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UMS Concert Program, Sunday Apr. 01 To 14: University Musical Society: Winter 2001 - Sunday Apr. 01 To 14 --

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Season: Winter 2001
University Of Michigan, Ann Arbor

university musical society
University of Michigan, Ann Arbor
winter 2001 season
university musical society
University of Michigan Ann Arbor
?UMS services
Letter from the President Letter from the Chair Corporate LeadersFoundations ; UMS Board of Directors UMS Senate
Advisory Committee ;__
UMS Staff
UMS Teacher Advisory Committee
General Information Tickets jj
Group Tickets ! Gift Certificates The UMS Card
UMS History ? ? ???!
UMS Choral Union AuditoriaBurton Memorial Tower
UMSexperience 29 The Winter 2001 UMS Season
i Education & Audience Development
r Dining Experiences
BRAVO! ........
7 Restaurant & Lodging Packages
I UMS Preferred Restaurant Program
i UMS Delicious Experiences
"U1;I O& UMS support 45 Advisory Committee
i Sponsorship & Advertising
7 InternshipsCollege Work-Study
Ushers i Membership
UMS Advertisers '???.,
Frsnt Coven Marie Morris Dance Group (Marc Royce), Charles Hindus, Fiana led performs the rales af Jaan af Arc and Queen Margaret In the Hayal Shakespeare Campans Histary Plays.
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I 'm delighted to welcome you to this performance presented by the University Musical Society (UMS) of the University of Michigan. Thank you for supporting the performing arts in our community by your attendance at this event. Please consider coming to some of our other performances this season. You'll find a complete listing beginning on page 29.
I am particularly excited about the three-week residency of the Royal Shakespeare Company in March 2001. Three years in development, the RSC residency represents the largest international project ever under?taken by UMS in our 122-year history. UMS is especially grateful for the personal interest and involvement of University of Michigan President Lee C. Bollinger and for the leading financial support of the University of Michigan and the State of Michigan in this historic project. The presentation of William Shakespeare's History Plays, along with the extensive educational programs that sur?round the performances, takes place only in Ann Arbor and in Stratford-upon-Avon and London in England. We are pleased to welcome theater lovers from all over North America who are taking advantage of this exclusive US presentation in our community.
It takes a large group of dedicated and tal?ented people to put bring you the Royal Shakespeare Company and the other world-
renowned artists and ensembles that have been part of UMS' tradition since 1879. I'm privileged to work with an outstanding Board of Directors, Senate, Advisory Committee, and staff, all of whom are listed on pages 14-15. In addition, UMS works with more than 500 volunteers who serve in our dedicated usher corps, sing in our outstanding Choral Union, and assist us with many of our programs, especially our Youth Education Program.
It is the UMS staff (see photo) who works day in and day out to assure that you are able to see and hear the world's best performing artists. The programming staff, led by Michael Kondziolka, works with artists and artists' managers to design a diverse, exciting, and high-quality season, which this year fea?tures over ninety performances. The produc?tion staff, led by Gus Malmgren, looks after the well-being of our artists and, working with an outstanding group of local stagehands, assures that each performance looks great and runs smoothly. The education and audi?ence development staff, led by Ben Johnson, designs and manages more than 200 events, working with nearly 100 community partners to enhance the audiences' understanding and appreciation of our artists and their work. People learn about our programs through many different media, thanks to the efforts of our marketing staff, led by Sara Billmann, which last year oversaw an all-time record in ticket sales for UMS. Our box office staff, led by Michael Gowing, has a well-deserved rep-
utation of providing outstanding personal?ized service. Our finances, computer systems, human resources, and office management are under the purview of our administrative staff, led by John Kennard. Finally, there is the development staff, led by Christina Thoburn, which must raise nearly half of UMS' budget this year to supplement our income from ticket sales and which has never failed to exceed their ambitious goals in each of the last ten years.
I feel extremely fortunate to work with this outstanding team of colleagues, whom many leaders in our field consider to be the finest
staff of any performing arts presenting : organization in the country. I hope you will have a chance to get to know members of this exceptional group of people, who delight in their opportunity to serve you and the other members of the UMS family.
If you would like to learn more about UMS, let me suggest that you purchase a copy of Bravo!, a popular, high-quality 224-page cookbook that includes recipes, legends, and lore from our long history. For more infor?mation and to place an order, see page 37.
I'd like to know your thoughts about this performance. I'd also like to learn from you
about anything we can do at UMS to make your performance experience the best possi?ble. If we don't see each other in the lobby, feel free to call my office at 734.647.1174, drop me a note, or send me an e-mail message at ....
Kenneth C. Fischer President
W "
n behalf of the UMS Board of Directors, I am delighted to welcome you to the Winter 2001 season. With world-renowned performers bringing their artistry to our stages, new community partnerships enhancing our programs, and our ever-
expanding educational activities serving thou?sands of students and teachers throughout southeastern Michigan, it is the most exciting and comprehensive season in our 122-year history.
As we enjoy tonight s performance, we want to recognize and thank the many indi?viduals, companies, organizations and foun?dations whose support makes this extraordi?nary season possible. In contributing to UMS, these donors, including the corporate leaders listed on the following pages, have publicly recognized the importance of the arts in our community. They have demon?strated their commitment to the quality of life in our area, and helped create new educa?tional opportunities for students and audi?ences of all ages and backgrounds.
So, as we applaud tonight's performers, please join all of us at UMS in applauding our many generous contributors. They are playing an important role in the artistic life of our community, and we are truly grateful for their support.
i Sincerely, '
Beverley Geltner ---------------
Chair, UMS Board of Directors
Don Macmillan President Alcan Global Automotive Solutions 'For 122 years, the University Musical Society has engaged and enriched our community with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President Ann Arbor Acura, Hyundai, Mitsubishi
"We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Larry Weis President AutoCom Associates "AutoCom Associates is a strong supporter of the University Musical Society one of North America's leading presenters of
the performing arts. Along with our corpo?rate public-relations
clients, we re proud to partner with UMS in bringing the arts,, to appreciative audiences in .. southeastern Michigan."
William Broucek --
President and CEO Bank of Ann Arbor "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrichment that the University Musical Society brings to our community."
Jorge A. So Ms
Senior Vice President Bank One, Michigan "Bank One, Michigan is honored to share in the University Musical Society's proud tradi?tion of musical excellence and artistic diversity."
Habte Dadi Manager Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organi-
zation 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 support the University Musical Society in bringing great music to our community."
David G. Loesel President T.M.L Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor and a priv?ilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine IBS tradition of artistic talents." '"''
Clayton Wilhite
Managing Partner CFI Group, Inc.
"Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Charles Hall
C. N. Hall Consulting "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and par?ticipate in song. Thank you."
Eugene Miller
Chairman and CEO Comerka Incorporated 'Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradition of excellence, and their commit?ment to the presentation of arts and promotion of arts education."
S. Martin Taylor Sr. Vice President, Corporate & Public Affairs and President Detroit Edison Foundation 'The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mission of enhancing south?eastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton
Global Vice President Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long?standing support of the arts that enrich all our lives."
Edward Surovell President Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
John M. Rintamaki Group Vice President, Chief of Staff Ford Motor Company "We believe, at Ford Motor Company, that the arts speak a universal language that can edu?cate, inspire, and bring people, cultures and ideas together. We invest in the long-term develop?ment of our arts and educational initiatives. We continue to sup?port the University Musical Society and the enriching pro?grams that enhance the lives of today's youth."
Donald Spends Senior Vtce
President, Sales & Marketing ? GKN Sinter Metals "GKN Sinter Metals is pleased to support the University Musical Society's arts programs. The
quality of the music, dance and theatrical offerings is superb, and
greatly enhances the cultural life of our community."
Joseph Borruso
President and CEO Hella North America, Inc. Hella North America is delight?ed to support the University Musical Society. As our compa?ny's roots are in Germany, we especially appreciate that UMS brings so many great interna?tional artists to this area."
Scott Ferguson Regional Director Hudson's
Hudson's is committed to sup?porting arts and cultural organi?zations because we can't imagine a world without the arts. We are delighted to be involved with the University Musical Society as they present programs to enrich, educate and energize our diverse community."
William S. Hann President KeyBank
'Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
Richard A. Manoogian
Chairman and CEO '. Masco Corporation 'We at Masco applaud the University Musical Society's contributions to diversity in arts programming and its efforts to enhance the quality of life in our community."
Ronald Weiser Viil!
Chairman and CEO McKinley Associates, Inc. 'The arts make our community a vibrant place to live and work. No one contributes more to that than UMS, with its innova-
tive cultural offerings and
education for all ages. McKinley is proud to play a 'supporting role' in these time-honored efforts."
Erik H. Serr Principal Miller, Canfield, Paddock and Stone, P.L.C.
'Miller, Canfield, Paddock and Stone is particularly pleased to! support the University Musical; Society and the wonderful 1 cultural events it brings to our community." I
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." j
Joe O'Neal President O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University H Musical Society's efforts to bring the finest artists and special events to our community."
Michael Staebler Partner Pepper Hamilton LLP "Pepper Hamilton congratulates the University Musical Society for providing quality perform?ances in music, dance and the-
ater to the diverse community that makes up southeastern
Michigan. It is our pleasure to be among your supporters."
Jeanne Merlanti President Personnel Systems, Inc. Arbor Technical Staffing Arbor Temporaries, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that by supporting UMS, I am helping perpetuate the tradition of bringing out?standing musical talent to the community and also providing education and enrichment for our young people."
Peter B. Corr, Ph.D. Senior Vice President, Pfizer, Inc.; Executive Vice President, Pfizer Global Research & Development; President, Worldwide Development "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: excellence, diversity and quality. Pfizer is proud to support the University Musical Society for our community and our Pfizer colleagues."
Kathleen G. Charla Consultant Russian Matters
"Russian Matters is pleased and honored to support UMS and its great cultural offerings to the community."
Joseph Sesi President
Sesi Lincoln Mercury
'The University Musical Society
is an important cultural asset for
our community. The Sesi Lincoln
Mercury team is delighted to
sponsor such a fine organization."
Thomas B. McMullen President Thomas B. McMullen Co., Inc. 'I used to feel that a U of M -Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational entertain-
James Davis President TI Group Automotive Systems "The University Musical Society and its diverse roster of terrific performances is one of the things that makes southeastern Michigan a great place to live and do business. TI Group Automotive Systems is proud to support it."
Dr. James R. Irwin
Chairman and CEO Wolverine Technical Staffing, Inc. "For more than sixteen years our support of the University Musical Society has been in grateful appreciation of these UMS concepts: world-class programs, extremely dedicated volunteer involvement, and thoroughly committed profes?sional staff. Congratulations to UMS as it continues to enrich our wonderful Ann Arbor community."
UMS gratefully acknowledges the support of the following foundations and government agencies.
Ann Arbor Area Community
Foundation Arts Midwest Chamber Music America Community Foundation for
Southeastern Michigan Detroit Edison Foundation JazzNetDoris Duke Charitable
Foundation Erb Foundation J. F. Ervin Foundation The Ford Foundation Harold and Jean Grossman
Family Foundation The Heartland Arts Fund Hudson's Community Giving Elizabeth E. Kennedy Fund KMD Foundation The Lebensfeld Foundation
Michigan Council for Arts
and Cultural Affairs Mid-America Arts Alliance Montague Foundation The Mosaic Foundation
(of R. & P. Heydon) National Endowment
for the Arts New England Foundation
for the Arts The Power Foundation The Shiftman Foundation The Sneed Foundation, Inc. State of Michigan--Arts and
Quality of Life Grant Program The Texaco Foundation Vibrant of Ann Arbor Wallace-Reader's Digest Funds
of the University of Michigan
Beverley B. Geltner,
Chair Lester P. Monts,
Vice-Chair Len Niehoff,
Secretary David Featherman,
Treasurer Lee C. Bollinger
Janice Stevens Botsford Barbara Everitt Bryant Kathleen G. Charla Jill A. Corr Peter B. Corr William S. Hann Toni Hoover Alice Davis Irani Gloria James Kerry
Leo A. Legatski Helen B. Love Barbara Meadows Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman Rossi Ray-Taylor Prudence L. Rosenthal
Maya Savarino i Erik H. Serr Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Clayton Wilhite Karen Wolff Elizabeth Yhouse
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Paul C. Boylan Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
Robert F. DiRomualdo James J. Duderstadt Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy
Thomas C. Kinnear F. Bruce Kulp Earl Lewis Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten Joe E. O'Neal John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed
Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smolder Lois U. Stegeman Edward D. Surovell Susan B. Ullrich Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Marina v.N. Whitman Iva M. Wilson
Robert Morris, Chair Sara Frank, Vice-Chair Louise Townley,
SecretaryTreasurer Raquel Agranoff Martha Ause Barbara Bach Lois Baru Kathleen Benton Mimi Bogdasarian Victoria Buckler Barbara Busch Laura Caplan Cheryl Cassidy Patrick Conlin
Elly Rose Cooper
Nita Cox
Mary Ann Daane
Norma Davis
Lori Director
Betty Edman
Michael Endres
Andra Bostian Ferguson
Nancy Ferrario
Penny Fischer
Anne Glendon
Maryanna Graves
Linda Greene
Karen Gundersen
Nina E. Hauser
Kathy Hentschel Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Mary Matthews Ingrid Merikoski Ernest Merlanti Jeanne Merlanti Candice Mitchell Nancy Niehoff
Mary Pittman leva Rasmussen Meeyung Schmitter Penny Schreiber Sue Schroeder Meg Kennedy Shaw Aliza Shevrin Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Sally Stegeman Bryan Ungard Suzette Ungard Wendy Woods
Joan Singer
Sue Sinta
Grace Sweeney
Sandy Trosien
Melinda Trout
Sally Vandeven
Barbara Wallgren
Jeanne Weinch
Administration Finance
Kenneth C. Fischer,
President Deborah S. Herbert,
RSC Residency
Coordinator Elizabeth E. Jahn,
Assistant to
the President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Box Office
Michael L. Gowing,
Laura Birnbryer, Staff Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Choral Union
Thomas Sheets,
Conductor Andrew Kuster,
Associate Conductor Jean Schneider-Claytor,
Accompanist Kathleen Operhall,
Donald Bryant, Conductor Emeritus
Christina Thoburn,
Director Mary Dwyer, Manager
of Corporate Support Karen Meske, Advisory
Committee and Events
Coordinator Lisa Michiko Murray,
Manager of
Foundation and
Government Grants J. Thad Schork, Direct
Mail, Gift Processor Anne Griffin Sloan,
Assistant Director -
Individual Giving
Development Ben Johnson, Director Kristin Fontichiaro,
Youth Education
Manager ,
Dichondra Johnson,
Coordinator Warren Williams,
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter, Coordinator ,
Ryonn Clute,
Coordinator Gulshirin Dubash,
Public Relations
Production and Special Projects
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jerica L. Humphrey,
Coordinator Production Supervisors
Eric Bassey
Mary Cannon
Steven Jarvi Usher Supervisors
Paul Jomantas
Bruce Oshaben Head Ushers
Ken Holmes
Joyce Holmes
Brian Roddy
Sanjay Pavipati
Nancy Paul
Edward Szabo
Michael J. Kondziolka,
Director Mark Jacobson, Manager
Work-Study Erika Banks Megan Besley Eric Blanchard Jo Chen Patricia Cheng Patrick Elkins Christine Field Mariela Flambury Milena Gruber David Her Benjamin Huisman Laura Kiesler Dawn Low Kathleen Meyer Rossalyn Quaye Rosie Richards Jennifer Salmon Angela Sitz Corey Triplett Sean Walls
Helene Blatter Erin Dahl Angela Dixon Robert Frey Shaila Guthikonda Michael Steelman Ryan Suit Shauna Voltz
President Emeritus
Gail W. Rector
Fran Ampey Kitty Angus Alana Barter Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug and
Nancy Cooper Naomi Corera Gail Davis Barnes Gail Dybdahl Keisha Ferguson Doreen Fryling ; Brenda Gluth Louise Gruppen Vickey Holley Foster31"
Taylor Jacobsen Callie Jefferson Deborah Katz Deb Kirkland Rosalie Koenig David Leach Rebecca Logic Dan Long Laura Machida Ed Manning
Glen Matis Kim Mobley Ken Monash Eunice Moore Amy Pohl Rossi Ray Taylor Gayle Richardson Katy Ryan Karen Schulte Helen Siedel .
loan Singer Sue Sinta Grace Sweeney Sandy Trosien Mclinda Trout Sally Vandeven Barbara Wallgren Jeanne Weinch
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Production Office at 734.764.8348.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park
before the performance begins. Parking is complimentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a $10 fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
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.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
or phone orders and information, lease contact:
UMS Box Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
tp the University of Michigan campus
Inside the 734 area code, 11 toll-free
rder online at the UMS website:
risit our Power Center Box Office in person
Due to the renovation of Burton Tower, our Box Office has been relocated to the Power Center. Mon-Fri: 10 a.m. to 6p.m. Sat: 10 a.m. to 1 p.m. Performance hall box offices open 90 minutes before each performance.
Returns f 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 deduc?tion. Please note that ticket returns do not count toward UMS membership.
any thanks to all of the groups who have joined UMS for an event in past seasons, and 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 wonderful leaders who organize their friends, families, congregations, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they : saved over $51,000 on some of the most p popular events around! Many groups who booked their tickets early found themselves T in the enviable position of having the only available tickets to sold out events including the Buena Vista Social Club, Yo-Yo Ma, the Berlin Philharmonic, the Chieftains, and many other exciting performances.
This season UMS is offering a wide variety of events to please even the most discriminat?ing tastes, many at a fraction of the regular price. Imagine yourself surrounded by ten 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 the UMS Group Sales hotline at 734.763.3100.
ooking for that perfect meaningful gift ?that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty
events throughout our season, wrapped and delivered with your personal mes?sage, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming
present when new friends move to town.
MS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege _ for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Art Center The Back Alley
Gourmet Bivouac Outdoor
Clothing and
Equipment The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest John Leidy Shop
John's Pack and Ship Kerrytown Bistro King's Keyboard House Le Dog Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Regrets Only Ritz Camera One Hour
Photo Shaman Drum "
Bookshop SKR Downtown SKR Uptown -
oin the thousands of savvy people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online, thanks to our new relationship with!
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web.
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Education Events Up-to-date infor?mation detailing educational opportu-
nities surrounding each UMS performance. ? Choral Union Audition information and per?formance schedules for the UMS Choral Union.
he goal of the University Musical Society (UMS) is to engage, edu?cate, 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 121 years, strong leader?ship coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the new millennium. Every day UMS seeks to cultivate, nurture and stimulate public interest and participation in every facet of the live arts. UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University
Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the perform?ing arts--internationally renowned recitalists and orchestras, dance and chamber ensem?bles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works,
Musical America selected UMS as one of the five most : influential arts presenters in the United States in 1999.
youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over eighty performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that gathers in Hill and Rackham Auditoria, Power Center for the Performing Arts, Lydia Mendelssohn Theatre, Michigan Theater, St. Francis of Assisi Catholic Church, the Detroit Opera House, Music Hall and the Residential College Auditorium.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, UMS is a separate not-for, profit organization that supports itself from ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
hroughout its 121-year history, the University Musical Society 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 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Seven years ago, the Choral Union further enriched that tradition when began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra "' Hall and at Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began accepting invitations to appear with other major ,J regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem and other masterworks to its repertoire. 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).
The Choral Union is a talent pool capable of performing choral music of every genre. In
addition to choral masterworks, the Choral Union has recently given acclaimed concert presentations of Gershwin's Porgy and Bess ?; with the Birmingham-Bloomfield Symphony j Orchestra and musical-theatre favorites with ] Erich Kunzel and the DSO at Meadow Brook, ij A 72-voice chorus drawn from the larger : choir has performed Durufle's Requiem, the ; Langlais Messe Solenelle, the Mozart Requiem ' and other works. The Choral Union's 36-voice, Chamber Chorale presented "Creativity in 1 Later Life," a program of late works by nine composers of all historical periods, at the m University of Michigan Museum of Art.
During the 1999-2000 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit = Symphony Orchestra. Other programs included Mahler's Symphony No. 3 with the _ Ann Arbor Symphony Orchestra.
During the current season, the UMS Choral Union again appeared in two series with the Detroit Symphony Orchestra, both conducted by Neeme Jarvi. The chorus joined in the DSO's opening night performance of Mahler's Symphony No. 2 (Resurrection), followed later in the season by Carl Orff's Carmina Burana. The Choral Union's 122nd annual performances of Messiah followed, and the Choral Union's season will close on April 22, , 2001, in a performance of Hector Berlioz' & Requiem with the Greater Lansing Symphony Orchestra and members of the U-M School of Music Symphony Band in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Representing a mixture M of townspeople, students and faculty, members Jm of the Choral Union share one common passion--a love of the choral art. For more information about the UMS Choral Union, e-mail or call 734.763.8997.
Hill Auditorium
tanding tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best perform?ing artists the world has to offer. Inaugurated at the Twentieth 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 eighty-seven years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's Symphony No. 5. The auditori?um seated 4,597 when it first opened; subse?quent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased the seating capacity to its current 4,163. --jkpC
Rackham Auditorium
'ixty years ago, chamber music concerts in Ann Arbor were a relative rarity, present?ed 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, which is still considered one of the most ambitious ever given to higher-level educa?tion, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
he Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately inter?ested, realizing that state and federal govern?ment were unlikely to provide financial sup?port for the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote).
No seat in the Power Center is more than seventy-two feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Due to renovations to Burton Memorial Tower, the Power Center will be home to the UMS Box Office for the duration of the cur?rent season.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appoint?ed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedi?cated 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 "mechani?cal 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 j for the enjoyment and contempla?tion of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
' otwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS 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 UMS' programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series as well as the venue for the world premiere of Curse of the Gold: Myths from the Icelandic Edda, part of UMS' new International Theater Festival.
Detroit Opera House
'he Detroit Opera House opened in April , of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's ____ great opera houses, the 2,800-seat
facility has rapidly become one of the most viable and coveted the?atres in the nation. In only two sea?sons, the Detroit Opera House became the foundation of a land?mark programming collaboration with the Nederlander organization and Olympia Entertainment, -formed a partnership with the Detroit Symphony Orchestra and played host to more than 500 per?formers and special events. As the home of Michigan Opera Theatre's
grand opera season and dance__
series, and through quality pro? gramming, partnerships and educa?tional initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community. ]
Burton Memorial Tower
een from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet.
The familiar home of UMS Administrative offices undergoes significant renovations this season, moving the UMS Box Office to a new, temporary location in the Power Center.
UMS Administrative offices have also been relocated--to 109 E. Madison--but please continue to use our Burton Memorial Tower mailing address.
A Full House
! Hill iditorium 4,163
Power Center 1,390
St. Francis 950
Detroit Opera House
University Musical Society""?
of the University of Michigai
2001 Winter Season
Event Program Book Sunday, April 1, 2001 through Saturday, April 14,2001
General Information
Children of all ages are welcome at 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 perfor?mance. Children unable to do so, along with the adult accompanying 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
prohibited in the auditorium. :.i-;:-it
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable comput?ers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location 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 performances included in this edition. Thank you for your help.
Orion String Quartet and Peter Serkin
Sunday, April 1, 4:00pn Rackham Auditorium -;
Wednesday, April 4, 8:00pm Hill Auditorium :
Emerson String Quartet
Friday, April 6, 8:00pm __ .. Rackham Auditorium"
@@@@John Relyea ''
Saturday, April 14,8:00pm Lydia Mendelssohn Theatreij
KV". ... i'h." ?
Prue and Ami Rosenthal

Orion String Quartet
Peter Serkin
Daniel Phillips, Violin -------r----.-Todd Phillips, Violin (1st Violin in Mozart) Steven Tenenbom, Viola Timothy Eddy, Cello
Sunday Afternoon, April 1,2001 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Antonin Dvofdk
String Quartet in G Major, Op. 106
, Allegro moderato .:
Adagio ma non troppo Molto vivace Finale: Andante sostenuto; Allegro con fuoco
.V. ??;..
of the 122nd Season
Thirty-eighth Annual'1 Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is presented with the generous support of Ami and Prue Rosenthal.
The Lieberson Piano Quintet was commissioned by the Carnegie Hall Corporation for Peter Serkin and the Orion String Quartet.. ifc-
Peter Serkin has recorded for Pro Arte, New World, CBS Masterwbrks, Deutsche Grammophon and BMG ClassicsRCA Victor Red Seal.
The Orion String Quartet's recordings are available on the Arabesque and . Sony Classical 1
The Orion String Quartet and Peter Serkin appear by arrangement with Kirshbaum Demler and Associates, Inc. ,., , .
0f Large print programs are available upon request.
Piano Quartet in E-flat Major, K. 493
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg
Died December 5, 1791 in Vienna -?
The piano quartet was not an especially ? .... popular genre when Mozart agreed to com?pose three of them for the publisher F. A. Hoffmeister in 1785, and it would never become one. While the piano quintet was more like a miniature concerto, and the string quartet was emerging as a major (if not the major) chamber idiom of the day, the piano quartet was considered something of a hybrid, and rarely essayed. Mozart's models were few; there were some piano ] quartets by the Bach brothers--Emmanuel and Johann Christian--but in the quartets that Mozart completed he seems to have "-JT paid particular attention to Johann Schobert (1735-67), whose set of two piano quartets was considered the chef d'oeuvre of the genre.
The first of Mozart's piano quartets, in g minor (K. 478), was published in late 1785. But early in 1786 Hoffmeister com?plained that the work was too difficult for the amateur performers that were his prin?cipal customers, and asked Mozart if he could be excused from the contract. By this time Mozart had already completed the sec?ond quartet, in E-flat, but he agreed to dis?solve the contract nonetheless, and the sec?ond quartet was eventually published by Hoffmeister's rival, Artaria, in 1787. Mozart never began the third quartet that was part of the initial proposal.
