UMS Concert Program, April 18, 2013 - April 28, 2013 - Bobby McFerrin; Alison Balsom and the Scottish Ensemble; "Sacred Earth"

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Janet callaway David (anter Marlf. Mr. Mc:FerTin appears byarranRement with Paradigm.
NOW THAT YOU'RE IN YOUR SEAT...
Babby McFerrin surprises us again. bringing it all back home with his new album.spirityouall.NowMr.McFerrininvitesustositonthestoopawhileand listen as he t hrows some unexpected new ingredients into the melting pot and reinvents Americana.He invites us back to the great folk tradition of lifting our voices to sing together through life's trials and triumphs.
spirityouallfeaturesbelovedfamiliartuneslike"He'sGottheWholeWorldInHis
Hands" and "Every Time I Feel The Spirit" alongside original songs which explore Mr. McFerrin's everyday search for grace, wisdom. and freedom.The newmaterial ranges from a celebratory hoedovm (Nrest") to a polemic anthem ("woe·~ to a down-and-dirty blues setting of Psalm 25:15. This project embraces Mr. McFerrin's folk. rock. and blues influences without abandoning his fearless improvisational approach or his never-ending exploration of t he human voice. He moves seamlessly between lyrics and wordless lines. trading phrases with his band and inviting the audience to sing along. He loves to sing this music. and it shO'Ns:spirityouall raises the roof with joyful grooves.
spirityouall continues Mr. McFerrin's life-long quest to integrate all the influences of the musical universe.But as in so many greatAmerican tales. sometimes it turns out that everything one is searching for is in one's own backyard.The project honors the legacy of Bobby McFerrin's fat her, the great operatic baritone Robert McFerrin. Sr. the first African-American to sign a contract with the Metropolitan Opera Company and a renowned interpreter of t he American Negro Spiritual. kI always thought that someday I'd sing these songs.· Bobby McFerrin says. kand that I'd have to find a way of doing it that was completely different from my father's approach. I think. t he idea has been kicking around for at least a couple of decades. And it was finally time: Three of the traditional numbers featured on spirityouall - kEveI)'TimeIFeeltheSpirit:"SwingLowSweetChariot"and"FixMeJesus·- also appeared on t he senior McFerrin's 1957 album Deep River, but similarities end there. The spirituals are about liberation and courage, t he human condition. t he pioneering spirit. the search for strength in the face of adversity, and the journey to'Nards a better place.
spirityouall is a deeply personal statement for Mr. McFerrin.kI couldn't do anythingwithoutfaith.·hesays.kIcouldn'topenupmyeyes.Icouldn'twalk,Icouldn't speak. Icouldn't sing. What Iwant eveI)'one to experience at the end of my concerts is... this sense of rejoicing. I don't want t he audience to be blown away by what I do, I wantthemtohavethissenseofrealjoy,fromthedepthsoftheirbeing.Thenyouopen upaplacewheregracecancomein:liftyourvoice,openyourheartandsingalong.
The spirityouall album will be released on May 14. 2013 on Sony MasteIWorks andis nO'N available for pre-order onAmazon.com.
ARTISTS
Fordecades. BOBBY McFERRIN has broken all the rules. The 10- time Grammy Award winner has blurred the distinction between pop music and fine art. goofing around barefoot in the world's finest concert halls, exploring uncharted vocal territory. and inspiring a whole new generation of a cappello singers and the beatbox movement. His latest album. spirityouall is a bluesy, feel- good recording. an unexpected move from the music-industry rebel who singlehandedly redefined the role of the humanvoicewithhisacappellahit"Don't Worry. Be Happy." his collaborations with Yo-Yo Ma, Chick Corea. and the Vienna Philharmonic, his improvising choir, Voicestra and his legendary solo vocal performances.
