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UMS Concert Program, March 30, 2014 - April 13, 2014 - "19th Ford Honors Program", Jazz at Lincoln Center Orchestra with Wynton

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"UMS is a true jewel within the University of Michigan. Here, students, faculty. staff, alumni, and aspiring performers can see some of the most exceptional performing arts in the world. It is an integral pieotO~rS DU~I
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The Esperance Foundation Charles H. Gershenson Trust THE MOSAIC FOUNDATION (of R & P. Heydon) University of Michigan Office of the Vice President for Research University of Michigan Office of the Senior Vice Provost for Academic Affairs
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VIRTU OSO, $10,000 - $19,000 Mohamad Issa/Issa Foundation
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UM~1tl~ CONCERTMASTER, $5,000- $9,999
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The UMS Senate is composed offormer members of the Board of Directors who dedicate time and energy to UMS and our community. Their ongoing commitment and gracious support of UMS are greatly appreciated.
Michael C. Allemang Carol L. Amster Gail Davis-Barnes Kathleen Benton Lynda Berg
Richard S. Berger Maurice S. Binkow DJ Boehm Lee C. Bollinger Charles W. Borgsdorf Janice Stevens- Botsford Paul C. Boylan
William M. Broucek Barbara Everitt Bryant Robert Buckler Letitia J. Byrd Kathleen G. Charla JillA. Corr
Peter B. Carr Ronald M. Cresswell Hal Davis Sally Stegeman DiCarlo Robert F. DiRomualdo Al Dodds James J. Duderstadt Aaron P. Dworkin David Featherman David J. Flowers George V. Fornero Maxine J. Frankel Patricia M. Garcia Beverley B. GeItner Anne Glendon Patricia Green William S. Hann Shelia M. Harden Randy J. Harris Walter L Harrison Norman G. Herbert Deborah S. Herbert Carl W. Herstein Peter N. Heydon Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac
Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov
F. Bruce Kulp Leo A Legatski Melvin A. Lester Earl Lewis Patrick B. Long Helen B. Love Cynthia MacDonald judythe H. Maugh Rebecca McGowan Barbara Meadows Joetta Mial Alberto Nacif Shirley C. Neuman Jan Barney Newman Roger Newton Len Niehoff Gilbert S. Omenn Joe E. O·Neal Randall Pittman Phil Power John D. Psarouthakis Rossi Ray-Taylor John W. Reed Todd Roberts Richard H. Rogel Prudence L Rosenthal A Douglas Rothwell Judy Dow Rumelhart Maya Savarino Ann Schriber Edward R. Schulak John J.H. Schwarz Erik H. Serr EllieSerras Joseph A Sesi Harold T. Shapiro George l. Shirley John O. Simpson TImothy P. Slottow Anthony L Smith Carol Shalita SmokIer Jorge A Solis
Peter Sparling
James c. Stanley Lois U. Stegeman Edward D. Surovell James L Telfer Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite
Iva M. Wilson Karen Wolff
UMS STAFF The UMS StoffwOiks hard to inspire individuals and enrich communities by
connecting oudlences and artists in uncommon and engoging experiences.
Kenneth C. FIscher Pr~dQnt.
