UMS Concert Program, March 13, 2013 - March 23, 2013 - Artemis Quartet; Anne-Sophie Mutter with Lambert Orkis; The Silk Road Ens

HILL AUDITORIUM I 100 YEARS
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UMS PROGRAM BOOK WINTER 20ll I UNIVERSITY OF MICHIGAN, ANN ARBOR
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" Welcome to this UMS performance. Since 1879, the people of southeast Michigan, includinl our students, faculty, and staff, have experienced remar1table moments through UMS's presentations 01the world's finest perlormersofmusic,theater,anddance.This season. we are proud to celebrate 100 years of UMS presentations in Hill Auditorium, a historic and prized venue on our campus. Enjoy the performance."
11\.., k.... dt.,• Mary Sue Coleman
President, University of MicJtigan
"With ellceptional performances, the centenary of Hill Auditorium. and an amazing array 01 events that we hope will transfOfm, elevate, and transcend. this 134th season of UMS is something truly special. Thank you for bein. present,"
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Kenneth C. Fischer UMS President
~ l 'm d e U e n t e d t o w e l c o m e y o u t o t h i s U M S performance as chair of the UMS Board of Directors. We thank you for being here and encoura(eyou to get even more involved with UMS throuah participation in our educational opportunities, by maleinc a elft, or by adding more UMS events to your calendar. Thank you."
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i-idJ. H'flg Chair, UMS Board of Directors
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CONNECTING AUDIENCES & ARTISTS IN
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We want you to use this guide as a resource. Dig deeper. Get to know the artists. Figure out how it all comes together. We believe that the performing arts are extraordinary on their own, but we encourage you to explore, gain perspective, and understand the depth behind the experience. This book is designed to help you learn more about UMS, the community, and the artists on stage.
6 2013 WINTER SEASON CALENDAR
BE PRESENT. 8
LEADERSHIP . 14
UMS LEADERSHIP DONORS
THE EVENT PROGRAM.
25 THE EXPERIENCE THE PERFORMANCES
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SUPPORT . 31
GENEROUS UMS DONORS
51 HOW DO I BUY TICKETS'
GENERAL INFO. 53
EDUCA TION 10 HISTORY
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POLICIES 55 GETTING INVOLVED
"z 8 - 1 3 13 17- 18 21 25-26 27
National Theatre of Scotland: ThQStrangQ Undoing of PrudQnda Hart Detroit Symphony Orchestra - Leonard Slatkin. conductor Gabriel Kahane & yMusic From Cess Corridor to thQ WOrld: A Tribuhl to DQtroit's Musical GoldQnAgQ Martha Graham Dance Company
Mariachi Vargas de TecalitlJllIido 01 HillAurliloriumwith argan pOplE.o\$T "ICH~
Vi.itCFSEM.'"
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UMS BOARD OF DIRECTORS
The UMS Boord of Directors Is a group of elected volunteers devoted to the performing arts and to our community. Their hard work ensures thot UMS is able to offer outstanding performances year after year.
David J. Herzig 0>0"
Stephen G. Palms VIc" Choir
Anne Glendon Seaetory
David N. Parslgian Treasurer
Rachel Bendit
OJ Boehm
Janet callaway David (anter Marlehe Grammophon and is available on EMI Classics and Erato/Warner Classics. Ms. MutterappedrS byillTangement with Colo..mbiaArtists Management, lLC.
NOW THAT YOU'RE IN YOUR SEAT...
WhenAnne-Sophie MutterperformedthepresentprograminManchesterin March 2012, she gave along inteIViev-.rtomusic critic Michael Cookson. in which she didnot hesitate to declare:"TIle Schubert funtosy in CMajor which I am playing tonight is the crown of [thel chamber music repertoire.... Seriously, it is t he greatest piece ever written for violin and piano: About the Saint-Saenssonata she said:NIt's a fabulous piece but it's like jumping through burning hoops at the end of an evening recital: Ms.Mutter has been profoundly committedto contemporary music her entire career and she has a particularly close connection to the music of Witold Lutoslawski.This year, which marks the lOOth anniversary of the Polish master's birtl\ Ms. Mutter hasgivenLutoslawski'ssoloviolinworks- ChainIIandPartita- prideofplacein her programs.As for the Mozart sonata that opens the program. it may be taken as a symbolic affirmation that Mozart is. quite simply, the alpha and the omega t he ultimate point of reference to which all musicians and listeners will always return.