It's been the quietest and most polite of revolutions. Mr. McFerrin was always an unlikely pop star. He created a lasting ear-worm of a"'l hit early in
his career, then he calmly went back to pursuing his own iconoclastic musical journey, improvising on national television, singing melodies without words. spontaneously inventing parts for 60,000 choral singers in a stadium in Germany, ignoring boundaries of genre, all the while defying all expectations. Mr. Mcferrin came from a family of singers: Bobby's father, the MetroIXllitan Opera baritone Robert McFerrin. Sr. provided the singing voice for Sydney Poitier for the film version of Porgy 6 Bess, and his mother Sara was a fine soprano soloist and voice teacher. Bobby McFerrin grew' up surrounded by music of all kinds. He remernbersconducting Beethovenon the stereo at three, hiding under the piano while his father and mother coached young singers. dancing around the house to Louie Armstrong. Judy Garland Etta Jones. and Fred Astaire. He played the clarinet seriously as a child but he began his musical career as a pianist at the age of 14. He led his own jazz groups. studied composition. toured with the show band
for the Ice Follies,and played for dance classes. Then one day he was walking home and suddenly understood that he had been a singer all along.
Mr. McFerrin's history as an instrumentalist and bandleaderis key to understanding his innovative approach to mapping harmony and rhythm (aswell as melody) with his voice."I can't sing everything at once,· he says, "but 1can hintatitsotheaudiencehearsevenwhat 1don't sing: All t hat pioneer spirit and virtuosity has opened up new options for singers; so have Mr. McFerrin's experiments in multi-tracking his voice ("Don't Worry, Be Happy" has seven
separate, over-dubbed vocal tracks; his choral album VOCAbularieS [with Roger Treece] has thousands). But virtuosity isn't the point. "I try not to 'perform' onstage: says Bobby."1try to sing the way 1sing in my kitchen. because 1just can't help myself. 1want audiences to leave the theater and sing in their own kitchens the next morning. 1want to bring audiences into the incredible feeling of joy and freedom 1get when 1 smg
Pleasevisit bobbymcferrin.com and the Bobby McFerrin page on Facebook formoreinformation.
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~ UMS ARCHIVES \Jr\
Tonight's performance marks Bobby McFerrin's second appearance under UMS auspices. Mr. McFerrin made his UMS debut in April 2008 with Chick Corea and Jack DeJohnette at Hill Auditorium.
Saturday Evening, April 20, 2013 at 8:00 Hill Auditorium' Ann Arbor
64th Performance of the 134th Annual Season 134th Annual Choral Union Series Photo: Alison Balsom; photographer: Matt Hennek. o
PROGRAM
Francesco Geminiani
Concerto Grosso No. 12 in d minor ("La Fallia")
TomasoAlbinonl, An AlisonBolsam Oboe Concerto in B-fiat Major, Op. 7, NO. 3
Allegro Adagio Allegro
George Frlderlc ,",ondel Concerto Grosso in B-flat Major, Op. 6, No.7, HWV 325
La,go
Allegro Largo e plano Andante Hornpipe
Antonio \/ivo/dl, Arr. Bolsom Violin Concerto in 0 Major, Op. 3, No.9, RV 230
Allegro Larghetto Allegro e plano
INTERM ISS ION
Handel
Atalanta. HWV 35 (excerpt) OIerture
Henry Purcell Dioclesian (excerpt)
Dance of the Furies
Purcell
King Arthur Suite (excerpts)
Fairest Isle Shepherd, Shepherd Warlike Consort
Purcell
Chacony in g minor Fantasia on One Note
Handel, Arr. Balsom Suite for Trumpet and Strings in D Major, HWV 341
Overture Gigue (Allegro) Minuet (Aria) Bourree March No. 2
Tonight's performance i'> supported by the Renesade VentlSes Fund. a rrulti-year challenge grant created by Maxine and Stuart Frankel to support unique, creative, and transformatiw perlorming arts experiroces within the UMS >eason.
Tonight's performance i'> sponsored by United Bank & Trust, jerry and Gloria Abrams, and Dennis and EltieSooas.
Additional ~ provided by James and Nancy Stanley, and Jay Zelenock and Family. Media IH"tnership is provided by WGTE 91.3 FM and WRC) 90.9 FM.
Special thanks to Thorben Dittes, Chief Executive. Scottkh Ensemble, lor speaking at tonight's Prelude Dinner.
SpecialthankstoTomThompsonolTomTho~Flowers,AnnArbor.lorhi'>generouscontribution01 lobby floral art lor this ewning's performance.
Alison Balsom records exdusivetylor EMI Classics.
Scottish Ensemble records lor Lim Records, Signum Records, and EMI Classics.
Alison Balsom is managed worldwide by Harrison PdI1"ott London, UK
Scottish Ensemble is marlill!ed by Thorben Dittes, Glasgow. UK.