}ohn B. Kemard, Jr. Oirrooro( Administration
Kathy Brown Ex«utlv" Assistant
Beth GHliiand
TQSsitura Syst01lS Administrator
Patricia Hayes
Financial Manager John Peckham
Information Systems Manager
DEVELOPM ENT Margaret McKinley
Difroor 0( [)Qve/opment Susan Bozell Crala
Senior Manager 0 ( CaporatQPortnershlps
Rachelle Lesko ~.,..goplrnmt Coordinator
Usa Mlchlko Murray Senior Monogw 0( Foundationond GoverrrnliOt RfHO(/onS
joanne Navarre
Senior Monag« 0{ AnnudGMng
Marnie Reid
Senior Manager 0{ Individual Support
Cindy Straub Manager of VoIunr"","s & Splilc/al Events
James P. lel DIrector 0(Education & Community Engagement
Shannon Fitzsimons Canpus Engagement $peelallst
Mary Roeder
Associate Manager of Community Engagement
Oman Rush Education Manager
Sara Billmann DlrectOf of Marketing & Communications
JesseMerla VIdeo Production Spedalist
Anna Prushinskaya Manager of New Media & Online Initiatives
Truly Render FtC1SS & Marketing Manager
MiChael J. Kondziolka DlrectOf of Programming
Jeffrey BeyersdOff
Ftodudion DlrectOf
Anne Grove Artist Services Manager
Mark Jacobson SenlOf Pror;,amming Manager
MiChael Michelon
Ftodudlon CoordinatOf
Uz Stover ASSociate Programming Manager
Senior T/cblt ~rvlcQS ManageaIony Mu,k OIrectoe F"ml~. and Ken AKhef at the 2011 Ford Honors Protlram )Im Ve!l.a. Academy ot st Martin In the Field:a Betl. and Ken
FlsntColemanandcetUstY"..YoMabacl('ta~eatHIUAudltor1u:nbetorethe2013FordHonor,ProeramhonorIn~ Yo-YoMa and theSlk Road Project
Please join us as we finish one season and announce the next! Immediately before the final live performance of the UMS season, we will announce the artists and ensembles that will be visiting us in Ann Arbor in 2014-2015.
1,00-BO PM
Rackham Building, 4th floor Assembly Hall & Amphitheater
Join the UMS Choral Union and perform major choral works in presentations throughout the region.
The UMS Choral Union will hold auditions for new members in August and September 2014 for the 2014-15 season. For more information or to schedule an audition, please contact Kathy Operhall at kio@umich.eduor 734.763.8997, or visit aboutlchoralunion.
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Composed l:Â¥ Johannes Brahms
Ann Arbor Symphony Orchestra
UMS Choral Union
Jerry Blackstone
Conductor Nadine Sierra, Soprano
John Relyea, Bass-Baritone Friday Evening, April 4, 2014 at 8:00
Hill Auditorium' Ann Arbor
64th Perfonnance of the 135th Annual Season
Photo;V i_ from the balcony d Hill Auditorium during the April 2013 p«fOl'manc9 d Milhaw$ Ores/Qian Trilogy; photQiraphQof; Mark Gjukich.
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Johannes Brahms
Ein deutsches Requiem, Op. 45
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Dr. Blackstone is considered one of the country's leading conducting teachers and his students have received first place
awards and been finalists in both the graduate and undergraduate divisions of t he American Choral Directors Association biennial National Choral "m
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Conducting A wards competition. He has "o
appeared as festival guest conductor and workshop presenter in 30 states as well as New Zealand Hong Kong. Shanghal and
Australia. In2004,Dr.Blackstonewasnamed
conductor and music director of t he UMS Choral Union. In March 2008, he conducted the UMS Choral Union and t he Detroit Symphony Orc hestra in a special performance of Bach's St. Matthew Passion. Choirs prepared by Dr.Blackstonehaveappearedunderthe batons of Valery Gergiev, Neeme JaIVi, Leonard Slatk in. John Adams, Helmuth Rilling. James Conlon. Nicholas McGegan. Rafael Friihbeck de Burgos, Peter Oundjian. Michael Tilson Thomas, and Itzhak Perlman.
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Coa:ertmasterOlail' n a P r o k e s
SrmJco-FunJcAs!iociate Coa:-emnaster OIair Halc:rin9 KttJuyt Vatapek
Jenny-Wan RuthMerigai an:!'Albert A Adam!: OIair
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MarijeanQuigIe!rY~ Cello
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DanielThomas Rite an:!' .bmesH. WhiteCello 0.;,
SabrinaLackey Sac;une: Kim
BASS GreggEmenon F\::IwclI" ErinZurbuchen
Jon Luebke
TheA2S0 BoctrdErreiro. Choir Robert Rohwer
PennyFischet' RacheJandArie Lipsky Principal Flute~
TImothyMichling'" Gilbert cmennPri1lcipal O!x>e 0.;,
IlndaEtter LiMo. Etter V"XllinChair
Daniel Stadtyra. JOOyBionk;kAdE'lsai VIOlin
CMi ChUr Greg I.aru.i
Fritz. Kaemig"
Charles]. Gltrion Fnndpal _0.;,
-DavidLa-mse Brb'tKEtterMernaialViolin ""''"'''''' CMihrum JosephD.McCadden James B. McCarthy Gerald Miller NicMishler ROOPettigrew Travis Ratliff EliRhodenhi$(>r James Rhodenhiser EvaristoRodriguo?L Paul C. Sdwltz. NciiShadle "Wi"llia"m S"hc'll-
ore • William Stwenson
Alex Sutton TerriIQ Tompkins n ,,:)fnasL Tl"E'I'ethan JohnVanBoh Paul Venema
• section leader M section coach
0 Susan Catanese " Cl\ery1D.O a r k s o n
KathleenEvansDaly Carole DeHart Valerie Delekta Elise Demitrack Melissa Doyle Sarah Fenstermaker Norma Freeman Rebe. with a tuneful quality. The "Gavotte" here is actually a series of short Gavottes strung together. much like the more familiar Baroque Gavottes. comprising a series of related musical episodes.The set finishes with a final 'Volte"even more jaunty that the first.