Perhaps Mozart took Hoffmeister's crit?icisms to heart. The Piano Quartet in E-flat Major, K. 493, is considerably cheerier and more accessible than its g-minor sibling. gj Though the piano and string writing in the later work is still somewhat virtuosic, it was, not beyond the capabilities of a talented J amateur. Mozart also completed the E-flad] quartet at a particularly happy time in his j
career, and that carefree contentment may have found its way directly into the piece as well. He had just overseen the successful premiere of Le Nozze de Figaro, and his six "Haydn" quartets had elicited glowing praise from the old master, who announced pub?licly, "[Mozart] is the greatest composer I know, either personally or by repute." Mozart had every reason to believe that the recognition and financial security he craved in Vienna was not far away. The Piano Quartet in E-flat Major brims with similar optimism, prompting Mozart scholar Alec King to describe it as "one of the happiest and most mellifluous works he ever created." Both of Mozart's piano quartets are of the "divertimento" variety, with three move?ments instead of the four more usually found in string-based chamber works. The opening "Allegro" is in sonata-allegro form, but with the piano playing in more of a con-certante role. The low, dramatic opening makes an immediate feint toward the sub-dominant, A-flat--a key that will figure prominently in both subsequent movei ments--but moves quickly back on track ' and initiates an effervescence of elegant and graceful motives. Still, there is a decided homogeneity to the first movement: the sec?ond theme (an ornamented octave, followed by a turn figure) recurs no fewer than thir?ty-seven times throughout the movement, in a variety of keys, articulations, and jfgJS dynamic levels. (The published score calls for a repeat of the development and recapit?ulation before the fugato, but this repeat is usually omitted in modern performances.) The "Larghetto" movement is in the . .
subdominant key of A-flat,-a key that 1___
Mozart rarely used, and then only in pas]? sages of deep quietude. An expressive diaI logue between keyboard and strings is 'Vi affected by immediate echoes of almost every phrase, which incorporate the charac?teristic turn figure from the previous move?ment into the light and delicate melodic
fabric. This movement is in a cleverly dis?guised sonata-allegro form. The leisurely tempo partially conceals the traditional har monk profile of a sonata allegro, and the second key area--E-flat--feels more like a : return "home" than a departure, as it is the tonic key of the first movement and the , work as a whole.
; The notion of a pianostring dialogue is "explored further in the light-hearted and witty rondo finale. The opening theme shows the great care Mozart took in fash?ioning a melody. Its genesis was captured in two earlier sketches (something Mozart usu?ally did in his head before putting pen to paper) that demonstrate the evolutionary process by which he arrived at this innocent and ingratiating theme. The extra effort paid rich dividends; Alfred Einstein describes this rondo theme as "the purest, most childlike and godlike melody ever sung." A-flat returns as an important key ? area in the rondo, recalling the second movement, but it is the rondo theme itself that captures the ear and rounds out the quartet with gratifying poise.
String Quartet in G Major, Op. 106
Antonin Dvorak
Born September 8, 1841 in Mi'thlhausen,
Czechoslovakia Died May 1, 1904 in Prague
Antonin Dvorak was from Slavic peasant roots. The notion of "folk" that recurs in his music emerges with a sincerity and vitality that his more urban colleagues could only mimic. Dvorak's affinity with folk music was genuine, and that was true whether he was reveling in his indigenous Bohemian folk culture, exploring African-American spiritu?als, or taking notes on Native American music. What gained him the friendship and support of such late-Romantic luminaries as Brahms and Hanslick, however, was the
manner in which he merged the folk idiom with a thorough grounding in the style and aesthetic of the classicists: Mozart, Schubert, M and especially Beethoven. Not since Chopin J had any composer been equally fluent in '?SSi both the Western art music tradition and 3] the essence of folk styles. ..???.tM
After establishing a considerable'SHBiS European reputation, Dvorak was invited to the US, where he spent three years (1892-95) as Director of the National Conservatory. It j was during this time that he developed his "American" style in such pieces as the "New World" Symphony No. 9 and the "American" String Quartet, Op. 97. But even in these ? works, where there is a demonstrable in flu ence of African-American and Native .'1 American music, traces of his Slavic folk i heritage still persist. Dvorak's commitmeni to his own culture (and perhaps his impatience to work within it again) was perhaps most evident when he returned to Bohemia j in 1895 to resume his teaching post at the Prague Conservatory. Rather than complet?ing the string quartet he had begun in New J York just before he left, he started a new $?S quartet: one that eliminates almost all the'$pj traits that were part of his "American" style ''jj and returns to an essentially Central 1
European aesthetic. This new quartet, in HjH G Major, was published as his Opus 106, and it was only after he completed it that he returned and finished the earlier Quartet in j A-flat Major (published as Op. 105). .
These two quartets would be Dvorak's last chamber works. In the ensuing years he concentrated almost exclusively on sym, phonic poems and operas, where the pros grammatic and allusive elements that had 1 periodically surfaced in his chamber music] could be given full voice. )
The first movement of the String "1__n
Quartet in G Major, Op. 106, begins with a spare yet playful theme that some have sug' gested may be based on a native birdcall. With the addition of a picturesque second
theme, Dvorak weaves a rich fabric of motivic development that, as like his hero Beethoven, makes the most out of limited materials.
Melvin Berger writes that the "Adagio" is "one of the most perfectly realized and touching movements in Dvorak's chamber : music." The Slavic-flavored theme shifts j between major and minor modes that alter?nately signify joy and melancholy. The cli?max calls for each of the musicians to play multiple stops, producing an unusually sonorous effect from this relatively small ensemble.
The third movement is a five-part rondo form (A-B-A-C-A), though it might perhaps more accurately be described as a scherzo with two trios. Dvorak relishes the opportunity to present contrasts here, with a crisp, taut 'A' section; a lyrical duet between first violin and viola in the lB' sec?tion; and a gently rocking melody redolent of Czech folk motifs as the second trio.
The principal theme of the rondo "Finale" is heard first in a slow tempo, and doesn't reveal its true nature until it acceler?ates into an invocation of the "Furiant," a vigorous Bohemian folk dance characterized by prominent hemiola effects and energetic stomping. Though other contrasting themes appear, including a reprise of melodies from the first movement, the rustic character pre?dominates. But beneath this energetic con?clusion there is still the nostalgia, tinged perhaps with relief, of a composer who once more sought sustenance from his own cul?tural roots, j
Program.notes, by Luke Howard. V
ecognized as an artist of passion and integrity, American pianist Peter Serkin is one of the most, thoughtful and individualistic musicians appearing before the public today. Throughout his career he has conveyed the essence of four centuries of
musical repertoire, and his performances with symphony orchestras, recital appear?ances, chamber music collaborations, and recordings are respected worldwide. ?(JE&M'
Peter Serkin's rich musical heritage extends back several generations: his grand?father was violinist and composer Adolf Busch, and his father, pianist Rudolf Serkin. In 1958, at age eleven, he entered the Curtis Institute of Music and a year later made his debut at the Marlboro Music Festival. Since that time, he has performed with the world's major symphony orchestras, and has played chamber music with Alexander Schneider, Yo-Yo Ma, Pamela Frank, the Budapest String Quartet, the Guarneri String Quartet, the Orion String Quartet, and TASHI.
This past summer, Peter Serkin per?formed Peter Lieberson's Red Garuda at Tanglewood, Mozart concertos at Ravinia, Mostly Mozart and the Mann Center, and works by Messiaen at the Lincoln Center Festival. Highlights of the 20002001 season include Carnegie Hall's "Perspectives: Peter Serkin" series (four concerts at Carnegie Hall with the London Sinfonietta and con?ductor Oliver Knussen), appearances with
the Los Angeles Philharmonic, Boston A ?; Symphony, Chicago Symphony Orchestraj and Seattle Symphony, recitals with violinist Pamela Frank, solo recitals, performances with the Orion String Quartet, appearances with the Gewandhausorchestra of Leipzig, a nine-city Europeantour with the Minnesota Orchestra, and a tour of Japan.
Ranging from Bach to Berio, Peter Serkin's recordings reflect his distinctive musical vision. The Ocean that has no West and no East, recently released by Koch " Records, contains compositions by Webern,' Wolpe, Messiaen, Takemitsu, Knussen, Lieberson and Wuorinen. In June 2000, BMG released a recording of Serkin per?forming three Beethoven sonatas. Other recent recordings include the Brahms violin sonatas with Pamela Frank, Dvorak's Piano Quintet, Op. 81, with the Orion String Quartet, quintets by Henze and Brahms ? with the Guarneri String Quartet, Bach double and triple keyboard concerti with ' Andras Schiff and Bruno Camino, and ; Quotation of Dream with Oliver Knussenj and the London Sinfonietta,
featuring music of Takemitsu. Peter Serkin is on the fac?ulties of The Juilliard School, Curtis Institute of Music, and Tanglewood Music Center. He lives in New York City with his wife Regina, and is the father of five children. ..??
This afternoon's performanc marks Peter Serkin's fourth appearance under UMS aus?pices. Mr. Serkin made his UMS debut on May 12, 1963 in a Hill Auditorium performance of Mozart's Concerto for Two ':i Pianos, K. 365 with his father '. Rudolf Serkin.
he Orion String Quartet is one of the most admired chamber ensem?bles on the international music scene. The members of the
Quartet--violinists Daniel Phillips and Todd Phillips (brothers who share the ? first violin chair equally), violist Steven Tenenbom and cellist Timothy Eddy--have worked with such legendary figures as Pablo Casals, Rudolph Serkin, Isaac Stern, Pinchas Zukerman, Yo-Yo Ma, Peter Serkin, Andras Schiff, Wynton Marsalis, members of TASHI and the Beaux Arts Trio, as well as the Budapest, Vegh, Galimir and Guarneri String Quartets. Now in its second decade of excep?tional music-making, the Orion continues to perform in the world's leading concert halls and serves as Quartet-in-Residence at the Chamber Music Society of Lincoln Center and at New York's Mannes College of Music. Maintaining its close artistic relationship with pianist Peter Serkin, the Quartet is featured in Carnegie Hall's "Perspectives: Peter Serkin" series in March 2001, pre-miering piano quintets by Peter Lieberson
and Alexander Goehr in two concerts. Mr. Serkin and the Orion also tour together in April, performing concerts and master class?es in Washington, DC, Philadelphia, Ann Arbor, Milwaukee, and Kansas City. The Orion performs three concerts with the Chamber Music Society of Lincoln Center, including an all-American program featur?ing works by John Corigliano, Wynton Marsalis and Peter Schickele for the 7r: Society's "Great Day in New York" series this past January. Pinchas Zukerman has invited the Quartet to Ottawa for five concerts, to include Ligeti's Ramifications and works by Mendelssohn, Barber, Corigliano, Kirchner, and Johnston. Additional highlights of the Quartet's 20002001 season include two recitals at the Isabella Stewart Gardner Museum in Boston, as well as appearances in San Jose, Pittsburgh, Salt Lake City, and La Jolla.
The members of the Quartet maintain a strong dedication to the next generation of musical artists and are on the faculties of the Mannes College of Music and numerous other music institutions and summer festi?vals. In recent seasons, the Orion has jgg appeared at New York's 92nd Street "Y," Washington DCs Kennedy Center, and other major music centers throughout North America and Europe. They have been featured on A&E's Breakfast With the Arts, WLIW's Metroguide and National Public Radio's Performance Today. . ?......
This afternoon's performance marks the Orion String Quartet's second appearance under UMS auspices.
Forest Health Services
Royal Concertgebouw Orchestra Amsterdam
Riccardo Chailly Chief Conductor,, JjL Matthias Goerne Baritone
Wednesday Evening, April 4, 2001 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Five Riickert-Lieder
Ich atmet' einen linden Duft Liebst du um Schonheit :
Blicke mir nicht in die Lieder! ........
Ich bin der Welt abhanden gekommen Um Mitternacht

Mr. Goern
Symphony No. 10 in f-sharp minor ;..?__?
(A performing version of the draft prepared by Deryck Cooke) Adagio .' ?'" ? ""?' ' ?'"; ???'??
Scherzo I: Schnelle Vierteln .a-. Purgatorio: Allegretto moderato , Scherzo II: Allegro pesante, Nicht zu schnell '?] Finale: Introduction (Langsam, schwer)--Allegrc ; moderato--Andante (Tempo des Anfangs der,,
Symphonie) ---?-------------.?.----
Seventy-fifth Performance of the 122nd SeasbiT
122nd Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibitc'
This performance is sponsored by Forest Health Services. ...., ....,-,
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society both personally and through ,,. Forest Health Services. ,JSJa
Additional support provided by media sponsor, WGTE;
The Royal Concertgebouw Orchestra Amsterdam appears by arrangorrtent' with Columbia Artists Management, Inc.
J&BML Large print programs are available upon request.
Five Riickert-Lieder
Gustav Mahler v .,?
Born July 7, 1860 in Kalischi, now Kalifttfi
Czech Republic ;
Died May 18, 1911 in Vienna ,
sX-4. ??'?.? '
Song and symphony were the two central genres of Mahler's output, and the bound?aries between them sometimes become blurred. Several of the symphonies incorpo?rate songs, a tendency culminating in Das Lied von der Erde (The Song of the Earth), which is a symphony and a song cycle at the same time. On the other hand, many of Mahler's songs were orchestrated, and con?tain thematic development of a symphonic type; the vocal line is often treated as a solo instrument, standing out yet thoroughly integrated into the orchestral texture. Mahler's Riickert songs are perfect examples of this symphonic conception of the song. Friedrich Ruckert (1788-1866) was an important figure in German literature of his time; a poet and a professor of Oriental lan?guages, he was the author of a book of poet?ry called Ostliche Rosen (Roses from the East), in which he adapted Oriental verse forms to the German language. Ruckert is known today primarily thanks to musical settings of his works: many of his poems were set by Schubert (Du bist die Ruh', Sei mirgegrilsst) and Schumann (Widmung). One of the poems set by Mahler, Liebst du urn Schonheit, is also found in the collection Twelve Songs from Riickert's Liebesfriihling (Spring of Love) by Robert and Clara Schumann, published in 1841; that setting was composed by Clara.
Mahler set a total of ten Ruckert poems to music. Five of these make up the Kindertotenlieder (Songs on the Deaths of Children) cycle of 1901-04. The other five, heard tonight, were written around the same time but do not have a common '?''? theme, although three of the five are love ' '? poems of one sort or another.
The first song, Teh atmet' eineri linden" Duft, is characterized by a delicate lyricism... and evokes a sweet fragrance that reminds the poet of his love. The slow-moving vocal line is accompanied by smooth eighth-notes played by the muted violins, with occasional whiffs of the harp and celesta. fegjiw
The second song, Liebst du um ?? "?-"?? Schonheit, is the simplest, shortest, and least symphonic of the five. (It is perhaps no coincidence that this was the only Riickert song Mahler did not orchestrate himself; the scoring is by Max Puttmann and was done after Mahler's death.) The repeats in the text called for a strophic composition; yet the second time, when the all-important word "Liebe" is sung, the rhythm slows down and the music builds up to a climax that, instead of being louder, is softer and more tender than before.
The third song, Blicke mir nicht in die Lieder, is a poet's gentle warning to a loved one not to be too curious about a song that is not yet ready. The music is in a fast tempo, with many playful repetitions of motifs that are so frequent in Mahler. .
The fourth song, Ich bin der Welt ?&$& abhanden gekommen, is a direct forerunner of "Absented the last movement of Das Lied von der Erde. Few composers could capture a solitary individual's farewell to life (with nostalgia, yet with head held up) better than Mahler. The expressive melismas (multiple notes sung to the same syllable) of the vocal line and the wistful wind solos make this song unforgettable.
: The last song, Um Mitternacht, is the most grandiose piece in the set. It is a solemnly dramatic meditation on humanity, life and death, and the power of God, cli?maxing in a forceful exclamation about the immutability of divine providence. .,. .1E_
Five Songs to Texts of Friedrich Riickert
Ich atmet' einen linden Duft
Ich atmet' einen linden Duft!
Im Zimmer stand ein Zwcig der Linde,
ein Angcbinde von liebcr Hand.
Wie lieblich war der Lindenduft! . --
Wie lieblich ist der Lindenduft, das Lindenreis brachst du gelinde! Ich atme leis im Duft der Linde : der Liebe linden Duft.
: I breathed a gentle fragrance! ;
A lime twig stood in the room, ;a present from a dear hand. ']____
How lovely was the lime fragrance! "
How lovely is the lime fragrance!
You plucked the lime bough gently. ',
I breathe softly amid the fragrance of lime'
the gentle fragrance of love. &
.The play of words between the adjective linde (gentle soft) and the noun Linde (lime tree) cannot be repro?duced in English translation. "
Liebst du um Schonheit
Liebst du um Schonheitjf o nicht mich liebe! . Liebe die Sonne, sie tragt ein gold'nes Haar!
Liebst du um Jugend, " o nicht mich liebe! Liebe den Friihling, der jung ist jedes Jahr!' 7
Liebst du um Schatze, ; o nicht mich liebe! ;
Liebe die Meerfrau, sie hat viel Perlen klar!
Liebst du um Liebe,:
o ja, mich liebe!
Liebe mich immer,
dich lieb' ich immer, immerdar
If you love for beauty's sake, do not love me. p1----:----Love the sun, ;
it has golden hair. ,
If you love for youth's sake,
do not love me.
Love the spring,
that is young every year.
If you love for riches' sake,, do not love me. '"
Love the mermaid, she has many pearls to offer.
If you love for love's sake,
0 yes, love me, Love me forever, '
1 love you forever, evermore.
Blicke mir nicht in die Lieder!
Blicke mir nicht in die Lieder! Meine Augen schlag' ich nieder,
wie ertappt auf boser Tat! __iL'
Selber darf ich nicht getraueri ihrem Wachsen zuzuschauen! Blicke mir nicht in die Lieder! Deine Neugier ist Verrat! ?;
Bienen, wenn sie Zellen bauen, lassen auch nicht zu sich schauen, schauen selbst auch nicht zu! Wenn die reichen Honigwaben sie zu Tag gefordcrt haben, a dann vor Allen nasche du! 4
Don't peep at my songs! I cast my own eyes down i, as if caught in an evil deed. ;. I can't even dare myself to watch their growth. '? Don't peep at my songs! Your curiosity is betrayal! r
Bees, when they build cells, don't let anyone watch them either, don't even watch themselves. When the rich honeycombs _-, are brought to light, __
you will have the first taste! '
Ich bin der Welt abhanden gekommen
Ich bin der Welt abhanden gekommen, 3
sie hat so lange nichts von mir vernommen, "' sie mag wohl glauben, ich sei gestorben!
Es ist mir auch gar nichts daran gelegen, ob sie mich fur gestorben halt. Ich kann auch gar nichts sagen dagegen, denn wirklich bin ich gestorben der Welt.
Ich bin gestorben dem Weltgetiimmel und ruh" in einem stillen Gebiet! Ich leb' allein in meinem Himmel, '
in meinem Lieben, in meinem Lied.
I have lost touch with the world, on which I once wasted much time; it has heard nothing of me for so long, '? it may well believe I am dead.
And for me it is of no concern at all if it takes me for dead. -
Nor can I say anything at all against that, for truly I am dead to the world.
I am dead to the world's turmoil, and rest in a quiet realm. I live alone in my heaven, in my love, in my song.
(Urn Mitternacht
Um Mitternacht hab' ich gewacht ;r und aufgeblickt zum Himmel! Efi Kein Stern vom Sterngewimmei: j hat mir gelacht -S ' '""
?? um Mitternacht!
h Um Mitternacht ... ?
aj"hinaus in dunkle Schranke! )
8j&f Es hat kein Lichtgedanke -
& mir Trost gebracht "i
w um Mitternacht! ''
Um Mitternacht ___,___,__.. v_.
sginahm ich in Acht ' '1
sBdie Schlage meines Herzens! jg Ein einz'ger Puls des Schmerzensj fsjt_ var angefacht . , . . .!
Um Mitternacht ;kampft' ich die Schlacht "":
o Menschheit, deiner Leiden, ivNicht konnt' ich sie entscheiden
.mit meiner Macht
I Um Mitternacht
if: hab' ich die Macht in deine Hand gegeben! Herd iiber Tod und Leben: ji&lDu haltst die Wacht Es;,um Mitternacht!
At midnight
I awoke '......
and looked up at the sky.
Not a star in the swarm of stars
smiled on me
at midnight. ???.-???? ?? ?? ?
At midnight ' '? " '-'?;r-----' my thought reached out to the bounds of darkness. There was no thought of light
to bring me comfort : -'------
at midnight. .r;
At midnight '
I paid heed to j
the beating of my heart.' v ?? ??'?.
One single pulse of anguish
was kindled
at midnight.
At midnight "
I fought the battle,'' ''
0 humanity, of your sufferings.
1 could not settle it.'----.' ?-with my strength ;
at midnight, .i-1'-
At midnight
I put my strength -,-r-'--.-'
in your hand! "i
Lord! Over death and life ., J
you keep guard T
at midnight! . ,g
Symphony No. 10 in f-sharp minor
(A performing version of the draft prepared by Deryck Cooke)
Gustav Mahler ended his Symphony No. 9 with a heart-rending Adagio, in whose final section (Adagissimo) the instructions morendo or ersterbend (both meaning "dying") are repeated several times. Ever since its posthu?mous premiere in 1912, the Symphony has been viewed by most as a farewell to life.
What could possibly be said after such a final word
As far as we know, Mahler did not dis?cuss his projected Symphony No. 10 with anyone. He did not even share his thoughts with his wife Alma, who had so often been the first to hear about them. But then, the Mahlers' marriage was in a serious crisis during the summer of 1910. Alma, who felt that her life was utterly unfulfilled, was dri?ven to a nervous breakdown by Mahler's intense and demanding personality. At the spa of Tobelbad, where she went alone to recover, she met Walter Gropius, and they fell in love (Gropius, later one of the great?est architects of his time, would eventually become Alma's second husband). Mahler found out about the affair when Gropius mistakenly addressed a letter urging Alma to leave her husband to Mahler himself (it seems he unconsciously wanted him to know). Some intense soul-searching ensued; Mahler even saw Sigmund Freud during the latter's holiday in Leiden, Holland on August 26, 1910. The visit led to reconcilia?tion and a renewed commitment.
In addition to the marital difficulties, Mahler was preoccupied with the premiere of his Symphony No. 8, scheduled for September 12. Therefore, it seems that work on the Symphony No. 10 was intermittent and never reached Mahler's usual level of intensity. Alma wrote that "he had a super?stitious fear of working on it." Still,
Mahler--who had already been diagnosed ' with the serious heart disease that would s soon claim his life--must have worked fast, '-, producing seventy-two fully written-out .' draft pages and ninety-three pages of :
score during the summer of 1910. After ;j
September, he apparently never returned to i Symphony No. 10 before his death in May ; 1911. i
It has become commonplace to say that Mahler's works are always "autobiographi?cal." True, much of his music is dominated by the desire to give voice to his personal quest for the meaning of life and death, and his individual feelings about God and ,
humanity. If that is autobiographical, howj ever, what is one to say when the topic is not , only God and humanity but also (and above all) Gustav and Alma The manuscript of Symphony No. 10 is scattered with marginal remarks of a personal nature. The same was ? true of Symphony No. 9 as well ("O Youth! ; Lost! O Love! Vanished!" and "Farewell!"), but in Symphony No. 10, we find notations such as "Mercy!" "O God! O God! Why hast ' thou forsaken me," "To live for you! To die , for you!," and finally, "Almschi!," (Mahler's pet-name for his wife). It seems that in his last symphony, Mahler wanted to project his personal trauma on the cosmic scale of his earlier symphonies. Is it surprising if the work raised problems of a totally unprece?dented kind for Mahler
Mahler's Symphony No. 10 is often described as a work left in the form of a sketch or fragment. This is somewhat mis?leading, because the five-movement work is actually written out to the end in the form of a "continuity draft." The opening "Adagio" contains a full indication of all the orchestral parts in Mahler's hand, and the second and third movements are also nearly complete. In the other movements, the out?line is all there, though the amount of har; monic and instrumental detail varies con-.ffl siderably. ??.,; -.i ,:fv3'
Therefore, the idea of completing the
symphony was raised as early as 1924, when P a facsimile edition of most of Mahler's man?uscript pages was published. Mahler had originally wished the manuscript to be burned, but Alma Mahler could not bring 1 herself to do this. Instead, she asked the 1 composer Ernst Krenek, at the time briefly '" married to her daughter Anna, to prepare a performing edition of the "Adagio" and the . third-movement "Purgatorio," and these : movements were performed in Vienna the ? same year. Much later, in the 1950s, several ??' musicologists, working independently in different countries, took up the challenge ofi completing the score. Their attempts were initially met with much skepticism; but Alma Mahler, having come to know Deryck Cooke's version, gave it the seal of her ;
approval shortly before her death in 1964. Cooke's version was first performed in 1964. The final revision, made with the help of composer Berthold Goldschmidt and the Mahler scholars Colin and David Matthews, was introduced eight years later.
The legitimacy of completing an unfin?ished work by a great composer is always a hotly debated issue, and it is easy to under?stand why this would be the case to an even greater extent when such an intensely per?sonal work as Mahler's Symphony No. 10 is j concerned. After all, you can write somei one's biography, but you cannot write
another person's autobiography. Yet Cooke made it absolutely clear that he merely iJZ-wanted to make the work audible in the form it had reached before Mahler's death. 1 Nothing was further from his thinking than; the absurd claim that he had reconstructed the symphony as what Mahler would have done it, had he lived. Cooke's performing version, in any case, has managed to estab?lish itself in the repertory, indicating that the British musicologist had indeed reached . the goal he had set for himself. The opening "Adagio," which is the
' -.V-
movement for which we have Mahler's scor?ing almost in full, continues in the "farewell-to-life" that characterizes the outer move?ments of Symphony No. 9. This movement is often performed by itself, without the rest of the symphony. But if we get to know the rest of the symphony--which we couldn't do had it not been for Cooke--we hear a very different last word! In fact, Mahler effective?ly overcame despair in the subsequent movements, exorcising Hell in the two "infernal" scherzos and the "Purgatorio," and arriving at a final reconciliation in the last movement.
The "Adagio" opens with the violas playing a mysterious unaccompanied melody hovering over several tonalities without quite settling on any particular key. This viola solo (whose tempo marking is Andante) is only an introduction to the real Adagio, whose warm violin melody begins in a clearly defined F-sharp Major but soon branches out in distant chromatic modula?tions. The emotional power of this melody, which projects deep sadness, is enhanced by the many wide leaps of an octave and more. The elevated character of the music is even expressed visually in the score: I don't know of another piece in the literature with so many double-sharps (accidentals that raise the pitch of the note they accompany by two half-steps).
The Andante and the Adagio themes are subsequently developed in alternation and in conjunction. Although the tempo remains slow throughout, the music bright?ens up somewhat in the course of that development, especially in the passages where the texture is enlivened by woodwind trills and string pizzicatos. But the two themes eventually return in their original forms, bringing back the tragic mood of the beginning. An unexpected tutti attack leads to the movement's climax, a horrifyingly dissonant nine-note chord that speaks of almost unbearable pain. In the ensuing
coda, the themes gradually disintegrate into isolated fragments, as the first violins climb to their highest register at the very end of the fingerboard.
Harmonically and rhythmically, the sec?ond-movement "Scherzo" ventures further afield than any earlier work by Mahler. Its tone and melodic style is unmistakably Mahlerian, but meters change constantly and the melody is full of unexpected chromatic twists. Mahler took an astonishing leap into the future here! Only in the (not identical) Trio sections does he revert to a more tradi?tional style, nostalgically revisiting the Idndler idiom of his youth. After the scherzo-proper material has been heard for the third time, Mahler appended a coda in which he combined elements from both the scherzo and the trios, sometimes simultaneously.
