The UniversitJ Musical SocietJ of

The University of Michigan

Presents

ANN ARBOR

THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Music Dil'ector and Conductor

WILLIAM SMITH, Assistant Conductol'

THE UNIVERSITY CHORAL UNION DONALD BRYANT, Directol'

JINDRICH ROHAN, Conducting

Soloists JANICE HARSANYI , Soprano JOANNA SIMON, Mezzo-soprano

KENNETH RIEGEL, Teno?' MICHAEL DEVLIN, Bass-Ba1'itone

FRIDAY EVENING, MAY 3, 1974, AT 8:30

HILL AUDITORIUM, ANN ARBOR , MICHIGAN

Requiem Mass, Op. 89

R eq1tiem aetemam R equiem aetemam Dies irae Tuba mim'll!

Ofjertori1l1n H ostias Sa/Ictus

RCA R ed Seal

PROGRAM

PART I Quid sum miser R ecordare, i es1{. pie Conjutatis maledictus Lacrymosa

INTERMISSION

PART II Pie ] esu Aguus Dei

MARY MCCALL STUBBINS, Organist

DVORAK

Third Concert Ei ghty- first Annual May Festiva l Complete Conce rts 3884

R equiem Mass

PROGRAM NOTES

by

GLENN D. MCGEOCH

ANTONIN DVORAK

(1841-1904) It is as little known among performing musicians as it is among the genera l listening public that

Antonin Dvorak was one of the most prolific composers of the la te nineteenth century. If we judge him only by the extent of his work, he is incontestably a phenomenon in the world of music. Without a doubt Dvorak was one of the most distinguished musica l personalities of his period and should take his rightful place beside Brahms, Tchaikovsky, and Franck. He ranks today among the great masters in the copiousness and extraordin ary variety of his expression.

As the nineteenth century drew to a close, other European countries besides Germany, Austria, Ita ly, and France became articulate in music. The period saw the emergence of such nationalistic composers as Grieg in Norway, Moussorgsky and the "Five" in Russia, Albeniz in Spain , and Smetana and D vorak in Bohemia . The freshness and origina lity of their musica l sty les stemmed from their conscious use of folk music ources. The result was an agreeab le and popular art, essentially melodic, rhythmic, and co lorfu l. Folk music, consciously cultivated by such artists as D vorak and Smetana, shed its provincia lism but retained its essentia l characteristics-simplicity, di rectness, and hones ty . It brea thed an entirely new spirit into the gloomy romantic period.

As a traditiona list Dvorak accepted the forms of his art without question, but he regenera ted them by injecting a strong racial fee ling, which gave brilliant vitality , depth, and warmth to every­thing he wrote. Dvorak possessed genuinely Slavonic qualities that gave an imperishable color and lyrica l character to his music. With a preponderance of temperament and emotion over reason and inte ll ec t , he a lways seemed to be intuiti" ely guided to effect a proper relationship between what he wished to express and the manner of expressing it. In this connection he had more in common with Mozart and Schube rt than he had with Beethoven. Like th em he was one of those rare, natural musicians who produced continuously, spontaneously, and abundan Lly. His expression is fresh and irresis tibly frank , and, although it is moody at times and st range ly sensitive, it is never deeply ph ilosophica l or brooding; gloom and deprcssion arc nevcr a llowed to predominate. Every thing he fe lt a nd said in his music was natural and clear. There was no defiance, no mys tical ecs tacy in his makeup. H e had the simple fa ith , the natural ga iety, and the sanc and robust qua lities of Haydn . His music, thcrefore, lacks thc brcad th and the epic qua lity of Bee thoven's; it possesses none of the tra nscendent emotional sweep of Tchaikonky's; but for radiantly cheerful and comforting music, ior good-hearted , peasant-like humor , for unburdened lyricism, Dvorak has no peer.

In 189 1 the committee of the Birmingha m Festival commissioned Dvorak to write a work and suggested a se tting of parts of Cardinal Ncwman's Drea m of Gcrol/tills. He accepted the commission, but refused th e tex t. Instead he wrote a Requiem. The work was sketched out bctween January and June, worked over in August and Septcmber, and performed for the first time on October 9 a t the Bi rmingham Fcsti" a l under his direc tion . It was an immediate success .

