressive statement.
Hostias et preces (from the Requiem) Ockeghem
This verse is taken from the Offertory of Ockeghem's Requiem, a work that may have been produced over a period of several years. The three-voice section starting at "fw suscipe" is written in an older style with many piquant dissonances, reminiscent of Binchois' sacred works.
Deploration: Nymphes des bois Josquin des Pres Born 1440 probably in Hainaut Died August 27, 1521 in Conde-sur-Escaut, near Valenciennes
The elegaic poem by Jean Molinet alternates classical references with affectionate personal sentiments. Josquin's heartfelt setting reflects this dichotomy perfectly, mixing gently arch?ing phrases with anguished cries in jagged lines. The Introit chant of the Requiem Mass flows serenely in the baritone voice, unaffected by the expressions of grief of either gods or men.
Originally formed in 1986 to exper?iment with the sound of medieval chant and polyphony as sung by higher voices, Anonymous 4 has become renowned for its aston?ishing vocal blend and technical virtuosity. The four women of Anonymous 4 combine musical, literary, and historical scholarship with twentieth-century performing intuition as they create innovative programs inter?weaving music with poetry and narrative. In addition to presenting its own series at St. Michael's Church in New York City, Anonymous 4 has performed to critical acclaim on music series throughout North America, in such cities as Ann Arbor, Boston, Chicago, Cleveland, Los Angeles, Pittsburgh, Seattle, Vancouver and Washington, DC. Anonymous 4's programs have been broad?cast nationally on National Public Radio's Performance Today, and other concerts have been recorded and broadcast by NPR stations around the country. The group has been featured on Garrison Keillor's A Prairie Home Companion, NPR's Weekend Edition, WETA's Millenium of Music, and has appeared fre?quently on WNYC-FM's live radio program, Around New York.
In Europe, Anonymous 4 has appeared in concerts and festivals in Germany, Holland, Belgium, England, France, Spain, Italy, Finland, and most recently Austria, where the group
Anonymous 4
debuted in Salzburg and Graz. Anonymous 4 has also toured the Far East, with concerts in Japan, Australia and New Zealand.
Anonymous 4's award-winning recordings of medieval music for harmonia mundi usa have achieved unprecedented popularity, rising to the top of Billboard's classical chart, and reaching hundreds of thousands of listeners. To date, the ensemble's record?ings include An English Ladymass, On Yoolis Night, Love's Illusion, The Lily and the Lamb, Miracles of Santiago, A Star in the East, and 11,000 Virgins, music of Hildegard of Bingen. Its most recent recording, A Lammas Ladymass, (sequel to the ensemble's first hit, An English Ladymass,) was released in September 1998.
Tonight's performance marks Anonymous 4's third appearance under UMS auspices.
Acclaimed for their exquisite blend and intonation, the men of Lionheart have established them?selves as leading exponents in the field of a cappella singing. Featuring Gregorian chant as the keystone of its repertoire, Lionheart brings its varied repertoire (medieval, Renaissance and con?temporary works) to life with a unique artistic expressiveness that has been called "mesmerizing," "sublime," and "truly spiritual."
Also recognized for their personable immediacy as performers and diversity of performing expertise, Lionheart has amassed an impressive list of credentials in the four short years of its existence: Lincoln Center, Weill Recital Hall at Carnegie Hall with Steve Reich, the Cloisters, the Folger Library in Washington DC, the Cleveland Museum of Art, National Public Radio's Performance Today, regular performances on WNYC radio, prestigious music series around the United States and their own self-produced concert series in New York. Upcoming tour engagements include tonight's concert, as
well as the Kennedy Center and the Boston Museum of Fine Arts.
Lionheart's debut recording, My Fayre Ladye, was released on the Nimbus label in June 1997. Lionheart is also featured on the new Norton Anthology of Western Music Series recordings. Their second Nimbus recording Paris 1200 will be released in September 1998.
Tonight's performance marks Lionheart's debut appearance under UMS auspices.
We have many people to thank for their contributions to this program. For musical and musicological advice, we are grateful to Professors Alexander Blachly (University of Notre Dame), Ross Duffin (Case Western Reserve), Michael Eckert (University of Iowa), Virginia Newes (Eastman School of Music) and Leeman Perkins (Columbia University). Professor Edward Roesner (New York University) provided microfilms of the plainchant sources. For gracious permission to use his translations we are indebted to Professor Lawrence Rosenwald (Wellesly College). And for help with the pronunciation of fifteenth-century French and Latin we thank Professor David Klausner (University of Toronto), co-editor of the book Singing Early Music (Indiana University Press, 1996). Special thanks to Professor Richard Taruskin (UC Berkeley) for his transcriptions of Ockeghem's motets and Josquin's "Nymphes tics bois''
Like To Help Out
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activi?ties. We rely on volunteers for a vast array of activities, including staffing the education res?idency activities, assisting in artists services and mailings, escorting students for our pop?ular youth performances and a host of other projects. Call 734.913.9696 to request more information.
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611 (Marketing Internships), 734.647.1173 (Production Internships) or 734.764.6179 (Education Internships).
College Work-Study
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 734.764.2538.
UMS Ushers
Without the dedicated service of UMS' Usher Corps, our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
If you would like information about join?ing the UMS usher corps, leave a message for front of house coordinator Bruce Oshaben at 734.913.9696.
Hosted by members of the UMS Board of Directors, UMS Camerata dinners are a delicious and convenient beginning to your concert evening. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per person. Reservations can be made by mail using the order form in this brochure or by calling 734.647.1175. UMS members receive reserva?tion priority.