As David Matthews has shown in a recent article (published by Oxford University Press in The Mahler Companion of 1999), the third-movement "Purgatorio" does not allude to Dante's Divine Comedy but rather to a set of poems by Mahler's friend Siegfried Lipiner. There are many personal references here that will probably never be completely understood, but it is clear that the movement has much to do with Mahler's pain upon finding out about Alma's affair with Gropius. Two near-quotes from Wagner, one from Amfortas's cry Erbarmenl (Mercy!) from Parsifal, the other from the "Annunciation of Death" scene of Die Walkiire, discussed in detail by Matthews, seem to bear this out. These trag?ic episodes are, surprisingly, embedded in a movement based on a playful theme, in what seems an almost superhuman effort on Mahler's part to rise above his personal tragedy. "Purgatory" is the transitional realm between Hell and Heaven where the souls are purified, but it is also a place of intense suffering--and it is this duality, no doubt, that Mahler wanted to capture in his
Another scherzo follows, one that is perhaps less innovative musically than the second movement, but even more intensely passionate. Mahler's verbal notations in the manuscript are positively demonic. "The Devil is dancing with me" may have been one provisional title for the movement; later in the manuscript we read:
Madness, seize me, the accursed one! Destroy me, so I forget that I exist, that I cease to be...
In his book on the Mahler symphonies, Constantin Floros calls this movement "a mixture of a demonic scherzo and a tender, happy waltz." Although the A-B-A scheme of traditional scherzos can be recognized in outline, the variations introduced are very extensive and the materials belonging to the hypothetical "A" and "B" sections interact to an unprecedented degree. The astonishing coda is explained by a story Alma Mahler related in her memoirs. According to the story, there once was a funeral procession for a fireman who had died on duty, march?ing right below the Mahlers' window in New York. After a funeral speech (which the Mahlers couldn't hear from the eleventh floor), a single drum stroke gave the crowd a signal to move on. This drum stroke ends the fourth movement of Mahler's Symphony No. 10.
The "Finale" follows without a pause. The powerful drum stroke is repeated sever?al times during the somber opening, which unfolds two extended lyrical melodies, assigned by Mahler himself to the solo flute and the violins, respectively. A return of the section with the funeral drum strokes leads into an "Allegro moderato," which depends on the third-movement "Purgatorio" for much of its thematic material. Moving from cheerful to exuberant, the fast section never?theless remains no more than an extensive episode. All of a sudden, some of the most
tragic moments of trie opening "Adagio"-the measures leading up to its shattering cli?max--return, followed by its opening theme, played here by the horns instead of the violas. Slowly, the music settles into the extended final "Andante" and floats off to its ethereal ending. Although the conclusion is, once more, soft and slow, this music does not seem to be about death, as the last movement of Symphony No. 9 was. It is rather a declaration of love to Alma, and not only because of Mahler's verbal notations to that effect in the score. The concluding "Andante" of Symphony No. JO is less grief-stricken and more ecstatic as the corre?sponding section of Symphony No. 9. English musicologist Michael Kennedy, in his book on Mahler, interprets it with good reason as "the most fervently intense ending to any Mahler symphony and a triumphant vindication of his spiritual courage."
rogram notes by Peter Laki.
he Milan-born conductor Riccardo Chailly is widely known in the symphonic as well as the operatic repertoire. He has led the Berlin _ Philharmonic, the Vienna .. Philharmonic, the Orchestra of Paris, the London Symphony Orchestra, the New York
Philharmonic, the Cleveland Orchestra, the Philadelphia Orchestra and the ; Chicago Symphony Orchestra. He has also performed at the world's most famous opera houses, includ?ing La Scala in Milan, where he made his debut in 1978, the
Vienna State Opera, the Metropolitan Opera in New York, Covent Garden in London . .-
(1979 debut) and the Bavarian State Opera in Munich. In 1984 he opened the Salzburg Festival and subsequently conducted the Royal Concertgebouvv Orchestra there in 1988, 1996 and 1998. From 1982 to 1989, he was chief conductor of the Berlin Radio Symphony Orchestra, and from 1982 to
1985 was regular guest conductor of the London Philharmonic Orchestra. From
1986 until 1993, he led the Teatro Comunale of Bologna, where he directed many suc?cessful opera productions. In 1999, he ""'" became the musical director of the :; Orchestra Sinfonica di Milano "Giuseppe Verdi," a function which he will combine ' with his work in Amsterdam.
Riccardo Chailly has an exclusive recording arrangement with Decca. He has recorded a broad repertoire on CDs that ..-have won many prizes, including two Gramophone Awards, four Diapasons d'Or, Edisons, an Academy Charles Cross Awards the Japanese Unga Knonotomo Award, theJ Toblacher Komponierhduschen and several ; Grammy nominations. In 1999 he was declared "Artist of the Year" by the French '"" magazine Diapason as well as by the British magazine Gramophone.
Since his appointment as chief conduc-. tor of the Royal Concertgebouw Orchestral in 1988, he has conducted--in addition to $ the romantic repertoire that has earned the! orchestra its international reputation--a !_ wealth of twentieth-century and avant-garde music, which has attracted a fast-growing and enthusiastic public. He scored addition?al triumphs in Amsterdam with his concer-i tante performances of (excerpts from) I operas by Verdi, Rossini and Leoncavallo Si and Puccini during the Christmas season matinees. His performances of Mahler's Symphony No. 1 and Symphony No. 2 were among the highlights of the Mahler Festival in May 1995. In addition, he conducted the orchestra during numerous tours to the j most important European festivals .:
(Salzburg, Lucerne, Wiener Festwochen, London Proms), and to Japan, Korea and China as well as North and South America. He has also led productions of Prokofiev's L'Ange defeu, Verdi's Falstaff and Otello and Puccini's Tosca with the Nederlands Opera.
Riccardo Chailly was honored in 1994 with the Grand Ufficiale della Repubblica Italiana and was made an honorary mem?ber of the Royal Academy of Music in London in 1996.
On the occasion of his tenth anniver?sary as Chief Conductor of the Royal Concertgebouw Orchestra he received the title of "Knight of the Order of the Netherlands Lion" in November 1998. In Italy he was also declared "Cavaliere di Gran Croce" of the Italian Republic.
Tonight's performance marks Riccardo Chailly's third appearance under UMS auspices. j
atthias Goerne, a native of Germany, dazzles audiences and critics alike with his fluid, velvety baritone and profound _ _ artistry in concert and opera,
on recordings and, most notably, in recital for which he has received accolades for his interpretation of lieder.
The 20002001 season brings Mr. Goerne to North America for lieder recitals in Princeton, New Jersey, Quebec, Kansas, Wisconsin, San Francisco and Cleveland. In the spring he sings MahlerBerio songs with the Minnesota Orchestra. Abroad, Mr. Goerne presents recitals in Sao Paulo, Munich, Stuttgart, Madrid, Berlin, Athens and on several occasions at the Wigmore Hall in London. He also performs in London with the Concertgebouw Orchestra (Riickert lieder) as well as in Nuremberg, Munich and Amsterdam. With the Gewandhaus Orchestra of Leipzig, he sings Mahler's Ruckert lieder and at Zurich Opera
appears in Wozzeck. Mr. Goerne also col?laborates once again with pianist Alfred Brendel for lieder recitals in London, Paris and Amsterdam. Matthias Goerne grew up in Weimar and began his stage and singing career as a
member of the children's choir of the towns Civic Opera. In 1985 he began voice study with Hans Beyer in Leipzig, and later with master artists Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. He went on to .. win several international competitions including the Robert Schumann :
Competition in 1989 (second prize), the Lindberg Salomon Competition and the Hugo Wolf Competition in 1990 (both, first prize). Mr. Goerne's rise to international recognition began in his native Germany, where, over the course of several engage?ments, word of the young singer's excep?tional talents and flair for interpretation and; presentation of lieder began to spread.
In opera, Matthias Goerne was '?.
acclaimed as an outstanding success in the ? new Cologne production of Hans Werner Henze's The Prince of Homburg (1992) in which he played the title role and repeated it at the Opera House in Zurich. In the spring of 1993 he sang the role of Marcello in La Boheme at the Komische Oper Berlin; dur. ing the 199394 and 199495 seasons, Mr. ? Goerne was a member of the Dresden Opera. In June 1996, he sang the role of Wolfram in a concert performance of Tannhciitser in Cologne. -
Mr. Goerne's growing discography includes Eisler's Hollywood Liederbuch on Decca with pianist Eric Schneider. Gramophone magazine selected the disc as an "Editor's Choice," describing it as "a master" ly and profoundly moving achievement."
The two artists also recorded Schumann's Liederkreis, Op. 39 and Kerner Lieder, Op. 35, also for Decca. Mr. Goerne's other cur?rent releases include Wolf's Orchestral Songs with the Royal Concertgebouw Orchestra, led by Riccardo Chailly and a disc of Bach cantatas with Roger Norrington and the Camerata Academica Salzburg (Opera News dubbed Mr. Goerne the "Prince of Cantatas" and selected the disc as an "Editor's Choice," (September 2000).
Tonight's performance marks Matthias Goerne's UMS debut.
fter many years of preparation, the Royal Concertgebouw Orchestra in Amsterdam was festively inaugurated on April 11, _ _ 1888 as the Concertgebouw Orchestra. Finally the city had a worthy music venue and it soon was recognized as one of the finest concert halls in the world. Six months later, on November 3,1888, the Orchestra, which was especially formed for the hall, gave its premiere concert. Under the leadership of its conductors, Willem Kes and Willem Mengelberg, the Orchestra developed, within a few decades, into one of the leading ensembles in Europe. In 1897 Richard Strauss already described the Orchestra as "wirklich prachtvoll, voll Jugendfrische und Begeisterung" (truly won?derful, full of the freshness of youth and enthusiasm) and from the beginning of the twentieth century dozens of composers and conductors came to Amsterdam to work with this famous ensemble. Since the cente?nary celebration in 1988, the Orchestra may call itself "Royal." Internationally it is seen as one of the foremost symphony orchestras with a character of its own.
Following in the illustrious footsteps of his predecessors, Willem Kes (1888-1895), Willem Mengelberg (1895-1945), Eduard
van Beinum (1945-1959) and Bernard Haitink (1963-1988), Riccardo Chailly took up the position of Principal Conductor in 1988. Under his leadership the orchestra has achieved great success at home as well as abroad, and it is still enlarging its repertoire. In November 1998 Ricardo Chailly celebrat?ed his tenth anniversary as the orchestra's chief conductor with a performance of Bruckner's Symphony No. 9. In January 1999 Bernard Haitink was appointed conductor laureate of the Royal Concertgebouw Orchestra to commemorate and honor his extraordinary twenty-five-year tenure as chief conductor.
In the fifty years during which Willem Mengelberg carried the baton, relationships were formed with ground-breaking com?posers such as Richard Strauss, Mahler, Ravel, Debussy, Stravinsky, Schonberg, and Hindemith, Schreker and Milhaud, all of whom conducted the Concertgebouw Orchestra more than once. Others, such as Bartok, Rachmaninov, and Prokofiev, per?formed as soloists in their own works. After World War II, this relationship with con?temporary composers, always of utmost importance to the Orchestra, was continued with Peter Schat, Luciano Berio, Luigi Nono and (also as conductor) Bruno Maderna. For the 20002001 season the orchestra has given composition commissions to a diverse group of composers such as Wolfgang Rihm, Peter Schat and Giya Kancheli.
The Orchestra has built up a reputation in particular through its interpretations of the late Romantic repertoire, including music by Mahler, Bruckner and Richard Strauss. The Mahler tradition, rooted in the many performances that Mahler himself i directed at the Concertgebouw, reached its' first peak in 1920 at the Mahler Festival. Although Mahler's work has always consti tuted a large part of the Orchestra's reper?toire, a new impulse was given to this tradi?tion by Bernard Haitink's recording of 3
Mahler's complete symphonies and the Christmas Matinees. Ricardo Chailly contin?ued this work with renewed interpretations. The greater part of his interpretations of Mahler's symphonies has now been record?ed on CDs. The Mahler Festival, in May 1995, included performances by the Vienna Philharmonic and Berlin Philharmonic Orchestras.
From the turn of the century, the Orchestra has worked together with many guest conductors. Karl Muck, Bruno Walter, Otto Klemperer, Pierre Monteux, Eugen Jochum, Karl Bohm, Herbert von Karajan, Georg Solti, George Szell, Carlos Kleiber, Nikolaus Harnoncourt, Leonard Bernstein, Colin Davis, Kurt Sanderling, Bruno Maderna, Kirill Kondrashin have all made contributions to the overall development of the Orchestra. The Orchestra consequently has to keep up an international reputation for its flexibility in being able to perform with such diverse conductors. For example, when Haitink was chief conductor in the seventies, the Orchestra underwent an
entirely new development in the area of Baroque and Classical Music with Nikolaus Harnoncourt. In addition to chief conduc?tor Riccardo Chailly and conductor laureate Bernard Haitink, the coming season will witness appearances by a wide variety of guest conductors, including Lorin Maazal, Nikolaus Harnoncourt, Philippe Herreweghe, Mariss Jansons, Kurt Masur, Mstislav Rostropovitch, and Leonard Slatkin.
Under the leadership of Riccardo Chailly, the first non-Dutch chief conductor, the repertoire has become substantially broader. Chailly is one of the few contempo?rary conductors who is able to further develop the traditional relationship to the Romantic repertoire, while giving a new impulse to the performance of classical twentieth-century works and the opera repertoire.
Tonight's performance marks the Royal Concertgebouw Orchestra Amsterdam's sixth appearance under UMS auspices.
Royal Concertgebouw Orchestra Amsterdam
Violin I
Vesko Eschkenazy, ,: "'
Concertmaster Alexander Kerr,
Concertmaster ?'?"? Johan Kracht Marijn Mijnders Ursula Schoch Marleen Asberg Keiko Iwata-Takahashi.
Robert Waterman , Janke Tamminga _i Tomoko Kurita ; ... Antoine van Dongen Henriette Luytjes Borika van den Boore: Andras Lehota Tony Rous Michel Francois ; Peter Hoekstra Nienke van Rijn Reiko Sijpkens-
Violin II ?
Henk Rubingh Caroline Strumphler Susanne Jaspers Josef Malkin Angela Davis Anna de Vey Mestdagh Paul Peter Spiering Arndt Auhagen Kirsti Goedhart Frans Blanket Petra van de Vlasakker Herre Halbertsma Marc de Groot Frans Hengeveld Cleora Waterman-Keeler "
Viola ] KenHakii Michael Gieler Gert Jan Leuverink Peter Sokole Roland Kramer Guus Jeukendrup
Jeroen Quint
Pieter Roosenschoon
Jeroen Woudstra
Eva Smit
Eric van der Wei
Ferdinand Hilgel
Edith van Moergastel
Godfried Hoogeveen Gregor Horsch Johan van Iersel Wim Straesser Fred Pot Chris van Balen Christiaan Norde Hans Vader Edith Neuman Yke Viersen Saskia van Bergen-
Arthur Oomens Daniel Esser
Double Bass
Niek de Groot Thomas Braendstrup Jan Wolfs Marietta Feltkamp Ruud Bastiaanse Folkert Rosing Guibert Vrijens Carol Harte Frits Schutter
Emily Beynon Paul Verhey Cecilia Oomes Rien de Reede
Vincent Cortvrint
Werner Herbers Jan Spronk . NicolineAlt . Jan Kouwenhoven'
English Horn
Ruth Visser
Jacques Meertens George Pieterson Hein Wiedijk
E-FIat Clarinet
Willem van der Vuurst
Bass Clarinet
Geert van Keulen
Ronald Karten Gustavo Nunez Jos de Lange Kees Olthuis
Guus Dral
Jacob Slagter Julia Studebaker Jaap Prinsen ?
Jaap van der Vliet Peter Steinmann Sharon St. Onge Paulien Weierink-Goossen
Frits Damrow Peter Masseurs Hans Alting Bert Langenkamp -Theo Wolters
Ivan Meylemans Jorgen van Rijen : Hans van Balen
Bass Trombone
Raymond Munnecom
Donald Blakeslee
Marinus Komst Gerard Schoonenberg
Jan Pustjens Niels Le Large Ruud van den Brink
Sarah O'Brien Gerda Ockers
Piano and Celeste
Ruud van den Brink
'Principal players
Executive Director ? Jan Willem Loot
Artistic Manager ? Joel Ethan Fried '
Director of Public Affairs
Sjoerd van den Berg
Tour Manager
Else Broekman "'?'' ?
Assistant Tour Manager
Marieke Dennissen
Personnel Managers
Theo Berkhout Harriet van Uden .,.
Librarian ?? " Douwe Zuidema "
Stage Manager '
Frans van der Starre '
Jan Ummels Johan van Maaren
Bank of Ann Arbor
Emerson String Quartet
Eugene Drucker, Violin (1st violin in Haydn and Bartok) Philip Setzer, Violin (1st violin in Beethoven and Kurtag) Lawrence Dutton, Viola David Finckel, Cello
Franz Joseph Haydn
Friday Evening, April 6,2001 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
String Quartet in G Major, Op. 54, No. 1
Allegro con brio Allegretto
Menuetto: Allegretto Finale: Presto
Ludwig van Beethoven String Quartet in f minor, Op. 95
Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso ?' Larghetto; Allegretto agitato
orgy Kurtdg
Hommage a Mihaly Andras: 12 Microludes Op. 13
4. Presto
5. Lontano, calmo, appena sentito 6.
8. Con slancio
10. Molto agitato
12. Leggiero, con moto, non dolce
Beta Bartok
String Quartet No. 4
j Allegro
?Prestissimo, con sordino
k' Non troppo lento
J Allegretto pizzicato
y Allegro molto
Seventy-sixth -Performance " of the 122nd Season
Thirty-eighth Annual
Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Bank of Ann Arboifl, .... . . .
Special thanks to Bill Broucek of Bank of Ann Arbor for his generous sup?port of the University Musical Society. jflii23fiE2
The Emerson String Quartet appears by arrangement with IMG Artists and records exclusively for Universal ClassicsDeutsche Grammophone.
Visit the Emerson String Quartet on the. , ..;? i
Large print programs are available upon request.
String Quartet in G Major, Op. 54, No. 1 .-
Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Lower Austria
Died May 31, 1809 in Vienna
In his early quartets (up to Op. 33, written in 1781), Haydn laid down the rules for this genre that other composers, including him?self, were to follow for years to come. The four-movement structure including a min? uet or scherzo, sophisticated motivic trans-j formations, equal importance of all four ' players, and a wide variety of moods in all j the movements--these are only a few of thej features that defined the classical string quartet, one of the most perfectly balanced forms of music that ever existed. From the late 1780s on, Haydn was able to build on the strong foundation he had created, and it is likely that after getting to know Mozart's -six great string quartets that were inspired -by and dedicated to him, he in turn let him-! self be influenced by his younger colleague and friend.
Haydn's quartets were usually published in sets of six. Op. 54, however, contains only three quartets; another publisher brought ; out the three quartets of Op. 55, completing the cycle. According to leading Haydn spe:; cialist H.C. Robbins Landon, this breaking up of the cycle was indicative of the fact thai these six quartets "have less in common' with each other than any other set of sb works by the composer." ,.v
The Op. 5455 set opens with the pre?sent, light-hearted work in G Major, with an assertive first theme in the first violin that is all too eager to break into virtuoso sixJgjj teenth-note runs. This theme dominates' ' almost the entire exposition; the second theme does not appear until the end of this -: section (by which time other sonata-form I movements have reached their third $
themes). The development section is partic-jjj ularly involved, with numerous key changes J
(emphasizing the darker minor keys) and contrapuntal imitation. Since the playful second theme would not make for a very strong movement ending, Haydn appended a substantial coda, which focuses on the 3 movement's main theme.
The second movement is not as slow as some would expect: its "siciliano" rhythm ?,. evolves at a comfortable allegretto tempo that gives the first violin's figurations a cer-. tain "edge." The relatively simple theme "t undergoes extensive transformations in the middle section, where a series of modula?tions takes it quite far afield, both tonally I and emotionally. Moreover, the tonal adven?ture is repeated at the end the movement, just as we thought we had comfortably set?tled back in the recapitulation and the movement's home key of C Major wilnQ longer be challenged. -1Si
The third-movement "Menuetto" has the peculiar phrase structure of 5+5 mea?sures (instead of 4+4); this irregularity gives the movement its special flavor, though it is by no means the only musical surprise awaiting the listener. In the Trio section the cello becomes the leader, with a theme mov?ing in equal eighth-notes and covering a range of more than two octaves. '-
In the final rondo, a dance-like theme alternates with episodes of a more serious character, using either the minor mode or elements of counterpoint. Somewhat ff unusually, all the episodes are thematically connected to the main theme, which dimin?ishes the element of contrast and strength?ens the movement's thematic coherence. The main theme quickly becomes so famil?iar that Haydn can allow himself to "twist" it in many playful ways, fully expecting listen?er to "get" all the subtle jokes.
String Quartet in f minor, Op. 95 '
mm Ludwig van Beethoven ? ?.-. .v
Born December 15, 1770 in Bonn, Germany :. Died March 26, 1827 in Vienna
The String Quartet inf-minor (or uQuartetto serioso" as Beethoven himself called it) was ; written at the end of Beethoven's extremely prolific "second period." It was his last string quartet before the magnificent set of late ': quartets written in the last years of his life. It sums up, in extremely concise form, most of the qualities of the "heroic" second peri?od: robust force, melodic poignancy, formal ; concentration, abrupt interruptions, bold key changes and an irresistible rhythmic ----drive.
All four movements of the Quartet in -' minor are built of melodic gestures of an astonishing simplicity--one might almost call it bluntness. The unison figure that opens the piece--repeated, in typical Beethovenian fashion, a half-step higher--is only one of many examples. That dramatic gesture sets the stage for a first movement of uncommon emotional intensity. The second movement is in D Major, a key very distant from the original f minor--Beethoven never chose a more remote key relationship between movements than he did here. '?, Starting with a mysterious, unaccompanied scale, the movement continues with a lyrical melody followed by a fugue, and has an open ending leading directly into the scher?zo. The latter is based on a single motif consisting of a scale, heard both in descending and ascending form. The slow movement's D Major is revisited in the quiet and expres?sive Trio, which moves in equal long notes ; with accompanying flourishes in the first -' violin. The finale proceeds from an intro?ductory "Larghetto espressivo" through a j passionate "Allegretto agitato" to the .Ugl extremely fast coda, in which the tonality suddenly changes from f minor to F Major , and the "serioso" character gives way to s
cheerfulness, even humor, for the few remaining moments. (The sequence of ? events in this last movement runs remark-: ably parallel to Beethoven's Egmont Overture, written in the same year 1810, and also consisting of a slow introduction and passionate allegro in f minor, followed by an exultant coda in F Major.)
Hommage a Mihaly Andras: -12 Microludes Op. 13
Gyorgy Kurtag
Born February 19, 1926 in Lugo'), Romania
When a raindrop falls into a pond, the rip?ples reach far beyond the point where it first hit the water surface. Kurtag's "microludes" are, in a sense, such tiny drops: twelve state?ments of extreme brevity whose emotional impact far outweighs their size.
Andras Mihaly (1917-1993), a composer, conductor, teacher and administrator, was Kurtag's colleague at the Liszt Conservatory of Budapest. Together they trained some of Hungary's most outstanding young string quartets, including the original Takacs Quartet. As a conductor, Mihaly founded the Budapest Chamber Ensemble, the first Hungarian chamber orchestra devoted exclusively to new music, and was responsi?ble for the local premieres of many twenti?eth-century classics.
Honoring this versatile musician on his sixtieth birthday, Kurtag wrote twelve miniature character studies, each of which explores a different idea: a motif, a playing technique, a type of relation among the instruments etc. Also, each gives promi?nence to a difference note in the scale: C in the first one, C-sharp in the second, D in 1 the third, and so on. The extreme calmness of No. 1 allows us to concentrate on the beauty of Kurtag's choice harmonies. In No. 2, the viola's ongoing tremolo provides a
background for concise "micro-melodies" in the other instruments. Like Webern before him, Kurtag knows how to make a single sigh motif express a whole world of feelings. No. 3 is an agitated piece based on an osti-nato (a figure repeated without changes), No. 4 a fluid, scurrying "Presto." No. 5, in which all four instruments play with their mutes, alludes to the asymmetrical Bulgarian folk rhythms so dear to Bartok-but the music comes "from afar," as through a veil. In No. 6, the constant elements are the notes of the F-Major triad, played slowlyi and with great tenderness by the two vioJ lins, surrounded with poignant commen?taries from the lower strings. No. 7 is built around a scale, from G to G, played by the cello in harmonics, with the other instru?ments providing an eerie context. The ener?getic chords and strongly accented, dramatic perfect fifths of the impulsive No. 8 encase a momentary outburst of anger. Nos. 9 and 10 are slightly longer than most of the other pieces (though still under a minute each), and incorporate contrast to a greater extent than has been the case before. The divergent playing techniques of the individual instru-T ments are an external sign: in No. 9, the vio-j lins are leggiero (light) while the lower '
strings play pesante (with weight); in No. 10, the violins use sul ponticello (near the bridge) while the viola and cello strike the strings with the wood of their bows (col legno). But more important than these tech-r nicalities are the emotional contrasts 1
between calmness and ferocity, heard simultaneously in No. 9 and in an utterly unpre?dictable succession in No. 10. The calm, chordal No. 11 is somewhat reminiscent of No. 1, but the harmonies are fuller and the f progressions from one to the next are .J emphasized more strongly than in the almost motionless opening piece. Finally, No. 12 gives the viola a lyrical melody span?ning, within a short time, the entire five-octave range of the instrument. Winding
around the viola melody, the ethereal high notes of the first violin and the melodic j?? lines of the second violin and cello give the' conclusion of the microludes an almost oth-erworldly ring.
