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Wishing a very happy eightieth birthday to John Corigliano!

The recipient of numerous honors—including a Pulitzer Prize, an Academy Award, the Grawemeyer Award, and multiple Grammy awards—Corigliano served as the Chicago Symphony Orchestra’s first composer-in-residence from 1987 until 1990.

The Orchestra first performed Corigliano’s Concerto for Piano in February 1969, with Sheldon Shkolnik as soloist and acting music director Irwin Hoffman on the podium. Under the baton of Sir Georg Solti, the Orchestra performed the Concerto for Clarinet with Larry Combs, as well as the Tournaments Overture on concerts in Orchestra Hall and during the 1985 tour to Europe, performing the work in Hamburg, Madrid, Paris, and London.

On March 15, 1990, music director designate Daniel Barenboim led the world premiere of Corigliano’s Symphony No. 1, jointly commissioned for the Orchestra’s centennial by the Chicago Symphony and the Meet-the-Composer Orchestra Residencies Program.

“During the past decade I have lost many friends and colleagues to the AIDS epidemic, and the cumulative effect of those losses has, naturally, deeply affected me. My First Symphony was generated by feelings of loss, anger, and frustration,” wrote Corigliano in the program note for the premiere. “A few years ago, I was extremely moved when I first saw ‘The Quilt,’ an ambitious interweaving of several thousand fabric panels, each memorializing a person who had died of AIDS, and, most importantly, each designed and constructed by his or her loved ones. This made me want to memorialize in music those I have lost, and reflect on those I am losing.”

The live recording—Barenboim and the Orchestra’s first on the Erato label—featured principal cello John Sharp and, offstage, pianist Stephen Hough. The recording was recognized with two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition. Barenboim programmed the symphony again in 1992, also taking it on tour to Carnegie Hall, Madrid, and London.

Corigliano’s First Symphony also has been performed at the Ravinia Festival under the batons of Christoph Eschenbach in 1996 and Marin Alsop in 2003; Eschenbach also led performances in Orchestra Hall in 1998.

With the Orchestra, Neeme Järvi conducted the Pied Piper Fantasy with Sir James Galway; Eschenbach led The Red Violin: Chaconne for Violin and Orchestra with Joshua BellWilliam Eddins conducted Phantasmagoria on The Ghosts of Versailles; and Leonard Slatkin has led Three Hallucinations, Fantasia on an Ostinato, and The Mannheim Rocket.

To celebrate Sir Georg Solti’s seventy-fifth birthday in 1987, associate conductor Kenneth Jean led the Orchestra in the world premiere of Corigliano’s Campane di RavelloWritten while on vacation in Ravello, Italy, the composer remarked, “On Sundays, the multitude of churches in Ravello and the surrounding towns play their bells, each in a different key and rhythm. The cacophony is gorgeous, and uniquely festive. My tribute to Sir Georg attempts to make the sections of the symphony orchestra sound like pealing bells: that tolling, filigreed with birdcalls in the woodwinds, provides the backdrop for a theme that grows more and more familiar as it is clarified. At the end, it is clear and joyous—a tribute to a great man.”

Jean also led the work on the Centennial Gala concert on October 6, 1990, and current music director Riccardo Muti conducted it on September 19, 2015, on the Symphony Ball concert launching the Chicago Symphony Orchestra’s 125th season.

Corigliano and Stephanie Jeong at the Harris Theater on October 2, 2017 (Todd Rosenberg photo)

MusicNOW, the Orchestra’s contemporary music series, kicked off its twentieth season on October 2, 2017, at the Harris Theater with a concert celebrating past composers-in-residence. Samuel Adams and Elizabeth Ogonek honored their predecessors by programming works by Anna Clyne, Osvaldo Golijov, and Mark-Anthony Turnage, along with—in attendance—Mason Bates, Shulamit Ran, Augusta Read Thomas, and Corigliano.

CSO violins Yuan-Qing Yu and Hermine Gagné, viola Danny Lai, and cello Kenneth Olsen performed Corigliano’s A Black November Turkey (in the composer’s string quartet arrangement), and violin Stephenie Jeong soloed in the Red Violin Caprices. The Chicago Classical Review’s Lawrence A. Johnson observed, “Jeong delivered a powerful tour de force performance, sensitively serving the pages of introspective melancholy and throwing off Corigliano’s artful retake on nineteenth-century Paganini-esque fiddle fireworks with blazing virtuosity and panache. It was wonderful to see the veteran composer join the CSO’s young associate concertmaster for a double curtain call.”