• TO ex terna l occasion required Dvorak to write a M ass for the Dead , and with his par ticula rly optimisti c temperament , it seems peculiar that he did so from choice a lone. This beautiful and highly subj ecti vc work be longs to his final period and, although he was only forty-nine yea rs of age and a t thc height of his iamc, his advancing years had begun to weigh heavily upon him . For all its opprcssive and gloomy thoughts, Dvorak cou ld not, like Brahms, look upon the Requiem text with deep penetration or profound introspection, nor could he, like Verdi , se ize upon the dramatic and the theatrical suggcs tions it so amply provides. H e could not cry out th a t all was vanity a nd dea th a grim fina lity; nor had he any gift for expressin g the horrors and terror of the Judgment D ay. Com­pJred with Verdi's vivid and dramatic se tting of the Dies irae, Dvorak's march theme m ay seem slightly nai\·e. H e found in the text more an exprcss ion of sublimity than of fea r, a source for sorrow­ful meditation and devout supplication rather than anguish . His R eqlliem speaks to us of the unity of God and spirit , which is as genuine as his affirmation of life and the world . It is in the swee tness and elega nce of the Pie Jes ll qua rtet , in th e moving pathos of the Lacrymosa that ends Part I , and in the Offertory, as he turns from the horror of dea th to hopes of salvation , that he is the most expressi ve.

A detailed ana lysis of this work would contribute little to our understand ing of its meaning. It shou ld bc noted, howc" cr, that thc va rious sec tions of each of its two parts are linked toge ther without pausc, a nd that in the a lte rnation of solos and cho rus there is little occasion for big solo a ri as such as are found in Verdi's R eqlliem. Attention should also be callcd to thc opening themc givcn out by the ce llos at thc vc ry bcginning of the work. This theme, often referred to as thc "Motive of Dea th ," is repea ted throughout. Notc it particular ly as it rccurs in the voiccs nea r thc conclusion of the Kyrie and again in the orchcstra at thc very cnd of this section; in th e soprano solo voice as it en ters at the beginning of the second Requiem aetemam (in augmented form); in thc trumpet at thc beginning of the Tuba mir1l1ll and again at the very end; in thc basses, sopranos, and orchestra in the Ouid S IlI1l miser; at thc end of the Lacr)'mosa as it triumphs over thc praycr for peace; in the Pie Jesu ir, which unaccompanicd voiccs are answered antiphonally by an orchestra l vcrsion ; and most effec tively of all, as it finally reappears at the very end of the work, whcre , after thc music has reached a bright climax, it is q uietly intoned in the soprano voice to the words Requiem actemam (as it was at the beginning). The work cnds softly , revealing Dvorak's diffident contcmplation of death and the reconciling certainty of his unshaken fa ith.

PART I

1. R equiem aetemam (Soli and chorus)

Requiem aetemam dona eis, Domine; et 11lX perpetua eis;

Te decet hymnlls, Deus, in Sion, et tibi reddetur votmlL in J erusalem.

Exaudi orationern meam, ad te onmis caro veniet.

Kyrie eleison, Christe eleison, Kyrie eleison.

2. Requiem aetemam (Soprano and chorus)

R equiem aeternam dona eis, Domine; et lux perpetua luceat eis;

In memoria aetema erit justus: ab auditione mala lion time bit.

3. Dies irae (Chorus)

Dies irae, dies iUa, Solvet saeclum in javilla, T es te D avid cum Sib yUa. QuantltS tremor est jutu.Y1IS, Quando Judex est venturm. ClIIlcta stricte disC1lssurus!

4. Tuba miYlI/I~ (Soli and chorus)

Tuba mirll"lll sparge ns sonUlIl, Per se pllichra regionu1lt, Coget omnes ante thr01/.u.m. M ors stupe bit et natura, Liber scriptus projeretur, In quo totllm continetllr, Ullde ·mundus judicetur . Jlldex ergo cum sedebit, Quidqllid latet, apparebit, Nil inuitllm remanebit.

5. Qllid sum, miser (Soli and chorus)

Quid sum, miser; tllllC dictuyus, Qllem palroml1lt rogaturus, Cum vix justlls sit seC1lY1tS? R ex tremendae majestatis ! Q IIi salvandos salvas gratis, Salve m e, jons pietatis I

6. R ecordare (Soli)

R ecordare, J esu pie, Quod sum callsa tuae viae; Ne me perdas illa die. Quarells m e, sedisti lasslls; R edemisti cY1lcem passlls ; Tantus labor non sit cassus. hlste Judex llitionis, DomalL jac remissionis Ante Diem rationis. In gemisco tanqllam rellS, ClIlpa Y1Ibet vult1lS meus: Supplicanti parce DeliS. Qlli Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti. Prrces meae non S!lnt dignae, Sed tu bOnltS jac benigne, N e perenni cremer igne . Inter oves locum praesta, Et ab hoedis me sequestra, Statuells ill parte dextra.