String Quartet No. 4
Bela Bart6k
Born March 25, 1881 in Nagyszentmiklds,
Hungary (now Sinnicolau Mare, Romania) Died September 26,1945 in New York JEHjSS
With his String Quartets No. 3 and 4 (the "middle pair" of his set of six), Bartok had reached a mature style in which all his most important artistic ambitions were realized at the highest level: the absorption of folk music influences in a highly personal and uncompromisingly modern idiom; a struc-' '; ture characterized by perfect symmetry in which the beginning and the end are close variants of each other, revolving as it were around the axis represented by the middle movement. Classical proportions, advanced modern harmony and unmistakable echoes of folk music--what other composer would have been able to bring together these seem?ingly irreconcilable elements But Bartok realized their perfect synthesis in his Quartet No. 4, which will forever assure a special place for this work not only among Bartok's compositions but in twentieth-century music in general. SSSSS
The five-movement layout of the Quartet, with two thematically related fast movements in the first and fifth place, respectively, two scherzo-type pieces (also related) as movements No. 2 and 4, and an emotionally intense central slow movement has inspired many analyses and spawned countless imitations, yet is essentially both unexplainable and unrepeatable. No theory can account for the irresistible rhythmic energy that characterizes the first move?ment, though its patterns can be (and have
been) laid bare. Nor could the symmetrical structures produce the impact they do, if -they weren't filled out with an extraordinary timbral and textural imagination, with dou?ble and triple stops, tremolos, glissandos and other technical devices adding their dramat?ic contributions to musical form. The breath-taking coda of the first movement (Piii mosso, "Faster") caps a movement that has been powerful and exciting from the-start. ,
? In the second movement ("Prestissimo, con sordino") all four instruments keep their mutes on throughout. Much of this dashing and mysterious scherzo, which con?stantly plays the metric game of having three notes in one instrument against two in another, consists of chromatic scales scurry-" ing up and down. Only in the middle sec; tion does a "theme" (a musical idea with a . sharp rhythmic and melodic profile) .j$ emerge, only to be buried again in a vibrant texture of glissandos, harsh chords and rapid
chromatic scales.______________________
The third movement, the centerpiece of the work, begins with an expressive cello , solo, played in a precisely notated rhythm that nevertheless gives the impression of ,, tempo rubato (free rhythm). Commentators'T have seen in this passage a reflection (though not a direct recreation) of the $ Romanian horn lunga, an improvisatoryt; -'c form that was one of Bartok's most cher?ished discoveries during his ethnomusico;-logical fieldwork. The extended cello solo : eventually yields to an anguished passage led by the first violin, reaching an agitato ) climax. When the original tempo resumes ; and the cello reclaims its leading role, it receives a counterpoint from the first violin, and the rubato rhythm becomes more regu-; lar, as if "tamed" by the intervening events. ? Yet the last word belongs to the anguished ? micro-motifs of the first violin. .';
The fourth movement takes up the r-r-ascending and descending scales of the sec-
ond movement, yet the chromatic scale is now stretched out to diatonicism (many of the half-steps widened to whole steps). Again, a special playing technique is called for, but instead of the mutes used in the sec?ond movement, this time the four players put down their bows and use pizzicato (plucked strings) throughout. Sometimes these pizzicatos are of the variety known as the "Bart6k" pizzicato, in which the string is plucked so strongly that it rebounds off the fingerboard. The rhythmic complexity of the movement is considerable, yet the over?all impression is a humorous one.
The last movement, based on the same thematic material as the first, nevertheless regularizes the rhythmic structure so that the melody fits into a dance pattern with phrases of equal length, which was not the case before. The accompaniment, with strong offbeat accents and playful grace notes, reinforces the dance mood. The high jinks are only briefly halted by a light and . graceful melodic episode; the wild dance ' soon returns and culminates in a conclud?ing passage that recalls the ending of the first movement almost literally. . ;.?,
Program notes by Peter Laki.
cclaimed for its insightful and dynamic performances, brilliant -artistry and technical mastery, the Emerson String Quartet is one of _ _ the world's foremost chamber ensembles. The Quartet has amassed an impressive list of achievements: an exclusive Universal ClassicsDeutsche Grammophon recording contract, six Grammy Awards, including two for "Best Classical Album," an unprecedented achievement by a string quartet, regular appearances with virtually every chamber music series and festival worldwide, and an international reputation
sics and contemporary music with equal mastery and enthusiasm. For nearly a quar?ter of a century, the ensemble has collabo?rated with numerous artists, including Emanuel Ax, Misha Dichter, Leon Fleisher, the Guarneri String Quartet, Thomas Hampson, Lynn Harrell, Barbara Hendricks, the Kalichstein-Laredo-Robinson Trio, Menahem Pressler, Mstislav Rostropovich, Oscar Shumsky, David Shifrin and Richard Stoltzman. "
During the Quartet's 20002001 season, the Emerson is featured in two concerts as part of Carnegie Hall's "Perspectives:., Maurizio Pollini" series: in October, the group performs string quartets by Hungarian composers Gyorgy Kurtag and Bela Bartok; in February, the program will feature selections from Bach's Art of the Fugue, Kurtag's Microludes and Beethoven's Opus 130 with the "Grosse Fuge." The Quartet also premieres a new work by William Bolcom at concerts in Washington, DC and Boston with Isaac Stern, and per?forms an all-Brahms program at the Chamber Music Society of Lincoln Center. Other highlights of the Emerson String
Quartet's extensive season include appearances in Los Angeles, Philadelphia, San Francisco, Baltimore, Minneapolis, Portland, Tucson, Houston, and Cleveland, as well as Toronto, Montreal, Vancouver, and Mexico City. An international tour last June brought the Emerson to Australia and New Zealand; this season, the group appears in England, Germany, France, Belgium and Italy. In February, the Quartet makes its debut in r. Hong Kong with three corir certs, and also visits .
Singapore for the first time. '
In 2000, the members of the Emerson:' String Quartet celebrate their twentieth year as faculty at the University of Hartford's -Hartt School of Music, where they have ? inaugurated a special training program for young quartets. This is also the twenty-second season of the Emerson's series at the ?-Smithsonian Institution in Washington, DC. Committed to teaching the nation's most -ar talented music students, the ensemble will a perform or give master classes at a host of I universities and conservatories across the jjj country, including the Curtis Institute of jj Music, University of California at San Diego, Duke University, University of Texas at Austin, Middlebury College, Dartmouth College, SUNY Stony Brook and University of Washington in Seattle. ,]
The Quartet recently performed the complete cycle of Shostakovich quartets in a critically acclaimed five-concert series pre-. sented at New York's Alice Tully Hall, as well' as Wigmore Hall and the Barbican Centre in London. The theatrical nature of these extraordinary masterpieces and their power?ful effect on audiences led the Emerson to
record them live during three summers of ?; performances at the Aspen Music Festival. Meticulous editing eliminated virtually all background noise, and the recording, on the Deutsche Grammophon label, has been praised for the intensity and energy of the performances. The disc won the 2000 Grammy Award for "Best Classical Album" and "Best Chamber Music Performance." The Quartet also collaborated with '{renowned director Simon McBurney (Street of Crocodiles, The Chairs) in an innovative theatrical piece featuring Shostakovich's Quartet No. 15. Blending film, choreogra?phy, taped readings and live music by the Emerson Quartet, the multimedia work, entitled The Noise of Time, captured the essence of this haunted composer and his music. Future performances are planned for London's Barbican Centre and at the Moscow Festival, Berliner Festspiele, Kennedy Center in Washington, DC, Massachusetts International Festival, and the Krannert Center in Urbana-Champagne. Another ongoing program of interest is the Quartet's unique collaboration with acclaimed physicist and author Brian Greene (The Elegant Universe). Dr. Greene and the ensemble demonstrate the principles of String Theory through lecture, video presentation and performances of important musical works that illustrate or coincide with major developments in the history of physics. 'iw m 1987, the Emerson signed an exclu-!"sive recording contract with Deutsche iifci Grammophon; its first release on the label SMfwas Schubert's Quartet in d minor, D. 810 &j "Death and the Maiden." The Quartet llf attracted national attention in 1988 with the presentation of the six Bartok quartets in a single evening for their Carnegie Hall debut; jthe ensemble's subsequent recording of the cycle received the 1989 Grammy Award for "Best Classical Album" and "Best Chamber Music Performance" and Gramophone mag-azine's 1989 "Record of the Year Award"-
the first time in the history of each award that a chamber music ensemble had ever received the top prize.
Additional discs on the Deutsche Grammophon label include quartets by Schumann, Dvorak, Prokofiev, Barber and Ives, the Schubert Cello Quintet with Mstislav Rostropovich, the Schumann Piano Quintet and Quartet with Menahem Pressler, the Grammy-nominated Dvorak Piano Quintet and Quartet with Pressler, the Grammy-nominated complete string works of Anton Webern, and Samuel Barber's Dover Beach with baritone Thomas Hampson. In 1994, the Emerson won its third Grammy Award for "Best Chamber Music Recording" with a disc of American Originals--quartet reper?toire of Ives and Barber.
In March 1997, the Emerson String Quartet released a seven-CD box set of the complete quartets of Ludwig van Beethoven, an ambitious project that earned the ensem?ble its fourth Grammy Award for "Best Chamber Music Recording." A disc of Edgar Meyer's Bass Quintet paired with Ned Rorem's String Quartet was released in March 1998, and the Quartet's most recent recording, the complete string quartets of Dmitri Shostakovich, was released in January 2000. $jpT
Dedicated to the performance of the "?$$? classical repertoire, the Emerson String ;-V; Quartet also has a strong commitment to the commissioning and performance of twentieth-century music. Important com?missions and premieres include composi?tions by Ellen Taaffe Zwillich (1998), Edgar Meyer (1995), Ned Rorem (1995), Paul Epstein (1994), Wolfgang Rihm (1993), Richard Wernick (1991), Richard Danielpour (1988), John Harbison (1987), Gunther Schuller (1986), George Tsontakis (1984), Maurice Wright (1983), Ronald Caltabiano (1981), and Mario Davidovsky (1979). In Fall 2001, the Quartet will pre?miere a quartet concerto by Wolfgang Rihm
with the Cleveland Orchestra with Christoph von Dohnanyi.
Formed in the Bicentennial year of the . US, the Emerson String Quartet took its name from the great American poet and ' philosopher Ralph Waldo Emerson. Violinists Eugene Drucker and Philip Setzer alternate in the first chair position, and are joined by violist Lawrence Dutton and cel?list David Finckel. The Quartet has per?formed numerous benefit concerts for caus?es ranging from nuclear disarmament to the fight against AIDS, world hunger and chil?dren's diseases. The ensemble's members were honored by the Governor of Connecticut for their outstanding cultural contributions to the state and in 1994 received the University Medal for Distinguished Service from the University of Hartford. In 1995, each member was award-, ed an honorary doctoral degree by Middlebury College in Vermont. They have ' also received a Smithson Award from the Smithsonian Institution. ,j
The Emerson String Quartet has been : featured in The New York Times Magazine, USA Today, Elle, Bon Appetit, The Strad, and . Strings. Television appearances include ,' PBS's NewsHour with Jim Lehrer, WNET's City Arts and A&E's Biography of Beethoven. The ensemble has been the subject of two award-winning films: the nationally tele?vised WETA-TV production In Residence at the Renwick (Emmy Award for Excellence, 1983), and Making Music: The Emerson String Quartet (First Place for Music, _,_.__ National Education Film Festival, 1985). The Quartet is based in New York City.
Tonight's performance marks the Emerson -jj String Quartet's eighth appearance under UMS auspices. The ensemble last appeared in Ann Arbor on November 5, 1999 in an all-:i " Shostakovich program at Rackham ??.& Auditorium. '
Miller, Canfield, Paddock and Stone, P.LC,
John Relyea
Warren Jones
Saturday Evening, April 14,2001 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Alma del cor .Sebben, crudele Come raggio di sol
DerNock, Op. 129, No. 2 Waldesgesprach, Op. 39, No. 3 Kriegers Ahnung, D. 957, No.: Das Thai, Op. 51, No. 1 .
Charlie Rutlage
The Greatest Ma
Down East y General William Booth Enters into Heaven;.
Chansons de Don Qukhotte
Chanson du Depart (Song of Departure) Chanson a Dulcinee (Song for Dulcineo Chanson du Due (Song of the Duke) -Chanson de la mort (Song of the Death)
Pyotr Ilyich Tchaikovsky None but the lonely heart, Op. 6, No. 6 ,;
? :,.I bless you Forests, Op. 47, No. 5
}.' Over the golden cornfields, Op. 57, No. 2
""''"{.. Amid the din of the Ball, Op. 38, No. 3
. . ? Don Juan's Serenade, Op. 38, No. 1 .--?
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual 3 songs within each group. ''JjimAsYiLi'Jm
Seventy-seventh Performance M?iak of the 122nd Season
Sixth Annual '-P1 Song Recital Series"
The photographing or sound ; recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Miller, Canfield, Paddock and Stone, P.L.C.
Special thanks to Erik Serr of Miller, Canfield, Paddock and Stone, P.L.C. for his generous support of the University Musical Society. jjffifSS".
Additional support provided by media sponsor, WGTE
Special thanks to Richard LeSueur for leading the Pre-performance Educational Presentation (PREP).
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor. J_-:_ r___-i:_r _....;
John Relyea appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
1 onight's program offers a wonder-1 ful mixture of the familiar and the obscure. This is not a program for] specialists; rather it is a carefully _ organized smorgasbord, giving sig?nificant tastes of five different languages and covering more than two centuries of comj
position. . . ..-::.-. -i.. ....??--?;;??.. ;?.?._?.:!
Antonio Caldara was born in Venice around 1670, and thus was part of the most fertile era in Italian musical evolution. Even in such a productive period, Caldara's is clearly a name to remember, for he produced more than 3500 works. Only Antonio Vivaldi was ' more prolific.
As was so often the case with gifted boys of this cultural capital, his musical studies were undertaken at St. Mark's Cathedral. The life of a choirboy had no time for extracurricular relaxation. Days were filled with singing lessons, composition classes, improvisation drills, as well as copy?ing and re-copying the works of his masters. Eventually as a young adult, Caldara .;
received a commission as composer to the ' Duke of Mantua (the very same profligate as in Verdi's Rigoletto) and the first two arias on tonight's recital are taken from the first opera composed for that court. Considering this Duke's reputation, the opera's title, .gp Fidelity in Love Conquers Betrayal., could easily strike us as ironic in the extreme! All , joking aside, these two arias, sung by differ?ent characters in the opera, provide excelF-lent examples of Caldara's lyrical gifts and his firsthand physical knowledge of singing. Both arias employ the Baroque composer's ' preferred form of A-B-A, and because only ? keyboard accompanies the vocal soloist, there is ample room for improvisation and ornament. No information appears to exist ? about the third aria in tonight's group. It may be original, or it may be only ascribed
to Caldara. It certainly must have been com?posed much later than the preceding pair, perhaps when Caldara had become court m composer to the emperor in Vienna. Still f displaying great lyricism, its form is more, rhapsodic and no sections are repeated, ll Further, one cannot know with certainty jfl what was its original accompaniment; it simply appeared in collections for voice and piano early in the nineteenth century. Perhaps future scholarship will reveal its .'Jh origin. ?
It is a pleasure to read Carl Loewe's name on tonight's program, as there is no sensible reason why its appearance should be such a ; rarity. Very prolific, Loewe produced more jj than 300 songs and ballads, plus numerous operas and oratorios. The few instrumental works he composed also have programmatic and highly descriptive titles (Spring, Alp-Fantasy, Gypsy-love Sonata, etc.) and his '? piano sonatas even contain movements for J voice obbligato. Born just one year earlier than his fellow songwriter, he is often called the North German Schubert. While he lacks the consistent melodic gift of his Viennese., colleague, he is unerring in his choice of dramatic subjects. His accompaniments are .? also no less picturesque than Schubert's. A singer himself, Loewe toured as a baritone throughout Europe and Scandinavia, and jB earned only praise from critics and audiM ences alike. His portrait of the watersprite ? that we hear tonight is from the last of his'j seven decades. 4
The ballad nature of Mr. Relyea's lieder group continues with Schumann's conversation between a hunter and the infamouslyjE celebrated Lorelei. Waldesgesprdch is the $0i third song in a set of twelve which :O$rS8 Schumann called Liederkreis. Whereas sL Heine's Lorelei drowns sailors in the Rhine, "? here Eichendorff's witch meets her prey face
to face in the forest. Her triumph is com?plete as she flings the hunter's cautionary ? words back in his face. Schumann had to invent two different accompaniments to ; depict this dialogue adequately; be sure to listen to the song's final measures, when the-jlj hunter's music is transformed, emasculated. -
It is useful to have a song of Schubert in the same group for comparison. Kriegers Ahnung is among Schubert's last efforts-the composer had only months to live. It was not published until after his death, when his publisher gathered fourteen songs, by three diverse poets together to construct a group Schubert had never envisioned: Schwanengesang. Here Schubert breaks with his traditional form and unified accompani?ment figure technique and pens a highly sectionalized ballad which seems the only ' way to set this text properly. Were the . . melody not so sublime, this could be a song1 of Loewe's.
Richard Strauss adored the soprano voice. Married to a singer, fully two-thirds ? of his songs and operatic gems have this ; instrument in mind. Tonight, however, we : hear a song from an opus specifically for : bass. The pair of songs which form Opus 51; were written for the Viennese bass-baritone': Paul Kniipfer who figured prominently in the premieres of Strauss' earliest operas, Guntram and Feuersnot. Never intended for piano accompaniment, this vocal "toneB poem" certainly is not text driven, and in . that respect it forms a perfect foil to the -story-telling songs that precede it this 3 evening. . -" '" s -;:; ??--? .;M
Any attempt to categorize his'musical style fi or development would have me with hostili-r ty and scorn from Charles Ives. America has certainly never produced a more eclectic composer, nor one willing to listen solely to his own inner ideals, forsaking accepted M
rules, forswearing success and even eschewing public performance altogether. We meet a different Charles Ives in each of his 151 gg$ songs.
The son of a church-going bandmaster and theory teacher, Charles idolized his . j father and never really desired to escape his musical influence, even when studying with esteemed composers such as Horatio Parker and Arthur Foote. Protestant hymns, tradi?tional New England folk-tunes and march?ing songs are always braided into Ives music, and the lines between composed arid borrowed can become very vague. You will hear this easily in the last two songs of ? tonight's quartet.
Charlie Rutlage is perhaps the ultimate, cowboy ballad. What seems completely ,'' tonal and conservative soon gives way to ; dissonance, polytonality, speaking rather than singing and two-fisted clusters for the pianist. Here too is no less a ballad than we have heard earlier tonight by Loewe andA., Schubert. 'S
Next, an unsophisticated child's remi?niscence of his dad (The Greatest Man) must have beckoned loudly to Ives, given his own close rapport with his father. Ives' art of capturing the boy's reluctance to speak and later his pride create one of last century's most touching portraits. 383
Ives wrote his own text for Down East, and this nostalgic Connecticut scene could not exist without its obvious use of a gttMs famous hymn. "
Finally, what many call Ives' finest song, a setting of Vachel Lindsay's great words describing the founder of the Salvation Army. Fanaticism, religious ecstasy and sim?ple faith share the stage equally, and summons the full range of compositional tech?niques at Ives' disposal. Note the imagina?tive way he creates the bass drum's inex'jjjjl orable march in the accompaniment; listen to the seemingly improvised shrieks of "Hallelujah!;" hear the sweetest of melodies
as Jesus appears in the doorway. This is Ives at his most masterful, and it is quite impos?sible to imagine these words in any other setting.
Jacques Ibert's chronology parallels that of Poulenc almost exactly. Parisian born just a few years earlier in 1890, Ibert is not nearly as prolific nor as well known as his col?league. His compositions are not confined to any particular genre, and Ibert seems equally comfortable with texted and non-texted works. He refused to be part of any system or philosophy, and claimed that "whatever worked" should be available to any musician. These four songs from 1932 can be performed with piano or with orchestra, and were written as incidental music to a film version of Cervantes' great novel depicting the noble but misguided .E9 knight. Hollywood invited composers to compete with one another to gain this com?mission, and Ibert won over no less a master than Maurice Ravel who submitted a trio of songs which were to be his final efforts as a composer. Ironically, the film was never pro?duced, but both Ibert's and Ravel's glimpses of Don Quixote's life have left the repertoire of baritones much richer in the process.
The first two songs feature alternation of song and recitative in a kind of rondo technique. Harmonies that we associate with twentieth-century France are juxtaposed against rhythms and articulations in the piano which we can only associate with Spain. Instead of closing the set in a rollick?ing mood (as did Ravel), Ibert chooses instead to depict Quixote's final words on earth. The knight's poignant assessment of his own life, and his farewell to his compan?ion Sancho are set atop a haunting habanera, and form one of Ibert's most inspired and memorable creations.

Pyotr Tchaikovsky is clearly the dominant musical Russian figure of the nineteenth : century. Because of his formal conservatory ' education (he was St. Petersburg's first grad?uate) he was always alienated from the self-taught nationalistic circle formed by his colleagues Mussorgsky, Borodin and others. ; But in his heart he was always Russian, and .] his frequent use of folksong, eastern ortho?dox chants, along with his immersion in _. .-. Russian poetry and philosophy more than-f--3 prove this point. Decades earlier, his prede?cessor Glinka had led the way to creating an art song tradition in Russia. Tchaikovsky had better texts at his disposal, more poetic i insight, and certainly more sophisticated ; compositional techniques owing to his edu?cation. He composed songs throughout his "; career, and tonight we hear examples covering a fifteen-year span. :
gjl None but the lonely heart has been an international favorite since its publication in ' 1870. Half of this early opus is on Russian j texts, and half on those of Goethe. :Wft Tchaikovsky does not try to capture -;: Mignon's neurosis nor her volatility; the v focus here is on her suffering and yearning.
The remainder of this group is set to ? texts of Tolstoy, which are as varied as are
their diverse sentiments. The vastness of ?__
Russia and Tchaikovsky's all-embracing love' $ of his people are captured in "I bless you, t Forests," while regret and disappointment in ] love, surely mirroring the composer's own j luckless life, are operatically painted in Over the golden cornfields. The reminiscence of a j chance meeting at a ball, the blend of exciteJ ment and anxiety, heard in Amid the din of. i the Ball.. .one of the composer's most inti-Ktsi mate songs depicts these feelings so well in ; the voice part, while the keyboard reminds ' us of the dancing, the festivity, the whirl of ! the senses.
Lastly, a baritone favorite, Don Juan calls : to his Nissetta to appear on her balcony.
This is a purely strophic song with a repeated .Terrain. It is the most conservative of these five, but it again shows us Tchaikovsky's consistent melodic and theatrical gifts. Who ' could resist this summons
ohn Relyea is rapidly establishing himself as one of the finest bass-baritones of today. ,j--
Mr. Relyea returned to the .' Metropolitan Opera in this season's opening production of Don Giovanni con?ducted by James Levine in the role of Masetto that was nationally televised. He made a sensational debut in February 2000 singing the role of Alidoro in La Cenerentola.
The winner of the San Francisco Opera's 1995 Merola Grand Finals, he continues his relationship with the San Francisco Opera, this season singing performances of Semele (Cadmus and Somnus) conducted by Sir ? Charles Mackerras. Mr. Relyea made his ' acclaimed debut with the company in the i summer of 1996 as Colline in La Boheme, .j and has since returned as Figaro in Le Nozze di Figaro, and Raimondo in Lucia di
? This season marks debuts for John Relyea i?ij'with the Monnaie Orchestra in Brussels in Sgjf Verdi's Requiem conducted by AntoniOsSJ & Pappano, the New York Philharmonic {Dream jsof Gerontius under the baton of Sir Colin H Davis) and his New York recital debut which IP takes place at Weill Recital Hall, Carnegie $ Hall in May 2001. He also performed Verdi's Jp$ Requiem on tour with the Swedish Radio j j$l: Symphony Orchestra in Stockholm, New I l$k York (Avery Fisher Hall) Washington DC fe?" (Kennedy Center), Chicago and here in Ann Tfc Arbor. Mr. Relyea returns this season to 1$, Carnegie Hall as bass soloist in the Rossini j5v Stabat Mater conducted by Sir Neville i
Marriner, Atlanta Symphony Orchestra in the
Verdi Requiem, and to the Pittsburgh Symphony in Beethoven's Symphony No! 9. ' He also returns to the Minnesota Orchestra twice this season in Mozart's Requiem and-,"" then again in Beethoven's Symphony No. 9y he has most recently been seen there performing in Verdi's Requiem, Beethoven's ;: Missa Solemnis, and Haydn's The Creation.', Though not yet thirty-years old, John; Relyea's extensive engagements with major! symphony orchestras include debuts in the; past few seasons with the San Francisco_ Symphony Orchestra with Sir Roger i Norrington singing the title role of Elijah; Cleveland Orchestra in Bach's b minor Mass conducted by Christoph von Dohnanyi, Philadelphia Orchestra in Bach's Magnificat under Wolfgang Sawallisch, Blossom Festival in Mozart's Requiem, Tanglewood Festival under the baton of Seiji Ozawa in Mozart's c-minor Mass, Atlanta Symphony Orchestra in La Damnation de Faust with Yoel Levi, with the Houston Symphony Orchestra in Beethoven Symphony No. 9 with Christoph Eschenbach; and with the Pittsburgh
Symphony Orchestra in Messiah conducted by Sir Neville Marriner.
In May 1997 Mr. Relyea made his San Francisco recital debut as part of the presti?gious Schwabacher Recital Series.
John Relyea began studying voice with his father, renowned Canadian bass-baritone! Gary Relyea, and now continues his studies with legendary bass Jerome Hines. In 1998 he; was honored with a prestigious ARIA award.
Tonight's recital marks John Relyea's second ? appearance under UMS auspices. Mr. Relyea ' made his UMS debut this past February as '' bass-baritone soloist in Verdi's Requiem with ' the Swedish Radio Symphony Orchestra under the baton of Manfred Honeck in Hill Auditorium. IB
" arren Jones frequently per-1 forms with many of today's best-known artists, including Barbara Bonney, Ruth Ann-56 Swenson, Dame Kiri Te Kanawa, Denyce Graves, Stephanie Blythe, Hakan Hagergard, Olaf Bar, Bo Skovhus, J Samuel Ramey and James Morris. In the .1 past he has partnered with such great
singers as Marilyn Home, Kathleen Battle, Carol .
Vaness, Judith Blegen, !S Tatiana Troyanos and Martti Talvela. His collab orations have earned consistently high praise from ; many publications: the Boston Globe termed him
"flawless" and "utterly ravishing;" The New York Times, "exquisite;" and the San Francisco Chronicle said simply, "his playing was a marvel, as always." :
Mr. Jones has been featured in an inter?view with Eugenia Zuckerman on CBS Sunday Morning in which his work as a per?former and teacher was explored, and he has
appeared on television across the US with ?' Luciano Pavarotti. He has often been a guest at Carnegie Hall and in Lincoln Center's Great Performers Series, as well as the festi?vals of Tanglewood, Ravinia, and Caramoor. His international travels have taken him to recitals at the Salzburg Festival, Milan's Teatro alia Scala, the Maggio Musicale Festival in Florence, the Teatro Fenice in Venice, Paris' Theatre des Champs-Elysees -"'T: and Opera Bastille, Wigmore Hall and Queen Elizabeth Hall in London, the --'" Konzerthaus in Vienna, Suntory Hall in Tokyo, the Cultural Centre in Hong Kong : and theatres throughout Scandinavia and : Korea. Mr. Jones has been invited three times to the White House by American pres?idents to perform at concerts honoring the President's of Russia, Italy and Canada-.?__,' and twice he has appeared at the US Supreme Court as a specially invited per: former for the Justices and their guests. As a guest at the Library of Congress, Mr. Jones has appeared with the Julliard Quartet in performances of Schumann Piano Quintet. He was featured in the United Nations memorial concerts and tribute to Miss Audrey Hepburn, an event that was telecast worldwide following Miss Hepburn's death. Mr. Jones is a member of the faculty at the Manhattan School of Music in New York City, where highly gifted young artists work with him in a unique graduate degree pro?gram in collaborative piano. Each summer ?r: he teaches and performs at the Music
California. For ten years he was Assistant Conductor at the Metropolitan Opera and for three seasons served in the same capacity at San Francisco Opera.