In 1919. following the successes of Igor Stravinsky's collaborations with Les Ballets Russes (The Firebird. Petrushko. and The Rite of Spring). Serge Oiaghilev proposed t hat Stravinsky compose a new score based on the music of Baroque composer Giovanni Battista Pergolesi (lnG-1736). Based on characters from theItalianconunediadeU'arte.theballet also featured set designs by Pablo Picasso. Stravinsky's settings of these delicate and graceful dances marked the composer's first venture into neo-classicism. a style that would become a hallmark of his later works. While his arrangements avoided the use of mcxI.emism in general Stravinsky insinuated. his personal style here and there, most notably in the bi- tonality of the "Minuet" and polyrhythms intherousing"Finale."Hemusthavebeen very pleased with his simple and precise adaptations of these Italian dances; in
1922 he created an ll-movement concert suite drawn from this score. and later adapteditforviolinandpianointheSuite Italienne.
The seven movements adapted here for guitar quartet attempt to maintain the crystalline sonorities of Stravinsky's orc hestration, while exploring the inherent folkloric qualities of the guitar's colors. The ' Overture' utilizes a treble- dominated texture. with continuo-like chord voicings in the accompaniment. while the rustic violin solos are captured with the use of open-string strums. Working at the extremes of the guitar's tessitura. high harmonics imitate the open hannonics of the violin in the lovely 'Serenata:whilelowpizzicatoevokethe
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Tennant arranged this piece for guitar
'DADGAD~ open tuning. Still, he felt
that the piece needed more material
to make a satisfying set. So he wrote a z
lyrical introduction entitled "Daya's Spin~ which reminded him of the gyrations of "o• a particularly lovely yoga instructor, and expanded the fast movement by writing a second section. entitled 'The Cat-Cow Reel~The cat-cow is a yoga pose that was especially fascinating as demonstrated by DayaAsScottsays. "Yoga-Celt wasborn!'
~ umslobby Scan for an Infographlc of the guitar throughout history.
Download a free OR code reader app on your smart phone, point you camera at the code. arc! scan to see multimedia content: or visit www.umslobby.orgtofindthesestories.
Wynton Marsalis, Music Director, Trumpet
Ryan Ktsor, Trumpet Marcus Print..." Trumpet Kenny Rampton, Trumpet VIncent R. Gardner, Trombone Elliot Mason, Trombone CIYIs Crenshaw, Trombone Sherman Irby, Saxophones Ted Nash,Alto and Soprano
Saxophones, Clarinet
Waiter Blanding, Tenor and Soprano Saxophones, Oainet
Victor Goines, Tenor and Soprano Saxophones, Bb and Boss Oar/nets
Paul Nedzeta, Baritone and Soprano Saxophones, Boss Clarinet
Dan Nimmer, Piano carlos Henriquez, Bass Ali Jackson, Drums
Sunday Afternoon, March 30, 2014 at 4:00 Hill Auditorium· Ann Arbor
63rd Performance of the 135th Annual Season 19th Ford Honors Program 20th Annual Jazz Series
Photo: Wynton MarsalIs; photOlraphllr: Frank Stl!'Wart o
The Grammy Award-winning LOS ANGELES GUITAR QUARTET (LAGQ) is one of the most multifaceted groups in any genre. The LAGQ is comprised of four uniquely accomplished musicians, bringing a new energy to t he concert stage with programsrangingfrombluegrassto Bach. They consistently play to sold- out houses world-wide. Their inventive, critically acclaimed transcriptions of concert masterworks provide a fresh look at the music of the past while t heir interpretations of works from t he contemporary and world-music realms continually break ne'/{ ground. Programs including Latin. African Far East Irish. folk. and American classics transport listeners around the world in a single
•o concert experience. Their Don Quixote
" collaboration with Firesign Theater
• veteran actor Philip Proctor continues
work SHIKI: Seasons ofJapan, written fortheLAGQplusguitarorchestraby composer Shingo Fujii, is connecting communities across the nation.