SonataNo.27inGMajOl'forViolin
andPiano,K.379 (1781) Wolfgang Amadeus Mozart BornJanuary27,1756inSalzburg,
Austria DiedDecember $,1791 in Vienna
SNAPSHOTS OF HISTORY...IN 1781: • Sir William Herschel discoYel"S the planet Uran.JS •Los Anseles isloo..nded by 44 Spanish settlers • Battle of the Chesapeake ' Imfl"lill"Uel Kant publishes his Critique 0{
Ptr~Reason
• Fried"ich Sc.hiUer writes his play Die ROutxIr (The Robbers)
Some of t he earliest Mozart works to be printed were violin sonatas or, as t hey were t hen called piano sonatas with violin accompaniment. Proficient amateur musicians - and there were many of these in Europe at the time - loved to play such compositions in t heir homes to entertain their guests or for their own pleasure. Publishers in Paris, London. andAmsterdarn rushed to print the child Mozart's earliest essays in the genre. When Mozart returned to Paris as a 22-year-old young adult in search of a job, he understandably tried to
exploit this still-thriving market, now with mature works showing his genius in full bloom. He published a set of six new sonatas t hat were misleadingly designated NOp. I" (for the childhood essays had by then been forgotten). And in 1781, when Mozart moved from his native Salzburg to Vienna he once again published a set of six violin sonatas, in an effort to establish himself in the imperial capital. (The publisher called these sonatas NOp. 2:) This time, he was much more successful
The present work, No.5 in the Op. 2 set, was composed on April 7, 1781, according to a letter written by Mozart to his father the following day:
Today (for I amwritingat 11 o'clock at night) we had a concert, where three of my compositions were performed- nev-.rones.ofcourse:a rondo for a concerto for Brunettl a sonata with violin accompaniment for myself, which I composed last night between 11 and 12 (but in order to be able to finish it I only wrote out the accompaniment and
retained my own part in my head); and then a rondo for Ceccarelli. which we had to repeat.
Mozart's partners in this concert were violinist Antonio Brunetti, concertmaster of the Salzburg court orchestra, and the castrato singer Francesco Ceccarelli. The sonata performed that evening is the one known tooay as t he Sonata in GMajor. K 379. The violin part Mozart had written out for Brunetti has been preserved. but it differs substantially from the final verslon. Mozart must have revised the sonata before publication, so what we are going to hear tonight took even him more thanan hour to complete.
This sonata opens and closes in G Major, but its only fast movement, which mustberegardedasitscentralstatement isingminor.ItiswellknownthatMozart wrote some of his most impassioned music in g minor {two symphonies, a piano quartet a string quintet Pamina's ~Ach, ich fiihl's~ from The Magic Flute}. The present movement is no exception: the music's dramatic intensity is further enhanced by its brevity, which makes it sound like a single outburst of violent emotions.
The stormy g-minor "Allegro~ is surrounded by music of great calm and profound lyTicism. In the opening "Adagio." a lengthy slow introduction that is almost a movement in itself, the piano's arpeggios accompany a long cantabile melody played in turn by the two instruments. Then, after t he ~Allegro."we hear a set of exquisite variations on a simple theme. It is interesting that in addition to the usual minor-mode variation (in fourth place here~ each one of the other variations passes through the minor mode, adding dramatic or sentimental touches to
an otherwise gentle and subdued movement.After the fifth variation the theme returns in its original form and a brief coda doses the sonata.
FantasylnCMajor,D.934(18Z7) Franz Schubert BornJanuary31.1797
in Hirrune1pfortgrWld nr. Vienna. Austria
DiedNovember19,1828inVienna.
SNAPSHOTS OF HISTORY_.IN 1827: • B e e t h o Y e n d i e ! ; a t t h e a g e at 5 6 •Greece wins its War at Independence against
M" •Heinrich Heine po.bIishe5 his &Idl dss 0{ Being
Witold Lutoslawski's artistic path led him from an early nationalistic- folkloristic phase to t he forefront of modern music in the 1960s, and from there to a unique blend of innovation and tradition achieved in theworks of his late period. The present Partito is a product of thoseyearsof artistic synthesis. It was originallywritten for Pinchas Zukerman and Marc Neikrug. who gave the world premiere in St. PauL Minnesota, on January 18. 1985. In 1988, Lutoslawski made a version for violin and orchestra at the request of Anne-Sophie Mutter (for whom he had composed Chain II in 1985);Ms.Mutter immediately recorded t he orchestral Portito for Deutsc he Grammophon.