Thursday, January 14 Renee Fleming Tuesday, February 23 Opening Night of Kodo Thursday, March 11 James Galway
Friday, March 19 Opening Night of Alvin Ailey Note: This dinner will be held in the Power Center.
Thursday, April 15 Mozarteum Orchestra of Salzburg
Friday, April 23 Lincoln Center Jazz with Wynton Marsalis
Wonderful friends and supporters of the UMS are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 734.936.6837 for more information and to receive a brochure.
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:
Paesano's Restaurant
3411 Washtenaw Road 734.971.0484 for reservations
Thur. Jan. 14 Ren?e Fleming, soprano
Pre-performance dinner
Sun. Jan. 17 The Gospel at Colonus
Post-performance dinner
Sun. Feb. 7 American String Quartet
Post-performance dinner
Mon. Feb. 15 Orpheus Chamber Orchestra with Pepe Romero Pre-performance dinner
Wed. Mar. 24 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. Jan. 16 The Gospel at Colonus
Fri. Jan. 29 Anne Sofie von Otter, mezzo soprano
Fri. Feb. 12 ImMERCEsion: The Merce Cunningham
Dance Company
Sat. Feb. 20 Meryl Tankard Australian Dance
Theatre: Furioso
Fri. Mar. 12 Abbey Lincoln
Sat. Mar. 20 Alvin Ailey American Dance Theater
Fri. Mar. 26 Sweet Honey in the Rock
Package price $209 per couple (not including tax & gratuity) includes valet parking at the hotel, overnight accommoda?tions in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 South Main Street 734.663.5555 for reservations
Mon. Jan. 18 The Gospel at Colonus
Pre-performance dinner
Tue. Feb. 23 Kodo
Pre-performance dinner
Sun. Mar. 28 American String Quartet
Post-performance dinner
Fri. Apr. 23 Lincoln Center Jazz Orchestra
with Wynton Marsalis Pre performance dinner
Package price $60 per person includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance.
Weber's Inn
3050 Jackson Road, Ann Arbor 734.769.2500 for reservations
Thur. Jan. 28 American String Quartet
Pre-performance dinner
Thur. Mar. 11 James Galway, flute
Pre-performance dinner
Fri. Mar. 19 Alvin Ailey American Dance Theater
Pre-performance dinner
Sun. Apr. 25 NHK Symphony Orchestra of Tokyo
Post-performance dinner
Package price $139 for a single and $213 for a double, deluxe standard (Icing or queen) includes overnight stay, guaranteed reservations for a preor post-show dinner (select any entree from the special package menu, non-alcholic beverage, and dessert, includes taxes & tip) and reserved "A" seats on the main floor at the performance.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewel-
ry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 events throughout our season, wrapped and deliv?ered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarm-ing present when new friends move to town.
Make your gift stand out from the rest: call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
The UMS Card
The University Musical Society and the following businesses thank you for your generous UMS sup?port by providing you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe
Ann Arbor Acura
Ann Arbor Arts Center
Blue Nile Restaurant
Bodywise Theraputic
Massage Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc.
of Ann Arbor Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques
John Leidy Shop
John's Pack & Ship
Kerrytown Bistro
King's Keyboard House
Michigan Car Services
Paesano's Restaurant
Perfectly Seasoned
Regrets Only
Ritz Camera One Hour
Schoolkids Records
Shaman Drum Bookshop
SKR Classical
The UMS card also entitles you to 10 off your ticket purchases at seventeen other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS box office for more information.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your investment. For example, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image
Launching new products
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic
groups Making highly visible links with arts and
education programs Recognizing employees
Showing appreciation for loyal customers
For more information, call 734.647.1176
In an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary Halls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies.
Thanks to Sesi Lincoln-Mercury for the use of a Lincoln Town Car to provide transportation for visiting artists.
Advisory Committee
The Advisory Committee is a 48-member organiza?tion which raises funds for UMS through a variety of projects and events: an annual auction, the cre?ative "Delicious Experience" dinners, the UMS Cookbook project, the Season Opening Dinner, and the Ford Honors Program Gala. The Advisory Committee has pledged to donate $175,000 this current season. In addition to fundraising, this hard-working group generously donates valuable and innumerable hours in assisting with the educa?tional programs of UMS and the behind-the-scenes tasks associated with every event UMS presents. If you would like to become involved with this dynamic group, please give us a call at 734.936.6837 for information.
Group Tickets
Many thanks to all of you groups who have joined the University Musical Society for an event in past seasons, and a hearty welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years and our success is a direct result of the wonder?ful leaders who organize their friends, families, con?gregations, students, and co-workers and bring them to one of our events.
Last season over 8,300 people, from as far away as California, came to UMS events as part of a group, and they saved over $40,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events like Wynton Marsalis, Itzhak Perlman, David Daniels, Evgeny Kissin, and the Chicago Symphony Orchestra.
This season UMS is offering a wide variety of events to please even the most discriminating tastes, many at a fraction of the regular price. Imagine yourself surrounded by 10 or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling UMS Group Sales at 734.763.3100.
Ford Honors Program
The Ford Honors program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored, with subsequent honorees being Jessye Norman and Garrick Ohlsson.
This season's Ford Honors Program will be held Saturday, May 8. The recipient of the 1999 UMS Distinguished Artist Award will be announced in January.

Thank You!