Winner of a 2005 Grammy Award their Guitar Heroes CD released on Telarc is a brilliant follow-up to their Grammy-nominatedLAGQ:Latin.Spin (Telarc 2006) continues their explorations of jazz and contemporary music. LAGQ: BRAZIL (Telarc 2007), including collaborations with vocalist Luciana Souza was released to rave reviews, and t heir newest recording of the Rodrigo Concierto Andaluz and Sergio Assad's Interchange, written specifically for them, was released on Telarc in spring 2010, and quickly climbed to top spot on the Billboard charts.The live DVD of The Ingenious Gentleman: Don Quix ote was released on the Mel Bay label in spring 2012.
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,I W:;TE 91.3 FM. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor. for his RenefOUS contrbution of floral
art for this evenins's concert. Special thanks to Kipp Cortez for coordinatinR the pre-concert music on the Charles Bard Carillon.
This tou- is made po5sibie b>I the Renerous support of the Goethe Institut and the Ausw fOr Alt(> Musik Berlin r£!COrds for Harmonia Mundi. Akaderni(> fOr Alt(> Musik Berlin is fl"IilI"IilI!ed in North America b>llntemationai Arts Foundation, N£!w York, NY. Akademi(> fOr Alt(> Musik Berlin is fl"IilI"IilI!ed worldwid(> by Feix Hils(>, Berlin, Germany.
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If you mentioned the name Bach in the second half of the 18th centwy, people would assume that you meant either Carl Philipp Emanuel or Johann Christian - but not Johann Sebastian. In their own lifetimes. t hese two sons of the Thomaskantor were much more famous than their father.They represented two divergent trends in the music of t he time. Emanuel stood for Empfindsamkeit (sensitivity~ a way of writing that emphasized emotional expression and often featured surprising harmonies. sudden interruptions. and other dramatic moves.Christian's name, on the other hand became synonymous with the style Ngalant: a much mellower, happier vein. Yet, as always. one must be careful with generalizations as there are exceptions to fNery rule. Theprogramwillbeginwithaworkbythefatherwhere,especiallyintheshorterdance movements. he dearly prepares the way for the galant styIe of the next generation.
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Orchestral Suite No.1 in CMajor,
Johann Sebastian Bach Born Man;h 31, 1685 in Eisenach. Germany Died July 28,17S0in Leipzig
UMS premiere: Chicago Symphony Baroque Orchestra with harpsichordist Kenneth Gilbert conducted by Jean Martinon in June 1967at the Fair LnneFestivaJ
SNAPSHOTS OF HISTORY .IN 1724: • Handel's cperaJt1ius Coesais 1m performed in
L"""," • W;S between the New England colonies and the
Wi!banaId ConIederacyollncian nations • Canalettopaints _ a l c e l e b r a t e d CilI""WiI5eS 01 the
QandCnlI"r1Venice • Swiss mathtmatidan Daniel BemouIi pubishes
Mdh n d w i l e . A r m . ~ N w t h e i r
1m son, Gottfried Herridl, ....noshor.Ys gmat rrusic.aI talent but is rna-talydsabled
lf t he six Brandenburg Concertos were Johann Sebastian Bach's answer to the Italian concerto, t he four orchestral suites are t he result of his in-depth study of French music. although - unlike t he concertos - t he four suites were not cornposedasagroup.