And next season, in January 2019, Thomas Hampson will perform the song “One Sweet Morning” from Corigliano’s song cycle One Sweet Morning, commissioned to commemorate the tenth anniversary of the September 11, 2001, attacks. Bramwell Tovey will conduct.

Happy, happy birthday!

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June 19, 2013 (Brian Kersey photo)

June 19, 2013 (Brian Kersey photo)

Music director Riccardo Muti and the Chicago Symphony Orchestra jumped on the Chicago Blackhawks bandwagon on June 19, 2013, recording for video the song “Chelsea Dagger” by the Scottish band the Fratellis. For the past several years, the song—played in United Center whenever the Blackhawks scored a goal—had become a hit with Chicago hockey fans.

“The CSO musicians and I are happy to honor and support another home team, the Chicago Blackhawks, with our music,” said Maestro Muti. “They are a world-class hockey team, and we hope this recording demonstrates our support of them and their desire to bring the Stanley Cup back to this great city. As I keep hearing and seeing everywhere in Chicago, ‘Go Hawks!’ ”

On June 24, 2013, in game six of the Stanley Cup finals, the Chicago Blackhawks were behind the Boston Bruins 2–1 with less than two minutes remaining in the third period. Scoring two goals in seventeen seconds, the Blackhawks defeated the Bruins to win the series 4–2, claiming their fifth Stanley Cup victory.

June 18, 2015 (Todd Rosenberg photo)

June 18, 2015 (Todd Rosenberg photo)

Two years later, on June 15, 2015, the Blackhawks defeated the Tampa Bay Lightning in game six of the National Hockey League finals, securing the Stanley Cup for the sixth time. Later that week on June 18, the Orchestra began the final subscription week of the 124th season with the world premiere of Bates’s Anthology of Fantastic Zoology. Just after intermission and before beginning Tchaikovsky’s Fifth Symphony, Riccardo Muti addressed the audience: “We want to celebrate in our way, and we can celebrate only by playing, singing, making music. So we will play for you now the ‘Chelsea Dagger.’ ” The audience roared.

This article also appears here and portions previously appeared here.

MENDELSSOHN Wedding MarchThe commercial recording legacy of the Chicago Symphony Orchestra—under second music director Frederick Stock—began on May 1, 1916. For the Columbia Graphophone Company (at an undocumented location in Chicago), they recorded Mendelssohn’s Wedding March from A Midsummer Night’s Dream; Wagner’s Ride of the Valkyries from Die Walküre; and Grieg’s Two Elegiac Melodies, Heart Wounds and The Last Spring.

Mendelssohn’s Wedding March and Grieg’s The Last Spring were each on the first 80-rpm disc issued in October 1916, and a Columbia Records sales brochure raved, “The deepest glories vibrant in such a familiar composition as Mendelssohn’s Wedding March are unguessed until interpreted by such an orchestra as this. From the first trumpet fanfare to the great central crescendo is very joy and glory articulate! . . . There can be no pleasure beyond enjoying such music as the Chicago Symphony here brings to every music-loving home.”

Recording_Centennial_Rotunda_Display_102.75x60

BEETHOVEN Piano Concerto No. 4-2

To commemorate this legacy, this collage of record and CD labels is on display in the first floor of Symphony Center’s Rotunda through the end of the Orchestra’s current—the 125th—season. Details of all of the recordings included are below (all recordings were made at Orchestra Hall unless otherwise noted).

Austrian pianist Artur Schnabel made his debut with the Orchestra at the Ravinia Festival on July 11, 1942, performing Beethoven’s Fourth Piano Concerto with George Szell conducting. On July 22 and 24, Schnabel and the Orchestra recorded the Fourth along with Beethoven’s Fifth Piano Concerto at Orchestra Hall for Victor Records. Frederick Stock conducted these, his last, recording sessions with the Orchestra; he died a few short months later on October 20.