Alison Balsom and the Scottish Ensemble's US tour is Of"I!ilrlized by International Arts Foundation, New York, NY.
Alison Balsom and the Scottish Ensemble appear by dI1"an!)OO"lel1t with Frank Salomon Associates. Tour support provided by Creative Scotland and The Michael Mar1 Charitable Trust
NOW THAT YOU'RE IN YOUR SEAT...
The Baroque erawas the golden age of the trumpet.Whereas the instrument had previously served mostly in military and signaling functions. in t he 17th century it entered the world of art music both in concert and at the theater. The playing technique developed by leaps and bounds, and the greatest com- posers of the time, from Purcell to Handel and Bach. wrote many challenging solos for t heir virtuoso colleagues. Paradoxically, even as the instrument itself was modernized and the natural trumpet was replaced by the modern valve trumpet, its solo literature went into decline.While the trumpet plays a prominent role in almost every major 19th- and 20th-century symphony, for a long time trumpet soloists had to sit in the back of the orchestra rather than stand in front of it. In the last decades, the trumpet as a solo instrument has enjoyed a major renaissance; t his has included t he revival of the great Baroque trumpet repertoire which has found several extraordinary champi- ons on the modern concert stage, whose ranks has in recent years been joined by tonight's soloist, Alison Balsom.
Concerto Grosso No.12 indminor
(' L a R l l l i a , ' 1 7 2 9 ) Francesco Geminiani BornDecember 5, 1687in Lucca. Italy DiedSeptember17, 1762inDublin
after Arcangelo Corelli BornFebruary 17, 1653 inFusignana.
Italy
DiedJanuary8, 1713in Rome
SNAPSHOTS OF HISTORY...IN THE IBOs: • F'«l/Olesi"s comic opera La selVa pod"ono
oorl~_
• Beniamin Franklin founds the Library Corrpany, the frst lendins lbary in A.rnffir:a
•Alexander Pope publishes his poem An Essay onMon
• Enstis.h Philosopher David Humewrites A Tre~O
• Daniel DefOil po.,bIishes Robtnson OUSOQ • Gioyanni Battista T\epoIo bQc()l1'lQS officla.l pa.intQof
to the Dose of Venice
Tomaso Albinoni was known as the dilettante veneto - a composer of independent means who had been trained as a professional composer but did not need to depend on employment as a musician. Although he wrote a great deal of vocal music (operas and cantatas). his fame rests on his instrumental output mostly concertos and sonatas.
Albinoni is credited with writing the earliest concertos featuring a solo oboe; his first collection featuring such works is t he set from which the present work is taken. Albinoni's oboe writing. penetrating and gently lyrical at the same time, lends itself very well for performance on the trumpet. The composer had a special fondness for emotionally intense Adagios, and the present work offers a particularly attractive example.
Concerto Grosso i n B-flat Major, Op. 6, No.7, HWV 325 (1739)
George Frideric Handel Born February .23, 1685in Holle, Saxony Died April 14, 1759in London
The London Doily Fbst announced to its readership on October 29. 1739:
This day are published proposals for printing by subscription with His Majesty's royal license and protection. Twelve Grand Concertos in seven parts, for four violins. a tenor [viola], a violoncello, with a thorough-bass for the harpsichord. Composed by Mr. Handel. Price to subscribers two guineas. Ready to be delivered by April next. Subscriptions are taken by the author at his house in Brook Street, HanoverSquare.
As Christopher Hogwood writes in his Handel monograph (Thames & Hudson. 1984~theconcertigrossi-were deliberately designed to compete in a field dominated by Corelli's Op. 6: The concerto form perfected by Arcangelo Carelli. with its juxtaposition of a t hree- member concertino with the larger instrumental group (the ripieno), was extremely popular in England. thanks in parttooneofCorelli'smostdistinguished pupils. Francesco Geminiani
Handel too, had known Corelli in person. having met him at Rome in 1707. There is an amusing story of how the 22-year-old Handel grabbed the 54-year-old Corelli's violin and showed him how he wanted a certain passage to be executed.The older man apologized with typical understatement: -Sut rnio caro Sassone [my dear Saxon~ this music is in the French style, which rdo not understand." {It was the overture for Il
Trionfo del Tempo [The Triumph ofTime] by Handel.)