A Baroque suite is essentially a set of stylized dances, mostly of French
origin.NStylized" means that the music is meant to be listened to rather than danced to - a description that certainly applies to Bach's orchestral suites, even though Bach himself didn't call t hem by that name. His title was NOvertures: for the reason that each work began with an elaborate overture in the French style. French Baroque overtures, whose original home was the opera house, can be instantly recognized by t heir slow, majestic opening. usually employing dotted rhythms (with alternating long and short notes). They also typically have a faster middle section in imitative counterpoint, after which the opening music returns. Each of these opening movements in Bach's four orchestral suites also incorporates concerto-like elements, with smaller instrumental groups contrasted with the full ensemble. In other respects. the four suites are very different from one another,in scoring and in the actual sequence of movements.
In Orchestral Suite No.1 , the NOverture" is followed by a NCourante," a dance in fast triple meter that figures in all of Bach's solo suites but nowhere else in the orchestral works. Next come two NGavottes: in duple meter and with along (half-note) pickup, and a NForiane: in a
"~ ". H.661 (1773)
Carl Philipp Emanuel Bach BornMan:ha1714inWeimar,Germany Died December 14,1788 in Hamburg
V M S premiere: ConcertSolOlstsof F h i l a d e J p h i a conducted by Marc Mostovoy in December 1981 in RackMrnAudiwriurn
SNAPSHOTS OF HISTORY .IN 1773: o The 17- YNf-oid Mozart composes his "Little"
bear little resemblance to t he Viennese classical symphony, which Joseph Haydn had already begun to standardize by the time this work was written (the third movement comes closest to Nregularity" but even there, idiosyncratic features abound).The first movement juxtaposes rapidly scurrying scalar figures with mysterious, slow-moving chords visiting distant keys. and lyrical melodies with angular motifs. shooting up like arrows. The sensitive melody of the second- movement kLarghetto· is enlivened by some fortissimos and pianissimos t hat come when you would least expect them. while the final "Presto: which opens on a surprising dissonance, goes through some highly unusual tonal adventures before it reaches its energetic conclusion
Concerto for Oboe, StriIlgs. and Basso Continuo in E-flat Major, Wq.165,H.468~71!;1
C.P .E.Bach
UMS premiere: The English Concert with oboe soloist DIvid Reichenberg, conducted by Trevor Pinnock in January 1986 in Ruckharn Auditorium
SNAPSHOTS OF HISTORY...IN 176S: • )ames Macpher50n publishes the collected edition
ofhisCelticforseries,TheWorksq Ossian • WIth the StampAct, the British fWliar"nent imposes
a partkulivly bu"densome tax on the American
colonies, prOYokins widespread protests •JoshuaReynoldspantsROOmaM!andhisFamily
with an Indian Maid • johann Cmstian BadlandCart Fried'ic.hAbel
establish the famous 8ac.h-Abel concerts in London •The9-year-oldMozart~es hisfirst~
C.P.E. Bach wrote two oboe concertos, both in t he sameyearof 1765.&rth works also exist in versions for harpsichord and orchestra and scholars think that the oboe version came first and the keyboard arrangement Nupdated" his fat her's concerto style following the basic outlines
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• Captain james Cook crosses the Antarctic Circle
In 1768,CPE. Bach left Berlin to become musicdirectorforthecityofHamburg.Yet he did not sever his ties with the Prussian capitaL and retained the honorary title of court composer for PrincessAnna Amalia Frederick t he Great's younger sister, who, like her brother, was extremely musical (both royal siblings were competent composers t hemselves).The artistic circle around the Princess included a Dutch- born Austrian diplomat named Gottfried Baron van Swieten (1733-1803), a passionate music lover who in later years was to play an important role in the lives of Haydn, Mozart, and Beethoven. A great aficionado of 1.5. Bach's music, van Swieten also befriended EmanueL and in 1773 commissioned him to write six symphonies which stand out in Emanuel's immense output as one of the most striking set of works from this great cornposer'smatureyears.
The hallmarks of Emanuel's style- his fondness for surprising harmonic and dynamicchangesandemotionalextremes - are amply evident in the b-minor symphony,which is the fifth in the set of six. Its three interconnected movements
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Of the 22 surviving symphonies by 1.C. •m
Bach, this is the only one in a minor key; •"m
it is a striking departure from the usually •mZ
carefree, graceful tone of Christian's mature works (although we have seen an antecedent in the early f-minor concerto). The appearance (or re-appearance) of this tone in the late 1760s seems to be part of a general trend that has long puzzled music historians. Haydn scholars in particular have noticed the sudden emergence of a largenumberofdark-hueddramaticminor- mode works by many composers in those years; t hey have referred to their agitated style as a musical equivalent of the Sturm und Drong (storm and stress) movement that emerged in German literature around thesametime.