Great performances--the best in music, theater and dance--are pre?sented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, who constitute the members of the Society. The list below represents names of current donors as of November 15, 1998. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this right away. The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Individuals Charlotte McGeoch Randall and Mary Pittman Herbert Sloan Paul and Elizabeth Yhouse
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical
Research University of Michigan
Arts Midwest
Lila Wallace Reader's Digest
Audiences for the Performing
Arts Network Lila Wallace Reader's Digest
Arts Partners Program The Ford Foundation Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Aetna Retirement Services Arbor TemporariesArbor Tech?nicalPersonnel Systems.Inc. Brauer Investments Elastizell Corp of America IBM
Masco Corporation McKinley Associates Mechanical Dynamics NBD Bank NSK Corporation Edward Surovell Realtors TriMas Corporation WDET WEMU WGTE WMXD
Foundations Heartland Fund Benard L. Maas Foundation John S. and James L. Knight
Foundation New England Foundation for the
Arts, Inc.
Maurice and Linda Binkow
Beverley and Gerson Geltner
Charles N. Hall
Sun-Chien and Betty Hsiao
F. Bruce Kulp and Ronna Romney
Mr. David G. LoeselCafe Marie
Robert and Ann Meredith
Marina and Robert Whitman
Bank of Ann Arbor
Blue Nile Restaurant
Butzel Long Attorneys
Cafe Marie
Deloitte & Touche
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
Sesi Lincoln-Mercury
FoundationsOrganizations Chamber Music America THE MOSAIC FOUNDATION
(ofR. &P. Heydon) Institute for Social Research
Individuals 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
Edward Surovell and Natalie Lacy
Beacon Investment Company
General Motors Corporation
National City Bank
Thomas B. McMullen Company
Weber's Inn
Individuals Martha and Bob Ause Joan A. Binkow Jim Botsford and
Janice Stevens Botsford Mr. and Mrs. William Brannan Barbara Everitt Bryant Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne Mr. Ralph Conger Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd
Mr. Edward P. Frohlich Norm Gottlieb and
Vivian Sosna Gottlieb Keki and Alice Irani Dean and Gwen Louis Paul and Ruth McCracken Murray Pitt
John and Dorothy Reed Don and
Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Loretta M. Skewes Mr. and Mrs.
John C. Stegeman Richard E. and
Laura A. Van House Mrs. Francis V.Viola III John Wagner Marion T. Wirick and James N. Morgan
Businesses AAA of Michigan Alf Sudios AT&T Wireless CFI Group Comerica
Dennis Dahlmann, Inc. Environmental Research Institute of Michigan ERIM International Inc Ideation, Inc. Joseph Curtin Studios Main Street Ventures Red Hawk Bar and Grill Regency Travel Republic Bank Target Stores Zanzibar
Foundations Ann Arbor Area
Community Foundation
Individuals Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Alf Studios
Emily W. Bandera, M.D. Peter and Paulett Banks A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreuter
Suzanne A. and
Frederick J. Beutler Ron and Mimi Bogdasarian Lee C. Bollinger and
lean 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 Andrew and Candice Mitchell Lester and Jeanne Monts Grant Moore
Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia A. Patton Moss George and Barbara Mrkonic Mr. and Mrs. Homer Neal M. Haskell and
Jan Barney Newman Mrs. Marvin Niehuss Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Joe and Karen Koykka O'Neal Constance L. and
David W. Osier Mr. and
Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and Wilbur K. Pierpont Stephen and Agnes Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Molly Resnik and John Martin Jack and Margaret Ricketts Barbara A. Anderson and
John H. Romani Gustave and Jacqueline Rosseels Dr. Nathaniel H. Rowe Rosalie and David Schottenfeld Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel Dr. Elaine R. Soller Steve and Cynny Spencer Judy and Paul Spradlin Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Don and Carol Van Curler Mary Vanden Belt Roy and JoAn Wetzel Elizabeth B. and
Walter P. Work, Jr.
The Barfield CompanyBartech Bodywise Therapeutic Massage Consulate General of the
Federal Republic of
Patton Corporation Howard Cooper, Inc. The Monroe Street Journal O'Neal Construction Charles Reinhart Company Shar Products Company Standard Federal Bank STMInc. Swedish Office of Science and
Harold and Jean Grossman
Family Foundation J. F. Ervin Foundation The Lebensfeld Foundation Montague Foundation Nonprofit Enterprise at Work Rosebud Foundation Rosalie Edwards
Vibrant Ann Arbor Sams Ann Arbor Fund
Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and
Eric Potokcr
Janet and Arnold Aronoff Max K. Aupperle Gary and Cheryl Balint Dr. and Mrs. Mason Barr, Jr. Robert and Wanda Bartlett Karen and Karl Bartscht Henry J. Bednarz Ralph P. Beebe P. E. Bennett L. S. Berlin
Mr. and Mrs. Philip C. Berry John Blankley and
Maureen Foley Charles and Linda Borgsdorf David and Sharon Brooks F. Douglas Campbell Jean W. Campbell Bruce and Jean Carlson Janet and Bill Cassebaum Tsun and Siu Ying Chang Mrs. Raymond S. Chase Don and Betts Chisholm Janice A. Clark John and Nancy Clark Leon and Heidi Cohan James and Constance Cook Mr. and Mrs. Howard Cooper Susan and Arnold Coran H. Richard Crane Alice B. Crawford Delia DiPietro and
Jack Wagoner, M.D. Charles and Julia Eisendrath Dr. Alan S. Eiser David Eklund and Jeff Green David and Lynn Engelbert Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Ronda and Ron Ferber Sidney and Jean Fine Clare M. Fingerle James and Anne Ford Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox Charles and Rita Gelman Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Joyce and Fred M. Ginsberg
4 2 Benefactors, continued
Paul and Anne Glendon
Dr. Alexander Gotz
Dr. and Mrs. William A. Gracie
Elizabeth Needham Graham
Dr. John and Renee M. Greden
Lila and Bob Green
John and Helen Griffith
Leslie and Mary Ellen Guinn
Helen C. Hall
Mr. and Mrs. Elmer F. Hamel
Robert and Susan Harris
Susan Harris
Walter and Dianne Harrison
Clifford and Alice Hart
Mr. and Mrs. E. Jan Hartmann
Taraneh and Carl Haske
Bob and Lucia Heinold
Mr. and
Mrs. Ramon Hernandez Fred and Joyce Hershenson Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and