Mr. Jones is also a prominent musical jurist, having been a judge for the Walter Naumberg Foundation Awards, the v Metropolitan Opera Auditions, Artist' Association International Fine Arts Competition and the American Council for
the Arts. In the spring of 1997 he joined the jury of the Van Cliburn International Piano Competition in Fort Worth, Texas, at Mr. Cliburn's special invitation.
Born in Washington, DC, Mr. Jones grew up in North Carolina and graduated with honors from the New England m
Conservatory of Music in Boston, where he W, was recently honored with the Conservatory's "Outstanding Alumni ,a...,..,_, Award." -:if0M
Tonight's recital marks Warren Jones'fourth appearance under JJMS auspices.
1 11 educational activities
are free and open to ie public unless otherwise oted ($). Many events ith artists are yet to be Ianned--please call the FMS Education Office at 34.647.6712 or the UMS px Office at 734.764. 538 for more informa-,on. Activities are also bsted on the UMS --
tcbsite at ?
Pilobolus with A"
The Klezmatics I
Saturday, January 6, 2 p.niij (One-Hour Family Performance) Saturday, January 6, 8 p.m. Sunday, January 7, 4 p.m. 4 ' Power Center '"
PREP "Galloping Sofas, the Appendectomy, and Hairballs: The Method and Movement Vocabulary of Pilobolus" by Kate Remen-Wait, UMS Dance Education Specialist. Saturday, January 6,7:00 p.m., Michigan League, Koessler Library (3rd Floor). , Media sponsor WDET. '
UMS Kennedy Center Workshop
"Responding to Visual Art Through Movement" by Kimberli Boyd. Wednesday, January 10, 4:30 p.m., Washtenaw Intermediate School District, 1819 S. Wagner, Ann Arbor. Contact the UMS Youth Education
Department at 734.615.0122 or e-mail for more infor?mation. In collaboration with Ann Arbor Public Schools.
Moses Hogan Singers
Moses Hogan, conductor Wednesday, January 10, 8 p.m. St. Francis of Assisi Catholic Church
Community Choir Workshop with Moses Hogan Featuring Ann Arbor's Our Own Thing Chorale and U-M vocal choirs. Tuesday, January 9, 7:30 p.m., Bethel A.M.E. Church, 900 John A. Woods Drive, Ann Arbor. Call 734.647.6712 for more information. Media sponsor WEMU. ------
Vermeer Quartet
Saturday, January 13, 8 p.m. Rackham Auditorium PREP by Inna Naroditskaya, Professor, Northwestern University. A discussion of the evening's repertoire. Saturday, January 13, 7:00 p.m., Rackham Auditorium, U-M Assembly Hall (4th Floor).
Mingus Big Band Blues and Politics
with Kevin Mahogany, vocals Monday, January 15, 8 p.m. Hill Auditorium Pre-performance Interview with Sue Mingus "This Aint's No $@ Ghost Band!" by Michael Jewett, Host of "Afternoon Jazz," WEMU 89.1 FM. Monday, January 15,6:00 p.m., Michigan League, Hussey Room (2nd Floor).
Sponsored by the Detroit Edison Foundation. , Presented with support from the Wallace-Reader's Digest Funds and , JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. This performance is co-presented with the U-M Office of Academic Multicultural Initiatives. Media sponsors WEMU, WDET and Metro Times. ------------
Michigan Chamber Players
Sunday, January 21,4 p.m. Rackham Auditorium Complimentary Admission
UMS Kennedy Center Workshop
"Songs of the Underground Railroad" by Kim and Reggie Harris. Monday, January 29,4:30-7:30 p.m., Washtenaw Intermediate School, 1819 S. Wagner, Ann Arbor. Contact the UMS Youth Education Department at 734.615.0122 or e-mail In collaboration with Ann Arbor Public Schools.
Alvin Ailey American Dance Theater
Judith Jamison, artistic director with the Rudy Hawkins Singers Wednesday, January 31, 8 p.m. Thursday, February 1, 8 p.m. Friday, February 2, 8 p.m. Saturday, February 3, 2 p.m. (One-Hour Family Performance) Saturday, February 3, 8 p.m.
Sunday, February 4, 3 p.m. Detroit Opera House Detroit Revelations Open Rehearsal with the Rudy Hawkins Singers Featuring music from Alvin Ailey's Revelations and a discussion on preserving spiritu?als as a classic art form. Wednesday, January 24,7:00 p.m., Detroit Public Library, Friends Auditorium, 5201 Woodward, Detroit, MI. For more information contact the Detroit Public Library Marketing Department at 313.833.4042 or contact UMS at 734.647.6712.
Friday performance sponsored by MASCO Charitable Trust. These performances are co-presented with the Detroit Opera House and The Arts League of Michigan, with addition?al support from the Venture Fund for Cultural Participation of the Community Foundation for Southeastern Michigan and the Wallace-Reader's Digest Funds. Media sponsors WDETand WB20.
Dresden Staatskapelle
Giuseppe Sinopoli, conductor Friday, February 2, 8 p.m. Hill Auditorium ]
Media sponsor WGTE.
Brentano String Quartet
Sunday, February 4, 4 p.m. Rackham Auditorium Presented in partnership with the Chamber Music Society of Detroit.
Hubbard Street Dance Chicago
James F. Vincent, artistic director Friday, February 9, 8 p.m. Saturday, February 10, 8 p.m. Power Center Friday performance sponsored by Personnel Systems, Inc.'Arbor Technical StaffingArbor Temporaries, Inc. Saturday performance presented with the generous support of Susan B. Ullrich. Additional support provided by GKN Sinter Metals. Media sponsors WDET and Metro Times.
Dubravka Tomsk, piano
Sunday, February 11,4 p.m.
Hill Auditorium
This performance is made possible by
the H. Gardner Ackley Endowment
Fund, established by Bonnie Ackley in
memory of her husband.
Media sponsor WGTE.
Dairakudakan Kaiin No Uma ?&"; (Sea-DappLed Horse) Akaji Maro, artistic director Wednesday, February 14, 8 p.m. Power Center
PREP "Humor and the Grotesque: Inhabiting the Far Reaches of the Butoh Continuum" by Kate Remen-Wait, UMS Dance Education Specialist. Wednesday, February 14, 7:00 p.m., Michigan League, Hussey Room (2nd Floor). J"
Media Sponsor Metro Times.
Swedish Radio Symphony Orchestra and Choir
Manfred Honeck, conductor
Marina Mescheriakova, soprano
Nadja Michael, mezzo-soprano
Marco Berti, tenor
John Relyea, bass-baritone
Friday, February 16, 8 p.m.
Hill Auditorium
Sponsored by KeyBank. --
Additional support provided by
Alcan Global Automotive Solutions.
Media sponsor WGTE. '
Swedish Radio Choir and Eric Ericson Chamber Choir
Eric Ericson, conductor ,
Saturday, February 17, 8 p.m. ?
St. Francis of Assisi Catholic
PREP by Naomi Andre, Assistant
Professor, U-M School of Music.
Friday, February 16, 7:00 p.m.,
Michigan League, Henderson Room
(3rd Floor).
Presented with the generous support
of Kathleen G. Charla. -......-
Manuel Barrueco, guitar
Sunday, February 18, 4 p.m. Rackham Auditorium
Ballet Preljocaj Paysage apres la BataiUe
Angelin Preljocaj, artistic director Wednesday, February 21,8 p.m. Power Center
PREP "Angelin Preljocaj and the Legacy of Dance-Theater" by Kate Remen-Wait, UMS Dance Education Specialist.
Wednesday, February 21, 7:00 p.m., Michigan League, Vandenberg Room
(2nd Floor). -------
Media Sponsor Metro Times. ?
Texaco Sphinx Competition Concerts
Junior Division Honors Concert Friday, February 23, 12 noon Hill Auditorium
Complimentary Admission
Senior Division Finals Concert Sunday, February 25, 3 p.m. Orchestra Hall Detroit The Sphinx Competition is generously presented by the Texaco Foundation.
Prague Chamber Orchestra with the Beaux Arts Trio
Wednesday, March 7, 8 p.m. Hill Auditorium Sponsored by CFI Group, Inc. Additional support provided by Hella North America. Media sponsor WGTE.
Royal Shakespeare Company Shakespeare's History Cycle Henry VI, Parts 7, and III Richard III
Directed by Michael Boyd Cycle 1: Saturday, March 10 & Sunday, March 11 Cycle 2: Saturday, March 17 & Sunday, March 18 Best Availability! i&) H Cycle 3: Tuesday, March 13-Thursday, March 15 Power Center
UMS Performing Arts Workshop "Drama for Literacy--Telling Tales from Shakespeare: A Practical Approach for Primary Teachers" by Mary Johnson, Education Department, Royal Shakespeare Company. Monday, January 22,4:30-7:30 p.m. Focus on grades K-6. $20. For location and reg?istration, contact the UMS Youth Education Department at 734.615.0122 or e-mail UMS Performing Arts Workshop "Teaching Richard III: A Theater-based Approach" by Mary Johnson, Education Department, Royal Shakespeare Company. Tuesday,
January 23,4:30-7:30 p.m., Washtenaw Intermediate School District, 1819 S. Wagner, Ann Arbor. Focus on grades 7-12. $20. For location and registration, contact the UMS Youth Education Department at 734.615.0122 or e-mail Family Workshop "Shakespeare is for Everyone" led by Clare Venables, Education Department, Royal
Shakespeare Company. Wednesday, January 24, 7:00 p.m., Ann Arbor Hands on Museum, 220 East Huron, Ann Arbor. Children and parents wel?come--all ages. Call 734.615.0122 or 734.995.5437 for more information. RSC Ralph Williams Lecture Series: All lectures begin at 7 p.m. in Rackham Auditorium, given by U-M Professor of English, Ralph Williams. Lecture on Henry VI, Part I Monday, January 29, 7:00-9:00 p.m., Lecture on Henry VI, Part II Monday, February 5, 7:00-9:00 p.m., Lecture on Henry VI, Part III Monday, February 12, 7:00-9:00 p.m., Lecture on Richard III Monday, February 19, 7:00-9:00 p.m.. Lecture "Dream of Kingship: Ghostly Terror in Shakespeare's Richard III" by Dr. Stephen Greenblatt, Professor of Shakespeare, Harvard University. In collaboration with the U-M Early Modern Colloquium. Monday, February 19,4:00-6:00 p.m., Rackham Auditorium.
Presented with the generous support of the State of Michigan, Michigan Council for Arts and Cultural Affairs, and the National Endowment for the Arts. The Royal Shakespeare Company is a co-presentation of the University Musical Society and the University of Michigan. Media sponsor Michigan Radio.
Les Violons du Roy
Bernard Labadie, conductor David Daniels, countertenor Thursday, March 22, 8 p.m. St. Francis of Assisi Catholic Church
Presented with the generous support of Maurice and Linda Binkow. Media sponsor WGTE.
Academy of
St. Martin-in-the-Fields
Murray Perahia, conductor
and piano
Saturday, March 24, 8 p.m.
Hill Auditorium
Sponsored by Pfizer.
Media sponsor WGTE.
Chamber Music Society of Lincoln Center
David Shifrin, artistic director Heidi Grant Murphy, soprano Ida Kavafian, violin Heidi Lehwalder, harp Paul Neubauer, viola Fred Sherry, cello Ransom Wilson, flute with cellists from the U-M School of Music Wednesday, March 28, 8 p.m. Lydia Mendelssohn Theatre Support provided by 77 Group Automotive Systems. Media sponsor WGTE
Brass Band of Battle Creek Paul W. Smith, emcee
Friday, March 30, 8 p.m. Hill Auditorium Sponsored by Ideation, Inc.
Ronald K. BrownEvidence
Ronald K. Brown, artistic director
Saturday, March 31,8 p.m.
Power Center
Meet the Artist post-performance
dialogue from the stage.
Funded in part by the National Dance
Project of the New England Foundation
for the Arts, with lead funding from the
National Endowment for the Arts and
the Doris Duke Charitable Foundation.
Additional funding provided by the
Andrew W. Mellon Foundation and the
Philip Morris Companies Inc.
Media sponsors WEMU and Metro Times.
Orion String Quartet and Peter Serkin, piano
Sunday, April 1, 4 p.m. Rackham Auditorium Presented with the generous support of Ami and Prue Rosenthal.
Royal Concertgebouw ,., Orchestra Amsterdam Riccardo Chailly, conductor Matthias Goerne, baritone Wednesday, April 4, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
Emerson String Quartet
Friday, April 6, 8 p.m. Rackham Auditorium Sponsored by Bank of Ann Arbor.
John Relyea, bass-baritone
Warren Jones, piano Saturday, April 14, 8 p.m. Lydia Mendelssohn Theatre PREP "John Relyea: An Introduction To His Art" by Richard LeSueur, Music Specialist, Ann Arbor District Library. Saturday, April 14, 7:00 p.m., Michigan League, Koessler Library (3rd Floor). Sponsored by Miller, Canfield, Paddock and Stone, P.L.C. Media sponsor WGTE.
Mark Morris Dance Group
Mark Morris, artistic director with The Detroit Symphony Orchestra Neeme Jarvi, music director and The Ann Arbor Cantata Singers William Boggs, music director Friday, April 20, 8 p.m. Saturday, April 21,8 p.m. Power Center Friday performance sponsored by McKinley Associates, Inc. Saturday performance sponsored by The Shiffman Foundation, Sigrid Christiansen and Richard Levey. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc. Media sponsors WDET and Metro Times.
Berlioz' Requiem
UMS Choral Union Greater Lansing Symphony Orchestra U-M Symphony Band Thomas Sheets, conductor
Sunday, April 22, 4 p.m. ___
Hill Auditorium
Sponsored by Jim and Millie Irwin.
UMS Co-Commission & World Premiere Curse of the Gold: Myths from the Icelandic Edda
Conceived and directed by Benjamin Bagby and Ping Chong
Performed by Sequentia in association with Ping Chong and Company Wednesday, April 25, 8 p.m. Thursday, April 26, 8 p.m. Lydia Mendelssohn Theatre Presented with the generous support of Robert and Pearson Macck, with additional funding from the Wallace-Reader's Digest Funds and the National Endowment for the Arts. Presented in collaboration with the U-M Institute for the Humanities. Media sponsor Michigan Radio.
Peter Sparling Dance Company Orfeo Open Rehearsal Satuday, April 28,1:00-3:00 p.m., Peter Sparling Dance Gallery Studio, 111 Third Street, Ann Arbor.
Work-in-Progress Preview of Orfeo
with the U-M School of Music. Saturday, May 19, 8:00 p.m., Michigan Theater, Ann Arbor. For more infor?mation call Peter SparlingDance Gallery Studio at 734.747.8885 or visit Peter Sparling Dance Company at www.comnet.orgdancegallery.
Liz Lerman Dance Exchange will be in residency for several weeks this spring in preparation for their Hallelujah! project premiering Fall 2001. If you would like more information about upcoming residency activities, please contact the UMS Education Department at 734.615.6739.
he 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 signifi?cant relationship. In one evening, UMS 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, Garrick Ohlsson, The Canadian Brass, and Isaac Stern.
This season's Ford Honors Program will be held on Saturday, May 12, 2001. The recipient of the 2001 UMS Distinguished Artist Award will be announced in February 2001.
Ford Honoi Program Honorccs
Van Cliburn
Jessye Norman
Garrick Ohlsson
Canadian Brass
Isaac Stern
n the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and 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.
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
The 2001 Winter Season's Family Performances include: .,;
? Pilobolus
? Alvin Ailey American Dance Theater
Specially designed for family participation that creates an environment where both chil?dren and adults can learn together, the UMS Family Performances are a great way to spend quality time with your children. Contact the UMS Box Office at 734.764.2538 for tickets and more information. J
Master of Arts Interview Series
Now in its fifth year, this series is an opportunity to showcase and engage the choreographers in academic, yet informal, dialogues about their art form, their body of work and their upcoming performances.
PREPs (Performance-Related Educational Presentations)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. All PREPs are free and open to the public and usually begin one hour before curtain time.
Meet the Artists: Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, the performance they've just seen and the artistic process. Each Meet the Artist event occurs immediately after the perform?ance, and the question-and-answer session takes place from the stage.
Artist Residency Activities
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, participatory workshops, clinics, visiting scholars, seminars, communi?ty projects, symposia, panel discussions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's performance.
Major residencies for the 2001 Winter Season are with:
Alvin Ailey American Dance Theater
Royal Shakespeare Company
Ping ChongBenjamin Bagby
Youth Performances
These performances are hour-long or full length, specially designed, teacherand stu?dent-friendly live matinee performances.
The 2001 Youth Performance Series includes:
Mingus Big Band: Blues and Politics
Alvin Ailey American Dance Theater
Hubbard Street Dance Chicago
" Royal Shakespeare Company: Richard III
Ronald K. BrownEvidence
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or e-mail
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
? Responding to Visual Art Through Movement
? Songs of the Underground Railroad
Workshops focusing on the UMS youth per?formances are:
Drama for Literacy--Telling Tales from Shakespeare: A Practical Approach for Primary Teachers
Teaching Richard III: A Theater-based Approach
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales hotline at 734.763.3100 for more infor?mation about discounts for student and youth groups.
UMS Camerata Dinners
Now in their fifth season, Camerata Dinners are a delicious and convenient beginning to your UMS 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. Catered this year by the very popular Food Art, our Camerata Dinners will be held prior to the Choral Union Series performances listed below. All upcoming dinners will be held in the Alumni Center. Dinner is $35 per person. UMS members at the Benefactor level ($500) and above are entitled to a discounted dinner price of $30 per person. All members receive reservation priority. Please reserve in advance by calling 734.647.8009.
We are grateful to Sesi Lincoln Mercury for their support of these special dinners.
Friday, February 2
Dresden Staatskapelle
Friday, February 16
Swedish Radio Symphony Orchestra and Choir ____
Wednesday, March 7
Prague Chamber Orchestra
Saturday, March 24
Academy of St. Martin-in-the-Fields ? Wednesday, April 4 i
Royal Concertgebouw Orchestra of Amsterdam
elebrate in style with dinner and a show . or stay overnight and relax in luxurious comfort! A delectable meal followed by priority, reserved seating at a performance by world-class artists sets the stage for a truly elegant evening--add luxury accommodations to the package and make it a perfect get-a-way.
con'tonp. 39 .....
UMS is pleased to announce its cooperative ventures with the following local establish?ments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 734.769.0653 for reservations Join Ann Arbor's most theatrical host and 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 performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer
734.769.3010 for reservations and prices Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the per?formance 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. All events are at 8 p.m. with din?ner prior to the performance.
Package includes valet parking at the hotel, overnight accommodations 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.
Package price is $228 per couple.
Gratzi Restaurant
326 South Main Street
888.456.DINE for reservations
Pre-performance Dinner
Package includes guaranteed reservations
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.
Packages are available for select perform?ances. Call 734.763.5555 for details.
Vitosha Guest Haus
1917 Washtenaw Avenue Call 734.741.4969 for reservations Join proprietors Christian and Kei Constantinov for afternoon tea, feather duvets and owls in the rafters in their expan?sive stone chalet home. Catering to "scholars, artists and the world-weary," this historic complex features old English style decor, ten guest rooms, each with their own private bath and many with a gas fireplace, a neo-Gothic parsonage, coach house tearoom, and a Frank Lloyd Wright-inspired church. The Vitosha Guest Haus also offers group dis?count rates and can accommodate confer?ences, musical and performing arts events, weddings and family celebrations. Call 734.741.4969 for reservations or to inquire about special package prices.
isit and enjoy these fine area restaurants. 1 Join us in thanking them for their gener?ous support of UMS.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian special?ties. Outstanding wine and beer list. http:annarbor.orgpagesbluenile.html
Cafe 303
303 Detroit Street 734.665.0700 Modern American cooking, daily eclectic specials, seafood, pasta & steaks. Full bar, wines by-the-glass, and courtyard dining. Open 7 days at 11:00 a.m., weekend brunch. Meetings, banquets, and parties easily accommodated. Coming soon: live entertainment and other exciting surprises.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than fifty years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and catering services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 World class Italian cuisine and thirty-five wines by the glass in sleek atmosphere. Entrees changed daily, private meeting area. Rated 'four stars' by the Detroit Free Press. Lunch weekdays, dinner every night. Reservations welcome.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10:00, Sunday 3:30-9:00.
Award-winning Sunday brunch 10:00-2:00. Reservations recommended. ;.
326 South Main Street 888.456.DINE Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the corner of Fourth Avenue and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, intimate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
The Moveable Feast
326 West Liberty 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes.
347 South Main Street 888.456.DINE Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company
341 South Main Street 888.456.DINE As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly, specials. Smoke-free. No reservations.
314 East Liberty 734.662.1111 Providing fresh, imaginative vegetarian cui?sine since 1973. All dishes, including desserts, are made in-house daily. Be sure to look over our extensive beverage menu.
Weber's Restaurant
3050 Jackson Avenue 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, roast duck, cruvinet wine tasting flights, home-made pastries. Award-winning wine list. Ports, cognacs, entertainment nightly.
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encouraged.
ack by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events. Thanks to the generosity of the hosts, all proceeds go directly to support UMS' educational and artistic programs. Treat yourself, give a gift of tickets, or come alone and meet new r people! Call 734.936.6837 to receive a . J brochure or for more information. fl
MS volunteers are an integral part of the success of our organi?zation. 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 activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to _j request more information. g3
ow fifty-nine members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and contribut?ing to its fundraising efforts. Through the Delicious Experiences series, Season Opening Dinner, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $300,000 to UMS this season. Additionally, the Committee's hard work is in evidence at local bookstores with BRAVO!, a cookbook that traces the history of UMS through its first 120 years, with recipes submitted by fB artists who have performed under our aus?pices. If you would like to become involved
with this dynamic group, call 734.936.6837 for more information.
The Advisory Committee also seeks people to help with activities such as escorting students at our popular youth performances, assisting with mailings, and setting up for special events. Please call 734.936.6837 if you would like to volunteer for a project.
dvertising in the UMS program book or sponsoring UMS performances enables 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 performance experi?ences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book. s_____________.....
As a UMS corporate sponsor, your organiza?tion comes to the attention of an 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 also receive numerous
benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
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, please call 734.647.1176.
nternships with UMS provide experience ? in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS' departments. For more information, please call 734.764.9187.
tudents working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.764.9187.
, ithout the dedicated service of UMS' ' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others. _______
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert going 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 Center, or Rackham) for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
Musical Society because of the much-needed and appreciated gifts of UMS supporters, mem?bers of the Society, fc The list below represents names of current donors as of November 13, 2000. 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. l UMS would also like to thank those generous donors who wish to remain anonymous.
Mrs. Gardner Ackley Carl and Isabelle Brauer Dr. Kathleen G. Charla ,,? Charlotte McGeoch Randall and Mary Pittman Herbert Sloan
Bank One, Michigan
Ford Motor Company Fund
Forest Health Services
Hudson's Project Imagine Office of the Provost,
University of Michigan Pfizer Global Research and
Development; Ann Arbor
Laboratories M?
Community Foundation for
Southeastern Michigan Ford Foundation JazzNetDoris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs National Endowment
for the Arts State of Michigan Arts and
Quality of Life Grant Program Wallace-Reader's Digest Funds
Herb and Carol Amster
Peter and Jill Corr
Ronnie and Sheila Cresswell
Comerica Incorporated Dow Automotive KeyBank
MASCO Charitable Trust McKinley Associates National City Bank Sesi Lincoln Mercury Thomas B. McMullen
Company Wolverine Technical Staffing,
Detroit Edison Foundation' Elizabeth E. Kennedy Fund Mid-America Arts Alliance
Heartland Arts Fund New England Foundation
for the Arts, Inc. Shiffman Foundation Trust
(Richard Levey and Sigrid
Christiansen) The Texaco Foundation if-
VIRTUOSI Individuals
David Eklund and Jeff Green Prudence and Amnon Rosenthal
Bank of Ann Arbor CFI Group
Individuals !
Maurice and Linda Binkow Barbara Everitt Bryant Douglas D. Crary Ken and Penny Fischer Beverley and Gerson Geltner David and Phyllis Herzig Lawrence and Rebecca Lohr Robert and Pearson Macek Robert and Ann Meredith Joe and Karen Koykka O'Neal Loretta M. Skewes Dr. Isaac Thomas III and
Dr. Toni Hoover Don and Carol Van Curler Marina and Robert Whitman Ann and Clayton Wilhite Roy Ziegler '
Alcan Global Automotive
Solutions Ann Arbor Acura AutoCom Associates Personnel Systems, Inc.
Arbor Technical Staffing
Arbor Temporaries, Inc. Butzel Long Attorneys Cafe Marie Consumers Energy Edward Surovell Realtors Elastizell Corporation of
America _?_.
GKN Sinter Metals suw Hella North America, Inc. Miller, Canfield, Paddock
and Stone P.L.C. O'Neal Construction Pepper Hamilton LLP TI Group Automotive Systems
Foundations =-
Chamber Music America THE MOSAIC FOUNDATION (ofR.&P.Heydon)
Martha and Bob Ause
A. J. and Anne Bartoletto
Bradford and Lydia Bates
Kathy Benton and Robert Brown
Raymond and Janet Bernreuter
Joan Akers Binkow
Mr. and Mrs. William Brannan
Amy and Jim Byrne
Edward and Mary Cady
Edwin and Judith Carlson
Maurice and Margo Cohen
Tom Cohn
Mr. Ralph Conger
Katharine and Jon Cosovich
Molly and Bill Dobson
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
John and Esther Floyd
James and Anne Ford
Otto and Lourdes E. Gago
Betty-Ann and Daniel Gilliland
Sue and Carl Gingles
Debbie and Norman Herbert
Keki and Alice Irani
Thomas and Shirley Kauper ;i
Judy and Roger Maugh
Paul and Ruth McCracken
Hattie and Ted McOmber
Cruse W. and Virginia Patton Moss
Shirley Neuman
Gilbert Omenn and
Martha Darling
John and Dot Reed ?-----
Barbara A. Anderson and
John H. Romani Don and Judy Dow Rumelhart Carol and Irving Smokier Lois A. Theis
Richard E. and Laura A. Van House Mrs. Francis V. Viola III Marion Wirick and James Morgan
Alf Studios AAA Michigan Blue Nile Restaurant Dennis A. Dahlmann Inc. Ideation, Inc. Joseph Curtin Studios Masco Corporation v
Foundations '
Ann Arbor Area Community
Foundation '
The Lebensfeld Foundation
Dr. and Mrs. Gerald Abrams
Jim and Barbara Adams
Bernard and Raquel Agranoff
Lloyd and Ted St. Antoine
Lesli and Christopher Ballard
Emily W. Bandera, M.D.