Since 1762, 1.C. Bach had been living in London. and not much is knovm about his contactswith hishalf-brothersinGermany. (In 1768, Emanuel made aratherdismissive § statement about his younger brother's z~ recent compositions, which cannot m have helped their relationship.) Highly "o successful as a composer of both opera • and instrumental music, Christian took the eight-year-old Mozart under his wing when the latter was in London. and Mozart retained alifelong affection for the'English Bach."The present symphony l:¥ Christian. which has no Baroque reminiscences whatsoever, was a direct influence on Mozart's"Little"g-minor symphony (No. 25, K.183)of 1773;yet thework is remarkable in its own right not only as a model for a formerprotege .Wit h itssharprhythmicand dynamic contrasts. the opening movement makes a dramatic impression.The central NAndante piu tosto adagio: scored for strings alone - without t he pairs of oboes and horns heard in the outer movements - continuesinthesamehighlyemotional vein, as does the breathless finale which ends. startlingly,with a soft unison motif, as ifcutoffin mid-phrase.
Founded in Berlin in 1982 and recognized today as one of the world's leading chamber orchestras. the AKADEMIE FUR ALTE MUSIK BERLIN, or Akamus. enjoys an unprecedented history of success. The ensemble, which performs regularly in Europe's leading musical centers. has toured throughout Asia North America and South America
Ever since the reopening of the Berlin Konzerthaus in 1984, the ensemble has enjoyed its own concert series in Germany's capitaL and. since 1994, has been a regular guest at the Berlin Staatsoper Unter den Linden and at the lnnsbruck Festival of Early Music. In the 2012-13 season. Akamus started a concert series at Munich's Prinzregententheater. Each year, Akamus performs approximately 100 concerts. ranging from small chamber works to large-scale symphonic pieces. and performs under t he artistic leadership of its concertmasters Midori Seiler, Stephan Mai. Bernhard Forck. and Georg Kallweit as well as with numerous guest conductors and soloists. For over 25 years, their partnership with Belgian countertenor and conductor Rene Jacobs has produced many celebrated opera and oratorio productions.
The ensemble has also worked with conductors Marcus Creed Peter Dijkstra •" Daniel Reuss, and Hans-Christoph • Rademann who currently leads the RIAS
Kammerchor, as well as with Andreas Scholl Sandrine Piau. and Bejun Mehta. Moreover, Akamus has extended its
its visually dramatic performance of 4 Elements - 4 Seasons, a Nstaged concert." Akamus has demonstrated yet again its international reputation for being a creative and innovative ensemble.
The international success of the Akademie fur Alte Musik Berlin is highlighted by well over one million recordings sold to t he public. Recording exclusively for harmonia mundi France since1994,theensemble'sCDshave earned many international prizes, including the Grammy Award, the Diapasond'Or,theCannesOassicalA ward the Gramophone A ward and t he Edison Award.ForitsDVDproductionofPurcell's opera Dido and Aeneas with Sasha Waltz & Guests. Akamus received the German Record Critics' Award in 2009. For its recording of Telemann's Brockesj"XlSSion. the ensemble was awarded the MIDEM Classical A ward 2010 and t he Choc de I'Annee.In2011,therecordingofMozarfs The Ma9ic Flute was honored with the German Record Critics' Award.The CD Friedrich der Grosse: Music from the Berlin Court was awarded the Diapason nt Fund Hert>ert S. a nd Carol Arnst... Endowment Fund catherine S. A/,,,,..,, Endowment Fund carl and Is.abetle Brauer Endowment Fund Dahlmann Sl~ma Nu Endowment UMS R..nd