Gaye H. Humphrey John and Gretchen Jackson Wallie and Janet Jeffries James and Dale Jerome Billie and Henry Johnson Mr. and Mrs. Richard A. Jones Stephen Josephson and
Sally Fink Susan and Stevo Julius
Robert L and Beatrice H. Kahn Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine Roby Knngler 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 Mahlbere 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 Mvrna and Newell Miller Jodn and Michelle Morris Dr. Eva L. Mueller Martin Neuliep and
Patricia Pancioli Marylen and Harold Oberman
Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. James C. O'Neill Mark and Susan Orringer Mark Ouimet and
Donna Hrozencik Shirley and Ara Paul Lorraine B. Phillips William and Betty Pierce Eleanor and Peter Pollack Stephen and Bettina Pollock Richard H. and Mary B. Price V. Charleen Price Bradley and Susan Pritts Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece La Vonne and Gary Reed Rudolph and Sue Reichert Glenda Renwick Maria and Rusty Restuccia Katherine and William Ribbens Ken Robinson Mrs. Doris E. Rowan Maya Savarino and
Raymond Tanter Sarah Savarino David and Marcia Schmidt Mrs. Richard C. Schneider Edward and Jane Schulak Howard and Aliza Shevrin Sandy and Dick Simon Scott and Joan Singer George and
Mary Elizabeth Smith Mr. and Mrs. Neil J. Sosin Allen and Mary Spivey Gus and Andrea Stager Mrs. Ralph L. Steffek Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey K. Stross Bob and Betsy Teeter James L. and Ann S. Telfer Scott Bennett Terrill Mrs. E. Thurston Thieme Marilyn Tsao and Steve Gao Sally Wacker Ellen C. Wagner Gregory and Annette Walker 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
Kerrytown Bistro
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
Perfectly Seasoned
UVA Machine
Foundations The Kennedy Center for the Performing Arts
Individuals 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 1. Bienkowski Cathie and Tom Bloem Mr. and Mrs. H. Harlan Bloomer Roger and Polly Bookwalter Gary Boren
Dr. and Mrs. Ralph Bozell Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton A. Joseph and Mary Jo Brough Olin L. Browder June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Charles and Martha i .mm II 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
M.ii i.i 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.
John and Jean Debbink
Mr. and Mrs. Jay De Lay
Louis M. DeShantz
Elizabeth Dexter
Gordon and Elaine Didier
Steve and Lori Director
Dr. and Mrs. Edward F. Domino
Thomas and Esther Donahue
Eugene and Elizabeth Douvan
Prof. William Gould Dow
Jane E. Dutton
Martin and Rosalie Edwards
Joan and Emil Engel
Susan Feagin and John Brown
Reno and Nancy Feldkamp
Carol Finerman
Herschel and Annette Fink
Mrs. Beth B. Fischer
Susan R. Fisher and
John W. Waidley Beth and Joe Fitzsimmons Jennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Doris E. Foss
Howard and Margaret Fox Ronald Fracker
Deborah and Ronald Freedman Andrew and Deirdre Freiberg Lela J. Fuester David J. Fugenschuh and
Karey Leach
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Gallcr Gwyn and Jay Gardner Professor and
Mrs. David M. Gates Steve Geiringer and Karen Bantel Thomas and Barbara Gelehrter James and Janet Gilsdorf Maureen and David Ginsburg lrwin . Goldstein and
Marty Mayo
Steve and Nancy Goldstein Enid M. Gosling Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Robert M. Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefner and
Cynthia J. Stewart Yoshiko Hamano Thomas and Connie Heffner Kenneth and Jeanne Heininger John L. and
Jacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Jack and Davetta Horner Dr. and Mrs. loseph A. Houle Linda Samuelson and
Joel Howell Ralph and Del Hulett Mrs. Hazel Hunsche Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Harold and Jean Jacobson
Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Steven R. Kalt and
Robert D. Heeren Dr. and Mrs. Mark S. Kaminski Allyn and Sherri Kantor Mr. and Mrs. Norman A. Katz Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Emily and Ted Kennedy Donald F. and Mary A. Kiel Tom and Connie Kinnear Rhea and Leslie Kish James and Jane Kister Dr. David E. and Heidi Castleman Klein Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin Bert and Catherine La Du John and Margaret Laird Mr. and Mrs. Henry M. Lapeza John and Theresa Lee Frank 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 Jeanette and Jack Miller Dr. and Mrs. James B. Miner Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A.A. Moroun
Brian and Jacqueline Morton Dr. and Mrs. Gunder A. Myran Frederick C. Neidhardt and
Germaine Chipault Steve and Christine Nowaczyk Mrs. Charles Overberger Dr. Owen Z. and
Barbara Perlman Frank and Nelly Pet rock Joyce H. and Daniel M. Phillips Roy and Winnifred Pierce William and Barbara Pierce Frank and Sharon Pignanelli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Bill and Diana Pratt
Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince 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 lames and Alison Robison Mr, and Mrs. Stephen J. Rogers Mrs. Irving Rose Dr. Susan M. Rose Gay and George Rosenwald Drs. Andrew Rosenzweig and
Susan Weinman Craig and Jan Ruff lerome M. and Lee Ann Salle Ina and Terry Sandalow Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Meeyung and Charles Schmitter Sue Schroeder Marvin and Harriet Selin Constance Sherman Alida and Gene Silverman Frances U. and Scott K. Simonds ohn 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. Shcryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Treciak Van Dam Jack and Marilyn van dcr Velde Rebecca Van Dyke William C.Vassell Kate and Chris Vaughan Carolyn and Jerry Voight Warren Herb and
Florence Wagner Wendy L. Wahl and
William R. Lee
Norman C. and Bertha C. Wait Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn
Mrs. loan D. Weber Deborah Webster and
George Miller
Marcy and Scott Westerman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitehouse Christine and Park Willis Thomas and Iva Wilson Charlotte Wolfe Mr. 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. General Systems
Consulting Group Jenny Lind Club of Michigan, Inc. John Leidy Shop, Inc. Scientific Brake and Equipment
Company Swedish American Chamber
of Commerce
The Sneed Foundation, Inc.