The composer provided a brief outline in the preface to the score:
The work consists of five movements. Of these the main movements are t he first (NAllegro giusto"), the third ("Largo"), and the fifth tPresto"). The second and fourth are but short interludes to be played od libitum.A short od libitum section also appears before the end of t he last movement.
Ad libitum. in this case, means t hat theviolinandthepianoplaywithoutarrj coordination whatsoever; t hey play t heir parts independently and t hen give each other a cue when rhythmic coordination resumes.The contrast between precisely defined and looser formal sections is a typical feature in Lutoslawski's music; this duality not only selVes to generate the work's structure by creating inner divisions. but also bearsout Lutoslawski's convictionthattherearetimeswhenitis beneficial for a composer to relinquish 100% control over his or her material
The first of the Nmain" movements
alternates between fast motion and lyricaL ex pressive moments. including one where t he violin melody moves in quarter-tones. where the smaller-than- usual distances between pitches adds to theemotionalintensityofthepassage. The central "Largo· is an expansive aria for violin on which the heavy chords of the piano part confer a certain sense of dignity; but t he majestic motion is enlivened time and time again. by delicately expressive, faster-moving violin passages, at one point even evoking some mysterious birdsong. The final kPrestO· brings the whole Partita to its climax with vigorous motion. virtuoso flourishes with harmoniCs. and more.
ViolinSonataNo.1indminor, Cp. 75 (lEES)
Camille Saint-Saens Born October 9, 1835in Paris DiedDecember16.1921inAl9iers. France
SNAPSHOTS OF HISTORY .IN 188S: • Bmtms writes his Fourth Symphony • Mark Twain publishes TheAdventl.res 0{
Huddebmy Finn ·Vincent van Goghpaints ThePotd:o£d:ers • Midlisan Technological University is founded in
Houghton, MI • Kart Benz produces the first automobile
Camille Saint-Saenswas an institution in 19th-century France.A virtuoso pianist and organist as well as a composer of exceptional productivity, he dominated virtually every aspect of the country's musical life, and through his many concert tours abroad he also became a major international celebrity.
He was an avid opera composer, but of his dozen or so stage works. only Samson and Delilah has remained in the repertoire. His instrumental works, however, have continued to
enchant generation after generation of concertgoers. And during a compositional career spanning more than 60 years. Saint-Saens had a chance to write chamber music for almost every instrumentavailable.
The present work, the first of Saint- Saens's two sonatas for violin and piano, was written in 1885, the same year as the famous kOrgan· Symphony. The structure of the two works is similar: both are divided into two large sections. each of which is subdivided into two halves.
The opening movement is based on two main themes: a stormy first idea and a second melody of innocent simplicity. The latter made literary history as it almost certainly became the model for kthe little phrase by Vinteuil· which plays such an important role in Proust's Remembrance of Thin9S Post. Both themes are extensively developed in the course of the movement, which also includes a short fugal passage. The k Allegro agitato· melts without a break into t he lyrical kAdagio,· a soulful dialog between the two instruments accompanied by sensuous harmonies.
The second section opens with a bouncykAllegrettomoderato: ascherzo- type movement whose dance-like theme is tossed back and forth between the violin and t he piano like a ball. A trio section with a singing violin melody follows. after which the dance returns. The trio melody is then fashioned into a transition section leading into the perpetual motion of the finale. The musicgraduallybecomesmoreandmore impassionedasvirtuoso figures and runs multiply in both parts. to breath-taking effect."Vinteuil's little phrase· reappears at first as a respite from t he whirlwind activity, but it is eventually caught up in that whirlwind and contributes more
than a little to the sonata's climactic conclusion.
Programnotes by Peter Laki.
ARTISTS
For more than 35 years, violinist ANNE-SOPHIE MUITER has sustained a career of exceptional musicianship with an unwavering commitment to the future of classical music. Since her international debut at the Lucerne Festival in 1976, followed by a solo appearance with Herbert von Karajan at the Salzburg Whitsun Concerts, Ms. Mutter has appeared in all the major concert halls of Europe, NorthandSouthAmericaandAsia.In addition to performing and recording the established masterpieces of t he violin repertoire, Ms. Mutter is an avid champion of 20th- and 21st-century violin repertoire in both orchestral and chamber music settings. Cited by The Chicago Tribune for doing more than Narrj living violinist to enrich the late 20th-century violin repertory: Ms. Mutter has had new works composed for her by Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina Witold Lutoslawskl Norbert Moret. Krzysztof Penderec ki, Sir Andre Previn, and Wolfgang Rihm. She also devotes her time to numerous charity projects and supports t he development of young. exceptionally talented musicians.