Thirty years later, Handel took a break from the writing of monumental oratorios to compose his Op. 6. in which he paid homage to Corelli and competed withGeminianiallatthesametime.lnthe process. he brought the concerto grosso idea to new heights that had been quite unheard of. The works were intended to stand by themselves. but they could also selVe as overtures or interludes during oratorio performances.
Handel worked with amazing speed. completing the 12 concerti grossi in about a month (between the end of September and the end of October, 1739). In other words. he finished a new piece every two or three days. One circumstance that made such extreme productivity possible was the fact that Handel did not have to invent every single theme in the 50-plus movements anew, but relied heavilyon musicalready written- bothbyhimselfandothers. Handel's borrowings in Op. 5 involve mainly two sources: Gottlieb Muffat's keyboard collection Componirnenti musicali(1736~andDomenicoScarlatti's Essercizi percembaJo (1739).
The sevent h concerto of the set departs from the concerto grosso format in that there are no solos for the concertina: the work is scored for the usual string orchestra. with first and second violins. violas. cellos. and basses with harpsichord continuo. After a brief slow movement we hear a fugue based on a single repeated note (called a "hen fugue: because the repeated note reminded listeners of t he cackling of a hen). The third movement is again slow; it is longer and more dramatic than the opening section. The fourth- movement "Andante" is based on a simple melody repeated in different
keys and interspersed with expressive episodes. The last movement is a lively "Hornpipe" - a popular English dance which Handel "jazzed up" with some syncopated rhythmic patterns and capricious melOOic figures.
ViolinConcertoinDMajor,Op.3, No.9,RV230(1711)
Antonio Vivaldi
BomMorch 4. 1678in Venice.ltaJy DiedJuly28, 1741 in Vienna
This Vivaldi concerto seems to work especially well on the trumpet. even t hough its fast runs are extremely challenging.But 0 Major is a particularly good "trumpet key: and some of the rhythmic figures suggest military fanfares even when played on the violin. The "'Larghetto" is one of Vivaldi's most ornate skm movements. and the finale, like the opening movement is brilliant and celebratory. This concerto is part of Vivaldi's first published collection of concertos, Lesrro armanico ("Harmonic Inspiration"); it was transcribed for t w p s ; c h o c d b y 1. S. B a c h .
Atalanta.HWV35 (excerp:.1736) Handel
This overture, scored for solo trumpet two oboes, and strings. continues the festive D-Major mood of the Vivaldi concerto heard before intermission It is in three movements: an opening fanfare, a fugato (a musical form starts out as a fugue but doesn't follow through), and a stately dance. The opera Atalanta was intended for a very joyful event: t he wedding of Frederick, the Prince of Wales. and Princess Augusta of Saxe- Coburg. who came from a duchy close to
Handel'shometown of Halle.(The Prince himself,sonofKingGeorgeIIandfather of George IlL was German-born. like the entire English royal family that came from Hanover.) In the first two sections of t he overture, Handel borrowed material from Telemann's Musique de Table. The heroine of t he opera is Princess Atalanta whose only passion is hunting.She initially resists the wooing of Meleagro, King of Etolia, but in the e n d C u p i d p r e v a i l s o v e r D i a n a . _.
Dioc1esian (excerpt 1690) King Arthur Suite (exce!"jXs. 1691) Cha.conyingminor (l580) FantasiaonOneNote(before IffiJ) Henry Purcell Born September 10, 16S9inLondon DiedNavember 2l169SinLondon
SNAPSHOTS OF HISTORY...IN THE 16905: •William III 01 O"anse is Kins of England followins
the "Glorious ReYOlution" •Witch trials in Salem, MaS5aCOOsett5 •Nine Years' War betwwn France and the "Grand
Alliance" (Ensland, the Holy Roman Empi-e, and
Spain)
• john Locke writes An £Ssay Conaming HIITlOl1 Und;ntonding
· Jean Racine writes his liMI tragedy. Atho/ie
The Prophetess, or The History of Dioclesian was one of Purcell's so-called Nsemi-operas," which were essentially spoken plays with songs and dances inserted as special entertainment. In this case, the play, by John Fletcher and Philip Massinger (it was revised by Thomas Betterton), is ostensibly set in ancient Rome but is in fact as Curtis Price explains in his book on Purcell's dramatic works, Nan uncanny satire on the decadent and badly mismanaged f i n a l y e a r s o f t h e r e i g n o f C h a r l e s IL" w h o died in 1685. Delphia the prophetess of the title, Nmakes prognostications under the influence of alcohol and
indigestion: And Diocles, the soldier who becomes emperor, Nis a fop and a fooL whose humility is forced upon him by stratagem:
The "Dance ofthe Furies"was one of the most grotesque episodes in the sh()V{: the Prophetess attempts to scare the hero by unleashing a bunch of monsters, inspiring one of the most chromatic and most heavily ornamented movements Purcell everwrote.