Hal and Ann Davis Endowment Fund Dof" DuIre Charitable FO..noral Union Endowment Fund Natalie M atOYlno\Ot Endowment Fund Medical Community Endowment Fund Dr. Robert and janet Miller ,~
NeU P. ArK!efson Dr. and M,.. David G. Anderson
catherine So Ar",.... """"""'"'
Bart>.Ya It and Laurenc:.. R Baker Kathy Benton and Robert Brown Linda and Mau:'k:e Blnkow EUzabeth S. BIshop
Mr. and Mr.. W. Howard Bond Mr. and Mr.. Pill E. Borondy Bart>.Ya Eveara Gelel"lrt.... Be_1l>y and """"'" c.eltnef
u-n Nlehotf Dr. and Mr.. F,ederlck O"DelI Mr. and Mrs. Oeml' M. Power. Mr. and Mrs. MIc:t\aet Radock Mr. and Mrs.)ac:II: Rkl::etts Prue and Ani Rosenthal Irma). Sklenar Art and EUzabeth Solomon Hildreth Spencer Roy and)cAn Wetzel Ann and Clayton Wlhlte Male WlstHea!!hS5
....... H.FOIWIh Ma>dneand SlwrtFranl:el FoundiItlon Rlc:hardand UIIiIn tve; Trust TheAnd'ewW.MelIon~ ~Coundla ArtsandCUlt..-alAIIah
UMS SUPPORT - JULY 1, 2012 - NOVEMBER 1, 2013
The following list includes donors who made gifts to UMS between July 1, 2012 andNovember1,2013. Duetospaceconstraints,wecanonlylistintheUMS programbookthosewhodonated$250ormore. Pleasecail734.64Z1175with any errors or omissions.
... indicates the donor made a contribution toa UMS Endowment Fund
($500,000 OR MORE) Ilene H. Forsyth· candIrn" UnlYel!;lty ot Mkhl~an
DIRECTORS ($100,000- $499,999) Anonymous Fund of the Comm.ln!ty
($10,000 - $19,999) )erJyand GIofIa~am" The Ann Arbor News, part of the
MU"" MedIa Group Ann Mlbeft E. Meredith Mlchillan Critical ClreConsuttant, Inc. Mkt11ear> Humanities Cou'KiI Miller. Canl\eld, Paddock and
stone, P.LC. Monta£UE! Foundation Donald L. Morelocli: Allnes Moy-Sarns and Da\Od Sarns
and the Sarns Family Gilbert Omenn and Martha DarUn~ MIc:t\aet). and LesIee PerIslona ~ Am end Cklywn
Foundation Eu~eneandEmily(,fant ~,.
Wal"s C. Klein ' The A rIti_ W. Mellon Foundation Mkt11ear> Economk Development
Caporatlon Unt"",,11y 0/ Mkntear> Health System
Southeast Mlcnt~an -'
Ma.sco Corporation Foundation Mkhl~an Councillor Arts and Mairs Tl-lE MOSAIC FOUNDAnON
(0/ R & P. Heydon) Roiler and Coco N_ton PNC Foundation jane and Edward Schulak Sesl Lincoln ) omc:e of the
Senior \lice PrOYOSt lor Academic
Alia... Untvemty 0/ Mkt11ear> omc:e of the
\lice President lor Researthwel Den..., and EWe SelTas
Nancy and James stanley' Vlrelnlilstein· Edward and Nalalle SW.,.,.ell SUs.1n B. Ullrich·
United BanI§ Un""",,1ty ot Mktliean Credll Union Un""",,1ty ot Mktliean Inter\lusonstout Karen and David Stutz·
($5,000-$9,999) ~, MkIIaet Allemane and Janis BobrIn -IIfWnhhonor0(BIIIhFlsd!Qf ArtsM~tTOISlneFund w.Rkl\ardand)oya!P.SUmmerwlU· -carotAmste Anckew and Usa Befn-Anna F Mkhaet Boehnke and BeI,y Foxman Barbara E_1tt Btyanl Edward and Mary cady H.D.Cameron
PhIlanthropic Fund Gary Boren valene and DavId canter jean and Ken Casey. Cheryl Cmldy MarySUeandKennethColeman ~~ - ~~~ JudyandMakotmCollen Dr.andMrs.DavidG.Anderson
CiIrt>WI M. carty and Thomas H. HabacI\er Har\ene and Hervy Appelman Sandy and CharUata Gelehrtett Greenbere )oM and Helen Grlmth
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