In the year 2013 Anne-Sophie Mutter will perform in Asia Europe, and Nort h America. The season's schedule solidifies the violinist's musical versatility and her unparalleled distinction in t he world of classical music.
Anne-Sophie Mutter maintains her focus on bringing new works to concert halls. The world premiere of Sebastian Currier's Ringtone V ariations for violin and double bass, a work commissioned by her foundation. provides the prelude for a following Asian Tour with t he Mutter Virtuosi.This ensemble, under the musical direction of the violinist herself, consists of 14 current and former scholarship students of the Anne-Sophie Mutter Foundation. Further highlights of the year include a concert in celebration of composer Witold Lutoslawski's lOOth birthday in Warsaw and a recital in Carnegie Hall on the 25th anniversary of Ms. Mutter's debut in the concert hall
The honors afforded Anne-Sophie Mutter for her many recordings include t he Deutscher Schallplattenpreis, t he Record Academy prize, t he Grand Prix du Disque, the Internationaler Schallplattenpreis as well as several Grammys. On the occasion of the violinist's 35th stage anniversary in 2011, Deutsche Grarnmophon launched a comprehensive boxed set with all of the artist's DG recordings, extensive documentation and previously unpublished rarities.
In 200a Ms.Mutterestablishedthe Anne-Sophie Mutter Foundation whose objective is the further strengthening of t he worldwide promotion of top young musical talents. In 2012, she was bestowed the Atlantic Council's distinguished artistic leadership award. She has been awarded the Brahms prize, the Erich-Fromm prize, and the Gustav- Adolf prize for her social involvement in 2011; and wide-ranging recognition including an honorary doctorate from the NOIWegian University of Science and Technology in Trondheim. t he St. Ulrich European peace prize, the Cristobal
Gabarron arts award the International Ernst von Siemens music prize, and the Leipzig Mendelssohn music prize.
LAMBERT ORKIS has received international recognition as chamber musician, interpreter
of contemporary music, and performer on period instruments. He has appeared worldwide with violinist Anne-Sophie Muttersince1988.
His distinguished career includes appearances with cellists Lynn HarreU Anner Bylsma Daniel Milller-Schott and Han-Na Chang; violinist Julian Rachlin and violist Steven Dann; and he has performed with the Vertavo, Emerson, American, Mendelssohn, Curtis, and Manchester string quartets. As soloist he has made appearances with conductors including Christoph Eschenbacn Mstisla:v Rostropovich, Leonard Slatkin, Rafael Friihbeck de Burgos, a n d GUnther Herbig.
A multi-Gramrny A ward nominee, his wide discography comprises works of the OassicaL Romantic, and modern eras on many labels. For the Beethoven piano and violin sonatas Mr. Orkis received a Grammy Award for NBest Chamber Music Performance" and a 2006 Choc de l'annee award from t he French magazine IeMendede10Musique for the Mozart
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piano and violin sonatas recording. His most recent solo releases on the Bridge Records label include as fortepianist and pianist three separate perfonnances of Beethoven's N A ppassionata"s o n a t a
Mr. Orkis has held the position of principal keyboard of Washington's National SymphOllY Orchestra (NSO) since 1982 and has performed chamber music with NSO principal cellist David Hardy since 1983.As a founding member of the Kennedy Center Ch amber Players, he has appeared with t his ensemble in the Kennedy Center's Terrace Theater and throughout the Washington metropolitan area since 2003. He has twice seIVed as juror of, and performed for, the Trondheim (Norway) International Chamber Music Competition and Festival.The Carnegie Hall International American Music Competition for Pianists and the Kermedy Center Friedheim A wards Competition have both engaged him as a judge on several occasions.As an Honored Artist for Taiwan's New Aspect International Music Festival he performed and presented master classesin Taipei.
He is professor of piano at Temple University's Esther Boyer College of Music and Dance in Philadelphia having received the Faculty Award for Creative Achievement.