Inn and Jamie Abclson John K. Adams Tim and Leah Adams Irwin P. Adclson, M.D. Michihiko and Hiroko Akiyama Mr. and Mrs. Gordon E. Allardyce Mike Allemang James and Catherine Allen Richard and Bettyc Allen Nick and Marcia Alter Richard Amdur Helen and David Aminoff Dr. and Mrs. Charles T. Anderson Catherine M. Andrea Timothy and Caroline Andresen Dr. and Mrs. Dennis L. Angellis Elaine and Ralph Anthony Bert and Pat Armstrong Thomas J. and Mary E. Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Dwight Ashley
Mr. and Mrs. Dan E. Atkins III Eric M. and Nancy Aupperle Erik and Linda Lee Austin Eugene and Charlenc Axclrod Shirley and Don Axon Virginia and Jerald Bachman Lillian Back Jane Bagchi
Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia [ lunar Bailey Robert L Baird Bill and Joann Baker Dennis and Pamela (Smitter) Baker Laurence R. and Barbara K. Baker Maxine and Larry Baker Drs. Helena and Richard Balon John R. Bareham David and Monika Barera
44 Advocates, continued
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Sherri H. Barnes
Donald C. Barnette, Ir.
Mark and Karla Bartholomy
Rosemaric Bauer
lames M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert M. Beckky and Judy Dinesen Nancy Bender Walter and Antjc Benenson Harry and Betty Benford Merete and Eriing Blonda] Bengtsson Bruce Bcnner loan and Rodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Barbara Levin Bergman Minnie Berki
Abraham and Thelma Berman Harvey and Shelly Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bertcher R. Bezak and R. Halstead lohn and Marge Biancke Irene Biber Eric and Doris Billcs lack and Anne Birchfield William and Ilene Birge Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh George and Joyce Blum Beverly J. Bole Catherine I. Bolton Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonnell Ed and Luciana Borbely Lola J. Borchardt Jeanne and David Bostian Bob and Jan Bower Dean Paul C. Boylan C. Paul and Anna Y. Bradley Enoch and Liz Brater Professor and Mrs. Dale E. Briggs Patrick and Kyoko Broderick Dr. and Mrs. Ernest G. Brookfield Linda Brown and Joel Goldberg Cindy Browne Mary and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Isabel Buckner Dr. Frances E. Bull Margaret and John Burch Marilyn Burhop Judy and Bill Butler Robert A. Sloan and Ellen M. Byerlein Patricia M. Cackowski, M.D. Joanne Cage
Louis and Janet Callaway H. D. Cameron Jenny Campbell (Mrs. D.A.) Michael and Patricia Campbell Robert and Phyllis Carlson James and Jennifer Carpenter Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Dr. and Mrs. Joseph C. Cerny William and Susan Chandler J. Wehrley and Patricia Chapman Joan and Mark Chesler 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 Coffcy Alice S. Cohen
Hubert and Ellen Cohen
Hilary and Michael Cohen
Howard and Vivian Cole
Mr. and Mrs. Michael F. Collier
Ed and Cathy Colone
Edward I. and Anne M. Comeau
Carolyn and L Thomas Conlin
Patrick and Anneward Conlin
Nan and Bill Conlin
Thomas Conner
Donald W. Cook
Gage R. Cooper
Robert A. Cowles
Clifford and Laura Craig
Marjorie A. Cramer
Dee Crawford
Richard and Penelope Crawford
Charles and Susan Cremin
George H. and Connie Cress
Mary C. Crichton
Lawrence Crochicr
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
Marylee Dalton
Robert and Joyce Damschroder
Lee and Millie Danielson
Jane and Gawaine Dart
Stephen Darwall and
Rosemarie Hester Sunil and Merial Das DarLinda and Robert Dascola Ruth E. Datz
Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge David and Kay Dawson Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Penny and Laurence B. Deitch Elena and Nicholas Delbanco William S. Demray Lloyd and Genie Dethloff Don and Pam Devine Elizabeth and Edmond DeVine A. Nelson Dingle Dr. and Mrs. Edward R. Doezema Jean Dolega
Heather and Stuart Dombey Fr. Timothy J. Dombrowski 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 R.iimi Robert and Connie Dunlap Edmund and Mary Durfee John W. Durstine Charlotte K. Eaton Jacquelynne S. Eccles Elaine Economou and
Patrick Conlin Mr. and Mrs. Richard Edgar Sara and Morgan Edwards Judge and Mrs. S. J. Elden Sol and Judith Elkin Julie and Charles Ellis Ethel and Sheldon Ellis James Ellis and Jean Lawton Jack and Wylma Elzay Michael and Margaret Emlaw Mackenzie and Marcia Endo Jim and Sandy Eng Patricia Enns
Carolyne and Jerry Epstein Karen Epstein and
Dr. Alfred Franzblau Mr. and Mrs. Frederick A. Erb Stephen and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald F. Eschman
Eric and Caroline Ethington
Barbara Evans
Mr. and Mrs. Robert B. Fair, Jr.