A year later, Dioclesianwas followed by King Arthur, or the British Worthy, a play by John Dryden for which Purcell composed no fewer t han 40 musical numbers. Here, too, the ancient legend was brought up to date with references to more recent British history, although some of Purcell's music relates to the action only in a loose and indirect way. "Fairest Isle" and "Shepherd Shepherd" are two of the composer's best-known and most endearing tunes, while the "Warlike Consort: also known as the "Trumpet Tune" (so called even though in the original it was scored for strings alone~ illustrates the more martial side ofthework.
A cooconne (together with its close relative, the passacaglia) is a set of variations over a recurrent ground bass or a recurrent harmonic progression. Purcell wasvery fond of this form. which he used in several of his stage works, most famously in Dido and Aeneas.The present Chacony (to use the original spelling)isanindependentpieceinwhich thecomposerhandledthevariationform with remarkable freedomandvirtuosity. In addition to altering the rhythm and ornamenting the melody, he varied t he instrumentation as well omitting the bass in some of t he variations and at one point assigning t he bass melody to t he treble .
Fantasia on One Note is t he most famous of Purcell's string fantasias
(in his usage, the term refers to a Renaissance polyphonicgenre).Itisbuilt around a single pedal tone, surrounded by a web of voices in canonic imitation. with sections variously slow and fast. chordal and contrapuntaL Major and minor, as well as diatonic (sticking t o t he regular notes of the scale) and chromatic (with intermediary half-steps added). As an earlier commentator put it. these different devices orbit Nthe central note or'cornmon tone' as the planets orbit t he sun'
Suite for'Irumpet and Strings in
DMajor,HWV341(1733) Handel
The present work was first published in 1733 as NHandel's Water Piece: and in fact. the first movement is an arrangement from Handel's well- known Water Music. In t he absence of any original manuscripts, scholars are uncertain whether this arrangement is in fact by Handel and indeed whether three of the remaining four movements (anNAllegro."anNAir: andtwo"Marches") were even composed by him. (The last march does show up in the 1730 opera Partenope.) Questions of authenticity aside, this is a very attractive work, and the only one for solo trumpet and strings associated with Handel; as such. it is the perfect work to end an evening of Baroque music played on this glorious instrument.
Program notes by Peter Laki.
ARTISTS
Twice crowned NFemale Artist of the Year" at the Classic BRITs, ALISON BALSOM has cemented an international reputation as one of classical music's great ambassadors and is ranked among the most distinctive and ground-breaking musicians on the international circuit today.Ms.Balsom has also been honored with numerous awards by Gramophone, ClassicFM,andECHOKlassik
In 2009, Alison Balsom headlined one of classical music's most celebrated concerts - The Last Night of the BEC Proms - which reached its biggest ever global television audience of an estimated 200 million. In December 2010 Ms. Balsom went on to make her US television debut with the Orchestra ofStLuke'sonTheLateShowwithDavid Letterman - a platform few classical artists have gained access to.
The 2011-12 season saw Ms. Balsom make return visits to China where she performed with Lorin Maazel and the National Symphony Orchestra and to the Los Angeles Philharmonic with whom she made her Hollywood Bowl debut. Other season highlights included concerts with the Toronto Symphony Orchestra Orchestra della Svizzera Italiana Chamber Orchestra of Philadelphia, and the Royal Philharmonic Orchestra. In the current season, Ms. Balsom embarks on major international tours of Europe, China and the US with the Wiener Symphoniker, kammerorchesterbasel, Concerto Koln, Scottish Ensemble, and the Philharrnonia Orchestra.