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This evening's re ArIOf190'7l"nts commlsslonro b y the Silk Road Project
The Ford Honors Program recognizes the longtime generous support of the UMS Education & Comrrunity EnGagement Prosram by Ford Motor Comparrf Fund and Community Services.
The DTE Energy Foundation Educator and School 01 the YedI' Awards are made possible by the DTE Energy Foundation.
Special t h r i s to Ford Honors Gala Concertmaster sponsors: Bank 01 Ann Arbor: Miller, Canfield, Paddodc: and Stone. P.Lc.; THE MOSAIC FOUNDATION (of R.& P. Heydon); and UniYerSity 01 Mkhisan Health System
S p e c i a l t h r i s t o F o r d H o n o r s G a l a H o n o r a r y C o - C h a i r s M a r y S u e C o l e m a n a n d J a m e s G. V e l l a l o r t h e i r participation in this eveninG's event
Funded in part by the National Endowment lor the Arts (artworks.arts.gov~ Media partnership is provided by Ann Arbor's 107one. WEMU B9.1FM. andWDET101.9 FM.
Special t h r i s to Mark CLague and joe Gramley lor thei" participation in events surroundinG this perlormance by The Silk Road Ensemble with Yo-Yo Ma.
Special t h r i s to Steven Ball lor coordinatinG the pre-concert rrusic on the Charles Baird Carillon Lead ~sor 01 the Silk Road Project is HyosunG ~ iltion. The Silk Road Ensemble with Yo-yo Ma appears by arranGement with Opus 3 Artists.
A MESSAGE FROM THE ARTISTIC DIRECTOR : A MUSICAL MODEL
Over several decade~ my travels have given me the opportunity to learn from a wealth of differentvoice5- fromtheimmensecompassionandgraceofBach'sCelloSuite~totheancient C e l t i d i d d le t r a d i t i o n s a l i v e i n A p p a i a d u a . t o t h e s o u l f u l s t r a i n s o f t h e bandonE!('m o f A r g e n t i n a ' s tango cafes. I have met and been guided by musicians who share my wonder at the creative potential that existswhere culturesintersect.
The Silk Road Ensemble is a musical model that requires curiosity, collaboration. and wholehearted enthusiasm from all the participants. The music we play does not belong to just one culture or even to only the Silk Road region. Ensemble members are united in their demonstration of virtuosity and generosity, and that combination has led US to perform in an astonishing range of locations. from the premier forum for global conversation. the United Nations GeneraiAssembly Hall to the hushed. sacred space of Todai-ji Temple in Nara. Japan.
Bringing together much of the world on one stage requires musk that Chinese pipa. Persiankamancheh. Indiantabla.andWesternstringscanplaytogether.Forthiswerelyonthe readiness of composers to write and arrange for our distinctive group. Perhaps be of the Silk Road Ensemble includes traditional music (both as an oral tradition - passed dawn from generation to generation - and in melodies arranged by and for members of
the Ensemble)aswellasnewlycommissioned works. many of which combine non-Western and Western instruments. creating a unique genre that transcends customary musical classification..
Tonight's concert openswith a Silk Rood Suite. in which the audience is greeted by Wandering Winds. an imprOVisation among wind instruments that explores the concept
of connecting the world's neighborhoods. This conversation between such instruments as Chinese bawu and pipa and Japanese shakuhachi gives way to La Camera Bianca (The White Rooml a string sextet by the young Sicilian composer Giovanni Sollirna. The title refers to a iaooratory exploration
of a grave in the Cathedral of Palermo that revealed that the Emperor Frederic 11 was buried not alone but in the arms of a woman. This element of surprise is evident in the playful melodic and rhythmic structure of t he short piece. Percussionist and composer Shane Shanahan wrote the next piece in the Suite,$nidi Swing.Shanahan was inspired by the traditional Arabic rhythm known as Saidi. which is believed to have originated in Upper Egypt and commonly accompanies dance.Saidi Swing offers variations on this basic rhythm.. featuring the riq. an Egyptian t ambourine; darbuka. a goblet-shaped drum
used throughout the Middle Eastt Coo..ndl lor Art, and CuI....alAllal,.;
MULTI-YEAR PLEDGES
Mkhj~an Economic OeY Health System The Wallac:e Foundation
To help ensure the future of UMS, the fol/owing donors have made pledges that are payabie over multiple years. We are grateful to these generous donors for their commitments.