Barbara and Garry C. Faja
Mark and Karen Falahee
Elly and Harvey Falit
Thomas and Julia Falk
Edward Farmer
Mr. and Mrs. H. W. Farringlon, Jr.
Walter Federlein
Inka and David Felbeck
Phil and Phyllis Fellin
Larry and Andra Ferguson
Karl and Sara Fiegenschuh
Clay Finkbeiner
C. Peter and Bev A. Fischer
Gerald B. and Catherine L. Fischer
Dr. Lydia Fischer
Patricia A. Fischer
Charles W. Fisher
Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
Barbara and James Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
Mr. and Mrs. Kurt Flosky
David and Ann Flucke
Maureen Forrest, M. D. and
Dennis Capozza Dr Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and Joann Freethy Gail Fromes Jerry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Lois W. Gage Jane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and Jack Garris C Louise Garrison Mr. James C. Garrison Janet and Charles Garvin Allan and Harriet Gelfond Mrs. Jutta Gerber Deborah and Henry Gerst Michael Gerstenberger W. Scott Gerstenberger and Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gtkas Mr. Harlan Gilmore Beverly Jeanne Giltrow llan 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 J. Gribble Mark and Susan Griffin Werner H. Grille 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 Hackctt Mrs. William HaTstead Mrs. Frederick G. Hammitt Dora E. Hampel Lourdcs 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 loan Harris Robert and Jean Harris Jerome P. Hartweg Elizabeth C. Hassinen Ruth Hastie
[ames B. and Roberta Hause Jeannine and Gary Hayden Mr. and Mrs. Edward J. Hayes Derek and Crtstina Heins Mrs. Miriam Heins Itm 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 lames C. Hitchcock lane and Dick Hocrncr Anne Hoff and George Villec Robert and Frances Hoffman Carol and Dieter Hohnke John and Donna Hollowcll Howard L. and Pamela Holmes Ken and Joyce Holmes Hisato and Yukiko Honda Arthur G. Horner, Jr. Dave and Susan Horvath Dr. Nancy Houk Dr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C. Hubbs Charles T. Hudson Hubert and Helen Huebl Harry and Ruth Huff Mr. and Mrs. William Hufford Jane Hughes
Joanne Winkleman Hulce Kenneth Hulsing Ann D. Hungerman Mr. and Mrs. David Hunting Russetl 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. Jahnckc Robert and Janet James Professor and Mrs. Jerome Jelmek 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 Juster Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Thomas and Rosalie Karunas Alex F. and Phyllis A. Kato Nick and Meral Kazan
Julia and Philip Kearney
William and Gail Kcenan
Janice Keller
fames A. Kelly and Mariam C. Noland
John B. Kennard
Bryan Kennedy
Frank and Patricia Kennedy
Linda Atkins and Thomas Kenney
Paul and Leah Kileny
Icannc M. Kin
William and Betsy Kincaid
Paul and Dana Kissner
Shira and Steve Klein
Drs. Peter and Judith Kleinman
John and Marcia Knapp
Mr. and Mrs. Jack Knowles
Patricia and Tyrus Knoy
Shirley and Glenn Knudsvig
Rosalie and Ron Koenig
Ann Marie Kotrc
Dick and Brenda Krachenberg
Jean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krehbiel
Sara Kring
Alan and Jean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
lane Laird
Mr. and Mrs. Seymour Lampert
Henry and Alice Landau
Pamela and Stephen Landau
Patricia M. Lang
Marjorie Lansing
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 Leong Margaret ?. Leslie Richard LeSueur David E. Levine George and Linda Levy Donald J. and Carolyn Dana Lewis Judith Lewis Norman Lewis Thomas and udy Lewis Mark Lindiey 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. Lovcll Donna and Paul Lowry Pamela and Robert Ludolph Mr. and Mrs. Carl J. Lutkehaus Susan E. Macias Lois and Alan Macnee 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 Jean Manis Pearl Manning Howard and Kate Market Lee and Greg Marks Alice and Bob Marks Frederick, Deborah and
lames Marshall Rhoda and William Martel Ann W. Martin Rebecca Martin Debra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard
Michcline Maynard
LaRuth McAfee
Dores M. McCree
Jeffrey T. McDole
James and Kathleen McGauley
Eileen Mclntosh and
Charles Schaldenbrand Bruce H. and Natalie A. Mclntyre Mary and Norman Mclver Bill and Ginny McKeachie Daniel and Madelyn McMurtrie Nancy and Robert Meader Robert and Doris Melling Allen and Marilyn Menlo Hely Merle-Benner Jill McDonough and
Greg Merriman Julie and Scott Merz Henry D. Messer Carl A. House Robert and Bettie Metcalf Lisa A. Mets
Professor and Mrs. Donald Meyer Suzanne and Henry J. Meyer Francis and Helen Michaels William and Joan Mikkelsen Carmen and Jack Miller Robert Rush Miller John 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 Marci Mulligan and
Katie Mulligan Laura and Chuck Musil Rosemarie Nagel Penny H. Nasatir Isabelle Nash Susan and Jim Newton )ohn and Ann Nicklas 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 1. Operhall Dr. Jon Oscherwitz Mitchel Osman, M.D. Elisa A. iKt ,ii m 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. Pawclski Edward J. Pawlak Sumer Pek and Marilyn Katz-Pek Dr. and Mrs. Charles H. Peller Donald and Edith Pclz William A. Penner, )r. Steven and Janet Pepe Bradford Perkins Susan A. Perry Ann Marie Petach Margaret and lack 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
Ernst Pulgram
Malayatt Rabindranathan
Patricia Randlc and James Eng
Al and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Rasmussen
Maxwell and Marjorie Rcadc
Michael Ready
Gabriel M. Rebeiz
Katherine R. Reebel
Stanislav and Dorothy R. Rehak
John and Nancy Reynolds
James and Helen Richards
Elizabeth G. Richart
Dennis J. Ringlc
Sylvia Cedomir Ristic
Kathleen Roelofs Roberts
Dave and Joan Robinson
Janet K. Robinson, Ph.D.