Dr. and Mrs. Robert Bartlett
Karen and Karl Bartscht
Ralph P. Beebe
Ruth Ann and Stuart J. Bcrgstein
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Elizabeth and Giles G. Bole
Susan Steiner Bolhouse
Lee C. Bollinger and
Jean Magnano Bollinger Howard and Margaret Bond Laurence and Grace Boxer Dale and Nancy Briggs Helen L. Brokaw Jeannine and Robert Buchanan Robert and Victoria Buckler Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Jim and Priscilla Carlson _. Jean and Kenneth Casey 'flHSBj Janet and Bill Cassebaum Anne Chase
Don and Betts Chisholm Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Anne and Howard Cooper Mary Cordes and Charleen Price Elaine Buxbaum Cousins Peter and Susan Darrow ,
Beatrice C. DeRocco Lorenzo DiCarlo and
Sally Stegeman DiCarlo : Jack and Alice Dobson Elizabeth A. Doman Mr. and Mrs. John R. Edman Rosalie Edwards Dr. and Mrs. John A. Faulkner Susan Feagin and John Brown David and Jo-Anna Featherman Adrienne and Robert Z. Feldstein Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Bob and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Marilyn G. Gallatin ,;.,.i James and Cathie Gibson IRISO William and Ruth Gilkey Drs. Sid Gilman and Carol Barbour Alvia G. Golden and 2______I
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb ,
Principals, continued
Victoria Green and
Matthew Toschlog Linda and Richard Greene Frances Greer John and Helen Griffith David and
Pamela Colburn Haron Taraneh and Carl Haske Anne and Harold Haugh Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and Joan F. Howe Sun-Chien and Betty Hsiao John and Patricia Huntington Stuart and Maureen Isaac Lennart and
Karin Johansson Elizabeth Judson Johnson Robert L. and
Beatrice H. Kahn Robert and Gloria Kerry Amy Sheon and
Marvin Krislov Bud and Justine Kulka Barbara and Michael Kusisto Lenore Lamont Jill Latta and David S. Bach Leo and Kathy Legatski Evie and Allen Lichter Carolyn and Paul Lichter Richard and Stephanie Lord Dean and Gwen Louis Virginia and Eric Lundquist John and Cheryl MacKrell Natalie Matovinovic Margaret W. Maurer ' Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. H. Dean and
Dolores Millard Andy and Candice Mitchell Lester and Jeanne Monts Grant W. Moore Julia S. Morris Eva L. Mueller M. Haskell and
Jan Barney Newman William and
Deanna Newman Dr. and Mrs.
William J. Oliver Mark and Susan Orringer Elizabeth C. Overberger Mr. and Mrs.
William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine Pierpont Elaine and Bertram Pitt Eleanor and Peter Pollack Stephen and Agnes Reading
Donald H. Regan and
Elizabeth Axelson Kenneth J. Robinson Mrs. Irving Rose Victor Strecher and
Jcri Rosenberg Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Mr. and Mrs.
Charles H. Rubin Maya Savarino Mrs. Richard C. Schneider Rosalie and
David Schottenfeld Dr. John J. H. Schwarz Robert Sears and
Lisa M. Waits Joseph and Patricia Settimi Janet and Michael Shatusky Helen and George Siedel J. Barry and Barbara M. Sloat Tim Sparling and
Lynne Tobin
Steve and Cynny Spencer Gus and Andrea Stager James and Nancy Stanley Mrs. Ralph L. Steffek Mr. and Mrs.
John C. Stegeman Victor and
Marlene Stoeffler Bengt L. and
Elaine M. Swenson James L. and Ann S. Telfer Susan B. Ullrich Bryan and Suzette Ungard Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Elly Wagner _+ _,
John Wagner Gregory and
Annette Walker Barry and Sybil Wayburn Willes and Kathleen Weber Elise and Jerry Weisbach Robert O. and
Darragh H. Weisman Roy and JoAn Wetzel Max Wicha and
Sheila Crowley Dr. and Mrs. Clyde Wu Paul and Elizabeth Yhouse Ed and Signe Young Gerald B. and
Mary Kay Zelenock Nancy and Martin
Charles Reinhart
Company Realtors Shar Products Company
Harold and Jean
Grossman Family ????
Foundation Hudson's Community
Montague Foundation The Power Foundation Vibrant of Ann Arbor
Individuals ??
Robert Ainsworth Dr. and Mrs. Robert G. Aldricli Michael and Suzan Alexander Carlcnc and Peter Aliferis Michael Allemang and
Denise Boulange j
Dr. and Mrs. Rudi Ansbacher Janet and Arnold Aronoff Max K. Aupperle Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Astrid B. Beck and
David Noel Freedman Kathleen Beck Harry and Betty Benford John Blankiey and
Maureen Foley Tom and Cathie Bloem Jane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Sharon Brooks June and Donald R. Brown Virginia Sory Brown Douglas and
Marilyn Campbell Jean W. Campbell Michael and Patricia Campbell Bruce and Jean Carlson Jack and Wendy Carman James S. Chen Janice A. Clark John and Nancy Clark Edward J. and Anne M. Comeau Carolyn and L Thomas Conlin Jim and Connie Cook Susan and Arnold Coran Clifford and Laura Craig George and Connie Cress Kathleen J. Crispell and
Thomas S. Porter Mary R. and John G. Curtis Roderick and Mary Ann Daane Pauline and Jay J. De Lay Katy and Anthony Derezinski Lloyd and Genie Dethloff Marnee and John DeVine Delia DiPietro and
Jack Wagoner, M.D. Steve and Lori Director Al Dodds
Charles and Julia Eisendrath Dr. Alan S. Eiser Kathryn A. Eklund Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat
Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Phyllis W. Foster Deborah and
Ronald Freedman Gwyn and Jay Gardner Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrtcr Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Joyce and Fred Ginsberg Paul and Anne Glendon Susie and Gene Goodson Cozette Grabb
Dr. and Mrs. William A. Grade William and Deborah Gray Leslie and Mary Ellen Guinn Carl E. and Julia H. Guldberg Don P. Haefner and
Cynthia J. Stewart Helen C. Hall
Mr. and Mrs. Elmer F. Hamel Susan Harris Paul Hysen and
Jeanne Harrison Anne Vance Hatcher Karl and Eleanor Hauser Nina E. Hauser Jeannine and Gary Hayden Margaret and
Walter Helmreich J. Lawrence and Jacqueline
Stearns Henkel Carl and Charlene Herstein Mrs. W.A. Hiltner Mr. and Mrs.
William B. Holmes David and Dolores Humes Ronald R. and
Gaye H. Humphrey Eileen and Saul Hymans Wallie and Janet Jeffries Jim and Dale Jerome Ellen C. Johnson Frank and Sharon Johnson Tim and Jo Wiese Johnson Steven R. Kalt and
Robert D. Heeren Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman John B. and Joanne Kennard Richard L. Kennedy Emily and Ted Kennedy Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine R. Klingler Bethany and Bill Klinke Philip and Kathryn Klintworth Jim and Carolyn Knake Joseph and Marilynn Kokoszka Samuel and Marilyn Krimm Lee and Teddi Landes David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Ann M. Leidy Leslie and Susan Loomans
Charles and Judy Lucas Brigitte and Paul Maasscn Edwin and Catherine Marcus Nancy and Philip Margolis Claude and Marie Martin Invin and Fran Martin Sally and Bill Martin Marilyn Mason Chandler and Mary Matthews Elaine J. McFadden Eileen Mclntosh and
Charles Schaldenbrand Richard and
Elizabeth McLeary Ted and Barbara Meadows Dr. Gerlinda Melchiori Walter and Ruth Metzger Valerie Meyer Leo and Sally Miedler Myrna and Newell Miller Melinda and Bob Morris Brian and Jacqueline Morton Cyril and Rona Moscow Hillary Murt and
Bruce A. Friedman Martin Neuliep and
Patricia Pancioli Mrs. Marvin Niehuss Gene Nissen
Marylen and Harold Oberman Dr. and Mrs.
Frederick C. O'Dell Constance L. and
David W. Osier Mitchel Osman, M.D. Shirley and Ara Paul Lorraine B. Phillips Murray and Ina Pitt Stephen and Bettina Pollock Richard H. and
Mary B. Price Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Jeanne Raisler and
Jonathan Allen Cohn Jim and leva Rasmussen Jim and Bonnie Recce Rudolph and Sue Reichert Ray and Ginny Reilly Maria and Rusty Restuccia Dr. Susan M. Rose Mrs. Doris E. Rowan James and Adrienne Rudolph Ina and Terry Sandalow Sheldon Sandweiss Ronald and Donna Santo Drs. Edward and
Virginia Sayles Peter C. Schaberg and
Norma J. Amrhein Meeyung and
Charles Schmitter Sue Schroeder Howard and Aliza Shevrin Dr. and Mrs.
Martin Shinedling Frances U. and
Scott K. Simonds Dr. Elaine R. Soller Kate and Philip Soper Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Juanita and Joseph Spallina Stephen and Gayle Stewart Wolfgang Stolper
Nancy Bielby Sudia Charlotte B. Sundelson Ronna and Kent Talcott Bob and Betsy Teeter Mrs. E. Thurston Thieme Christina and
Thomas Thoburn Dr. and Mrs.
Merlin C. Townley loan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Jack and
Marilyn van der Veldc Kate and Chris Vaughan Florence S. Wagner Bruce and Raven Wallace Charles R. and
Barbara H. WaUgren Dana M. Warnez Joyce L. Watson Robin and Harvey Wax Karl and Karen Weick Raoul Weisman and
Ann Friedman Dr. Steven W. Werns Harry C. White and
Esther R. Redmount Clara G. Whiting Brymer Williams J. D. and Joyce Woods Mr. and Mrs. A. C. Wooll David and April Wright Don and Charlotte Wyche
The Barfield Company
Bartech Bellanina Day Spa Dupuis & Ryden P.C.CPAs
and Business Advisors Guardian Industries
Corporation Lewis Jewelers Public Sector Consultants, Inc.
The Sneed Foundation, Inc.
Individuals ElfflR
Dr. Diane M. Agrcsta
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlenc and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur I. Ashc, III
Dwight Ashley
Dan and Monica Atkins
Jonathan and Marlene Ayers
Robert L. Baird
John R. Bareham
Cy and Anne Barnes.
Associates, continued
Victoria and Robin Baron Lois and David Baru Gary Beckman and Karla Taylor Srirammohan S. and
Shamal Beltangady Erling and
Mcrcte Blondal Bengtsson Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Dan and Irene Bibcr Roger and Polly Bookwalter James and Janice Stevens Botsford Mr. Joel Bregman and
Ms. Elaine Pomeranz Allen and Veronica Britton Mrs. A. Joseph Brough Morton B. and Raya Brown Sue and Noel Buckner Trudy and Jonathan Bulkier Arthur W. and Alice R. Burks Bob Caldwell and
Terry Hirth Caldwell Susan and Oliver Cameron Margot Campos Charles F. Cannell Nancy Cantor
Marshall F. and Janice L. Carr Jeannette and Robert Carr Carolyn M. Carty and
Thomas H. Haug Dr. and Mrs. Joseph C. Cerny Tsun and Siu Ying Chang Dr. Kyung and Young Cho Kwang and Soon Cho Soon K. Cho Nancy Cilley
Donald and Astrid Cleveland Hubert and Ellen Cohen John and Penelope Collins Wayne and Melinda Colquitt Nan and Bill Conlin Elly Rose Cooper and
Hugh Cooper Paul N. Courant and
Marta A. Manildi Malcolm and Juanita Cox Merle and Mary Ann Crawford Mr. Michael J. and
Dr. Joan Crawford Constance Crump and
Jay Sim rod Sunil and Mcrial Das Charles and Kathleen Davenport Ed and Ellie Davidson Peter and Norma Davis Ronald and Dolores Dawson John and Jean Debbink Elena and Nicholas Delbanco Ellwood and Michelc Derr Elizabeth Dexter Martha and Ron DiCecco Bill and Peggy Dixon Jean Dolega
Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Mr. and Mrs. Daniel G. Dow Phillip Duryea Jane E. Dutton Martin and Rosalie Edwards Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mackenzie and Marcia Endo Joan and Emil Engel Patricia Enns
Dr. and Mrs. James Ferrara Yi-tsi M. and
Albert Feuerwerker Karl and Sara Fiegenschuh
Dr. James F. Filgas Carol Finerman Herschel and Annette Fink Beth B. Fischer (Mrs. G.).) Dr. C. Peter and
Beverly A. Fischer Susan R. Fisher and
John W. Waidley Jennifer and Guillermo Flores Mr. and Mrs. George W. Ford Doris E. Foss Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnke Andrew and Dcirdre Freiberg Lcla J. Fucstcr
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Eugene and Mary Anne Gargaro David and Marian Gates Wood and Rosemary Gcist Mr. and Mrs. Michael Gillis James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Edward and Ellen Goldberg lrwin Goldstein and
Martha Mayo Charles Goss
James W. and Maria J. Gousseff Elizabeth Needham Graham Maryanna and
Dr. William H. Graves, III Jerry M. and Mary K. Gray Dr. John and Renee M. Grcden Lila and Bob Green Bill and Louise Gregory Lauretta and Jim Cribble Carleton and Mary Lou Griffin Mark and Susan Griffin Werner H. Grilk B
David and Kay Gugala rB Ken and Margaret Guire i Arthur W. Gulick, M.D. John and Susan Halloran Yoshiko Hamano Mr. and Mrs. Michael Hanna Martin D. and Connie D. Harris Robert and Sonia Harris Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Clifford and Alice Hart Thomas and Connie Heffner Bob and Lucia Heinold Fred and Joyce Hershenson Peter G. Hinman and
Elizabeth A. Young Frances C. Hoffman Matthew C. Hoffmann and
Kerry McNulty Carol and Dieter Hohnke Ronald and Ann Holz Drs. Linda Samuelson and
Joel Howcll lane H. Hughes Ann D. Hungerman Thomas and Kathryn Huntzicker Susan and Martin Hurwitz Robert B. Ingling Margaret and Eugene Ingram Harold and Jean lacobson Kent and Mary Johnson Elizabeth and Lawrence Jordan Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan David and Sally Kennedy
Frank and Patricia Kennedy
Don and Mary Kiel
Tom and Connie Kinnear
Rhea and Leslie Kish
James and Jane Kister
Beverly Kleibcr
Shira and Steve Klein
Laura Klem
Clyde and Anne Kloack
Ruth and Thomas Knoll
Nick Knuth
Dr. and Mrs. Melvyn Korobkin
Michael and Phyllis Korybalski
Ron and Barbara Kramer
Bert and Catherine La Du
Mr. and Mrs. Henry M. Lapeza
Neal and Anne Laurance
John and Theresa Lee
Peter Lee and Clara Hwang
Mr. and Mrs. Fernando S. Leon
Richard LeSueur
Harry and Melissa LeVine
Myron and Bobbie Levine
Donald J. and
Carolyn Dana Lewis Jacqueline H. Lewis Earl Lewis
Leons and Vija Liepa Alcne and Jeff Lipshaw Rod and Robin Little , Naomi E. Lohr E. Daniel and Kay Long Armando Lopez Rosas Helen B. Love
Mr. and Mrs. Carl). Lutkehaus Edward and Barbara Lynn Donald and Doni Lystra Jeffrey Mackie-Mason Pamela J. MacKintosh Steve and Ginger Maggio Virginia Mahlc Melvin and Jean Manis Marcovitz Family Sheldon and Geraldine Markel Peter Marshall Jim and Ann Mattson Melissa McBrienBaks Family Margaret E. McCarthy Ernest and Adele McCarus W. Bruce McCuaig Griff and Pat McDonald Mr. and Mrs. Ernest Merlanti Bernice and Herman Merte Henry D. Messer Carl A. House Helen Metzner Deanna Relyea and
Piotr Michalowski feanette and Jack Miller John Mills
Thomas and Doris Miree Kathleen and James Mitchiner Dr. and Mrs.
William G. Moller, Jr. Jane and Kenneth Moriarty Frederick C. Neidhardt and
Germainc Chipault Laura Nitzberg and
Thomas Carli Donna Parmelee and
William Nolting Marysia Ostafin and
George Smillie Julie and Dave Owens David and Andrea Page Drs. Sujit and Uma Pandit William and Hedda Panzer Rene and Hino Papo Elizabeth M. Payne Zoe and Joe Pearson Margaret and Jack Petersen Joyce H. and Daniel M. Phillips
William and Barbara Pierce Frank and Sharon PignanelH Richard and Meryl Place Donald and Evonnc Plantinga Mary Alice Power Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince J. Thomas and Kathleen Puslell Leland and
Elizabeth Quackenbush Patricia Randle and lames Eng Anthony L. Reffclls and
Elaine A. Bennett Glenda Renwick Janet L Repp
Molly Resnik and John Martin Carol P. Richardson Betty Richart
Jack and Margaret Ricketts Constance O. Rinehart Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Mary R. Romig-deYoung W. Robin Rose Robert and Joan Rosenblum Gay and George Rosenwald Craig and Jan Ruff Bryant and Anne Russell Robert E. Sanccki Mike Savitski and
Christi Balas Savitski Albert J. and Jane L. Sayed Christine J. Schesky-Black David and Marcia Schmidt Monica and David E. Schteingart Suzanne Selig Harriet Selin .-j.
Erik and Carol Serr '-? Ruth and Jay Shanberge Hollis and Martha A. Showalter Ned Shure and Jan Onder Sandy and Dick Simon Robert and Elaine Sims Scott and Joan Singer John and Anne Griffin Sloan Tim and Marie Slottow Alene M. Smith Carl and Jari Smith Mrs. Robert W. Smith Susan M. Smith Jorge and Nancy Solis Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivcy Curt and Gus Stager ?
Barbara Stark-Nemon and
Barry Nemon
Dr. and Mrs. Stanley Strasius Brian and Lee Talbot Eva and Sam Taylor Dr. Paul and Jane Thielkinj, ., Catherine Thoburn . ' " Edwin 1. Thomas '' Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Jim and Emilic Van Bochove Kathleen and Edward Van Dam Hugo and Karla Vandersypen Tanja and Rob Van der Voo J. Kevin and Lisa M. Vasconi William C. Vasscll Shirley Vcrrett Carolyn and Jerry Voight John and Maureen Voorhees
Wendy L. Wahl and
William R. Lee Mrs. Norman Wait Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardncr Mr. and Mrs. Robert M. Warner Deborah Webster and
George Miller John and Joanne Werner Susan and Peter Westerman B. Joseph and Mary White Iris and Fred Whitehouse Reverend Francis E. Williams Christine and Park Willis Thomas and Iva Wilson Charles Witke and
Ailecn Gatten Charlotte A. Wolfe Kathy and Alan Wright MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
A. F. Smith Electric, Inc.
Atlas Tool, Inc.
Bodywise Therapeutic Massage
Clark Professional Pharmacy
Coffee Express Co.
Complete Design & Automation
Systems Inc. Garris, Garris, Garris & Garris
Law Office
Edwards Brothers, Inc. Malloy Lithographing, Inc. Quinn EvansArchitects
John R. Adams Tim and Leah Adams Dr. Dorit Adler Thomas Aigler Michael and Hiroko Akiyama Gordon and Carol Allardyce James and Catherine Allen Barbara and Dean Alseth Nick and Marcia Alter Pamela and Gordon Amidon Mayank M. Amin Helen and David Aminoff Dr. and Mrs. Charles T. Anderson Clarence Anderson Sandra and David Anderson Iqseph and Annette Anderson Timothy and Caroline Andresen Martha Andrews-Schmidt Mary C. Arbour Catherine S. Arcure H. C. and Doris Arms Bert and Pat Armstrong Eric M. and Nancy Auppcrle John and Rosemary Austgen Shirley and Donald Axon Virginia and Jerald Bachman Drs. John and Lillian Back Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia Huttar Bailey Laurence R. and Barbara K. Baker Barbara and Daniel Balbach Helena and Richard Baton Peter and Paulett Banks David and Monika Barcra Maria Kardas Barna loan W. Barth Robert and Carolyn Bartle Leslie and Anita Bassett Mrs. Jcre Bauer lames and Margaret Bean Mr. and Mrs. John C. Beatty
Mr. and Mrs. Steven R. Beckert Robert Beckley and Judy Dinesen Mr. and Mrs. Bruce Beier Steve and Judy Bcmis Waller and Antje Benenson Bruce Benner and
Hely Mcrle-Benncr Linda Bennett and Bob Bagramian Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Mr. and Mrs. Joel S. Berger Barbara Levin Bergman Jim Bergman and Penny Hommcl Marie and Gerald Berlin Abraham and Thelma Berman Susan A. Bernard Pearl Bernstein Steven Bernstein Michel and Dominique Berny Gene and Kay Bcrrodin Andrew H. Berry, D.O. Mark Bertz
R. Bezak and R. Halstead Naren and Nishta Bhatia John and Marge Bianckc Eric and Doris Billes John E. Biilie and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and Ilene Birge Elizabeth S. Bishop Martin and Mary Black Barbara O. Black Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh Dr. George ana Joyce Blum Mr. and Mrs. Ralph O. Boehnke, Jr. Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank P. Bongiorno Harold W. and Rebecca S. Bonnell Edward and Luciana Borbely Lola I. Borchardt Morris and Reva Bornstcin Jeanne and David Bostian Victoria C. Botek and
William M. Edwards Bob and Jan Bower Dean Paul C. Boylan Marvin J. and Maureen A. Boyle Dr. and Mrs. Ralph Bozell Stacy P. Brackens Dr. and Mrs. C. Paul Bradley Melvin W. and Ethel F. Brandt William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringer Amy and Clifford Broman Razclle Brooks Olin L. and Alecta Browder Linda Brown and Joel Goldberg Cindy Browne Molly and John Brueger Mrs. Webster Brumbaugh Phil Bucksbaum and
Roberta Morris Dr. Frances E. Bull Margaret E. Bunge Marilyn Burhop Tony and lane Burton. Barbara H. Busch ! Joanne Cage Barbara and Albert Cain Louis and Janet Callaway H. D. Cameron Mrs. Darrell A. Campbell James H. Campbell Valerie and Brent Carey Barbara Carpenter James and Jennifer Carpenter Deborah S. Carr James and Mary Lou Carras Margaret P. Carrigan Dennis B. and Margaret W. Carroll Dean Carter and
Dr. Petra Schindler Carter Joseph and Nancy Cavanaugh K. M. Chan
Bill and Susan Chandler J. Wehrlcy and Patricia Chapman Dr. Carey Charles-Angelos
Barry and Marjoric Checkoway
Joan and Mark Chcsler
Felix and Ann Chow
Catherine Christen
Edward and Rebecca Chudacoff
Sallie R. Churchill
Pat Clapper
Brian and Cheryl Clarkson
Roger and Mary Coc
Dorothy Coffey
Alice S. Cohen
Jill Kronheim Cohen
Hilary and Michael Cohen
Mr. and Mrs. William Cohen
Willis Colburn and Denise Park
Marion Collier
Ed and Cathy Colone
Gordon and Marjoric Comfort
Wendy and Mark Comstock
Carolyn and L. Thomas Conlin
Sandra S. Conncllan
M. C. Conroy
Philip and lean Converse
Lolagcnc C. Coombs
Dr. and Mrs. William W. Coon
Gage R. Cooper
Dr. and Mrs. Richard Cooper
Alan and Bette Cotzin
Marjorie A. Cramer
Dee Crawford
Richard and Penelope Crawford
Charles and Susan Cremin
Mary C. Crichton
Mr. and Mrs. James 1. Crump
Peggy Cudkowicz
Richard J. Cunningham
Marcia A. Dalbey
Marylee Dalton
Mr. and Mrs. Norman Dancy
Mildred and William B. Darnton
Stephen Darwall and
Roscmarie Hester DarLinda and Robert Dascoia Ruth E. Datz
Mr. and Mrs. John L. Dauer Mr. and Mrs. Arthur W. Davidge Judi and Ed Davidson Laning R. Davidson, M.D. Wayne and Patricia Davis Robert and Barbara Ream Debrodt (oe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Mr. and Mrs. Rolf A. Deininge Pamela DeTullio and
Stephen Wiseman Don and Pam Devine Sheryl Diamond Macdonald and Carolin Dick Gordon and Elaine Didier Ruth ). Doane Patti Dobbs Judy and Steve Dobson Ed and Betty Doezema Rev. Dr. Timothy J. Dombrows Steven and Paula Donn Deanna and Richard Dorncr Roland and Diane Dravson Cecilia and Allan Dreyfuss John Dryden and Diana Raimi Gulshirin Dubash and
Jeremy Mistry Mary P. Dubois Rosanne and Sandy Duncan Mary H. Dunham Robert and Connie Dunlap Jean and Russell Dunnaback Edmund and Mary Durfee John W. Durstine Dr. and Mrs. Theodore E. Dushanc George C. and Roberta R. Earl Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Morgan H. and Sara O. Edwards Julie and Charles Ellis James Ellis and Jean Lawton H. Michael and Judith L. Endres Mr. and Mrs. Fred A. Erb
Erb Foundation Roger E. Erickson Steve and Pamela Ernst
Leonard and Madeline Eron Dorothy and Donald Eschman Sally Evaldson and John Posa Barbara Evans Don and Jeanettc Fabcr Mr. and Mrs. Robert B. Fair, Jr. Elly and Harvey Falit Dr. Cheryl C. Farmer Mike and Bonnie Fauman Inka and David Felbeck Reno and Nancv Feldkamp Phil and PhvllisFellin Ronda and Ron Ferber Larry and Andra Ferguson Dennis and Claire Fcrnly Susan FilipiakVSwing City
Dance Studio Clarisse (Clay) Finkbciner Marilyn Finkbeiner Gerald B. and Catherine L. Fischer Lydia H. Fischer Dr. and Mrs. Richard L. Fisher Janet and Tom Fisher Barbara and James Fitzgerald Beth and Joe Fitzsimmons Rochelle Flumenbaum and
Paul Estenson
Jessica Fogel and Lawrence Weiner Scott and Janet Fogler George and Kathryn Foltz Susan Goldsmith and Spencer Ford Dr Linda K. Forsberg Burke and Carol Fossee lason I. Fox
William and Beatrice Fox Dan and Jill Francis Mark and Gloria Frank Lynn A. Freeland Lucia and Doug Freeth Richard and Joann Freethy Sophia French Marilyn L. Friedman Esther and Peretz Friedmann Susan Froelich and Richard Ingram Gail Frames Jerry Frost
Philip and Renee Frost Jane Galantowicz Frances and Robert Gamble C. J. Gardiner and Cynthia Koch C. Louise Garrison Janet and Charles Garvin Allan and Harriet Gelfond Chuck and Rita Gelman Ms. Jutta Gerber W. Scott Gerstenberger and
Elizabeth A. Sweet Leo and Rcnatc Gerulaitis Beth Genne and Allan Gibbard Paul and Suzanne Gikas Matthew and Debra Gildea Dr. and Mrs. Gary Gillespic Zita and Wayne Gillis Beverly Jeanne Giltrow Albert and Barbara Glover Albert L. Goldberg David and Shelley Goldberg Joyce and Janice Gotding Ea and Mona Goldman Arna and Michael J. Goldstein Beryl and David Goldsweig Mitch and Barb Goodkin Ann F. Goodman Sclma and Albert Gorlin Enid M. Gosling Jean and Bill Gosling Michael L. Gowing Mr. and Mrs. Gordon J. Graham Mr. and Mrs. Robert C. Graham Pearl E. Graves Whitmore and Svea Gray Ivan Green
Lewis R. and Mary A. Green Phyllis Green Sandra Gregcrman G. Robinson and Ann Gregory Martha J. Grciner Linda and Roger Grckin Raymond and Daphne M. Grew Marshall J. and Ann C. Grimm Marguerite M. Gritenas Laurie Gross Richard and Marion Gross
Advocates, continued
Frederick and Iris Gruhl Lionel and Carol Guregian Lorraine Gutierrez and
Robert Peyser Margaret Gutowski and
Michael Marietta Jeff and LcAnn Guyton Dr. Merle Haancs Caroline and Roger Hackctt Margo Halsted
David Hamilton
Mrs. Frederick G. Hammitt
Dora E. Hampel
Dr. and Mrs. Carl T. Hanks
Grace H. Hannenin
Lourdes S. Bastos Hansen
Charlotte Hanson
Mary C. Harms
Stephen G. and Mary Anna Harper
Laurelynne Daniels and
Susan S. 1
Elizabeth C. Hassinen
lames B. and Roberta Hause
Ian and Barbara Hawkins
Maureen Hawley
D. Keith and Lori Hayward
Anne Heacock
Kenneth and Jeanne Hcininger
Jim and Esther Heitlcr
Bill Heifer
Sivana Heller
Paula B. Hcncken and 7
George C. Collins Karl Hcnkcl and Phyllis Mann " Dr. and Mrs. Keith S. Henlcv Kathryn Dekoning Hentsch
and Rudi Hentschel Jeanne Hernandez C.C. Herrington.M.D. Ronald D. and Barbara J. Hertz Stuart and Barbara Hilbert Herb and Dee Hildcbrandt Lorna and Mark Hildcbrandt Carolyn Hiss
James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Robert and Claire Hogikyan Donna M. Hollowell Mr. and Mrs. Howard Holmes Pam and Steve Home Dave and Susan Horvath Mr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Kenneth and Carol Hovey Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C. Hubbs Hubert and Helen Huebl Jude and Ray Huettcman Mr. and Mrs. William Hufford Joanne Winkleman Hulce Ralph and Del Hulett Jewel F. Hunter Marilyn C. Hunting Diane C. Imredy Edward C. Ingraham Joan L. Jackson Judith G. Jackson Dean and Leslie Jarrctt Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek Ken and Marcia Jenkinson James and Elaine Jensen Keith and Kay Jensen Mark and Linda Johnson Paul and Olga Johnson Dr. Marilyn S. Jones Andree Joyaux and Fred Blanck Mary Kalmes and Larry Friedman Paul Kantor and
Virginia Weckstrom Kantor Helen and Irving Kao Mr. and Mrs. Wilfred Kaplan Hans Peter and Carol Kappus Diana S. Karam Rosalie Bruin Karunas Alex and Phyllis Kato Ann F. Katz Deborah and Ralph Katz _ ir..-.,.