$500,000 $50,000
Maxine and Stuart Franl::et Foundation
$100,000 Wally and Robert Kk.1n
MI!leI, canl\eld, PaddodII janeandEdward Sd.....a k Oem" and EUle S"na,
G!em E.watkins Marina and Robert Whitman Ann and Clayton Wlhlte
Photol¥Mark Gjuk:chPhotograplty
Tom Thompson/FIowers 665-4222
UMS SUPPORT JULY 1, 20ll- NOVEMBER 1, 2012
The cost of presenting world-class performances and educational programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agencies. The following list includes donors who made gifts to UMS between July 1, 2011 and November 1, 2012. Due to space constraints, we can only list in the UMS program book those who donated $250 or m ore. Please call 734.647.1175 with any errors or omissions.
• indicates the donor made a contribution to a UMS Endowment Fund
PRODUCER ($500,000 O R MO RE ) Unlvenlly 01 Mktilean RIchard and Ulilan Ive!; T""t'
DIRECTOR ( $ 10 0 , 0 0 0 - $ 4 9 9 , 9 9 9 ) AnoN;moi.J'i F....-.d 01 the ComIT"U"IlIy
,- U - M 0 I I \ a ! 01 t h e S e n I o r Vlc:e PrJnclllor Arls and
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BanIr. (anl'leld. Paddock &. Stone. Nancy Sayles Day Foundation P.LC. AlkeB.00b50n ~,-
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M~arUn-an-d4'nn ~ DebbIe and Norman Herbert' c.vI and Charlene Hersteln Hon~man Miler smwartz and Cohn David and Sally Knneernon Trust Anne and Paul Glendon
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www.annarborrotary.org
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The future success of UMS is secured in part by income from UMS's endowment funds. We extend our deepest appreciation to the many donors who have established and/or contributed to the following funds:
H. Gardner and Bonnie Ackley Endowment Fund Helbert S. and carol Am,ter Endowment Fund catherine S. An:....e Endowment Fund Carl and Isabelle Brauer Endowment Fund
Hal and Ann Davis Endowment Fund DorIs DuIre Charttable Foo..nc:Iation Endowment Fund Epsteln Endowment Fund Ilene H. For§yth Endowment Fund SUsan and Rkhard Gutow R"""1lade Ventures
Endowment Fund ~ N. and Katherine C. Hall Endowment Fund Norman and DebbIe Herbert Endowment Fund DavId and Phyl"' ~ Endowment Fund )auNet Endowment Fund WlUlarn R. Kinney Endowment Fund
Franc... M...."""' L"'" Choral Union Endowment Fund Natalie Matovlnor;lc: Endowment Fund Medeal eom.........1ty Endowment Fund NEA Matchl~ Fund
ottmar Eberbach Fund. Palmer Endowment Fund Mary R. RomIr-deYU:"I~ Mu,k Appmciatlon Fund Prudence and Armon Rosenthal K-12 Education
Endowment Fund CI">arIe; A. Sink Endowment Fund Herbert E. and DorIs Sloan Endowment Fund )ames and Nancy stanley Endowment Fund SUsan B. Ullrich Endowment Fund UMS Endowment Fund The Wallace Endowment Fund
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The power of the arts is to unite commlllrlies. givirP;J usa rush of emotion we want to share wrth others. At lklrted Bar;; &Trust. we're unrted in oor mission to acti'A'lyshow oor support for the arts. and for the manyvibranl communities we seM'.l.efscomJKIsesollllions together.