Mary Ann and Willard Rodgers
Thomas and Catherine Rodziewicz
Mary F. Loeffler and Richard K. Rohrer
Damian Roman
Elizabeth A. Rose
Bernard and Barbara Rosen
William and Elinor Rosenberg
Richard Z. and Edie W. Rosenfeld
Charles W. Ross
Dr. and Mrs. Raymond W. Ruddon
Dr. and Mrs. Robert Ruskin
Bryant and Anne Russell
Scott A. Ryan
Mitchell and Carole Rycus
Ellen and Jim Saalbcrg
Theodore and Joan Sachs
Arnold SamerorT and Susan McDonough
Miriam S. Joffe Samson
Tito and Yvonne Sanchez
Daren and Maryjo Sandberg
John and Reda Santinga
Mike and Christi Savitski
Helga and Jochen Schacht
Chuck and Mary Schmidt
Courtland and Inga Schmidt
Elizabeth L. Schmitt
Charlene and Carl Schmult
Gerald and Sharon Schreiber
David E. and Monica N. Schteingart
Albert and Susan Schultz
Aileen M. Schulze
Alan and Marianne Schwartz-Schwartz Family Fdtn.
Ed and Sheila Schwartz
Ruth Scodel
Jonathan Bromberg and Barbara Scott
David and Darlene Scovell
E. J. Sedlander
John and Carole Segall
Richard A. Seid
Suzanne Selig
Janet C. Sell
Louis and Sherry L. Senunas
George H. and Mary M. Sexton
Ruth and J. N. Shanbergc
Brahm and Lorraine Shapiro
Matthew Sharipo and Susan Garetz
David and Elvera Shappirio
Maurice and Lorraine Sheppard
Dan Sherrick and Ellen Moss
Rev. William J. Sherzer
George and Gladys Shirley
Jean and Thomas Shope
Hollis and Martha A. Showaiter
Mary Alice Shulman
John Shultz
Ned Shure and Jan Onder
John and Arlene Shy
Douglas B. Siders, M.D.
Dr. Bruce M. Siegan
Mr. and Mrs. Barry J. Siege!
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
Inn.i). Sklenar
Beverly N. Slater
Tad Slawecki
I. Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
James A. Somers
Judy Z. Somers
Mr. and Mrs. Edward ). Sopcak
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Shawn Spillanc
Charles E. Sproger
Edmund Sprunger
Mary Stadel
Burnette Staebler
David and Ann Staiger
Constance Stankrauff
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Ronald R. Stempien
William and Georgine Steude
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
Ellen M. Strand and Dennis C Regan
Mrs. William H. Stubbins
Dr. and Mrs. Samuel Stulberg
Donald and Barbara Sugerman
Richard and Diane Sullivan
Ear! 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
Bette M. Thompson
Peggy Tieman
Mr. and Mrs. W. Paul Tippett
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townley
Jim Toy
Angie and Bob Trinka
Sarah Trinkaus
Luke and MerlingTsai
Marlene C. Tulas
Jeff and Lisa Tulin-Silver
Jan and Nub Turner
Dolores J. Turner
William H. and Gerilyn K. Turner
Alvan and Katharine Uhle
Mr. and Mrs. Bryan D. Ungard
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Hugo and Karla Vandersypen
Bram and Lia van Leer
Fred and Carole S. Van Reesema
Yvette VanRiper
J. Kevin and Lisa Vasconi
Phyllis Vegter
Sy and Florence Veniar
Elizabeth Vetter
Martha Vicinus and Bea Nergaard
Jane and Mark Vogel
Mr. and Mrs. Theodore R. Vogt
John and Jane Voorhorst
Jerry Waldcn and
Julia Tiplady-Walden George S. and Lorraine A. Wales Richard and Mary Walker Drs. Philip Warren and Marica Lucia Pinzon Lorraine Nadelman and
Sidney Warschausky Edward C. Weber Mr. and Mrs. Roy Weber
4 6 Advocates, continued
Jack and Jerry Weidcnbach
Carolyn . Weigle
Gerane and Gabriel Weinreich
Lawrence A. Weis
Donna G. Weisman
Barbara Weiss
Carol Campbell Welsch and
lohn Welsch
John and Joanne Werner Rosemary and David Wesenberg Tim and Mim Westcrdale Ken and Cherry Westerman Susan and Peter Westerman Mr. and Mrs. Nathaniel Whiteside William and Cristina Wilcox Honorable Kurtis T. and
Cindy M. Wilder Reverend Francis E. Williams John Troy Williams Shelly F. Williams Lois Wilson-Crabtree Beverly and Hadley Wine Dr and Mrs Jan Z Winkelman Beth and I. W. Winsten Mr. and Mrs. Eric Winter lames H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten leffrey 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 & Associates Bodywise Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Garris, Garris, Garris &
Garris Law Office Kupelian Ormand & Magy, P. C. Lewis Jewelers Mundus & Mundus, Inc. Organizational Designs Pen in Hand
Staples Building Company SWEA Inc. Zepeda and Associates
Schwartz Family Foundation
Vie Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great traditions of the Society in the future.