PROKOFIEV Scythian Suite-2 WAGNER Prelude and Liebestod-2The Chicago Symphony Orchestra gave the U.S. premiere of Prokofiev’s Scythian Suite under the baton of the composer on December 6, 1918. On March 16, 1945, third music director Désiré Defauw recorded the work for RCA.

Fourth music director Artur Rodzinski led the Orchestra in a complete performance of Wagner’s Tristan and Isolde—with Set Svanholm and Kirsten Flagstad in the title roles—at the Civic Opera House on November 16, 1947. A month later on December 14, he led the Orchestra in recording sessions for the Prelude and Liebestod at Orchestra Hall.

STRAUSS Ein HeldenlebenMUSSORGSKY Pictures at an ExhibitionFor Mercury Records, fifth music director Rafael Kubelík led the Orchestra’s first recording of Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition on April 23 and 24, 1951. Principal trumpet Adolph Herseth performed the opening fanfare.

On March 6, 1954, sixth music director Fritz Reiner and the Orchestra recorded together for the first time: Strauss’s Dance of the Seven Veils from Salome and Ein Heldenleben for RCA. (Reiner’s complete CSO catalog recently was re-released by RCA.)

BARTOK Music for Strings, Percussion, and CelestaBRAHMS Piano Concerto No. 2At the third annual Grammy awards ceremony on April 12, 1961, the Orchestra’s recording of Bartók’s Music for Strings, Percussion, and Celesta received the award for Best Classical Performance–Orchestra. Reiner had conducted the RCA release. That same evening, the Orchestra’s recording of Brahms’s Second Piano Concerto—also on RCA and with Erich Leinsdorf conducting—earned the award for Best Classical Performance–Concerto or Instrumental Soloist for Sviatoslav Richter. These were the first two Grammy awards earned for recordings by the Chicago Symphony Orchestra.

SCHUMANN Piano ConcertoPROKOFIEV Alexander NevskyReiner led the Orchestra, Chicago Symphony Chorus (prepared by its founder Margaret Hillis), and mezzo-soprano Rosalind Elias in Prokofiev’s Alexander Nevsky for RCA—the first recording collaboration with the Orchestra and the Chorus—on March 7, 1959, at Orchestra Hall.

Two years after winning the prestigious 1958 Tchaikovsky Competition in Moscow, Van Cliburn made his first recording with the Orchestra on April 16, 1960: Schumann’s Piano Concerto with Reiner conducting for RCA. (A complete list of Cliburn’s appearances and recordings with the Chicago Symphony Orchestra can be found here.)

MARTIN Concerto for Seven WindsOn March 19, 1966, seventh music director Jean Martinon led the Orchestra in recording sessions for Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra for RCA. Featured soloists were CSO principals Clark Brody (clarinet), Willard Elliot (bassoon), Donald Peck (flute), Dale Clevenger (horn, in his first week on the job), Ray Still (oboe), Adolph Herseth (trumpet), Donald Koss (timpani), and Jay Friedman (trombone). (Martinon’s complete CSO catalog recently was re-released by RCA.)

SHOSTAKOVICH Symphony No. 6-2NIELSEN Clarinet Concerto-2Benny Goodman recorded Nielsen’s Clarinet Concerto with the Orchestra on June 18, 1966, for RCA. Morton Gould conducted. (Gould’s complete CSO catalog recently was re-released by RCA.)

At Medinah Temple on February 20 and 21, 1968, Leopold Stokowski and the Orchestra recorded Shostakovich’s Symphony no. 6  for RCA.

BERLIOZ Romeo and Juliet-2RIMSKY-KORSAKOV Sheherazade-2Carlo Maria Giulini—the Chicago Symphony Orchestra’s first principal guest conductor—recorded selections from Berlioz’s Romeo and Juliet for Angel on October 13 and 14, 1969, at Medinah Temple.

The Orchestra made its second recording of Rimsky-Korsakov’s Sheherazade on June 30 and July 1, 1969, at Medinah Temple for Angel. Seiji Ozawa, the Ravinia Festival’s first music director, conducted and concertmaster Victor Aitay was violin soloist.

DVORAK Cello Concerto-2MAHLER Symphony no. 5During eighth music director Georg Solti‘s first season as music director, the Orchestra performed Mahler’s Fifth Symphony at Carnegie Hall on January 9, 1970, and were called back for twelve curtain calls. Beginning on March 26 at Medinah Temple, Solti and the Orchestra committed their performance to disc—their first recording together—for London Records.