Julie and Phil Kearney
Mr. and Mrs. Robert Keiser
Janice Keller
Linda Atkins and Thomas Kenncy
George L Kenyon and
Lucy A. Waskell Paul and Leah Kileny leanne M. Kin
Robert and Vicki Kiningham John and Carolyn Kirkendall Leilani and Steven Kitler Rosalie and Ron Koenig Michael I. Kondziolka Charles and Linda Koopmann Alan and Sandra Kortesoja Dimitri and Suzanne Kosacheff Sara Kring William G. Kring Alan and lean Krisch Syma and Phil Kroll Bert and Geraldine Kruse Helen and Arnold Kuethe Danielle and George Kuper Alvin and Lia Kushncr Dr. and Mrs. R. A. Kutcipal Tim and Kathy Laing Alvin and Susan Lake Magdalene Lampert Mr. and Mrs. Seymour La Henry and Alice Landau Janet Landsberg Patricia M. Lang Mrs. David A. Lanius Lois H. Largo
Carl F. and Ann L. La Rue Beth and George Lavoic Judith and Jerold Lax Chuck and Linda Leahy Francois and Julie Lebel Cyril and Ruth Leder Fred and Ethel Lee Skip and Mary LeFauve Diane and Jeffrey Lehman Ron and Lcona Leonard Sue Leone
David E. Levine Tom and Judy Lewis Margaret K. Liu and
Diarmaid M. O'Foighil Jackie K. Livesay Julie M. Loftin Jane Lombard Ronald Longhofer and
Norma McKenna Barbara R. and Michael Lolt Bruce Loughry Christopher Loving Donna and Paul Lowry Ross E. Lucke Lynn Luckenbach Pamela and Robert Ludolph Fran Lyman
Becky and Reno Maccardini Walter Allen Maddox Mark Mahlberg Suzanne and Jay Mahler Deborah Matamud and
Neal Plotkin
Claire and Richard Malvin Alan and Carla Mandcl Pankai Manku Pearl Manning Lee and Greg Marks Alice K. and Robert G. Marks Rhoda and William Martcl James E. and Barbara Martin Wendy Massard Vincent and Marcot Massey Glenn D. Maxwell Helen Byrm May LaRuth C. McAfee Margaret and Harris McClamroch Dores M. McCree Neil and Suzanne McGinn Michael G. McGuirc Mary and Norman Mclver Bill and Ginny McKeachic Nancy and Robert Mcadcr William and Marilyn Meadowcroft Marilyn J. Meeker Robert and Kathleen Mcgginson
Bob and Doris Melting Allen and Marilyn Mcnlo Warren and Hilda Merchant Hely MerleBenner George R. and Brigette Mer ]ulic and Scott Merz Helen Metzner Don and Lee Meyer Shirley and Bill Meyers Helen M. Michaels William and loan Mikkelsen JohnW. Milford Prof, and Mrs. Douglas Miller Carmen and Jack Miller James A. and Kathryn Miller Sonya R. Miller Bob and Carol Milstein Dr. and Mrs. James B. Miner Olga Ann Moir Mary Jane Molesky Bruce and Ann Moln Jim and Jeanne Montie Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley A. A. Moroun Robert C. Morrow Muriel Moskowitz James and Sally Mueller J. Thomas and Carol Mullen Marci Mulligan and Katie Mulligan Gavin Eadie and Barbara Murpny Lora G. Myers
Dr. and Mrs. Gundcr A. Myran Drs. Louis and Julie Nagel Rosemarie Nagel Eugene and (Catherine Napolitan Joan Nassaucr Arthur and Dorothy Nesse Sharon and Chuck Newman John and Ann Nicklas Susan and Richard Nisbctt Christcr E. Nordman Caroline Norman Richard S. Nottingham Dr. Nicole Obregon John and Lexa O'Brien Patricia O'Connor Henry and Patricia O'Kray Peter M. and Alicia C.Olin William and Joan Olsen Elizabeth Olson and Michele Davis Ncls R. and Mary H. Olson Paul L. and Shirley M. Olson J. L Oncley Karen Koykka O'Neal and
Joe O'Neal
Robert and Elizabeth Oneal Kathleen I. Operhall Ted and Joan Operhall Dr. Jon Oscherwitz Elisa Ostafin and Hossein Keshtkar Mr. and Mrs. James R. Packard Jenny Palmer
Penny and Steve Papadopoulos Michael P. Parin Donna D. Park Bill and Katie Parker Frank and Arlene Pasley Alka Patel Eszther Pattantyus and
Tibor Nagy Nancy K. Paul
Wade I), and Carol Peacock William and Susan Penner Steven and Janet Pepe Don and Giannine Perigo Bradford Perkins Susan A. Perry NealW. Persky.M.D. Jeff Javowiaz and
Ann Marie Petach Roger and Takako Peterson Robert G. and Diane L. Petit Frank and Nelly Petrock Bryan and Ruth Pfingst Douglas Phelps and
Gwendolyn Jessie-Phelps Jim and Julie Phelps Mr. and Mrs. Frederick R. Pickard
Robert and Mary Ann Pierce
Roy and Winnifrcd Pierce
Daniel Piesko
Wayne and Suellen Pinch
Brcnda Pontillo
Mr. and Mrs.
Jeffrey Michael Powers Robert and Mary Pratt Jacob M. Price John and Nancy Prince Yopic Prins ana
Michael Daugherty Bradley and Susan Pntts Lisa M. Profera Ernst Pulgram Morton and Diane Raban Dr. and Mrs. Tushar N. Raiji Nancy L Rajala
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Ra--.....-
Ruth Rattner
Dr. and Mrs. Mark Rayporl
Maxwell and Marjorie Rcade
Sandra Reagan
Mr. and Mrs. Richard W. Redman
Dr. and Mrs. James W. Reese
Mr. and Mrs. Stanislav Rchak
Georgia Reid
Mr. and Mrs. Bernard E. Reisman
James and Judith Reitcr
Anne and Fred Rcmley
Duane and Katie Renken
John and Nancy Reynolds
Alice Rhodes
Lou and Sheila Rice
Mr. and Mrs.
Thomas D. Richardson Kurt and Lori Riegger Thomas and EllenRiggs Lita Ristine
Kathleen Roelofs Roberts Dave and Joan Robinson H. James and Kathleen Robinson Jonathan and Anala Rodgcrs Mary Ann and Willard Rodgers Joseph and Juan Rogers Leslie and Ann Rogers Mary F. Loeffler and
Richard K. Rohrer Michael J. and Yelena M. Romm Elizabeth A. Rose Edith and Raymond Rose Bernard and Barbara Rosen Dr. and Mrs. Gary R. Rosenblatt Richard Z. and Edie W. Rosenfeld Charles W. Ross Marlene Ross Christopher Rothko Carol Rugg and
Richard Montmorency Dr. Glenn R. Ruihley Samuel and Irene Rupert Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and Joan Sachs Mr. and Mrs. William Sachs Miriam S. Joffe Samson John and Reda Santinga Ed Sarath and Joan Harris Harry and Elaine Sargous Hclga and Jochen Schacht Chuck and Gail Scharte Mary A. Schieve Courtland and Inga Schmidt Gary and Claudia Schnitker Susan G. Schooner Thomas H. Schopmeyer Yizhak Schotten and
Katherine Collier
Carol H. Schreck and Ada Herbert Aileen Schulze Art and Mary Schuman Ed and Sheila Schwartz David and Darlene Scovell Richard A. Seid Louis and Sherry L. Senunas George H. and Mary M. Sexton Matthew Shapiro and Susan Garetz David and Efvera Shappirio Ingrid and Cliff Sheldon Lorraine Sheppard Dr. and Mrs. Ivan Sherick
Mr. and Mrs. Patrick M. Sherry Rev. William J. Sherzer Mary Alice Shulman
Dr. Bruce M. Siegan
Milton and Gloria Siegel
Alida and Gene Silverman
Geoffrey and Morrinc Silverm--
Carl Simon and Bobbi Low
Michael and Maria Simonte
Alice Simsar
Donald and Susan Sinta
IrmaJ. Sklenar
Beverly N. Slater
Kirslen Marie Carr and
Theodore A. D. Slawecki William and Sandra Slowey Dr. and Mrs. Michael W. Smith Susan E Smith
John L. and Suzanne Smuckcr Robert and Susan Soderstrom Nathan and Patrick Sohnly Hugh and Anne Solomon James A. Somers Dora Maria Sondcrhoff Dr. Sheldon and Sydclle Sonkin Errol and Pat Soskolne Becki Spangler and Peyton Bland Elizabeth Spencer Mrs. Herbert W. Spendlove (Anne) Jim Spevak Nancy Spezia
Irving M.Stahl and
Pamela M. Rider Gary and Diane Stahle Constance D. Stankrauff Mr. and Mrs. William C. Stebbins Bert and Vickie Steck Virginia and Eric Stein Frank D. Stella
William and Georgine Steude Jim and Gayle Stevens Mary Stevens Rick and Lia Stevens John and Beryl Stimson James L. Stoddard Mr. and Mrs. lames Bower Stokoc Robert and Shelly Stoler Ellen M. Strand and
Dennis C. Regan Clinton and Aileen Stroebel Dr. and Mrs. Jeoflrey K. Stress Joe Stroud and Kathleen Fojtik Mary Stubbins Judy and Sam Stulberg Donald and Barbara Sugerman Mike and Peg Supernault Valerie Y. Suslow
Karl and Phyllis Swain j
Rebecca Sweet and Roland Loup Rebecca Szabo Michael W. Taft and
Catherine N. Herrington Margaret Talburtt and James Peggs Jim and Sally Tamm John Tamminen Denise Tanguay Larry and Roberta Tankanow Jerry and Susan Tarpley
Robert and Carolyn Tate Stcphan Taylor and
Elizabeth Stumbo Margie and Graham Teall Scott Terr ill and Maggie Long Carol and Jim Thiry William Jerry Thornton Peggy Tiernan
Bruce Tobis and Alice Hamelc Peter and Linda Tolias Ronald and Jacqueline Tonks Jim Toy
Angie and Bob Trinka Sara Trinkaus Ken and Sandy Trosien Luke and Merling Tsai Jeff and Lisa Tulin-Silver Claire and Jerry Turcotte Ian and Nub Turner Mr. Victor and Dr. Hazel M. Turner Alvan and Katharine Uhle Mary L. Untcrburger
Toru and Tamiko Urata
Morella Urbina
Paul and Marcia Valcnstcin
Madeleine Vallicr
Carl and Sue Van Appledom
Rebecca Van Dyke
Bram and Lia van Leer
Eldon and Beth Van Lierc
Fred and Carole van Rcesema
Leo and Peggy Van Sickle
Phyllis Vegter
Sy and Florence Veniar
Katherine Verdcry
Ryan and Ann Verhey-Henke
Elizabeth Vetter
Alice and Joseph Vining
Mr. and Mrs. Theodore R. Vogt
Haruc and Tsuguyasu Wada
Jill Wagner
Jerry Walden and
Julia Tiplady-Walden George and Lorraine Wales David C. and Elizabeth A. Walker Timothy Wang Jill A. Warren Lorraine Nadelman and
Sidney Warschausky Evy and Morrie Warshawski Ruth and Chuck Watts Carol Weber Edward C. Weber Joan M. Weber Jack and Jerry Weidenbach Carolyn ). Weigle Dr. Neal Weinberg Rosalyn and Gerald Weintraub Mr. and Mrs. Harvey L. Wcisberg Barbara Weiss Lisa and Steve Weiss John, Carol and Ian Welsch Kim Werner Helen Michael West Tim and Mim Westerdale Paul E. Dufly and
Marilyn L. Wheaton lames B. and Mary F. White Janet F. White
Mr. and Mrs. Nathaniel Whiteside Nancy Wiernik William and Cristina Wilcox Catherine Wilkerson Benjamin D. Williams John Troy Williams Sara S. Williams Shelly F. Williams Anne Marie and Robert J Willis Bruce Wilson and
Carol Hollenshead Leslie C. Wimsatt Beverly and Hadlcy Wine Donna Winkelman and
Tom Easthope
Sarajane and Jan Z. Winkelman Beth and I. W. Winsten James H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Karen Wixson Stanley B. Wolfe, M.D. Dr. and Mrs. Ira S. Wollner Richard E. and Muriel Wong Ronald and Wendy Woods Israel and Fay Woronoff Harry Wright Phyllis B. Wright Alfred and Corinnc Wu Fran and Ben Wylie Sandra and Jonathan Yobbagy Mr. Frank Youkstetter James and Gladys Young Phyllis Zawisza Mr. and Mrs. Martin Zcile John J. Zerbiec Daniel and Mary Ziegeler Ronald W. Zorney
Ann Arbor Center for
Financial Servio Diamctron, Inc. Dobbs Opticians Inc.
of Ann Arbor Palladium Associates John Shultz Photography SWEA Inc.
Thalner Electronic Labs Thing-a-majigs for Kids
Molloy Foundation World Heritage Foundation "The Prechtcr Fund"
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great tra?ditions 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
Barbara Everitt Bryant
Pat and George Ch'atas
Mr. and Mrs.lohn Alden Clark
Dr. and Mrs. Michael S. Frank
Beverly and Gerson Geltner
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuirc Dr. Eva Mueller Len and Nancy Niehoff Dr. and Mrs. Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
H. Harlan Bloomer Tom Bob Boothby George W. Brooks William G. Dow David Eklund Kathleen Fischer Edwin Goldring George R. Hunsche Thomas Michael Karun Frederick C. Matthaei, Sr. Robert Meredith Valerie Meyer Steffi Reiss Fred C. Shure Clarence Stoddard Charles R. Ticman Mrs. Durwcll Vettcr Francis Viola III Alice Warshaw Carl H. Wilmot Peter Holderness Woods
Ann Arbor Art Center Back Alley Gourmet Bella Ciao Trattoria Bivouac Outdoor Clothing and
Bodvwise Therapeutic Massage Cafe 303
Catherine Arcure Kathleen Benton and
Robert Brown Chelsea Flower Shop Peter and Jill Corr The Original Cottage Inn Paul and Pat Cousins, Cousins
Heritage Inn
Dr. and Mrs. Ronald Cresswell D'Amato's Neighborhood
David Smith Photography Peter and Norma Davis Katy and Tonv Dcrezinski Dough Boys Bakery Bob and Chris Euntt Kathcrine and Damian Farrell Fine Flowers Ken and Penny Fischer The Gandy Dancer Beverley and Gcrson Geltner Great Harvest Bread Company
John Lcidv Shop ohn's Pack & Snip Mercy and Stephen Kasle Kerrytown Bistro Kings Keyboard House Lc Dog
Stephanie Lord Mamslreet Ventures Jeanne and Ernest Merlanti Michigan Car Services, Inc. and
Airport Sedan, LTD Ron Miller The Movcable Feast Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Randall and Mary Pittman Randv Parrish Fine Framing Red Hawk Bar & Grill Regrets Only
Ritz Camera One Hour Photo Maya Savarino Peter Savarino Stephanie Savarino Ann and Tom Schriber Seva
Shaman Drum Bookshop Howard and Aliza Shevrm SKR Downtown SKR Uptown Herbert Sloan Irving and Carol Smokier Ann and Jim Telfer Weber's Restaurant Elizabeth and Paul Yhouse Zanzibar
Soloists $25,000 or more
Maestro $10,000 24,999
Virtuosi $7,500 9,999
Concertmaster $5,000 7,499
Uadcr $2,500 4,999
Principal $1,000-2,499
Benefactor $500 999
Associate $250 499
Advocate $100 249
Friend $50-99

AAA Michigan
Aetna Corporation Alcan Global Automotive
Solutions Alf Studios Ann Arbor Acura Ann Arbor Center for Financial
Services Atlas Tool, Inc. AutoCom Associates Bank of Ann Arbor Bank One, Michigan The Barfield CompanyBartcch Bellanina Day Spa Blue Nile Restaurant Bodywise Therapeutic Massage Brauer Investments Butzel Long Attorneys Cafe Marie CFI Group
Clark Professional Pharmacy Charles Reinhart Company
Coffee Express Co. Comerica Incorporated Complete Design &
Automation Systems Inc. Consumers Energy Dennis A. Dahlmann Inc. Diamctron, Inc.
Dobbs Opticians Inc. of Ann Arbor Dow Automotive Dupuis & Ryden RCCPAs
and Business Advisors Edward Surovcll Realtors Edwards Brothers, Inc. Elastizell Corp of America Ford Motor Company Fund Forest Health Services Corporation Garris, Garris, Garris & Garris
Law Office
Guardian Industries Corporation Hudson's Project Imagine Ideation, Inc. John Leidy Shop, Inc. John Shultz Photography Joseph Curtin Studios KeyBank Lewis Jewelers Malloy Lithographing, Inc. MASCO Charitable Trust Masco Corporation McKinley Associates Miller, Canficld, Paddock and
Stone P.L.C National City Bank Office of the Provost,
University of Michigan O'Neal Construction Palladium Associates Pepper Hamilton LLP Personnel Systems, Inc.
Arbor Technical Staffing
Arbor Temporaries, Inc.
l" Global Research and tvelopment; Ann Arbor tboratories
ack Design Associates Public Sector Consultants, Inc. Quinn EvansArchitects Scsi Lincoln Mercury Shar Products Company SWEA Inc.
Thalner Electronic Labs Thing-a-majigs for Kids Thomas B. McMullen Company Vibrant of Ann Arbor Vistcon Wolverine Technical Staffing, Inc.
20 Advanced Laser Center
10 Andrews Restoration
38 Ann Arbor Art Center
38 Ann Arbor Symphony
32 Ann Arbor Wireless
10 Azure Mediterranean Grille
12 Bank of Ann Arbor 44 Bellanina Day Spa
2 Blue Hill Development
38 Bodman, Longlcy and
26 Butzel Long Attorneys
26 Carty's Music
56 Charles Reinhart Company
42 Chelsea Community Hospital
20 Chris Triola Gallery
42 Cleveland's Gill 8t Grill
32 Comcrica Bank
26 Dobson-McOmber Agency,
20 Edward Surovell Realtors
BC Ford Motor Company
34 Fotol
24 Fraleigh's Nursery
24 Garris, Garris, Garris, 5c
16 Glacier Hills
50 Harmony House
34 Hiller's Market
40 Howard Cooper Imports
26 John Schultz Photography
38 Kana Korean Restaurant
44 Kcrrytown Bistro
8 KcyBank
40 King's Keyboard
50 Land Architects, Inc.
13 Lewis Jewelers
24 Littleficld and Sons Furniture
22 Miller, Canfield, Paddock
& Stone
24 Mundus & Mundus
26 National City
42 Performance Network 40 Prudential Securities
43 Renaissance Clothing
44 Rudolf Steiner School FC St. Joseph Mercy Health
10 Swcetwaters Cafe
50 Swing City Dance Studio
34 Three Chairs
10 Toledo Opera
33 Ufer & Co. Insurance 33 University Living
24 Washington Street Gallery
18 Whole Foods
Prue and Ami Rosenthal
Orion String Quartet
Daniel Phillips, Violin Todd Phillips, Violin Steven Tenenbom, Viola Timothy Eddy, Cello
Sunday Afternoon, April 1,2001 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Wolfgang Amadeus Mozart
Samuel Barber
String Quartet in F Major, K. 590
Allegro moderato
Menuetto: Allegretto
String Quartet, Op. 11
Molto allegro e appassionato Molto adagio; Molto allegro
Aiitonin Dvofdk
String Quartet in G Major, Op. 106
Allegro moderato
Adagio ma non troppo
Molto vivace
Finale: Andante sostenuto; Allegro con fuoco
Peter Serkin lias had to cancel his appearances with the Orion String Quartet this month due to an emergency eye surgery on March 16. He suffered a detached retina and is currently in the recovery process.
String Quartet in F Major, K. 590
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna
Given the steady deterioration in Mozart's health as well as the finances and prospects in Vienna at the begin?ning of 1789, it is not surprising that Mozart eagerly accepted the invitation of a fellow Mason and former student, Prince Karl Lichnowsky, to assess career possibilities in Berlin. Lichnowsky, an officer in the Prussian army, regularly visited the court at Berlin, and suggested that he could arrange an audience with King Frederick William II, nephew and successor of the immensely cultured Frederick the Great and an avid music lover and a cellist of more than modest accomplishment.
In Berlin, Mozart met with the King's director of chamber music, the French cello virtuoso Jean Pierre Duport, and renewed his acquaintance with the oboist Friedrich Ramm, who had won the composer's friendship in Mannheim a dozen years earlier by per?forming the Oboe Concerto (K. 314) five times in ten days. On May 19, Mozart attended a performance of The Abduction from the Seraglio at the Imperial Theater in his honor, and heard a concert by his student, the eleven-year-old Johann Nepomuk Hummel, whose ambitious father was then shepherding his prodigious child through an extensive concert tour of Europe. On May 26, Mozart was finally granted an audience with the King, which went well enough for Frederick William to commission from the Viennese visitor a set of six string quar-
tets for himself and a half-dozen piano sonatinas for his eldest daughter, Fredericka. As down payment, Mozart was presented with 100 Friedrichs d'or in a fine gold box.
Mozart arrived home in Vienna on June 4,1789, and immediately set to work on the commission for the Prussian court. Sometime in July (the manuscripts were not dated precisely), he completed the Quartet in D Major (K. 575) and one of the piano sonatas (K. 576)--and then stopped. His health was poor that summer, his finances worse, and his worry about Constanze, pregnant for the fifth time in seven years, acute, and most of what energy he could muster was channeled into preparing the revival of Figaro ordered by Emperor Joseph II for the end of August. The Third "Prussian" Quartet in F Major (K. 590), Mozart's last work in the form, was finished in June. Unable to fulfill the balance of the commission and desperate for cash, Mozart sold the three quartets to Artaria for a pittance later that year. Artaria waited, in vain, for the three other quartets that would complete the set, and did not announce their publication until December 28, 1791, three weeks after Mozart died. Frederick William probably never saw or heard these works that his patronage had inspired.
As would be expected in a composi?tion made to order for a cello-playing king, that instrument is given a featured prominence throughout these quartets, a technique that causes the viola and second violin to be drawn thoroughly into the music's unfolding argunient in order to achieve tonal balance and tex-tural homogeneity. This conversational
quality is heard in the opening move?ment of the Quartet in F Major (K. 590), where the cello provides both the bass of the ensemble and a worthy partner for the upper voices. The main theme is built from a simple rising triad followed by a quick dash down the scale, and these two motives provide the material for much of what follows. Indeed, so potent did the little triad idea prove to be that Mozart cobbled from it the theme of the "Menuetto" and the (king?ly) bass line at the beginning of the "Andante." The opening movement pro?ceeds in the expected sonata form--the second theme is a tastefully arching melody initiated by the first violin--but not without some quirks of rhythm, phrasing and harmony indicative of the Romantic tendencies that increasingly marked the music of Mozart's last years.