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Solutions Together
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SESI MOTORS
3990 JACKSON ROAD, ANN ARBOR, MI 48103 (73 4 I 668-6100
MEMBER FDIC
PLANNED GIFTS / BEQUESTS
We are grateful to the following donors for including UMS in their estate pians. These gifts will provide financial support to UMS for generations to come. This important support will continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bel and Judith L Endr", Ken and Pemy FIKher SUsan Ruth Fisher Mefedth L.and Neal Fast.... Bevertey and Gerson GeItner Pauland Anne Glendon
SUsan McClar>ahan M. Hasl::e.J1 and Jan Barney Newman
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EUzabeth S. BIshop Kathy Benton and Robert Brewn Linda and Mau:'ke Blnl::ow Mr. and Mr.Ya Evmtt Bryant Pat and Geor~e Chala, Mr. and Mrs.johnAldenCIalt
TRIBUTE GIFTS
RIta and Petr Heydon )olin and Martha Hi Denha,t C'aI~ jean Coulter Crump Mark It Culotta
'"""'"-~ Beatrke Kahn
Cha,1es Rubin Nona It Sahan Donald Pa,,"'"
SUsan It Fisher Kathy and T om GoIdberil
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Francl, Wllley Ketsey (1858- 1927) )usHne Olson Kulka Kay Rose l.ands Dofotl>i A. Lapp
Florence S. Davis )olin S. Dobson RlJthFajan. BarbaraF",(!USOn PaulW.Mslp M atOYlnov\t MO
Contributions have been made in honor of the following people:
GIFTS-IN-KIND
The following people and organizations have generously provided in-kind donations and support:
Ab£e Hardware Bebe'. Nalls and Spa Kathy Benton and Robert Brown KaltM'yn Bieda
Linda and Mao..nc:e Blnl::ow Blue NIle Restaurant OJ and Oletr Boehm Jim Botslofd and Janke sre""", Bot,IOfd Robert and Vtc:tona Bucl::Ir
(M'les and Judith Lucas Rotxorl and Po>aro;on Macek ",,,,tin and jane M _ Malnstr"'" Venttx...
MD C'>IT>I'IIc: Dey MorIIan & Vorl::
THE MOSAIC FOUNDATlON (01 It & p. Heydon) MIke Moo.xadlan Bonlta Nej~ht>or'; M. Hasl::e.J1 and jan Barney Newman
NlroIa', BooIcs DanIel. and Sarah Nkoll Glbert Omenn and Martha Dartjn~ The Quart... Blstro and ra""m Q.Jest Productionl Frank Maxine and Stuart Frankel Gat", Iw Sable ~ Ma.1rqulst Kensln~on Coo.rt lean and Arnold Klu~e carolyn KniII!~' La PIta F,'-"" Maro Ravean and Melvyn Le,,;t5ky Pameta Lewis ~ An American Rl>st....anl
Salon VOl( LInda San>.Jl'tson and)oel Howell Maya Savarino Sava', State Street cale Sc:hal::oIad Chocolate Fadory lane and Edward Sc:t.J1ak SeIo/ Shevet Gallery Sheraton Ann AIbor Georve and Gladys Shi'1l>y SlMo', Ot'tIank Rlstorante and pjzzena
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2268 S. Main St. Localed by Busch·s (In the oomer (If S. Main St. and Ann Arbor-Saline Rd.
734-998-1245 www.irisdrycleaners.oom
Carol Austad. MD Carol Barbour. PhD Ronald Benson. MD Meryl Berlin. PhD Peter Bios, Jr.. MD Linda Brakel. MD Robert Cohen, PhD Susan Cutler. PhD Joshua Ehrlich, PhD Lena Ehrlich. PsyD Harvey Falit. MD Richard Hertel, PhD Erika Homann, PhD Bernadette Kovach, PhO Alan Krohn. PhD Howard Lerner. PhD Barry Miller. MD Giovanni Minonne, PhO Julie Nagel. PhD Jean-Paul Pegeron, MO Dwarakanath Rao, MD Ivan Sherick. PhD Merton Shill. PhD Michael Shulman, PhD Michael Singer, PhD Jonathan Sugar. MD Marie Thompson, MD DushyantTrivedi, MD Jeffrey Urist, PhD
Gail van Langen, PhD MargaretWalsh, PhD Elisabeth Weinstein, MO Mark Ziegler. PhD
Michigan Psychoanalytic
INSTITUTE I SOCIETY
Forchange that hlSts. Learn more about us. www.mpi-mps.org
HOW DO I BUY TICKETS?
ONLINE
www.ums.org IN PERSON
UMS Ticket Office Michigan League 911 North University Avenue Mon-Fri: 9am-Spm Sat: 10am-lpm
Venue ticket offices open 90 minutes before each performance for in-person sales only.
BY PHONE
734.764.2538
(Outside the 734 area code, call toll-free 800.221.1229)
BY MAIL
UMS TIcket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
TICKET DONATIONS / UNUSED TICKETS
If you are unable to use your tickets, please return them to us on or before the performance date (accepted until the published performance time). A receipt will be issued by mail for tax purposes. Please consult your tax advisor. Ticket returns count towards UMS giving levels.
ACCESSIBILITY
All UMS venues are accessible for persons with disabilities. For information on access at specific UMS venues, call the Ticket Office at 734.764.2538. Ushers are available for assistance.