Daniel Barenboim, who would later become ninth music director, made his first recording with the Orchestra on November 11, 1970, at Medinah Temple. For Angel, he led sessions for Dvořák’s Cello Concerto with his wife Jacqueline du Pré as soloist. (A summary of du Pré’s association with the Orchestra is here.)

MAHLER Symphony No. 8-2Before the Chicago Symphony Orchestra performed the first concert of its first tour to Europe in 1971, Solti led recording sessions for Mahler’s Eighth Symphony at the Sofiensaal in Vienna on August 30, 31, and September 1. Soloists included Heather HarperLucia Popp (more about Popp’s performances with the Orchestra is here), Arleen AugérYvonne MintonHelen WattsRené KolloJohn Shirley-Quirk, and Martti Talvela. The recording won three 1972 Grammy awards for Album of the Year–Classical, Best Choral Performance–Classical (other than opera) (for the Chorus of the Vienna State OperaSingverein Chorus, and Vienna Boys’ Choir), and Best Engineered Recording–Classical.

BEETHOVEN Fidelio BRUCKNER Symphony No. 6-2On December 13, 1977, Barenboim and the Orchestra recorded Bruckner’s Sixth Symphony for Deutsche Grammophon, part of a complete cycle of the composer’s symphonies that also included the Te Deum, Helgoland, and Psalm 150.

Following concerts in Orchestra Hall and Carnegie Hall, Solti led the Orchestra, Chorus, and soloists (including Hildegard Behrens as Leonore and Peter Hofmann as Florestan) and in recording sessions for Beethoven’s Fidelio—”the first digitally recorded opera to be released,” according to Gramophone—at Medinah Temple on May 21, 22, 23, and 24, 1979.

ORFF Carmina Burana DOWNS Bear Down, Chicago BearsSecond music director of the Ravinia Festival, James Levine led the Orchestra, Chorus, Glen Ellyn Children’s Chorus, and soloists (June Anderson, Phillip Creech, and Bernd Weikl) in sessions for Orff’s Carmina burana on July 9 and 10, 1984, for Deutsche Grammophon. The recording was awarded the 1986 Grammy Award for Best Choral Performance (other than opera).

At the end of a subscription concert at Orchestra Hall on January 23, 1986, Solti led the Orchestra and Chorus in a spirited encore of  the Chicago Bears‘ fight song “Bear Down, Chicago Bears” in anticipation of the team’s Super Bowl victory. The day after the game, the work was recorded by London Records.

BRAHMS Double Concerto-2BEETHOVEN Symphony No. 9-2Solti led recording sessions at Medinah Temple for Beethoven’s Ninth Symphony—the second time he and the Orchestra and Chorus had recorded the work—on September 28, 30, and October 7, 1986, for London. Soloists were Jessye Norman, Reinhild Runkel, Robert Schunk, and Hans Sotin. The release was awarded the 1987 Grammy Award for Best Orchestral Performance.

Claudio Abbado, second principal guest conductor, led the Orchestra in Brahms’s Double Concerto with Isaac Stern and Yo-Yo Ma (future Judson and Joyce Green Creative Consultant) as soloists on November 7 and 8, 1986, for CBS Records.

SHOSTAKOVICH Symphony No. 7CORIGLIANO Symphony No. 1Closing the 97th season in June 1988, Leonard Bernstein led the Orchestra in performances of Shostakovich’s First and Seventh symphonies. Recorded live by Deutsche Grammophon, the release received the 1990 Grammy Award for Best Orchestral Performance.

On March 15, 16, and 17, 1990, Barenboim led the world premiere performances of composer-in-residence John Corigliano’s Symphony no. 1, commissioned for the Orchestra. The live recording—Barenboim and the Orchestra’s first on the Erato label—was awarded two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.

Fantasia 2000BARTOK The Wooden PrinceThe recording of Bartók’s The Wooden Prince and Cantata profana led by Pierre Boulez for Deutsche Grammophon—recorded on December 19, 20, and 21, 1991—was awarded four 1993 Grammy awards: Best Classical Album, Best Orchestral Performance, Best Performance of a Choral Work, and Best Engineered Recording–Classical. (A complete list of Boulez’s recordings with the Orchestra is here and his complete Grammy awards are here.)