Eternal rest give to them, 0 Lord; and let perpetual ligh t shine upon them.

A hymn, 0 God, becometh Thee in Sion; and a vow shall be paid to Thee in Jerusalem:

o Lord, hear my prayer; a ll fl esh shall come to Thee; Eternal rest give to them, 0 Lord; and let perpetual light sh ine upon them. Lord have mercy on us, Christ have mercy on us, Lord have mercy on us.

Eternal rest give to them, 0 Lord; and let perpetual ligh t shine upon them.

He shall be just for evermore: He will not fear from evi l hearing.

Dreaded day, that day of ire, when the world shall melt in fire, told by Sibyl and David 's lyre . Fright men 's hearts sha ll rudely shift, as the Judge through gleaming rift comes each soul to closely sift.

Then the trumpet's shrill refrain, piercing tombs by hill and plain, Souls to judgment sha ll arraign .

Death and nature stand aghast . Then before Him shall be placed that where­

upon the verdict's based , book wherein each deed is traced. When the Judge His seat shall ga in, all that's hidden sha ll be plain, nothing shall unjudged remain .

Dreaded day, that day of ire, when the world shall melt in fire, told by Sibyl and David 's ly re.

Wretched man, what can I plead, whom to ask to intercedc, when the just much mercy need?

Thou, 0 awe-inspiring Lord , saving e'en when unimplored , save me, mercy 's fount adored .

Ah, Sweet J esus, mindful be , that Thou cam'st on earth for me, cast me not this day irom Thee.

Seeking me Thy strength was spent , ransom­ing Thy limbs were rent, is this toil to no intent?

Thou , awarding pains, condign, Mcrcy's ear to be incline, ere the reckoning Thou assign.

I, felon-like, my lot bewai l, suffused checks my shame unveil: God! 0 let my praye rs prevail.

Mary 's soul Thou madest white , didst to heaven the thief invite; hope in me these now excite.

Prayers 0' mine in vain ascend: Thou art good and wilt forefend in quenchless fire my life to end.

Place amid Thy sheep accord , keep me from the tainted horde, set me in Thy sight, 0 Lord.

7. Con/utat.is (Chorus)

C on/1Itatis 111.aledictis, Flammis acribus abdictis, V oea me cum benedietis. Oro su.pplex et aeclil1is, Cor eOlltritum quasi cinis, Cere C!lra1ll mei fini s.

8. Laerymosa (Soli and chorus)

LaerYlll osa dies ilia ! Qua res1/Yget ex /avilla J IIdicalltUS homo reus. Huic ergo paree Delis. Pie J esu Domille, DOll a eis req1liem. A m en.

When the cursed by shame opprest enter fl ames at Thy behes t, ca ll me then to join the b lest .

Prostrate, suppliant, now no more, unrepent­ing, as of yore, save me, dy ing, I implore.

Dreaded day, that day of ire, when the world shall melt in fire, told by Sibyl and David 's lyre.

Mournful day ! that day of sighs, when from dust sha ll man arise, strained with guil t his doom to know.

Mercy , Lord, on him bestow. J esus kind ! Thy souls release, lead them thence to rea lms of peace. Amen.

PART II

9. Domille J esu Cill'iste (Soli and chorus)

Domine J es ll Christe, R ex gloriae, Libera animas omllium fideli1l'l1l de/u.lletorum de poellis ill/emi et de pro/1IlIdo laC!l; Libera eas de ore leonis, lI e absorbeat eas tartarlls, necadant in ob­SC1lru m . Sed siglli/er salletus MichaeL reprea­swtet eas in lueem salletam. Quam olim A bra­hae promisisti et semilli eius.

10. H ostias (Soli and chorus)

Solo Bass repea ts " Domine J esus Christel>

H ostias et preees, Domine, laudis oiJerimus, tu suseipe pro animabas illis, qu.arum hodie lne'llI O­riam jaeinms; jae eas, DOll/ine, de m orte trallsire ad vitam; quam olim A brahae promis­isti et se'lllilli ejus .