Ms. Balsom's highly distinctive sound earned her much recognition in her early career when she primarily reached her audience through radio
broadcasts under the auspices of the BBC Radio 3 New Generation Artists scheme.While represented by t he Young ConcertArtistsTrust Ms.Balsomcaught the ear of EMI Classics with whom she records exclusively . Her internationally celebrated Bach Trumpet and Organ recording of 2005 was quickly followed by Copricewhich won her further critical acclaim. Her t hird album. featuring the great pillars of the trumpet repertoire, the concertos of Haydn and HummeL firmly established her as one of t he world's leading trumpeters . Italian Concertos which is made up of Ms. Balsom's own arrangements of Italian BaroqueConcertos, became EMI Qassics biggest selling album of 2010.
In addition to transcribing and arranging existing works for her instrument Ms. Balsom is increasingly active in commissioning new works for trumpet. Her world-premiere performance of James MacMillan's Seraph at Wigmore Hall in 2011 went on to become t he title track of her 2011 release for EMI Classics. Her latest album, Sound the Trumpet sees Ms. Balsom perform a variety of works by Purcell and Handel with Trevor Pinnock and The English Concert on period instruments.
Alison Balsom studied trumpet at the Guildhall School of Music, the Paris Conservatoire, and with Hakan Hardenberger. She was a concerto finalist in the BBC Young Musician competition in 1998 and received t he Feeling Musique Prize for quality of sound in the 2001 Maurice Andre International Trumpet Competition. She performs a wide range of recital and concerto repertoire, from Albinoni to Zimmermann and performs on both modern and baroque trumpets.
For further details, please visit wwwalisonbalsom.com.
Re-defining the string orchestra the SCOTTISH ENSEMBLE inspires audiences in the UK and beyond with vibrant performances which are powerful challenging. and rewarding experiences. Known both in t he UK and internationally for its versatility and ambitious programming. the Ensemble reaches out to create rich partnerships across boundaries of genre, geography, and musical style.
Founded in 1969 and based in Glasgow,the Scottish Ensemble is the UK's only professional string orchestra built around a core of 12 outstanding string players who perform together under Artistic Director Jonathan Morton. The Ensemble's distinctive programming style habitually blends music from different ages, offering nev-.r perspectives and making unexpected connections. Performing standing up, the individual players bring an energetic and passionate dynamic to every performance, both in the concert hall and in t he Ensemble's comprehensive program of education and outreach activities. Its work in this area ranges from large scale creative projects for nursery pupils, to specialist coaching for young musicians. to working with young offenders.
Committed to developing t he string repertoire, the Ensemble regularly seeks out unusual pieces, and has commissioned a rich catalog of nev-.r works from some of the brightest voices working in music today. In recent years, these have included composers such as Sir JohnTavener,James MacMillan. Sally Beamisn Steve Martland John Woolricn Craig Armstrong. Luke Bedford, and Thea Musgrave.
The Ensemble's first-class reputation attracts collaborations with world- class soloists including. most recently , trumpeter Alison Balsom; tenor Toby Spence; violinist Anthony Marwood; cellist Pieter Wispelwey, and violist Lawrence Power. The Ensemble also welcomes collaborations with musicians from different traditions, performing alongside Scottish folk musicians Catriona McKay , Chris Stout. and Aly Bain; OJ Alex Smoke; Finnish violinist Pekka Kuusisto; and American bassist Edgar Meyer.
Alongside concerts in major venues in Scottish cities. t he Ensemble exploits its flexibility by performing in more intimate, unconventional. or remote spaces across Scotland. In addition. t he Ensemble also enjoys an established annual series at London's Wigmore Hall and has appeared at the
SCOTTISH ENSEMBLE SCOTTISH ENSEMBLE
Jonathan Morton. Director
VIOLIN I CheryICrockett Tristan Gurney Sophie Mather JamesToli
VIOLIN II Xandervan Vliet Joanne Green LauraGhiro AlastairSavage
BBC Proms and St. Magnus, Aldeburgh, and Edinburgh International Festivals. Recent invitations to tour abroad include an invitation from the Scottish Government to celebrate St. Andrew's Day in Brussels. concerts in Turkey and Austria and tours of China and the US. The Ensemble's extensive recording catalog includes EMI Oassics' top-selling CD of 2010:Italian ConcertoswithAlison Balsam.
As one of Creative Scotland's Foundation Organizations, the Scottish Ensemble is proud to contribute to Scotland's cultural stature and creative identity .
For further details, please visit www.scottishensemble.co.uk/.