Between 1993 and 1996, Levine led the Orchestra and Chorus in recording sessions at Medinah Temple for Disney‘s feature film Fantasia 2000. The movie was released on January 1, 2000.

VARESE Amerique etcFALLA Gardens of SpainShortly after being named the Orchestra’s third principal guest conductor, Boulez led sessions for Varèse’s Amériques, Arcana, Déserts, and Ionisation in December 1995 and 1996. The Deutsche Grammophon release was awarded the 2001 Grammy Award for Best Orchestral Performance.

In May 1997 at Medinah Temple, the Orchestra recorded Falla’s Nights in the Gardens of Spain and The Three-Cornered Hat for Teldec. For Nights in the Gardens of Spain, Barenboim was piano soloist and Plácido Domingo conducted; for The Three-Cornered Hat, Jennifer Larmore was mezzo-soprano soloist and Barenboim conducted.

MAHLER Symphony no. 3BRAHMS Violin ConcertoA former Youth Auditions winner and member of the Civic Orchestra of Chicago, Rachel Barton recorded Brahms’s and Joachim’s violin concertos for Cedille Records on July 2 and 3, 2002. Carlos Kalmar conducted.

In his first concerts as principal conductor on October 19, 20, and 21, 2006, Bernard Haitink led the Orchestra, women of the Chorus (prepared by Duain Wolfe), the Chicago Children’s Choir, and mezzo-soprano Michelle DeYoung in Mahler’s Third Symphony. The work is recorded as the inaugural release on CSO Resound.

SHOSTAKOVICH Symphony No. 4CSOR_SP_booklet_rainbow_nobox.inddIn May 2008, Haitink and the Orchestra recorded Shostakovich’s Fourth Symphony for CSO Resound. The release was awarded the 2008 Grammy Award for Best Orchestral Performance.

Boulez led the Orchestra in Stravinsky’s Pulcinella, Symphony in Three Movements, and Four Studies in February and March 2009 for CSO Resound. Soloists in the Pulcinella were Roxana Constantinescu, Nicholas Phan, and Kyle Ketelsen.

BERLIOZ Symphonie fantastiqueVR_booklet_CSOR_901_1008.inddOn January 15, 16, and 17, 2009, Riccardo Muti—in his first concerts as music director designate—led the Orchestra, Chorus, and soloists (Barbara FrittoliOlga Borodina, Mario Zeffiri, and Ildar Abdrazakov) in Verdi’s Requiem. The subsequent CSO Resound recording was awarded 2010 Grammy awards for Best Classical Album and Best Choral Performance.

Following his first concert as the Chicago Symphony Orchestra’s tenth music director (for more than 25,000 people in Millennium Park) in September 2010, Muti led the Orchestra, Chorus, and soloists (Gérard Depardieu, Mario Zeffiri, and Kyle Ketelsen) in Berlioz’s Symphonie fantastique and Lélio. The two-disc set was released on CSO Resound in September 2015.

VERDI OtelloBates and ClyneOn April 7, 9, and 12, 2011, Muti led concert performances—recorded by CSO Resound—of Verdi’s Otello at Orchestra Hall. Along with the Orchestra, Chorus, and Chicago Children’s Chorus, soloists included Aleksandrs Antonenko in the title role, Krassimira Stoyanova as Desdemona, and Carlo Guelfi as Iago.

In February 2012, Muti led world premieres by the Orchestra’s Mead Composers-in-Residence: Anna Clyne’s Night Ferry and Mason Bates’s Alternative Energy. Both works were recorded for CSO Resound and released as digital downloads.

LincolnFor Sony Classical, composer John Williams led the Orchestra and Chorus in recording sessions at Orchestra Hall for his soundtrack for the motion picture Lincoln. Director Steven Spielberg was on hand to supervise.

Cheers to the next 100!

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Daniel Barenboim and John Corigliano review the score to Symphony no. 1 (Terry's photo)

Daniel Barenboim and John Corigliano review the score to Symphony no. 1 (Terry’s photo)

At the invitation of music director Sir Georg Solti, John Corigliano became the Chicago Symphony Orchestra’s first composer-in-residence in 1987, and his Symphony no. 1 was jointly commissioned for the Orchestra’s centennial by the Chicago Symphony and the Meet-the-Composer Orchestra Residencies Program.