Libera animas omllium fideli1l11l de/ltlletorum de poellis illjemi, fa e eas de morte trallsire ad vitam.

11. Sanetus (Soli and chorus)

Salletus, sanetus, sanetus, Domine Deus Sabaoth. Pleni SUllt caeli et terra gloriae tuae. Osanna in excelsis.

BenedictliS qui venit in nomine Domini. Osa1l1la in exeelsis .

12. Pie J esu (Soli and chorus)

o Lord J esus Christ, King of glory, deliver the souls of all the faithful departed from the pains o f hell and from the deep pit;

Deliver them from the lion 's mouth , that hell engulf them nor , nor they fall into da rkness;

But that Michae l, the holy standardbearer, bring them into the holy light.

Which Thou once didst promise to Abraham and his seed.

We offer Thee, 0 Lord , sac rifICes and prayers of praise; do Thou accept them for those souls whom we this day commemorate; grant them, o Lord, to pass from dea th to the life which Thou once didst promise to Abraham and his seed .

Deliver, 0 Lord, the souls of all the faithful depa rted from every bond of sin . And by the help of Thy grace let them be found wor thy to escape the sentence of venp;eance. And to enjoy the full bea titude of the light eternal.

Holy, holy, holy, Lord God of Hosts. Thy heavens and the ea rth are fu ll of Thy glory. Hosanna in the highest.

Blessed is He Who cometh in the name of the Lord .

Hosanna in the highest.

This is an inserted section, in which the words from No.8 (Lacrymosa ) return to form a transition to the Agnus Dei.

13. Agmls Dei (Soli and chorus)

A gnus Dei, qui tollis peeeata mll11di, dona eis requiem . Agnus D ei, qui tollis peccata mundi dOlla eis requiem sempiternam. A gnus Dei, qui tollls peccata mundi, dona eis requiem sempi­ternam.

Lux aetema Luceat eis, Domine C!lm Sall etis tuis ill aeternam, quia pius es. '

R equiem aetemam dona eis, Domine, et Lux perpet ua lueeat eis.

Lamb of God , Who takest away the sins of the world : give unto them rest . Lamb of God. who takest away the sins of the world: give unto them eternal rest. Lamb of God, Who takest away the sins of the world: give them eterna l res t.

May light eternal shine upon them 0 Lord , with Thy saints forever , for Thou art kind .

Grant them everlasting rest. 0 Lord, and let perpe tual light shine upon them , with Thy saints.

First Soprallos Bittner. Susan BradSlree l , Lol a Cal vo, i\1 argo Cass is , Odelle Cox, Elaine Denne r , Phylli s Dworkin, Anita Fenelo n, Linda Fox E s tell e Ga'llas, Ca role Gierm an, S ti Sann Gockel , Ba rbara Hanson , Gladys Hayes, Ruth Holdgate. Cla ire Hoove r, Joanne h eele r, An n hlepac k, Karen Lahodny, Lillian Luecke, Doris :\ Ial her, Dianne :\lcLeod. Leslie :\ewman, Judith Pack. Beth Parkllan , Darcy P ea rso n, Agnes Phillips, Margaret Phillips, i\Jary Ann Schi l t. i\l argare t Schn eider, Alice Schu ler , An n Simon , Susan StockhorSl, Eva Teichert, Janice Tukel. usan \\'alson , Debora h

Secolld Soprallos .'\11 en , Tracy Almuti, Glor ia Ap rill , hathy Barden, Ann Berry, hathy Birdsa ll. :\Ieredith Burr, \'irg in ia Capa lbo, Gin a Ca rr. "ancy Chr is tm as, ha thleen Dennis , :\Iary Enzmann , Jill Dalsko , Doris Greig, L au rie Hiraga, l\Iary H orni ng, Alice Ingl ey, :\ Iary Kola sa, i\J a ril yn h osari n , Stepha ni e Lehm an n, Judith Lifton . J anisse Lyman, Frances :\Ia her, Cind y :\IcCallu m, Barbara :\Iurray, :\lar ilyn Oxend i ne, J a n P etcof!. Susan P eth , Sa ra P osto n, J ane t Pra tt. Caroly n

THE UNIVERSITY CHORAL UNION

DONALD BRYANT, Conductor NANCY HODGE , Accompanist

R eese, Virginia Sipple, i\Jary Staebl er, J oAnn Stewart-Robinson,

Elizabeth Taylor, Susan Thurman, Eunice Tompkins, Pa tr icia \\"illi a ms, Suzan ne Wri ght. Deirdre