The "Andante," another sonata form, carefully balances the short hym?nal phrases of its opening with smooth?ly flowing ribbons of scales and arpeg?gios. Though the "Menuetto" uses the familiar dance idiom that two genera?tions of Viennese composers had brought to maturity, it, like the first movement, has unsettling anomalies, the most evident of which are its eccen?tric phrase structures: fourteen mea?sures for the opening theme rather than the expected, symmetrical sixteen mea?sures, fourteen for its return; and ten measures for the opening theme of the Trio, fifteen (!) for its reprise. Though the playful finale, yet another sonata form, is less daring than the "Menuetto," it stops and starts in unexpected places, changes dynamics willfully, and indulges in more intricate counterpoint than some Viennese music lovers of the day
might have thought strictly necessary. For all of its elegance and polish, the String Quartet F Major is as forward-looking as Don Giovanni, the Requiem and the Symphony in g minor, mined with the time bombs of Romanticism that Beethoven would detonate after arriving in Vienna only ten months after Mozart died. Planted among these notes are the seeds of a new musical age that Mozart helped to nurture but would not live to see.
String Quartet, Op. 11
Samuel Barber
Born March 9,1910 in West Chester,
Pennsylvania Died January 23, 1981 in New York
During the spring of 1936, while living in Europe under the sponsorship of both a Pulitzer Traveling Scholarship and an American Prix de Rome, Samuel Barber wandered through Switzerland and Austria before settling for the sum?mer and early autumn in a little lodge rented from the local game warden at St. Wolfgang, just east of Salzburg. In this idyllic spot, at the foot of a moun?tain, with a stream trickling along the side of the house, Barber composed the chorus Let Down the Bars, O Death, the song Hear an Army and his only string quartet. By early November, he was back in Rome to prepare for the premieres of the Symphony No. 1 and the String Quartet the following month. The con?certs were a success. Barber set out immediately for America to hear Artur Rodzinski present the first American performance of his Symphony No. 1 with the Cleveland Orchestra on
January 22, 1937, just a month after its premiere. On July 25, Rodzinski again conducted the score, at the Salzburg Festival, making it the first American piece heard at that prestigious event. The chief conductor of the Salzburg Festival at that time was Arturo Toscanini, who was to begin his tenure with the NBC Symphony later that year. Toscanini asked Rodzinskiif he could suggest an American composer whose work he might program during the coming season, and Rodzinski advised that his Italian colleague investigate the music of the twenty-seven-year-old Barber. By October, Barber had com?pleted and submitted to Toscanini the Essay No. 1 for Orchestra and an arrangement for string orchestra of the slow movement from the String Quartet--the Adagio for Strings. Toscanini performed the Essay No. 1 and the Adagio for Strings on his November 5, 1938 broadcast with the NBC Symphony, and the Adagio was an instant success.
The String Quartet follows an unusual formal progression. Barber considered the work to be in just two movements: a large, fully worked-out sonata form, followed by the "Adagio" and an abbreviated recall of the opening movement. This structure places the "Adagio," with its plaintive melody, rich modalism, and austere texture at both the formal and expressive center of the Quartet, and it is the music that remains most vibrantly in the mind when the work is through. The opening move?ment, in b minor, provides an expressive foil to the "Adagio." Its first theme, given at the outset in unison, is energetic and rather deliberately modern in its aggres-
sive harmony. Barber's innate lyricism is manifested, however, in the contrasting second and third themes: one, presented in chordal fashion, is delicately modal in its harmony; the other is a simple, wide-ranging melody initiated by the first violin above an almost static accompa?niment. These three themes are devel?oped and then recapitulated to round out the movement.
Program notes O2001 Dr. Richard E. Rodda.
String Quartet in G Major, Op. 106
Antonin Dvorak
Please refer to page 5 of your program books for program information on this piece.
Miller, Canfield, Paddock and Stone, P.L.C.
John Relyea
Warren Jones
Antonio Caldara Alma del core
Alma del core, Spirto dell'alma, Sempre costante t'adorerd!
Sard contento, Nel mio tormento Se quel bel labbro baciar potr6.
Sebben, crudele
Sebben, crudele, Mi fai languir, Sempre fedele Ti voglio amar.
Con la lunghezza Del mio servir La tua fierezza Sapr6 stancar.
Come raggio di sol
Come raggio di sol mite e sereno Sovra placidi flutti si riposa Mentre del mare nel profondo seno Sta la tempesta ascosa: Cos! riso talor gaio e pacato Di contento, di gioia un labbro infiora, Mentre nel suo segreto il cor piagato S'angoscia e si martora.
Soul of my heart
Soul of my heart, spirit of my soul, always constant, I shall adore you!
I shall be happy even in torment so long as I may kiss your beautiful lips.
Although, cruel one
Although, cruel one, you cause me to languish, always faithful, I want to love you.
With the length
of my servitude,
your pride
I shall know how to tire.
As a ray of sun
As a ray of sun, mild and serene
upon placid waves rests,
while within the sea's profound bosom
hides the tempest:
so laughter, sometimes gay and peaceful
touches lips with contentment and joy
while in its secret depths the wounded heart
anguishes and tortures itself.
Der Nock, Op. 129, No. 2
Carl Loewe {August Kopisch)
Es tont des Nocken Harfenschall:
Da steht der wildc Wasscrfall,
Umschwebt mit Schaum und Wogen
Den Nock im Regenbogen.
Die Baume neigen
Sich tief und schweigen,
Und atmend horcht die Nachtigall.
O Nock, was hilft das Singen dein
Du kannst ja doch nicht selig sein!
Wie kann dein Singen taugen
Der Nock erhebt die Augen,
Sieht an die Kleinen,
Beginnt zu weinen...
Und senkt sich in die Flut hinein.
Da rauscht und braust der Wasserfall,
Hoch fliegt hinweg die Nachtigall,
Die Baume heben machtig
Die Haupter griin und prachtig.
O weh, es haben
Die wilden Knaben
Den Nock betriibt im Wasserfall!
Komm wieder, Nock, du singst so schon!
Wer singt, kann in den Himmel gehn!
Du wirst mit deinem Klingen
Zum Paradiese dringen!
O komm, es haben
Gescherzt die Knaben:
Komm wieder, Nock, und singe schon!
Da tont des Nocken Harfenschall,
Und wieder steht der Wasserfall,
Umschwebt mit Schaum und Wogen
Den Nock im Regenbogen.
Die Baume neigen
Sich tief und schweigen,
Und atmend horcht die Nachtigall.
Es spielt der Nock und singt mit Macht
Von Meer und Erd und Himmelspracht.
Mit Singen kann er lachen
Und selig weinen machen!
Der Wald erbebet,
Die Sonn entschwebet...
Er singt bis in die Sternennacht!
The Nix
The nix's harp gives forth its sound:
The unruly waterfall stands still,
Its foam, its waves are poised
In the rainbow about the nix.
The trees bow
Low and are silent
The nightingale draws breath and listens.
"O nix, to what end your singing
Blissful can you never be
How can your singing serve"
The nix raises his eyes,
Looks at the little ones,
Begins to weep...
And plunges into the flood.
The waterfall roars and rushes,
High and away the nightingale flies
The trees raise mightily
Their green magnificent tops.
Oh dear, they have,
Those noisy boys,
Disturbed the nix in the waterfall!
"Come back, nix, you sing so sweet
Any who do, may enter heaven.
You, with those notes of yours,
Will win through to paradise!
Oh come, they were
Jesting, those boys.
Come back, nix. And sweetly sing."
The nix's harp gives forth its sound
And again the waterfall stands still
Its foam, its waves are poised
As a rainbow about the nix.
The trees bow
Low and are silent,
The nightingale draws breath and listens.
Powerfully the nix plays and sings
Of sea, earth, heavenly splendour.
By his singing, laughter can he
Cause, and blissful tears!
The wood trembles,
The sun fades...
He sings into the starry night!
Waldesgesprach, Op. 39, No. 3
Robert Schumann
Es ist schon spat, es ist schon kalt, Was reitest du einsam durch den Wald Der Wald ist lang, du bist allein, Du schone Braut! Ich fiihr dich heim!
"Grofi ist der Manner Trug und List, Vor Schmerz mein Herz gebrochen ist, Wohl irrt das Waldhorn her und hin, O flieh! Du weifit nicht, wer ich bin."
So reich geschmiickt ist R08 und Weib, So wunderschon der junge Leib, Jetzt kenn ich dich--Gott steht mir bei! Du bist die Hexe Lorelei.
"Du kennst mich wohl--vom hohen Stein Schaut still mein SchloC tief in den Rhein. Es ist schon spat, es ist schon kalt, Kommst nimmermehr aus diesem Wald."
Kriegers Ahnung, D. 957, No. 2 Franz Schubert
In tiefer Ruh liegt um mich her Der Waffenbruder Kreis; Mir ist das Herz so bang und schwer, Von Sehnsucht mir so heifi.
Wie hab ich oft so siifi getraumt An ihrem Busen warm! Wie freundlich schien des Herdes Glut, Lag sie in meinem Arm!
Hier, wo der Flammen diistrer Schein Ach! nur auf Waffen spielt, Hier fiihlt die Brust sich ganz allein, Der Wehmut Trine quillt.
Herz! Dafi der Trost dich nicht verlafit! Es ruft noch manche Schlacht. Bald ruh ich wohl und schlafe fest, Herzliebste--gute Nacht!
Wood Dialogue
It is already late, it is already cold; why ride you lonely through the wood The wood is long, you are alone, lovely bride! I will lead you home.
"Great are men's deceit and guile; sorrow has broken my heart; the horn sounds here, sounds there, oh flee! You know not who I am."
So richly decked are steed and lady, so young and fair of figure is she, Now--God is with me--I know you! You are the Sorceress Lorelei.
"You know me indeed--from lofty rock my castle gazes down into the Rhine. It is late, it is cold, Nevermore shall you leave this wood."
Warrior's Foreboding
In deep sleep lies around me The circle of my brothers-in-arms; My heart is anxious and heavy So passionate in longing
How often have I sweetly dreamt Close to her warm bosom! How warmly gleamed the glowing hearth When she lay in my arm!
Here where the fire's dimmer gleam Plays, alas! On weapons only. The heart feels utterly alone, And tears of sadness spring forth.
Heart, let not comfort forsake you! Many a battle calls you yet, I shall soon rest and be fast asleep, My heart's dearest love, goodnight!
Das Thai, Op. 51, No. 1 -j
Richard Strauss '
(Joahnn Ludwig Uhland)
Wie willst du dich mir offenbaren, i
Wie ungewohnt, geliebtes Tal '
Nur in den frtihsten Jugendjahren ;
Erschienst du so mir manches Mai. '
Die Sonne schon hinabgegangen, Doch aus den Bachen ldarer Schein; Kein Liiftchen spielt mir um die Wangen, Doch sanftes Rauschen in dem Hain.
Es duftet wieder alte Liebe, Es griinet wieder alte Lust; Ja, selbst die alten Liedertriebe Beleben diese kalte Brust. ?
Natur, wohl braucht es solcher Stunden, i So innig, so liebevoll, " -
Wenn dieses arme Herz gesunden, Das welkende genesen soil. t--
Bedrangt mich einst die Welt noch banger, 1
So such' ich wieder dich mein Tal, ;
Empfange dann den kranken Sanger ' Mit solcher Milde noch einmal. n
Und sink' ich dann ermattet nieder, --r So offne leise deinen Grund j
Und nimm mich auf und schliefi' inn wieder Und griine frohlich und gesund. i
The Valley
How will you reveal yourself to me, "" How unfamiliar, beloved valley You did so appear to me now and again, Only in my earliest youth.
The sun has set;
Still, the brooks reflect its glow.
The air is still, no breeze touches my face. But softly murmurs the meadow.
The air is fragrant with past love And former passion reignites, Old songs of love almost forgotten Rekindle this cold heart.
Nature, such times are needed, So close, so full of love, If this poor heart should heal And be made whole again.
The world oppresses me, so anxious-And I search you once again, my valley; Welcome me, the ailing singer With loving sweetness as you did before.
When I lay down, weary, on your grass, (
So softly open up your ground and
Take me in and close it up again
And green once more so healthy and content.
Charles Ives
Charlie Rutlage
(Traditional Frontier Song)
Another good cowpuncher has gone to meet his fate,
I hope he'll find a resting place, within the golden gate.
Another place is vacant on the ranch of the XIT,
'Twill be hard to find another that's liked as well as he.
The first that died was Kid White, a man both tough and brave,
While Charlie Rutlage makes the third to be sent to his grave,
Caused by a cowhorse falling, while running after stock;
'Twas on the spring round up, a place where death men mock,
He went forward one morning on a circle through the hills,
He was gay and full of glee, and free from earthly ills;
But when it came to finish up the work on which he went,
Nothing came back from him; his time on earth was spent.
'Twas as he rode the round up, a XIT turned back to the herd;
Poor Charlie shoved him in again, his cutting horse he spurred;
Another turned; at that moment his horse the creature spied
And turned and fell with him, beneath poor Charlie died,
His relations in Texas his face never more will see,
But I hope he'll meet his loved ones beyond in eternity,
I hope he'll meet his parents, will meet them face to face,
And that they'll grasp him by the right hand at the shining throne of grace.
The Greatest Man
(Anne Collins)
My teacher said us boys should write
about some great man, so I thought last night
'n thought about heroes and men
that had done great things,
'n then I got to thinkin' 'bout my pa;
he ain't a hero 'r anything but pshaw!
Say! He can ride the wildest hoss
'n find minners near the moss
down by the creek; 'n he can swim
'n fish, we ketched five new lights, me 'n him!
Dad's some hunter too--oh, my!
Miss Molly Cottontail sure does fly
when he tromps through the fields 'n brush!
(Dad won't kill a lark 'r thrush.)
Once when I was sick 'n though his hands were rough
he rubbed the pain right out. "That's the stuff!"
he said when I winked back the tears. He never cried
but once 'n that was when my mother died.
There're lots o' great men: George Washinton 'n Lee,
but Dad's got 'em all beat holler, seems to me!
Down East
(Ives) _______________
Songs! Visions of my homeland, come with strains of childhood,
Come with tunes we sang in school days
and with songs from mother's heart;
Way down east in a village by the sea,
stands an old, red farm house that watches o'er the lea;
All that is best in me, lying deep in memory,
draws my heart where I would be, nearer to thee.
Ev'ry Sunday morning, when the chores were almost done,
from that little parlor sounds the old melodeon,
"Nearer my God to Thee, nearer to Thee,"
With those strains a stronger hope comes nearer to me.
General William Booth Enters into Heaven
{Vachel Lindsay)
Booth led boldly with his big bass drum--
(Are you washed in the blood of the Lamb)
Saints smiled gravely and they said:
"He's come washed in the blood of the Lamb."
Walking lepers followed, rank on rank,
Lurching bravoes from the ditches dank,
Drabs from the alleyways and drug fiends pale--
Minds still passion-ridden, soul-powers frail--
Vermin-eaten saints with moldy breath,
Unwashed legions with the ways of Death-r--
(Are you washed in the blood of the Lamb) .;
Every slum had sent its half-a-score " ? -?
The round world over. (Booth had groaned for more.)
Every banner that the wide world flies
Bloomed with glory and transcendent dyes
Big-voiced lasses made their banjos bang,
Tranced, fanatical they shrieked and sang:
"Are you washed in the blood of the Lamb"
Hallelujah! It was queer to see
Bull-necked convicts with the land make free.
Loons with trumpets blowed a blare, blare, blare '
On, on upward thro' the golden air!
(Are you washed in the blood of the Lamb)
Jesus came from out of the court-house door, '.,?' ''-?:'-"-'1
Stretched his hands above the passing poor.
Booth saw not, but led his queer ones ;
Round and round... 7T
Yet in an instant all the blear review
Marched on spotless, clad in raiment new.
The lame were straightened, withered limbs uncurled
And blind eyes opened on a new, sweet world. ;
(Are you washed in the blood of the Lamb)
Chansons de Don Quichotte
Jacques Ibert
Chanson du Depart
{Pierre de Ronsard)
Ce chateau neuf, ce nouvel edifice Tout enrichi de marbre et de porphyre Qu'amour batit chateau de son empire Ou tout le ciel a mis son artifice, Est un rempart, un fort contre le vice, Ou la vertueuse maitresse se retire, Que l'oeil regarde et que l'esprit
admire Forcant les coeurs a lui faire service.
C'est un chateau, fait de telle sorte Que nul ne peut approcher de la porte Si des grands rois il n'a sauve' sa race Victorieux, vaillant et
Nul chevalier tant soit aventureux Sans ?tre tel ne peut gagner la place.
Chanson a Dulcine'e
(Alexander Arnoux)
Un an me dure la journe'e Si je ne vois ma Dulcin6e.
Mais, amour a peint son visage, Afin d'adoucir ma langueur, Dans la fontaine et le nuage, Dans chaque aurore et chaque fleur.
Un an me dure la journe Si je ne vois ma Dulcine'e.
Toujours proche et toujours lointaine, Etoile de mes longs chemins, Le vent m'apporte son haleine Quand il passe sur les jasmins.
Un an me dure la journe'e Si je ne vois ma Dulcine'e.
Song of Departure
The new castle, this new edifice Decorated with marble and porphyry A castle built under love's dominion With heavenly skills, Is a fortress, a stronghold against vice, Where the virtuous lady can take refuge, She who attracts admiration both physically
and spiritually Compelling hearts to pay her homage
This castle is fashioned in such a way That no one can approach its gate Unless he, victorious, brave and amorous Has delivered his kith and kin from powerful
Unless he is of such worth, no knight, However valiant, will gain entry there.
Song for Dulcinea
Each day seems like a year Without my Dulcinea.
But, in order to sweeten my torpor
Love has sketched her face
In fountains, in clouds
In each dawn and every flower.
Each day seems like a year Without my Dulcinea.
Now close, now distant,
She is the star of my long journey.
Her breath travels on the wind
As it breezes over the jasmine bushes.
Each day seems like a year Without my Dulcinea.
Chanson du Due
Je veux chanter ici la dame de mes songes Qui m'exalte au-dessus de ce siede de boue. Son coeur de diamant est vierge de mensonges La rose s'obscurcit au regard de sa joue. Pour elle j'ai tent6 les hautes
Mon bras a de'livre' la princesse en servage, J'ai vaincu l'enchanteur, confondu les
parjures Et ploy? l'univers a lui rendre
Dame par qui je vais, seul dessus cette terre, Qui ne soit prisonnier de la fausse apparence. Je soutiens contre tout chevalier timeYaire Votre eclat non pareil et votre prcellence.
Chanson de la mort
Ne pleure pas Sancho, ne pleure pas
mon bon Ton maitre n'est pas mort, il n'est pas loin
de toi.
II vit dans une He heureuse Oil tout est pur et sans mensonges Dans File enfin trouvie ou tu viendras un jour, Dans l'ile disire'e, O mon ami
Sancho! Les livres sont bruits et font un tas de
cendres Si tous les livres m'ont tut il
suffit d'un,
II suffit d'un pour que je vive. Fantome dans la vie, et r?el dans la mort: Tel est l'itrange sort du pauvre Don
Song of the Duke
I want now to sing of the lady of my dreams, Who raises me above this corrupt age. Her jewelled heart is undefiled, The rose fades in comparison to her cheeks. For her sake I have embarked on dangerous
I have freed the captive princess, I have vanquished the impostor, exposed the
dishonest And conquered the universe to pay her
Lady, for whom I travel alone on this earth, Who is not taken in by false pretences, I defend your unrivalled beauty and Perfection against any foolhardy knight.
Song of the Death
Do not weep, Sancho, do not weep, my
faithful servant Your master is not dead, he is close to
He lives in a happy realm Where everything is pure and without deceit, That realm so long sought and at last found Where you, my good friend Sancho, will
come one day! The books are burnt and reduced to a pile of
ashes; If all those books were the cause of my
I need only one book to make me live. A ghost in life, real in death: Such is the strange fate of the wretched Don
Pyotr Ilyich Tchaikovsky
None but the lonely heart, Op. 6, No. 6
(Lev Aleksandrovich Mey)
Net, tolko tot, kto znal
Net, tol'ko tot, kto znal svidan'ya,
zhazhdu, poymyot, kak ya stradal i kak ya
strazhdu! Glyazhu ya vdal', net sil,
tuskneyet oko! Akh! Kto menya lyubil i znal--
dalyoko! Akh, tol'ko tot, kto znal svidan'ya
zhazhdu, poymyot, kak ya stradal i kak ya
strazhdu. Vsya grud' gorit! Kto znal svidan'ya zhazhdu, Pojmjot, kak ja stradal i kak ja strazhdu.
I bless you Forests, Op. 47, No. 5
{Count Aleksei Konstantinovitch Tolstoy)
Blagoslovlyayu vas, lesa,
Doliny, nivy, gory, vody, . .
Blagoslovlyayu ya svobodu
I golubyye nebesa!
I posokh moy blagoslovlyayu,
I 'etu bednuyu sumu,
I step' ot krayu i do krayu,
I solnca svet, i nochi t'mu,
I odinokuyu tropinku,
Pokoyey, nishiy, ya idu,
I v pole kazhduyu bylinku,
I v nebe kazhduyu zvezdu!
O, yesli b mog vsyu zhizn' smeshat' ya, Vsyu dushu vmeste s vami slit', O, yesli b mog v moyi ob'yat'ya Ya vas, vragi, druz'ya, i brat'ya, I vsyu prirodu, vsyu prirodu V moi ob'yat'ya zaklyuchit'!
No, only he who has known
No! only he who has known that yearning
for a reunion Will understand how I have suffered, and
suffer still! I gave into the distance, and I've no strength,
my eyes grow dim! Ah! The one who loved me and knew me is
far away! Ah! Only he who has known that yearning
for a reunion Will understand how I have suffered, and
suffer still. My breast is afire! He who has known that yearning Will understand how I have suffered, and
suffer still.
I bless you, forests,
Valleys, fields, mountains, streams,
I bless freedom
And the blue skies!
I bless my staff
And this poor bag of mine
And the endless steppe
And the sun's light, and night's darkness,
And the lonely path I tread
Beggar as I am
And each blade of grass in the field
And each star in the sky!
Oh, if only I could join my whole life
And blend my soul with yours;
Oh, if only I could embrace
You, my enemies, friends and brothers
And all nature, all nature
Enfold in my arms!
Over the golden cornfields, Op. 57, No. 2
Na nivy zholtiye Niskhodit tishina, V ostyvshem vozdukhe Ot merknushchikh seleniy, Drozha, nesyotsja zvon... Dusha moja polna Razlukoyu s toboy I gor'kikh sozhalenij.
I kazhdy moy upryok Ya vspominayu vnov', I kazhdoye tverzhu Privetlivoye slovo, Shto mog by ya skazat' tebe, Moya lyubov, moya lyubov No shto na dne dushi Ya skhoronil surovo!
Dusha moya polna Razlukoyu s toboy, I gorkikh sozhaleniy.
Amid the din of the Ball, Op. 38, No. 3
Sred shumnovo bala, sluchayno,
V trevoge mirskoy suyety, Tebya ya uvidel, no tayna Tvoi pokryvala cherty; Lish ochi pechal'no glyadeli, A golos tak divno zvuchal, Kak zvon otdalyonnoy svireli, Kak morya igrayushchy val.
Mne stan tvoy ponravilya tonky
I ves tvoy zadumchivy vid, j
A smekh tvoy i grustny i zvonky
S tekh por v moyom serdtse zvuchit!
V chasy odinokiye nochi Lyublyu ya ustalyi prilech, Ya vizhu pechal'nyye ochi, Ya slyshu vesyoluyu rech;
I grustno ya, grustno tak zasypayu, I v gryozakh nevedomykh splyu. Lyublyu li tebya, ya ne znayu, No kazhetsa mne, shto lyublyu! j
Over the golden cornfields
Silence descends;
In the cooling air,
From the darkening villages
Is heard the quivering sound of bells
My soul is full
Of the parting with you,
And bitter regrets.
And each of my reproaches
I recall anew,
And repeat again
Every kind word
I might have said to you,
My love, my love,
But which I sternly buried
In the depths of my heart!
My soul is full
Of the parting with you
And bitter regrets.
Amid the din of the ball
In the tumult of everyday bustle,
I chanced to see you, but a secret
Veiled your features;
Only your eyes looked on sadly,
But your voice sounded so divine,
Like the sound of a distant pipe,
Like the sea's playful wave.
I loved your slender figure
And your pensive look,
And your laughter, at once sad and vibrant,
Has rung out in my heart since then!
When, in the lonely hours of the night,
I am weary and would lie down to rest,
I see your sad eyes,
And hear your happy voice.
Then sadly, so sadly, I sink into sleep A sleep of dreams beyond recall. I do not know if I love you, But it seems to me that I do!
Don Juan's Serenade, Op. 38, No. 1
Gasnut dal'ney Al'pukhary
Zolotisyye kraya,
Na prizyvny zvon gitary
Vyydi, milaya moya!
Vsekh, kto skazhet, shto drugaya
Zdes rovnyayctsa s toboy,
Vsekh, lyuboviyu sgaraya,
Vsekh, vsekh, vsekh zovu na smertny boy!
Ot lunnovo sveta zardel nebosklon, O vyydi, Niseta, O vyydi, Niseta, skorey na balkon!
Ot Sevil'a do Grenady... V tikhom sumrake nochey, Razdayutsa serenady, Razdayotsa stuk mechey. Mnogo krovi, mnogo pesni Dlya prelestnykh l'yotsa dam, Ya zhe toy, kto vsekh prelestney, Vsyo, vsyo, pesn' i krov moyu otdam!
Ot lunnovo sveta Zardel nebosklon, O vyydi, Niseta, O vyydi, Niseta, Skorey na balkon!
The golden land of Alpujarra
Is clothed in darkness,
To the call of my guitar
Come out, my darling!
All who say that another
Is your equal here,
All of them, consumed with love as I am,
All, all, all of them I call to mortal combat!
The sky glows red From the light of the moon, Oh, come out Niseta, Oh, come out Niseta, Quickly on to the balcony!
From Seville to Grenada In the quiet dusk of night, Serenades ring out, And the clash of swords rings out. Much blood, many songs, Pour out for lovely women, And I too, for her who is the fairest of all, Will give away everything, my song and my blood!
The sky glows red From the light of the moon, Oh, come out Niseta, Oh, come out Niseta, Quickly on to the balcony!

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