UMS welcomes both Alison Balsam and the Scottish Ensemble who make their UMS debuts this evening.
VIOLA Catherine Marwood Andrew Berridge Zoe Matthews
CELLO Alison Lawrance Naomi Boole-Masterson
DOUBLE BASS Graham Mitchell
HARPS ICHORD Robin Bigwood
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SoJoist Aparno Rurrmswamy
lam here:
My loveliness Xurinji: Eatenawaybypallor
SoJoist Aparno Rurrmswamy
Bigger than the earth certainly, Higher than the sky. More unfathomable than the waters Isthisloveforthisman
Of the mountain slopes
Islostin thewoodsbythesea Myloveriscomfortableinhishometown. All the guarded sa-retsof our love Are all over the village square
- Venputhi,Kurunthokni97
Marutham
5o.loist: Tamara Nadel
There was a time when My friend gave yoo Bitter neem fruit and Youca1led it
Sweet lurnpofsugar. But ncm she gives you Sweetwater From the ice-coo1 springs OfPari'sParambuhill Cooler in this month of Thai And youcall it hot and brackish. Is this the way
Your love has gone? - MilaiKanthanKurunthokai196
Xurinji: SoJoist:AshwirURamaswarny
Whatcruldmy motherbe Toyours? What kin is my father
ARTISTS
Acclaimed as one of the Indian Oiaspora's leading ~ ensembles. RAGA MALA DANCE seamlessly carries the South Indian classical dance form of Bharatanatyam into the 21st century. Artistic directors/choreographers RaneeandAparnaRamaswamy-motherand daughter- areprot~esoflegendarydancer and choreographer Alarme! Valli known as one of India's greatest living masters. Ranee and Aparna retain roots in the philosophy, spirituality, mysticism. and myth of their South Indian heritage, while using their art form as a rich language through which to speak with their own voices as contemporary American choreographers. They see the classical form as a dynamic. living tradition with vast potential to move beyond the personal and spark a global conversation.
Now in its 21st season. Ragamala's work has been supported by the National Endowment for the Arts. National Dance Project. MAP Fund. Japan Foundation. USArtists International and a Joyce A ward from the Joyce Foundation/Chicago. and has beencornmissioned by the Walker Art Center
Toyours illf'/Wi!Y? And haw Did y e u and I meet~er? But inlove our hearts are as red Earthandpouringrain: Mingled ..,"""Porting
- Cempu.lappeyanirar. KunmtrokDi 40
"'Prithri Suktam~(Hymn to the Earthl from tbtAdluuTaVeda: SoloistsRaneeandAparnaRamaswnmy
May this &u1h. wOOse surface undulates with manygradients. and sustains an abundant variety of herbs and plants of different potencies and qualities. support all human beings. in all their diversity of endowment in mutually supportive harmony and prosperity
in Minne 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'
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University of Michigan Credit Union (UMCU) is proud to sponsor this season's performances!
We hope you enjoy the show! u s,","':umcreditunion
Federally Insured by NCUA UMCKmlT .---
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www.annarborrotary.org
looking for the right office space in Ann Arbor?
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POUR GENEllA TI0N5 IN ANN AIUIOR IU!AL I!STATII www.McMullenProperties.com I 734.769.1800
8ENEFACTOR (COftnN UU ). Raymond)amft&.t.ssocIile., Inc.
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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 arts unite us all.
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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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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Dr. and !>if" Fredrkk O'OetI Mr. and Mrs. Denni, M Power, Mr. and Mr.. Mkhael Radock Mr. and Mr.. jacI:: RIckett, Mr.andMr..WIllardLR~. PNe and AmI Rosenthal Mar~a,et and Ha,keU Roth,teln Irmaj.Sl::ler>ar Helbert E. Sloan Art and EllzabethSoiomon Roy and)oAn Wetzet Ann and Clayton WlltMle Mr. and Mr.. Ronald G. Zollar
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carol and Herb Am,t... Mr. Nell P. Anderson Dr.andMrs. David G.Anderson
catherine S. A/,,,,..,, """"""'"'
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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.
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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.
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so,WHAT DID YOU THINK?
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JOIN US IN THE LOBBY! Tell uswhatyou think on umslobby.org. whereyouU also find artist exclusives and behind-the-scenes videos and photos.
SOCIAL
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~UMS 2013