First Altos

Ada ms, Judie Ause, iVlartha Barker, h a thy I.leam, Elea nor Brace, \ ' irginia B rown , Marion Butala , Amy Cappaerl. Lael Ca rpenter , Sall y D ick, Ca rol Evans. Daisy Evich, Na ncy Feldkamp, Lucy Finkbeiner, i\lari lyn Fo rsbl ad , Y lva Freedman , Robin Gewante r , Ruth Goslee, J ea nn e Grasmick, Ann Greene, h athryn Gross , Ell en Gross, Rosa linda Ha ll , Chr is tin e Halh, Judy Haviland. Naom i H ocxler. :\Jarga ret Hofmeister . No rma Hollinshead, Betsy Hurchik, :\ancy Karp, Nancy Keppelm an, :\ancy Kevork ian. Kathleen Koupal, Geraldin e Kratzmil ler, J oan n I\:ul enk amp. Na ncy Landon, Joyce Lietz, Kirs ten Lin n. Diane i\lcCoy, Bern ice :\lcTntire, J oan "lill er, Mary ~rtlrray. \ "irginia Nelso n. Loi s Pe toskey, Rarba ra Rogers, Sall y Santolucito. i\Jarcia Scherm erh orn . Ka ren Schneide r, Gretchen Slee , Beth \ 'an Bolt. J ane \ ' Iis ides, El ena Warl'clin , Carol Wendt, Chris tine Whelan, Kat ie White, M y ra Wi edm ann , Lou ise Wortl ey, Ca rol e

Secolld Altos

Anderson , Sandra Ba ird , Ma rjo rie Bede ll , Ca rolyn Clay ton , Ca roi ine Frank Anne Ge re, An n Ce lman, Judy Haab , lII a ry H age rty, Joa n Ham , Kaney J ohnso n, EI izabeth Lidgard , Ruth Love lace , E ls ie ilJay man , Rosema ry :\Jc Kni ghl, Judith ill ill e r, Rene :\ isbett, Susa n :'\ orri s, Barbara Oli ver, Cathy Olso n, Constance Ra y, Linda Rid er , H azel Roeger, Beve rly Shev rin , Aliza Stebbi ns, Katie Thompson, Peg \ 'ander \\' al. Delores Wi ghtm a n . tephanie Will iams, :\ ancy Wil so n, J ohanna Yalda, Chris tin e

Firs! Tellors

Baker, Hugh Butler, Cha rl es Ca they, Owen Dombrowski, Tim Flessa. Steve F ra nke , :\Iarshall Crimm. :\larshall Gross, i\l yron Lowry, Pau l :\ l acG rel'o r, R obert :\ I itchell. Dennis Sa use r, Robert Setze r, M a rc \rarel. Ken

Secolld Twors Barrett, Marlin Clark, H aro ld DeLon~(. ,I ichael Galbrai th. :\Ierl e Girod , Albert Glove r , Roy Ha worth, Dona ld Hell s ted I. Peter Hma y , Thomas Kl e ttk e, Dwight :\ l cCa rthy, Dav id M elcher , Phil ip P elachyk, J ohn Slo tnick, Dennis Smi th, L aw rence Stra uss, Dav id \ 'e rschaeve, M ike Wahl. Jeff Warren, J a mes

Weame r, Al a n Wortl ey , J ames

First Basses At kin s, Anthony Ball a rd, Gary Bea m, i\Jarion Ueevar, Tom Bersti s, \'ik tors Bohde, i\J a llhew B ruege r, J oh n Budday, J effery Burr, Cha rl es Cipria no, J ohn Damashek, Robe rt Eas tm an , J ohn Ek lund, D av id Fa irchild , Win Feld tein, Bruce H ager ty, Thomas H a milton, Edgar Havil and , R obert Haynes, J eff Herren, Dona ld Holl y, T om Hopkins, J ohn Hou nt ras, J oh n H oward, Tim J a rrett. I\:. J ohn I\: <1 Ys, J. \Va rren Ki sse l, Klair Larn, Sam La ulh. Da vid Lew. D enni s Linn , Thom :\Jeie r, Sidney :\ Iu nt z, Richard Olson, Steven Ortland. David Pate, :\Iichael Pea rso n, Raymon d Regier, teve Rob inson , Pau l Roth, :\ li chae l Saslall', Lou Sha lwitz. Robert Spence, David , utton, \\'ade T ajib na p is, \\' ill ia m Tompkins. T erril \ . oelle. h en \\'eado n, :\lar k W ill ia ms, Ril ey