Carol and Herb Amster Mr. Neil P. Anderson Catherine S. Arcure Mr. and Mrs. Pal E. Barondy Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and Constance M. Kinnear
Dr. Eva Mueller
Charlotte McGeoch
Lcn and Nancy Niehoff
Dr. and Mrs. Frederick O'Dell
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Herbert Sloan
Roy and JoAn Wetzel
Mr. and Mrs. Ronald G. Zollars
AAA Michigan
All Studios
Arbor TemporariesPersonnel
Systems Inc.
Bank of Ann Arbor
Barfield CompanyBartech
Beacon Investment Company
Blue Nile Restaurant
Brauer Investments
Butzel Long Attorneys
CF1 Group
Charles Reinhart Company Realtors
Deloittc & Touche
Elastizell Corporation
Environmental Research Institute
of Michigan
ERIM International
Hirst of America Bank
Forest Health Services Corporation
Ford Motor Company
General Motors Corporation
Howard Cooper, Inc.
Joseph Curtin Studios
Main Street Ventures
Masco Corporation
McKinley Associates
Mechanical Dynamics
Miller, Canfield, Paddock and Stone
NBD Bank
NSK Corporation
O'Neal Construction
The Paideia Foundation
Parke-Davis Pharmaceutical
Pepper, Hamilton & Scheetz Red Hawk Bar & Grill Regency Travel Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science and
Technology Target Stores Edward Surovell Realtors Thomas B. McMullen Company Weber's Inn Zanzibar
John H. Bryant Margaret Crary Mary Crawford George R. Hunsche Alexander Krezel, Sr. Kathcrine Mabarak Josip Matovinovic Frederick C. Matthaei, Sr. Glenn D. McGeoch
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powrie
Sleffi Reiss
Ralph L Steffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBelt
Francis Viola III
Peter Holderness Woods
Helen Ziegler
Bernard and Ricky Agranoff
Gregg Alf
MariAnn Apley
Arbor Hills Hair & Body Salon
Catherine Arcure
Bella La Vie
Kathleen Bcnton
Maury and Linda Binkow
Bob Caron's Golf Shop
Edith Leavis Bookstein &
The Artful Lodger Janice Stevens Botsford The Boychoir of Ann Arbor Barbara Everitt Bryant leannine Buchanan 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 i ' mini Travel Karin Wagner Coron Dr. and Mrs. Ronald Crcsswell 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 Bodywisc Therapeutic Massage Dan Huntsberger Iguanaworks, Inc. Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa John Shultz Photography John Sloan Painting John's Pack & Ship Mercy and Stephen Kasle Kerrytown Market & Shops King's Keyboard House Ed Klum U of M Golf Course Sam Knecht Bruce and Ronna Romncy Kulp
Laky's Salon
Bernice Lamcy
Maxine Larrouy
Carole Lasscr
Learning Express
Kathleen Letts
Letty's Ltd.
Doni Lystra
Stephanie Lord
Esther Martin
Mary Matthews
Elizabeth McLeary
leanne and Ernest Mcrlanti
Michigan Car Services, Inc.
Moe Sport Shops
Robert and Melinda Morris
Nicola's Books Little Professor
Off the Wall Designs
Christine Oldenburg
Karen O'Neal
Mary Pittnian
R. Jeffrey Lamb Photography
Pat Poolcy
leva Rasmussen
Rebecca's Studio
Regrets Only
Nina Hauscr Robinson
Anne Rubin
Maya Savarino
Peter Savarino
Sarah Savarino
Ann and Tom Schriber
Grace Schackman
Mike and )an Shatusky
Ingrid Sheldon
Grace Singleton
Loretta Skewes
Herbert Sloan
Irving and Carol Smokier
Steve and Cynny Spencer
Edward Surovell
Sweet Lorraine's
Bengt and Elaine Swcnson
Raymond Tantcr
TIRA's Kitchen
Tom Thompson Flowers
Susan Ullrich
Andrea Van Houweling
Eric Wapnick
Emil Weddige & the Craig Gallery
West End Grill
Robert and Marina Whitman
The Window Design Studio
Elizabeth Yhousc
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
Advertiser Index
Ann Arbor Acura
Ann Arbor Reproductive
Medicine Ann Arbor Symphony
Arborcrest Memorial Park Arriba Associated General
Azure Mediterranean Grille Bank of Ann Arbor Beresh Jewelers Bodman, Longley, and
Dahling Butzel Long Charles Reinhart Co. Chelsea Community
Chris Triola Gallery Comerica Bank Dobbs Opticians Dobson-McOmber Edward Surovell Realtors Emerson School ERIM International Ford Motor Company Foto 1
Fraleigh's Nursery Glacier Hills Harmony House Harris HomesBayberry
Construction Howard Cooper Imports Individualized Home Care
47 Jim Bradley PontiacGMC Saturn
24 Kerrytown Bistro
28 King's Keyboard House
15 KeyBank
50 John Leidy Shops, Inc. 11 Lewis Jewelers
30 McGlynn & Gubbins Attorneys
32 Miller, Canfield, Paddock,
and Stone
52 Mir's Oriental Rugs
26 Mundus & Mundus
2 NBD Bank
3 Nina Howard Spa & Gifts
38 Pen in Hand
27 Performance Network 26 Quinn Evans Architects 19 Red HawkZanzibar
17 SKR Classical
35 Sweet Lorraine's
48 Sweetwaters Cafe 3 Ufer and Co.
42 U-M Matthaei Botanical
37 University Productions
13 Wexford Homes
51 Whole Foods

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