“During the past decade I have lost many friends and colleagues to the AIDS epidemic, and the cumulative effect of those losses has, naturally, deeply affected me. My First Symphony was generated by feelings of loss, anger, and frustration,” wrote Corigliano in the program note for the premiere. “A few years ago, I was extremely moved when I first saw ‘The Quilt,’ an ambitious interweaving of several thousand fabric panels, each memorializing a person who had died of AIDS, and, most importantly, each designed and constructed by his or her loved ones. This made me want to memorialize in music those I have lost, and reflect on those I am losing.”

Corigliano album cover

Music director designate Daniel Barenboim conducted the world premiere of the symphony on March 15, 1990, with soloists principal cello John Sharp and, offstage, pianist Stephen Hough. The live recording—Barenboim and the Orchestra’s first on the Erato label—won two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.

Corigliano served the Orchestra as composer-in-residence until 1990, and he was succeeded by Shulamit Ran (1990–1997), Augusta Read Thomas (1997–2006), Osvaldo Golijov and Mark-Anthony Turnage (2006–2010), Mason Bates and Anna Clyne (2010–2015), and Samuel Adams and Elizabeth Ogonek beginning in 2015. In January 2002, CSO trustee Cynthia Sargent and her sister, governing member Sally Hands, endowed the position, and Augusta Read Thomas became the Orchestra’s first Mead Composer-in-Residence.

This article also appears here.

First concert of the 1913 Ann Arbor May Festival on May 14

First concert of the 20th Ann Arbor May Festival on May 14, 1913

During the 2012-13 season, the University of Michigan celebrates the centennial of Hill Auditorium, which was inaugurated by the Chicago Symphony Orchestra on May 14, 1913, in the first of five concerts for the Ann Arbor May Festival that year. CSO music director Frederick Stock and Albert A. Stanley, director of the University Musical Society, shared the podium for that first concert, which featured soprano Marie Rappold singing Wagner and Bruch.

To commemorate the anniversary, the University Musical Society has produced an hourlong documentary, which premiered on Detroit Public Television last week. From the university’s website: “Designed by the renowned architect Albert Kahn and boasting one of the world’s finest acoustical designs, Hill Auditorium has been a true cultural incubator for the arts community in southeast Michigan for the past 100 years. . . . Through concert recordings, news articles, and anecdotal interviews, A Space for Music, A Seat for Everyone: 100 Years of UMS Performances in Hill Auditorium provides historical context for the auditorium’s role as UMS’s primary concert venue and highlights its evolving community function.”

The documentary is here:

The Thursday, May 15, 1913, concert featured a performance of Verdi’s Requiem with Florence Hinkle, Ernestine Schumann-Heink, Lambert Murphy, Henri Scott, and the Choral Union. Stanley conducted.

Stanley and Stock shared the podium on Friday afternoon, May 16 for a children’s concert, also with Schumann-Heink and the Children’s Chorus. That evening, Stock led a “Miscellaneous Concert” of popular concert favorites, featuring baritone Pasquale Amato.

Fifth concert

Fifth concert of the festival on May 17, 1913

Stock and Stanley again shared the podium for the fifth concert of the festival—an all-Wagner concert, that included the first act of Lohengrin, selections from Götterdämmerung (with Siegfried’s Funeral March performed in memory of Arthur Hill, a regent of the university from 1901 to 1909 who bequeathed $200,000 for the auditorium’s construction), and the finale from Die Meistersinger von Nürnberg. Singers on hand that night included Marie Rappold, Rosalie Wirthlin, Lambert Murphy, William Hinshaw, Frederick A. Munson, and Henri Scott.

Earlier this season, the CSO under music director Riccardo Muti helped to inaugurate Hill Auditorium’s centennial season with a concert on September 27, 2012. The program included Wagner’s Overture to The Flying Dutchman, Bates‘s Alternative Energy, and Franck’s Symphony in D minor. And for an encore, the Orchestra played the university’s fight song, The Victors, arranged by CSO violist, Max Raimi.

Congratulations to our friends at the University of Michigan and happy anniversary!

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Theodore Thomas

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