Seco lld Basses Beach, Tom Bond, W , Howard Ch in, Gab ri el Lehman n , Charles Li noll' es. Ri chard M cTntire, J ohn M cillurtrie, J ames Pierson , Phil ip P owell. Gregg Reineck. R oman Sc hi ck, Helmut Slee, \'e rg il SO lllmerfeld, Thomas Stell'a rl, Arthur \ 'a n Rolt. J ohn

INTERNATIONAL PRESENTATIONS-1974-75

Choral Union Series I Hill LONDON SYMPHONY ORCHESTRA

Auditorium

J ESSYE NORMAN, Soprano WARSAW NATIONAL ORCHESTRA GEWAN DHAUS ORCHESTRA FROM LEIPZIG SOVIET GEORGIAN DANCERS AND

TBILISI POLYPHONIC CHOIR DETROIT SYMPHONY ORCHESTRA CZECH PHILHARMONIC STRASBOURG PHILHARMONIC ORCHESTRA BOSTON SYMPHONY ORCHESTRA SPANISH RTV SYMPHONY ORCHESTRA OF MADRID

Saturday, September 21 Saturday , October 5

T hursday, October 17 Wednesday, October 23

Sunday , November 24 Saturday , January 11

Wednesday, February 12 Saturday, March 15

Saturday, April 5 Friday, April 11

Great Performers Series - "Pianists" I Hill

ANDRE WATTS Auditorium

Wednesday, October 16 Monday, November 25 Wednesday, March 19

EMIL GILELS VLADTMIR ASHKENAZY

Choice Series I Power Center ALVIN AILEY AMERICAN DANCE THEATER

GREGG SMITH SINGERS ATIONAL BALLET OF WASHINGTON, D.C.

Friday, Saturday, Sunday, October 18 , 19 & 20 Tuesday, October 22

Saturday and Sunday October 26 & 27

SLASK, FOLK COMPANY FROM POLAND Wednesday, October 30 JACQUES LOUSSIER TRIo, JAZZMEN "PLAY BACH" Saturday, November 2 CARLOS MONTOYA, Flamenco Guitarist Tuesday , November 19 GUARNERI STRING QUARTET AND GARY GRAFFMAN, Pianist Wednesday, J anua ry 8 MARCEL MARCEAU, Pantomimist Friday, Saturday, Sunday,

Moscow CHAMBER ORCHESTRA GOLDOVSKY OPERA THEATER HARKNESS BALLET OF NEW YORK Moscow BALALAIKA ENSEMBLE AND LUDMILA ZYKINA

J anuary 10, 11 , & 12 Tuesday, February 11

Thursday, February 13 Thursday, February 20 Monday, February 24

PAUL TAYLOR DANCE COMPANY PRESERVATION HALL JAZZ BAND

Chamber Arts Series I Rackham

CONCENTUS IVluSICUS, FROM VIENNA ESTERHAZY STRING QUARTET CLEVELAND STRING QUARTET J UILLIARD STRING QUARTET SYNTAGMA MUSICUM, FROM AMSTERDAM TOI<YO STRING QUARTET JEAN-PIERRE RAMPAL, Flutist, AND

ROBERT VEYRON-LA CROIX, Keyboard ARS ANTIQUA DE PARIS

Wednesday , March 12 Wednesday , April 9

Auditorium

Wednesday, October 9 Thursday, October 24

Wednesday, November 13 Tuesday, December 3

Thursday , January 23 Sunday, February 2

Tuesday, February 18 Saturday, March 29

Asian Series I Rackham Auditorium

NATIONAL SHADOW THEATER OF MALAYSIA Sunday, October 6 Sunday, October 13

Saturday , February 22 Sunday, March 16

HEEMBABA AN D DANCE ENSEMBLE, SRI LANKA CHHAU , MASKED DANCE OF BENGAL QAWWALI MUSIC FROM PAKISTAN

Series ticket orders now being accepted and fill ed in sequence; new brochure with order form now ava ilab le.

UNIVERSITY MUSICAL SOCIETY

Burton Memorial Tower, Ann Arbor , Michigan Phone 665-3717