LISTENING SYSTEMS
For hearing-impaired persons. Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance. For events with high sound volume, ask your usher for complimentary earplugs.
LOST AND FOUND
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, Rackham Auditorium, or Arthur Miller Theatre, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi Catholic Church, ca1l734.821.2111.
REFRESHMENTS
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium. and in the Michigan Theater. Refreshments are not allowed in seating areas.
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If you want to make parks greener, improve neighborhoods, even support the arts, the Community Foundation for Southeast Michigan can help. And keep your donation giving for generations to come.
Visit CFSEM.org or call1-888-WE-ENDOW
Scan the QR Code to find out more. for more information on how we can help.
PARKING
We know that parking in downtown Ann Arbor can be difficult and can sometimes take longer than expected. Please allow plenty of time to park. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Liberty Square structures for a minimal fee.
UMS donors at the Patron level and above ($1.000) receive 10 complimentary parking passes for use at the Thayer or Fletcher Street structures in Ann Arbor. Valet parking is available for all Hill Auditorium performances on the Choral Union Series for a fee ($20 per car). Cars may be dropped off in front of Hill Auditorium beginning one hour prior to the performance. UMS donors at the Virtuoso level ($10.000 annually) and above are invited to use the valet parking service at no charge.
FOR UP-TO-DATE PARKING INFORMATION, PLEASE VISIT WWW.UMS.ORG/P ARKING.
POLICIES. SMOKE-FREE UNIVERSITY
As of July 1. 2011, the smoking of tobacco is not permitted on the grounds of the University of Michigan, including the exteriors of U-M theaters and concert halls. Smoking is allowed on sidewalks adjacent to public roads.
TICKET EXCHANGES
Subscribers may exchange tickets free of charge up until48 hours prior to the performance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may send your torn tickets to us by mail. fax a photocopy of them to 734.647.1171, or email a scanned copy to umstix@umich.edu. Lost or misplaced tickets cannot be exchanged.
We will accept ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the performance will be returned as a donation.
CHILOREN/ FAMIllES
Children of all ages are welcome to attend UMS Family Performances. Children under the age of three will not be admitted to regular. full-length UMS performances. All children must be able to sit quietly in their own seats throughout the performance. Children unable to do so, along with the adult accompanying them. may be asked by an usher to leave the auditorium. UMS has posted age recommendations for most performances at www.ums.org. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket regardless of age.
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GETTING INVOLVED.
For more detailed information on how to get involved with UMS, please visit www.ums.org/voiunteer.
STUDENT WORK- STUDY/INTERNSHIP PROGRAM
Internships with UMS provide valuable experiences in all areas of arts management, including performing arts production, education, administration, ticket sales, programming. development, and marketing. For more information about available positions and how to apply, please visit W'NW.ums.org/jobs.
UMS STUDENT COMMITTEE
The UMS Student Committee is an official U-M student organization dedicated to keeping the campus community connected to the performing arts. For more information on how to join, please email umsscboard@umich.edu.
USHERING
Usher orientation sessions are held twice annually for new and returning ushers. You must attend an orientation to be eligible for ushering. Information about upcoming sessions is available at www.ums.or8lvolunteerassessionsarescheduled. For more information, contact Kate Gorman at 734.615.9398 or fohums@umich.edu.
UMS CHORAL UNION
Open to singers of all ages, the 170-voice UMS Choral Union performs choral music of every genre in presentations throughout the region. Participation in the UMS Choral Union is open to all by audition. Auditions are held in the spring and the fall of each year. To learn more. please contact Kathy Operhall at kio@umich.edu or 734.763.8997.
UMS ADVISORY COMMITTEE
If you are passionate about arts advocacy, are looking for ways to spend time volunteering, and have a desire to connect with our organization on a deeper level. the UMS Advisory Committee may be a great match for you. To learn more, please contact Cindy Straub at cstraub@umich.eduor734.647.8009.
UMS ADVERTISING
54 Academy of Early Music 4 42 Alumni Association of the
University of Michigan 48 48 Ann Arbor Public Schools 56
Educational Foundation 34 Ann Arbor Symphony 42 Orchestra 54 24 Bank of Ann Arbor 56 36 Bellanina Day Spa 36
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26 Charles Reinhart Co. 38 Realtors IFC
12 Community Foundation for Southeast Michigan
52 Community Foundation 50 for Southeast Michigan
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~UMS 2013